By: Robert Kirkman (writer), Charlie Adlard (art), Cliff Rathburn (gray tones), Rus Wooton (letters) & Sina Grace (editor)

The Story: A finale to the Larger World story-arc hints at possible future conflicts.

The Review (with SPOILERS): Yea!!!  We have a direction for the story leading up to issue #100!  That’s good and it’s in keeping with the “TWD formula”: For the most part, we’ve always seen the big blob of crap coming before it hits the fan. That doesn’t mean that Kirkman has foreshadowed every tiny event, but we’re usually able to smell it coming.  Consider the Governor or the trouble between Shane and Rick or the zombie herd that attacked Arlington.  None of those things just happened out of the blue, we had a few issues to anticipate the danger and think about what horrible things might happen when all hell breaks loose.  When TWD is at it’s best, the surprises are all in the details, not the general theme of the story.

The last story arc really suffered from a lack of direction and danger.  I guess there was a chance the the inhabitants of Hilltop would be cannibals or otherwise hostile, but we’ve already seen those types of stories and readers are cynical enough to know that Kirkman is unlikely to run the exact same play twice.  So, that left us with an overly long trek for the band to arrive at Hilltop; and it was boring.

As it turns out, Hilltop isn’t that much different that Arlington in that the folks inside are mostly sheep.  Not many folks with sharp-teeth in this joint!   About the only difference between Hilltop and Arlington seems to be scale: Hilltop is big enough to be self-sufficient; Arlington is not.  Actually, just that difference in scale illustrates how TWD has played the with theme of TRUST.  Obviously in the world of zombies, you can’t make it all alone.  So, you have to trust people.  Actually, you have trust a LOT of people if you want to have all the skills and labor supply that a self-sufficient society needs.  Rick trusts Andrea not to slit his throat as he sleeps, but that isn’t enough.  It isn’t even enough that he (mostly) trust the denizens of Arlington. To make it work, he’ll have to trust all of Hilltop too.  However, bringing that many people into your tent means you’ll inevitably get some rotten apples (which means rapists, cannibals and murderers in this world).

And, the threat is clear: There is another group of people who seem to be hard-core baddies.  They’re basically running a protection racket: Give us your food and we’ll keep the streets safe.  Is it really surprising that organized crime would arise in the post-apocalypse?  What’s also super cool is that we haven’t seen these baddies.  We just know their leader’s name: Negan.  Doesn’t that just sound awful?  And we get the stray comment about a captive that “If Negan has Crystal, she’s already dead…”  We also learn that the Hilltop-gang doesn’t even know where Negan’s base is!  Holy crap!  And, bad-ass commando/karate guy Jesus is scared of them.  Did you get the sense that Jesus was remotely afraid of Rick’s group????  Me neither…

Combine all this mystery about Negan with the provocative imagery we’ve been shown for the upcoming issues of TWD that feature things like a bloody chainsaw and you just know that someone isn’t coming out of issue #100 alive.  I guess over the next few issues, we should apply standard horror movie rules and watch out for whoever seems to be too happy, and perhaps be a little concerned about Rick’s sudden optimism and that public kiss on the cheek he gave Andrea.

The only big complaint with this issue and the general direction of the story is the timing.  Why couldn’t this story have been running since Rick’s gang found Arlington about 20 issues ago?  What was the point of the whole Arlington story-arc?  Carl got shot and developed amnesia that quickly went away.  Rick found a new girlfriend who suddenly died and was never talked about again.  No one from Arlington is really a useful supporting character.  Maybe the nurse?  The black dude with dreadlocks who hasn’t been seen in 9 months?  Hopefully Kirkman has learned his lesson and he’ll get the story right this time.

And how freaked out is Maggie back at Arlington?  Remember, she was supposed to be babysitting Carl before he stowed away with Rick.   He’s about as well supervised in the comic as the TV show!

The art is once again very strong.  This isn’t an easy issue to draw.  Nothing very energetic happens, so Adlard has to wring some energy out of talking heads.  Thankfully, he is very good at that.

Conclusion: Even though nothing really happened, TWD has a positive direction and a looming danger for the first time in year or so.  That’s good enough.

Grade: B

-Dean Stell

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Creator, Writer: Robert Kirkman
Letterer: Rus Wooton
Penciler, Inker, Cover: Charlie Adlard
Gray Tones, Cover Colors: Cliff Rathburn
Editor: Sina Grace
Published by: Image Comics

Rick and “our” survivors get a taste of this other facility where so many live, and have their own perspectives on the whole thing. While they’re learning about the situation in general, Rick finds himself in position to make a deal for long-term survival, though his friends aren’t entirely thrilled with it.

