The Darkness Must Go Down the River of Night's Dreaming.
Issue 100: Distant Thunder! 7th February 1986.
What began as a story told to revive flagging spirits has perhaps shown me the course of action I must take if we are to survive!
One hundred issues. That’s an impressive feat for any licensed book, even a weekly one, especially from the perspective of the current British comics market where big numbers seem to be regarded as scary so kid aimed books are constantly rebooting and rebranding so as not to seem like yesterday’s news.
There are a few ways this could have been celebrated. Considering that the unprecedented (and never repeated) 19 pages given over to the comic is only just under the length of two regular issues the most obvious thing to do would have been to simply present Fallen Angel all in one go, it wouldn’t take much to edit it down (especially without the need for Blaster’s recap at the start of Part 2) and would have fit the bill of being an appropriately “Big” story whilst still moving all the ongoing plots forward. Equally it would have only taken slightly more rejigging of events to have the final of the Prime/Megatron/Cybertron story as the centenary piece.
What began as a story told to revive flagging spirits has perhaps shown me the course of action I must take if we are to survive!
One hundred issues. That’s an impressive feat for any licensed book, even a weekly one, especially from the perspective of the current British comics market where big numbers seem to be regarded as scary so kid aimed books are constantly rebooting and rebranding so as not to seem like yesterday’s news.
There are a few ways this could have been celebrated. Considering that the unprecedented (and never repeated) 19 pages given over to the comic is only just under the length of two regular issues the most obvious thing to do would have been to simply present Fallen Angel all in one go, it wouldn’t take much to edit it down (especially without the need for Blaster’s recap at the start of Part 2) and would have fit the bill of being an appropriately “Big” story whilst still moving all the ongoing plots forward. Equally it would have only taken slightly more rejigging of events to have the final of the Prime/Megatron/Cybertron story as the centenary piece.
Poor old Outback.
What we get is somewhat surprising, especially in retrospect when compared to the other big number issues with colour stories, all of which are epic but also part of a bigger whole. Distant Thunder! is a story that often seems to puzzle fans, and based on his comment in the Classics UK books Furman himself now isn’t really sure why he did what he chose to do for such a momentous issue.
Certainly it must have been frustrating for fans at the time- in the middle of this huge storyline things suddenly go on pause and we get an almost completely unrelated flashback issue- it can quite easily feel more like padding than a celebration.
This is unfair. First Furman deserves credit for, once having decided on flashbacks, not doing the really obvious thing and turning the issue into a back slapping recap of the entire series to date, it’s very easy to see the version where Optimus brings Outback sucker by telling him of the Autobot’s adventures on Earth.
What we get instead is perhaps the first really overt sign of a writer with itchy feet. After all, as with the majority of the people working on the comic with him, Transformers is first and foremost a means to an end, a step up the ladder that is paying your dues before you get to work on a proper comic. That doesn’t mean they didn’t do the work to the best of their ability, but it was never intended to be what defined the career of any of the creative team anymore than Star Wars Weekly defined that of Alan Moore. After two years of working regularly on the book Furman was likely thinking of other projects. This searching for that next step up the ladder will become really overt later in the year, but for now he produces a story that is only nominally a Transformers one, and is if anything an experiment in Twilight Zone style writing.
The framing device for this story is Prime trying to do something to keep Outback’s spirits up, the opening pages of the issue are nice and moody as a desperate Prime cradles the dying Autobot in his arms and seems to be trying to give himself hope as much as his charge.
Certainly it must have been frustrating for fans at the time- in the middle of this huge storyline things suddenly go on pause and we get an almost completely unrelated flashback issue- it can quite easily feel more like padding than a celebration.
This is unfair. First Furman deserves credit for, once having decided on flashbacks, not doing the really obvious thing and turning the issue into a back slapping recap of the entire series to date, it’s very easy to see the version where Optimus brings Outback sucker by telling him of the Autobot’s adventures on Earth.
What we get instead is perhaps the first really overt sign of a writer with itchy feet. After all, as with the majority of the people working on the comic with him, Transformers is first and foremost a means to an end, a step up the ladder that is paying your dues before you get to work on a proper comic. That doesn’t mean they didn’t do the work to the best of their ability, but it was never intended to be what defined the career of any of the creative team anymore than Star Wars Weekly defined that of Alan Moore. After two years of working regularly on the book Furman was likely thinking of other projects. This searching for that next step up the ladder will become really overt later in the year, but for now he produces a story that is only nominally a Transformers one, and is if anything an experiment in Twilight Zone style writing.
The framing device for this story is Prime trying to do something to keep Outback’s spirits up, the opening pages of the issue are nice and moody as a desperate Prime cradles the dying Autobot in his arms and seems to be trying to give himself hope as much as his charge.
Insert stinking paws quote.
