#I hope we see Thundercracker next season

[skywarpmyblorbo]

I am having so many questions about Earthspark. I know we're only at the mid-season point right now, but there are so many things the show keeps hinting at that keeps bothering me. Obviously spoilers from here.

Like, Arcee's "battle berserker rage"? Is this simply an IDW reference, or is this going to come back later??? I hope to see Arcee and Elita more (and probably interacting with each other too), because they only appear for only some scenes. They need more screentime!

Swindle??? Are we forgetting him? That mech is looking for his brother, who's in jail right now. What is he going to do next?

Where are all the Cassettes, since Megatron releases them??? What are they doing? Ravage seems to be the loyal one, and Laserbeak and Frenzy are looking after themselves. I'm surprised they let Soundwave has 3 Cassettes this time around (and that line about Soundwave accidentally blowing up one of his Cassettes is kinda depressing).

The Seekers??? Holy shit, since Skywarp has her warping abilities, I hope Nova Storm would have a hint of her rainmaking abilities too. I hope to see more Seekers, and I wonder if they're going to do the Seeker trine thing at all. I so hope they at least hint that Thundercracker exists. I don't care if Screamer, TC, and Warp aren't canonically a trine in this 'verse. It'd exist in my head anyway.

I hope we'll get to see more peaceful Decepticons. I don't particularly think it's possible, since the Cons are running away from humans and Bots alike, plus they have to steal energon to survive. I love the fact that there are some distrust across the board here. For some reasons, Bee is assumed dead and he's not working for GHOST like other Bots??? Megatron is the only Con working for GHOST??? Seems implausible but okay? I don't think Megatron is jazzed up about working with only Bots, this man needs more Cons to keep him company lol. I feel that would spice up the whole truce in some way.

[transformers-art-showcase]

P.A.T.C.H. #7: "Starscream: The Movie"

Most often in comics, continuity is a problem for newbies. If you don’t know what the characters are talking about and what in-jokes they make, is there really a point in recommending the book? Yes, I hear you; this here feature is supposed to help with sorting those messes out, after all. But what if something has such a killer concept you can’t help but blabber on about it? Even to people not into the comic series?

Case in point: a Cybertronian tries to make a movie about Starscream for humans. My mom was sold. Be as cool as my mom!

“Thundercracker in: Starscream: The Movie”

“Optimus Prime” Annual (2018)/“Transformers: Optimus Prime” Volume 5 (upcoming as of this writing) Written by John Barber, pencils by Priscilla Tramontano and Andrew Griffith, colors by John-Paul Bove and Josh Burcham, letters by Shawn Lee

SO WHAT’S IT ABOUT? Starscream, Lord of Cybertron, fed up with his notoriety amongst his subjects, decides on a solution: good old-fashioned propaganda! Having learned of his old wing-mate’s passion for writing, he tasks ex-Seeker Thundercracker with scripting, casting and directing a movie about his life. Who cares if said ex-comrade has only written human soap opera fan fiction and unpublished screenplays so stilted, they would make “Birdemic” green with envy? He’s really into it! Surely, nothing can go wrong!

WHAT DO I NEED TO KNOW? Given that this issue came out in the last year of the IDW Generation One continuity, there are various bits and pieces to consider before diving in, but probably the most important has to do with the evolution of Thundercracker, from Seeker repaint to real boy fleshed-out character. While his goofy and hopelessly optimistic personality is well-established in the series and this here issue completes his origin story, it can’t harm to go over it and pick some highlights.

The fate of Thundercracker –or TC to his friends- has long been intertwined with that of two more famous Decepticon fliers: OG bad boy Starscream and official stair-pusher Skywarp. The first years’ worth of stories weren’t different: the three met Megatron together for the first time in the mini-series “Megatron: Origins”, written by Eric Holmes, penciled by Alex Milne and colored by Josh Perez. His most interesting beat in that story was expressing doubt over burning the city of Kaon, only to be pacified by Skywarp –“Don’t think. Just do it.”, he said. After that, and for the longest time, from the “Autocracy Trilogy” to the “–ations”, the blue jet remained a constant if discreet presence in the Decepticon forces. He was always there, often under Starscream, never in a major role, sometimes uncomfortable with his place.

Still, there were a couple exceptions to this. In “Spotlight: Orion Pax”, written by James Roberts, he was a reluctant underling to mad scientist Bludgeon. He crossed paths with the creepy samurai again much later, in “Spotlight: Thundercracker”, written by John Barber with art by Chee Yang Ong, this time while searching for the original Titans. In that story, he had a change of heart when he found Metroplex, and lied so the ancient Transformer wouldn’t fall into Decepticon hands. In both cases, the further away he stayed from bad influences, the more functional his moral compass became.

The great break from all the above –ironically, inspired by his original toy bio– came with his rejection of the Decepticon cause. In “All Hail Megatron” (written by Shane McCarthy and with art by Guido Guidi), after witnessing the brutalities and monstrosities his side was capable of –namely, razing human cities and creating the Insecticons-, he prevented the detonation of a nuclear bomb and briefly worked with the Autobots. (His reward? Getting shot in the face by Skywarp. Some comradery.) In the next ongoing (look for the stand-alone issue #4, written by Mike Costa, penciled by Don Figueroa, with colors by James Brown and letters by Robbie Robbins), it was revealed that thankfully, he survived, kept barely online on Earth and scavenging for fuel. He also picked up a new best friend: human television! Laugh all you want, but it gave him a new appreciation for humans and their adaptability –couldn’t his own species be like this? While he turned into a reluctant ally to the Autobots, he stayed out of intense battles...

... until he got to work with his new best friends in Season 2 of “Robots in Disguise”: Earth people! Between the regeneration of the planet and Starscream’s rise to power, TC stayed back on the blue marble and got in touch with human anti-Transformer forces, who provided him with fuel and a home. (A gift puppy named Buster sealed the deal and immediately became fealty.) In return, they wanted his services against Autobot invaders, but his love of Earth got in the way of that. What also got in the way was his new calling: writing! Inspired by the years he spent watching TV, he then went on to create totally original and very high quality screenplays, hoping they would lead to a career in film. (They haven’t so far. There’s a reason the Wiki has quotes from “The Room” in his personal page.) Still, eventually things turned out well enough: he helped untangle the mess of allegiances between the Earth Defense Command and Cybertronians and formed an enduring friendship with female Earth human Marissa Faireborn. Not bad for someone whose biggest claim to fame was being the answer to a trivia question –“Who was the first Decepticon shown in active combat in IDW continuity?”

Finally, some minor bits of backstory to make a few character beats land easier. An institute protecting Transformers with “abnormal” powers was first introduced in “More Than Meets the Eye” #11, by James Roberts and Alex Milne. The re-discovery of the Cybertronian Colonies started with the people of Caminus –Windblade, Chromia and Nautica- in “Dark Cybertron”, and they were all immediately integrated into the books –we’ve talked about the first “Windblade” mini here. The dead colony of Prion, shown in “The Transformers” #57 (by Barber and Livio Ramondelli) wasn’t nearly so lucky. The creation of the Council of Worlds for the governance of the surviving ones was detailed in the “Windblade: Distant Stars” mini-series, written by Maighread Scott, with art by Corin Howell and colors by Thomas Deer. After that, colonists such as Aileron (“The Transformers” #44, by Barber, Griffith, Perez on colors and Tom B. Long on letters) joined the action on Cybertron, though not without problems. Oh, and that huge dinosaur was brought online in the “Salvation” one-shot and has been used as an embassy since “Optimus Prime” #13-14 (by Barber, Ramondelli and Long). As it happens.

WHERE DO I GO FROM THERE? Why’d you think I listed all those previous stories above? So that you can go and get ‘em!

Okay, to be less abrasive and more specific, there isn’t that much to get into after this story, but there’s plenty to jump back to. Almost all these minor characters have had memorable stories told about them, so I’m only going to single out some personal favorites and let you decide what you might be into. Fat Fast Tankor’s most memorable outings have been at the hands of Maighread Scott, and it was in the first “Windblade” mini that he and his bestie, Tall Tankor, started getting some attention. For another visit to Alpha Trion, Adorable Old Man (And More), see “Optimus Prime” #10, by Barber, Zama and Burcham. For the amazing life of Richard Ruby, film producer and ex-superhero (no, really), check out “Revolutionaries” #3 by Barber, pencils by Ron Joseph, Sebastian Cheng on colors and Long lettering. Finally, for a story that demonstrates Marissa’s own issues (and just how much of a sweetspark TC is), “New Cybertron” (“Optimus Prime” #1-6) by Barber, Zama, Milne and Burcham has you covered.

But clearly this isn’t why you’re here. You want more of The Artist’s work. For that, head over to the “Transformers Holiday Special” (which we’ve visited before here), for the ten-page story by Barber, Burcham and Long. It is a Christmas story that is children’s storybook by way of Frank Miller, and it might be the best thing in the whole line. In the same trade you’ll find the “Revolution” tie-in issue for the “Robots in Disguise” series, written by Barber, with pencils by Griffith and colors by Thomas Deer. While it’s connected to a much larger event, it’s valuable for seeing how TC evaluates his own work and how he works with Marissa. It is a Hollywood action movie pastiche with a failed screenplay layered on top, and it’s a sweet little tribute to the character. Both of these stories work with similar themes to this one, but expand them in different directions.

IS IT ANY GOOD? It was the culmination of a few years’ worth of stories with an endearing secondary character taking center stage. It offered a sideways look into a fascinating time in “Transformers” comics, through its less important players. It was a funny and poignant look into what can go wrong with any piece of art we create, consume, curate and love (or, more importantly, ignore). It had some exceptional so-bad-it’s-good writing and art. It had a cute puppy in it.

PUPPY! WHO’S A GOOD PUPPY, WHO’S THE BEST PUPPY?! BUSTER IS! YES, SHE IS! Stop baby-talking one of the main characters and concentrate! Here, this should keep you busy!

LIKE A MOVIE STAR WITHOUT MOVIES | THEME AND CHARACTER Strip away all the superficialities, and what is this story about? An artist attempts to create a work of art, and Poe’s Law comes into full effect. His source material is controversial –few people have kind things to say about Starscream. His sources lack credibility –the subject of the movie himself is a liar with a ton of guilt on his shoulders. His production value is low -seriously, I’m having “Pop Quiz Hotshot” flashbacks here. He himself lacks training and discipline, and he and his crew aren’t on the same page –oh, and one of them isn’t paid. He gets preoccupied with details -Megatron had a different frame in “Robots in Disguise”! There goes the suspension of disbelief! He has so little faith in himself that he blindly follows whatever advice he’s offered –is it a commercial or personal work, then? And in the end, no matter his passion and drive for the project, he fails for reasons beyond his control, not even his own mistakes. This kind of story can work only if we’re invested in the mad ambition of its main creator, and TC’s unlucky, stubborn and likeable enough to pull it off. The annual, then, becomes a love letter to art creation in general: a whole lot of people with conflicting ideas try to create something meaningful against all odds. Even if the end product isn’t great, you have to feel for all the effort, the time and energy spent (or wasted) on it, right?

There’s also an extra layer to all this, and it’s specifically about Cracker’s relation to his work. At this point in the series, TC has officially renounced the Decepticons and wants to leave a peaceful life on Earth. This project about one of his former associates makes him ask all sorts of questions: what drove Starscream to do the things he did? How does he handle the unstable political climate after the Autobot victory? Did the War ever mean anything to anyone? And what is there to do after the War? These aren’t easy questions, and the ex-Seeker’s own stance on these issues is complicated by his personal feelings and involvement. This might be a movie about Starscream, but deep down, this is a story about Thundercracker. (This becomes even more apparent when one remembers the two share the same mold.) While the theme of failed or doubtful artists is universal, the specificity of this million-year-long War informs it with extra nuances that enrich an already interesting character portrait.

“Oh man, I just can't figure Starscream out. Sometimes he’s just too smart. Sometimes he’s just flat-out stupid. Other times he’s just evil.”

ENHANCED BY BRAND NEW SPECIAL EFFECTS| ART This whole examination could have ended up dry and boring, but in the hands of penciler Priscilla Tramontano, it gets a life and energy it would otherwise lack. Her greatest strength is the expressiveness she lends to the characters, and so she’s the perfect fit for a story with lots of quick, fully dialogue. Little casual touches and details, like reading glasses or cups of coffee, make the world of alien robots a little more approachable and help ease us into its confused protagonist’s mind. John-Paul Bove’s colors are bright and poppy, but moody in the more serious parts (like TC’s meeting with Dirge and relaxing at the beach near the end). Andrew Griffith and Josh Burcham contribute pencils and colors respectively in two key scenes, one flashback to just before the War and the trailer for a rival production. Their more detailed, somber yet action-oriented style helps draw attention to them, but the overall tone doesn’t shift from the fast-paced comedy and introspection of the whole issue. In any case, the story never loses its sense of wonder: this is a charming, strange little world, and in the increasingly serious main title, this can sometimes fall through the cracks.

However, this is the rare case of a comic whose artistic failings are also interesting in their own way. The scenes shown from “Starscream: The Movie” itself are bad on purpose, and so multiple movie mistakes are recreated in comics form. The lighting is almost always off in most scenes, and in some cases, it’s easy to make a green highlight around the actors –the result of cheap color correction. In another scene, the focus is all wrong, and so “Megatron” and “Starscream” are blurry or stick like sore thumbs from the background. When Thundercracker cannot stage the Decepticon uprising from the first storyline of “Robots in Disguise”, he ends up using archival footage for it –and so the same panels that Andrew Griffith drew for issue #13 are re-used wholesale! While it can be distracting at first, these mistakes become doubly fun when spotted and only add to the joke. (They can also make all amateur filmmakers out there check their equipment twice before starting filming. Never go with auto-focus, people!)

“Hey, everybody! I have an announcement to make!”

AN AWKWARD PAUSE, THEN “WHAT'S MY LINE?”| PLOT AND DIALOGUE But forget pretty much everything I’ve written so far, because the number one reason to read this story is how damn funny it is. And that’s not just for the guilty pleasure of mocking Thundercracker’s work. Sure, the tone-deaf, repetitive dialogue, the hammy acting and the flubs of the final film (poor Waspinator, always a victim) are extremely enjoyable, but that ignores the real back-and-forth of the characters. Even better is how the movie scenes are staged alongside the rest of TC’s discussions and efforts. The issue is expertly paced, each page functioning as a scene into its own, with set-ups and payoffs. When read all together, it’s like a very well-edited movie: it remains fast and doesn’t sag, and the connections between the disparate scenes become apparent on a second read-through. The cyclical flow of the story –it begins and ends with a very similar scene- can be seen as bittersweet and uplifting at the same time, and it made this here reader want to re-read the issue the moment it was over.

One of Barber’s greatest gifts as a writer –owing to his experience as an editor- is his mastery of continuity, but here he also demonstrates a firm understanding of Transformers and pop culture. His cheeky world-building –giant robots make movies, too!- combines satire and Trans-fan practices -repaints are totally a thing!- into one whole. Humans get a lot to do in this world, too, being both friends and potential business partners, in a co-existence that might even bring to mind the days of the original cartoon. My favorite example might be TC’s interactions with a former superhero, prospective film producer and distributor. The practicality of creating and curating a movie clashes wonderfully with the insanity of a sci-fi world and some obscure pop and high culture references. It’s this level of detail and care for all those losers that gives the story a beating heart that is often forgotten when talking about this specific writer’s work.

“You know what they say, ‘Love is blind’!”

