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thanksjro · 4 years

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More Than Meets the Eye #1- Meeting All Our New Friends

Okay, let’s see what happens when you give one man way too much power over a franchise, and he doesn’t use it for evil.

Before we get into the story, let’s take a look at the cover art! MTMTE, as well as its sister series, Robots in Disguise, started off IDW Phase Two, a brand new run of main comics to replace the by-then completed The Transformers (2009). To celebrate this momentous occasion, each comic’s first issue got FOUR separate covers, which could be combined to create a large, overarching image. MTMTE’s looked like this when all the covers were put together.

The cover art here is by Alex Milne, who is on as the main artist for the series, but he’s not on issue #1- no, for our foray into this comic run, we see the return of Nick Roche.

The last time Roche and Roberts worked together was on Last Stand of the Wreckers, and other than MTMTE #6 and the Revolution one-shot, they won’t be teaming up again within the IDW run.

On a potentially-related-but-more-of-just-a-humorous note, it seems that Roberts is a huge stickler with his scripts, going into what sounds like an honestly horrific amount of detail for each individual panel. The average comic script is either between 20-23 or 28-30 pages long, not counting title and credit pages. Roberts has been cited as sending in comic scripts that approached 50 pages.

Which, if you know anything about the scriptwriting process, is a little… yeah. It’s a very good thing Roberts seems to be able to take criticism.

ANYWAY.

IT’S TIME.

The Transformers: More Than Meets the Eye- Liars, A to D Part 1: How to Say Goodbye and Mean It- holy fucking shit that’s a long title- starts off with the Story So Far, a comic book classic to catch readers up on what’s happened prior to the issue. The very nature of a Story So Far will become plot-relevant much later down the line, but as is, it’s just reminding us what happened during Phase One, in as basic a point as it can.

And then the credits are right underneath.

I can’t even imagine how friggin’ good seeing this printed must have felt.

So, what’s going on in the premiere of the sad, gay, space comic?

Not my phrasing, by the way, but the Wiki’s.

So, the war’s over. What does that mean? Well, a lot of things, honestly, but the first thing we’re given in terms of what changes to expect with everyone’s favorite space robots is in relation to their wardrobes. Yeah, without a war to fight, what’s the point in having relatively identical blocky armor that protects all your insides? It’s time to get skimpy.

Rodimus has switched out his toned calves and discernible ankles for the Uggs that are now positively iconic to his character. Drift’s mass has almost completely gravitated to his thighs, making him the curviest thing this side of the Milky Way. Ultra Magnus didn’t get the memo about not needing to be in uniform anymore, I guess, but somehow I doubt he owns anything casual.

Rodimus, Drift, and Magnus are holding a rally to invite Autobots to come on their party-barge to find the Knights of Cybertron, in an effort to heal the planet, because Rodimus took one look at post-war Cybertron and said “no thanks.” Honestly, I think most would, if these properly colored characters are any indication.

Just the Autobots, by the way. We aren’t ready to be friends with the ‘Cons just yet. Swindle did some major damage on that front.

Prowl and Wheeljack are off to the side discussing this turn of events, and while Wheeljack seems to think that a lot of folks will be boarding the ship and getting the hell out of dodge, Prowl’s expecting nothing to come of it.

So, that was yesterday. What’s going on today?

Inside Kimia, there’s a dead guy. He wasn’t dead when he was brought in, but he is now. Who is he, anyway?

Oh, he’s one of the NAIL protesters, and he died because he was protesting by way of transforming on the steps of Autobot HQ, until his transformation cog burn out. Yep, that can kill you. Ratchet’s the one who performed the autopsy, as per Metalhawk’s request- he only wanted the best of the best on this.

Too bad the best of the best is starting to slump. After a brief scare with Rigor Morphis- the stiffening of the corpse into the body’s preferred mode- Ratchet explains to Bumblebee that his hands have started seizing up, and that’s why he’ll be leaving on the Lost Light with Rodimus. He just can’t do the work anymore.

This news is not well received by Bumblebee, who’s just about had it with everyone up and leaving him all by himself with the mess that is Cybertron.

Phase Two will not be kind to Bumblebee.

Bumblebee accuses Ratchet of having been insnared in Rodimus’ siren song of reclaiming the Golden Age, but c’mon, this is Ratchet! He’s too cynical to fall for that. He’s more interested in finding the Autobots who’ve been lost over the millennia to the war. Ratchet’s already well aware of the true purposes of this little galactic road trip, almost like he’s read the plot outline.

