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With TFCon currently stunning over in Canada, national media CBC.ca have also run a piece on the current output of IDW Publishing's Transformers stables, with a lengthy interview featuring writers John Barber, Mairghread Scott and James Roberts! (Shame about the neglected artists, really.)
While the interview does not really give any new information exactly, it's a good point to take to reflect on where the TF comics have come and will be going, with Till All Are One ending, and Optimus Prime and Lost Light reaching their second arcs, as First Strike is about to .. Strike the Hasbro Universe too. Check out some snippets below, and read the whole interview here!
The writers' biggest challenge is figuring out how to explore gender in a race that has rarely encountered it while avoiding making the characters feel wholly alien to readers.
"If you took a hard-science-fiction look at a world of machine life that reproduces asexually, ideas like gender and sex would be either nonexistent or very, very different than our human understanding and background in those issues," says Barber.
"But Transformers stories exist in our human world, where we know Optimus Prime is male because people say 'he' and he sounds like (voice actor) Peter Cullen and whatnot. So there's gender in there whether it makes hard-science-fiction sense or not."
[...]
"Initially, you were invited to think of them [Rewind and Chromedome --V] as very good friends, and as the story progressed, as I became more confident in what I could and couldn't do, we became more explicit in establishing them as 'robot husbands,'" says Roberts. "And I'm pleased to say that everyone involved — IDW editorial and Hasbro — have run with it. And fans, most importantly, seemed to like it."
[...]
"There are certain things that Hasbro will dictate that they do or do not want, but other than major things like 'Don't kill our main characters' or 'We really want to highlight this person,' they let us tell the stories that we want to tell," says Scott.
The back matter of this week's issue of IDW Publishing's Optimus Prime #9 - review coming soon, so keep an eye out for that - includes an interview with the three creators behind Rom vs Transformers: Shining Armor: writers John Barber and Christos Gage, and artist Alex Milne (who will be joined by Josh Perez on colours)! We've copied below what the three have to say to support the book and new character Stardrive - check it out!
John, Christos—does this series mark the first time that Rom and the Transformers meet? We
saw them together in IDW’s Revolution event, but this story is set 200 years in the past!
CNG: Yes, this is the first time Rom has met a Transformer. As we begin the miniseries, the Solstar Order and the Cybertronians are aware of each other's existence, but until this story they have
stayed in their own territories. But the end of the Wraith War—which led to the Dire Wraiths fleeing throughout the universe—has changed things!
JB: It's also the first time the Dire Wraiths meet the Decepticons. We've never seen what happens when a Wraith takes over a Cybertronian body before... and the results aren't pretty.
Stardrive is a unique character for a crossover like this—a Transformer that’s also part of the Solstar Order. How does this conflict affect her personality?
CNG: The interesting thing about Stardrive is that she has never met another Transformer before this miniseries. She has only been given the Solstar Order's take on them: that Cybertronians are destructive machine monsters that rampage through world destroying organic life. She's told that
she's "better" because she was raised differently, but it's unmistakable that she's been brought up to feel there's something wrong with her. Now, for the first time, she's actually meeting beings of her own species—and they're from opposite factions, so she's more torn and confused than ever!
JB: Stardrive's been an outsider her whole life, and when she meets other Cybertronians, she doesn't expect to feel even more alone. She's not part of their war; she doesn't want to be destructive
like they've actually become.
Working with Alex Milne on this—did you approach it any differently than previous projects? Were the scripts very specific or did you give him a lot of leeway on the art?
CNG: We worked plot-first and I think it was the right approach. John told me Alex loves to add detail, and boy, does he! We'd give him a four-panel page and he'd turn it into a nine-panel page chock-full of aliens (all different species) and sci-fi tech. I love it! I grew up on George Perez so Alex's stuff is right up my alley!
