Colonize the Colonizer
(Spoiler free-ish)
SynopsisWith Optimus Prime trapped on Cybertron, the Autobots track down their missing friend, Jazz—and find themselves under fire from humans armed with Cybertronian weapons!
Also, biting IDW commentaryThis 12th issue brings us to the second part of a shorter arc dealing with everyone but Optimus Prime himself, too busy being patronised by Windblade and Scarlett over in First Strike (rather than Aileron and Pyra Magna on Earth, so same difference really. He deserves it). And so we return to the Prime fanclub that might be, and the search for Jazz.
and more social commentaryI'll say it: Jazz is one of the better written characters in John Barber's arsenal. He's determined if conflicted, has been present in this universe since the very beginning, and has a long history with pretty much all sides of the war. Even in Aileron's narration, a newcomer to it all, Jazz truly takes the spotlight in the issue.
I swear that's actually BatmanThe colonists part of the central story are extremely fun to follow, but there is some criticism that I'd move against their still fairly by the numbers characterisation, with only spikes of added layers to their individuality. Still, Aileron's control over them and their clashing/collaboration work, and lead to a bigger question about the whole set-up..
#squad..did Optimus really need to include Earth in the Council after all? This is still the bigger question floating above the rest, even when trying to avoid it. But if Jazz, Aileron, and a random assortment can manage the 'defense', there was no real need for the theatrical political move of war general Optimus - something Barber asks subtly, and appropriately.
ArtSeeing Andrew Griffith back at work with John Barber is a nice feeling indeed, and brings a sense of familiarity even in this post-Cybertronian war, post-AHO Earthern setting. The designs and work that he brings back to the scenes, including some nifty action sequences, reminds us of how much he set the tone for exRID and Transformers, and it's good to have some of it drop back in here.
*transforming noises aplenty*The highlight of the visual side of this issue, and confirming it as the series overall, is Josh Burcham's colourwork - his ability to maintain a visual consistency and coherence even across several artists (four and counting so far) is impressive and inspiring, and does wonders with keeping the book in line with its own newly found aesthetic.
I just wanted to include this panelTom B. Long is easily another element of continuity for the series, and I'm so very glad that lettering is recognised as being an integral part of the book production - the reason for, e.g. the Buzzsaw and Laserbeak moments is making the jokes land by actual, accurate dialogue placement, among everything else. The cover used for the thumbnail is also by Andrew Griffith, with Josh Perez on colours, after all the others have been spotlighted across news stories - you can find them all Database entry for the issue of course, right
here.
ThoughtsSpoilerish aheadOn staff, one of the comments was that Barber's script for the issue has been able to veer enough away from the current events to bring us back to an Earth we might all recognise from pre-AHM times, and it is perhaps a needed anchor for the cast and readership alike, even with all the recent additions. Plus, it adds the whole wave of human reactions to the fray, which may help readers see what the legacy of Transformers actually is on the planet.
Still social commentingIf some of the beats might appear heavy handed for real-life parallels, the script still allows for subtlety in its dealing with Prime's absence - metaphorically and literally - and how the various characters orbiting his system (Aileron above all, but Jazz and the rest of the crew too) relate to each other and the issues at hand. The story may appear 'uneventful' even in its busyness, but it keeps saying a lot about the new, universal status quo.
Some examples:
