Tag Archives: Minerva

Review: The Wicked + the Divine #39

I check my look in the mirror. I wanna change my clothes, my hair, my face…”- Bruce Springsteen, “Dancing in the Dark”

I have a confession to make. I don’t really read The Wicked + the Divine for the cycle of birth and death, Ananke/Minerva/Persephone, Woden machine, talking heads, Great Darkness overarching plot; I read it for Laura Wilson/Persephone’s personal journey, and these feelings have definitely intensified in the “Mothering Invention” arc and reached a fever pitch in WicDiv #39. Kieron Gillen, Jamie McKelvie, and Matthew Wilson personify character development as Laura rejects godhood (Or does she??.) in a story that visually and content-wise goes back to the salad days of its first two arcs, “Faust Act” and “Fandemonium”, especially the breathtaking final page.

Free will and freedom of choice is the refrain that rings out, or mostly hums, in WicDiv #39. Gillen doesn’t frame these big ideas in philosophical discourse or even witty banter, but in action. Laura chooses to no longer be a god, and she chooses to have an abortion. After latching onto almost every WicDiv cast member, either platonically, sexually, or romantically, she takes ownership of herself even if that means sitting in the dark. She changes. McKelvie draws her in an vulnerable way with a plain, shorn hairstyle, face with just a touch of shadow to it that signifies her status as the Destroyer. There’s a real humanity in this simplicity, and the even palette that Wilson chooses for her panels compared to the ostentation, guns, crazy pink colors, and EDM womp womp of Woden’s new Valkyries aka Beth and her fan army. (Wow, fuck nerd culture.)  They represent the empty show and lights of the Pantheon’s displays earlier in the series (i.e. the fights in “Rising Action”) while Laura is feeling and truth cutting to the quick like the sharp internal monologue that Gillen writes for her.

But WicDiv #39 isn’t about all the big ideas, it’s rooted in some big character development for Laura – arguably the most significant bit of her personal arc since WicDiv #11 when she became Persephone and was “murdered” by Ananke. The girl who dressed up like the gods and desperately wanted to be one and even took on the moniker of “ascended fangirl” rejected her godhood and chose a simple, desperate existence like the rest of the world even if that meant dancing, er,  sitting in the dark. But she’s not like that any more and chooses to opt out of the 39 or so issues of drama that has been her life with breaks for flashbacks. Kieron Gillen and Jamie McKelvie also handle her abortion with sensitivity and even have one of the Valkyries empathize with her. It’s a choice that Laura made for herself, she’s not ready to be a mom, and that’s that. Like the Tara story in WicDiv #13 that dealt with online harassment of women, the plot point doesn’t feel like a PSA, but something that is part of her character and respected as such.

Sure, WicDiv might have millennia spanning long cons, magical contraptions, and flame sprouting finger snapping, but this is still a story about young adults and the choices they make. And Gillen and McKelvie explore these choices in a non-condescending way and even poke a little bit of meta-fun at poor writers in the first pages where Minerva tries to unpack the middle aged man, Woden, pretending to be a teenager for the most of the series. Woden has been one of the creepiest characters in the series, and Gillen, McKelvie, and Wilson find new ways to make him even creepier as the series progresses while keeping him fairly pathetic and not up to Big Bad status.

Speaking of Big Bad, WicDiv #39 is also the final transformation of Minerva into an amazing long con baddie complete with furtive glances drawn by Jamie McKelvie and using Woden and the Valkyries as the ultimate cannon fodder. (Even though Woden just thinks the Valkyries are cannon fodder.) She still looks young, but there’s something ancient in the facial expressions that she pulls after putting up with Woden, or to herself in the mirror as she reminds herself of her big, bad plan to knock out the rest of the gods, collect the final head, and continue the eternal cycle of death and rebirth. And Gillen writes her as quite genre-savvy (Living for thousands years is definitely a perk on this front.) as she never underestimates Laura although Woden just wants to snuff her out or leave her alone thinking she’s an emo nobody. The stage is definitely set for an all out showdown between them in the final arc like a present day incarnation of the eternal battle between them shown in previous issues of the arc.

In The Wicked + the Divine #39, Kieron Gillen, Jamie McKelvie, and Matthew Wilson go for the pivotal character moment over mass character slaughter (There aren’t many left.) and deliver callback heavy payoff for fans who have followed Laura Wilson/Persephone’s journey over the past four years. The closing moments where Laura muses on her decision to no longer be a god have some of Gillen’s most insightful writing, have simple, yet elegant visuals from McKelvie and Wilson, and are a reminder of why character growth is one of the biggest assets of a serial medium like comics.