It’s about helping people, and adventure, and being unapologetically gay and sad in equal measures.

Up in the sky, Cyclonus is displeased. He spent six million years in the Dead Universe, under the control of a madman, waiting for the moment he could return to his beloved homeworld, and what does he get? A ball of half-baked primordial cookie-dough, and it’s not even chocolate-chip like he was expecting; it’s fucking oatmeal raisin.

Mmm, that is some tasty panel-breaking right there.

Of course, the I/D chip might not have worked anyway, seeing as Cyclonus got a little bit of a boost when Vector Sigma ejected everyone during the Matrix incident. It’s doing some weird stuff to his body, on top of whatever nonsense existing inside the Dead Universe does to a person.

Cyclonus is about to head over to the Lost Light- apparently he and Rodimus made a little deal off-panel- when he detects a familiar life sign and decides to see what that’s all about.

Over in Prowl’s office, things are tense. He and Chromedome can’t even look at each other, as Chromedome reveals that both he and Rewind are jumping on the Lost Light. Prowl doesn’t like this, not one bit. He needs Chromedome, needs his skills, his expertise. He tries to appeal to Rewind, knowing who wears the pants in this relationship.

Or, well, he tries.

Prowl, they’ve been married for over 250,000 years.

In all seriousness, this is slightly before the first tentative steps Roberts took towards making the franchise as gay as he possibly could, at least when going by the story’s chronology. The thing about professional comic script writing is that plotting/planning goes for a ways beyond the current script one’s working on, so that everyone knows where everyone else is. Considering the somewhat congruent nature between MTMTE and RiD, planning ahead was especially important.

Chromedome and Rewind were originally (like, first draft originally) meant to be best friends. This was to fill a void in the department of close relationships Roberts felt within the Transformers franchise. Then Roberts saw how handsy he’d been writing them during plotting and realized he’d made something a little different happen. Which still sort of went with what he was going for, just in a slightly different fashion. Chromedome and Rewind are a rare case of a writer NOT leaning into the “they’re just bros, bro” mentality and just letting the characters be together as romantic partners.

Also keep in mind that it would be another three fucking years before the United States would legalize same-sex marriage, which is where the IDW offices are located. You gotta ease that sort of change in, that way nobody realizes what you’re doing until it’s already been done, then you can go hog-wild. We won’t be hitting critical mass on the homonormative civilization that is IDW1 Cybertron for a solid year or so.

So this bit of dialogue is just the start of the setup, and the “best friend” line is either a leftover from earlier versions of the script, or Prowl really just is that big of an asshole.

Rewind is, of course, recording everything taking place on his handy-dandy little head-mounted camera, because history is his business, and he’s not going to stop recording for the likes of Prowl.

Rewind doesn’t like Prowl very much.

It would seem that the feeling is mutual.

Chromedome suddenly remembers that trying to reason with Prowl is like talking to a brick wall, and the two of them leave. Prowl responds to this slight by yelling in the hallway and then flipping a table.

I sure hope y’all like running gags.

Of course, Prowl wouldn’t be Prowl without having a few contingency plans in place for when things don’t go his way, and he makes a call to his inside guys to “load the cargo.”

That’s not ominous in the slightest.

Six million years prior to all this nonsense, a tiny little dude fell in a hole and broke his legs trying to get to work.

This is Tailgate, and he’s seen better days. Not many, mind you, but at least a couple. He was making his way to the launch of the original Ark, when he decided to take a shortcut that would change the course of his life forever. Hence the whole “stuck in a hole” thing. Still, he’s got to get out of here, because without him, the entire expedition is doomed!

For being an idiot, Tailgate’s pretty smart- he figures that if he sets off his energon rations, it’ll blast up through the roof of the cavern he’s in and someone will be able to find him. Good thing energon’s so incredibly volatile.

Speaking of volatile, let’s jump back to the present and check on our buddy Whirl.

It looks like Whirl also got a makeover between series, because he’s now sporting a much sleeker, angular frame, complete with long, tapered head.

Whirl’s currently busy thanking his new friends for spending so much time with him. It really meant a lot to him, their patience. Not many folks have been patient with him before.

Of course, it probably helps that all these guys are dead as hell.