Story-wise, not a bad issue. I hardly remember the last issue, so surely lost something in between that and this. As story conclusions go, this is a bit less thrilling than some, so a bit of a let-down…but it sets things up for other stories to come, and the run-up to #100 (which by usual 6-issue arcs will kick off the 2nd half of the next arc).

Visually, nothing new or shocking, really…the art’s one of the most consistent things about this comic (actually, same can be said for the writing).

Frankly, this is no jump-on point…but it’s the latest issue of The Walking Dead, and it’s not bad.

Story: 7/10
Art: 8/10
Whole: 8/10

By: Robert Kirkman (writer), Charlie Adlard (art), Cliff Rathburn (gray tones), Rus Wooton (letters) and Sina Grace (editor)

The Story: Rick and gang finally see the community called Hilltop.

A Few Things: [as always....with SPOILERS]

Glad to finally see this place. - Well, it’s taken us a long time to reach this Hilltop joint.  At least 2-3 issues, right?  For me, one of the fun things is just seeing how different groups have fortified themselves against the zombie menace (and the stray bandits).  So, it’s kinda cool to hear that their walls were built out of metal scavenged off of barns whereas Arlington is walled off with those noise barriers from the sides of highways.  Lots of good tips in here for doomsday preppers!  It was also neat to see a community that isn’t built entirely upon scavenging cans of pinto beans from deserted houses.  The initial walk-through reminded me of visiting a Renaissance Fair with all the chickens, cows, etc.  For some reason, Hilltop also gave me a very strong “plantation” vibe…. It seems like there may be a strong division between classes of people.  It may not be that way, but that’s the vibe I got.

Something is clearly going on. - Well, those guys on the wall sure were jumpy, huh?  And then that “scouting party” came back and that didn’t go well at all.  It seems like Hilltop is having a little trouble with the neighbors.  I’d tend to think that Hilltop are the “good guys” since only bad guys turn messengers into assassins, but… One fascinating thing about TWD is that it doesn’t have to just be about zombies.  This comic could go on for years after the zombies have rotted away.  Let’s see the survivors sink deeper into barbarism and begin to forget the knowledge that mankind has accumulated over the millennia.  If it goes long enough, I’d love to see TWD explore a new Dark Ages.

Can Michonne get some dialog? - Am I the only one bothered by this?  Can we let Michonne do something other than mutely hack up zombies?  Remember a year or so ago, when there was a whole story-line about how Michonne was having difficulty adapting to the relative safety of Arlington?  Remember how upset she was when Morgan died?  Remember when it seemed (for a second) like there might be a romantic notion between her and Rick?  That was interesting. I just don’t understand why she can’t be the subject of a background storyline.  I mean….it isn’t as if these issues have been jammed full of cool events since we just spent several issues trekking to Hilltop.  It’s puzzling, especially with the boost the character will get from the TV show and her origin being explained in an upcoming issue of Playboy.

Art is mostly good, but… - Once again, Adlard is (mostly) in fine form.  The guy just has this stuff down to a science.  What I love is how contained his art is: he’s just telling the story and not worrying about showing off.  It’s nice to see an artist who is confident and secure.  Now, that being said,  thought the art kinda fell apart during Rick’s struggle with that “scout” dude.  And, that was kinda an important scene.  Adlard has done a wonderful job recently with sequential action scenes, so it was weird to get a fight where I couldn’t tell what was going on from panel to panel.  Honestly, I was confused as to where Rick was during that tussle.

Move faster. - Let’s step on the gas here, huh?  I’m not one that thinks every issue needs to be slam-bang full of action, but usually Kirkman at least lets us know what danger is lurking.  Even if the characters didn’t know what about the danger, he usually let us see it for a panel or two.  But now suddenly, I feel like I’m groping in the dark for the danger.  Is it the Hilltop community?  Is it one of the other enclaves?  Will it be zombies?  Will something terrible happen in Arlington while Rick & Gang are gone (Gosh…imagine if they went back and the place was TRASHED)?  I know that TWD is a “slow burn”, but that technique works better when we can see the lit fuse throwing off sparks and snaking its way towards the bomb.

Conclusion: I guess this was okay.  I mean, I’m not in any danger of dropping TWD, but this issue (and other recent issues) are going to be really disappointing for us folks telling fans of the TV show, “You have to read the comics.  The comics are so much better.”

