I Quit, 'Cause Loving You's a Job I Don't Need.
Issue 263: Bird of Prey! Part 2/Break-Away! 24th March 1990.
If you want the bird, you can have it! But if you’re its real owner—I’m Peter Lorre!
Two things from last week before we start: On the comments Alex Smith pointed out that the Grimlock/Prime facing off art in the Next Week box was actually made from two old images: Grimlock from Victory! and Prime from the end of Time Wars. I’d realised it was stock and had to be Senior or Sullivan, but hadn’t realised it was both of them.
Also, I wondered if Gutt or B’Hgdad would turn out to be the obligatory Sydney Greenstreet character. Considering Greenstreet plays Guttman in The Maltese Falcon, there wasn’t really any mystery there (Peter Lorre playing Mr Cairo tells you who the second of these two characters is supposed to be as well). And I’d rewatched the film that week specifically to get all the nods.
On to this week, and the cover—with Grimlock smashing his fist down on a table and shouting “I quit”—seems to be a deliberate homage to the “Vote for me!” image that adorned issue 111. Something that’s made clearer by Transformation assuring readers Grimlock as leader isn’t time travel or a reprint, but something familiar that’s happening again.
If you want the bird, you can have it! But if you’re its real owner—I’m Peter Lorre!
Two things from last week before we start: On the comments Alex Smith pointed out that the Grimlock/Prime facing off art in the Next Week box was actually made from two old images: Grimlock from Victory! and Prime from the end of Time Wars. I’d realised it was stock and had to be Senior or Sullivan, but hadn’t realised it was both of them.
Also, I wondered if Gutt or B’Hgdad would turn out to be the obligatory Sydney Greenstreet character. Considering Greenstreet plays Guttman in The Maltese Falcon, there wasn’t really any mystery there (Peter Lorre playing Mr Cairo tells you who the second of these two characters is supposed to be as well). And I’d rewatched the film that week specifically to get all the nods.
On to this week, and the cover—with Grimlock smashing his fist down on a table and shouting “I quit”—seems to be a deliberate homage to the “Vote for me!” image that adorned issue 111. Something that’s made clearer by Transformation assuring readers Grimlock as leader isn’t time travel or a reprint, but something familiar that’s happening again.
"Not if you get possessed by Primus before you can apportion anything..."
Before that though, there’s the latest adventure from (as Transformation puts it) “Our U.S. cousins”. Which opens with the continuation of Prime/Xaaron exposition. Which becomes more interesting as it patches over a continuity hole. Which is probably more important for American readers old enough to remember that the last time it was mentioned by Budiansky—some time ago now—it was just a computer program in Prime’s mind.
So it’s explained that the Matrix being a physical object was a closely guarded secret that wasn’t known to any of the Autobots on Earth. Presumably the mind-program lie was told specifically to avoid a worst case scenario like Shockwave’s attempts to grab it. Unfortunately this means that when Prime’s body got shot into space the Matrix went with it.
Whoops. Amusingly Xaaron seems rather contemptuous of Prime for this slip-up, the curt “We can apportion blame later” leaves you in no doubt that blame will indeed be apportioned when the time is right. The upshot though is that they’re chasing Prime’s burial casket about and have narrowed it down to one solar system, hence the searching teams on the different planets.
This means the idea Prime’s body was fired into the sun is being ignored and it’s insane the rocket sled would have been built with enough power to get to another system, but it’s as smooth a bit of retconning as we were going to get, helped greatly by Bob having seemingly forgotten about the Matrix when he killed Prime.
So it’s explained that the Matrix being a physical object was a closely guarded secret that wasn’t known to any of the Autobots on Earth. Presumably the mind-program lie was told specifically to avoid a worst case scenario like Shockwave’s attempts to grab it. Unfortunately this means that when Prime’s body got shot into space the Matrix went with it.
Whoops. Amusingly Xaaron seems rather contemptuous of Prime for this slip-up, the curt “We can apportion blame later” leaves you in no doubt that blame will indeed be apportioned when the time is right. The upshot though is that they’re chasing Prime’s burial casket about and have narrowed it down to one solar system, hence the searching teams on the different planets.
This means the idea Prime’s body was fired into the sun is being ignored and it’s insane the rocket sled would have been built with enough power to get to another system, but it’s as smooth a bit of retconning as we were going to get, helped greatly by Bob having seemingly forgotten about the Matrix when he killed Prime.
"They also have no good piano music"
Back at the plot, and we get a moment recycled from Target: 2006. Way back in issue 82 the Wreckers, having been relieved of Operation Volcano, go to a pub and get drunk and discuss how they shouldn’t get involved in other peoples’ problems before the sights around them convince them an Autobot does not ignore terrible things, he acts.
