We have reprogrammed reality. Language is a virus, religion an operating system, and prayers are just so much fucking spam." Just to let you know to begin with, I have never read American Gods, and am not familiar at all with the work. The only Neil Gaiman novel I've read is a childhood favourite of mine, the Graveyard Book. Whilst it does propose the same wacky and unconventional imagery, it's far from as coma-inducing as this. Truly, much like Fuller's work on Hannibal, American Gods is a work of abstract art. It crosses the boundaries between reality and fantasy quite blatantly in almost every way.
I'm very fond of the opening monologue with the depiction of vikings landing on an unknown land for the first time and facing danger. It's suitably violent and superficial, but it seems typical of Gaiman's storytelling abilities. I'm guessing the message we get from this short story, whether real or not, is that gods want a lot of blood spilt before giving gifts to Humans. Seeing as I'm going into this blind as a story, there's a lot of hints I can see towards this God-like faith. But, I suppose, the question is, why specifically American Gods? Concerning Shadow Moon, I think Ricky Whittle is brilliant. He provides a sense of loss and innocence to his role that makes me empathetic towards him. Conversely, Mr. Wednesday, played eclectically by Ian McShane, is complicated and uncertain. What his role might entail in this many-threaded show is temporarily hazy, but it's mysterious enough to keep me guessing. The rapport both characters share on screen is polar opposite, but exciting, and I can't wait to see their relationship flourish. For Shadow, it seems his life has turned incredibly sour, with the loss of his wife and friend, made more bitter thanks to an uncovered affair between them. The premiere paints a very bleak picture, but at least there's enough humanity to keep us anchored to the story. The most-talked-about scene is pretty obvious considering the context. In what is possibly a both bizarre and uncomfortable situation, two single people meet for the first and seemingly hit it off. So much so, that they're already moving to the bedroom. This rapidly unfolds into an insane sex scene where the woman, Bilquis, demands that her lover worship her as a goddess. This recurring theme indicates to me that this woman probably has a vital part in the unfolding mystery. This hunch is doubled when Bilquis appears to completely absorb (if that's the right description) her lover. It's a graphically filmed scene, and shocking to say the least, but it communicates to the viewer a specifically horrific power. This is no ordinary show, and its originality will be its success no doubt. Unfortunately, the second half of the premiere suffers from a dragging effect as we are introduced to three new characters; namely Mad Sweeney, who has a predisposition for violence; Audrey, who is suffering from the betrayal of her husband and best friend; and Technical Boy, who has already pinpointed himself as the possible hostile entity of the show. It's a lot to take in, and with so little exposition, but its enough to keep me rooted as I learn earnestly about this fascinatingly disorganised world. As an extra point, I would like to particularly commend the production team for the visual aspect. Graphic and uncomfortable at times, yes, but it's a testament to the artistic nature of the scenes that makes the audience react in such a way. The opening sequence, final sequence and use of symbolism especially raises the bar for the visual aesthetic. I hope to see more of this craft later on in the show. 8/10
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AuthorA very passionate Welsh nerd... Archives
October 2017
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