G.O.D.S. recently wrapped up its run, and it is a rich, exciting, and character-driven look at a brand new corner of the Marvel Universe.
The eight-issue series is by writer Jonathan Hickman and artist Valerio Schiti, with colors by Marte Gracia (and additional colors by Fer Sifuentes-Sujo on the final issue), letters by Travis Lanham, and covers by Mateus Manhanini.
G.O.D.S. follows Wyn, the immortal avatar of The-Powers-That-Be, and Aiko, a Centivar of The-Natural-Order-of-Things (and Wyn’s former flame), as they navigate mysteries at the crossroads of magic and science. Along the way, we also meet some of their cohorts, such as Dimitri, an envoy of The-Natural-Order-of-Things and Wyn’s companion, and Mia, Aiko’s protégé.
In typical Hickman fashion, G.O.D.S. isn’t a “normal” narrative like you’d expect from a Marvel comic book. There is a plot structure that drives the series forward, but it’s more about character exploration and building out this new cosmology of the Marvel Universe. The-Powers-That-Be and The-Natural-Order-of-Things are introduced as two forces that shape existence (the former driven by magic, and the latter by science), joining the ranks of beings like Eternity and the Living Tribunal. Their agents on Earth work in an uneasy alliance with one another for the betterment of all existence, while rubbing shoulders with Doctor Strange and other familiar faces.
It’s a high concept, philosophical read—one which explores how the concepts of “good” and “evil” matter on a cosmic scale—but it’s also a fairly accessible and fun read. Even though Hickman packs this series with a lot to chew on conceptually, he also keeps the characters at the forefront. Prioritizing characterization over the philosophy turns out to be G.O.D.S.‘ biggest strength. Even though Wyn, Aiko, and Dimitri are immortal beings whose roles have driven them to be a bit detached and cold, they still feel like real people. They still make you laugh, and you still root for them (even if they themselves probably wouldn’t feel like they’re worth rooting for). There are giant cosmic consequences at stake throughout this series, but your concern as a reader always seems to be more for these characters that you’re meeting for the first time. This also makes all of the high concept questions about the nature of existence that much easier to digest. Instead of parsing through abstract philosophical questions, you have names and faces that you’re emotionally attached to, and you get to work through the questions alongside them.
In addition to Hickman’s dialogue, Schiti’s artwork seals the deal on connecting readers to these new characters. There is so much charm and wit in how he draws Wyn or Dimitri that you can’t help but immediately be in their corner. There does tend to be a quite a bit of exposition in the dialogue throughout G.O.D.S., but Schiti nails small character moments, like Wyn rubbing his face in exhaustion or booping Dimitri’s nose in a condescending way, that the exposition feels natural instead of disruptive. He also balances out these small moments with big, epic scenes of cosmic chaos. We’re seeing new locations and new creatures throughout this series, and Schiti does a stellar job of captivating our attention and curiosity. Some things are horrifying in their true form, whereas others are magnificent in their beauty, but nothing is ever boring.
We see perhaps the perfect blending of Schiti’s talents in issue #5, where Wyn recruits Mia to help him check out a shady medical clinic dealing in some occult business. There’s a wide range of character acting on display in this issue, culminating in a gut-punch ending that is sold entirely in the look on the characters’ faces as Wyn delivers some bad news. On top of that, Schiti mixes the common settings of apartments and clinics in this issue with magical wonders and eldritch horrors. When the veil is ultimately pulled back on the clinic, you feel a fascinating mix of shock, fear, and fascination.
Gracia’s colors are, of course, the other ingredient in captivating readers’ attention and curiosity. When dealing with cosmic stories, like those in Thor, Doctor Strange, or now G.O.D.S., the colors have to reflect an otherworldly sense of wonder, and Gracia’s work does just that. Moreover, the characters in this series straddle the line between Earth and the cosmos, so the colors have to strike a balance between reality and that otherworldly sense of wonder. There is a scene in one issue where Aiko must travel from the heart of New York City to see the Living Tribunal. The transition from more muted, mundane colors at home, to hazy, ethereal greens and blues initially as she travels, and finally to bright and striking purples and golds after she arrives is masterfully done.
As stated, the dialogue throughout G.O.D.S. can be a bit heavy on exposition. Thankfully, Lanham’s lettering, in tandem with the artwork, keeps it from feeling like a chore to read. He breaks up the text blocks into easy to absorb chunks, and lays out word balloons to navigate you through the pages with ease. Hickman is putting out a lot of new information regarding the world surrounding The-Powers-That-Be and The-Natural-Order-of-Things, and the exposition is a necessary byproduct of that. Luckily, Marvel brought in a deft hand in Lanham to help readers take it all in with ease.
G.O.D.S.‘ biggest downside is that there isn’t more of it. There’s a ton of story packed into these eight issues, but with questions yet unanswered, you’ll be left itching for more once you reach the final page. It’s not an easy thing to take a universe with a history as storied as Marvel’s and carve something new into it, but Hickman, Schiti, Gracia, and Lanham have managed to do it with grace. Here’s hoping we get to see these characters again soon.