Story: Kieron Gillen Art: Jamie McKelvie Colors: Matthew Wilson
Story: 8.3 Art: 8.6 Overall: 8.4 Recommendation: Buy

Image Comics provided Graphic Policy with a FREE copy for review

Review: The Wicked + The Divine #38

As The Wicked + the Divine #38 begins,the cast of characters that Kieron Gillen, Jamie McKelvie, and Matthew Wilson has dwindled down, and they’re mostly bad eggs. And the good ones are irreparably damaged either physically or in spirit. Like every issue of this arc, WicDiv #38 begins with a flashback to the 1940s and 1950s where British poet and classicist Robert Graves is inspired by Ananke to write his seminal work The White Goddess about how goddess worship leads to inspiration, poetry, and is the “mother of all invention”. It’s very in much in keeping with the spirit of WicDiv as Gillen and McKelvie uncover more of the inner workings of the Pantheon, Ananke, Minerva, and the world of their story. With its juxtaposition of storytelling mechanics and intense character psyche burrowing, WicDiv  #38 is a pretty strong middle issue, and the the varied color schemes by Wilson are a nice treat.

In WicDiv #38, Minerva has blossomed into a fantastic villain maneuvering plots and manipulations in a manner that would make Ananke crack a smile from beyond the grave. Despite everything going to hell in a hand basket, Woden thinks he’s still in control because he has the Norns in the jail and thinks that he can do whatever he wants. For example, he makes a video of out of context moments of WicDiv painting Urdr as a dangerous rabble rouser just like her old name’s mythological equivalent, Cassandra. But this is definitely not the case as Woden sees the graffiti heavy and disfigured heads of the Pantheon members and freaks out while McKelvie draws Minerva in another panel with a shit eating grin as she knows exactly what is going on. She hides her plans for the endgame behind surprised expressions, childlike wonder, and two face dialogue that Woden won’t get even while he repeats his new favorite word, “subtext”.

Until a foreboding final line of dialogue on the last panel, Persephone and Baphomet’s scenes in the Underground might not seem as connected to the big ur-story of goddess vs. goddess, inspiration, and ritual sacrifice even if Persephone is the Destroyer and locked in eternal combat with Ananke. However, the quiet moments the once and future likable/not likable fans-turned-deities are the most human of WicDiv #38. Baphomet has really been the emotional carotid artery of this story arc and following Morrigan’s sacrificing herself for him after killing, there is definitely arterial spray. Jamie McKelvie and Matthew Wilson finally get to descend into the deepest darkness with a blacker than black color palette and the tragic combined logo of a crow and pentagram and the even more tragic panel of Morrigan, Gentle Annie, and Badb lifelessly levitating in their temple. Although he was resurrected, Baphomet is crippled by grief and wants to stay in the shadows and not play an active role in the plot any more.

This listlessness extends to Persephone, who is pregnant and can’t really get anyone to empathize with her. Kieron Gillen goes full navel gazing, and McKelvie brings in a six panel grid to contain her thoughts and walk back to her and Sakhmet’s old crash pad. The real emotions comes when she picks up her old cracked and cellphone and thinks about how ridiculous Laura Wilson’s dream of godhood was. Her wish isn’t for righting wrongs or redemption, but just oblivion. This whole becoming a god thing wasn’t worth it, and perhaps walking down a dark, never ending tunnel that corresponds with McKelvie and Wilson’s all black panels is her retirement from divinity. Certainly, a panel on the final page echoes that idea, but Gillen, McKelvie, and Wilson keep Persephone’s fate ambiguous: a sad, juicy hook for the arc finale.

WicDiv #38, and the whole “Mothering Invention” arc by extension, has been an exercise in looking at the biggest picture possible of Pantheons, past and present, by Kieron Gillen, Jamie McKelvie, and Matthew Wilson. They show how the world works, establish innocents as villains, kill or incapacitate various darlings, and blur the lines between inspirational power and ritual sacrifice. There are lots of flashbacks, sure, but WicDiv #38’s sequences are more straightforward and connected to immediate plot and bigger themes of the series with some room for visual play with Wilson using a faded, almost monochromatic style for the Graves scenes that is like an old photograph.

And, most of all, Gillen, McKelvie, and Wilson don’t forget the characters we’ve cheered for, sneered at, and connected to a little too deeply even though it seems that everyone has lost their way. Minerva is great baddie, and in a weird fan crossover universe, is beating Young Avengers Kid Loki at his game over and over again like the eternal battle Persephone and Ananke were locked in.

Story: Kieron Gillen Art: Jamie McKelvie Colors: Matthew Wilson
Story: 8 Art: 8.5 Overall: 8.2  Recommendation: Buy

Image Comics provided Graphic Policy with a FREE copy for review

Review: The Wicked + the Divine #35

In The Wicked + the Divine #35, Kieron Gillen, Jamie McKelvie, and Matthew Wilson begin to gleefully tear down the elaborate story castle they have been constructing for almost four years. The story begins with a flashback to 1923, and by extension, the actual WicDiv #1 as the 1920s Pantheon says its au revoirs, and I had a mini panic attack that But then McKelvie and Wilson lay down an explosion with clashing colors, and the book’s structure of 12 gods, every 2 years, Ananke being into necessity, and warding off the Great Darkness is called into question.