THE CREDITS ROLL, THE CAMERA PANS | FINAL THOUGHTS Going over all the things I’ve written so far about this annual, I see that I could still go on. This here read focused on the story from a newbie perspective, because with continuity in mind, there’s a whole other essay’s worth of stuff to unpack! (One could re-interpret it as a Starscream and not a Thundercracker story, in fact!) But even with all that aside, this is a really fun, sweet diversion from the political drama of “Optimus Prime”, a great tribute to the bit players of the franchise and a love letter to the creative process as a whole. Oh, and there’s new jokes to find in, like, every new read! I literally just today remembered Fake!Ironhide’s Southern accent! That stuff’s amazing!

[yoolee]

Two raining mornings with Kanetsugu | SLBP

It’s still early enough to be called late when the storm wakes him up. He is intrinsically inclined to schedules and the order of them, so he knows, even before his eyes open, that dawn won’t greet him for some time yet.

For a few moments, he listens to the rain.

If he served a different lord, me might have philosophically supposed that the world seemed quieter when it rained, smaller somehow.  Since he serves Kenshin he mostly just reflects with relief that his wayward liege is unlikely to wander too far in the presence of a squall, though he will no doubt take the storm as excuse to swan about the castle like some ostentatiously wilting widow. 

Or widower, perhaps. Kanetsugu glances to his side.

Ai, who abandoned her own sleeping quarters for his at the first crack of thunder, curls in closer. Her breathing is quiet and even. Safe at his side. He supposes he softens with her presence, but it doesn't bother him to do so. The smile that takes residence on his features has always been hers, so he takes no care when and if it comes,  so long as she is well and safe and there to incite it. She flinches at a thundercrack but doesn't wake, and to soothe her he runs his hand through hair he will have to pull back for her with ribbons when she wakes. (He has long suspected that she acquired to skill to style it herself some time ago, but he is happy she still asks, and dreads the day when she will stop). As he always does, in these peaceful moments where she slumbers with a smile, he murmurs a prayer for her peace; that her smile will outlast them all, serene and secure and indomitable.

He lets himself linger, lets his silent wishes hang in the quiet of a rainy pre-dawn, before practicality and his obdurate adherence to such a philosophy convince him that to do so any longer would be slothful. He moves carefully, so as not to disturb, and tucks his daughter in with a soft touch to her brow, willing the thunder to remain away so she needn't wake just yet. She smiles in her sleep, and he smiles in return.

A rainy season makes for many rainy mornings.

Once more, when it wakes him, Kanetsugu takes stock of its presence, despairs of the inevitable prospect of wrangling a lord lost to the throes of contemplating the rain's existence, and considers his schedule.

It's too early for anyone else to be up, but he has no reason to stay, and so decides to get ahead of his work, while the rain keeps others abed and out of his hair.

When he hears giggling, over the soft shushing of rainfall, he frowns, not because it bothers him, but because it's out of place, echoed by a laugh not quite as young but no less delighted. He thinks of the hour, and paperwork, and sighs (the first of the day) when he finds precisely what he was expecting in the kitchens.

It surprises him, the picture they make. Heads together, whispers hushed and soft as the rain, at once familiar and all together strange. Ai's smile finds his face, but troubled, muted by through the tired, puzzled fog of another presence, with her sleeves pulled back and her hands shaping dough with his daughter at her side, mirrored smiles backed by the flickering hearthfire.

Lord Kenshin's favorite.

Though what—a crease mars the smile, not unfond but dismayed all the same—isn't his favorite.

Though calling her a what is a bit unfair, he admits even to himself. His tone is perhaps chastening, but resigned, lacking the bark he would apply to a different audience. "What are we doing?"

He expects guilty squeaks and the hiding of whatever it is – isn't that the nature of early morning whisperings?

He does not expect the kitchen, manned only by one small girl and one disguised woman to shatter into chaos.

The bowl of plums in Ai's startled hands goes airborne. The chef slips on her flour, an elbow overturning a bowl of hydrangeas, her backstep banging into a rack of pans that clatter in a ripple as the bowl hits the table and the plums tumble into the fire as his daughter shrieks in dismay at their loss. Her small hand reaches for them and Kanetsugu lunges as the chef does too and with a cry the chef pulls her back even as she realizes, and recoils her fingers in understanding.

