Written by: Jason Aaron
Art by: RM Guera
Publisher: Image
Basically, with The Goddamned #3, this book just continues to be awesome. The last two issues have basically been somewhere between 20 and 25 pages of brutal action. There’s been a bit of depth to it, yes, but so far, it’s basically just been a really cool, fast paced ride. This issue pretty much reverses that. Yes, there’s definitely some of that rad action here, courtesy of RM Guera. He truly does a brilliant job of conveying those action sequences, and they are one of the book’s best aspects. Sure, they’re not for everyone, but if it’s your thing, it’s the best of its kind.
Anyways, there’s a bit of additional depth in this particular issue. The issue actually opens on a flashback, which is kind of surprising. A pleasant surprise, to be sure, but certainly not something I would have expected. It does create an interesting juxtaposition within the issue though, which is why I mention it. It’s masterfully done, really. It only serves to add impact to everything that happens in the present day. Seeing the world as it once was only makes the rest of the book even more brutal, and kind of heartbreaking, to read. I do hope we get to see more of the flashbacks, since so far I’m liking Jason Aaron’s take on Biblical myths.
In addition to the flashbacks, we get some quieter moments in this issue. It’s not wall to wall action, and there’s time for Cain and his new companion (Aga, it’s nice that we get a name for her in this issue) to take a break. Of course, it’s a brief respite, but it’s a time for characters to interact in a meaningful fashion. Seeing Cain actually talk to someone else, rather than just getting his inner monologue, has been a long time coming. And by talk, I don’t mean threaten or intimidate. As it turns out, Jason Aaron’s knack for great dialogue has followed him to The Goddamned, and I’m glad that he gets a chance to employ that talent here.
We also spend time with Noah’s caravan, seeing it through the eyes of Aga’s son, Lodo. I must say, I do love that Aaron has turned Noah into a barbarian warlord. It’s a, let’s say unique, take on the legend. Anyways, this is likely the most human part of the story. Lodo is the perfect foil for the other children in the camp – who have adopted the name “Bone Boys,” presumably after the group of savages we met in the first issue. Anyways, Lodo is the most innocent character we’ve met. Aga basically says as much, and it’s clear she did her best to shelter him from the savagery of the world. It clearly worked, at least to an extent, and as brutal as Lodo’s role in the story is, it’s also exceptionally well executed.
All of this, of course, wouldn’t be possible without the work of RM Guera. Aaron’s writing is obviously very good, but there’s something primal about the book that almost demands it take on a visual component. The true savagery of this world likely couldn’t be properly portrayed without it. Of course, it also goes a long way in terms of characterization. Again, the written component simply isn’t enough to convey the intensity of the emotions that Guera’s art does.
If you’re not already reading The Goddamned, you probably should be. Sure, there may not be much of a story yet, but it definitely feels like it’s building towards something. We’re also starting to get some actual characterization, in addition to the visceral action from the first two issues. Plus, it’s only three issues in, so it’s a decent time to get onboard.