From here though, we’re into gap filling, giving us the story we’ve been promised since the end of Target: 2006 as we find out what happened to Optimus, Prowl and Ratchet (not to mention Shockwave, Thudercracker and Frenzy) when they vanished off into the limbo dimension. It wasn’t really a burning question (the explanation in that story seemed to cover most of it), but it’s nice it was set up well in advance and fitting that this issue mostly focusing on character’s from the original 1984 line up.
Mind, Shockwave does seem out of place in those terms, and does bring attention to the fact Megatron, the series’ original and main villain, is only present in this major issue via Prime’s story so far recap (which includes Megatron lording it up over Straxus, an event Optimus can’t know about...).
The story itself is oddly slight for an extra length issue, yet at the same time manages to feel oddly compressed as the device of Prime’s narration means a lot of the action, such as Shockwave making a deal with a talking monkey, simply gets reported rather than shown with any depth.
The aforementioned talking monkey is actually what makes this story 98% more awesome than it would otherwise have been, because what child (or indeed adult) isn’t in love with the idea of monkey’s acting like people? Will Simpson is the perfect artist for the simian frolics and even as a cynical 32 year old there’s something almost gleeful about Evil Monkey Zenag jumping up and down and snarling at giant robots.
The plot basically boils down to everyone displaced from Target: 2006 winding up on a world where yellow nice monkeys are being terrorised by evil brown monkeys, with evil leader Zenag having a device that could send them home. Optimus wants to help the good guys but wrestles with the morals of using his big honking gun to kill naked monkey men, whilst Shockwave logically teams up with the one who could send them home.
However, it turns out none of it was real (a twist perhaps a bit too heavily signposted by Target: 2006 calling the place limbo right from the off), instead everyone is in a big black empty void with brain leeches sucking at their minds and feeding off the violence of their conflict. Why the leeches bothered to create monkey men rather than just pushing the natural hatred between the two sets of robots is harder to say, perhaps they used to watch the Planet of the Apes TV show on a Sunday morning on Channel 4 as well. But, Prime still has the very real wound on his side he received in the dream... DUH DUH DUH.
And cue Rod Serling.
It’s a bit trite, and Optimus has a few wobbly moments as a character (not wanting to shoot monkeys is a good thing, but he takes that to the insane extreme of not wanting to fight or kill anyone. Let’s not forget Prime is a military dictator), but there are actually lots of lovely moments in this story. The Autobots using tactics and trickery in their fight with the Decepticons is more than welcome and the way Optimus carefully works through the mental processes to find out what’s really happening is a nice chance for his intelligent, thoughtful side to shine.
Shockwave is also very well written, instantly spotting the sense of Prime’s words and refusing to dance to Zenag’s tune as it makes no logical sense for him to get the Decepticons to kill Optimus if the monkey is as powerful as he claims. Once the truth is revealed (and the fading out of Zenag as he’s rendered powerless by the refusal to fight is very nicely done) he adapts quickly to the new situation as well. There’s also a frankly awesome panel of him holding up Ratchet by the head.
Frenzy and Thundercracker also get what is basically their last notable character moments in the comic, sharing their joy of violence, their fear of Optimus and disdain for not being able to actually kill anything at the end. It’s a shame Ratchet and Prowl don’t get any real focus, but this is generally a good showing for the old guard.
What’s a real shame is we fade out with everyone still stuck in limbo; I’d kill to hear the awkward small talk that must have filled up their time floating about before getting zapped home.
Mind, Shockwave does seem out of place in those terms, and does bring attention to the fact Megatron, the series’ original and main villain, is only present in this major issue via Prime’s story so far recap (which includes Megatron lording it up over Straxus, an event Optimus can’t know about...).
The story itself is oddly slight for an extra length issue, yet at the same time manages to feel oddly compressed as the device of Prime’s narration means a lot of the action, such as Shockwave making a deal with a talking monkey, simply gets reported rather than shown with any depth.
The aforementioned talking monkey is actually what makes this story 98% more awesome than it would otherwise have been, because what child (or indeed adult) isn’t in love with the idea of monkey’s acting like people? Will Simpson is the perfect artist for the simian frolics and even as a cynical 32 year old there’s something almost gleeful about Evil Monkey Zenag jumping up and down and snarling at giant robots.
The plot basically boils down to everyone displaced from Target: 2006 winding up on a world where yellow nice monkeys are being terrorised by evil brown monkeys, with evil leader Zenag having a device that could send them home. Optimus wants to help the good guys but wrestles with the morals of using his big honking gun to kill naked monkey men, whilst Shockwave logically teams up with the one who could send them home.
