My love of book covers is not limited to books any longer, with the ever growing books to TV and film, I am equally as fascinated with the opening titles of the blockbuster books to the small and big screens.
Just like the cover of a book represents the story’s brand and makes it easy for readers to identify your book from others on the shelf, the opening titles of these stories that are now in a new format of TV or movies also need to capture the viewer’s attention and make sure that the brand is easily identifiable to audiences everywhere.
I love the way the American Gods opening title sequence sets up the show’s surreal world using modern and ancient iconography, religious symbols, and modern technology in rich saturated colors.
Official synopsis: Ex-convict Shadow Moon roams a world he doesn’t understand, left adrift by the recent, tragic death of his wife. Little does he know his life is about to change after he meets a crafty, charismatic con man named Mr. Wednesday, who offers Shadow a job as his bodyguard.
As their journey begins, Shadow encounters a hidden America where magic is real and fear grows over the ascending power of New Gods like Technology and Media. In a grand plan to combat the threat, Mr. Wednesday attempts to unite the Old Gods to defend their existence and rebuild the influence that they’ve lost, leaving Shadow struggling to accept this new world and his place in it.
The book was first published in 2001, American Gods became an instant classic, lauded for its brilliant synthesis of “mystery, satire, sex, horror, and poetic prose” (Washington Post) and as a modern phantasmagoria that “distills the essence of America” (Seattle Post-Intelligencer).
“Pointed, occasionally comic, often scary, consistently moving and provocative….American Gods is strewn with secrets and magical visions.”—USA Today
“Original, engrossing, and endlessly inventive.”—George R. R. Martin
From Publishers Weekly
Titans clash, but with more fuss than fury in this fantasy demi-epic from the author of Neverwhere. The intriguing premise of Gaiman’s tale is that the gods of European yore, who came to North America with their immigrant believers, are squaring off for a rumble with new indigenous deities: “gods of credit card and freeway, of Internet and telephone, of radio and hospital and television, gods of plastic and of beeper and of neon.”
They all walk around in mufti, disguised as ordinary people, which causes no end of trouble for 32-year-old protagonist Shadow Moon, who can’t turn around without bumping into a minor divinity. Released from prison the day after his beloved wife dies in a car accident, Shadow takes a job as emissary for Mr. Wednesday, avatar of the Norse god Grimnir, unaware that his boss’s recruiting trip across the American heartland will subject him to repeat visits from the reanimated corpse of his dead wife and brutal roughing up by the goons of Wednesday’s adversary, Mr. World. At last Shadow must reevaluate his own deeply held beliefs in order to determine his crucial role in the final showdown.
Gaiman tries to keep the magical and the mundane evenly balanced, but he is clearly more interested in the activities of his human protagonists: Shadow’s poignant personal moments and the tale’s affectionate slices of smalltown life are much better developed than the aimless plot, which bounces Shadow from one episodic encounter to another in a design only the gods seem to know.
Mere mortal readers will enjoy the tale’s wit, but puzzle over its strained mythopoeia. (One-day laydown, June 19)Forecast: Even when he isn’t in top form, Gaiman, creator of the acclaimed Sandman comics series, trumps many storytellers. Momentously titled, and allotted a dramatic one-day laydown with a 12-city author tour, his latest will appeal to fans and attract mainstream review coverage for better or for worse because of the rich possibilities of its premise.