Reviewer: Andy Logan
Story Title: N/A
Written and lettered by: Robert Kirkman
Art by: Charlie Adlard
Gray Tones by: Cliff Rathburn
Cover by: Tony Moore
Editor: N/A
Publisher: Image Comics
Overview
Somebody asked me the other day why I keep writing such glowing reviews of comic books. Simple…the reviews I’ve been asked to write have been for books that I’m really enjoying, with stories I’m really digging, and art that I’m really appreciating.
Believe me, if a book is so bad that it deserves a brutal review…it’ll get one. Have no fear. Until then, however, I make no apologies for continuing to gush.
You know, I’ve been reading comics for the best part of twenty years now, and in all that time, only a handful of titles have ever moved me enough to make me cry out loud in shock, amazement, fear and even sometimes sadness and despair. This title is one of that elite handful.
Last month, we had the tragic end to the group’s brief stay at the not-so-safe haven of the farm. The aftermath of that devastating sequence of events impacts on Hershel in such a way that he very nearly takes a step forward that he could never take back again, and its powerful stuff.
Also, after finally being given some character development and a role besides “token spunky youngster”, Glenn is allowed to bow out of the storyline with grace. I’m not convinced that we’ve seen the last of him, or indeed, the other surviving characters of the farm – the way things are wrapped up means that there is every chance we will see them again.
One of the on-going themes with this book is that there is no safe-haven, and, as the group move on yet again, they seem resigned to a life of constant travelling and foraging. However, in an intriguing twist at the end of this issue, a potential new “home” is discovered – a prison. It’s almost the ultimate irony that a place designed to keep undesirables locked up and away from society may now become the survivors last, best hope of keeping themselves safe from the threats in the outside World.
However, as I’ve mentioned, following on from Atlanta, the camp site, Wiltshire Estates, and now the farm, there is a definite on-going theme in Walking Dead. No matter how peaceful and tranquil a place may seem, nowhere is actually safe, and, sooner or later, the Dead will find you – a relentless, never ending threat that is always ever-present.
And as for the zombie’s? Sorry folks, there aren’t any in this issue – at least, not in close-up. The only zombie presence is a few scattered “long-shots” seen from a distance; oh, and a brief appearance in a single panel. The Walking Dead of the title are almost non-existent in this issue. And you know what? It works. It’s a strong testament to just how vivid a World and a cast of characters have been created that some of the best issue’s so far (Issue’s 6, 10 and this one) haven’t featured any zombie’s at all. Sure, the threat is there, always ever present, but for a while, at least, there is time for the cast to slow down, take a few breaths and lick their wounds – and the story is all the better for it.
Take, for example, the confrontation between a grieving Hershel and Rick. It’s a breathtaking example of the pain that loss brings and how different people deal with it in different ways, and it is one of the most effective and thought provoking reads I’ve had in some time.
Or, Glenn trying to explain his reasoning for staying behind, trying desperately to articulate emotions he has never had to face before; Glenn taking the first steps towards dealing with his wife’s tragic death; Tyreese and Carol growing ever closer; a moment of awkward tenderness between Dale and Andrea that demonstrates how it must feel to live up to an impossible relationship ideal; the group’s fear of just as great a threat as the zombie hordes – hunger…it just goes on and on; marvellous stuff.
Add to this the simmering sub-plots…what are Tyreese’s daughter and her errant lover planning that both of them are so sure will end in tears and tragedy? Young Carl calmly fingering his gun when faced with Hershel’s sudden violence, and the cold, brutal expression on his face as he does so – is Rick’s young son losing the innocence and naivety that has characterised him so far, replacing these with darker, more viscous emotions?
The strength here is Kirkman’s superb and subtle way of advancing the story – balancing character development so precisely that we really feel we know these characters on a personal level, and truly care about all of them, whilst at the same time providing moments of shocking and unexpected violence and tragedy that can leave you breathless and shaking.
A final word about the art. When Tony Moore left the title so abruptly, Charlie Adlard had some mighty big boots to fill. He’s done it superbly, and with every issue, he just gets better and better, his stark, raw images providing the perfect compliment to the gritty and involving script.
The iconic covers, too, drawn by Tony Moore on the front, provide a teasing, if not always entirely representative glimpse of events inside. Equally as good are the back covers, showing several wordless panels from inside the book…whetting our appetites for what we are about to read.
The slow pace of this issue does at times make it feel like a “filler” issue, as if Kirkman is playing for time until he can start his next major story arc; and for new starters to the book, who aren’t up to speed with some of the previous shocking and visceral events, this issue may at times feel too slow, as if nothing of note happens. For long term fans, however, who are aware of how quickly the status quo can change and violence can strike, and have built up an empathy and understanding with the cast of characters, it’s simply another excellent addition to what has so far been one of the best new comic series for many years.
