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Comic Review: Limbo #3

Written by: Laura Hong-Tuason, CC2K Comics Editor

You’ll never look at music the same way again.


Writer: Dan Watters
Illustrator: Caspar Wijngaard
Letterer: Jim Campbell

*Spoilers* If this is your first time hearing about Limbo, you can read my review of issue #1. If you want to jump right in, go on ahead.

Despite the delightfully retro defeat of the teleshaman in last month’s issue, it would seem Clay’s problems are far from over. As readers recently learned, the teleshaman was employed by The Thumb to keep a watchful eye over everyone in Dedande City through their televisions. Because of this, the Thumb now knows who Clay is and where he lives. With the evidence needed to persecute The Thumb destroyed, Clay must face the repercussions of all that has unfolded.

Limbo #3 finds Clay reporting back to his client, Ms. Bridgette, about his failure to convict The Thumb. Bridgette isn’t happy. Now that The Thumb knows about Clay, it won’t be long before he finds out Bridgette was the one who hired him. Seemingly unworried, Clay ventures on to a record store with Sandy. She wants to find new music to appease the Loa spirits she had disrespected during the teleshaman ordeal. Before they can find one, they’re alarmed by a crowd of people dancing outside. In the world of Limbo, that is never a good sign.

Limbo #3 was a fantastic issue for at least two reasons. One is the reinforced idea that music is a powerful and frightening force. It is no coincidence that the opener of this issue featured a terrified man screaming about snakes through a parade of people dancing to music. It is also no coincidence that Sandy uses music as an offering to the Loa in exchange for their forgiveness and guidance. Music is all encompassing in Dedande. It is a force to be reckoned with, for better or worse, and that is enough to send chills through anyone.  

The second reason is Sandy. In this issue, readers were treated with more knowledge of Sandy without really knowing more about her at all. She remains a mystery, with her backstory and motives hidden, but it’s the way she is portrayed that allows her to be so alluring as a character. We get the idea that she is a caring person, as evidenced by Sandy asking a woman she runs into how her daughter’s fever was doing after being given a charm. Moreover, Sandy seems to care for, and know more about Clay than she lets on. Despite Clay being a jerk and possibly dangerous, she still feels the need to help him. A journal entry of hers alludes to the fact that whatever happened to her in the past, it connects her to him.

Adding to her knowledge of voodoo and the Loa, Sandy proves to be smart and perceptive. After all, she does save Clay many times. In a strange way, it’s hard not to wonder whether Sandy is the true protagonist of the story and Clay is just a red herring. That’s probably not the case, but she makes as much a compelling character as Clay does.

At this point, we still know little about Clay. His sole purpose so far seems to be that of comic relief, with no regard for himself or anyone else. It works for now, but uncovering who he is and what kind of limbo he’s actually stuck in is something to look forward to. At least we know he isn’t completely heartless and daft.

The art remains consistently mesmerizing. Being a comic revolved around music, Wijngaard gives his art rhythm. With each panel, there is a sense of motion to the characters and each action they take. It’s as if all the characters are engaged in a never-ending dance. Whether it is Clay punching someone, Sandy and him running away, or a herd of mannequins, they all seem to be jamming along to one big rock anthem (or disco because of all the bright colors) that threatens to consume them if they stop. Speaking of mannequins, both Watters and Wijngaard have proven just how creepy they can be. Thanks, this writer won’t be sleeping tonight.

Limbo #3 is solid. It is a clear indicator that Limbo gets better with every issue.

5.0 out of 5.0