In this review of Godzilla #3, the G-Force scrambles as they realize Godzilla is actually on land attacking city of Atlanta.
Godzilla #3
Writer: Tim Seeley
Art and Main Cover: Nikola Čižmešija
Variant Covers: Tristan Jones, Vincenzo Riccardi
Page Count: 32 pages
Release Date: October 8, 2025
This review contains spoilers
Godzilla #3 opens in Atlanta, as bumper to bumper traffic is interrupted by the emergence of Godzilla, in what is described as “the largest kaiju attack on American soil since the deadzone incursion” (Seeley, 1). The book flashes back to where last issue left off, as G-Force and Carrenero’s Pirates are forced to team-up against a horde of the mega-leeches. The Team is able to quell the monsters, and take the pirate crew into British territory before freeing Carrenero from the local authorities. Richard communicates with the science division, who explains that the leeches are synthetic weapons used to hunt Godzilla.
G-force hears news of the Atlanta attack, and the team splits up. Richard, Incences and Nuki head straight to Atlanta, while Rumi, Jacen and a Kaiju-sized Jet Jaguar will go investigate the ocean for the mysterious attackers from issue 1 and the source of the mega leeches. While enroute, Rumi explains how Japan’s G-Force found a way to peacefully quell Kaiju incidents, and her plans to train Jacen to do the same. In Atalanta, Godzilla is intercepted by a mech sponsored by the Keiso corporation. After a huge brawl with massive collateral damage, Godzilla destroys the mech, though it appears he doesn’t actually kill any of his attackers stomping away from the battle to parts unknown.
Unfortunately, my initial optimism for this series has dwindled significantly. While I previously praised the Claremontian quality of Seeley writing, it appears that he has adopted the most frustrating features of that style of writing. I understand this series is meant to be an ongoing title, but three issues in and the characterization of our main casts has not progressed much beyond what was shown in issue one.
Richard, the burly, brash leader of the team is still the big “lovable” brute that is in the party of every DnD podcast. Jet Jaguar is still the “lol-XD-random” mascot type popularized by the likes of Groot. Incense is still the vain hot-head (obvious pun-intended) we’ve seen since Johnny Storm graced the page in 1963. While these make for good archetypes to create interpersonal drama, it’s not anything new, nor do these characters feel like they have any interiority.
The exception to this is the maternal bond between Rumi and Jacen, but even that has the unfortunate hiccup of adding the angsty and jealous Nuki into the mix as some kind of romantic foil to Jacen. While I’m pretty forgiving of love triangles, in this instance it’s very obvious that the mature Rumi would diffuse the situation pretty quickly.
The pacing of Godzilla #3 in particular feels a bit uneven. I’ll admit, I’m a sucker for anytime the big-green-guy is on the page, and this issue is no different. His battle with the corporate Keiso-mech in Atlanta is legitimately thrilling. But it’s cut up between scenes of the main cast fighting the sucker monsters, dropping off the pirates at the British port and Rumi explaining the tactics of G-Force Japan while travelling underwater. It feels a little jumbled from a reading standpoint.
The art in Godzilla #3 continues to look amazing. The action on the ground has a true run-and-gun pace that feels electric. You can feel the speed and power of Nuki’s blasters. As previously mentioned, the battle in Atlanta has an awesome weight to it. The design of the plain, boxy Keiso-mech makes for an interesting contrast to the complex rounder Godzilla. Cizmesija is even able to make talking scenes look dynamic, having art overlapping some of the captions, wordballoons and onomatopoeia. As mentioned in previous reviews, IDW has done their due diligence in matching Cizmesjia art with excellent colors by Francesco Segala. The ability to shift between warm tones in the initial leech battle to a cooler palette for the Atlanta and underwater scenes is seamless and appreciated.
Overall, while I’ve yet again cooled on my initial hype for a modern Godzilla book, there’s still enough to like here to continue reading. The art duties remain stellar, and while I’m afraid Seeley has brought some bad habits along with him from his big two work, I’m willing to be proven wrong on my assessment of future issues. As long as Godzilla remains a prominent figure with an engaging opposition, I’d be willing to continue to recommend this series.
