Jupiter Condescending
(Spoiler free-ish)
(Spoiler free-ish)
Synopsis
COSMOS UNLEASHED! A misunderstood AUTOBOT. A DECEPTICON space station. Cut off from their allies, SOUNDWAVE and COSMOS come face to face… alone.
Uh-OH
Story
We have been following the side-adventures of Cosmos, in his new, but not as upgraded as it seems, body, new paintjob, new sass. We have also seen glimpses of what Soundwave is up to on Jupiter, and how it might shape the future of what's left of the Decepticon movement - what happens when the two meet?
Yeah, ok, expected
John Barber takes a very different approach to how the scenario might have unfolded just a couple of years back, with Soundwave in the driving, silent, cunning - even diplomatic - seat of the action. By placing Cosmos as our window into the Decepticon commune, we gain an entirely different, humorous side to the events.
Floaty and Big
And Cosmos is not the only relief in an otherwise potentially establishing-heavy issue of politics and ideologies. Barber has found his stride once again, and this title easily sets itself back to the shared vision of an intrigue-based, backstabbing-driven, turning and twisting to avoid debris, broken promises and head into future settings.
...
And then, of course, you have the human factor, predominantly with Blackrock, his type of humour, his take on things, and his own, personal scheming - though yet to be confirmed as if working with, for or in spite of Soundwave's plans. There is definitely something afoot, and clues are being sown..
Art
We know Andrew Griffith's skill with imposing characters, statuesque Galvatron, stoic Soundwave - and adorable Cosmos, in his smaller, more compact and contained presence among the bulkier Decepticons. And of course, the wonderfully sharp 'Decepticon bird hecklers' Buzzsaw and Laserbeak in the opening scenes. And of course, just the general design of *everything*.
SPAAAAAAAA---
The scenes taking place in the wider scope of the Solar System are magnificently executed colour-wise by Josh Perez, too, who masterfully balances the inside of the various sets appearing in the issue with the much more vast landscape of space surrounding them.
----AAAAAAAAACE
Lettering duties, once more in Tom B. Long's capable hands, remind us that there is no sound in space, but plenty in spaces within space, Big or Floaty as they may be - and the dialogue is perfectly measured for the different interactions. As for covers, both the main Griffith/Perez and Casey Coller/Joana Lafuente help in capturing the tension between the major players in the issue, while the previously seen James Biggie RI variant is just pretty too look at. Very much so.
Thoughts
Spoilerish ahead
Perhaps a slower issue, in pacing and advancement of the overall plot - whatever that may be at this point, because I really have no idea, and revel in this feeling - but one that pits two unlikely characters against each other, only to have a very unexpected, deep, meaningful exchange of power and influence. If anything could make me want to see more of Cosmos, this is it.
It still hurts, doesn't it..?
Barber's writing of Soundwave has always been a personal favourite, and Griffith/Perez's visual rendition definitely adds to the stunning scenarios laid out by the script. The space scenes are wonderfully rendered, in both linework and colours, and the long conversation between Soundwave and Cosmos highlight just how deep the former's ideas run, and how hurt he has been. Heart of gold, indeed. Or is it?
. 
out of
out of
I liked it overall.:origin()/pre02/4699/th/pre/f/2014/132/e/0/statler_and_waldorf__karaoke_by_mrangrydog-d7i4ruc.png)