However, it turns out none of it was real (a twist perhaps a bit too heavily signposted by Target: 2006 calling the place limbo right from the off), instead everyone is in a big black empty void with brain leeches sucking at their minds and feeding off the violence of their conflict. Why the leeches bothered to create monkey men rather than just pushing the natural hatred between the two sets of robots is harder to say, perhaps they used to watch the Planet of the Apes TV show on a Sunday morning on Channel 4 as well. But, Prime still has the very real wound on his side he received in the dream... DUH DUH DUH.
And cue Rod Serling.
It’s a bit trite, and Optimus has a few wobbly moments as a character (not wanting to shoot monkeys is a good thing, but he takes that to the insane extreme of not wanting to fight or kill anyone. Let’s not forget Prime is a military dictator), but there are actually lots of lovely moments in this story. The Autobots using tactics and trickery in their fight with the Decepticons is more than welcome and the way Optimus carefully works through the mental processes to find out what’s really happening is a nice chance for his intelligent, thoughtful side to shine.
Shockwave is also very well written, instantly spotting the sense of Prime’s words and refusing to dance to Zenag’s tune as it makes no logical sense for him to get the Decepticons to kill Optimus if the monkey is as powerful as he claims. Once the truth is revealed (and the fading out of Zenag as he’s rendered powerless by the refusal to fight is very nicely done) he adapts quickly to the new situation as well. There’s also a frankly awesome panel of him holding up Ratchet by the head.
Frenzy and Thundercracker also get what is basically their last notable character moments in the comic, sharing their joy of violence, their fear of Optimus and disdain for not being able to actually kill anything at the end. It’s a shame Ratchet and Prowl don’t get any real focus, but this is generally a good showing for the old guard.
What’s a real shame is we fade out with everyone still stuck in limbo; I’d kill to hear the awkward small talk that must have filled up their time floating about before getting zapped home.
Sniff.
The core of this story would later be recycled by Furman for Generation 2, so this is a good a time as any to look at this environmentally friendly habit of his. In this age where everything he’s ever written is only a click of a mouse away, it’s easy to mock his tendency to repeat and rehash ideas across everything he’s ever written, write down to the specific Furmanisms that show up in dialogue.
What’s easy to forget is Furman’s background as writer comes from a period where most media was considered ethereal, something that would be read or seen once and then forgotten. Most of the prolific writers of the period would cheerfully dip into their stock in trade of ideas, some like Brian Clemens or (to use another Transformers example) David Wise would be entirely unrepentant about it, if you’ve had a great idea that was used for one TV episode or comic three years ago that was never intended to be seen again why not reuse it for the next project? The most famous example is probably episodes of The Saint and The Barron first broadcast on the same night having exactly the same script by Terry Nation, a man who was probably the greatest exponent of the idea (he got a slight wrist slapping for that one as, even by his standards, it was extreme).
All those writers mentioned above are some of the most successful in the field of pop culture the 20th century ever saw, creators of iconic moments that have lived far beyond any notion of them being hacks. Furman is in very good company with them, and it’s not the fault of anyone involved that no one realised it would be possible to own freshly repackaged versions of The Daleks and Planet of the Daleks/Don’t Look Behind You and The Joker/Distant Thunder! and Primal Fear! all together on the same shelf at the same time.
It was a valid choice for the time Furman was making it, and the only real shame is one of the ways he’s never been able to fully adapt to modern comic writing is not realising you cannot as easily get away with regurgitating yourself in the internet age.
The issue ends with a moment that actually genuinely affected me in a way I didn’t expect; clearly reading these issues in order in real time has given it an extra weight. Optimus is inspired by his story to find a non-violent solution and as such gives an impassioned speech to the Wreckers that whatever they do to him Outback should be spared, for if his death can save even one Autobot it’s more than worth it.
This is exactly what Emirate Xaaron was waiting to hear, as, in both a nice payoff to his story from last issue and a parallel to Prime’s own epiphany, Ultra Magnus has also decided to resolve things by thinking rather than using his fists and has brought the Autobot elder along for verification.
The big hug that results between Xaaron and Prime as Optimus is finally welcomed home is genuinely uplifting and emotional, and a nice way of finishing off a story that, though strangely placed and by no means perfect, is still an entertaining read with some really lovely moments.
But what is going on with the speech bubbles on monkey world being urine yellow? Is it ment to symbolise the unreality (the limbo part of the flashbacks have normal white bubble).
What’s easy to forget is Furman’s background as writer comes from a period where most media was considered ethereal, something that would be read or seen once and then forgotten. Most of the prolific writers of the period would cheerfully dip into their stock in trade of ideas, some like Brian Clemens or (to use another Transformers example) David Wise would be entirely unrepentant about it, if you’ve had a great idea that was used for one TV episode or comic three years ago that was never intended to be seen again why not reuse it for the next project? The most famous example is probably episodes of The Saint and The Barron first broadcast on the same night having exactly the same script by Terry Nation, a man who was probably the greatest exponent of the idea (he got a slight wrist slapping for that one as, even by his standards, it was extreme).
