God Country #5
Writer: Donny Cates
Artist: Geoff Shaw
Colors: Jason Wordie
Letters: John Hill
Publisher: Image
Awash in stunning cosmic colors, lightning, sword slashes and the like, God Country #5 is a homerun.
Cates starts the issue out by deftly pulling back in time, adding needed insight into the world of the Gods, giving them history, initiative, loss and a hell of a grudge. It’s a stellar choice in a comic full of stellar choices. When the narrative pans back down, terrestrially, to Emmett Quinlan and Valofax, fighting for their lives, there’s a resonant weight to both the human side and that of angry Gods. A weight that carries the issue through its tense, electric moments and delivers God Country’s best and most compelling issue yet. By its end, standing on a literal precipice of otherworldly war, I can’t see God Country faltering.
In equal measure, Shaw and Wordie deliver their best effort here, too. Wordie’s colors are cut from an unendingly cool cosmic cloth – purples, blues, and a kind of Kirby-esque cosmic ink wash bring the issue to all new highs. Breathtaking, astoundingly well-choreographed and realized, the art here is top notch, giving Shaw a lot of outdoor scenes to work with, something he handles much better than the previous issue’s kind of lackluster indoor ones.
Frankly, I don’t have a bad thing to say about this issue and saying much else would spoil all the fun. If you’re not already reading God Country, go pick up the first four issues immediately, and if you’re already reading, I know you’re having as much fun as everyone involved, myself included.
Artist: Geoff Shaw
Colors: Jason Wordie
Letters: John Hill
Publisher: Image
Awash in stunning cosmic colors, lightning, sword slashes and the like, God Country #5 is a homerun.
Cates starts the issue out by deftly pulling back in time, adding needed insight into the world of the Gods, giving them history, initiative, loss and a hell of a grudge. It’s a stellar choice in a comic full of stellar choices. When the narrative pans back down, terrestrially, to Emmett Quinlan and Valofax, fighting for their lives, there’s a resonant weight to both the human side and that of angry Gods. A weight that carries the issue through its tense, electric moments and delivers God Country’s best and most compelling issue yet. By its end, standing on a literal precipice of otherworldly war, I can’t see God Country faltering.
In equal measure, Shaw and Wordie deliver their best effort here, too. Wordie’s colors are cut from an unendingly cool cosmic cloth – purples, blues, and a kind of Kirby-esque cosmic ink wash bring the issue to all new highs. Breathtaking, astoundingly well-choreographed and realized, the art here is top notch, giving Shaw a lot of outdoor scenes to work with, something he handles much better than the previous issue’s kind of lackluster indoor ones.
Frankly, I don’t have a bad thing to say about this issue and saying much else would spoil all the fun. If you’re not already reading God Country, go pick up the first four issues immediately, and if you’re already reading, I know you’re having as much fun as everyone involved, myself included.
A Look Inside