Throughout the two issues of the “Mothering Invention” arc, Gillen and McKelvie have really made Minerva earn her stripes as the goddess of wisdom and craft. Especially after WicDiv #35, you could see her as the strategist who bankrolled Odysseus’ wiliness and had enough of a petty side to turn one of her rivals into a nasty little spider. Minerva’s portrayal, both in 1923 and the present day, hits a sweet spot between innocent and malevolent. The vapid lush Susanoo of “a drink or forty” fame thinks she’s too afraid to participate in the apocalypse cancelling mass suicide, but she’s really just being manipulative and a tender hug turns into a head explosion/”teleporty” thing. McKelvie’s art in the flashback matches the excess of the age of flappers and philosophers with eyeballs flying out of Ananke’s head and plenty of blood and gore. And there’s plenty of red and orange flames from Wilson, which made this comic pair nicely with fever symptoms.

Even if it might get lost under the Jazz Age inferno, the Woden holding a gun to Minerva’s head thing, and definitely the third act Baal thing, Gillen and McKelvie cleverly connect present Minerva to her previous incarnation. They also use the relatable anxiety of someone typing for a long time on a text message to build suspense. Minerva has  played the innocent, bun wearer for too long, but finally her hair is down (Nice ombre, by the way.) and her scheming self is beginning to kick into high gear as she plays a game of mutual blackmail with Woden and another game of witholding information with Urdr.  However, Persephone still underestimates Minerva and decides to go solo into Baal’s secret room. The duality of Minerva’s nature (Aged plotter, innocent child) is summed up in  a great panel of her with lines and a frustrated expression on her that looks like maybe she could be thousands of years old as Woden continues to mess with her plan.

OldWomanMinerva

 

Even while it’s paying off plot lines from issues and years back in dramatic fashion, WicDiv #35 still doesn’t neglect human side of things. Kieron Gillen finds time for introspection via caption boxes revealing Persephone’s inner thoughts as she tries to piece her relationships back together after deciding to basically fuck off, embrace anarchy, and sleep with a murderer. However, these thoughts keep getting cut off by Woden chasing the Norns, who have the talking head of his son, Jon. Maybe, the former friendship between Laura and Cassandra can be rekindled by Persephone and Urdr mutually escaping. At least, we get to see Skuld and Verdandi’s abilities to get the spotlight for a brief moment with the help of a beautiful green palette from Matthew Wilson.

However, the real relationship that gets pushed to the breaking point in WicDiv #35 is the complicated one between Baal and Persephone, and it ends up getting intertwined with main plot and cliffhanger. Baal’s fresco from WicDiv #4 makes a muted return and is drawn more like a self-loathing Kanye slow jam from 808s and Heartbreak than a well-lit, triumphant bit of baroque glory from My Beautiful Dark Twisted Fantasy or swaggering hubris from Yeezus. It’s just a facade like the lightning chain he wears on his neck to claim that he’s the powerful death and rebirth Baal and not the child sacrifice cult one.

AwwBaal

In a nice bit of craft,  McKelvie takes his time with six panels, six unkind cuts to Persephone and readers’ hearts instead of doing an explosive splash. This gives readers a moment alone with her to sum up their connection that went from fangirl to romantic couple to enemies and lot of stops in between. Then, the issue ends in all fire and frenzy with Jamie McKelvie and Matthew Wilson harnessing the energy that has made WicDiv such a visual delight. The reveal of Baal’s secret room is such a big deal that he goes into full Heisman Trophy winning running back mode and stiff arms Minerva while going to the scene of his, well, crimes. The pose that McKelvie chooses for Baal is so powerful and is a memorable image before he and Gillen cut to another flashback as Persephone does the proverbial math in her head about her ex-fangirl crush/boyfriend/complicated leader of another Pantheon faction. It’s one hell of a way to end an issue, and May can’t come soon enough.

WicDiv #35 shows that Kieron Gillen, Jamie McKelvie, and Matthew Wilson can play the long game with the best of them while still crafting a story that is a strong on an artistic and emotional level. The Baal and Minerva twists work because readers have had the chance to connect with them and see them form relationships with other characters (And each other). I still don’t know how a man who could have such a tender relationship with the now-talking-head Inanna  could be such a monster, but it’s one of many great questions raised by this comic that have me hooked until the end of the line.

