REVIEW: ‘The Goddamned #2′ is truly a goddamn beast

LET ME DIE!

What is the prize of being an immortal? After an excellent start of the new series, The Goddamned, creative team Jason Aaron and R.M. Guéra explore that question in the most violent manner yet in the personification of the first murderer of humanity. I believe this chapter can be interpreted as a visual case study of today’s generational fascination of dreaming, obtaining, and becoming immortals due to the perceived promises in both scientific and medical advances. However, as mentioned in the thought balloons of the so-called Judeo-Christian-Islamic “first born”, that kind of “gift” is also a deadly “curse” in the long-run. Henceforth, one should be better careful of what you are wishing for because in the end, you get more than what you get with.

Anyways, this riveting chapter also presents how powerful the series main antagonist is, particularly on how this so-called “man-of-god” dispatches a group of philistines with cunning and brutal precision, thanks to the great illustrations of Guerra and the colors of Giulia Brusco. Furthermore, Jason Aaron combines characterization with plot development in describing the major characters’ respective motivations, thoughts, and undertakings, alongside with the story’s current flow as the trajectory is now gearing towards of their so-called inevitable encounter sooner or later. The latter is basically unheard or unwritten in the pages of the world’s religious sacred scriptures. Naturally, Jason delves to some wordsmith by crafting/inventing some words around to make the languages more visceral, if not gruesomely authentically sound.

The art department is definitely the true goddamned beast here on this issue. Both Guerra and Brusco simply deliver their respective artistic responsibilities in the world-building characterizations of the end times that really influence the tone, mood and atmospheric feel of this series. Examples are the wastelands and the remaining vegetations that are truly depressing to view, but paradoxically are the reasons of the aesthetic feel due to the brutal depictions of the primordial apocalyptic take of the creative artistic tandem. Additionally, Guerra’s characters are illustrated so genuine even his interpretations of the ancient races and creatures are executed based with a tinge of research and more to his great imaginative and uncanny prowess.

Of course, some issues I raised in the first issue, like being sacrilegious and iconoclastic, can carry over to this chapter as well. Regardless, The Goddamned #2 reads brutally and uneasily well, most especially to the fates of these pre-destined/predetermined casts who are now on the apocalyptic collision sooner or later.