(W) Rick Remender (A) Max Fiumara
A new Rick Remender series will always have my attention. In terms of Independent comics, I’m not sure there has been a writer who has delivered more consistent quality in the last decade, whether it be Deadly Class, Low, Black Science, Tokyo Ghost or Seven to Eternity amongst others, he is an expert craftsman when it comes to world building, and therefore is able to attract the best artists. The titles I just mentioned include work from Wes Craig, Greg Tocchini, Matteo Scalera, Sean Murphy and Jerome Opena. Well, you can now add The Sacrificers and Max Fiumara to that distinguished list if Issue 1 is anything to go by.
The Sacrificers #1 opens in the evening on a farm. Against this peaceful backdrop, we hear a prayer thanking the Great Fathers and Mothers for the perfect and harmonious world that is theirs in return for obedience and sacrifice. A family of humanoid birds is seated around the table as the father leads this prayer. This world is not ours, but it is not unfamiliar.
A noise at the window interrupts. It is a young man, and it turns out this is one of the sons. But instead of living with the others, he is banished to the barn. For making himself visible to the family like this, his father storms out of the house, scolds him, and beats him. Why this hostility? Why is he singled out? But at least he is not completely unloved – his little sister sneaks out at night and gives him food she tucked into her pocket at dinner, and she thanks him for some reason.
The scene shifts to inside a castle where a young woman with flaming hair grudgingly studies history. Her skin is grayish, and on her face, there is a lighter mark in the shape of a crescent moon. A bell rings in the distance, and she runs from the library and down to a doorway. In the room beyond, Rokos converses with his mistress, Xia. She is getting jealous of the time he is spending with his wife, Luna. But the Rejuvenation is at hand, and a gala. For this, he must keep up appearances.
Rokos is also aware of the eavesdropper, his daughter Soluna. She is now eighteen and wants to join the gala. He insists she must wait until she is older. He only seeks to protect her. What could be so dangerous about a celebration? She storms out, declaring she is determined to get what she wants. But Rokos must start his work for the day. With much grinding of gears and movement of blazing plasma, it looks like his job is starting up the sun.
Dawn comes to the farm. The mother sniffles into her pillow. Couldn’t their son have had one meal in the house with his family? The father goes downstairs and sits in silence. Then the smaller children see something out the window. A couple of strange beings are there with several children in irons. One of them, perhaps a priest of sorts, says it is time for the harvest. The father states they have no sacrifice to give – he died. But he is stared down. He brings the boy from the barn. It is a difficult parting. Even though he has been ostracized, none of the family really wants him to go. But the only other option would be to give up a different child.
Remender is exploring the age old question here of what would you sacrifice for peace. Is sacrificing the few acceptable for peace for the many? How do you live with that decision? And having read further ahead to issues 2 and 3, I can tell you that there are many twists and turns to this idea, and whether the sacrifice is all that it seems.
The art by Max Fiumara is immediately striking. It is detailed and rich in texture and depth. It is a world that is definitely not ours, but it is familiar enough that we feel straight at home with how it all works, certainly with regards to the farm. Rokos castle feels grand and otherworldly, and even a little steampunk in terms of aesthetic. The character designs throughout are varied and interesting. It achieves a hell of a lot in one single issue, and again it only gets better as you read further issues.
Highly, highly recommended.