JB: Alex had an amazing run on More Than Meets the Eye for so many years, where he started out as a fantastic artist and only got better. I'd seen a lot of his sketches and his conceptual work as that
series went on, so I definitely wanted to make sure he had the opportunity to design this series—new worlds, new characters, new aliens, new space ships. It's not even just a visual thing—Alex thinks this stuff through from top to bottom, and that definitely shows through in the comic.
Alex, your art on this story is just on another level—crazy amounts of detail and panel-heavy layouts! Can you tell us a bit about how you approached the art for this project?
AM: The script for the book is written in a plot style—it leaves me with a lot of options on how to approach it. Unlike past scripts I've worked on that have had full dialogue and descriptions for the
panels, here it's all up to me, so I'm not worrying about trying to fit a lot of different actions into one panel. It's a very interesting creative freedom I feel working on this book. It pushes me to try different things and to see what I can come up with not just in the art but in the storytelling as well. It's a nice change for me!
We have a new interview retreading some old ground concerning producer Lorenzo di Bonaventura and a fairly spoiler-filled interview with Collider on Transformers: The Last Knight - but focusing even more so on the Bumblebee movie which has started shooting just recently.
If The Last Knight spoilers are your bread and butter, head here to our spoiler thread to discuss the movie itself, and keep watching the clip. If you'd rather avoid them, however, we've transcribed di Bonaventura's thoughts on Bumblebee below, once more repeating the Iron Giant parallels, and the 1985 setting and feel for the upcoming movie!
Check out what Lorenzo di Bonaventura had to say in the player above and below is exactly what we talked about followed by the official synopsis and a few images.
Lorenzo di Bonaventura:
How technology has advanced since the first film where the robots now look like they’ve gone from the Atari 2600 to a PlayStation 4
What 3D IMAX brings to the experience.
What was the most challenging part of making the film?
The film ends with [spoiler]. Where did the idea come from?
How much do they know about where the next film will go?
What can he say about the Bumblebee movie?
“The objective of that movie is to develop more time with less robots, and to go back to 1985 and to go back to the original heritage, if you would, of the Transformers, G1.”
[...]
“So it has a very distinct idea in it, and whatever is going to happen with the chemistry is what’s going to happen. But it really is a young female lead [Hailee Steinfeld] opposite of Bumblebee, and I think that Optimus is going to be jealous that Bumblebee has his own movie.”
“There are less Transformers, dramatically less… We hired, purposely, Travis Knight who’s a very distinct filmmaker. You can’t compete with Michael [Bay], you’re going to lose. Also, the audience wants something different all the time, let’s keep them interested. So they’re going to get a very emotional, complex story. A very tight story, in terms of its location, in terms of its storytelling. In fact it reminds me a little bit of The Iron Giant when I did that movie at Warner Brothers. It just reminds me a little bit of that, where that it feels contained, but it doesn’t feel small.”
We have some more news on IDW Publishing's Hasbro Universe comics crossover event First Strike, starting this September, via the website Dynamic Forces, who were able to have a chat with current editor David Hedgecock! The full interview can be found here, but we've highlighted some snippets below too, covering the main plot of the event, the factions, the motives, and more! Check it out.
DF: It is so hard to have peace in any comic book universe, but the IDW/Hasbro Earth was on the verge of joining the Cybertronian Council of Worlds … not unlike the Earth of the Star Trek universe when it was initiated into the United Federation of Planets, to my mind. What goes wrong here?
David Hedgecock: The Transformers are members of a massively powerful ancient alien race that have been warring amongst themselves for millions of years. As the Transformers have spread out across the stars, that war has spread with them. No matter where the Transformers go, they bring death and destruction. The “peace” that the Transformers currently enjoy is but a breath in the grand scheme.
There are people on Earth who understand this. People who feel that Optimus Prime, by initiating Earth into the Council, has done nothing but paint a big red target on the planet and that our destruction is a foregone conclusion if something isn’t done. First Strike is about one man's mission to save his planet from what he feels is the greatest threat to humanity in its entire history, and his solution to save all of humankind... is to destroy all Transformers.