Here, despite the plea from the dying alien, Nightbeat and the others decide the Bird statue isn’t their problem and they have to focus on the Matrix. They focus on the Matrix by going to the local pub, where the sight of the down and desperate locals on what was supposed to be a paradise planet frustrates Nightbeat to the point he realises that Autobots are supposed to be concerned with things like this.
In Target: 2006 it was a Pianobot who turned the tide, here it’s the major Film Noir aspect that was missing from The Big Shutdown!: The femme fatale. Called...erm...Miss Fatale. Which is kind of a shame when all the other references in names are so considered.
Sadly we also miss a key noir moment of the Shamus and the dangerous lady meeting for the first time. As soon as she introduces herself we cut to Mr Gutt’s house, where he’s annoyed at this interference from what he assumes is “The Robot Gang”, a group that’s been cutting into his turf. For some reason he also crushes an Oscar, but if that’s a reference to something, I’ve no idea what. Still, this multiple gangs vying for something in a state of confusion is a clear bit of Death’s Head influence showing through.
Here, despite the plea from the dying alien, Nightbeat and the others decide the Bird statue isn’t their problem and they have to focus on the Matrix. They focus on the Matrix by going to the local pub, where the sight of the down and desperate locals on what was supposed to be a paradise planet frustrates Nightbeat to the point he realises that Autobots are supposed to be concerned with things like this.
In Target: 2006 it was a Pianobot who turned the tide, here it’s the major Film Noir aspect that was missing from The Big Shutdown!: The femme fatale. Called...erm...Miss Fatale. Which is kind of a shame when all the other references in names are so considered.
Sadly we also miss a key noir moment of the Shamus and the dangerous lady meeting for the first time. As soon as she introduces herself we cut to Mr Gutt’s house, where he’s annoyed at this interference from what he assumes is “The Robot Gang”, a group that’s been cutting into his turf. For some reason he also crushes an Oscar, but if that’s a reference to something, I’ve no idea what. Still, this multiple gangs vying for something in a state of confusion is a clear bit of Death’s Head influence showing through.
Nightbeak knows the best way to deal with the elephant in the room.
Meanwhile, Nghtbeat and Fatale have had their no doubt sexually charged first conversation, with her claiming the Bird is hers (just like in The Maltese Falcon) and in exchange for it, she’ll take Nightbeat up the mountain and show him where a magic source the locals believe can restore health was located. For some reason the Autobots jump on this possibly being the Matrix, even though it’s established as an old myth and their sacred life force has only been missing for three years.
Either way, Nightbeat sends the others up whilst he goes to get the Bird from left-luggage (just like in The Maltese Falcon), walking past a mysterious group of figures in shadow, the leader of which in no way is obviously Thunderwing.
Once at the property office, Nightbeat grabs the bird, only for a guy that for some reason makes him think of Peter Lorre when making a quip turns up and says the item is really his (just like in The Maltese Falcon). The issue ending on the ensuing fight.
The pub scene does drag as I’m never a fan of “Refuse the call” moments where it’s obvious they’re going to do the right thing anyway. And with the link between the Font of Life and the Matrix being so tenuous it’s hard to fathom why they let themselves get dragged in so easily.
However, the mood is still there in bucketloads, and the final action page is rather brilliant with some excellent use of a pink elephant/mammoth alien as a weapon. Perhaps more solid than spectacular, this is very much Geoff Senior’s show.
Either way, Nightbeat sends the others up whilst he goes to get the Bird from left-luggage (just like in The Maltese Falcon), walking past a mysterious group of figures in shadow, the leader of which in no way is obviously Thunderwing.
Once at the property office, Nightbeat grabs the bird, only for a guy that for some reason makes him think of Peter Lorre when making a quip turns up and says the item is really his (just like in The Maltese Falcon). The issue ending on the ensuing fight.
The pub scene does drag as I’m never a fan of “Refuse the call” moments where it’s obvious they’re going to do the right thing anyway. And with the link between the Font of Life and the Matrix being so tenuous it’s hard to fathom why they let themselves get dragged in so easily.
However, the mood is still there in bucketloads, and the final action page is rather brilliant with some excellent use of a pink elephant/mammoth alien as a weapon. Perhaps more solid than spectacular, this is very much Geoff Senior’s show.
How did Furman resist Grimlock saying "I would like to table a motion"?
A week after the a * footnote firmly established Earthforce is set in the near future, the desire (as born out by the aforementioned editorial comments) for this not to seem a rehash or reprint means Break-Away opens with a caption declaring that the time is “Now”. Good way to keep the chronology confusing chaps.
As I also touched upon last week, Furman clearly thinks the Grimlock/Optimus transition of command was too easily skipped over by Budiansky after Totalled!, so he’s contrived an excuse to show the tensions between the two characters erupting.
