Doll is a “wire”, a futuristic sort of sex-worker in which an implant in her brain allows clients to, effectively, “be” her for a period of time (think Being John Malkovich). The service is explicitly described and treated as being sexual in nature, and the various “wires” have generally been modiﬁed in ways to make this experience more satisfying for the various kinks of differing clients (the reader is, for instance, also brieﬂy introduced to a male wire named Cutter who has been augmented with technology to make him experience more pain, and heal faster, to appeal to masochists who wish to enjoy such activities without doing harm to their own bodies).
...I am completely on board with what Hine and Brathwaite are exploring here, and deeply appreciative to see someone going into some of the substance that lies beyond the threshold of the achievement of diversity. Diversity in comics is an incredibly important thing, and I wouldn’t for a moment belittle or dismiss it, nor would I downplay just how much hard work it takes to even achieve getting a minority presence into a medium or genre that’s historically been hostile to it. But once we break those barriers, once we get to the point of a certain kind of character being “allowed” in comics, we have to start looking at what more we can say about those things. There is, after all, a great deal more to being transgender than just… being transgender, and coming out or disclosing every now and then. It’s a whole world of complex human experiences, questions, identities, nuance and politics. And there’s much much more to sex work than simply being people who offer the service of sex in exchange for a predetermined sum of money. Again, that’s a whole type of human life.