It’s time for another Roberts’ staple- the suicide attempt. We won’t be using the robot-equivalent to Multiple Sclerosis though. This go around, we’ll be using a classic: self immolation!

Title drop! Bet you weren’t expecting it to have such a dark connotation, huh?

Cyclonus interrupts Whirl’s monologue and suicide attempt. He thought he’d seen his best buddy, Scourge, on his tracker, and his immediate response is to lurk in the shadows looking like a night demon wearing a party hat.

Fun fact: a group of Sweeps is called a Spring Cleaning.

Scourge isn’t here, and he won’t ever be. Scourge most likely died off-panel, never to be seen again, assumedly because nobody wanted to write for him. I think it’s the nails, puts people off.

Whirl doesn’t take kindly to the intrusion, and responds the only way he knows how.

It’s always embarrassing when your self-immolation gets interrupted, but maybe try taking a first deep breaths before committing to more war crimes, Whirlybird.

While these two morons fill the post-Bay movie explosion quota, Red Alert’s hard at work screening the passengers on the Lost Light. Currently, he’s checking Brainstorm, who’s making it as difficult as possible, both legally and emotionally. Red Alert waves him on with a grumble, without even getting a peek at what’s inside his mysterious briefcase.

Up next is Swerve.

His legs are so jacked, it makes me a little uncomfortable. Glad to see Swerve’s body reformat went swimmingly- seems he went for the classic “tires in the shoulders and ankles” model.

Oh hey, it’s Rung! Hi Rung!

This series will not be kind to Rung.

While Cyclonus and Whirl terrorize the folks just trying to get on board the dang ship, Rodimus is feeling rather pleased with himself with the turnout. Drift strokes his ego a bit, because they support each other, but things are still weird because Drift doesn’t know who he is as a person anymore, and Rodimus has a guilty conscience mixed with being the Matrix’s golden child, which really fucks with a guy’s head.

Ultra Magnus goes through the list of the folks joining their quest, and starts running through all their demerits and crimes like it’s his job, because it is. We get a little peek into Magnus’ world view and then it’s back to the Whirl and Cyclonus show.

Also, Drift doens’t have a nose right now. He’ll get it back in time for the next issue, don’t worry.

Over with the flyboys, Cyclonus has decided to land and attempt to reason with Whirl. Not that he couldn’t totally kill Whirl if he wanted to.

He just doesn’t want to.

No, Cyclonus is far more concerned with his meeting with Rodimus, the one that he’s already friggin’ late for thanks to the detour he took checking that life signature. Whirl doesn’t care, far more worried about the fact that Cyclonus saw him talking to desecrated corpses and, far more importantly, vulnerable.

Look at this jackass’ ensemble- demon helmet, a crop top, a skirt and bellbottom pants. What an icon. He and Eugenesis Wheeljack should trade fashion tips.

Whirl still isn’t done with him, even after scraping him across the side of a mountain. Feeling especially artsy, he scoops Cyclonus up and jumps into the air, since he apparently has a hundred-foot vertical leap.

Back in the past, things aren’t going so well for Tailgate.

More cool panel stuff going on here- every time the panels have had rounded corners, it’s been when the scene takes place in the past. Now that the last panel has proper right angles to it, Tailgate’s in the present with everyone else. That middle panel probably covers a couple million years, at least. Poor guy.

Up on the surface, Ratchet’s met up with Chromedome and Rewind, and they’re all walking over to the launch site, Chromedome bitching all the while about how they’ve got to use their legs since Rewind’s alt-mode isn’t a vehicle, but a USB.

Chromedome seems to have forgotten that his tiny husband is small enough to probably just ride on top of his alt-mode, if not directly inside, most likely due to his larger-than-life personality.

Whirl and Cyclonus fall out of the sky before Chromedome can say something that’ll get his ass divorced. Cyclonus gets knocked out cold, having taken the brunt of the impact. Unfortunate, seeing as Whirl’s taking the time to make up lies about him.

You thought I was kidding when I said the armor was skimpy, but here we are, with a shot of Whirl’s battle thong.

Ratchet, who knows Whirl, because he knows everybody, tries to talk him out of straight up murdering Cyclonus. Whirl doesn’t like it when people try to talk him down, and is about to turn on the good doctor, when Tailgate enters the scene, by way of explosion.

