Matt Fraction, Christian Ward,
There are certain stories that are, essentially, immortal, which will be told and retold for as long as humans tell each other stories. The Norse Sagas, the Ramayana Cycle, the Epic of Gilgamesh and, of course, Homer’s Iliad and The Odyssey; these stories and characters have been passed down through the millennia, they remain in our shared, collective imagination and dreams because they speak of very human elements that we 21st century types still share with our Bronze Age ancestors, of human pride, arrogance, love, hate, of the whims of fate and the struggles of life. And, simply, because they are bloody good stories. And as such they are also endlessly open to re-interpretation in every medium, because their basic elements can be refitted and interpreted to each new generation. And here, as you may infer from the title, Matt Fraction and Christian Ward are taking the Odyssey, the epic Classical tale of Odysseus (also sometimes known as Ulysses), the crafty warrior of Trojan War fame, and the voyage of his vessel home after that decade of war, a voyage wrecked by capricious gods and fates, turned into a long trial of endurance.
“Leaving behind the last century, leaving behind all their dead and their loss: Paris the coward and killer and thief. Here where Keles last stood. Here brave Hekta was bodily disgraced in death. Here where so many great women died. Three ships leave Troiia’s remains. Three adventures now start. Three great heroes begin their last odyssey…”
Except here Fraction and Ward transform Homer’s epic into a great space-faring, science fiction tale, but an SF version of The Odyssey which is also gender-swapped: this is an epic of great women heroes and goddesses. And so instead of the crafty Odysseus we have “cunning Odyssia” and her fellow Achaeans at the sack of the siegeworld of Troiia, the only male visible being He, now on a collar like a dog, “thousands of swiftships once launched in his name”, now but a spoil of war for the victorious captains. The final ships make their sacrifices to the gods – again all female, save for the “mother-father” who partakes a bit of both genders in this female-centric universe – for a safe voyage home after their long, long war. But those familiar with the Odyssey will already know that this is not a voyage that will go smoothly…
“Well, Olympians? What say you now? The war is over. Where shall we find our entertainment?”
Yes, Fraction and Wards’ gods of the stars are as capricious, malicious – and downright mean and childish – as those ancient Greek gods of Homer’s day, less interested in helping mere mortals, more in using them as playthings. The war over, how shall they find their diversions now? Well, there’s this long voyage home, a lot could happen, and these gods are quick to take offence and equally swift to deliver revenge for slights, imagined or real (never hurts to be able to justify your violent actions, even if you’re fooling nobody, a sexed-up dossier is still useful for justifying your actions, eh?). One reprimands the Mother-Father, telling her it is vulgar to find pleasure in creating new tortures for great women like Odyssia, while another declares “why should we let these bloodthirsty wanderers roam our spaceways so freely?” and more talk of punishment for their hubris (and as is often the case in Greek myth, when the gods argue about human arrogance, pride and hubris they epically fail to see that they themselves are displaying exactly the same qualities. Never trust a god). It is quite clear that any excuse will be taken by some of these petty gods to inflict suffering and misery.
I don’t want to spoil the story too much here – yes, it does generally follow the line of the Odyssey’s arc, so if you know your Homer you will already have a fairly good idea where this is going. But that’s part of the joy of it for those of us forever in love with the great Classics, in seeing how Fraction and Ward will tell their version of this ancient tale, of the clever re-imagining and re-workings of those events and characters, such as the gruesome encounter with the vile Cyclops, or the dream-like lure of the lotus eaters. Those not so familiar with the original though, are still in for a treat – there is a reason this story has stayed with us for over two and a half thousand years, after all – and after reading it you really should seek out the original Odyssey, one of the cornerstones of world literature.
The gender and science fiction components of Fraction’s version of the epic are intriguing, a fresh take on an old tale, well-told, and it’s interesting to see crafty Odysseus of legend still being the same clever, devious and brave figure as a woman, a reminder that the both the heroic aspects and our not so fine behavioural traits are not confined to one gender or the other. And Ward’s artwork? Oh, but Ward’s artwork is utterly sublime here, from the curving swiftships (mentally linked to their captains and crews) to the various bickering gods, from scenes of carnal sensuality to cannibalistic horror and vistas of distant stars. And on top of this some quite remarkable use of colour, giving some scenes an amazing, vibrant intensity, sometimes almost a visual cacophony, an overload, like being on a trip, as if someone had taken Brendan McCarthy’s innovative palette and thrown a Psychedelic Bomb into the paint, a riot of colours, forms and unusual page layouts adding to the otherworldly feel of the story and inviting the eye to linger and drink it in – a wonderful reading experience.
This review was originally penned for the Forbidden Planet blog