Transformers #25: A New Beginning

Transformers #25 kicks off a new era for the series under the writing talents of Robert Kirkman and the amazing art style of Dan Mora. While this is the 25th issue of a much longer series, it also serves as a great jumping-on point for new readers, while still continuing the story in a way that satisfies long-time fans. It’s no secret that Kirkman is the mastermind behind the Energon Universe, also writing Void Rivals. As this new chapter begins, the big question on everyone’s mind is how this series will change and how well it will connect and blend with the other pieces of this universe.

The issue opens with Megatron screaming at his subordinates, the Decepticons. While the segment has some very serious moments, it’s impossible not to notice some of the funnier lines that come out of Megatron’s mouth. For example, he hurls personal insults at each of his soldiers. Toward Scavenger, he sneers: “I suspect your darkest fears about your… inadequacies are true.” While the others are ridiculed for being cowards or weak, this insult feels especially pointed and almost comical. This moment also resolves a major question readers had: did Starscream kill himself, or was he killed by Megatron? It turns out he did take his own life, followed by Megatron stomping on his lifeless body, cementing the end of their partnership.

This opening also marks the handoff from Jorge Corona to Dan Mora. Corona was a master at defining what this new generation of Transformers looked like, building on the foundation set by Daniel Warren Johnson. His art in this issue is nothing short of stellar, especially in the way he captures the aggression and agonizing authority of Megatron, complete with a gaping wound running from his shoulder down through his torso. While this segment solidifies the current state of the Decepticons, it also acts as a fitting bookend to the wonderful saga Corona and Johnson gave us across the first 24 issues.

From there, the story picks up with the aftermath of the major battle between the Autobots and Decepticons. Strangely, some staples from DWJ’s run have disappeared entirely, while others remain in ways that feel almost like an homage. For example, Spike, Carly, and Shredhead are nowhere to be found, despite being central to the action in the previous issue. Conversely, one of the signature elements of DWJ’s run, the wrestling-inspired combat style of the Transformers, makes a return. While sifting through the wreckage, the Autobots discover Soundwave, which sparks a fight with Optimus. The brawl plays out with the exaggerated, high-impact rhythm of pro wrestling, serving as a clever bridge between the two creative teams’ storytelling styles.

As the issue progresses, Kirkman wastes no time introducing concepts that seem poised to play a major role in his take on the series. Optimus encounters a U.S. military faction called Shadow Watch, led by Miles Mayhem, a familiar villain from Transformers lore. This faction holds several secrets, giving the impression that things may be too good to be true. While DWJ’s run emphasized partnerships between Transformers and humans, this new development seems to hint at a deeper connection between the military-driven G.I. Joe side of the Energon Universe and the spacefaring war of the Transformers.

Speaking of bridges, another major thread is the reintroduction of the Autobots’ home base, the Ark, which had disappeared several issues ago. Its sudden return remains a mystery, though there are hints that it ties into events unfolding in Void Rivals. This tease of interconnected storytelling highlights the long-term vision for the series, especially under its new creative leadership.

Of course, it would be impossible to discuss this issue without spotlighting Dan Mora’s debut as artist. His style fits the franchise beautifully, evoking the classic cartoons in the way many characters are portrayed. At the same time, he incorporates elements introduced by Daniel Warren Johnson, without ever slipping into imitation. The action sequences are sharp and dynamic, while the quieter character moments are handled with care, especially an early interaction between Optimus and a little girl, where his kindness comes through in subtle gestures and expressions.