Saga 28

Alternating Currents: Saga 28, Drew and Patrick

Today, Drew and Patrick are discussing Saga 28, originally released May 13th, 2015.

Drew: There are few things more depressing than studying altruism at a biological level. In a world driven by survival, what could possibly compel an individual to risk life and limb (or, more modestly, share food and shelter) with another? For sexually mature individuals, the most obvious answer is reproduction — helping your mate or your offspring survive increases the chance of your genes, and thus, the behavior of protecting your mate and offspring, will be carried on to future generations. But what about other relationships? Well, in 1964, W.D. Hamilton proposed that we help others for basically the same reason we protect our offspring: because we share genes with them. Importantly, we only share genes with those that are actually related to us, and a key part of Hamilton’s formula was the “relatedness coefficient” — essentially, you’re more likely to help your sibling than your cousin because you’re more related to them, or, more precisely, because you’re more likely to share genes with them. Which is to say, we don’t help people at all, we help their genes, and only because their genes are our genes. From that perspective, “altruism” doesn’t exist at all — we’re all just working in service of totally self-interested genes.

Of course, we’re not entirely driven by our genes. If genes give us our hardware, culture gives us our software, allowing us to do all kinds of things our genes wouldn’t dream of, from taking vows of celibacy to covering a live grenade to protect our platoon. Those are some extreme examples, but I think they become more relatable when we think of those acts as protecting family. Sure, a religious congregation or military unit aren’t technically families, but they can act as families for those who need it. It’s exactly these types of makeshift families — and the sacrifices they elicit — that Saga 28 is all about. Continue reading

Saga 24

saga 24Today, Ryan and Spencer are discussing Saga 24, originally released October 29th, 2014.

Ryan: You may be inclined to a small moment of panic when you begin reading Saga 24. I, personally, thought that I had skipped an issue somewhere. Last issue focused on the teased but unrealized extramarital affair between Marko and that hussy, Ginny, the fallouts of Alana’s fight with Marko, and Dengo using Yuma to abduct most of our protagonists in one fell swoop. This issue’s beautiful cover and opening scene reintroduce The Will’s sister, The Brand, toting a crash helm and her sidekick Sweet Boy on her search for her brother.

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Saga 23

Alternating Currents: Saga 23, Drew and PatrickToday, Drew and Patrick are discussing Saga 23, originally released September 24th, 2014.

Artists use lies to tell the truth. Yes, I created a lie. But because you believed it, you found something true about yourself.

-Alan Moore

Drew: In looking for an epigram for this piece, I sifted through about a dozen quotes that boil down to the same point: fiction is a lie that tells the truth. Ultimately, I chose Moore’s quote because it goes into a bit more detail (and because Alan Moore has a bit more cachet on a comics site than, say, Albert Camus), but I think its the pervasiveness of this notion that is truly remarkable. I understand the sentiment — fiction is by definition not true, but must be emotional honest in order to succeed — but I’m not sure I agree that fiction and lies exist on the same continuum. Lies exist to obscure the truth, either for the benefit of the liar or the person being lied to, while fiction simply seeks a novel way to approach the truth. There’s a difference between fiction and lies, a notion that Saga waded into in its fourth arc, and one that absolutely permeates issue 23. Continue reading

Saga 18

saga 18

Today, Patrick and Drew are discussing Saga 18, originally released January 29th, 2014.

Patrick: In the Season 2 episode of Community Cooperative Calligraphy,” the group voluntarily sequesters itself in the study room until they can determine who stole Annie’s pen. Jeff eventually brings about peace by saying that he would rather believe the impossible — in this case, that a ghost stole it — than believe that one of his friends would subject the rest of them to this kind of psychological and emotional torture. It’s a play on the idea that we make ourselves believe all kinds of things that aren’t true in the name of love. We believe our friends and family to be capable of so much, exaggerating their talents or intelligence or compassion in our minds. Brian K Vaughan’s world has been punishing Marko and Alana for their love, but this issue tangibly rewards them for their blind faith in one another. It’s the metaphorical made real, and it’s absolutely beautiful. Continue reading

Saga 17

saga 17

Today, Shelby and Spencer are discussing Saga 17, originally released December 18th, 2013.

