Coming off of a two-month hiatus, Saga #43 opened its eighth story arc with a lot to digest for just 25 cents. The issue, which supposedly celebrates Image’s 25th Anniversary, followed Outcast and Invincible, The Walking Dead promotions in February. The push helped The Walking Dead sell over 750,000 copies.
If Brian K. Vaughan had that number in mind one cannot tell, but he did use Hazel’s wistful narration right at the early stage of the issue to recap the story – it was undoubtedly a refreshing way to craft a starting point for new audiences.
As for those of us who had been spiraling in the dark with nothing but grief for company for 60 days, we feel reinvigorated to finally come across the light at the end of the tunnel.
Missed our review of Saga #42? Read it here.
The War of Phang has recently come to an end and Alana still carries the saddest keepsake from such terrible times in her womb, her second child’s dead fetus. She heads to whimsical western-like Abortion Town to get the situation handled in the company of Sir Robot, but the story they made up is not strong enough to grant them the solution they had in mind, and Alana is forced to go back home without the long-awaited closure.
Abortion Town alone would have made considerable noise with a host whose highly relevant words could foster a worldwide discussion, but abortion is far from being the only debatable topic in Vaughan’s socio-political agenda: body issues, gender identity, and gender expression occupy the whole of the narrative, with a major revelation being made about one of the central characters, plus a colorful zorse and feces people.
Fiona does her magic in another issue with visuals more layered in color and depth than ever, reminding us all that if it wasn’t for her artwork, Vaughan’s world might be less beguiling. Her astounding comprehension of the behavior of the human face continues to shine through characters jumping off the pages. It’s thanks to her that figures such as this issue’s Doctor Sheriff is lovable, and dung monsters upsetting.
The arc title refers to Alana’s view of herself while carrying her lifeless child and is given in response to Petrichor’s commentary on how women who carry unborn Wreath children are sacred vessels. If Saga Volume Eight will be all about Alana’s self-discovery after her tragic miscarriage only time will tell. Particularly, I would like to see Alana evolve past the short temper and the swearing and gain more depth.
Saga‘s creative team turns its story on its axis another time and we watch attentively as if we watched someone attempt to solve a Rubik’s cube. These are flawed, broken heroes, I warn you. But then again, it’s probably their resemblance to everything fallible in our human selves what makes Saga such beautiful and captivating reading.
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