[...]
DF: David, there certainly seems enough action for two or three “events” in First Strike, but what can you tell us about the personal side of all of this? Who are the real POV characters here and what is/will become their motivations? What will give First Strike its heart?
David Hedgecock: Scarlett is really going to be the “heart” of this story. In the midst of all the chaos and destruction that will ensue, it’s Scarlett’s personal battle that may determine the true outcome and fate of two planets. I’m so amazed by what Mairghread Scott and David Rodriguez have been able to accomplish in this regard. These two writers have put together an event book worthy of the name, with all the explosions, destruction, and cyborg ninjas one would expect while still delivering a really compelling, heartfelt character piece with resonance and meaning. I’m in awe of both of them, truly!
DF: As August and this epic crossover approaches, is it possible to give readers new and established a road map of sorts as to where it starts and where it will go, title-wise?
David Hedgecock: August will see the “Season Finale” of several of our titles— G.I. Joe, M.A.S.K., Micronauts: Wrath of Karza, and Rom. These books are all coming to their natural conclusions and making way for the big First Strike event. We had several reasons for this but chief among them were two things— 1. All the stories were coming to their natural end for the “Season” and we needed to clear the decks for brand new material coming out of the event. 2. We didn’t want to ask our fans to buy more than what they were already comfortable with buying. With the event and its surrounding one-shots, we felt we had enough books in the market and didn’t want to ask our fans to buy MORE than what they might normally buy to be able to enjoy the “big” story we’ve created.
People give a lot of (dis)credit to the director of the live-action Transformers movies, Michael Bay, or to the producers like Lorenzo di Bonaventura, or the writers such as Ehren Kruger or Akiva Goldman's writers room - but what about the editors of the movie itself? Art of the Cut had a chance to talk to some of the six editors working on Transformers: The Last Knight, and discussed the intricacies of working in a team on the same footage, dealing with Bay's own selections and personal style, and their previous experiences feeding into this movie. The full, lengthy piece (which is actually three) can be read here - we've only highlighted some passages below!
Art of the Cut takes a step into the epic – not just with the film we’re discussing – but because to cover the editing of Michael Bay’s Transformers: The Last Knight, we spoke to four editors in three separate interviews. The exciting thing for readers of Art of the Cut is that when you get six top editors on a single picture, they all learn from each other in ways that are impossible without working on the same footage and with the same director. Those important lessons are at the core of this Art of the Cut.
The six editors listed as “editors” are Roger Barton (Pirates of the Caribbean: Dead Men Tell No Tales), Adam Gerstel (Star Trek Into Darkness, Previs editor), Debra Neil-Fisher (The Hangover), John Refoua (Olympus Has Fallen) , Mark Sanger (Gravity), and Calvin Wimmer (13 Hours). We had the opportunity to speak to all of them except Barton and Wimmer.
[...]
REFOUA: None of us, except Roger, had worked on a movie with so many other editors before, so it took a while for us to figure out how we were going to do this and what does Michael (director, Michael Bay) want? Eventually, you settle into a rhythm and you really have to put your ego on hold because a scene that you work on — Michael, likes to move scenes around from editor to editor. He just wants editors to try different things and eventually he’ll say, “I like that one from this guy…This part from that guy.” So that took a little getting used to.
GERSTEL: What was great is after you put a scene together, you get to see somebody else cut the same scene and it really brings to light a different way that you hadn’t thought about. And so the next time you go to cut a scene in the film that may be similar you’re already now thinking of two different way of doing it. It really expanded your view because you’ve seen so many versions of the scenes while also having an intimate knowledge of what footage was there to put them together. You knew what challenges you had when cutting them and you see how somebody else dealt with those same challenges. It’s quite a learning experience.
