THE SACRIFICERS #4, from Image Comics on 11/1/23, explores a family’s grief and a god’s delight when the “feast” provided by the Sacrificers bestows its holy power.
The Details
- Written by: Rick Remender
- Art by: Max Fiumara
- Colors by: Dave McCaig
- Letters by: Rus Wooton
- Cover art by: Max Fiumara
- Comic Rating: Teen
- Cover price: $3.99
- Release date: November 1, 2023
Is THE SACRIFICERS #4 Good?
THE SACRIFICERS #4 takes a two-pronged pitchfork to your heart in Rick Remender’s tragic fairytale about gods, sacrifice, and the price we pay for tradition. One part heartbreak and one part revelation, Remender’s latest chapter continues this series’s winning streak.
When last we left Pigeon and his fellow Sacrificers, their jubilant entry into paradise took a wicked turn when a few of the Sacrificers were selected for a special feast, stoking well-wishing and a hint of envy in those who remained. The chosen few were treated to an offer of primping and pampering, learning too late that their happiest moment would be their last when they were brutally slaughtered to have their essence extracted for the gods they worship. Now, Pigeon’s family struggles to celebrate during the Harvest Family, knowing they willingly gave up Pigeon. Meanwhile, the true reason for the Sacrificers is made clear to Lord Rokos’s daughter.
Technically, THE SACRIFICERS #4 could be considered a transition issue as the lion’s share of the plot focuses on the gods during their consumption of the special elixir. Madame Luna, Lord Rokos, and the foreman all have their parts to play, but it’s the establishment of their individual perspectives that makes this issue work. The individual gods have very different opinions about the ethics of the Harvest Feast, so you can see their motivations take shape for whatever comes next.
What’s great about THE SACRIFICERS #4? Remender’s opening sequence which focuses on Pigeon’s family is heartwrenching. The evolving interpersonal conflicts make for good drama and set up the potential for future upheaval.
What’s not so great about THE SACRIFICERS #4? This issue is as hard-hitting as any comic you’ll find on the LCS shelves from Image or any other publisher, however, this issue feels a little more sedate than the previous issues. The previous issue built an escalating sense of foreboding that you couldn’t escape, but now that the proverbial shoe has dropped, the tension level isn’t as high.
How’s the art? Max Fiumara’s figure work and emotional visuals are amazing. there’s a sequence where a group of gods are changed by the elixir, and it’s a sight to behold. If nothing else, the art in this issue is exquisite.
Keep scrolling for a closer look at the covers, or Click Here to jump right to the story description with some spoilers.
What’s THE SACRIFICERS #4 About?
[SPOILERS AHEAD – Click here if you just want the score without spoilers]
Check out our THE SACRIFICERS #3 review to find out how close Pigeon came to a tragic end.
We begin with Pigeon’s family enjoying the Harvest Festival festivities when the Sun goes down and the fireworks light up. Father Pigeon does his best to prove on a brave face for his remaining children as the Harvest Festival is one of the traditions he’s raised them it participate in, but it isn’t long before he’s overcome with grief for his son.
Meanwhile, the gods assemble and take their first glass of the elixir extracted from the first group of Sacrificers. Madame Luna appears disgusted by the offering and chooses to throw her portion away as a form of protest. Lord Rokos and the remaining gods, however, drink their fill. Lord Rokos’s daughter sees what happens to the gods when they drink the elixir.
We conclude the issue with transformations, indignations, and leaving the station.
Keep scrolling for a closer look at preview images of the internal pages, or Click Here to jump right to the score.
Final Thoughts
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THE SACRIFICERS #4 is a gut punch of an issue that grapples with the aftermath of the sacrifice and sets the stage for trouble among the gods. Remender’s transition issue packs a wallop, and Fiumara’s art is glorious.
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