Transformer Roll Out: Autobots Deal With Loss in 'More Than Meets the Eye' #16

Julian Titus is a writer/editor for PixlBit.com and the host of the Nerds Without Pants podcast. He's also the biggest Transformers fan I've ever met and will be covering IDW's Transformers comics right here on a regular basis. This week, he's reviewing the latest book from IDW...​

Transformers: More Than Meets the Eye #16, "The Gloaming"

Welcome back to the Roll Out! After a week’s hiatus I’m back with the aftermath of Overlord’s rampage on the Lost Light.

One of the things that have made the Transformers stand out for me over the years is the fact that they are machines with the capability to feel the same range of emotions that we have. This, I believe, sets them apart from most other robots in science fiction. More Than Meets the Eye #16 takes this emotion to a new level, as the entire story centers on how different characters deal with grief.

​Variant cover for Transformers: More Than Meets the Eye #16. Hasbro/IDW.

Simply put, Overlord did lasting damage to the crew of the Lost Light, and not everyone made it through. Writer James Roberts handles the survivors with care and really hits on their individual personalities. As expected, Swerve hides behind his humor, while Chromedome retreats within himself. The real standout though, is Tailgate. Easily one of my favorite characters in this series, I loved his perspective on the shocking events of last issue. Since he was out of commission for the entire 4 million year Autobot and Decepticon war he’s stunned at how he’s the only ‘bot freaked out by the pile of casualties from one battle. It really adds weight to an already somber story. This is one not to be missed.

Agustin Padilla doesn’t bring quite as much personality to the pencils as Nick Roche or Alex Milne, but to be fair he has to draw a lot of Transformers in this issue. He’s a new face in the Transformers universe for me, but if he sticks around for a few issues I won’t mind. Next month looks to be the start of something big, and I can’t wait.

Last week, Robots in Disguise volume 3 hit shelves. I...really don’t have much to say about this one. This trade opens up with a story revolving around Optimus Pri—sorry, Orion Pax, and it’s a jumbled and confusing mess of a story. This is compounded by one of my least favorite artists to grace a Transformers book: Livio Ramondelli.

Things pick up with the annual, which has some great flashback sections revolving around Nova Prime. These bits flesh out more of the IDW universe backstory, and the art is done in the old Marvel style from when the first comic was just starting off. I’d almost suggest this volume just for that, and if you wanted more information on the Metrotitans from More Than Meets the Eye vol. 3, this book has it.

Comics I Love: Daredevil

A lot of things kind of happened all at once that made me fall in love with Marvel's Daredevil aka blind lawyer Matt Murdock. Up until Mark Waid's run I'd really only followed the book once, more than a decade ago - when Karl Kesel and Cary Nord were the team on the book (though I'd given D.G, Chichester a few issues in the early 90's when Daredevil's costume got all gray and razor-y).​ I'd certainly read decent Daredevil stories, but he never quite clicked with me as a character. Like Superman, his super-powers (heightened senses) seemed to get him out of any situation that came before him, and, upon initial impression, his personality seemed more defined by who was writing him at the time than who he was as a character. Plus, he always felt like Marvel's Batman knock-off to me - a regular guy who used his fists and smarts to tackle street-level crime and the occasional super-villain.

I enjoyed Waid's run right from its start in 2011. It had a lot of the same qualities that I enjoyed in Kesel's short run (a more free-wheeling sense of fun; not bogged down being grim).​ Waid's Daredevil is always really good, but some issues reach beyond, up into true greatness (#7 springs to mind), and it's the kind of run you never want to end. I can't speak to Brian Michael Bendis's or David Mack's work on the character or how it compares to Waid's, but a part of me thinks that maybe they'd taken Daredevil about as far down the hard-boiled crime story path as they could, and it was time to reinvent. Daredevil is often my favorite monthly book from Marvel and there's a big pile of awards that it's accumulated to validate my opinion, if it needed validating.

So, while I'm enjoying Waid's take, you might remember that director Joe Carnahan tried desperately to get a rebooted Daredevil film project off the ground for Fox before the cinematic rights to the character reverted back to Marvel Studios and Disney. I cover Marvel news for Movies.com on a regular basis, and was asked by my editor to take a look at "Born Again," the classic Frank Miller and David Mazzucchelli collaboration that would inform Carnahan's take. (The project died, by the way, and DD rights returned to Marvel.)

Cover for ​Daredevil: Born Again TPB, art by David Mazzucchelli. Marvel Comics.