NEIL-FISHER: It was fun actually. It was great to see How each of us approached the material differently. Learning from each other was really awesome. Especially for me. I don’t work as often on action pictures so it was really fun to see everybody’s versions on those scenes. I was fascinated by how many versions you can do of an action scene. How exciting and interesting each one was. And then moving on from here I take that with me and use it on the next thing I’m working on.
GERSTEL: Exactly. And this was a complicated story. There’s a lot in there. It has a lot of depth, a lot of layers. And so there was constant conversation about how best to structure it. Michael loved to intercut and he also is not tied to the script so everything is up for grabs and we were always trying new ideas. We would sit, all of us in the room and just talk about what was the best way to put a scene together or put a sequence together. So it wasn’t just always one person taking a stab and then another person taking a stab. There were many times when we were all just discussing it together. Almost like a writers room for editors.
[...]
SANGER: I like to do it organically depending upon the style of the director. All directors shoot differently so I actively avoid setting myself a particular way of working. That’s part of the fun of going into a new project with a new director: the way they shoot determines how I will assemble. But there is one key area that I won’t change and that’s how I get my assistants to prep the material only up to a certain level. Then beyond that, I will prep it myself because that’s how I learn the dailies.
The late and very great Jim Clark always used to mark up his own scripts, rather than use the script supervisor’s version. He would watch the dailies and mark up his own script as he learned them each day. Many of the old school British editors did things that same way. I was only their apprentice at the time but I’m proud to have learned from their wisdom and so what I do is my own version of that.
Some directors will shoot very quick takes while others leave the camera running for fifteen minutes at a time. I will adapt how I break down my dailies depending on how the shoot went.
With Michael Bay, you might get 10 hours of dailies for a single scene, and when that comes in you think, “How on earth am I going to get him an assembly by the end of the day?” I decided that 95 percent of my day would be spent assessing and breaking down the dailies. Then, as I was doing it I was developing a mental structure of how I was going to put that scene together. I work fast and make notes as you go. And then at the very last minute, I cut the scene and got it uploaded to him for wrap. You physically can’t go through 10 hours of material and then spent five hours editing. But you can go through 10 hours of material methodically and understand all the dailies and then put together a version at the end of the day that is solid.
That’s just what I did, the other editors have their own processes. But we all adapted to Michael’s process and combined it with our own and all were based on necessity due to the volume of material that we receive each day.
[...]
REFOUA: Michael shoots everything live. All the explosions are live. All the smoke is live and the human stunts are live. What we have is a bunch of plates with explosions, smoke, and stunts in them. Our main challenge, in action scenes, was trying to figure out: what’s supposed to happen here? We would talk amongst the editors and say, “I think this is supposed to happen here. And I think this shot’s for that. And a lot of times, Michael would say, “That shot isn’t for that spot!” or he’d say, “That’s cool! I can use this. Yeah, this is a good place for this shot.”
NEIL-FISHER: I definitely went through each scene looking from a specific point of view. If I was starting the scene fresh, I would look through the film and pulled selects of what I thought were the pieces that would work for me. I went through the dailies and found pieces that were going to aid my version of that scene.
HULLFISH: John mentioned that Michael will create his own selects reels. Was it weird using somebody else’s selects?
GERSTEL: No not at all. They were just suggestions from him. You didn’t have to take it as final. It was just, “Here’s what Michael pulled as his options.” Often, they were the same thing we would have pulled or a slightly different version. And sometimes we even shared each other’s selects.
[...]
REFOUA: Gradually the movie, as you put it together, it divides itself into sections. So Michael would say, “I want so and so to make a pass on this section. And I want so and so to try and shorten it and I want so and so to work on this thing that they do or I want somebody to check the jokes and make sure that we have the best jokes.” On Transformers, the editors became a team. We didn’t function as much as individuals but really the teamwork takes over. I had never been in that kind of situation to that extent, so that was cool and sometimes Michael would want three different versions of the same scene.
