Josh Boyfriend Saves the Day
(Spoiler free-ish)
(Spoiler free-ish)
Synopsis
THUNDERCRACKER AND BUSTER SAVE THE WORLD! A DECEPTICON who wants to be a screenwriter. A dog who wants to, I don’t know, eat stuff and chase squirrels or whatever dogs want to do. A White House under siege by DIRE WRAITHS. And the phone call that brings them all together.
Featuring: Bob
Story
I am still catching up on schedules and timings, so apologies for the slightly late review again! And, with that out of the way, a word of warning: I have not had the easiest time with this comic or its review. I spoke to other staff members, and took a look around other readers to form a better idea of it. I'm still unsure about some aspects, too. BUT - read on for more!
Buster
The Transformers ongoing dips its toes in the Revolution pool by letting John Barber bring us back to one of the unsung heroes of the series, Thundercracker - and it's definitely the most apt choice that could've been made for the setting and plot: Earth lover, dealing with Earth issues and truths and things that may not be what they seem.
D.O.C.
The device used in the script - using the infamous Josh Boyfriend screenplay as running introspective commentary - is well placed, and nicely executed. Sometimes, however, I felt like some of the action was forced for the sake of a joke or a twist in the words, and it jerked me out of the enjoyment. On the other hand, we also get some very nice Faireborn characterisation, and some good moments with sounboards Buster, DOC, Bob, too.
..and Marissa Faireborn
The plot itself, while obviously not irrelevant, is nothing to write home about, and the book truly is about Thundercracker's place in the conflict, in the story, in the factions, and in relation to the characters around him since we've seen him return in the IDWverse. But for me, sometimes, that doesn't land fantastically. Yet more thoughts below.
Art
It's good to see the other hand responsible for this incarnation of the big blue back in action on the title, and Andrew Griffith brings all of his experience into the visual side of the book, with some great layouts and accompanying presence to the wordings - including some of the human features that I still at times find a little off putting (some of the jawlines, mainly), though never too distracting.
Composition!
A relatively new colour collaborator joins Griffith on the book: Teyowisonte Thomas Deer. We've seen in on covers and in action on Till All Are One, but the style he uses with this linework is more muted, perhaps a little grittier and definitely fitting the Dire Wraiths plot side of the story - and a pleasure to watch, really. Some of the contrasts in palette are top notch.
Fonts!
Lettering wise, we also have a new name: Gilberto Lazcano. And he really does bring it all: the screenplay captions, the Dire Wraith dialogue, the differences in volume and the sound effects are incredible, and incredibly well balanced, something that is very much needed with this type of issue. And of course, we once more have a whole lotta covers, so you can pick and choose, from Matere to Griffith and Lafuente, to Christiansen to Ramondelli (thumbnailed), to Tyndall and Moss, via Coller and Bove.
Thoughts
Spoilerish ahead
The script device, while amusing and introspective as I said above, can also lead to some crowded panels, and the visual team are good at making sure they're not over crowded, but still. It got in the way at times, and I kept thinking something was off - though I still cannot figure out what or why (there are definitely some editing issues, that much is true).
This issue, more or less
The dialogue is good, but the words are busy; the art is busy, but it does everything pretty much right; the lettering, the colouring, the layouts are clearer than what the script might create, and the story is impacting the Revolution plot somewhat tangentially, and it leaves a great hook for Thundercracker from here on. So please bear with me as I try placing my finger on what didn't work for me.
. 
½ out of
½ out of