Your fave will always end up being problematic…

Story: Kieron Gillen Art: Jamie McKelvie Colors: Matthew Wilson
Story: 9.5 Art: 9.8 Overall: 9.7 Recommendation: Buy 

Image Comics provided Graphic Policy with a FREE copy for review

Review: The Wicked + the Divine #32

Kieron Gillen, Jamie McKelvie, and Matthew Wilson continue to sometimes literally slice and dice The Wicked + the Divine’s status quo in the last few issues of “Imperial Phase Part 2”, and issue 32 is certainly no exception. The comic manages to pack Dio’s last stand, Woden’s (thankfully premature) moment of Kanye quoting glory, Sakhmet vs. the world, and even Minerva crossing a line. All the while, Persephone plays the punch pulling, sometimes carelessly cruel wild card and gets confronted for this fact by Urdr, who still cares about Laura and even gets to kick it critic style for a little bit. All the gods appear in WicDiv #32, which gives McKelvie and Wilson a veritable playground of styles to throw at the reader with some subtle visual callbacks to big scenes in the series like WicDiv #8’s rave issue, the “superhero” style battles of Rising Action” and at the end of “Faust Act”, and an unexpected character playing the role of Ananke the mercy killer.

If you’ve read my reviews of WicDiv up to this point, you know that I love both the character of Dionysus, the original Greek god, and forgiving one’s cares on the dance floor. That is why I was glad that Dio got one last rave in WicDiv #32 with symmetrical layouts from McKelvie, heroic sentiment caption boxes from Gillen, and of course, color palettes to end all color palettes from Wilson and his flatter Dee Cunniffe. And it all starts out with an icky lime green color for Woden’s mind control that Dionysus fights back against in the “rave” panels. He takes a beating, but persists because he truly cares about every individual on the dance floor even if it means sacrificing his own life. For the most part, McKelvie draws flexible, silhouette figures before occasionally going for more detail to show how much of a beating Dio has taken after the whole thing where he sat in the dark with Baphomet and then promptly got his hive mind powers stolen. It is definitely sad to see the most decent member of the Pantheon take a curtain call, but Gillen, McKelvie, and Wilson truly collaborate to give him a perfect, empathetic ending with intense colors, blazing speed lines, and the repeated line “One more time” like bass line of “Blue Monday”.

Along with Dio, Woden, and the revenge of the Norns (Matt Wilson makes Urdr’s black and white scheme look very frightening as she charges at Woden and the Valkyries.), Gillen and McKelvie also put the seal on Sakhmet’s storyline beginning with the first page where she and Persephone take the murder of someone considered to be a friend quite casually. But, of course, Persephone is a super secret agent for Baal and Minerva, and the look of betrayal on Sakhmet’s face is quite painful even if she is a killer. Persephone’s flat was a sanctuary for her restless, ravenous soul, and now it is yet another battleground. McKelvie and Wilson go big and bombastic with Persephone, Baal, and Sakhmet’s powers with exploding greens and purples everywhere before toning down the color mix and flailing bodies and going for sheer emotion at the fight’s conclusion. A silent panel is a great way to wrap up these pretty noisy scenes, and the poses and space between the remaining characters nails their attitudes toward and relationships with each other. Also, during the fight, Gillen does some masterful multi-plotting and sets up a possible vine tendriling, crow pecking showdown between Persephone and Morrigan in the “Imperial Phase Part 2” finale with a quiet conversational scene between the fisticuffs.

Urdr is the bridge between Sakhmet/Dionysus last stand storylines along with being the only character who now gives a shit about the Woden machine/MacGuffin plot in WicDiv #32. Gillen and McKelvie show her range, and she slips into a variety of roles, including the ultimate critic, vengeful goddess, extremely disappointed friend, and maybe even grieving lover. Gillen crafts some of his most incisive dialogue, and McKelvie draws some intense as Urdr speaks for a good portion of the WicDiv fanbase when she says that Persephone was better of being Laura. And she can’t help but still be a critic and call Persephone’s shows “middlebrow”. This leads to some hurling of unkind words, an almost fight, and an ambiguous ending. It also reminds readers that Laura wanted to be a goddess during the first two storylines of WicDiv and has done nothing really inspirational with her divine powers. That could change as the colossal story developments and rocking of the proverbial Pantheon boat hints at Persephone totally being more of the Destroyer than an ascended fangirl.

WicDiv #32 is a true companion to the universe shattering, plot demolishing WicDiv #31, but Kieron Gillen either tapers off or adds elements to character arcs to go with Jamie McKelvie and Matthew Wilson’s fireworks or quiet artistic moments. With the deaths of Dionysus and Sakhmet, a lot of rage and serenity has exited the building along with WicDiv‘s respective superego and id, but my excitement for the “Imperial Phase Part 2” conclusion has definitely increased.

