There are Giants out There in the Canyon and a Good Captain Can’t Fall Asleep.
Infestation2: The Transformers issue 1. February 1st 2012.
You’re a tool, all right!
As you’ll have just read, I was even less impressed by the first bookend issue of Infestation 2 than I was by the framing sequence for the first, so I must admit, having never read any of this before, I did not come into the opening of the Transformers part of the event with very much confidence in it. Especially as my memory of Hearts of Steel is it was decidedly OK rather than impressive.
Which is the first thing to talk about, the Evolutions series may not have been successful enough for more “What if?” scenarios to appear, but Steampunk Transformers clearly struck a chord with someone, as this is the first of several attempts to revisit the setting and concepts of that series, each of which will become less predictable than the previous one (notably, again, the only reason I’m covering this as a main entry is it will, unexpectedly, turn out to be “Canon” to the main IDW timeline). Though this is the only one to reunite the original creative team of Chuck Dixon and Guido Guidi.
Whilst it might initially seem odd not to repeat the trick of the first Infestation and have it cross into the “Main” IDWverse (at least to anyone who hasn’t actually read the mess that is the first one), this is actually the first of several smart choices this book makes, because what can be a more perfect match for Lovecraftian horror than Steampunk? It’s the perfect combination.
You’re a tool, all right!
As you’ll have just read, I was even less impressed by the first bookend issue of Infestation 2 than I was by the framing sequence for the first, so I must admit, having never read any of this before, I did not come into the opening of the Transformers part of the event with very much confidence in it. Especially as my memory of Hearts of Steel is it was decidedly OK rather than impressive.
Which is the first thing to talk about, the Evolutions series may not have been successful enough for more “What if?” scenarios to appear, but Steampunk Transformers clearly struck a chord with someone, as this is the first of several attempts to revisit the setting and concepts of that series, each of which will become less predictable than the previous one (notably, again, the only reason I’m covering this as a main entry is it will, unexpectedly, turn out to be “Canon” to the main IDW timeline). Though this is the only one to reunite the original creative team of Chuck Dixon and Guido Guidi.
Whilst it might initially seem odd not to repeat the trick of the first Infestation and have it cross into the “Main” IDWverse (at least to anyone who hasn’t actually read the mess that is the first one), this is actually the first of several smart choices this book makes, because what can be a more perfect match for Lovecraftian horror than Steampunk? It’s the perfect combination.
City beneath the sea.
The second smart choice is immediate from the opening sequence, set in 1887, deep under the North Atlantic, where the long slumbering Seacons are awakened and controlled by a race of sea men, based on Submarauder. Who bring them to a hideous, malignant city that they know to fear the power of, even under mind control.
The smart thing here is, with the remit clearly being to cover the underwater side of Lovecraft and creatures from the deep, that there clearly are no better Transformers suited to this sort of story than the Seacons. They immediately fit the aesthetic of this world, and it already feels like it’s had more thought put into than the “Hey, boobs are great” work on the opening issue.
A year later, the aquatic theme continues, as the USS Mistkatonic is attacked by a huge and hideous monster from the depths.
By amazing coincidence, Ironhide turns out to be the ship’s gun (he seems to have taken Prime’s last order to stay hidden to heart), and, after diving after the monster, he realises this is both not of the Earth and something he’s going to have to call in the lads to deal with.
Dixon, by avoiding trying to write Ironhide as Old too hard, actually gives us one of the best and most chill versions of the characters in years (though John Barber has only just started to get his teeth into him).
The smart thing here is, with the remit clearly being to cover the underwater side of Lovecraft and creatures from the deep, that there clearly are no better Transformers suited to this sort of story than the Seacons. They immediately fit the aesthetic of this world, and it already feels like it’s had more thought put into than the “Hey, boobs are great” work on the opening issue.
A year later, the aquatic theme continues, as the USS Mistkatonic is attacked by a huge and hideous monster from the depths.
By amazing coincidence, Ironhide turns out to be the ship’s gun (he seems to have taken Prime’s last order to stay hidden to heart), and, after diving after the monster, he realises this is both not of the Earth and something he’s going to have to call in the lads to deal with.
Dixon, by avoiding trying to write Ironhide as Old too hard, actually gives us one of the best and most chill versions of the characters in years (though John Barber has only just started to get his teeth into him).
Positively shocking.
The help also includes returning human faces, Tobias Muldoon and his now wife Kitty. Who are out on a gaslit walk-through San Francisco, having a strange awkward conversation clarifying their names, the names of their children (Toby and Kitty. Not much imagination there) and that Muldoon has totally failed to turn the inspiration of having met the Transformers into a working career as an inventor.
Luckily for haters of awkward exposition, a mysterious strange streetcar appears. Which turns out to be the great Marlon Brando film, A Streetcar Named Bumblebee. Ironhide’s report has made the Autobot’s aware of this ancient horror they have dark legends about, and they’re going to need Optimus Prime. Which is where Muldoon comes in, they’re going to need a lot of electricity to revive him…
Luckily for haters of awkward exposition, a mysterious strange streetcar appears. Which turns out to be the great Marlon Brando film, A Streetcar Named Bumblebee. Ironhide’s report has made the Autobot’s aware of this ancient horror they have dark legends about, and they’re going to need Optimus Prime. Which is where Muldoon comes in, they’re going to need a lot of electricity to revive him…
The only Tesla you can trust.
This brings us into the territory of a Doctor Who celebrity historical again. Indeed, one Who wouldn’t actually do for another 8 years, as Muldoon first goes to Thomas Eddison for help and, after getting laughed out the room for wanting a “Million watts” of power and clearly being an idiot, but the tired of being used by the more famous and richer inventor Nikola Telsa is more than ready for a real challenge.
