I’ve spent months wondering about how I was going to talk about The Wicked + The Divine’s twenty-third issue. It’s such an unusual artifact set pretty much right in the middle of the series, and it adopts a format that’s at once reminiscent of the backup material found in issues of Watchmen while doing something that I’ve not encountered before in fiction writ large.
The conceit of the issue is that it’s not an issue of a monthly fictional comic but a monthly fan magazine that exists within the WicDiv universe. This sort of creation of in-universe artifacts isn’t that unusual (again, Alan Moore did it as filler for the letter pages when he was writing Watchmen), but what strikes me as special about it is the fact that Gillen has actually outsourced most of the copywriting of the book to actual journalists (he cheekily inserts himself as the Editor of Pantheon Monthly, which I’m sure some fans somewhere have used as an excuse to create art where he is mercilessly tortured by his own creations as payback while declaring “this could totally happen!”). The way this narrative sleight of hand is accomplished was through roleplayed interviews between Gillen as each of the subjects and their respective interviewers over instant message with accompanying notes from Gillen about what the gods were doing during each scene. It’s a really cool way to collaborate with other writers in a way that helps shape the narrative without stifling individual voices, and I’m left curious about the possibilities of this particular style of writing. On the art side of things, we have a couple of pinup style pieces by McKelvie framed as ads for products that Baal and Persephone are selling bookending the issue, and each article is accompanied by two to three illustrations of its subject by Kevin Wada presented as fashion photography. Anything that might be considered traditional sequential art is limited to two pages at the issue’s end where the public version of Ananke’s death is recapped with panels meant to be still frames from the documentary footage that Beth’s team got during the events of Rising Action and a three panel gag strip of the Pantheon deciding to party after Ananke bites the dust reside.
The interview format of the issue allows it to serve a unique narrative function within the series as a whole. Coming off of the climax of Rising Action, the Pantheon is now in uncharted territory as it has to navigate its final year without Ananke’s machinations guiding everyone towards whatever her own goals were. The kids are on their own for the first time, and that new status quo requires a fair bit of set up; instead of jumping right into the next bit of action, issue #23 gives a little bit of a breather and lets the reader know obliquely about how things have changed in the intervening three months. Besides the expositiony stuff, there’s also a healthy dose of character exploration, although it’s all filtered through the way the gods interact with the public instead of among one another; except for the Morrigan (who, let’s be honest, is always in character), every interview has at least one moment where the writer notices the artificial nature of their subject’s pose. It’s a well-worn critique that celebrity breeds a level of disingenuity between a person and their fans, but this issue seems to revel in that reality as a core commonality among the members of the Pantheon, who are as dysfunctional in their interactions as ever.
While each god approaches their interview with a different explicitly stated motivation, the common thread among them is an assertion of self and legacy that seems pretty closely tied up with the desperation that likely follows from suddenly being without a mentor. All the gods are clearly thinking about their impending mortality and what they hope to accomplish in the time they have left; the Morrigan and Amaterasu are a bit more explicit in their wish to leave behind something more than just the memory of them, but even Baal and Woden hint at wanting to have some kind of purpose to their divine tenure (even if in Woden’s case that purpose is just enjoying himself as much as possible). Lucifer’s interview is the oddball in the group just because of its temporal displacement within the series’ continuity. In this piece we get a glimpse at what the world was thinking about the Pantheon in its early days before Lucifer blew the big secret about all the miraculous stuff being legitimate. More intriguing than that bit of early mystique (clearly Lucifer is just on the verge of stealing the spotlight) is the reminder that Lucifer’s take on the godhood deal early on was a lot more cynical than the other public facing Pantheon members. She’s playing her part as the unrepentant rebel dutifully, but there are hints here and there that she’s not really happy with the turn of events. All the gods worry on some level that the cost of their fame is probably too high, but aside from characters like Woden and Sakhmet (who pair their coping with an intense amorality) Lucifer is the one who tries to sooth those worries with a hedonistic abandon that clashes so strongly with what she values.
When the issue is over, the strongest sense that we’re supposed to take away is that the gods are determined to do their own thing now that Ananke is dead, and they will very likely make it all worse while they’re trying to figure out what that should look like.