Now, this was not my first experience with Frank Miller on Daredevil. I've read reprints of the classic Elektra storyline, which saw Matt Murdock's college sweetheart returning to the states as a lethal assassin after some years away. The story never really stayed with me, perhaps in part because its shock ending was already common knowledge among fans at the point in time in which I read it. Its outcome may have felt like a thunderclap in monthly bursts, but in one sitting, knowing what would happen and the fall out from it, it definitely lost some of its impact.

"Born Again," on the other hand, felt more like the crackling Frank Miller I knew - prone to lengthy, rich character monologues ​and a dun-dun-dun rhythm to his fiction that is as deliberate as a beating drum. It's an adult story, one where Daredevil's former lover-turned-druggie-hooker sells him out and the lawyer sees his entire life turned upside down by arch-enemy, the Kingpin. He loses his law practice, his friends, his identity, and his sanity, only to hit a personal rock bottom and rise like a phoenix at the end (albeit a broken one). Liberties would have to be made to adapt it properly to film, but the central conflict is certainly deep enough that it would make a great foundation for a killer DD script.

It was really good. I now started to get a sense of why Daredevil had his fans and what made Daredevil tick, and how Miller's Murdock and Waid's Murdock could be the same guy, but certainly at different points in the lawyer's complicated life. Murdock is defined as a fighter, a lot of times with quite literal symbolism whenever they flashback to anything involving his prize-fighting father. Miller took that will to fight to its extreme in "Born Again;" Waid plays with it as a kind of tenacity. When Murdock is faced with a challenge wherein any logical person would think, "this is too big for me," the thought never seems to enter Murdock's mind. He's going to figure it out, defeat it, solve the problem, or it's just never going to happen at all. Murdock probably doesn't even realize how motivated he is by the old saying, "If you want something done right, you've got to do it yourself." It's an important variation on Spidey's "Great Power" philosophy, (but close enough to ensure that those two heroes get along very well). ​

​These two things - Waid's monthly and "Born Again" - were important, but they weren't the clincher. I've talked about the Sidekick Store before. It's a place here in Austin that offers thousands of back issues for just a buck apiece, and it's a great way for a comic fan on a budget (ME) to feel like a king with just a ten-dollar bill. Over a couple of visits, I picked up a smattering of Daredevil back issues - Denny O'Neil's interesting, relaxed follow-up to Frank Miller's classic run and Ann Nocenti's super-wacko existential Daredevil run with John Romita Jr, on art (a run that teams him up with Gorgon from the Inhumans for several issues and eventually has Daredevil standing up to Marvel's version of Satan, Mephisto). They were never, ever boring. This is important, because when you're just choosing back issues from the 1980s at random from a box, you come across more stinkers than winners. Even as off-putting as Nocenti could get, she was doing stuff that was unpredictable and gonzo (as gonzo as Marvel got in their superhero books, anyway), but never dull. Daredevil quickly became a title that I could feel confident snagging from the discount bins and knowing I'd always be in for a good time.

​Cover for Daredevil #1. Marvel Comics.

BUT WAIT - THERE'S MORE!​ When Comixology did their big "every first issue is free" promotion, I realized I'd never read DD's first issue. I'd read almost every bit of the birth of the Marvel Age of comics, but not Daredevil's. It had somehow managed to escape me over the years, never being as heavily revisited as Spider-Man's or Fantastic Four's or Hulk's. Stan Lee's story, with surprisingly superb art by Bill Everett, turned out to be one of my favorite origin tales. It's a brisk, exciting read, even when Lee gets too heavy with his own concept (a blind superhero! Can you even imagine?!?!). In fact, considering that DD's handicap was the gimmick on which the entire book was built around, it comes across as even better as a first issue just knowing how much rich story mileage they'd be able to get from it. I read it on my iPhone and immediately ordered Essential Daredevil Vol. 1 the next day. It sits by my bed, where I read a bit of it every night before sleep.

And that is how I fell in love with Daredevil. I wasted a lot of time not knowing just how cool DD is, but I'm going to have a lot of fun catching up.​

Transformer Roll-Out: Scorponok Is Trumped in 'Regeneration One' #90

Julian Titus is a writer/editor for PixlBit.com and the host of the Nerds Without Pants podcast. He's also the biggest Transformers fan I've ever met (besides Javier Fuentes, who argues this point with me when every Roll-Out article is posted) and will be covering IDW's Transformers comics right here on a regular basis. This week, he's reviewing the latest book from IDW...​

Transformers: Regeneration One #90 - “Natural Selection” Part 5

Here it is, folks! The culmination of the past four issues of Scorponok’s grand plan to remake Cybertron in his image! This is for all the marbles!