Whirl doesn’t handle explosions terribly well. Probably why he was going to use one to kill himself.

With Whirl knocked out, Ratchet and the power couple pull Tailgate out of his hole, where he manages to ask about the launch before freaking the fuck out and fainting at the sight of a rather dead-looking Whirl. To be fair, I can’t think of a whole lot of folks who’d survive getting their tits blown off with enough force to clear a tunnel in solid rock.

You said it, Rewind.

Ratchet grabs Tailgate and Whirl and brings them onboard the ship, seeing as Tailgate seems to want to be there, and Whirl’s too dangerous to be out of sight. They just kinda leave Cyclonus on the ground. I doubt the two guys who were on Kimia last month really want to deal with him.

Rewind breaks off from the group to see his dealer. This dealer isn’t selling the good kush though. He’s got something far more incriminating to offer.

But we don’t get to find out what the fuck Rewind just bought from Swindle for a few more issues. Rest assured, it’s nothing good.

On the bridge, Rodimus is in his captain’s chair, ready to captain it up. The Lost Light raises into the air, as Bumblebee and Prowl watch on, about to exit the atmosphere and begin a adventure filled with hijinks and mild peril.

And that’s a series wrap on everyone! I hope you enjoyed this wonderful one-shot written by James Roberts.

What do you mean there’s 56 more issues?

Alright, let’s see where this goes.

Back on the bridge, there’s alarms and sirens out the wazoo, as things have pretty much immediately gone to shit. The quantum engine the Lost Light’s outfitted with apparently went off prematurely, rocketing them into a completely random quadrant of space.

Also, there’s a hole in the ship, and vacuum physics are doing their thing.

This series will not be kind to Rodimus.

The Lost Light touches down on the planet they popped back into existence over to start looking for all the guys who got sucked out of the ship. They don’t have to look long, seeing as they’re all burning up in the atmosphere.

Welcome to the Lost Light. It’s a friggin’ mess.

Back on Cybertron, the aftermath of the explosion is seen, as Bumblebee and Prowl listen to a message that seems to imply a lot more heartache in the future.

Prowl, you could at least pretend to give a shit.

That’s the end of the story, but not the end of the issue. In the back of the book, we get a welcome letter from James Roberts himself, thanking the reader for taking the time to read the beginning of MTMTE, and holy shit does he really try to sell it to you. This is a guy who wants you to be excited about the story that’s coming your way, because he’s excited about it. He’s a big dork who loves Transformers, and he gets to write about them for the next six years! That’s awesome.

#transformers #jro #mtmte #liars A-to-D #issue 1 #incoming analysis #maccadam #Hannzreads #text post #long post #comic script writing

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toboldlyblahblahblah · 6 years

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Your gifs are beautiful and so clear! Have you ever done a tutorial on how you get them so flawless and well lit? Like esp DS9 and TNG gifsets! I love your work so much!

@maylovelies

Wow! Okay, for starters: Thank you so much! I really, REALLY appreciate the kind words and the time you took to send this! I really enjoy making gif sets and I’m always so glad to hear that people like how I edit mine.

To answer your question, yes, I have made a tutorial post in the past, but the method I used back then I’ve strayed from a bit, recently. Some of it I still use, but in reference to lighting and getting them to look a little more high quality, there are some other techniques I’ve been working with lately and really enjoying the results…

I can walk you through with a new example.

Here’s a quick gif from a scene of DS9:

and I’ll do a rundown on how I got it to look like this:

Going to put the rest of this below the cut, though, because it’s significantly longer than my last tutorial-based answer…

So! One trick is to not be afraid to stack up a few adjustment layers of the same variety, sometimes even duplicates of the exact same layer, on top of each other. The reason I do this is because wild adjustments on a single adjustment layer are a lot less controlled and will often effect the wrong parts of the scene’s lighting (by that I mostly mean shadows v highlights).

I edit for light first, personally. Here’s where I am after doing those corrections

Already looking a lot better and clearer. This was done using three adjustment layers.