SANGER: He’ll look at scenes individually for a long time and then he might look at scenes assembled with a couple other scenes around them. But then we’ll start looking at things in reels. Instead of looking at those scenes within the reels for three or four weeks or four or five months in advance there’ll come a point where he’s happy with individual scenes then you’ll watch them in reels and when he’s happy with the reels, then you watch them in the movie. And so you kind of go in these much larger steps than many directors who would work on a scene by scene basis and then a reel by reel basis MUCH earlier on in the process. Michael works on a scene by scene basis for much longer and then makes these big leaps where we’re often watching the whole movie maybe on a Monday, Wednesday, and Friday. The changes that are going on within those five days are huge because with five editors you can get quite a lot happening in that amount of time. But it’s piece-meal for much longer at the beginning.
HULLFISH: That’s got the potential to just be a political nightmare but I’m glad that it worked out for you guys.
REFOUA: Really you have to put the politics away because you’re making a Michael Bay movie. You’re not making a John Refoua movie.
HULLFISH: That’s the quote of the day right there.
We have some new information about the soon to start shooting Bumblebee spin-off movie, courtesy of a number of appearances of its lead actor Hailee Steinfeld! Speaking to ET Canada, she mentioned that preparation and acceptance of the role came via her brother, an avid movieverse Transformers fan.
“My brother is to blame for introducing me to ‘Transformers’,” Steinfeld jokingly explains. “I’m like, ‘Finally, I get to make a movie for my brother!’ He loves ‘Pitch Perfect’, but he’s kind of like, ‘Where’s the action? Where’s the cars?’ So yeah, I’m really excited.”
While with B96, attending the Pepsi Summer Bash, Steinfeld talked about preparation and the beginning of the filming process - which is apparently ahead of schedule than what we initially heard about. See more about it below!
Bailee dished about her upcoming role in the movie Bumblebee, which is a spin-off to Transformers.
“So it is the spinoff to Transformers and we start shooting in a couple of weeks,” she said.
How is she preparing for the role? Binge-watching all the movies as a point of reference.
Fellow Seibertronian Sabrblade has come across a new interview with producer Lorenzo di Bonaventura on Transformers: The Last Knight, where there are more spoilers than a racing car festival. Seriously, the main point of discussion revolves around Quintessa and the post-credits scene in the fifth movie, so if you have not seen the film and do not want anything ruined for you, do not read further!
The producer, talking to Comicbook.com, had some very interesting teasers to introduce when talking about the origin of the creators and of Quintessa specifically.
The premise of who and what Quintessa is seems pretty straight forward throughout most of The Last Knight's story; however, the Transformers 5 post-credit scene throws a big twist about Quintessa's character into the mix.
Read on to see what Transformers movie producer Lorenzo di Bonaventura revealed about that the big twist in Quintessa's character - and the massive implications it could have for the franchise mythos, going forward.
As di Bonaventura goes on to say in the video found here, her story might have big ramifications for the franchise as Paramount expands its territory in future movies. Read on below, check out the video, and let us know what you think in our Spoiler thread inside!
When asked what significance the big reveal in The Last Knight's post-credit scene will have on the next Transformers movie, di Bonaventura had the following tease:
"You never know, that's part of what the discovery is gonna be. But actually, if you look at the mythology, the mythology of The Quintessa is that she very well and was probably human. So when you go back in time and go through that 6 billion years of mythology, there's certainly a current of thought within it that says she was a human character and perhaps was actually the first one who built the Transformers. So ironically, if that's accurate, then humans built Transformers."
Straight from Chevrolet Japan's company newsletter, we have an interview with Yuya Onishi, a member of the Takara Transformers product team and the lead designer behind MPM Bumblebee! The original text can be found here, and a mechanical translation courtesy of Google Translate is transcripted below, so check it out and let us know what you think in the Energon Pub!