Story: Kieron Gillen Art: Jamie McKelvie Colors: Matthew Wilson
Story: 9 Art: 9.8 Overall: 9.4  Recommendation: Buy 

Image Comics provided Graphic Policy with a FREE copy for review

C2E2 2017: Kieron Gillen Talks High Fantasy, “Self-Hatred,” and Music Spoiling Comics

Through his creator owned comics Phonogram and The Wicked + the Divine with artist Jamie McKelvie and colorist Matthew Wilson, Kieron Gillen has masterfully melded the fantastic worlds of music and urban fantasy into an exciting read experience. He has also conquered the worlds of Marvel with the delightful Young Avengers and way too sad Loki solo series Journey into Mystery among others as well as comics set in a galaxy far far away, like Doctor Aphra and Darth Vader. He’s also one hell of a DJ and has quite the Twitter pun game.

At C2E2, I got the opportunity to chat with Kieron about being a fantasy writer, and how the characters of WicDiv have all become terrible people. We also preview the upcoming WicDiv 455 special set in ancient Rome and ponder the fate of Phonogram‘s David Kohl (and his fiction suit wearer Kieron Gillen) in 2017 as well as strain out some of that book’s autobiographical bits.

Graphic Policy: I guess you could classify WicDiv and Phonogram as urban fantasy. (And Journey into Mystery, now that I think of it.) What has drawn you to the fantasy genre over and over again, and do you have any particular books or fantasy films that have influenced you?

Kieron Gillen: Back when I was starting to write comics, I used to call myself a speculative fiction writer. The person I was seeing told me, “No, you’re not, Kieron.” She said, “You’re a fantasy writer. Making a world where music is magic isn’t speculative fiction.” Being a speculative fiction writer is much cooler because science fiction writers are genuinely cooler than fantasy writers in my opinion. It’s real work as opposed to fantasy, which is just making shit up.

It took me a long time to accept [being a fantasy writer]. I burnt out on a lot of fantasy as a teenager. I had a kind of “come to Jesus” moment where I was like “What on Earth is this shit?” A lot of fantasy is just shit like the travelogue school of fantasy where there’s a map, the heroes will go around the map, and the big mountain. At least, Tolkien had a degree of originality.

So, the idea of me identifying as a fantasy writer is anathema. But then there’s the whole idea of urban fantasy. I used to write essays about this when I was a music writer before I realized [urban fantasy] was what I wanted to write. It was the idea of the transformation of an environment. The magic in Phonogram is that we have a world, and then you add something over the world. Like augmented reality.

People tell me that Phonogram gives them permission to view listening to music and going to clubs as a magical space. It always makes me think about parkour. My favorite thing about parkour, at least when it started, was the idea that buildings are designed as prisons for people. But, in your imagination, it can turn into a playground. They’ve chosen to see the world differently, and there’s always things to traverse.

This is kind of what urban fantasy does. You have a world and overlay it. There’s magic here. It’s like when I was a kid and loved Transformers. That car [Outside the convention center] could be a fucking robot. It’s like the Kurt Busiek core idea about superheroes. We have this magical thing in the world, and the world doesn’t change. The point of Superman is that you can see him fly past you in the skyline. If you take superheroes too seriously, you become something alternate history like Uber or science fiction. Add a superhero, and the world changes enormously.

I’ve actually been digging into primary world fantasy, like Middle Earth, as opposed to Narnia, which is a secondary world. It’s something I want to do in the future.

GP: You doing high fantasy would be awesome.

KG: I’ve said in a few interviews that I’m working on my next big, spangly thing. It’s a very literary high fantasy. It’s very grown up. I say grown up as a very loaded term because high fantasy is trashy in many ways. But I want to dig into some bigger themes and see what I can do with the genre. That hate fuck, that passion I have for fantasy means something.

GP: One thing I really enjoyed about “Imperial Phase” was that you and Jamie [McKelvie] gave Minerva and Baal a lot of character development. Why did you leave them out of the last issue of the arc?

KG: I get asked questions like “You’re very efficient with your storytelling. You hit stuff very cleanly and elegantly.” A lot of that is necessity, which is a word that is very fucking loaded in the context of WicDiv.

GP: Oh yeah, good ol’ Ananke.

KG: I’ve got 14 primary characters across the series and quite a few smaller, supporting ones. I ask what we can fit in an issue. The previous issue where we did the “phased” bit was me responding to the fact that I had so much shit to do. How can I do it in an artful way that speaks to the theme of the book.

Baal and Minerva just weren’t in this issue. The thing about “Imperial Phase” is that there’s parts one and two. When I originally planned “Imperial Phase”, I was thinking that we don’t have a cliffhanger. What’s the most unexpected thing for a WicDiv end of arc to be? It just stops, and we continue it. But when I ended up plotting it, it had a climax, but just a different kind of climax.