The curves layer is just a basic “lighter” preset that you can find from the drop down menu once you open a new curves layer

The levels layer I start by using the preset “lighten shadows”

at that point the image looks very washed out and grainy

(still image)

so from there i just messed with the layer a bit until I liked it a little more, added some contrast and adjusted the distribution of light, etc.

which got the image looking like this

(still image)

But I still thought that looked kind of washed out and flat, so, lastly, I added a completely custom exposure adjustment layer where I pushed up the gamma correction and exposure settings (you can also push the offset into the negative to get a secondary effect similar to gamma correction, but it’s very harsh and temperamental, at times. I wouldn’t recommend it for first-time use)

that gets us back to this lightness corrected gifset, which I’ll post again now

You can actually get a similar look by using just curves adjustments and their presets. Here’s what happens if you take three (3) layers with the same curves “lighter” preset (see above) and then one (1) curves layer with the “medium contrast” preset.

and the results are pretty similar

Each technique lends itself better to different scenes. And obviously with either method (or a combination of both as tends to be the case on super dark scenes - cough, mirror-universe episodes, cough) you can customize a lot from these presets to get the desired effect. They just give you a good jumping-off point…

Now the first thing I always notice about adding brightness to these scenes is that the tones get very warm and muddy, so from there I usually like to color correct next.

I like to bump my vibrance and saturation sliders up before color correcting, but I know a lot of people do it after. That’s really just a matter of personal preference.

There are a handful of ways to color correct, and, just like with the lighting methods above, I tend to mix and match the various adjustment layers. I’ll use Color Balance (as illustrated in my previous tutorial) and I’ll also now use Hue/Saturation layers and Selective Colors layers.

Honestly, color correcting / color grading alone could be its own tutorial so I won’t go very in-depth on that here. But just play around with the settings and find a method that works for you. (If you feel like you’d want a specific run through on that, just shoot me an ask and I can cover it some other time in more detail.)

My one recommendation to help you avoid the big rookie mistake I made when I first started doing this is that with the hue/saturation layers, never use the Master slider option; instead, click the drop down menu and work on each color individually.

So here’s where we’re at once I bumped up the saturation and then did my color corrected.

You may notice how sometimes color correction darkens an image and undoes some of the work you did earlier (in my experience, this usually happens when you have to add a lot of blue in the color balance layer) You’ve got two options here. Either go back in to the previous brightness adjustment layers and lighten up some of the contrasts, or put a new layer over top of latest color edits to add brightness back in over top. Again, this comes down to personal preference. Experiment with either version and do whichever works best for you.

Here’s after I brightened it back up a little again.

Subtle difference, but it’s how I prefer it for this scene. Plenty of times scenes don’t end up needing it at all.

So the gif is looking pretty solid from there. In some cases, I’d actually stop right here and just add the quote text to the bottom and call it a day. But if you really want to make it look HQ, there’s a few additional steps…

Firstly, it helps to keep the images smaller (a retread of something I said in that other tutorial too, I believe) but after that, there’s a way to sharpen all the layers and frames at once while also reducing “noise,” both of which improve the quality of a gif.

To do that, take your frames timeline at the bottom of photoshop and click the little icon that looks sort of like a funnel going through a bar graph…

If you have history window open, it’ll say “Convert to Timeline” after you’ve done this, and instead of frames you’ll see a bunch of short purple lines instead of the gif’s individual frames. Don’t panic! That’s supposed to happen.

From this point, go to your layers window and select all of the layers that are frames of your gifs, which you can do by clicking the first layer - holding shift - then scrolling up to click the final layer - then releasing shift. They should all have the little eyeball icon on next to them, indicating that they’re all active. Then, right click the top layer and from the pop-up menu click “convert to smart object”

When you do this, all of the layers compress into one Smart Object with the name of the top layer.

Again, don’t panic!, you didn’t lose the other layers they’re just now all going to be affected by the sharpen filter instead of having to be edited one at a time.

Now, go to the top ribbon in Photoshop and in the drop down menus, go “Filter” > “Sharpen” > “Smart Sharpen…” and click that.

A little window will pop up that gives you a preview of how this filter will impact your image.

**notice that the smart sharpen preview does not show color and lighting corrections; that’s fine & because we are not applying this smart filter to any of our adjustment layers.

And what you do from here is again a matter of personal preference. Raise the sharpening amount too much and the image starts to look crinkly, have the noise reduction too high and all the detail gets smudged away.