This actually makes you realise what a good job the Doctor Who did with casting the two inventors, if you didn’t know this was from 2012, you’d think Guido was using the episode for visual references. Indeed, considering when this came out, it’s surprising there’s nothing of David Bowie about Telsa.
It also adds some fun and flavour to what might otherwise be a rather dry plot for the heroes to get to the end of the issue, with Tesla immediately being a fun, enthusiastic character, with his confusion over being asked to meet a secret train at a secret location being nicely played.
This actually makes you realise what a good job the Doctor Who did with casting the two inventors, if you didn’t know this was from 2012, you’d think Guido was using the episode for visual references. Indeed, considering when this came out, it’s surprising there’s nothing of David Bowie about Telsa.
It also adds some fun and flavour to what might otherwise be a rather dry plot for the heroes to get to the end of the issue, with Tesla immediately being a fun, enthusiastic character, with his confusion over being asked to meet a secret train at a secret location being nicely played.
Thankfully the didn't let Lovecraft name any Transformer.
Mind, as Muldoon makes it clear his secret backers will provide all the necessary equipment at their secret destination, you have to wonder why the Autobots even needed help. Surely, they know how to make electricity?
In Port Cenotaph in Nova Scotia, the Submarauder sea creatures come ashore in huge numbers, making the still spying Ironhide glad he called in help. Help that might not come soon enough though, as a super-powered and sprouting tentacles Bonecrusher appears, leading to a back-and-forth banter laden fight (“I am the tool of a God!”, “You’re a tool all right!”), that probably isn’t especially Lovecraftian, but is good cheesy fun.
Which continues into Nikola Tesla’s train ride of terror, as he’s confused by the complete lack of train staff, coal or even water for the boilers on a two-day trip to Quebec that all the supplies should have been topped up on along the way.
In Port Cenotaph in Nova Scotia, the Submarauder sea creatures come ashore in huge numbers, making the still spying Ironhide glad he called in help. Help that might not come soon enough though, as a super-powered and sprouting tentacles Bonecrusher appears, leading to a back-and-forth banter laden fight (“I am the tool of a God!”, “You’re a tool all right!”), that probably isn’t especially Lovecraftian, but is good cheesy fun.
Which continues into Nikola Tesla’s train ride of terror, as he’s confused by the complete lack of train staff, coal or even water for the boilers on a two-day trip to Quebec that all the supplies should have been topped up on along the way.
Big piston energy.
Muldoon fobs him off with “New power sources” for another day, till they arrive at their destination, 300 miles south of Ivujivik. At which point the train carriages reveal themselves to be Hound, "Trailblazer" (more of his changeable name to come over the years) and Ratchet. Which is so shocking to Tesla, he slips into Serbian, which is actually a cute reaction.
It does feel there is one shame of this first part that I hope does get rectified for the next, is Ratchet basically does nothing but stand there here. Considering master of the Lovecraft adaptation Jeffrey Combs was voicing the character on Prime at the time, that seems a missed opportunity for some fun.
From here, everyone has to follow the steam-plough mode Wheeljack up the mountain on foot.
It does feel there is one shame of this first part that I hope does get rectified for the next, is Ratchet basically does nothing but stand there here. Considering master of the Lovecraft adaptation Jeffrey Combs was voicing the character on Prime at the time, that seems a missed opportunity for some fun.
From here, everyone has to follow the steam-plough mode Wheeljack up the mountain on foot.
There's a lot of fetishes being ticked off here.
We then get a brief scene of a fishing ship trying to dock at Cenotaph, only to find the inhabitants are all now empty eyed zombies, watched over by more Decepticons, including Shockwave. All setting up saving the town as the main objective for part 2.
Back on the mountain, after explaining the events of Hearts of Steel on the walk (how time must have flown), they’ve now arrived at their objective…
The snoozing out in the open (I guess not many people climb this mountain) Optimus Prime!
It’s kind of an odd one this. I wasn’t expecting much after being indifferent on the original series and hating the setup issue for this crossover. It’s also fair to say it’s strangely structured for a two-part story, the main characters basically spend the whole issue travelling, not even to their final destination, just to make a pickup of Prime along the way. That means the second half could well be pretty rushed.
Back on the mountain, after explaining the events of Hearts of Steel on the walk (how time must have flown), they’ve now arrived at their objective…
The snoozing out in the open (I guess not many people climb this mountain) Optimus Prime!
It’s kind of an odd one this. I wasn’t expecting much after being indifferent on the original series and hating the setup issue for this crossover. It’s also fair to say it’s strangely structured for a two-part story, the main characters basically spend the whole issue travelling, not even to their final destination, just to make a pickup of Prime along the way. That means the second half could well be pretty rushed.
Prime can't even sleep in a non-sexy way.
But it’s also quite good fun. Chuck Dixon’s experience with comics overall and Guido Guidi’s long by this point tenure on Transformers makes them a safe pair of hands, and it tootles along cheerfully with some nice ideas (and I hope the second half has a decent payoff the Seacons presence) and some good gags. Not exactly a great shakes, but considerably better than it has any right to be. I came out of that with a smile on my face, and you can’t ask for more than that with this sort of comic.
Maybe old-grumpy chops Orion Pax should read it, as next week we’re swinging back round to the second part of Autocracy.
ADDENDUM 14
2012
COMMENT
KO-FI
Maybe old-grumpy chops Orion Pax should read it, as next week we’re swinging back round to the second part of Autocracy.
ADDENDUM 14
2012
COMMENT
KO-FI
