One place I think we’re getting stuck (or I am, with you, in this case) is the way your problem with the story seems to be that they ‘made Spike a bad guy’ when at the end of ‘Police Action’, I still don’t see him as a ‘bad guy’. I see him as a cocky jerk, yes
I would disagree. Spike is a bad guy here. Gratned, that is based on what I see as a more or less omniscient reader. (Meaning that if I was in setting with Spike, I would likely not know that he was a bad guy, and would thus have no problem with him.) But, yeah, Spike is a bad guy.
He abuses his station, (which it is implied he was given more than having earned for himself), while not even acting in a manner becoming of it. He misappropriates public resources for personal vendettas. He makes impulsive and personal decisions with tactical and strategic implications. Spike is far from heroic, admirable, or even acceptable.
(Again, that is based on what I can see an an omniscient reader.)
Spike represents a human viewpoint that prioritizes humans and wants to be prepared against Transformer threats via any means necessary, even if that means *temporarily* dealing with a member of that same species.
I read Spike's justification as a convenient post-hoc rationale for things he would have done anyway. He was more of an opportunist than principled.
that there’ve been less clearly-defined ‘good guys’ and ‘bad guys’ and more just multiple sides among the Transformers and Humans each with their own agenda, going about achieving them their own ways.
This I agree with.
Pennington and the whistle-blower (whose name eludes me) are distinct from Spike. The whiste-blower undermined her boss' objectives and interests, but arguably had legitimate reasons. Penington was a good guy all around.
On the TF side, Jazz had legitimate reasons to kill that cop, even while the cop had completely sensible reasons for wanting to kill Bumblebee and the other injured Autobots.
Can anyone really blame the Russians for thinking about nuking the TFs in North Korea? (I mean, wouldn't you consider it?)
Again, that's not the same thing.
Every example I gave involved trusting an enemy in a high-stakes situation.
Oh yeah, and even during the first arc, nowhere was it ever even hinted that he had some backroom dealings going on (Spike either).
Spike is shown to have all kinds of stuff going on. That man liked to dip his fingers in to a bit of everything. Buying from Swindle was just one more thing. We do not need a page showing Spike buying weapons from a shady robot in a trenchcoat. Nor do we need the big reveal to be a "mwahahahahahaha" moment complete with flashbacks and a play by play. Either would actually be kind of stupid.
And even then, he shows a lack of trust on his part when he goes AWOL to kill Scrapper.
That was not a lack of trust. That was a question of Spike effectively breaking the law for personal reasons and wisely trying to not get caught. If nothing else, he did not tell his human superiors about killing Scrapper or any of his extra-curricular activities.
This plot twist didn't feel planned. It didn't feel natural. It felt like Costa wrote himself into a corner, realized that no one gives a shit about Spike killing Scrapper, realized Prowl's the last person to lecture him about morals, and realized he needed a quick way out.
There are two things wrong with this.
-Nobody cared about Scrapper getting killed because they missed the whole damned point of Spike killing Scraper. That is the fault of the readers, not the Costa. (As noted in the comics thread, I may have missed an important plot-point or two in "Moon Knight". That is my fault for being lazy/hasty in reading the comics, not Bendis' fault in writing them.) Costa assumed that people would recognize what Spike was actually, rather than just sitting back ans saying "well, Scrapper was a bad guy, so it is okay to kill him". And, yes, killing Scrapper probably made everybody a little safer. But, the real reason Spike killed Scrapper should make everybody, including Prowl, a little nervous.
-Does anybody really think that Costa, or any writer, just throws together their product at the last minute? Does it really make sense that Costa would have realized that Prowl had been underhanded in the past when he was halfway through writing issue 29, or maybe, just maybe Costa deliberately chose Prowl for just that reason?
Dom
-thinking it more this fandom actually.