Thursday, June 15, 2017

Reflections and Lost Identities

My wordbound week 23 entry! A scene that prominently features a mirror

            She did not know how long she’d stood in the bathroom, staring at her reflection above the sink. For a while she had held it in a death grip, mind a whirl of emotions and doubts and furies, but her grip had lessened as the inner monsoon dulled to the barest breeze. Hands hung at her sides, loose and weak, all the energy having drained from her body.
            The face that stared back at her was familiar, but grew more alien with every passing second. She knew every line, she knew the story to every scar, but with the faintest flickering of panic she began to question whether she did or not. Memory was a fleeting thing, and though she was not inclined to the philosophical – or, in all honesty, many esoteric and not concrete pursuits – she pondered this idea. How perhaps memories could be shuttled from one brain to another, with the right synapse stimulus or the right brain rearranging. Not for the first time that evening, a chill ran up her spine, and though a small part of her wished to wrap her arms around herself in a reassuring embrace, she could not gather up the will to do it.
            She looked at the dark hazel of her irises, calling up a memory of how a boy in high school had complimented the streaks of green one could see if they got close enough. Her vision drifted to a scar that cut through her eyebrow, leaving an awkward part, one she had gained in a fight defending a fellow classmate; a class ring right to the face. She’d been proud of it. Next, her hair. Long and flowing, she could hear the distant imprint of her mother’s voice, cooing over how beautiful it was. How it would be a shame for it to be cut; a tragedy of a beautiful thing lost to the world.
            Wrong. All wrong. It wasn’t hers, it had never been hers. Someone else’s memories, someone who bore her face and her name but had died long, long before. She was impersonating a corpse, a zombie infiltrating the living and she hadn’t even known it. No one seemed to realize it. Not this body’s family, nor her friends. She slipped into the role effortlessly, as if nothing had changed, even if everything had.
            Her fingers flexed at her sides, suddenly restless and desiring to move. She knew that she – no, this woman – kept a pair of scissors in the medicine cabinet behind the mirror, to cut away uneven strands that didn’t require a full trip to a hairdresser. Shaking herself out of her daze, forcing herself into the present, she opened the cabinet, and pushed aside bandages and pain killers (ones she never needed, but kept around just in case) to find the scissors. The dull panic that had controlled her the past few hours was ebbing away, giving to a sort of confused fury that burned through her like a virus.
            She shut the cabinet to be confronted with her reflection once more. Her chest heaved and her face distorted into a snarl, as she reached up to wind her fingers through her thick brown hair. In the back of her mind she could hear a voice, her – no, not hers, this body’s – mother’s, complementing the pale shade of brown that pushed it towards blond. How her hair was her greatest asset, a nice accent to her muscular body. She sneered further, nose crinkling and eyebrows furrowing and her teeth baring to rip out the throat of an unseen enemy.
            Without hesitation she raised the scissors to her hair, pulling it taunt enough to strain at her skull. She took a deep breath, one that hissed between her clenched teeth, and snipped. She sawed through the thick bundle, feeling the weight fall away and strands falling to tickle the back of her neck. The cuts were amateur, ragged and everything was at an angle but she didn’t care; she just needed to do something for herself. To set herself apart. To distance herself from her reflection, from a dead woman whose name and face and memories she bore.
            She slowed, took a few deep breaths that shook in her chest to calm herself, and proceeded to even the cut as best she could. Then, she stared at her reflection. The face was still the same, bore the same lines and scars and stories, but her hair was different. It sat at an awkward bob that reached just past her chin, halfway too her shoulders, with the foot of now lost hair sitting in a sad pile at her feet. She wanted – no, needed – it shorter, but supposed that could wait. She would redefine herself, form a new identity from the one handed to her, and try to do her reflection proud.

            But at that time, she supposed all that was left to be done was to clean up the mess she’d made.

Sunday, June 11, 2017

More Than Meets The Eye: Gay Robots In Space

Note: trigger/general warnings for the comic at the end of the review, if you want to skip to that!
Other note: This comic has a soundtrack that’s worth checking out it’s amazing and I’ve been listening to “I Knew Prufrock Before He Was Famous” nonstop

            I don’t have much knowledge on Transformers. I saw the first Bayformers™ movie when it first came out a handful of times, because I have terrible taste and was a horrible child at the time. Beyond that, I knew it was a franchise based on a children’s toyline from the 80s- the male counterpart to the My Little Pony franchise. They turned into cars (or other manner of vehicles and devices), and there was a war on Cybertron between the Autobots, led by Optimus Prime, and the Decepticons, led by Megatron. Orson Welles was involved at some point. Due to my minimal exposure, I always brushed it off as a silly thing for straight guys.

            Recently a friend of mine began reading IDW’s Transformers: More Than Meets the Eye by James Roberts, and I was intrigued by it. As a member of the LGBT community I’m always drawn to things with gay characters, and as a horror fan I enjoy well…horror. This comic, it seemed, had both in spades. I admit that after several days of being interested, I was pushed into checking it out after this friend sent me a panel of a villain, Overlord, taunting one of the heroes rather late in the comic over the death of another character (if you’ve read it, you’ll know the scene I’m talking about). It’s morbid, I know, but I like what I like.

