G.O.D.S. #3: A Universal Abstract Walks Into a Bar…

The story of Cassandra, like many of those found in the pantheon of Greek mythology, is deeply rooted in the genre of tragedy. Depending on the version and interpretation of the myth, Cassandra was a priestess from the famed city of Troy, who was dedicated to the god of the sun, arts, and prophecy, Apollo. She was either born with or granted the gift of true sight, seeing the future to come as a reward from the sun god. When she refused Apollo’s love, it was said that he cursed her, so that while her prophecies would always come to pass, no one would ever believe the predictions.  

Cassandra’s myth lies at the heart of G.O.D.S. #3 – written by Jonathan Hickman with art by Valerio Schiti, colors by Marte Gracia, and letters by VC’s Travis Lanham – serving as clear foreshadowing for the issue’s plot. A young woman, Amelia serves as an interlude, designated as a Cassandra (or prophet) who sees an end to everything and anything. Tragedy is at the heart of the issue, as it hints at the larger shifts occurring along the Axis of Power. Wyn and Doctor Strange meet with Aiko and Dr. Cercle to discuss what the magicians have learned about Kubisk Core’s connection to the In-Betweener, one of the lesser cosmic deities of Marvel cosmology. 

While the avatars of The-Powers-That-Be and The-Natural-Order-of-Things discuss Kubisk Core, Dmitri and Mia meet at a bar in the Library of World, and hit it off. The duo discusses their respective places within the dichotomy of higher powers, bonding over their mutual understanding of being minions. Dmitri receives another shock in the form of another patron. A universal abstract walks up to the bar just as Amelia enters the picture, ready to break the curse of Cassandra once and for all. 

Hickman slips back into the overwhelming mystery of this issue, introducing a new set of variables to the still-expanding equation of this story. Elements like the Cassandras, references to the Black Swans, and the return of an abstract entity litter this issue with rich detail. Hickman’s script deliberately establishes this wealth of new and old information, making the book feel like a drop in the bucket of the wider universe. There is a sense of discovery and surprise that comes with an influx of detail and makes for a rewarding series of rereads. 

What makes for the enjoyment of reading this hefty third issue is the ability to return and pick up on the subtle pieces with a reread. Like the best murder mysteries, it is difficult to catch every little detail of the tale being woven at the moment-to-moment, panel-to-panel reading of the story, but on the following readthrough, so many things click into place. The foreshadowing goes hand in hand with the presence of a character like Amelia, prompting a series of clues as to what happens next without giving away the full surprise. 

Even as Hickman plays up the mysteries and interwoven worldbuilding, character still lies at the heart of this series. While Wyn and Aiko are present in the issue, they take a bit of a backburner to Mia and Dmitri’s budding… friendship? rivalry? There is an instant spark of some kind that is compelling to watch even if it cannot be labeled just yet. There’s a warmth and wittiness to both characters that makes for a dynamic baseline, well established by Hickman’s scripting and then rendered with pure charisma by Schiti’s pencils. 

The artwork for the issue ratchets up the human and wholly non-human elements of this issue. From the introduction of fascinating bit players like the frog maître d’ of the Library of Worlds to the reintroduction of the cosmic entity of the issue, and even the habitable paintings that Wyn and Aiko meet in, there is a weight to these fantastical things. Schiti’s linework makes these ridiculous things on paper seem like a natural fit in the Marvel universe, giving a heft that makes them just as tangible as human characters like Doctor Strange or Amelia. 

Those human moments ground the book in a way that makes the cosmic more believable. Schiti’s paneling for this issue does not break into any double page splashes or massively scaled wide panels, instead opting for a much more medium and close-up focused issue. Doing so allows the readers to connect with the characters, keeping expressions and body language the subject of many compositions. One of the few times that Schiti switches to the wide, epic panels is in the entry into a three-dimensional piece of art. Wyn and Strange are tiny specs in contrast to the sprawling landscape of the art installation, which indicates the wonder of the moment that is enhanced thanks to the effect of blurring lines and prismatic coloring. 

The coloring effect that Gracia employs is reminiscent of the demons in Damn Them All, in which Sofie Dodgson uses a set of hues that evoke the edges of a prism or a two-tone 3-D effect. It adds an ethereal quality to the scenery that dresses up the dialogue between the mages. That variety of coloring stands in opposition to the limited tones that occur in Amelia’s beats. Evoking deep blues and blacks of magical and cosmic energies, these moments create a sense of suffocating knowledge that comes with the role of Cassandra. Amelia’s bright red hair adds a splash of contrasting colors but is overwhelmed by the cool blues.