Wednesday, 2 January 2013

2012's Finest: SAGA

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I've already talked about today's pick - very briefly - in my Comics round-up post. I called it "the much-anticipated return of Brian K Vaughan, a writer who must shoulder a large part of the blame for my comics habit. The first two issues were good, but failed to blow me away. But returning to it in trade form, I found it rich, complex and … worth writing about in depth, basically."
I'm such a little tease. But I'm not one to break a promise, not least one made on the internet, so here goes:

Coverly
SAGA
“Face it, our only choice is to lay low and stay out of trouble. We have a family to think about n--”
“Don't! / Don't you every say those words to me! / Sorry. But 'we have a family to think about now' is the rallying cry of losers.”
For all its sci-fi set dressing - the winged and horned main characters, the quest to get escape a warring planet, the excellent monster design from Fiona Staples - at its heart, Saga is a story about what compromises you are and aren't willing to make in order to protect something dear to you, something you've created. It's a comic about selling out.

Saga starts with the birth of the series' apparent eventual protagonist, Hazel - a character who doesn't speak a single word throughout the first volume, due to being a baby, but does narrate the action, in borderless captions scribbled on top of the pictures, children's book-style.

In fact, she even gets the book's first words:
It begins

...Which is pretty much the comic's mission statement (especially because it's almost immediately undercut with the slightly more earthy “Am I [defecating]?” from the birthing mother, Alana, but we'll get back to that). The first scene, as well as being a beautifully, brutally honest scene of childbirth, keeps drawing this same line between creating a child and creating, you know, art.

“But ideas are fragile things,” says Hazel, as her parents consistently ground these highfalutin ideas with talk of sex and poo and pain. “That's why people create with someone else.”

And so the line is drawn, nice and thick, between Hazel's mother and father, and the book's - Vaughan and Staples, writer and artist, each providing their half of the whole. Within moments of birth, Hazel is in danger, and the book has its drive: Mommy & Daddy have to get off the planet before the various forces hunting them down can hurt Baby.

Expository
And there are plenty of forces who want to cause them harm: Marko (horny dad) and Alana (winged mom) are from two warring species, and both sides want to get the results of this starcross'd union. Enter hunky bounty hunter The Will, and aimless robot prince Prince Robot IV, who will have their own matching dilemmas set up before the first volume's out.

Every character has a clear set of values, and something they want to protect - which is actually a child in every case - and are asked by the story: what are you willing to give up for that cause?

Take Marko, who puts his violent past behind him to become a pacifist, a vow made physical in the sheathing of his ceremonial sword. But, with two bounty hunters, a TV-faced robot and two armies all trying to harm his daughter, that doesn't last too long.

Eyes eyes eyes

For The Will and Prince Robot those dilemmas are only set up in this volume. (And if you don't want to know how, skip the rest of this paragraph). Will, clearly disinterested in bounty hunting, finds a little girl enslaved into prostitution, and realises the only way to save her is by buying her freedom. His hypocrisy is constantly, and disturbingly, questioned: “it's morally acceptable to execute people of any age, but only to make love to a select few?” Meanwhile, Prince Robot is sucked into the conflict when he discovers he has a child of his own on the way (courtesy of an earlier scene of hot robot sex) and is told he can't return to the kingdom until this matter is dealt with. Later, his TV-screen face - which flashes involuntarily with symbols showing his thoughts - shows a rattle with a ribbon tied around it, right before he puts a big sinewy hole in the chest of another character.

Violence is something the characters of Saga are forced into. For a sci-fi adventure comic, there are surprisingly few action scenes, and what it is there is ugly. The nearest we get to 'good' violence is Marko's beserker rage with that sword - and any glamour is undercut by him pratfalling ingloriously out-of-panel.

It might be reaching a bit to read Marko's attempts at pacificism – and his lack of consistency on the matter – as Vaughan himself trying to avoid big action setpieces, but there's certainly a sense of him trying to stomp down on any signs of genre convention throughout.

Owie

Vaughan and Staples are drawing as much from fantasy imagery as he does traditional sci-fi, but - like Marko and Alana turning their back on their races, which happen to be magic- and science-based respectively - Saga isn't interested in playing by either genre's rules. Mundane real-world elements are constantly dragged in, from the aforementioned Chaucerian interest in bodily excretions to everyday technology (one character complains about auto-updating apps crashing his phone).

Even the choice of Fiona Staples on art is unconventional. She draws some deeply excellent aliens (the character design of The Stalk, another bounty hunter, being an art highlight of not just this book but of the year). What she really excels in is drawing people and emotions - something Vaughan always seems to find in his collaborators. They're the focus, not her (admittedly gorgeous) backgrounds. So often, building the world is the real meat of sci-fi, but here they're sketchy, smudgy, watercolour-soft.

It all reflects the fact that the characters, on both sides, just aren't interested in the big trad sci-fi conflict. They're certainly not going to be piloting X-Wings into the heart of a space station anytime soon.

Happy endings

After all, for one of comics' best plotters of adventure stories and thrillers - what Graham Greene would have called 'entertainments' - Vaughan spends a lot of time undermining the plot. We know Hazel gets out fine because she's narrating the story, and because she explicitly tells us as much.

Look at the audacious double page spread which has you turning the book sideways, then fills it with a single object, just to emphasise how big it is. The amount of negative space - which seemed designed to light up internet forums with complaints about 'wasted page space' - had me laughing at the outrageous ballsiness of it all.

Look at the way each issue hits Vaughan's traditional rhythm, of opening and closing full-page splashes. But as much as that might be a establishing a threat, or a character bleeding out through the fist-sized crater in their lungs, there's there's also an issue which starts with a zoomed-out image of a character sat on the toilet, reading a romance novel, with the rest of the page again given up to negative space.

Even a classic sci-fi establishing shot of a spaceship steering perilously through some kind of terracotta asteroid field is undercut with the mundane words “Phone: call my agent”.

Everybody poops

You could read a lot of this stuff as self-loathing, an author who thinks he's too good for the genre, or as a single finger up to the readers.

But Saga isn't mean-spirited. It's simply a really confident work, the kind we're not used to seeing too often in comics. There's no pandering, no compromise - Vaughan has said that's why he's publishing the series through Image. With Vaughan's loyal fanbase, and the series' well-deserved sales figures, this is an idea which will survive without having to surrender anything, unlike its characters. So why not pull out all the stops, all at once, and see what happens?

?

The first issue of Saga is available for free on Comixology. It's good, but as I said earlier, it was only in the collected trade that it really sung for me.

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Videogames, film, music, comics: feed them into the Alex-Spencer machine and out come neat little articles. Like the ones you're looking at here.