So Grimlock has had enough of Prime’s cautious ways and declares he and the Dinobots are leaving again. To which Prime replies “Don’t let the door hit you on the way out”. And nothing annoys Grimlock more than someone being happy to let him do what he wants, so he picks up the briefing room table and chucks it into a wall whilst going on about how the Transformers involvement on Earth is all Prime’s fault and he needs to let them handle it.
The net result being a massive (or as massive as the format allow, space constraints means most of it happens in a time cut) between the two. Which rather wonderfully not only brings their respective supporters together as they watch in awe, but ends on a hilarious note of the two realising just how silly and contrived the comic standard of “Two heroes fight” is and collapsing in laughter.
As I also touched upon last week, Furman clearly thinks the Grimlock/Optimus transition of command was too easily skipped over by Budiansky after Totalled!, so he’s contrived an excuse to show the tensions between the two characters erupting.
So Grimlock has had enough of Prime’s cautious ways and declares he and the Dinobots are leaving again. To which Prime replies “Don’t let the door hit you on the way out”. And nothing annoys Grimlock more than someone being happy to let him do what he wants, so he picks up the briefing room table and chucks it into a wall whilst going on about how the Transformers involvement on Earth is all Prime’s fault and he needs to let them handle it.
The net result being a massive (or as massive as the format allow, space constraints means most of it happens in a time cut) between the two. Which rather wonderfully not only brings their respective supporters together as they watch in awe, but ends on a hilarious note of the two realising just how silly and contrived the comic standard of “Two heroes fight” is and collapsing in laughter.
"Yeah, take Bumblebee with you"
So Prime agrees Grimlock will command on Earth, whilst he goes to sort out Unicron. But Grimlock will need troops...luckily the Classic Heroes are at hand to volunteer. Including Bumblebee, because you remember what a grand time he had the last time Grimlock was in charge? There’s no time for second thoughts though as word comes in that Prowl and Wheeljack are in trouble two weeks ago! Which makes it look as Earthforce is going to kick off properly now, but there’s still a little way to go.
Some fine Staz art (even if space means the punch-up is mainly done in small and contained panels) and the conclusion to the fight are the main appeals here, otherwise this would be fairly forgettable.
It does however set the stage for my personal Earthforce placing: the threat of Unicron is looming and Prime and most of the new toys are off to deal with it. Which in my mind places this and the following black and white stories in parallel to the American issues they’re reprinted alongside. ie: before something we never see happens to Earthforce and Grimlock, Jazz and Bumblebee are sent off on their own part of the Matrix Quest once they’re the only survivors.
That something does have to cover a lot of ground to even start to make everything fit and some things will never match smoothly (Megatron), but for me it makes the most sense. Your mileage may vary.
Some fine Staz art (even if space means the punch-up is mainly done in small and contained panels) and the conclusion to the fight are the main appeals here, otherwise this would be fairly forgettable.
It does however set the stage for my personal Earthforce placing: the threat of Unicron is looming and Prime and most of the new toys are off to deal with it. Which in my mind places this and the following black and white stories in parallel to the American issues they’re reprinted alongside. ie: before something we never see happens to Earthforce and Grimlock, Jazz and Bumblebee are sent off on their own part of the Matrix Quest once they’re the only survivors.
That something does have to cover a lot of ground to even start to make everything fit and some things will never match smoothly (Megatron), but for me it makes the most sense. Your mileage may vary.
Let's make sure James never forgets.
Transformation remains excited about the future, promising an exciting new era will come from Grimlock in charge. It also describes next week’s story as being the one we’ll actually get in two issues time, making the fairly obvious (as we’ll discuss) last second switch of stories all the plainer. Though the rest of the issue must have gone to print later as the NEXT panel and Next Week pages accurately portray the Devastator story.
The Punisher advert being run again gives me a good excuse to mention something Ralph Burns brought up: This new and revamped comic will never in fact happen.
Combat Colin cheekily starts with the end of an adventure he’s had during the week, with the caption declaring “Pity you missed it really! It was the best adventure they ever had!” With things now quiet, Colin takes the time to tell a young fan a story about how he was always “Combat Keen”.
This takes us back to the ‘60’s, where Stringer has great fun with the “Hip groovy” dialogue and introduces the most surprising thing you’ll ever see in a Marvel comic: A Batman kite. Recognisably made of the famous logo. It’s stuck up a tree and young Colin helps the friend who owns it by...
Getting out the Combat tank and vaporising the tree and kite. Which may be why Marvel were fine with it appearing.
Dreadwind actually gets a letter from a reader of this website this week! James Kinsey of Long Eaton asked me to be nice about his musings, but with his friendly well thought out questions about Guardian robots and future Collected Comics, I can’t imagine any reason why he thinks I’d react to...
