Where’s Rhest for the Wicked? (pt 2)

June 20th seems such a long time ago.

At the beginning of the year, it had been the plan that my second novel – Samifel – would be released this past weekend.  But we’re still trying to get Rhest out the door.  The delays are the same – problems with the database, problems with the listing, etc – and they are fewer than before, but they persist all the same.  The timetable my publisher and I had been given proved not to pan out, but because of the nature of the business, there’s little to be done but to try and keep things moving.

Rhest for the Wicked WILL come out.  That isn’t up for debate.  What is, sadly, is a definitive release date.  We’re dealing with an international distribution system with numerous redundancies that have to all be satisfied.  Moreover, my publisher is trying to prepare the book for e-book distribution and availability, so that it can be bought for the Kindle and the Nook and the iPad as readily as in a bookstore.  All of this involves complex formatting and re-formatting.

It seems like it would be simple to do, and on paper it is.  In reality, it can be mind-numbingly complex to gain even a little traction.  And if something doesn’t work, it’s not just a matter of fixing the obvious; we first have to figure out what didn’t work in order to fix it.

And in the midst of all this, I’m once again grateful to my publisher – Haven Publishing – for spearheading this endeavor.  I’ve dealt with struggles like this before in publishing and ‘nightmare’ doesn’t even begin to describe it.

The first one’s always the hardest.  Once Rhest is out, future books will come along much easier (knock on wood).  But for now, we wait and play a day-by-day game of trying to further the book to completion.

Tools of the Imagination — Devastator (Gen-1)

Transformers Toyline, by Hasbro, released 1985

The Granddaddy of Transformers Combiners

Okay, let’s just go ahead and get it out of the way right now: with the exception of a certain five robot lions, Devastator is the most famous combiner in all of mecha fandom.  Oh sure, you can talk about Power Rangers, or maybe one of the seemingly infinite number of combining mecha shows that filtered into US audiences in the 1980s and 1990s.  But at the end of the day, Devastator (and we’re talking classic Devastor here, not the live-action movie’s Humongastator) is at the top of a class with very, very few peers.
Discussing the history of Devastator is sort of like discussing the history of ice cream (go ahead, look it up).  Everybody’s got a different theory and no two are the same.  There’s a great deal of debate within the fandom as to just where the character Devastator came from and what his origins are.  In the animated series alone, two different versions are offered, with additional versions cropping up in just about every single comic franchise that has come and gone.  Whatever particular version you prefer, it is widely considered canon that Devastator was one of – if not THE – first combiners in the Transformers universe, and his origin is intrinsically tied with another classic Transformer, the Autobot Omega Supreme.

When I say Devastator is a combiner, I mean that he is a giant robot whose individual form is composed of a team of (six) smaller robots known as the Constructicons (whom themselves have alternative forms; those being construction vehicles like a dump truck, a crane, etc).

It wasn’t until the second season of the animated series that Devastator had any combiner-peers and by and large, even after others came and went, he was and is still widely considered king.  He became the poster child of the combiners for the Transformers line and has generally been revered by anyone connected with the fandom ever since.
Appearance – 3 out of 5
Devastator the toy looks very much like Devastator the character out of the animated series.  The overall proportions of the character, the way he is physically built, and even how he transforms, all of it is well represented here.  Tactile details are bit lacking, however and there’s nothing overall about the character’s appearance to really make this representation stand out (especially considering that he’s smiling for some reason; we can only assume it’s related to the death and destruction of one or more Go-Bots).

Construction – 2 out of 5
Devastator has a lot of problems for such a large toy.  A lot of people playing with this toy back in the day may not clearly remember now, but the toy tends to fall apart rather easily.  The individual Constructicons, when combined into Devastator, generally do not snap into place (I’m looking at you, Hook and Bonecrusher; Devastator’s arms).  This means that if you tilt the toy, the arms stand a good chance of falling off.  Worse, the toy is constructed of inconsistent materials.  Some parts of the Constructicons are plastic while some parts are die-cast metal.  This makes the toys very awkward in their weight distribution.  The result is that even if you don’t move the toy, the arms may still fall off or the whole thing may topple right over.

Where Devastator deserves some praise is in the unorthodox manner in which the character combines.  Just about every combiner after Devastator would follow the same (admittedly reasonable and sound) pattern – a large, central character with four smaller characters who would attach almost like some kind of power armor.  Devastator is distinct in all six characters are of similar size and the manner in which each connects is unique.  Unfortunately, this necessitates having additional parts that are sometimes incorporated into the individual figures and sometimes are not (more on that below).

Movement – 2 out of 5
Devastator doesn’t move very much.  His shoulder joints allow his arms to swing, but there’s a risk that any time the toy is moved at all, one or both of the arm’s may pop off.  The elbow joints likewise bend and the hands rotate, but only by virtue of being pegs that stick into the forearm attachments.  There’re no waist, hip, or knee joints, nor can the head turn (though it can tilt down slightly).