Shelby: There’s a little snippet of folk lore that always gets tossed around when things are looking grim: the darkest hour is just before dawn. Meteorologically, I can’t speak to the accuracy of that statement, but anecdotally it means that things always look their worst just before they begin to get better. It’s meant to inspire hope; life may be dark now, but it just means that soon the sun will come up and things will be better. In the penultimate chapter of Saga’s latest arc, I would say things are definitely at their darkest hour, but since we’re reading a Brian K. Vaughan story, the old saying should probably read, “the point at which everything goes to hell in a hand-basket just before the arc is resolved, but probably someone will die.”

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Saga 16

Alternating Currents: Saga 16, Drew and Shelby

Today, Drew and Shelby are discussing Saga 16, originally released November 27th, 2013.

The best-laid plans of mice and men

Often go awry

Robert Burns, To A Mouse

Drew: I used to get so disappointed when the plans of a protagonist would change. It took me a long time to understand that those changes are the engine of drama, and even longer to appreciate that they reflect reality on a fundamental level. Our plans are always changing, sometimes due to external forces, and other times due to internal chances to our own priorities. Most narratives are loaded with the former type, but that latter type is rare. Rarer still are narratives where every character has their plans upended in both ways. Saga has long been one such rarity, and issue 16 reasserts the fragility of its characters’ plans. Continue reading

Saga 15

saga 15

Today, Shelby and Drew are discussing Saga 15, originally released October 30th, 2013.

Shelby: I don’t have any kids, but I assume parenting is hard. Not just because you’re trying to figure out how to keep this small creature safe and provide for it and raise it in a way that it doesn’t turn out to be a total douche (presumably that is a common parenting goal), you’ve also got to put up with a deluge of “help.” Everyone who’s raised a child, as well as no small number who haven’t, believe they know the best way to do it. And they are more than happy to give you all sorts of advice on the subject. No matter how sound that advice may be (like, “you should probably get a job”), if it’s unsolicited it will probably be poorly received.

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Saga 14

saga 14

Today, Shelby and Drew are discussing Saga 13, originally released September 25th, 2013.

Shelby: One of the big parts of growing up is learning that you can’t always have what you want. As a kid, when your parents tell you that you can’t have something, you pitch a fit in the middle of the Jewel-Osco, but as you grow up you learn to more appropriately deal with disappointment. It’s a process that never stops, because we constantly have things we want taken away from us. Sometimes we have to choose between two things we want, knowing that we’ll always be a little disappointed for the option we didn’t take. Sometimes we have to face the hard truth that we can never again have what was lost, no matter how badly we want it.

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Saga 13

saga 13

Today, Patrick and (guest writer) Brandon are discussing Saga 12, originally released August 14th, 2013.

Patrick: At the midnight Saga release party at Meltdown Comics over a year ago, Brian K. Vaughan said that he wanted to tell the story of a normal family stuck in the middle of an interstellar war that they wanted nothing to do with. The series itself bears this idea directly – Marko and Alana are combatants from opposite sides of an endless war that find each other through their shared belief in peace. From a storyteller’s perspective, War is much easier to write than Peace. In war (metaphorical or otherwise), there is an objective: no matter how messy and dark it gets, conditions for victory are clear. Saga 13 finds our characters searching blindly for what they’re ‘supposed’ to do next. It’s a meditation on the hope buried in hopelessness and the origin and influence of values. That’s right – welcome back to motherfucking Saga.

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Saga 11

saga 11

Today, Shelby and guest writer Suzanne are discussing Saga 11, originally released March 20th, 2013.

Shelby: How am I supposed to speak intelligently about this title? In all my write-ups, I strive to find that deeper meaning, that thread of something more that runs through the book. That’s what we do here, and we do it because we believe whole-heartedly that comic books are a form of literature and deserve to be treated as such. But then I get a title like Saga, and I don’t know what to say. Brian K. Vaughn is masterfully juggling broad themes like family, love, and sacrifice, tying it all together with strongly-developed characters and moments of emotional nuance. Fiona Staples work is beyond compare; she animates the men and women (and cats) Vaughn has already breathed life into. To be frank, sometimes this book just leaves me kind of speechless it’s so good. Continue reading