Before the release of "Transformers / Last Knight King" on August 4th, as for Camaro likes the place where Bumblebee's career is anxious. And better news before the new release. Transformers masterpiece "MPM - 3 Bumblebee" commemorating the 10th anniversary of the movie will be released from TakaraTomy on July 15th.
This MPM - 3, the world 's topic with the amazingness of making it. As I witnessed the appearance of the standing Bumblebee, I do not think that this is assembled with the parts built into the Camaro scale model.
"This January, when real items were announced in Hong Kong in the world premiere, it was a pleasure from the fans around the world that I was happy." Transformers designer Hiroya Onishi . In the United States, Hasbro Inc., a toy maker based in Pawtucket, Rhode Island, holds a license for Transformers. In that connection, Mr. Onishi has visited Hasbro headquarters in the US East Coast several times. When entering the United States, passport control declared "Transformers designer" about occupation, and was also deeply impressed by the officer. It is not uncommon to be asked for a sign when participating in an event held in the United States. Even in Hong Kong, again. Transformers designers are very popular worldwide.
"To faithfully reproduce the image in the play is a mast, it is a masterpiece movie that requires a high degree of completeness as a transformer toy, so I bothered as much as I could breath, and the overseas fans got a weight There was a strong desire to be sensitive to marketing and to have a strong sense of weight.It was severe in terms of cost but this time we adopt die cast parts everywhere to give weight And I made the deformation difficulty degree a setting of 8 years old up.When I touched the transformer toy for the first time, I designed it so that you can enjoy the deformation easily by getting used. "... It will fit properly in the Camaro form It is terrible because it is. If you ask Mr. Onishi, he sometimes aimed for a car designer. "Actually, our company President Toyama was riding in Camaro's Transformers specification limited car released in 2010, and I have also tried it.It is very prominent in Bumblebee color, but also unique to the cockpit There is a view of the world, driving is fun "
The MPM-3, manufacturer's recommended retail price setting is 10,000 yen (tax excluded). It is a one-make product to be released under the TAKARATOMY brand logo as a universal specification, but although it had significant cost constraints, from the quality it can be said that it is reasonable. Bumblebee is a dream function carried by Camaro. That dream was very realistically reproduced and molded. It is wonderful that Mr. Onishi who likes cars designed it by driving Camaro. Whenever a new work of a movie transformer is made public, "Bamblebee is Speaking of Camaro", it is no longer promised. Mr. Onishi keeps his promise as a designer.
Also, at the dealer caravan event "Chevrolet Camaro Preview Tour 2017", the Transformers Specification (5th generation) Camaro owned by Takara Tomy and the Bumblebee statue exceeding 2 m in height are also on display. The future will be Chevrolet North Osaka (Minoh City, Osaka Prefecture) on June 24 and 25, Chevrolet Kasugai (Aichi Prefecture Kasugai City) on July 8th and 9th, Chevrolet Tokyo on August 19th and 20th (Tokyo Metropolitan Port Ward) and a caravan. Please check the power and precision of Bumblebee, and the profound charm of Chevrolet Camaro on this occasion.
Yuya Onishi (Oyunshi Yuya) Born in Higashi Osaka city in 1984, "City of Manufacturing". He is in charge of research and development of next-generation devices at the Panasonic Group. Joined Takara Tomy in 2011. In charge of planning and development of transformers overseas with mechanical engineering, car design / product design as backbone. Coauthored book "Monodzukuri 2.0 Makers' Movement in Japan" (Kadokawa Shoten).