Extras – 2 out of 5
Extras.  Yeah, about that.  This is a bit tricky because Devastator comes with a lot of additional pieces, but not much of it is really all that useful.  He comes with the pieces needed to combine (distributed among the various Constructicons), but they add little to nothing to the toys (they’re like snap-on attachments that don’t make any sense – why would a bulldozer need a drill on its hood?)

Each Constructicon does come with a pistol, but there’s nowhere to put those weapons when Devastator combines.  At their size, it becomes almost a foregone conclusion that they will get lost.  The result is that regardless of the form Devastator is in, there will be a pile of additional stuff off to the side.

Packaging – 4 out of 5
Each Constructicon came individually packaged with a distinctive picture of each character on the front.  On the back were character bios, statistics, and an overall explanation of the Transformers story as well as how the individual Constructicons combined into Devastator.  This kind of buy-and-play packaging, where kids not familiar with the animated series could still jump right in, was where Hasbro has always really excelled.


Overall – 2 out of 5
I feel like I’m being a little harsh here with this score.  This toy has a lot of flaws, but it is also really ambitious.  Having six robots instead of what would become the staple of five, having a unique combining method, all these characteristics lends some impressive credentials to this toy and helps explain why it and the character it represents have been so enduring.

Unfortunately, the plethora of random parts and the lack of overall mobility of Devastator and the individual Constructicons really does just standout too much.  While you can transform this toy from one robot into six, and those six into vehicles, you really can’t do much else.  If the individual Constructicons had more mobility, if Devastator had more mobility, if the individual parts (such as the weapons) combined like the robots themselves, this toy would rank much, MUCH higher very quickly.  As it is, though, this toy really stands solely on its ambition and memories idealized by the haze of childhood.

With Bated Breath

I had planned to update on Rhest for the Wicked, and how that ever-delayed project was coming along and what progress was being made.  But then I woke up to news of a shoot in DC, where multiple were confirmed dead and still more were injured.

It’s hard to talk about one’s art projects in the face of such an event.

There are two things I always notice during tragedies like these, going back to 9/11 and Columbine, and through the multiple mass shootings that have taken place (more than their fair share in DC itself).  The first is the United States’ concept of a tragedy.  If even a few people are killed, we call it a tragedy and rightfully so.

And yet, if literally hundreds of people are killed in a day in another country, that often doesn’t even get considered headline news.  Make no mistake, body counts alone do not define a tragedy; tragedies come in many shapes and sizes.  But we in the US enjoy a very unique fortune that such small tragedies can be considered earth-shaking.  That isn’t a bad thing at all – quite the opposite – but it would do us good from time to time to remember what is a tragedy for us can be a good day for others elsewhere in the world.

The second thing I always notice is how quickly people jump on their political soapboxes.  Monitoring the Facebook feeds of these events, I saw people in both the pro- and anti-gun control camps leap eagerly upon this tragedy to push their own agendas.  And it isn’t the political discussion I mind; it’s the timing.  There are people still dying in the wake of this chaos and the tactless position-pushers insist that stronger gun laws would have kept this from happening, or that if someone else had a gun, this would have been stopped.  One may be true, or both may be false.  But that discussion can wait.

‘What could have prevented this’ is a conversation that is held the day after a tragedy, not as one is happening.  The time and efforts for prevention have passed, at least for this event.  And so all that matters is confirming safety, limiting damage, and making sure everyone who can be okay is okay.  There will always be time to figure out what went wrong once things have calmed.  But when the Titanic is sinking is not the time to complain about the iceberg.

My thoughts and hopes go out to those in DC, and to their loved ones.

Tools of the Imagination — Michiko and Hatchin

Mitchiko and Hatchin
Produced by Shinichiro Watanabe and Manglobe Studios, released 2008, available on Hulu

Thelma and Louise meet Lupin the Third

When anime is mentioned, most people think of giant robots, adorable animals with special powers, hyper-dramatic martial artists with phenomenal powers.  In short, they think of sci-fi/fantasy.  And when you think of the lead of an anime show, one tends to think of the neurotic, young but well-meaning male either destined by fate or just in the wrong place at the wrong time.  And when you think about anime’s settings, it’s either a future version of Japan, or modern-day Japan, befitting the Japanese origins and heart of anime.

Michiko and Hatchin is different on all counts.

A show so realistic as to be gritty and often ugly, the show revolves around two women – the criminal & recent escapee Michiko and her daughter Hatchin – as they navigate an undefined (but very Brazil-like) Latin American country.

The show is hard to watch.  Not because of any flaws, but because of its tremendous perfection in execution.  The show pulls no punches, especially when dealing with poverty and crime, both of which are rampant throughout.  The nominal heroine of the story, Hatchin, is living with an abusive foster-family in a real-world Cinderella-like story.  Michiko, upon breaking out of prison, comes and liberates Hatchin before embarking on a nigh-Quixotic quest to find Hatchin’s father and Michiko’s missing love.