            I went in with expectations that I admit were rather low; I saw some notes on TvTropes about the comic drawing from real world situations, but I brushed them off, due to the frequency at which I’m let down. I expected to have, at worst, a fun comic with gay robots and lots of horror & “robo gore.” I was hilariously wrong and utterly blown away.

            The story of More Than Meets the Eye (and its sequel comic, Lost Light) is as follows: the war has ended after millions of years, leaving the remaining Cybertronians to rebuild their destroyed planet and society. Rodimus, an overdramatic glory-hound, has other plans. He gathers up a group of misfits and goes on a quest to find the legendary Knights of Cybertron on the ship the Lost Light. The cast includes (but is definitely not limited to): rules hound Ultra Magnus; Chromedome, a skilled mnemosurgeon suffering from depression, and his conjunx endura (essentially, husband) Rewind*, a friendly historical archivist; the stoic Cyclonus who is most definitely not a Decepticon; Brainstorm, a mad scientist; and Whirl, who loves a good fight and will provoke people to get one. After a disastrous launch, the crew embarks on adventures, encountering horrors and new friends (and foes) on their quest.

            At its heart, More Than Meets the Eye is a dramedy. The charm of the comic comes from the interactions between the crewmembers and those around them, in addition to reactions to the situations they find themselves in. This ranges from throwing a storytelling session in an attempt to bring the ship’s psychiatrist out of a coma, to dealing with a doctor who’s replaced his hands with chainsaws, to encountering a dead quantum duplicate of their captain (who decides that the only way to prevent his death is to cut off his own arm).

            While there is a strong feeling of found family and friendship throughout, friction leads to sharp dialogue as the characters snipe at each other.

[Rodimus, speaking to Minimus Ambus: “What was that? What was that supposed to be? The opposite of a pep talk, that’s what that was. God, I was angry, now I’m angry and depressed.”]

The character quirks and humor won me over pretty quickly, since it all highlighted the sense that none of these people had any business being together, let alone being on a quest together. But nonetheless, they cared for each other… to a certain extent. It reminded me a lot of Firefly, just with robots who turn into cars and stuff (I’ve also seen comparisons to Star Trek and Guardians of the Galaxy).

           What truly caught me off guard, however, was the depth of the drama and political intrigue. This pulls no emotional punches, and I found myself near tears on several occasions. From the end of issue 15 all through issue 16 was an experiment in how sad James Roberts could make me, apparently (I started crying as I type this because I thought about Chromedome saying “that makes it sound too grand” to Skids). Characters can and will die, often in horrible ways, as a lot of factions and feelings left over from the war kick up trouble. Despite the comedy, the emotional weight remains grounded and I never felt like something didn’t hit the mark.

            The political angle of the comic is likely my favorite part. It spoke to the historian core of me that constantly wishes that authors would do more research on real world scenarios and situations for their stories. There were several times I had to stop to send panels to a friend of mine – who is the same way, and knows a lot about the Russian Revolution – so we could talk about it. By rooting the political situations of Cybertron in very realistic movements and situations, Roberts’ worldbuilding and stories allow for an alarming relevance to situations in the modern day world. There are comments on universal healthcare, commodification on knowledge and education, and there’s even a plot point regarding a false flag operation to vilify the then progressive Decepticon movement. The world of Cybertron, up until the war, was highly segregated and Megatron, a lowly miner, was an outspoken opponent of the class system.

            Another note. A big note. This comic is really gay. I cannot express to you how gay this comic is. The main couple is gay, all the mentioned relationships have been gay, and it’s a weirdly wonderful experience. I’m so used to having entirely straight casts, with maybe one or two gay characters tossed my way, but to read a story where there hasn’t been a single straight romance? It’s amazing. It’s beautiful (note: as of now the closest to trans rep Transformers as a whole has is Arcee, and the less said about her the better. This is not Roberts’ fault). And to add, the comic averts the “being in love cures mental illness” trope- despite being in a very loving relationship, Chromedome is still severely depressed and struggles with self-esteem.

            The comic does require a major learning curve, as it throws the reader in with terms and people that newcomers likely will not know. I spent much of the first few issues in a bit of a daze, trying to get a grasp on the “Who”s and “What”s and admittedly, even now I need to take a moment to remember which robot is who. The distinct voices help this, but it is still a present problem.

            I have some personal quibbles with the current direction Megatron is going, as of issue 6 of Lost Light. I am not a fan of “violence is never the answer” within stories, and I instinctively sideeye them. However, it is too early to tell and I will withhold judgement until there is more on that plotline.

            If you’re a fan of the likes of Firefly and Guardians of the Galaxy who always thought the two could stand to be gayer, with a taste for horror and strangely grounded politics, this comic is certainly worth your time. 4.5/5 stars

A few warnings:
  • ·         This comic is gory. Like, really gory. Like, there’s an entire arc called “slaughterhouse” where a ship has had its entire crew tortured and killed, with the one survivor having been forced to watch all of it. They’re robots but it’s still violent
  • ·         There is frank mention of wanting to commit suicide in several issues and it is something Chromedome blatantly struggles with. A character, Red Alert, attempts it (but survives because they’re robots)
  • ·         The comic has a strange relationship with the “bury your gays” trope. As previously stated every relationship in this comic is gay, but there’s plenty of tragedy to go around. The main gay couple, after a long period of tragedy, is alive and well however



*I was predisposed to love Rewind because he’s basically me as a robot. I too am a short gay historian (with dreams of being an archivist).