*fzzt*
(Spoiler free-ish)
SynopsisTHE DYING OF THE LIGHT—PART 1! Since joining the Lost Light, MEGATRON has rejected everything that once made him the most feared and hated Cybertronian of all time. But penitence has a price, and before the ex-Decepticon can find true redemption he must first confront his darkest legacy—the Decepticon Justice Division.
LeeeegacyI said this already in the counterpart review to this one, for The Transformers #50, how impressively impressive it actually is to see both the ongoings to have reached such an impressive milestone. Two very different titles, with MTMTE being the space opera-turned-sitcom-turned-horror-turned-sadgayrobots - and all, ultimately and listed in order in the Previously section, building up to this point. Right here. Now.
Sneaking up to itJames Roberts has been seeding the presence of the DJD and Tarn's discontent with Megatron's change of heart for a while now, if not since their very first introduction. We have also had a number of other plotlines weaving in and out of the main arc, and they all appear to feature, in one way or another, in here. Seeds seeded aplenty, and the DJD is not the only discontent to show up in the wider MTMTEverse.
Cameos aboundIf it looks like I'm stalling here, it's because I am, a little. There isn't much I can really say about the book without ruining at least a number of reading experiences for someone, so I'm keeping comments to the comments - that said, what was to be expected does happen, but not as soon as one might initially think. Roberts fuels a slow fire. A slow, painful fire.
With some funny bits, of courseThe weaving is one the key features here, and how the characters have interacted with each other up to this point, and how they will clash, merge, unite or fight when the pressure is applied - as it does in issue #50: positions are taken, roles are assigned, dynamics shift dramatically, and it does so in a turbulent and terrifying fashion, before inevitability and acceptance set in. For some.
ArtThe art duties on the bulk of the story are by regular co-cospirator Alex Milne, with an assist from Brian Shearer on inks. And if ever we had emotion shown under faceplates and optic visors, this is even more the case. The multiple colourist team, of course, helps to bring Milne's vision to vibrant life, even in the darkness of the latter stages of the story - Joana Lafuente, Priscilla Tramontano, John-Paul Bove did some stellarly blending and combined work on those pages, with some particularly amazing splash pages.
Plus this.. er.. guyThe tail-end story 'No Guns, No Swords, No Briefcases' addition sees some sparkwrenching work from other regular artist Brendan Cahill, delving into some backgrounds of characters we have and haven't seen in a long time in the series, and showing yet more emotion where a small breather was needed. All topped by some warmly executed colouring by Joana Lafuente.
..more like guidelinesWhere the humour and visual cues of the lighter side really show up is, once again, through the font magic of Tom B. Long's lettering work. Scenes like the below, the excellent title page, the various captions, the highlights he brings to the overall work with the small space he's given - it's always a stunning effect.
Visual game is strongWith an issue this big, and as important as it, the various number of covers is to be expected, and anticipated. The main cover by Alex Milne and Joana Lafuente sets the tone for the entire story, and upcoming arc, while James Biggie, Mike Choi, and even Casey Coller and Hayato Sakamoto, with Yamaishi on colours, take on the catalyst of the story: Megatron. We also finally get the final piece in the six-parter by Milne and Perez, and a variant (thumbnailed) by Nick Roche and Josh Burcham showcasing the main cast of the issue.
ThoughtsSpoilerish aheadThe split in stories, in paths, in narrative arcs seems to be working on a number of levels - from the temporal rest and background build-up of the later part to the building cliffhanger of the first, via the multiple seedings of current and potentially future storylines, and reconnecting of the publication with its earlier and preceding iterations. It works, but it will work much better in the longer run. Roberts is also able to stop the humour, welcome throughout where used, before the more serious part, avoiding some emotional whiplash that would really have jarred otherwise.
Ruh-rohThe entirety of the issue, in all its aspects and angles, is to be lauded. The editorial and creative teams have brought so much of their game, that some minor glitches were to be expected - and yet did not occur at any stage. Visually, this is a great book to look at, with some creative layouts and structure, which perhaps loses itself in the format of the single issue and the ambition of the writing. It's very, very good though. Very.
or Megaplex if they wanted a clone.
