G.O.D.S. #4: God’s Not in His Heaven, All’s Wrong With the World

Representing magic in any visual medium, whether it be a movie, video game, or comic is difficult, as it requires a detailed style that exists beyond generic energy beams. The works concerned with magic need to develop not only the rules and boundaries of spellcasting but also a specific visual style and language to go hand in hand. The generic series never escapes the visual clichés and color tropes that function as a reductive cage. In the best series concerned with magic, like G.O.D.S. and street-level approach to massive cosmology, the visuals of magic feel just as developed and rich as character or worldbuilding. 

G.O.D.S. #4 – written by Jonathan Hickman with art by Valerio Schiti, colors by Marte Gracia, and letters by VC’s Travis Lanham – interjects the first real appearance of a titular “god” of the Marvel universe into the series, giving a close look at both The In-Betweener and Oblivion. As Amelia (aka Cassandra) attempts to shoot the red-suited A.I.M. agent, Doctor Strange manipulates time at the behest of Wynn, which transitions into the backstory for the errant servant of the In-Betweener. Robert is revealed to have been groomed for service since childhood, having been placed in a Skinner Box (the box that Cubsik Core was found in previously) to become a super scientist. Strange and Wynn go through multiple loops of time to slowly approach Robert, while his loneliness and acceptance into A.I.M is expanding. The duo manages to stop Robert from fulfilling The In-Betweener’s will, which appears to be some kind of destruction of reality. Once Robert is stopped, the magical duo retrace his path back to the Skinner Box after a tense confrontation with Aiko and her recruitment of Mia. Oblivion also makes his appearance threaten Wynn because of the avatar’s actions in stopping Robert’s plan.

Hickman’s scripting continues to find a thriving space in the exploration of character. Much like the first three issues, the book avoids a total collapse under the weight of the heavy, cosmic concepts at work by picking a human or dynamic to ground the narrative. Here, Robert and his devotion to The In-Betweener is the subject of that focus. There’s something tragic in the conditioning that the scientist suffers through, humanizing him in a way that makes it difficult to see him as a villain. 

The desperate craving for approval is an excellent motivation that speaks to the nature of the universal abstracts like The In-Betweener, elevating them to that classical idea of a god. Robert exists in the orbit of this being, and every action is an expression of the abstract’s will. This also makes for a fascinating contrast to Amelia, who also is chained to a certain fate because of the expectations and role thrust upon them. Amelia, however, believes she is taking action for herself rather than serving a god, raging against the chains of divinity instead of Robert’s acceptance of them. 

Wynn and Strange continue to also be one of the most fascinating duos in the current Marvel landscape, and the inclusion of Strange allows Wynn to develop in terms of push/pull with the Sorcerer Supreme. Wynn is still an enigma that feels realized in the space of the comic, with Hickman’s scripting echoing the most interesting parts of Strange, John Constantine, and a dash of Byronic hero to make for a spectacular magic user. This issue reveals a bit more about the man, including his indignation at Aiko’s breaking of the rules, the cockiness of being the better half of the two factions, and an unflinching will in the face of cosmic threats. 

Hickman lays down the foundation for these character beats but it is Schiti that brings them to life in stunning detail. Schiti gets to play with the reality and fabric of the comic in this issue, especially in the sequences of Strange’s time magic. The panels’ layouts are the same for all but the last page, utilizing panels that vibrate and move in ways to indicate the alteration of reality. It’s a small detail that showcases Schiti’s talent for finding interesting, dynamic representations of powers and magic that feel fresh and innovative. Even with the page echoed multiple times through the issue, it reads as distinct, yet coherent in each use. 

Gracia’s coloring elevates these moments with very distinct, magically coded hues. The flash of blue-white cosmic energy is the primary color on the page while Strange’s magic cuts through with a fiery green tone. The colors are complimentary yet still stand in contrast, indicating the split between magic and science in this dichotomy. Wynn and Strange’s costuming, the red of their coat/cloak serves as the other sharp slash of color that breaks up the all-consuming blue of the scientific energies. The repetition of the scenes through the issue anchors the differences in illustration through the issue, teeing up the variations of design for other forces. 

The art also gets to open up with new interpretations of the universal abstracts like The In-Betweener and Oblivion. Both characters get a simplified, street-level design while they also have their more atypical, cosmic appearance. The non-human appearances channel the energy of a Greek God shedding their visage before returning to Olympus. The membrane-forward, serpentine design for Oblivion is such a fascinating departure from previous interpretations and makes for a unique character profile. Schiti’s design and Gracia’s coloring give a new layer of unfamiliarity that elevates this cosmic being back into something that seems unknowable.