But the series is far from romantic.  Michiko’s delusions about her missing boyfriend, Hiroshi, are a common theme through each episode, becoming increasingly obvious towards the end.  The search for the deadbeat dad becomes increasingly dangerous and the danger-oblivious Michiko often dives right in with little regard for those around her, even Hatchin.

It’s an ugly world found in this story, one rife with corruption, brutality, poverty, and death.  And yet, somehow, hope is everywhere.  Each episode deals with the enduring optimism that blossoms even in those harsh circumstances.  And through it all, there’s the story of a mother and daughter growing together, even as they face mounting hardships.

Story – 4 out of 5
The story is simple.  After Michiko breaks out of prison, she’s endeavoring to reunite her family.  Pretty much every episode revolves around this one goal.  But as the situation gets more complex – especially with the involvement of multiple crime syndicates – things perpetually go from bad to worse, which Michiko and Hatchin just trying to stick together and keep their heads down as they try to survive.

If there’s one shining aspect about the story, it’s that NOTHING gets glorified.  Criminals are, by and large, extremely petty and filthy things.  Sexuality is often taken to its most base forms, passing well out of anything appealing and into the realm of just being gross.  Everything is laid bare in this series, but without being overtly caustic.  It’s just the way of the world that this story takes place in.

Art – 4 out of 5
The art is deceptively good.  It isn’t hyper-stylized, but it also never devolves into exaggeration like you might see in other anime series.  Characters are always in proportion, buildings always look realistic and believable, and even the simplest objects like guns and cars appear just as they would in the real world.

Animation – 4 out of 5
Much like the art, the animation is better than it first appears.  At an initial glance, the animation seems perfectly serviceable but nothing outstanding.  But as the show goes on, it becomes clear that there’s an understated perfection at work.  Movement is very fluid and also very realistic, with none of the blockiness seen in some anime seeking to cut corners.

Characters – 4 out of 5
Like the world, the characters are all well-developed, very realistic, and really ugly.  Hatchin alone is probably the single decent human being out of an otherwise sin-filled cast.  Every character is corrupt in at least one fashion (if not an array of vices) and every character is guilty of multiple horrific acts, even Michiko.  But the trick is that none of them are ‘bad’ in isolation.  While nobody is exonerated of their ills through their story, their motivations become clear and how a person could turn into whatever monster they have become is rendered very believable, if not familiar.

Acting – 3 out of 5
Having watched the Japanese voice acting cast, I can’t speak for the English team.  I do think there may be something to be said for watching the show with Spanish-speaking actors as the show is set in South America (with signs and announcements matching the location).  While the acting was not exactly outstanding, it was definitely more than adequate.

Overall – 4 out of 5
A four doesn’t quite exemplify how important this series is and deserving of being watched it is.  Anime revolving around female protagonists are kind of rare, especially women like this.  This is not a big-eyed schoolgirl drama.  This is an crime story, set in a very realistic world.  The blemishes of reality are on full display and then some.
Many people will watch this show and not ‘enjoy’ it.
Some people will watch this show and not ‘like’ it.
Everyone will agree it’s ‘good’, and a rare gem deserving of attention.
If you want to see some female protagonists challenge our notions of women-characters and heroines, then this is a show to watch.  If you want to see a show that stretches the limits of what anime can do, then this is a show to watch.

Promise of the Future

I watched someone’s life get saved this weekend, all thanks to the Internet and social networking.

An alert went up Friday night about a missing person.  It was someone I didn’t know and don’t believe I’ve ever met, but someone whom many of my friends considered to be a close friend.  My Facebook feed was littered with notices of ‘have you seen this person’ and ‘this person was last spotted…’.  Friends from many different spheres of my life posted alerts, looking for the person in question.

I threw up a copy-and-pasted alert, hoping to extend the reach of the alert.  All I did know is that this person – whom many I consider to be friends were very worried about – had made a worrisome Facebook post and then just up and disappeared, with no further contact.

This morning, I awoke to find that contact had been made and the individual was safe.  A healing process began, both for a community and for the individual whom, regardless of what they were going through personally, must have taken away some comfort to know how loved they were and are.

It was amazing to see.  In the past, when most people have talked about Facebook, it’s been to complain about the newest interface or to suggest that social networking was replacing real-world networking.  Many people level a great number of complaints against the digital age – one where social media is king – and for good reason.  But this time, someone discovered how much they mattered to many people.  And I get the impression that a life was saved.  Maybe that’s an exaggeration, or maybe the life that was saved wasn’t the person who went missing but the person who witnessed the public cry for support and realized that maybe they matter to that many people too.

Whatever the details, I took away from the events of this weekend something remarkable and inspiring, and very hopeful, about the digital age we live in.