That Plotter's ClubA Review of
Transformers: Lost Light #11Free of any explicit spoilers, but be forewarned some are implied.
Next time on Dr. Katz... Lost Light 11 picks up right where we left off, still on the book's namesake ship with a crew collectively known as "The Mutineers". If issue 10 was about First Aid, then this chapter is best described as being about Getaway. The latest captain is the focus this time around, in a very densely plotted, continuity rich installment. The expected James Roberts character work is accompanied by Jack Lawrence, Joana Lafuente, and Tom B. Long on (most) visuals, and series followers anxiously await more detail and resolution to long lingering questions. Does this latest entry of
Lost Light deliver the goods? Read on to find out!
He's like The Love Boat, but worseTransformers fans have been chomping at the bit to hate Getaway at every turn. While it's a small disappointment to see a direction chosen that really does feed this contempt, there's a commitment to the decision that comes through on the page. Getaway is caught up in his own b.s. in such a complete, deep, hopeless way that the Megatron parallels seen both in word and deed weren't something I found to be a detriment - though as another perspective is valuable, it should be said that some on site staff feel the parallels might be a bit too on the nose.
Lost Light 11 shows Getaway managing a complex plan with constant obstacles tripping things up, with a desperation taking hold informing some less than scrupulous choices. One lie leads to another, with existing personality traits perpetuating a supercilious attitude that steadily gets worse. The emotion of doubling-down on a bad decision comes across as genuine, and while reading the book there's still a feeling that somewhere within the repressed secret agent style exterior is at least a faint tinge of regret with a side dish of remorse. Nothing feels cartoon-like with this villain work, and
that's very welcome. Even Getaway's darkest moment in the story (well, a few come to mind) were closer to "James Bond is about to do something very bad that he shouldn't but whatever, he's James Bond" than "Megatron is going to blow up Sherman Dam, oh no!"
Talking for too long rarely does go wellDespite the tight focus on Getaway, there are still other central elements to the story that provide satisfying perspective on events while moving the plot forward. Thunderclash provides a warrented presence that feels natural while framing chosen past events through a new set of eyes. This lends an accessibility to the book that I
think is effective. Admittedly, I'm so deep into Fanboy Land at times with this series it's also possible that the continuity is so deeply entrenched at this point into my subconscious that this issue could be totally inaccessible and I wouldn't even know it, so bear this in mind. Exposition does occur but isn't too heavy for too long, and literally reprinted pages from a past issue are placed in appropriately to help catch up new or casual readers without taking any space from anything else. In other words, if hearing about reprinted parts worries you, there's no cause for concern because there are still 20 new story pages in the issue.
"Atomizer, I think I see your tiny house over here!"Thunderclash isn't the only perspective that comes as a welcome part of the story. As many will recall, in
More Than Meets The Eye #50 Getaway was the apparent driving force behind a mutiny that left Megatron and "Team Rodimus" stranded and at the mercy of three terrifying villains: Overlord, the Decepticon Justice Division, and an army of 500 other Decepticons commanded by Deathsaurus. The crew of maybe-complicit-maybe-not mutineers was comprised of several Autobots that many fans couldn't bear to see in that position. After all, Hoist has a Rodimus Star! Riptide and Hound seem so nice! Perceptor couldn't have been in on it, he's Perceptor! Blaster!? He's too
cool! Grapple
lifts things!
Without giving things away, readers waiting for the endless speculation on certain character motivations to end should be pleased with this issue. Not every question gets answered, but there's a lot here to keep fueling, say, your posts
here on the Energon Pub Forums about why Hound did nothing wrong for many weeks to come.
Find someone who looks at you the way Joyride looks at ThunderclashIt took quite a while to figure out what to critique here, but it's probably fair to say that some subtlety in the book's political commentary would have been welcome. One of the moments in question almost comes across as an unintentional gag, whereas a touch of nuance could have helped convey a more focused message. Then again, perhaps given the situation at hand, the lack of even trying to hide swipes at today's real world attempts at hegemony is exactly what was called for.
Uh oh, not those meddling kids again! Just kidding, it's really not like that.Jack Lawrence is once again the main line-work artist for this installment, and this may very well be his best output yet. The considerable cast roster experiences one twist after another turn after another meeting around the furniture, but at no point do the facial expressions feel inappropriate or overdone. The tight environmental focus provided by the setting, that being the interior of the Lost Light itself, might help some readers notice the exemplary body language conveyed more than in earlier installments. Joana Lafuente's colors provide a brightness to the proceedings that help establish tone appropriately in the less than bright moments, with nothing ever coming across as washed out or out of focus. Tom B. Long's letters are indeed swoon-worthy, with no question as to which speech bubble comes next despite the presence of a high word count.
This week brings four covers, with the three order-able versions coming through the stalwart, steady teams of Lawrence and Lafuente, Nick Roche and Josh Burcham, plus fan favorites Alex Milne and Josh Perez. The thumbnail to this story features the Lawrence cover, for the sole reason of it having a "Getaway Star". As always, you can find images of all of those covers and full credits for the issue in our
Vector Sigma Database page for Transformers: Lost Light #11, but do note it does contain a character appearance list that will spoil some of this issue's surprises!
Verdict
Or a faint signal? No? Aw, ok. Everything comes together in
Lost Light #11 to yield a tight package that accomplishes so much in 22 pages that it's astounding. This series is on an upward trajectory and continues to surprise just when everything seems figured out. Only a couple small things are holding me back from assigning our rare, vast, predatory bird known as a perfect score for this installment, one of them being a lingering concern that some readers are unlikely to catch many of the details that make the story magic for me. I don't think anyone should skip this one due to that, just know that it might not have as much impact if your familiarity with the series has slipped or isn't there to begin with.
Between this and last week's
Optimus Prime #13, Roberts and franchise co-creator John Barber are hitting a stride not seen in quite some time. As a long time reader, my excitement for the coming months is at a fever pitch once again, and it's an excellent time to get on board with IDW's Transformers comics.
Bonus! James Roberts' soundtrack suggestions for this issue:
- The Stone Roses - "I Am the Resurrection"
- Longpigs - "Lost Myself"
- The Rolling Stones - "You Can't Always Get What You Want"
- Morrissey - "I'll Never Be Anybody's Hero"
I think this is either it, as Roberts has always been clear that the story has an ending that is known to him, or this is the lead up to a stretch that is the end.
out of 