All those writers mentioned above are some of the most successful in the field of pop culture the 20th century ever saw, creators of iconic moments that have lived far beyond any notion of them being hacks. Furman is in very good company with them, and it’s not the fault of anyone involved that no one realised it would be possible to own freshly repackaged versions of The Daleks and Planet of the Daleks/Don’t Look Behind You and The Joker/Distant Thunder! and Primal Fear! all together on the same shelf at the same time.
It was a valid choice for the time Furman was making it, and the only real shame is one of the ways he’s never been able to fully adapt to modern comic writing is not realising you cannot as easily get away with regurgitating yourself in the internet age.
The issue ends with a moment that actually genuinely affected me in a way I didn’t expect; clearly reading these issues in order in real time has given it an extra weight. Optimus is inspired by his story to find a non-violent solution and as such gives an impassioned speech to the Wreckers that whatever they do to him Outback should be spared, for if his death can save even one Autobot it’s more than worth it.
This is exactly what Emirate Xaaron was waiting to hear, as, in both a nice payoff to his story from last issue and a parallel to Prime’s own epiphany, Ultra Magnus has also decided to resolve things by thinking rather than using his fists and has brought the Autobot elder along for verification.
The big hug that results between Xaaron and Prime as Optimus is finally welcomed home is genuinely uplifting and emotional, and a nice way of finishing off a story that, though strangely placed and by no means perfect, is still an entertaining read with some really lovely moments.
But what is going on with the speech bubbles on monkey world being urine yellow? Is it ment to symbolise the unreality (the limbo part of the flashbacks have normal white bubble).
The last interesting Brawn related thing in the book.
Transformation makes a big deal of the Alan Davis cover, understandably as he’s the first established “Name” to work on the British book, and possibly the first to take part that has done so specifically to make their kids happy. Effectively Transformers is now akin to something like Doctor Who, people do it because it makes them look cool in the eyes of their relatives. It’s a good cover as well, feeling nicely old fashioned with its line up of original characters and a look that somehow just feels Very British in a way the regular comic hasn’t since Barry Kitson stopped working on it.
As a sign of how popular the franchise is at this point, Transformation reveals that thousands of people entered the competition for the Movie poster in the biggest response they’ve had yet to any attempt at reader interaction. Let’s not forget- that’s just for a poster. God knows how many entries they’ll be getting to this week’s chance to win some actual toys- Rodimus Prime and Wreck-Gar. All you’ve got to do is name all the characters on the cover, thankfully not including the fist.
There’s no Grimlock this week, but we do get a celebratory Robo-Capers, with the leader of Planet Zip annoyed that since the strip first appeared in issue 15 they’ve totally failed to destroy the Earth.
This latest with a nuclear bomb robot goes no better.
As a sign of how popular the franchise is at this point, Transformation reveals that thousands of people entered the competition for the Movie poster in the biggest response they’ve had yet to any attempt at reader interaction. Let’s not forget- that’s just for a poster. God knows how many entries they’ll be getting to this week’s chance to win some actual toys- Rodimus Prime and Wreck-Gar. All you’ve got to do is name all the characters on the cover, thankfully not including the fist.
There’s no Grimlock this week, but we do get a celebratory Robo-Capers, with the leader of Planet Zip annoyed that since the strip first appeared in issue 15 they’ve totally failed to destroy the Earth.
This latest with a nuclear bomb robot goes no better.
"Action Force" recap border.
Part 2 of Action Force sees the team fail to catch the Dr. Brainwave thing for a second time, and really annoyingly a reference to “The Joes” is changed to “Them”, meaning we lose a cast iron chance to find out what the Action Force equivalent term is (Actionettes?).
One last weird thing to note about this issue is that every single modern reprint of this story uses the Collected Comics version with the different “Next” box at the end; it seems that Titan couldn’t find an original issue for scanning and IDW have subsequently just used their version.
The party may be over, but next week sees the diversion from the ongoing plots continue, as we see the special return of several beloved characters.
And finally, as we now hurtle into triple digits (and my third folder of comics), thanks again to all of you who have put up with my ramblings for the last 100 issues. I adore every single one of you.
In a creepy way.
ADDENDUM 4
1987
COMMENT
One last weird thing to note about this issue is that every single modern reprint of this story uses the Collected Comics version with the different “Next” box at the end; it seems that Titan couldn’t find an original issue for scanning and IDW have subsequently just used their version.
The party may be over, but next week sees the diversion from the ongoing plots continue, as we see the special return of several beloved characters.
And finally, as we now hurtle into triple digits (and my third folder of comics), thanks again to all of you who have put up with my ramblings for the last 100 issues. I adore every single one of you.
In a creepy way.
ADDENDUM 4
1987
COMMENT
100 down, 232 to go...