Here’s an example of what happens if youwere to crank both the sharpness and the noise reduction all the way up:

(still image)

And I guess there’s maybe a place and time where something with this aesthetic would work for a particular scene or edit, but generally, I like to keep the settings pretty low. Sometimes, less really is more…

For a 268x200px gif of an 80′s or 90′s Trek show, I keep Reduce Noise at 10% and have the sharpening anywhere from like 85-150, depending on how much I’ve cropped in on the original camera crop. But for this gif, where I didn’t zoom in very much at all and pretty much kept it how the original videography framed her, keeping it around 95-115 works nicely.

When you’re done, click OK.

Now that Smart Object looks like this

And that’s pretty much it! Now, when you export your gif from Photoshop, it’ll look something like this:

The one thing you have to remember about this technique (and this is something that still trips me up from time to time, myself) is that when you export, it doesn’t automatically set the gif to loop forever. Instead, it’s set to “Once.” To fix that, when you click through “Export” > “Save to Web (Legacy)” and the Web window pops up, go to the bottom right corner and above the “Save” button there’s a drop down menu in the “Animation” section. Click there and switch from Once to Forever.

And there you have it! Start to finish, that’s how I make my HQ gif sets!

I know it seems like a ton of work for one lousy gif and super overwhelming at first and hard to remember, but once you get into the swing of things it all becomes very second nature.

So thanks for asking and thanks for reading. Hopefully this was helpful, please let me know if you got anything out of it.

And, of course, feel free to reach out with any other questions or requests. I’ll always try to do the best I can and answer. ♥

#gif tutorial #gif making #photoshop #photoshop tutorial #ds9 #tutorial #answer #gif making tutorial #hq gifs tutorial #maylovelies

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trendingnewsb · 7 years

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10 interesting facts about the Easy-Bake Oven

The Easy-Bake Oven has become one of the most beloved household items since it hit the market in 1963. More than 30 million units and 150 million mix refills have been sold, making it one of the most popular toys of all time. A reliable crowd-pleaser during the holidays, the Easy-Bake Ovenis now a member of the National Toy Hall of Fame, but its cultural relevance isn’t limited to mere nostalgia. Millions of people still watch Easy-Bake Over recipe videos on YouTube.

Lets take a look back at the sweet history of the Easy-Bake Oven.

10 things you didn’t know about the Easy-Bake Oven

1) The first Easy-Bake Oven was very expensive

Todays versions of the toy oven can be purchased at major retail stores or online at a reasonable $45.00, but the original 1963 version was much more expensive. In fact, it cost a hefty $15.95.

That might not sound like a lot, but adjusting for inflation, it amounts to $127. Despite the price, the Easy-Bake Oven sold half a million units in its first year on the market.

2) Working toy ovens werearound for decades before the Easy-Bake

It might sound like an impressive feat for Kenner to have created a mini oven back in the 1960s, but other companies had already released similar toys decades earlier. Model train manufacturer Lionel created a gorgeous porcelain electric stove and oven combo in 1930 that featured a cooking surface the perfect height for kids, aged 6 to 9. The appliance, which the company claimed was built as substantially as the one Mother uses, sold for $29.50 ($430.00 today), according to anad in a 1930 Playthings magazine.

Angela Bjorge/Pinterest

The company ceased its production after just one year due to poor sales caused by the Great Depression.

Other name brands like Little Lady, Little Chef, and Suzy Homemaker sold toy ovens before Kenner, but none were able to capture the hearts and minds of children like the Easy-Bake Oven.

3) The oven’s creator changed action figures forever

Kenner Products started making Easy-Bake Ovens as an independent company in 1963. It was purchased by General Mills a few years later, then by Tonka (the folks with the trucks) in 1987, and finally Hasbro in 1991.

Some of Kenners most successful years were under General Millswhen it was granted the rights to make action figures for the Star Wars trilogy. More than 100 unique Star Wars action figures were produced and at least 300 million were sold between 1978 to 1985. Kenner is often credited for popularizing the 3.75-inch action figure (1:18 scale) during that period. The size became the industry standard for more than 20 years before 5- to 6-inch figures took over in the ’90s.

The action figure scale has seen a resurgence in recent years with new lines fromDC, G.I. Joe, and Star Wars.

4)Kenner originally wanted to name it the ‘Safety-Bake Oven’

Electric ovens made prior to the Easy-Bake Oven had a reputation for being unsafe. Kenner solved that problem by using a standard incandescent light bulb, a product already found throughout homes, as the primary heat source. The company wanted to further convince parents its product was safe by naming it the Safety-Bake Oven, but regulatory bodies in charge of print and radio advertising reportedly shot down the idea because the oven didnt yet have a track record for being safe, accordingto Todd Coopee, author Light Bulb Baking.

