“Saga” co-creators Brian K. Vaughan and Fiona Staples surprised everyone late last month with the announcement that the series would be going on hiatus for “at least the next year” after the just-released issue #54. “Saga” started right around the time I really started getting back into comics, so it’s been a constant staple in my life for the last five and half years. Needless to say, I’m feeling a little sad that the usual three-month break will be a lot longer this time, so I wanted to revisit the first issue and see how it holds up after these last few years.
Written by Brian K. Vaughan
Illustrated and colored by Fiona Staples
Lettered and designed by FonografiksY: THE LAST MAN writer BRIAN K. VAUGHAN returns to comics with red-hot artist FIONA STAPLES for an all-new ONGOING SERIES! Star Wars-style action collides with Game of Thrones-esque drama in this original sci-fi/fantasy epic for mature readers, as new parents Marko and Alana risk everything to raise their child amidst a never-ending galactic war. The adventure begins in a spectacular DOUBLE-SIZED FIRST ISSUE, with forty-four pages of story with no ads for the regular price of just $2.99!
Everything that is still great about “Saga” is all here in the first issue. It can take a while for a book and creative team to hit their stride, but “Saga” was firing on all cylinders from the get-go. Even though the setting is exotic, the characters feel relatable and grounded. The world feels lived in, and fleshed out. There is a ton of exposition and world building in this issue, but it’s done organically and efficiently.
Just from the cover image, it was evident that “Saga” was something different than a lot of what was being published back in 2012. The New 52 and the first Marvel Now had just launched, so a lot of the Big Two books had a similar feel. In that environment, Fiona Staples’s artwork was striking. She has a strong line but little shading with her pencils and inks. Her digital coloring feels painterly; there are clear brush strokes instead of Photoshop gradients. It looked like nothing else on the stands. The art in “Saga” still feels fresh and new, even now when there is a lot of more diverse art styles in popular books. The focus on Fiona and Marko as Alana is breastfeeding Hazel on a stark white background just cemented how different and intriguing this book was going to be.
The first page of the story introduces what will become a signature of the book, a full-page shocking splash. Our first impression of the world of “Saga” is Alana saying, “Am I shitting?” Plenty of artists do amazing splashes and spreads, but the ones in “Saga” are always much more than a hero pose. In this case, it introduces a few of the core characteristics of the book: the frequent page-one shocking moments, Staples’s handwritten narration for Hazel, and the irreverent dialogue. It also shows how great Staples’s character acting is. We don’t know what exactly is going on, but Alana’s strain is palpable with the minuscule beads of sweat and clenched teeth. Another great splash-page comes a few pages later right after Alana gives birth to Hazel. The contrast between the absolute beauty of the joy on Marko’s face, with the graphic, bloody post-birth Hazel is the perfect metaphor for the book as a whole.
Beyond the amazing artwork, the first few pages are a masterclass in storytelling. The way that Alana and Marko’s dialogue and body language seamlessly transitions from loving exchanges, to teasing, to arguing really feels natural and relatable. Vaughan also smoothly introduces some of the book’s political conflicts in that quick argument. And just as we’re getting comfortable with them, some more of the series’ exotic characters get introduced, blowing the story wide open and setting the stage for just how crazy this world is. The newly introduced soldiers’ racist comments also deftly establish some more of the world’s politics and race relations. This scene also introduces another of the book’s signatures: heartbreak. When Marko tells Alana “I loved you so much” as they’re in the middle of two groups about to fire on each other, it’s devastating. Just the dialogue is pointed enough, but Staples really sells it with the resignation on Marko’s face and the fear in Alana’s eyes.
Staples’ handwritten narration really shines in the big exposition dump that recounts the history of the book’s central conflict. The way that the words interact with elements in the artwork give it a playful tone, even when the content is serious. Between that and the page-wide panels, it feels like actual voiceover in a film.
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Fonografik’s lettering really contributes to the lived-in feel of the book. The choice to use regular case lettering instead of all-caps helps to ground the dialogue. There are huge events happening in this space opera, but the dialogue becomes smaller in scope and helps to anchor us to the characters. Another nice touch in the lettering is the subtle changes in font, like the slightly more rigid one used for the Robot Kingdom characters. It quickly communicates the rigidness that also exists in their culture. This is seen in our first introduction to Baron Robot XXIII in his dialogue, but then reflected in the next scene when Prince Robot IV is shown trying to recover from a recent battle but is expected to snap right back to his duties by his father. The font transition establishes that rigidness, and then helps us empathize with Prince Robot as his actions seem to contrast with that perceived rigidity.
While not a major character in this issue, it would be a crime not to mention The Will and Lying Cat. Lying Cat has gone on to be one of the most iconic comic characters outside of the Big Two. The strategical use of “lying” eventually becomes some of the most iconic moments in the book. Lying Cat’s simple conceit is introduced here, instantly making her a favorite. “Saga” introduces many more minor characters, but I don’t think any of them quite match the brilliance of Lying Cat.
Beyond the amazing content in the issue itself, it’s worth revisiting how influential this series was on the business side of the industry. “Saga’s” shipping schedule with three-month breaks in between arcs was an anomaly at the time, and now there are plenty of books in the creator-owned space that use that model to help prevent delays. The double-length first issue was also a trend-setter with many more books putting that to use in the years that followed. There’s plenty of discussion of paradigm shifts in content after books like “Watchmen,” and “The Authority,” but it’s easy to overlook when a book like “Saga” transforms the business side of the industry.
The last page of the issue again establishes a trend the book will follow of epic cliffhangers. Alana and Marko embrace as a bunch of ominous, glowing eyes look on in the final splash. Just like a lot of the other iconic aspects of the series, it’s something that’s established right from the start. The jaw-dropping art, perfectly realized dialogue, and the way that they work together make “Saga” #1 is one of the strongest first issues of the last decade. It’s no surprise, in hindsight, how it became the juggernaut that it is today. I’ve probably read this issue five or six times at least by this point, and it’s still just as satisfying, surprising, and fun as the first time.
