‘Twilight of the Gods’ Review: Zack Snyder’s Animated Norse-Mythology Retelling for Netflix Is Visually Rich but Emotionally Hollow

As a long-time aficionado of epic storytelling and grand visual spectacles, I must say that Zack Snyder’s latest endeavor, “Twilight of the Gods” on Netflix, left me with a bittersweet feeling. On one hand, the animation is breathtakingly beautiful, with vibrant colors and expressive lines that bring the Norse mythology to life in an awe-inspiring manner. But on the other hand, the emotional depth and character development seemed to be lacking, leaving me yearning for more from these larger-than-life characters.

Regardless of your opinion about Zack Snyder as a storyteller, one thing is certain – he has a talent for creating striking visuals. This talent shines in his latest work, Netflix’s “Twilight of the Gods.” Stone Quarry Animation brings the Norse mythology retelling to life with vibrant colors and graceful, expressive lines that transform into magnificent monsters looming over picturesque landscapes, or vast battlefields marked by flashes of lightning, gruesome explosions, and dramatic leaps through the air captured in slow motion.

Visually, it’s a stunning spectacle, no doubt. However, when it comes to engaging emotionally, it falls short. The story is packed with captivating characters, but they lack the depth that would allow for a meaningful connection. Consequently, it feels empty, despite its characters, whether heroes or villains, being involved in significant events that could change the universe’s course.

The narrative, jointly crafted by Snyder, Jay Oliva, and Eric Carrasco, revolves around Sigrid, a valiant warrior portrayed by Sylvia Hoeks. She was not just any ordinary woman; she had won the love of an equally powerful king, Leif (played by Stuart Martin), by bravely saving his life in combat. However, their tranquil wedding was disrupted when the uninvited and malevolent Thor, the storm god (Pilou Asbaek), appeared. The peaceful ceremony transformed into a ghastly massacre. Sigrid miraculously survived, but her heart was consumed by a fierce thirst for vengeance. Inspired by the motto of her deceased clan – “We defy no gods!” – she embarks on a relentless pursuit to accomplish one thing: slay Thor himself.

As a fervent admirer, let me express that the saga titled “Twilight of the Gods” is brimming with dynamic characters who swiftly advance their tale, almost as if they’re racing against time. In no time, Sigrid laments about her longing for her homeland and before you can blink, she and Leif are on a gallop to revisit it. Similarly, once Sigrid concludes that she requires divine-slaying weapons, she manages to procure them from the skilled dwarf smith, Andvari (Kristofer Hivju). The narrative unveils swiftly as in the early stages of the second episode, Sigrid declares her intention to enlist five extraordinary individuals for her potentially perilous quest. However, it slightly dampens the anticipation when she miraculously finds them within a mere 15 minutes.

The group rapidly moves forward, whisking us through one breathtaking spectacle after another throughout the series. Across this period, Sigrid descends into the realm of the underworld and re-emerges; sails down a river teeming with the ghosts of women wrongfully drowned; bursts into the opulent golden halls inhabited by giants and deities. During these travels, both Sigrid and her companions face hissing legions of the deceased, towering Valkyries with wings, and colossal beasts as large as mountains.

Almost every episode concludes with at least one intense, magical battle, similar to the adult Netflix series ‘Blue-Eyed Samurai’, ‘Twilight of the Gods’ does not shy away from graphic violence. Characters dismember others, crush heads with their bare hands, and pierce through bodies as if they were bursting open piñatas. Moreover, the characters are open about sexual matters, often unabashed in nudity and expressing their desires freely. However, despite its explicit nature, the series’ sexual scenes possess an awkward tone rather than a passionate one. A character suddenly revealing his past during a threesome appears more like an attempt by the show to emphasize its maturity, rather than a comfortable expression of sensuality.

Maybe it suggests a hesitation, not entirely confident, that this show can maintain viewers’ interest without relying on explicit content like sex or violence. The irony lies in the fact that Twilight of the Gods is at its best when it allows characters to contemplate and emote, rather than merely act. A subplot involving Leif and Loki recalling their most distressing memories deepens Loki’s tragic character as he bitterly admits his sole purpose seems to be to be blamed. Leif’s unwavering yet perceptive love for Sigrid gives us a poignant insight into the psychological toll this journey is taking on her. An unexpected romantic interest between the Seid-Kona (Jamie Clayton) and Egill (Rahul Kohli), a captivating slave, brings a delightful touch of sweetness to a story that predominantly focuses on anger and despair.

However, the deeper emotional narratives aren’t fully developed or allowed to reach their full potential. Frequently, the series relies on explicitly stating the characters’ emotions instead of allowing them to express it subtly. For instance, Thor becomes romantically entangled with Sandraudiga (played intriguingly by Jessica Henwick), but the connection is barely explored before a different pair of characters explain his reasons for this romance. Instead of the emotional journeys of these characters driving the narrative, they are relegated to mere supplements to the grand battles among them, making us question why we should care about the entire fictional universe at all.

As a gamer, I’ve been journeying through “Twilight of the Gods,” but it feels like we’re running in circles without reaching any truly intriguing destinations. However, the season finale didn’t disappoint! The epic battle that’s been brewing since day one was nothing short of spectacular. The combat sequences were a thunderous symphony of noise and intensity, edited at such a fast pace that my human brain struggled to keep up.

Eventually, it became apparent to me that I had lost track of the events unfolding, mainly due to my dwindling interest in exerting the necessary effort. When Sigrid defied the gods, that was an act in itself. However, if her show ignored her feelings or those of her friends, that’s where the real downfall lies.

2024-09-19 10:26

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