Photo by Bradross63/Wikipedia (CC BY-SA 4.0)

The first three versions of Easy-Bake oven (l-r): Regular model #1600 (1963), Premier model #1500 (1969), and Mod model #1360 (1971).

5) A 100-watt light bulb ban forced radical redesign amid rumors of the oven’s demise

A ban on conventional inefficient incandescent light bulbs phased in between 2012 and 2014 made some people question the future of the Easy-Bake Oven. While the regulations didnt ban any specific bulb types, it did require new fixtures to be 25 percent more efficient, which meant they would no longer give off enough heat to power the workable toy. Determined to keep one of its best-sellers alive, Hasbro released the Easy-Bake Ultimate Oven, which uses a heating source similar to a conventional oven. The Ultimate Oven edition can still be purchased today for around $45.

Screengrab via Amazon

6)Hasbro initiated a massive recall after burns required a 5-year-old girl to get her finger amputated

In February 2007, Hasbro recalled 985,000 Easy-Bake Ovens after receiving 29 reports of children getting their fingers stuck in the door. By July, the number of reports had reached 249, forcing Hasbro to issue a second recall for another 1million units. One 5-year-old child sustained burns so severe that part of her finger had to be amputated.

CPSC

The recall affected Easy-Bake Ovens sold between May 2006 and July 2007. The model that was recalled was made of purple-and-pink plastic, and it resembled a kitchen range with four burners on top and a front-loading oven. Hasbro gave affected customers a container to ship the oven back in, and a $32 voucher for another Hasbro product (the recalled unit retailed at $25).

7) The oven became a television superstar and pop culture icon

Hasbros immensely popular toy appliance is also an actor with a pretty impressive resume. It made appearances in How I Met Your Mother, MadTV, and Seinfeld. In season 4 of Fringe, Dr. Walter Bishop makes a lemon cake with his Easy-Bake to help solve a mystery. It is also referenced by Monica in the third season of Friends who says becoming a real chef has been, like, my dream, since I got my first Easy-Bake Oven and opened Easy Monica’s Bakery.”

8)Former First Lady Michelle Obama had some gripes with the oven

Yes, even the First Lady couldnt resist the appeal of a working miniature oven. In a special Christmas visit to the White House, Oprah asked Michelle Obama if she remembers what her favorite Christmas gift was as a child.

The First Lady said a metal doll house with plastic furniture before remembering her Easy-Bake Oven. But she didnt seem all too impressed with the toy, Oh, I did have an Easy-Bake Oven. But you know, once you run out of the mixyoure done with it. Her problem-solving husband then asked if you could just purchase new mixes, to which his wife replied, When we were little, what you got is what you got. When its over, it’s over.

9) Hasbro failed miserably at creating an Easy-Bake Overn for boys

In 2002, Hasbro released a more masculine version of its toy oven called the Queasy-Bake Cookerator. The unfortunately named device allowed kids to make undeniably appetizing recipes like Mud n Crud Cakes and Drip and Drool Dog Bones.

Lucky Penny Shop/YouTube

It wasnt much more than an Easy-Bake Oven with a paint job and what Hasbro foolishly believed wererecipe names boys would appreciate. Powered by a single 100-watt light bulb, the ill-fated Queasy-Bake Cookerator was unable to convince boys that toy ovens werent only for girls and was discontinued soon after its release.

10) A teenage girl successfully petitioned fora gender-neutraledition

A Change.org petition created by a teenage girl in 2012 led Hasbro to create a gender-neutral version for its Easy-Bake Oven. McKenna Pope, 13 at the time, received more than 40,000 signatures and the support of celebrity chefs. Hasbro responded by releasing a black, silver, and blue toy oven after meeting with the New Jersey teen. At the time, the Easy-Bake Oven was only available in pink and purple, though previous editions did come in a number of less gendered colors, like green, yellow, and blue.

Amazon

Pope created the petition after she was unable to find a gender appropriate Easy-Bake Oven for her four-year-old brother, we soon found it quite appalling thatboys are not featured in packaging or promotional materials for Easy-Bake Ovensthis toy my brother’s always dreamed about. And the oven comes in gender-specific hues: purple and pink. I feel that this sends a clear message: women cook, men work.”