…and it ends with a resounding thud.

Transformers: Regeneration One has been a book I’ve struggled with since its first (er, 81st) issue. It’s been a slog of a comic, moving at a glacial pace, and Andrew Wildman’s pencils don’t hold up to what other artists have done with these characters in the years since the original Marvel Comics ended. While I continue to hold up the “IDW Universe” books - Robots in Disguise and More Than Meets the Eye - I’m hard pressed to recommend this one. Two arcs are now completed in this return series, and so little has happened that I’m yawning as I write this.

Simply put, “Natural Selection” wraps up as neatly and as quickly as any ‘80s Saturday morning cartoon. Spoiler alert: the bad guys lose. That’s all fine and dandy, but a far more interesting scenario would have been Scorponok actually succeeding and taking control of Cybertron, as the scattered remnants of the Autobots try to fight back against increasingly difficult odds. It’s been proven in the past that the Decepticons need a strong leader to focus them into action, and with Megatron dead Scorponok seemed like a good candidate. However, with his defeat in this issue, the future of the Decepticons feels much like the future of this comic: directionless.

Apple Bans 'Saga' #12, Clutches Purse, Exclaims "Well, I Never!" (UPDATED)

I can rent movies depicting simulated homosexual sex in Apple's online storefront; I can purchase full albums of songs describing sexual activity of all kinds. I ​can even buy books with graphic descriptions of sex scenes in them, like Fifty Shades of Grey, because books are of course for grown-up people. What I can't buy is the comic book Saga #12, which features two blink-and-you'll-miss-em depictions of homosexual sex within its pages. Because, duh, comics are for tiny babies to read between diaper changes and nappy time, of course.

The "comics are for kids" culture is just as strong as ever, and, frankly, Apple looks really stupid and hypocritical over this one. The Beat has some words from writer Brian K. Vaughn urging folks to get a physical copy at their local shop or download it directly from Image's website. He's keeping a good attitude about it. Me? I think it's crap for a lot of reasons.

Reason one, gay sex isn't somehow "more bad" than straight sex.​ Reason two, Apple already sells plenty of material that has stronger sexual content than Saga #12. And reason number three, comics made for adults are for adults. Period.

​UPDATED 4/10/13: Comixology CEO David Steinbeger says something to the effect of, "don't blame Apple; blame us" and allows Saga #12 to be purchased through their app. Here's the full statement:

To our customers -

In the last 24 hours there has been a lot of chatter about Apple banning Saga #12 from our Comics App on the Apple App Store due to depictions of gay sex. This is simply not true, and we’d like to clarify.

As a partner of Apple, we have an obligation to respect its policies for apps and the books offered in apps.  Based on our understanding of those policies, we believed that Saga #12 could not be made available in our app, and so we did not release it today.

We did not interpret the content in question as involving any particular sexual orientation, and frankly that would have been a completely irrelevant consideration under any circumstance.

Given this, it should be clear that Apple did not reject Saga #12.

After hearing from Apple this morning, we can say that our interpretation of its policies was mistaken. You’ll be glad to know that Saga #12 will be available on our App Store app soon.

We apologize to Saga creator Brian K. Vaughn and Image Comics for any confusion this may have caused.

All the best,

David Steinberger
CEO and co-founder

comiXology

​My response to ComiXology is a blanket WTF. I saw some grumblings online when this first came up that this was all being done to drum up interest in the book. I blew it off as cynicism, but now? Well, with Vaughn being the original source of the controversy and ComiXology waiting - who knows why - until today to clear the air, there's a lot about it that doesn't make sense.

​Forgive me, Apple, for getting all fussy.

I Want My Marvel NOW: Guardians of the Galaxy, Nova, and Wolverine

This one's been a long time coming. Long enough, in fact, that both Nova and Guardians of the Galaxy have already seen second issues (and we'll get to those). Soon I'll be running a sort-of Marvel NOW report card, revealing which titles I gave up on, which ones I went back and re-visited, which ones are really great underdogs, and which ones actually improved over time (hint: Superior Spider-Man). I didn't expect Marvel to keep up the new title announcements for Marvel NOW, but they're doing ongoings for Spider-Man's villains and the robot members of the Avengers, so maybe this column will keep going for all-time. Maybe not. Anyway, onward and upward...