The bowl rattles at last to stillness.

He supposes, in that moment, that all there is left to hear is the quiet rain and his own heart. The trio stares in shocked, wide-eyed silence at one another.

Kanetsugu notices the chef's sleeves have come undone, and what's more—his eyes widen as he hears footfalls, and with little of his usual elegance, lifts Ai with one hand and the chef with the other, urging them both to a dark corner where miraculously shelves are still upright, with a hiss of "Hide!"

"But--?"

"Ssh!"

Kageie bursts in first, eyes wild and sword drawn. Presumably, he is first, because he did not bother with dressing first, and Kanetsugu resists the urge to sigh, hoping the chef has the good sense to shield his daughter's eyes.

Kagetsugu is not far behind, eyes wary and alert though sleep lingers in the pouting frown of his features.

Next will be… his little brother, like clockwork, tumbles in, practically throwing himself over Kagetsugu's shoulder, "Wha-what was that? What's goin' on? Everyone alright?"

And last but not least…"Kagetsugu!" The dulcet delighted tones work like the parting of waves, and Kenshin, unhurried and ever unharried, beams at the disaster that has become of his castle's kitchen.

And then he blinks.

Pleasure flickers into…confusion, wide-eyed and puzzled. "Kanetsugu?" This time, it's a question. Volumes in a single word. He follows Kenshin for a reason, despite the endless exasperation.

Kanetsugu allows himself the sigh after all – that's two, before breakfast. "I was making breakfast."

"With every pot in the kitchen?" Kageie's tone makes it difficult to tell if he's impressed, appalled, or merely making an observation. "And flowers?"

Kanetsugu demurs, "There was a mishap."

"Apparently." It's not meant to be heard, but Kanetsugu frowns nonetheless at the young Kagetsugu – as if he has room to talk about kitchen disasters. There is a shift, a slight movement of pink in a corner that Kenshin's most trusted retainer hopes will be put down to a flicker of firelight, and not explored further.

"Brother…why were you cooking with flowers?"

Kenshin claps his hands, and though he pulls his face into an artful pout, the one who knows him best can see the mirth, gleeful and light, in the edges of his lips and the bells of his silent laugh. "Dear me...I don't think I like care for this redecoration, Kanetsugu." There are times, Kanetsugu almost smiles, where he and Kenshin are in utter accord. He does appreciate that, but it doesn't help with the rest of them.

"No, no, of course not – get out so I clean it." Kanetsugu figures that unless she has frozen, by now she has had time to set her clothing to rights, but that would no doubt lead to other questions.

Wise to the ways of hiding, its his liege who ushers the other retainers out, without seeming to do so at all. All smiles and floating hands, he pauses in the door to beam back, "Perhaps leave the breakfast to Yahiko?"

"I will be sure to do so." He wants to press his luck, open his mouth to suggest that while Kenshin is up he do some work…but he already has, in such a way.

Kanetsugu turns, and frowns at the shelves and the shapes tucked behind them.

His daughter's shoulders are shaking, and he finds his frown is meant for Kenshin, whose bad habits of humor she has clearly picked up. The chef looks sheepish, but she too is biting her lip.

Ai grips her stomach, toppling over as her peals of laughter mix with the rain and murmurs of woken voices. The woman beside her stands, looking sheepish and appealing disheveled as her lips twist in an apologetic expression pressing a laugh inward. He waits—he's good at waiting—expecting an explanation for all this. 

Instead of giving him one (one he feels he is justly due) she gently reaches to his hair, and pulls out a stray plum.

Kanetsugu stares at it, genuinely surprised at its presence.

"I—" She starts. "I'm so...I'm so sorr—" It's a valiant effort. It is, but soon she too is lost in the helpless gale of mirthful giggling that has overcome his daughter.

He doesn't sigh. He ought to – there's not an ear alive that would hear and mistake her for a man. 

Instead, he smiles, and lifts his eyes to the ceiling as the storm pass through.

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