There was no room for Baal. If you remove Baal, you remove Minerva as well. The reason that Baal wasn’t there was a soft story beat. “Oh poop, Baal isn’t coming” leads to Persephone’s “Why do we hurt people?” The reason that Baal wasn’t there was because Persephone was there. It’s that moment when you realize that someone’s not coming to a party because they don’t want to see you. Baal not being at the party is kind of the point.

Baal is a sensitive man, and I love the dichotomy between him and Minerva. In other words, there’s more from Baal and Minerva in “Imperial Phase Part Two”. At the end of the story, Baal will be one of people’s favorite characters. He and Minerva are some of the most interesting characters, and knowing the whole story means I put him low in the mix early and then bring him up later.

GP: Good metaphor!

KG: I’m always a DJ. And since I know the whole thing, I want to build him up at different times. Dionysus is stepping forward and is one of the key players in the next arc. He’s got a scene in issue 30 with the Morrigan, which is one of my favorite things to do with the character

GP: I am really looking forward to the WicDiv 455 Special. Why did you decide to set it at the end of the Roman Empire instead of the Augustan Age with Ovid and Virgil, or during the time of Nero?

KG: If you set it at the end, you can include anything earlier. Everyone at the end knows what happens to Nero, Sulla, and Caligula, and you can reference all those people. If you’re doing something about Rome, set it at the end, make it about the end of Rome. Of course, WicDiv is about endings and the death of an empire.

This is minor spoilers, but the basic plot of 455 is that 455’s Lucifer has decided to not be involved in the Ananke pact and says, ” We don’t need Lucifer, we need Julius Caesar (Who was a god.), I’m going to save the empire.” You imagine that goes well.

The way I researched this special as opposed to the Romantics’ one [WicDiv 1831 Special] was different because the Romantics were a small cast of people, I could go relatively deep. Rome is so big that I had to do a very broad sweep and look at the entire history of Rome, which interests me. There’s some stuff I wished I gotten into, like Tiberius, who did Goth parties where everyone was in black. The slaves are painted black, he’s wearing full black, and they spend the entire party talking about death. And he’s killed people so everyone expects to die. It’s the most Gothic thing I’ve ever heard. But we had to cut it from the story.

GP: Why was Andre Araujo the perfect artist for this story?

KG: The way to phrase it is that I had a core image based on a Roman triumph, and I needed an artist willing to draw a Roman triumph. A triumph is a blaze of color and shape. Andre and I were talking when his comic Man Plus was out, and he said that he was working on a creator owned Rome pitch. In my head, I thought he was a [Katsuhiro] Otomo-esque cyberpunk guy because of Avengers A.I. and Man Plus, which is basically Akira reimagined in Portugal.

He had fantasy, sci-fi, and medieval pitches. And I said, “You like historical stuff and like drawing enormous landscapes. We can use this.” I asked him, and he was working on Ales [Kot’s] new book Generation Gone. So, we’ve derailed the work on another Image book in WicDiv’s favor and are very grateful to Ales. Also, Matt Wilson is doing the colors, and it works very well in the issue.

GP: The first 12 issues of WicDiv seemed to be about the relationship between being a fan and a creator, especially through our main character, Laura. How does her turn to the “dark side” in the past arc fit in with that fan/creator dynamic?

KG: “Imperial Phase” has been solipsistic. It’s about the gods being quite navel gaze-y. You get bits of fan stuff, like Persephone having her own fans. And that’s fun. I love how creepy everyone wearing a Persephone skull is. That transition from being a fan to having fans, and the responsibilities and duties that lie on that access and how well you navigate it.

WicDiv is based on a format of four years. The first year is a fan trying to become great, the second is this weird thing and ends with you getting your big hit. The third is you’ve got your success, and now what the hell is it for? The third year is about many things, but mostly my ambivalent feelings about WicDiv‘s success. When you get to the end of WicDiv, you’ll get that. There’s spoilery stuff I don’t really want to talk about yet.

GP: It’s like your “Ashes to Ashes”.

KG: A little bit, yeah. To go with the Bowie, we start out with Ziggy Stardust with some Black Parade, then you’ve got the Berlin period for “Commercial Suicide”. Then, it’s Let’s Dance, and “Oh yeah, we’ve got an enormous hit.” We’ve done the “Bad Blood” Taylor Swift everything explodes thing, what now? The idea that you can remain successful and use your craft to do a trashy pop thing, and everyone will love it.

But how can you look in the mirror? It’s basically the stuff that killed Cobain. That’s kind of what “Imperial Phase” has been about. There’s lots of self-hatred. That’s what we do.

GP: I don’t really get a Nirvana vibe from WicDiv, but it makes sense now.

