Optimus Prime is suffering post-traumatic stress from his months as a prisoner of war. His followers are turning on each other and the Decepticons’ interim leader Soundwave hatches a fiendish plot to exploit their weaknesses. Marvel UK presents the exceptional Crisis of Command.
If I were to think of my top 10 all-time favourite Transformers stories, I’m certain Crisis of Command would be up there. What is it about this tale, published over three weeks in January 1986, which still strikes a chord more than 34-years later? Put simply, Crisis has all the elements of a great Transformers story. It’s a personal journey of redemption for Optimus Prime, who we see at his most vulnerable and later at his best; it’s the values of the Autobots and the cruelty of the enemy brought into sharp contrast; and its Soundwave at his magnificent cruel and calculating best.
Remarkably, Crisis is one of the few Marvel UK Transformers stories that was not written by Simon Furman. Instead, Mike Collins (of Man of Iron fame) and James Hill share the honours. The superlative Geoff Senior (my favourite TF artist of the era) debuts on the first two parts, with John Stokes illustrating the third and final instalment.
Crisis takes place in between the US story Prime Time (in which Shockwave is hurled into a swamp by Optimus Prime) and Rock and Roll Out where he reappears. As far as the American audience was aware, the Decepticons were quickly reunited with Shockwave and it was business as usual. In the UK comics however, nearly three months passed in which the Decepticons were missing both Shockwave and Megatron.
So, with Optimus restored and the enemy leaderless and outnumbered, the Autobots enter the new year with the advantage. However, that’s not how things pan out, as we soon see.
The story opens on the Ark and a heated argument between two camps of Autobots. Hawks led by Prowl argue they must use the Creation Matrix to create an army of super soldiers against the Decepticons. Jazz and fellow doves are horrified by talk of hunting down and destroying the enemy, calling it “Decepticon thinking”. This is somewhat naïve – they are at war and have been for millions of years. A continuation of the status quo would inevitably mean more lives lost, so a case can be made for the ends justifying the means. Jazz does make an important point though; how would they fuel these super warriors given they have barely enough for themselves? Prime, meanwhile, sits on a golden throne in the middle of all this, his thoughts elsewhere. As Ratchet implores him to give some guidance it is apparent that Prime’s odd behaviour at Christmas is getting worse.
Finally, he speaks, reminding the Autobots (in typical Optimus speak) that he is “not a warrior by choice”, he fights because he must. He allows Prowl to expand on his ideas and Senior does a great job in drawing the imagined giant Autobots in their full menacing majesty (looking like a cross between Omega Supreme and Sunstreaker). Prime gives the plan short shrift saying the price the Earth would pay would be cataclysmic.
His words settle the argument for now, but there is discontent and several Autobots wonder if Prime is fully himself. In the shadows the Decepticon master spy Ravage is fascinated by the prospect of the Autobots starting to doubt their leader.
We get the strongest indication that Prime is likely to be suffering from post-traumatic stress as a result of his long spell detached from his body as a helpless captive of the Decepticons. The Autobots had not hesitated in making him leader again, but Prime is having doubts whether he is still the right robot for the job. He thinks the discontent he heard suggests others are starting to doubt him too.
Ravage places a paw into the light and triggers an intruder alarm. A small nit-pick, but how are these alarms are not routinely sprung by the Autobots themselves? Ravage leaps across Prime and past Prowl and a couple of unidentified warriors – Prowl and Jazz and unified against this common enemy. Ravage fires a missile into a group of Autobots, proving that he’s able to cause serious damage despite being alone and outnumbered. However, once outside he’s deceived by a Mirage hologram and ensnared by Hound’s energy net. On a cliff high above, Laserbeak observes the capture.
And so, to the Decepticons, the other half of this crisis equation. They have regrouped at Fortress Sinister, their original base. Poor Starscream, you almost feel sorry for him. He’s craved command for so long, and with Megatron and Shockwave out of the way, this should be his moment. However, he’s easily dismissed by Soundwave (with one of the best put-downs ever) as a “missile with a mouth”. If they followed his foolhardy instincts and attacked, not knowing what forces lay in wait, they could be utterly defeated. Even Starscream’s attempt to turn the tables on Soundwave – blaming him for Ravage’s capture falls flat – as it’s revealed that this is part of a master plan.
Sure enough, Ravage uses his electromagnetic abilities to easily disrupt the force field in his cell and escape through it. The Autobots have seen his abilities before (in the encounter with Aunty) and should have known better than to leave the cell unguarded.
Fact files on new, still-to-be-introduced characters Blitzwing and Tracks, and the conclusion to the Machine Man of 2020 back-up strip, ensures a fantastic start to 1986 for the UK Transformers comic.
James Hill picks up the writer’s baton for part two. It opens with Bumblebee racing across the desert in search of the escaped Ravage. We learn, via flashback, that Bumblebee had discovered the Decepticon’s cell empty and had reported the news to Optimus Prime. He was shocked by Prime’s indecision and how he was easy prey to his deputy Prowl’s more aggressive instincts. Instead of ordering Mirage and Hound to affect the capture (as instructed) he decide to go after Ravage himself.
