Orphans: Sam 7 – Move the Tower | Review


Published on Jan 16, 2018


After the announced, and chatted, mid-season and end of last September here is as punctual as a clock back on the newsstands and in comics Orphans: Sam to complete with the last 6 albi remained the saga created by Roberto Recchioni and Emiliano Mammucari, who began his race as far back as 2013.

We left in the sixth number – our review here – and with an unexpected twist: the return of Juric, who, after 10 years, she had returned to life thanks to a new cyborg body in which her mind had been implanted. But Juric had not been the only one to benefit from a new body, Sam was “saved” by Marta The Mad – luminary of robotics and allied Ringo, a clone of the original charge to find Perseus and Andromeda on behalf of the governor Garland in the general Petrov – who had transferred to the new body. In the moment in which the Juric had been and had tried to take possession of the children, the new body of Sam was mutated by revealing himself as a perfect fighting machine that, however, is not able to touch the Juric to its previous programming. The battle was then ended with a stall and Sam, without control, had kidnapped the children and flying away.

This seventh book entitled, The Move of the Tower, is as easy to understand, focused on the research of Perseus, and Andromenda. No one knows where Sam had tucked in the two children. Ringo and RR13, who have sought refuge on the moon colony led by Cesar, they are ready to try all for all for them, immersing himself in the Gateway, the virtual world created by the connections of the minds of the Orphans, an element full of potential introduced in the last issue that will be sagacemente exploited, but in a much less obvious than expected.

What seems to be a dangerous mission, but not impossible, soon it will turn into a double comparison to Ringo.

Once again Roberto Recchioni and Michele Monteleone dig deeply into a character that, in appearance, is only instrumental, in the framework of events larger than him and “cosmic,” yet it is the heart button.

The comparison between the two Ringo is “mediated” by the incessant action in a virtual space – the Gateway – the dangers of which are damn real and to the rhythm of a shootout and the other, the two share a blunt “point of view” on existence: “But it is precisely the past to tell us who we are” – “But not who we could be...”. In Orphans: Sam 7 – The Move of the Tower is again proposed with force one of the main themes of the series, or the clash between nature and culture.

The Ringo Orphans: Sam is a fascinating character because it is ultimately nihilistic, Acts and reacts to reality without the weight of that baggage of experiences , and traumas, of Ringo original which is on the other hand, the tragic hero of this saga, stuck in his role of the gruff savior.

Ringo, however, will have to face the comparison with Sam perched in a tower in the centre of the Gateway. The iconography of the climb – classically effective – promises to be the above-mentioned comparison that is also played once on the clash of nature/culture with Sam stuck by his “programming” that makes them protect the two children to the bitter end, and Ringo the curtains, one hand trying to arouse in her a glimmer of confidence.

Just when the mission seems to have ended for the better, but something is wrong... the lunar colony will not respond to messages Ringo!

Through an iconography recognizable – the virtual space, fantasy, and horror – the two authors continue with a more than positive the series, establishing a register of fast-paced and the meta-textual and more robust than the reading speed, and strong action suggest.

The graphics part 6-the hands of Fabrizio Des Dorides, Federico Vicentini, Luca Maresca, which are able to collimate the style similar, but easily recognizable thanks to a construction of the table is always restful – borrowing solutions that recall the classic cage of 2×3 – and indulging in some solution more bold in the final part of the register where the stroke is slightly more scratchy and the colors by Giovanna Niro become more of the dark omen, perhaps, of events unfortunate. Honorable mention also to the beautiful cover of the great Carmine Di Giandomenico is probably one of the most evocative of the whole saga.


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