​Cover for Guardians of the Galaxy #0.1, art by Steve McNiven. Marvel Comics.

Guardians of the Galaxy #0.1

This issue is constructed to introduce readers to the captain of the Guardians team, Peter Quill aka Star-Lord.​ It's a simple story, and you don't get a good feel for Quill's personality - only where he came from. In this case, where he came from is a deadbeat dad who also happens to be intergalactic royalty, making a pit stop on Earth and bedding an Earthling against his better judgment. Quill grows up aware of his heritage, but raised longing to know more about his father and the stars.

Frankly, I don't remember this being Star-Lord's origin. I have vague recollections of a cocky astronaut who manipulated his way into receiving the mantle of a Star-Lord, but maybe that was from a reprint of one of Marvel's old magazines. I don't know if those are in-continuity anyway.

Writer Brian Michael Bendis is carrying a lot of the Marvel Universe on his shoulders (Ultimate Comics Spider-Man, All-New X-Men, Uncanny X-Men, and this year's big event Age of Ultron), and this series feels a little like he's giving himself a bit of a break. It doesn't hint at the long-term planning of the X-books, nor does it get as particular with characterization as Ultimate Spidey does. It's lighter, and the lightness continues into the first official issue, one which sees Quill as a grown man, caught between defending the Earth and honoring the requests of his scheming dad. Steve McNiven complements Bendis's plotting with clean, effectively modern art that's pleasing to look at and accessible to all.

Will I Be Back for More? After two issues, I'm on the fence. I want to keep reading, because I'm interested in the team and how important they are to Marvel's cinematic plan, but this doesn't quite feel like a team book (yet?). It feels like a Peter Quill book with his Very Special Guest Stars Iron Man and Rocket Raccoon. I'll give this one a few more before I decide. Bendis doesn't seem to be swinging for the fences, and I think I expected him to, considering how all eyes are on this book right now.​

​Cover for Nova #1, art by Ed MCGuiness. Marvel Comics.

Nova #1

Didn't I just get done describing an origin issue in which a kid grows up without a decent father figure because Dad has ties to some larger cosmic ​adventure? In this one, it's not Peter Quill; it's Sam Alexander - an all-new character created by Jeph Loeb, replacing fan favorite and former New Warriors stalwart Richard Ryder as Nova. The set-up has Sam wondering just how much truth is in his father's stories of exclusive membership in a space-faring group known as the Nova Corp (Marvel's answer to DC's Green Lanterns, no doubt about it). There's a lot of Teen Superhero 101 in here, with Sam getting picked on by bullies, riding a skateboard, and drawing the attention of the school's alt-girl outcast (which comic books almost always predictably depict as a sassy bookworm with funky colored hair and fishnet stockings).

Loeb's real hit and miss as a writer. Other fans really have it out for the guy, but I've missed some of his real stinkers (Ultimatum) and enjoyed a lot of his stuff over the years (Spider-Man: Blue comes to mind, as does Superman: For All Seasons).​ At his worst, when his comics aim for "fun," they sometimes feel as if they're talking down to the reader, and I think some fans react negatively to that. That kind of thing is more evident in Nova #2, a comic that's so decompressed it's basically just Sam putting on the Nova helmet and discovering he can fly. It's a bit like slapping a $2.99 price tag on the montage scene in any given superhero origin film where the hero tests his powers. That's not really a story.

I realize Loeb is aiming a little younger here, and I appreciate Marvel NOW having something that's aimed at that audience, but a kid should get a full story for his dollars, not just a part of a story. Loeb is off the book after this set-up arc (due to a full plate with Marvel's TV properties), so maybe the next writer, Zeb Wells, will squeeze in more bang for the buck. Even Ed McGuinness, so good at drawing oversized heroes, feels restrained here. Not that the art is bad (it isn't), but that it's a minimal effort artistically. It doesn't wow in the way that McGuiness can wow. I'd chalk it up to him trying to work in a style that he can actually consistently produce on a monthly basis, but he's leaving the book as well soon, with Paco Medina batting clean-up.

Will I Be Back for More? I'll give it another go when Wells and Medina take a crack at Sam. He's a likable hero with a cool costume, but this isn't a must-read right now. Again, if you're a parent, this is one of Marvel's more "safe" books while still not being too kiddie, so keep that in mind if you've got a little one around who digs the superheroes.

