Thomas Paine said that “Belief in a cruel God makes a cruel man.” I’m pretty sure that Paine was referring to the way that people interpret faith, for better or worse, but his words stuck with me while reading Godzilla: Escape the Deadzone #2. That’s because the book showcases more of the Deadzone, and reveals that there is a cult that worships Godzilla, believing the King of the Monsters was sent as some form of divine justice to set mankind on the right path.
It’s a wholly unexpected turn of events, and yet thanks to Griffin Sheridan and Ethan Parker’s layered method of storytelling, it makes sense. In the wake of horrific events, some people will turn to their faith, believing that these events are part of “God’s plan” or that God has better things in store for them. It’s even a subtle reference to how Godzilla was originally crafted as a parable for the horrors of nuclear warfare and how it affected Japan. That’s fairly heavy stuff for a series about giant monsters, but it’s part of the special sauce that’s made Godzilla work for 70 years and I’m glad these guys get it.
Sheridan and Parker also start to delve more into the mystery of Runt and Glasseater, the mysterious Kaiju-controlling children that the Wanderer encountered. If you’ve seen The Mandalorian, read Lone Wolf and Cub, or generally encountered any other flavor of “grizzled badass winds up taking care of a child” story, you’ve probably guessed that the Wanderer – who, up to this point, mostly spends his days fighting off kaiju and the other threats that lurk in the Deadzone – ends up taking Glasseater and Runt under his wing. The “why” of it is probably a mystery that’ll be revealed in the next issue, though it does let Sheridan and Parker reveal that the Wanderer has a heart under his irradiated skin.
IDW
Godzilla: Escape the Deadzone #2 offers Pablo Tunica yet another chance to show off his unique art style, especially when it comes to fleshing out the Deadzone. For starters, there’s the mysterious cult: their “church”, so to speak, is a run-down cathedral that’s covered in thick, scaly growths and has a pair of horns jutting up outside that create a makeshift gate. It looks as though it’s part of Godzilla, and matters aren’t helped by the gas masks and robes the cult wears – they look less like holy men and more like they escaped from a Fallout game.
Tunica later outdoes himself with a page that features the Wanderer going into full Kaiju mode, with spines jutting out of his back and his face growing more reptilian. It’s an utterly frightening moment, not just because he looks like Godzilla but because he also grabs a man and literally rips his head off, blood spattering everywhere. The sheer visceral visuals on display are what make Godzilla: Escape the Deadzone such a great read, and when paired with the core mystery it’s a match made in heaven – or rather, radioactive hell.
Godzilla: Escape the Deadzone #2 slowly starts unpacking its central mystery, while continuing to show how Godzilla’s presence has changed the world. I’m not sure what the next issue will bring, but I do know that this is quickly becoming a title that Godzilla fans, and fans of great comics, should add to their pull lists.
You must be logged in to post a comment.