“Please guide me home” – ODY-C #1 is a stunning, beautiful contradiction

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Since I put ODY-C on my pull list, following the book’s announcement at Image Expo 2013, I’ve moved across the country, started a new job, quit smoking, began a relationship, turned around my opinion on ramen, read somewhere around 1,000 X-Men comics and rewatched “30 Rock” four times. My comic shop owner regularly asked me “Hey, when’s that ODY-C coming out,” and I would dutifully reply that it got pushed back again or that it seemed like Matt Fraction might be abandoning the book as he kept swapping around Marvel projects, backing out of Inhuman and falling behind on Hawkeye. I eventually, almost gave up hope.

But I didn’t and I’m very happy that I did not. ODY-C, written by Fraction and drawn by Christian Ward, is a powerful, self-assured debut from one of comics’ most recognized modern writers and an up and coming artist with a lived-in style. It’s a book that doesn’t feel like it could be created by any other team, in the same way Fraction’s most recent independent, the smash-hit Sex Criminals, felt as if it couldn’t have been made by anyone other than himself and artist Chip Zdarsky. However, where Sex Criminals took the first issue to establish protagonist Suzie’s motivations, back story and unique ability, ODY-C does everything in two pages.

Well, technically 10 pages.

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Yes, the much vaunted 8-page opening spread is there and it’s glorious but it’s what that spread both shows and doesn’t show which is the real masterstroke of the opening. Before unfurling the spread, The sides hold both a map and a timeline, respectively of the world Odyssia and her crew inhabit. Both have the same impressionistic style Jonathan Hickman popularized in charts and diagrams in The Nightly News, Pax Romana and Secret Wars but they serve dual purposes and those purposes highlight the contrasting worlds ODY-C exists in. While a dry, loose timeline explains the background of Zeus’ actions, the reason for so few men in this world, and the conflict in Troii, it all serves as useful flavor around a shocking, imaginative and gruesome tableau of Odyssia and her companions. It’s a smart move, grounding the physical cost of massive violence against the dispassionate recounting of the bickering and pettiness which leads to it.

That fusion of new-age artistic aesthetic and Western canon is what provides some of the more intriguing moments of ODY-C as well. After the ship takes off to bring its crew of warriors home, we visit the Gods, a seemingly powerful family of conspirators and battling factions all watching the actions of Odyssia from on high. While the issue up to this point, has held all of the action unobtrusively in narration, the shift to word bubblers when the gods appear is jarring and an interesting touch, certainly open to interpretation. Is letterer Chris Eliopoulos attempting to show a difference between the controlled, set as legend story of Odyssia with the more emotion based tales of the Gods? Are we meant to view the Gods as more traditional characters while the soldiers are more untouchable by the comics medium? Are the characters and tropes permanent even when placed them in an unfamiliar medium, while the gods wholely inhabit where they are?

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To his credit, Fraction doesn’t offer many answers in the first issue but there’s lots of room for debate. So it goes throughout the story, where each of Fraction and Ward’s choices are meant to accentuate both the power of Homer’s original text as well as the new subtext a few changes can bring to these tales. Nowhere is this clearer than in the death of Xylot. While The Odyssey contains many passages referencing Odysseus’ loyalty to his crew as well as the violence he is capable of, the shift to Odyssia’s crew, more in tune with one another and in desperate need of cooperation makes her choice to kill a crew member feel different. She’s no less of a hero and no less worthy of a character than Odysseus when she damns Xylot to the cold reaches of space but it’s a moment that requires the reader to ask something of themselves. Just who is this captain who makes these sacrifices? What is waiting for her back home and is she deserving of taking it upon her return? Reframing these questions, which have formed the backbone of so much of Western fiction as we know it, is the key success of ODY-C #1 and create a strong start for the sure to be long journey to come.

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