KG: Everything’s in there. I don’t want to do too much because the gods are disappearing down their own holes in their own different ways, which is kind of the point. They have their own hamartia. This collapse is how we delineate whether people are wrestling with their demons or not.

GP: Right now, Amaterasu is basically evil. When in the past issues of WicDiv did you start to seed in her heel turn and realize she would turn out this way?

KG: It’s like one of those questions, “How do you define evil?” Amaterasu is somebody who has been easy to forgive her foibles because she’s nice. She’s Cassandra’s opposite. Cassandra is easy to dislike, but is mainly right. She is very abrasive, and it’s the irony of “the Cassandra”. People aren’t listening to her because she’s annoying, but she’s mostly right.

As opposed to Amaterasu, who’s very sweet, very kind, and a coward. And she looks great. She’s a pretty white girl, and people let them get away with things. If you look back at the first speech she gives [in WicDiv #1], it’s creepy as hell. Amaterasu is someone who knows stuff, but isn’t great at putting the them together. She’s got her practiced lines, but her interview [in the first issue] falls apart when she panics.

I’m always worried that I make her IQ drop too much. But she just doesn’t get it. One thing I love about Amaterasu is that apart from the loss of her parents, she’s had a nice life. She’s 17 and the second youngest of the Pantheon. She’s slightly younger than Persephone.

GP: I always forget she’s so young.

KG: It doesn’t make her behavior forgivable, but you understand it. If you reread WicDiv, you’ll go, “Oh yeah, that was kind of coming.” But I think might be easy to miss what we’re trying to do with Amaterasu until you got to her solo issue and that image of her immediate rage when someone tried to take a toy from her. That’s Amaterasu in two pages. This is mine, and fuck you if you try to take it.

The darker side of the characters has started to come out. And, in the last issue, she’s a fucking monster. There’s some stuff that she does that is amazing as in “Wow, you actually did that.”

GP: Like the whole “ShinTwo” thing.

KG: I always knew she was going to lean into that, but only got the pun while writing her first scenes. ShinTwo, oh no! That’s so bad, and it’s completely the right thing to do [for the character].

The thing about WicDiv is that it’s all very planned. I know the characters’ arcs. But the specific execution is what I keep free; otherwise it’s just typing for four years. It’s got to surprise and delight me, or it gets boring. And if gets boring for me, it’s even more boring for the readers. A bored writer is generally a shit writer.

GP: Moving onto the recently released Complete Phonogram, what is David Kohl up to in 2017?

KG: I imagine he’s being interviewed about his glorious career as a phonomancer. He’s settled into being a complete has-been, which is kind of the weird joy of it, I think. That final story I did with Tom Humberstone when we pull away the mask a bit and let Kohl become Kieron, and he’s like “Yeah, you got me”.

And the weird thing is you’ve got this push and pull between Kieron Gillen the writer and David Kohl the character. There are bits, like when Michael Jackson dies, and that segue between time and space. Those panels are very clearly about me, Kieron Gillen, as opposed to the panels that are about this fictional character, David Kohl, who is a critique of my own writing of a certain period. I think David Kohl is about me.

 

GP: Phonogram: Rue Britannia especially has that autobio comic vibe to it.

KG: I’ve learned to hide it better. When I was writing Rue Britannia, I was influenced by Joe Matt’s The Poor Bastard, Eddie Campbell, and of course, Grant Morrison with this quasi-fiction suit sort of thing. That’s what I wanted to do with Kohl.With Rue Britannia, I hid [the autobiographical elements] less expertly than I did later. Like I gave Britannia some of the same outfits as someone I dated. It’s kind of funny when people come up cosplaying as one of my ex-girlfriends.

I realized that in Singles Club, which is more autobiographical in a real way.There’s more facts in Rue Britannia and more emotional truth in Singles Club. By splitting the stories into the seven characters of Singles Club, I could hide it better, which is what WicDiv is doing as well.

GP: I have one last musical-based question. I’m a big fan of the WicDiv playlist, and it keeps me sane during work. I was wondering what albums or artists you were listening to while scripting “Imperial Phase Part 2”.

KG: The easiest way is to look at the playlist, but there are songs I want to add that aren’t on Spotify, like “Shocked” by Kylie Minogue. And then there’s others I can’t add because of spoilers. You need to be an obsessive WicDiv fan to see what I’m adding, but sometimes I have to wait until various [story] beats hit to drop it in. Like if there was a song called “Sakhmet’s Eating Some People,” I would add it to the playlist.

If you look at the more recent stuff on the playlist, there’s ANOHNI and her track “4 Degrees” that’s amazing apocalyptic awfulness. Blood Orange’s album Freetown Sound is on there and very Persephone in its sadness. Then, there’s Downtown Boys and their cover of “Dancing in the Dark” [by Bruce Springsteen]. I was obsessed with that track for a week and kept breaking into tears about why this record meant so much to me.

