The Walking Dead

Michael Gordon

For those outside of comic’s culture or just criminally unaware, The Walking Dead is a horror comic focusing on one man’s survival in a post-apocalyptic zombie infested world. Rick is a police officer who wakes up in a hospital to find the world overrun by the undead (think 28 Days Later in the American Southeast). The book chronicles his journey to find his family and survive.
Robert Kirkman, the book’s author, draws his inspiration from George A. Romero zombie movies. Throughout his run on the series, Kirkman has maintained a consistent schedule and shocked readers by shaking up the status quo (no characters are safe). The art chores are deftly handled by Charlie Adlard and Cliff Rathburn. Adlard replaced artist Tony Moore in Issue #7 and gave the book a grittier and more realistic tone. For the purposes of this review I’ll be focusing on issues 52 and 53 as Kirkman has introduced a new story arc.
Previously, Rick had banded together with other survivors inside of an abandoned prison. The prison was overrun and now Rick finds himself alone with his son. Issue 52 opens with Rick teaching his son Carl how to drive. Kirkman is at his best when he focuses on interpersonal relationships and this issue features some great moments between father and son. When Rick teases Carl about having to use the bathroom, the tension breaks and reader’s witness a great father/son moment. However, the threat never really disappears as the reader can see zombies milling in the panel’s background. The transition keeps the reader on the edge of his/her seat.
The writing is complimented by the art team of Adlard and Rathburn. Kirkman often leaves panels dialogue free, allowing the art to speak for itself. There is no better example of this than a single panel showing Michonne’s face (another survivor Rick and Carl run into) after she agrees to take first watch over the car for the night. Her expression is a mix of disappointment (Rick is severely doubting his judgment and leadership), and uneasiness (Micchone is often pictured alone and separated from the other characters). By leaving the panel blank, Kirkman allows readers to engage in the story and form their own opinions.
Adlard also forgoes the stereotype of drawing insanely proportioned characters. Rick and the rest of the characters are exactly what you would expect people to look like in a zombie apocalypse; tired, anxious and scared. In addition, Adlard allows characters’ personalities to speak through their expressions. For instance, Glen is good-natured and optimistic (smiling and always active in panels), and Dale is forgiving and tenacious (hobbling around on one leg after an amputation and friendly to Rick after a recent breach in their friendship).
Overall, The Walking Dead, despite some overwrought drama, is a fantastic read. The book’s change in direction can serve as a jumping on point for new readers and encourage lapsed readers to pick the book back up.