On the right side of the photo, the vehicle mode of "TLK-01 Bumblebee" (2,800 yen / tax not included) with the motif of "Bumblebee of Transformers Last Knight" published on August 4. The left is "Vehicle mode of" MPM - 3 Bumblebee "(released on July 15, ¥ 10,000 / tax). Furthermore, the left is "MPM - 3 Bumblebee" robot mode, and "TLK - 01 Bumblebee" robot mode. Package is "MPM - 3 Bumblebee". On the left side, Mr. Onishi changed the vehicle mode from robot mode to robot mode in an instant while answering the interview that day Takara Tomi customer consultation room tel. 0570-041031 (Weekday excluding weekends and holidays 10: 00 - 17: 00)
Courtesy of Syfy.com, we have some more detailed information about the upcoming First Strike comics event from IDW Publishing and featuring pretty much the entirety of the current Hasbro Universe - plus the tease for Visionaries once the event comes to a close. The article brings us an interview with the two writers on the series, Mairghread Scott and David Rodriguez, artist Max Dunbar, and editor David Hedgecock, plus an unlettered preview of the first issue, and some covers (some we've seen, some we've not, like the thumbnailed First Strike #2 by Leonardo Manco). Check out some relevant snippets below, and head here for more!
Since First Strike is the second story in a trilogy with the Hasbro universe, is it packaged in a way that will allow newcomers to come in fresh, not having read Revolution? Folks still have time to catch up, but what’s the important stuff to know going in?
DR: I think the series works as a jumping on point without needing much catch up. The events that the reader really needs to know is that at some point in the past, Optimus Prime annexed Earth and begged forgiveness (not really) rather than asked permission. This rubbed a lot of folks the wrong way. But now Earth is getting a seat at the big kids' table on Cybertron and joining the council of worlds. But Colton, and some other upstanding citizens of the planet, decide that the risk is too great. The Cybertronians are an immediate threat and need to be dealt with. And even if you don’t know that, we set this up in the early pages of the series.
MS: The Davids and I have done everything possible to make this event very new-reader friendly. We add little things like captions to introduce a character the first time they show up and David Rodriguez and I have made sure the dialogue gives you a great sense of who these people are and what they want right off the bat. That said, if you like earning extra credit, you should check out Revolution from last year, the current G.I. Joe comics, Revolutionaries, Optimus Prime, and Till All Are One. I am 100% biased, but definitely read all of Till All Are One just because we’ve had a grand old time doing robot politics.
[...]
Will Cybertron give the Transformer characters an upper hand going in? Quoting a line in your zero issue, are the characters from G.I. Joe and M.A.S.K. for example, going to be out of their weight class?
MS: I think the Transformers are at a huge disadvantage. Joe Colton has been studying how to defeat them for years; he is a master strategist and has planned a decisive first strike (Get it?) to knock them completely off balance. They also have to try to fight off the villains while protecting their home and civilians. Transformers may be in a whole other weight class, but they have never dealt with a foe quite like Joe Colton, which is why Scarlett becomes so important, because no one knows Joe quite like her.
DR: I think it hinders the Cybertronians at first because it is SO outside of their personal reality. A human invasion of Cybertron isn’t really something they’ve ever considered, and even while it’s happening, they are still sort of like “well damn, we’ve got termites, we ought to do something about that.” And that’s the teeny tiny advantage Colton exploits to get the jump on them. But that only lasts so long before the Transformers remind everyone just how deadly 30-foot war machines can be.
[...]
Can we expect more titles besides the announced one-shots bridging this to the third act, presumably next year? After all, Revolution was just short of 30 comics after all of the one-shots and tie-ins were tallied.
DR: I’m sure one of our lovely editors would LOVE to answer this question.
MS: Hedgecock?
David Hedgecock: Everything you need to enjoy FIRST STRIKE is contained within the mini-series and the one-shots. Coming out of the event, we have all-new, exciting storylines that will be new-reader-friendly!
Given the reaction to Transformers: The Last Knight's robotic star Cogman, here's some news on the voice behind the bot: Jim Carter! Also known for his role in Downton Abbey, Carter was interviewed by YouTube channel HeyUGuys at the London premiere (images here and footage on Chicago here), and talks about his experience on set with Michael Bay and Anthony Hopkins. Check out the video below, and join the conversation in the Energon Pub!
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