Odin #4 // Review
She might have seen her self as a kind of hero journalist...someone who was looking to expose the darkness hiding in the shadows of contemporary society. And she might've been that before in the past. However, now she's entered the forest with a group of dangerous religious zealots. I'd be able to leave with her. She might not be able to believe at all things get considerably worse for her in Odin #4. The writing team of Marguerite Bennett and James Tynion IV continue their horror with artist Letizia Cadonici and colorist Jordie Bellaire. The horror gets considerably darker in the 4th issue of a strikingly cark supernatural horror series.
Adela is surrounded by people, she'd rather not be surrounded by. And she has to continue to speak lies in order to be accepted into a group of people she'd rather not be around. To make matters worse, she's seen the supernatural and maybe it's all a bad drug trip or something like that. But maybe it's worse. Maybe there's some kind of problem in that there's a legitimate giant that's approaching them. She's a kind of God. And now if they're going to be able to survive and enter the kingdom of the gods, they're going to have to make her laugh.
Given the right angle, the absurdity of adult would probably seem pleasantly surreal. (it would be particularly interesting to see what a guy liked Grant Morrison could do with this same from this.) Of course, there's some remarkable darkness that the writers are working with that all seems very, chilling on so many different levels. It might be a journey to the kingdom of the gods, but it is also a descent into its own kind of hell. By the fourth issue of the series, the story has generated its own kind of gravity. It's difficult to feel really good about entering the world of this particular comic book. But it's kind of hard not to feel it's pole as issues continue to emerge onto the new comics rack.
There's a gracefully crude kind of beauty about Cadonici’s art style that feels like it fits the script quite well. It's a very grim sort of a world that is resonating off the page. The drama between an intricate emotional architecture of a rather large extended ensemble. All hits the page with its own personality. Every character has his own distinct personality on the page, even if they're not actually saying anything. That's quite an accomplishment in any comic book.Once again, Bellaire’s colors cast a stylish show upon the page. If there's a real feeling of a deep calm emotional winter that is cast across the page.
It's not a deliciously, appealing sort of horror. There's a real darkness here that is difficult to enjoy. But it's even more difficult to ignore. And so there's a kind of a liberation at the end of any issue of Odin. It almost feels like you're surviving something just having reached the triangle page. The story is finished, it will have been many things. There's no questioning that, but there's no questioning that it's going to have been memorable.