[Downtown Boys] are an X-Ray Spex-like bisexual punk band from New York, and their cover of “Dancing in the Dark” reframes the sheer anger of the lyric as a song about depression with dancing in it. You’ve got the beat and the line, “I wanna change my clothes, my hair, my faces”, and it’s like someone carving their face off. It feels very political.

And you can scan the playlist for more great stuff.


Kieron Gillen is currently writing “Modded” and Uber: Invasion for Avatar, Doctor Aphra for Marvel Comics, and of course, The Wicked + the Divine at Image Comics.

You can find him on Twitter and Tumblr.

Review: The Wicked + The Divine #19

WicDiv19hotWicDiv #19 reads like the first skirmish in an epic war, but it’s an amusing skirmish indeed as writer Kieron Gillen provides a little more insight into the characters of Minerva and especially Dionysus, who gets his first substantial panel time since WicDiv #8. (What with him being a 24/7/365 dance floor.) His worshipers/ravers are so connected to him that even when he takes a five minute break for a soda and fries, they got wild so it’s safe to say that he’s a little irritated when Baphomet draws him into a battle between the Sky gods and Underground ones. Gillen writes him as peaceful in the mode of the late Inanna while artist Jamie McKelvie and colorist Matthew Wilson show that he is less than apt in the art of combat thanks to this pacifist nature.

WicDiv #19 doesn’t end on any “WTF” cliffhangers like #17 or #18, but it’s nice to see the sides set in the battle between the two factions of the Pantheon with Ananke turning into a full bore, unapologetic, and unsympathetic monster when Minerva’s special owl catches a recording of her talking about sacrificing Minerva to prevent the “great darkness”, or the end of the Pantheon cycles that was hinted at back in Ananke’s solo issue. Supposedly, Persephone is connected to the great darkness as the “destroyer figure”, but the jury is still out on this fact as Persephone is more force of nature than teen fangirl with superpowers as she silently brings green tendrils from the Earth to knock off

The action is really the best part of WicDiv #19 as well as McKelvie’s mindboggling ability to switch from Morrigan to Badb and even Gentle Annie (Who gets an incredibly pleasing character voice from Gillen.) through gestures and body language. Gentle Annie comes off as a laidback and maybe a little stoned with relaxed posture while Badb is all rage and expletives. Wilson’s colors play a big part in her transformation from subtle shifts in shadows to bigger switches from light grey to crimson as Gentle Annie immediately turns into Badb. McKelvie and Wilson let her go full death/war goddess in the issue’s best composition, which is a full page spread of her transforming into a horrific crow that even takes Baphomet by surprise. (Also, with his wild lightsaber, er, flaming sword arcs and general evil douchelord behavior, Baph and Kylo Ren from Star Wars: The Force Awakens would totally be frenemies.) This follows a full page splash of Baal generally crashing the party and being a badass with his beard and lightning with Wilson’s purples continuing to show that the only reason he gives a shit about this Pantheon civil war is because Baphomet killed Inanna. (Except Baphomet is saying Ananke did it. It will be interesting to see his justification for lying like this probably because Ananke is the terrible mother figure he wished he didn’t have.)

BadbUnleashed

Morrigan and Baal are the powerhouses of their respective factions whereas Sakhmet is more fluid leaping from panel to panel and talking trash while doing it. The characterization doesn’t stop during the fight sequences, but these physical battles actually enhance them with Amaterasu not taking any action against the Underground deities (Who she somewhat considers friends, especially Persephone.) and just zipping in like Superman to get Minerva to “safety”. She is the opposite of the destructive Morrigan and has the precision of one of Cyclops’ optic blast (Because Gillen used to write Uncanny X-Men.) as McKelvie cuts to her always on-point eye makeup, and she grabs Minerva without harming a soul. Wilson uses a solar yellow to show her purity and kindness. It’s pretty sad to see her in the service of a murderer and possible future child killer.

AmaterasuSuperman

WicDiv #19 deepens the evil of Ananke and the characters of Minerva and Dionysus while having some pyrotechnics-filled god battles from artist Jamie McKelvie and colorist Matthew Wilson. Writer Kieron Gillen also starts to hint at Persephone not being the heroic, divine upgrade of Laura that fans expected as both the sky and underground Pantheon are cast in a net of lies, strained relationships, and volatile personalities. Morrigan and Baal are definitely the proverbial water and oil mixture (Or Yeezy/Nightwish mashup I never knew I wanted.) after this issue despite not interacting too much before.

Story: Kieron Gillen Art: Jamie McKelvie Colors: Matthew Wilson
Story: 8 Art: 9 Overall: 8.5 Recommendation: Buy

Image Comics provided Graphic Policy with a FREE copy for review