Wait a second, what’s this?!?! “Will there ever be another Action Force [and look how successful that rebranding has been] crossover?” gets the response “I doubt it, Hume, but there’s the American G.I. Joe/Transformers Crossover—who knows?”
Oh well done James. Thanks for putting that idea in their minds at exactly the wrong moment. The 16 weeks of misery that are coming soon are all your fault. You are worse than Pat Lee. Is your mother proud of you?
Of course, a rational person might say that Marvel presumably knew something would have to be used a makeweight for the colour stories fairly soon (even if they weren’t sure exactly when American material would run out) and the one bit of Marvel Transformers not to have made it here had already been dusted off and was ready to go at a moments notice. As such, James is an entirely blameless individual for being the vessel through which this foreshadowing is given.
But no one will ever accuse me of being rational. James, I blame you. J’accuse James.
Over in James’ favourite comic, the second part of the new G.I. Joe: The Action Force story has far too much of a dull subplot of some new Joes being put in the Pitt, but because their security clearance hasn’t come through yet they can’t be told The Truth. Hence comedy funny noises in the night and Chuckles going out to find out what’s really going on.
At the interesting plot, the Baroness arrives on Cobra Island after becoming pissed at Serpentor for events reprinted in the 1990 Action Force annual. Which is lucky for our faux Cobra Commander as it turns out she knows what the real one looks like (which I believe directly contradicts an issue of G.I. Joe not seen in Transformers), so when Zartan suggests she can verify his identity, things are looking up for him.
Next week, our first proper Earthforce story, though with the last second switch we’ve still got one “Road to Earthforce” strip to go.
Also, for the last two years or so, when I’ve been writing Transformation, I’ve done it with a couple of episodes of The Saint on in the background. So a tremendous amount of what you’ve read has been fuelled by Sir Roger Moore. RIP.
ISSUE 262
1990
COMMENT
The Punisher advert being run again gives me a good excuse to mention something Ralph Burns brought up: This new and revamped comic will never in fact happen.
Combat Colin cheekily starts with the end of an adventure he’s had during the week, with the caption declaring “Pity you missed it really! It was the best adventure they ever had!” With things now quiet, Colin takes the time to tell a young fan a story about how he was always “Combat Keen”.
This takes us back to the ‘60’s, where Stringer has great fun with the “Hip groovy” dialogue and introduces the most surprising thing you’ll ever see in a Marvel comic: A Batman kite. Recognisably made of the famous logo. It’s stuck up a tree and young Colin helps the friend who owns it by...
Getting out the Combat tank and vaporising the tree and kite. Which may be why Marvel were fine with it appearing.
Dreadwind actually gets a letter from a reader of this website this week! James Kinsey of Long Eaton asked me to be nice about his musings, but with his friendly well thought out questions about Guardian robots and future Collected Comics, I can’t imagine any reason why he thinks I’d react to...
Wait a second, what’s this?!?! “Will there ever be another Action Force [and look how successful that rebranding has been] crossover?” gets the response “I doubt it, Hume, but there’s the American G.I. Joe/Transformers Crossover—who knows?”
Oh well done James. Thanks for putting that idea in their minds at exactly the wrong moment. The 16 weeks of misery that are coming soon are all your fault. You are worse than Pat Lee. Is your mother proud of you?
Of course, a rational person might say that Marvel presumably knew something would have to be used a makeweight for the colour stories fairly soon (even if they weren’t sure exactly when American material would run out) and the one bit of Marvel Transformers not to have made it here had already been dusted off and was ready to go at a moments notice. As such, James is an entirely blameless individual for being the vessel through which this foreshadowing is given.
But no one will ever accuse me of being rational. James, I blame you. J’accuse James.
Over in James’ favourite comic, the second part of the new G.I. Joe: The Action Force story has far too much of a dull subplot of some new Joes being put in the Pitt, but because their security clearance hasn’t come through yet they can’t be told The Truth. Hence comedy funny noises in the night and Chuckles going out to find out what’s really going on.
At the interesting plot, the Baroness arrives on Cobra Island after becoming pissed at Serpentor for events reprinted in the 1990 Action Force annual. Which is lucky for our faux Cobra Commander as it turns out she knows what the real one looks like (which I believe directly contradicts an issue of G.I. Joe not seen in Transformers), so when Zartan suggests she can verify his identity, things are looking up for him.
Next week, our first proper Earthforce story, though with the last second switch we’ve still got one “Road to Earthforce” strip to go.
Also, for the last two years or so, when I’ve been writing Transformation, I’ve done it with a couple of episodes of The Saint on in the background. So a tremendous amount of what you’ve read has been fuelled by Sir Roger Moore. RIP.
ISSUE 262
1990
COMMENT
