Saga by Brian K Vaughan
It was such a distinctive tale. Think of Romeo and Juliet—a pair whose families are at odds with one another, but in Saga, their stories don’t necessarily come to a happy conclusion. They leave town together and conceive a child, running the risk of upsetting everyone’s world if anyone learned. Instead, the narrative is focused on a conflict between the inhabitants of the planet Landfall and those of its moon Wreath. No one can recall a time before this conflict, which has lasted for a very long time. We have some folks from Landfall who have wings, and some from Wreath who have horns (Distinctive features to tell them apart).
Saga by Brian K Vaughan
Amazon.com
Father Marko (horn) and mother Alana (wings), both soldiers, laid a target on their backs by having this love child and by remaining in the war. They are hunted down and killed by a group of hired killers (freelancers). We follow them on their quest for survival and for the security of their daughter. Along the way, we get to meet several interesting personalities and observe how everyone is impacted by the protracted conflict that has bred animosity and division among them. In Saga, a lot of storylines are developing.
On opposing, sides of the terrible conflict between Landfall and its satellite, Wreath, Alana and Marko were born. Without any formal contact between the two sides, the war rages throughout the galaxy, destroying world after world. But, Hazel, the child that Alana and Marko create together, demonstrates that more than simply coexisting is possible. They are now the galaxy’s most dangerous and sought-after fugitives, and scores of expert hunters and assassins are hot on their trail. Hazel, a young girl who is born and grows up in distinctly strange circumstances, is the protagonist of the novel Saga. This brief tale offers a glimpse into a much longer, more epic, well, saga.
It includes superheroes, cyclopses, lie-detecting cats, magic, firearms, wooden spacecraft, and androids (here represented as humanoids with televisions for heads). Saga has so much going on that it’s tough to express its scope in a concise manner.
Brian K. Vaughan, formerly of Y: The Last Man, Paper Girls, and his work in television (on Lost and Under the Dome), and Fiona Staples are the creators of the comic book (also responsible for a recent Archie relaunch). Before Saga, both had respectable careers, but it seems like this is the project that both had been waiting for, something to advance both of their careers.
The writing of Vaughan is easygoing and assured (some of the tone missteps that dogged early Y are absent here), while Staples’ artwork is bursting with personality and colour. The two work well together to create a compelling story that will have you turning the pages.
First and foremost, Saga is a family drama as we watch Hazel being raised by her parents, Marko, a pacifist who is constantly pressured to resort to violence, and Alana, a rebel without a cause who has now found one (and then two). Slowly adding Marko’s parents, a ghost who has become a babysitter, two reporters, a trashy romance author, and many other characters to the cast.
The plot also follows the lives of numerous antagonists, most notably the noble, mildly mad android nobleman Prince Robot IV and the bounty hunter known as the Will (and his sidekick, the meme-producing Lying Cat). Throughout the course of these 54 issues, the plot takes a number of unexpected turns, all expertly recounted by the now-adult Hazel.
Because of the flashback mechanism, we are aware that Hazel survives to see the conclusion of the story, but everyone else is in danger. And in serious danger. The show has a George R.R. Martin Plus level of openness to kill off recognizable characters and introduce fresh ones at the drop of a hat. No one is secure, which becomes increasingly obvious as the series goes on and stalwart characters are fired, sometimes very abruptly.
The story has plenty of heart as well as a solid line in the carnage. The show spends a lot of time talking about family—both biological and accumulated—as well as the lifelong companions we make along the way and those recurring characters who keep turning up out of the blue.
The grand science fantasy, war-torn setting of Saga is captivating, but the more intriguing theme the series explores is that we are all the protagonists of our own personal sagas, and how we live our lives determines how others will perceive our roles—whether they be hero, villain, morally grey bounty hunter, or bit-part extra. Saga is a collection of interconnected stories about love, conflict, tragedy, comedy, vivid fever dreams, and frequently heartwarming tales of family and childhood. It’s an adult tale about literature, love, loss, and living. It’s about appreciating better companions and finer board games. It’s undoubtedly among the greatest works of science fiction and fantasy written during this decade, which is quickly coming to an end.
