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Reviews: "Saga, Volume 1"
- I enjoyed this.
- The art did a good job of indicating more about the key characters and second stringers than the script had room to tell me, in the way good filmic depictions can.
- The Fae/Landfall contingent seem to hire in their royalty in the form of robot freelancers. Some anthropologists believe that beleaguered Mayans once brought in a priestly king from a similar culture to serve as their leader, so there’s precedent. More broadly, the people of Landfall seem to treat selecting governmental leadership something like the process of hiring a CEO. The Prince we’re following most closely, IV, has become emotionally invested in the war he’s been fighting in. This is a double-edged sword: he’s been driven to violence and radicalised into prejudice against the enemy, but by the same turn the war and its costs are realer to him than they are to his more even-handed wife. Yet the Princess too has a point, in her complete detachment from their ‘client’ subjects' cause: these people don’t desire peace. Investing emotionally in this somewhat ‘unreal’, out-sourced conflict, which isn’t even truly their own, is destined not to pay off—to bring Prince IV pointless pain.
- Just a huge no to whatever this is.
- Is the ‘child sex slave’ thing a cheap means of characterisation? Especially given that it’s chiefly in aid of a white guy’s characterisation: he looks good because he doesn’t fuck an Asian-coded 6 year old alien and tries to extricate her from the brothel. Is this plot going somewhere, or did we forget it when Spiderwoman bit it? If her surviving family truly thought they were selling her into cleaning servitude to ransom her brother, languishing in a dangerous prison, then she should possibly be returned to them. She might be wrong about the level to which her uncle suspected this would happen to her, but if she isn't, he might have been a decent guardian placed in a horrible situation.
- The art did a good job of indicating more about the key characters and second stringers than the script had room to tell me, in the way good filmic depictions can.
- The Fae/Landfall contingent seem to hire in their royalty in the form of robot freelancers. Some anthropologists believe that beleaguered Mayans once brought in a priestly king from a similar culture to serve as their leader, so there’s precedent. More broadly, the people of Landfall seem to treat selecting governmental leadership something like the process of hiring a CEO. The Prince we’re following most closely, IV, has become emotionally invested in the war he’s been fighting in. This is a double-edged sword: he’s been driven to violence and radicalised into prejudice against the enemy, but by the same turn the war and its costs are realer to him than they are to his more even-handed wife. Yet the Princess too has a point, in her complete detachment from their ‘client’ subjects' cause: these people don’t desire peace. Investing emotionally in this somewhat ‘unreal’, out-sourced conflict, which isn’t even truly their own, is destined not to pay off—to bring Prince IV pointless pain.
- Just a huge no to whatever this is.
- Is the ‘child sex slave’ thing a cheap means of characterisation? Especially given that it’s chiefly in aid of a white guy’s characterisation: he looks good because he doesn’t fuck an Asian-coded 6 year old alien and tries to extricate her from the brothel. Is this plot going somewhere, or did we forget it when Spiderwoman bit it? If her surviving family truly thought they were selling her into cleaning servitude to ransom her brother, languishing in a dangerous prison, then she should possibly be returned to them. She might be wrong about the level to which her uncle suspected this would happen to her, but if she isn't, he might have been a decent guardian placed in a horrible situation.
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