​Variant cover for Wolverine #1, art by Oliver Copiel. Marvel Comics.

Wolverine #1

Wolverine is an odd duck. I don't think Wolverine's solo book has ever felt quite like a straight-forward superhero book; it's always had its own specifically Wolverine flavor. It's a little dirtier, a little meaner, and it typically feels slightly removed from the Marvel U. Paul Cornell and Alan Davis saddle Wolverine with an unusually clean-cut superheroic vibe, with the title character assisting police and flashing his Avengers badge when necessary.

I gripe a lot about books where nothing much seems to happen, and Wolverine is one of those, but...there's something at work here. I was intrigued, even while I was disappointed that the first issue isn't a tale with a beginning, middle, and end. It's a set-up where not even all of the pieces of the set-up are fully fleshed-out. The story begins with Wolverine's healing factor allowing him to take down a mass-murderer at a shopping mall (told you it's a more mundane Wolvie - what's he doing shopping at the mall?) and then getting mixed up in uncovering the motivations for the killings (the killer was using a very high-tech, sci-fi weapon, not your standard assault rifle).

Will I Be Back for More? I'm going to give this one another issue, but I can't strongly recommend it at this point. Wolverine #1 isn't going to appease the more bloodthirsty Wolverine fans, and it's probably too far removed from the X-Men to rope in the X-fans. I've been pretty good about pinpointing where certain comics' appeal lies with me, and honestly can't get a decent grasp on what it was I liked about Wolverine #1 other than the overall New York City superhero vibe. That's a terrible recommendation, but I can't muster up anything stronger than that.

Into the Pit: 'G.I. Joe Special Missions' #2 Disappoints with Undersea Romance

Tyler Mager has written for CollegeMovieReview.com and the Scorecard Review and is a filmmaker based out of Austin, TX. He also happens to be an enthusiastic G.I. Joe fan and covers IDW's Joe comics right here in his regular feature "Into the Pit."

Chuck Dixon's new G.I. Joe Special Missions series started strong with a first issue showing a scheming Baroness hellbent on retrieving sunken COBRA treasure and a covert team lead by Scarlett eager to get there first. Throw in some Serpentor-meddling and you've got an intriguing story ripe with promise as both a stand-alone series and a sister series to the main G.I. Joe series. The second issue slams on the brakes, effectively ruining any sort of momentum the first issue had by focusing on an out-of-nowhere romance between Mainframe and Scarlett. Dixon's knack for writing believable banter between the Joes is still solid, and Gulacy's art appears to be a little more complete this time around but the complete disregard for interesting plot development in favor of unrelated, silly situations makes issue #2 a wasted opportunity.

Apparently Special Missions isn't quite the fresh start I had hoped for, since the romance between Mainframe and Scarlett isn't even hinted at by the time Mainframe puts on the moves, deep underwater in a flooded container. Some sort of recap or reminder would have been nice, as is it feels completely out of place and random to new readers. The two of them going on the dive mission to investigate the wreckage doesn't make a whole lot of sense to begin with seeing as water-based Joes Torpedo and Deep Six are available. With Scarlett worried about being found out, Mainframe reveals himself as a horndog only interested in getting laid, despite the precarious situation. It all builds to a laughable cliffhanger where the couple is surrounded by Baroness's crew and a group of hungry sharks. Really? Sharks? It's a odd choice that basically zaps any excitement created in the first issue.

Serpentor's search for the Baroness continues with the first of what seems to be a series of sabotages putting him one step closer to finding her. Baroness has secured oceanic resources by kidnapping the children of a wealthy ship owner, Serpentor offers to rescue the children in exchange for information on the devious Baroness. The rescue mission is really the only bit of exhilarating action in the issue. It's well-drawn and somewhat surprising, with a series of quick twists that shows that most plans don't go off without a hitch.

Overall, the title still feels rushed with Gulacy's art being wildly inconsistent from beginning to end. His art is better than the first issue but still a long ways off from where it should be. The plot needs to kick back into high gear and abandon the romance under the sea subplot. The set up of an impending collision between the Joes, Baroness' mercenaries, and Serpentor is a neat idea that could provide some incredible entertainment and action, but Dixon shouldn't get distracted by silly subplots with no bearing on the main narrative. G.I. Joe: Special Missions #2 is a disappointing continuation of a promising title, hurt by distracting subplots and seemingly rushed art. It's much too early to give up on Special Missions entirely but this is one issue you shouldn't worry about missing.