Orphans: Sam 11 & 12 | Review


Published on Aug 05, 2018


And’ the time of reckoning in the eleventh register of Orphans: Sam titled The End?.

As seen in the two albums before it – our review HERE – we had left Ringo and his allies launch a double attack against the Juric: in the Gateway, with the help of all the Orphans, albeit in virtual form, and in the real world with the rebels that penetrated to Ithaca, they attack the soldiers at the command of the president, while the same Ringo, with Sam and with the help of governor Garland, was introduced in the rooms of a woman to kill her. The aim was to defeat it and especially not to let them get their hands on Perseus and Andromeda.

However, the offensive by the rebel had been thwarted by the same president who, with a flick of the tail, had deployed the bulk of the troops refusing to advance and, in reliance to its new amazing ability, cybernetic, had taken control of the body of Sam forcing them to fight against Ringo.

Just when the Juric seems to be one step away from victory, from the double victory in fact, Garland, unlikely ally for the last minute, he begins to instill in the president, a terrible doubt: if all this were not real?

In the Gateway comes Ringo, Sam, thereby “introppolare” Juric digging in the Tree in the center of the virtual space, in the “real world” instead of Sam, liberated from the control, attack and ends up the president. Garland's new plan was brilliant – delete the Juric and put Sam in command – but the doubt instilled in the first hour is gripping, the second decides not to “reshape” reality.

In the end, if you can call it that, started by Roberto Recchioni and Michele Monteleone is absolutely ambitious, and, at the expense of two albums and a half full of action, is, in the middle of this eleventh album, a break, and deep in the apparatus and the theoretical in the practical execution.

Once again, the two writers seek to latch on to the first seminal season, as it's right to give the proverbial squaring of the circle, riagganciandosi to a classic theme of science fiction, and philosophy, see Descartes and his Hypothesis of the Genius of Evil, that is, questioning the nature of reality and what surrounds us.

A final ambitious we said that, however, could be more effective if it had been detailed better, and/or if, in the course of the season would have had more space. And’ certainly appreciate the idea of not concluding the series with the classic finalone “all happy” but rather leave readers with a question, and hopefully, something on which to reflect. Choice that will be of little business, if not downright unpopular to many, but perfectly in line with the spirit of Orphan.

As always commendable work eight hands to the drawings of Federico Vicentini, Pietrantonio Bruno, Luca Claretti, Antonello Becciu that they maintain as much as possible homogeneous, and the graphic part of the register, albeit with a slight decline in the central part.

After the brave “final” in the twelfth and final number of Orphans: Sam, titled another Day, it is time to bid farewell to the Orphans. In the new “reality” or the new “Gateway” in fact, we find Ringo, Sam and the other Orphans, in their “classic” form as well as we had met them in the first season, go to what appears to be a simple summer day in the shade of the Big Tree.

It's up to Roberto Recchioni close Orphaned, and could not be otherwise, with a register of highly meta-textual, beginning with the cover super-citazionistica and passing by the interludes in which Sam and Ringo read the comics – the characters of a comic that's read a comic strip and connecting to the reflection of the register of the previous one on the nature of reality.

Recchioni, however, is not content to greet, a little wistful, it is good to emphasize this, these people but rather tries to raise the bar and put back in the center of the narrative is the same Sam that he claims with insistence, the possibility to “give meaning” to the world and to reality.

If Ringo, in fact, proclaims that “it is the journey that counts, not the destination”, and Sam “a story is not a story without an end”.

The roman author and then claim, with force, through the protagonist of this last season, the autonomy and the strength of the characters that they are almost of the “safe harbors” where you can take refuge in a world that day after day, wetsuit and in a manner that is anything but positive. Re-open the books then, return to history, as a panacea.

The Day is designed to 4 hands by Luca Casalanguida and Andrea Accardi, dividing the task equally between comics and meta-comics. In general, graphically, the album seems to want to return to the stretch of the first season, even from the point of view of coloring, solution that pays duty to the whole ideological framework of the last numbers.

Orphans: Sam is expressed at its best in the first part of the season. The last six albi, however, are not always effective.

It was a good season, not comparable to the first or to the New World and for those who writes to you remain the highest points, which, however, has fulfilled its role in a more than well with some unexpected solutions, a narrative that perhaps deserved more space.

It remains a fact, and it is always good to emphasize, that the Orphans will remain an extraordinary transaction, from the point of view of the creative and logistics for SBE and for the Italian comics. Difficult in the near future, an operation may be repeated, or at least not in this form, the comic serial classic.

Orphans is finished, long life to the Orphans!

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