Bumblebee apparently possesses infrared vision. We see him use it to pick out Ravage against the arid landscape and then pursue him through a narrow canyon. What happens next is superbly executed. Hill has Prime narrate over the action as the penny drops that Ravage was captured far too-easily – he must have planned to escape all along in order to lure as many Autobots as possible into a Decepticon trap!
This is exactly what Bumblebee now stumbles into, as he’s suddenly face-to-face with eight heavily armed Decepticons. Even with their most powerful warriors absent, the Decepticons are a force to be reckoned with, especially how Senior draws them here. Forget fair play – they are more than willing gang up on a lone opponent and enjoy playing the playground bullies.
First, Bumblebee is thrown in the air by a Laserbeak missile attack, then Skywarp easily absorbs a punch the Autobot throws, before making him eat dirt. The seeds that were planted last issue come to fruition as the Soundwave reveals his sinister plan is to exchange an Autobot hostage in return for Optimus Prime. To be fair to Bumblebee, what he lacks in strength he makes up for in courage. He makes a final desperate attempt to escape, transforming to vehicle mode (and almost succeeding) until he runs into Starscream (this allows Screamer an opportunity to redeem himself in front of his comrades after last issue’s humiliation).
If the ambush was the first shock of the issue, then what follows is the second. The Ark’s sensors pick up a distress signal – it could be Bumblebee, except its airborne. The Autobots rush outside and see Laserbeak drop something. Thinking it’s a bomb, they dive for cover. There’s no explosion and as the dust clears, they are confronted with the severed arm of their missing comrade. Harsh!
Fans of Bumblebee were warned they would not enjoy this issue! However, it’s a powerful ending and ably demonstrates the ruthless and devious side of Soundwave, who is effectively accepted by the other Decepticons as acting leader from this point. He knows the Decepticons are numerically inferior to the Autobots at this point and unable to repel a full-scale attack, but if they can eliminate the Autobot leader it could be a game changer.
In the concluding part (by Mike Collins with John Stokes taking over the art) Laserbeak throws down the metaphorical gauntlet (Bumblebee’s arm) to Prime to come and rescue him alone. It’s one of the rare times Laserbeak speaks but it might be that he’s playing back a message from Soundwave. And so, the stage is set for some vintage Optimus Prime action. With the great Autobot having regained the resolve that had earlier deserted him, he announces he take up the challenge alone.
I think Prime is being a little hard on himself for blaming Bumblebee’s capture on himself. Sure, he could have seen through the charade of Ravage’s capture, but he wasn’t to know that Bumblebee would have gone after the Decepticon alone. It certainly seems incredibly foolhardy for him to go into the viper’s nest alone at this point, but it does make for great drama.
The news of Prime’s approach is music to the ears of Soundwave – and we also see Bumblebee captive but very much alive. Rumble shakes the ground from under Prime forcing him to crash and revert to robot mode. He fakes injury, luring Rumble in and the mini-Decepticon is easily beaten. The pay-off from the cover (depicting a ‘Jet Trap’) comes now as Thundercracker deafens Prime, Skywarp appears out of nowhere to blast him in the shoulder and self-proclaimed ‘leader killer’ Starscream arrives to finish the job.
But the enemy’s boasts serve to remind Prime of his greater purpose. The words of Emirate Xaaron who entrusted him with command and with stopping the Decepticons millennia ago (in the 1985 annual) come back into focus. Prime revives, punches out Skywarp and Thundercracker and then takes on the quivering Starscream. In fact, he gives Starscream a free shot before punching the wings off him (any claim he had to leading the Decepticons as Primes equal and opposite look ridiculous now).
There’s then the pay off as Soundwave is taunting Bumblebee with the reports that Optimus was defeated. “Where is your saviour now?” he asks, as Prime throws Starscream’s weapon into the room and walks in looking bruised and battered but every bit the unstoppable force. Soundwave, having been taken by surprise is easily repelled, and Laserbeak succumbs to a single punch. In Soundwave’s defence he is much more of a strategist than a fighter, tending to use his cassettes to do the dirty work. Bumblebee, jubilant, tells Prime to finish off the Decepticons. It’s either foolish, or to Prime’s credit (depending on how you look at it) that Optimus passes up the opportunity in order to get his wounded comrade back safely. One thing is for sure, the Decepticons will be back.
Later, Prime tells his men that he has considered the argument for creating super soldiers and rejected the plan. The Matrix will not be perverted. This time there though, there is no dissent, as everyone recognises that Optimus is back to his best. Ironically, he has the Decepticons to thank for snapping him out of his melancholy.
In summary, Crisis is a story about courage and the triumph of good over evil. It’s also about leadership and different examples of it. Prime took up command for selfless reasons, and his position stems from the respect of the Autobots. Soundwave earns primacy through his sense of strategy, cunning and opportunism that inspires the confidence of his comrades. Starscream fails as he basically seeks the leadership out of an overinflated opinion of himself.
Having praised Senior’s incredible job on parts one and two, Stokes also deserves plaudits for the way he conveys the emotions of the characters – Starscream’s fear, Bumblebee’s despair and relief – really well. The pay-off of Prime’s triumphant entrance into Soundwave’s lair to save the day is his best work on the title. The scene is enough to make even the most cynical fan punch the air in triumph.