Grade: C+

- Dean Stell

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By: Robert Kirkman (writer), Charlie Adlard (artist), Cliff Rathburn (grey tones), Rus Wooton (letters) & Sina Grace (editor)

The Story: The gang sets out to find one of these new cities that we’ve been hearing so much about.

A few things: [with SPOILERS]

1. Too much writing for the trade. - There was a time when TWD was equally enjoyable in both single issues and collected forms.  If you read the trades, you really couldn’t find the break point between issues since Kirkman doesn’t put the covers in there.  The story just flowed in trades.  But, if you read the single issues, you got a satisfying chunk of story and a cliffhanger each issue.  I used to always throw out TWD as an example of dual excellence whenever anyone would defend some tedious 6-issue superhero story… But recently, I feel like the single issues are suffering a bit.  I’ll bet this story reads just fine in collected form, but I’d like a little more punch and snap to these single issues.  Unfortunately, not enough happens here.

2. Keep playing the Andrea/Rick card. - Let’s keep playing with this relationship.  I LOVE both of these tortured souls and if they can find happiness anywhere, it would naturally be with each other.

3. Good use of Carl. - I’m happy to see Carl do something unexpected in this issue.  Rick’s group has gotten so tough that a shambling group of zombies just isn’t any danger, now that the “warriors” are the only ones leaving the protection of Arlington.  Send Carl into the mix and suddenly everything is scarier. I also like how Rick adapted to Carl’s presence pretty fast. He was pissed, but knew there was no point in going back.  It does beg the question of what is going to happen when Maggie finds out that Carl isn’t there.  She’ll shit a brick!  And I guess Rick has no way of letting her know.

4. The new guy is kinda badass. - I loved the bound-hands karate routine he did on the zombies.  Speaking of which, did you notice that one zombie was wearing a ball cap?  How does a zombie still have on a ball cap 2-3 years into the apocalypse?  Frankly, why do any of them have clothes anymore?  But, getting back to the point… I like Jesus.  It’s funny that while Rick’s group is busy patting themselves on the back for being tough as nails, this guy has been playing them the whole time.  I like that Jesus says he trusts Rick based on what a nice boy Carl is.  Do you think Carl told him about the time he executed the other little boy?  My only problem with Jesus and the promise of new people in this new city is that the cast of TWD is busting at the seams.  We already are getting very little time with some superb characters like Michonne, Maggie, Abraham, Rosalita, the science teacher dude, etc…  We really need an “issue #48″-like purge to streamline the cast.

5. Lovely art (again). - You really have to hand it to Charlie Adlard.  The man just cranks out wonderful issue after wonderful issue.  I’ve been reading the second trade recently (when Adlard took over art duties) and while his style has evolved and gotten tighter, I just respect the hell out of the way he has found a style that (a) works and (b) that he can deliver like clockwork on a monthly basis.

Conclusion: A little slow.  I know there’ll be a big explosion of stuff around issue #100, but I really don’t want to wait 6 more issues for something to shake this book up.  I need an appetizer before the meal.  Nevertheless, a weaker issue for TWD is still pretty good.

Grade: B-

- Dean Stell

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The first 5,000 attendees of Image Expo will receive a free copy of THE WALKING DEAD #94 by Robert Kirkman, Charlie Adlard, and Cliff Rathburn with an exclusive cover picturing Michonne, katana at her side, atop an intertwined mass of zombies.

An exclusive GLORY #23 featuring a new cover by Ross Campbell and the slogan “FIGHT CENSORSHIP” will benefit the Comic Book Legal Defense Fund and will be available only at the CBLDF booth.

Other exclusive covers are THE DARKNESS #100, featuring a sketch cover by Marc Silvestri; ARTIFACTS #14 with art by Stjepan Sejic and a blank back cover for attendees’ favorite artists to sketch on, THIEF OF THIEVES #1 with art by Shawn Martinbrough, and CHEW #24 with art by Rob Guillory.

The Image Expo convention-exclusive variant covers will be available in limited quantities. For more information about Image Expo, visit www.imagecomicexpo.com.

ABOUT IMAGE COMICS
Image Comics is a comic book and graphic novel publisher founded in 1992 by a collective of best-selling artists. Image has since gone on to become one of the largest comics publishers in the United States. Image currently has five partners: Robert Kirkman, Erik Larsen, Todd McFarlane, Marc Silvestri and Jim Valentino. It consists of five major houses: Todd McFarlane Productions, Top Cow Productions, Shadowline, Skybound and Image Central. Image publishes comics and graphic novels in nearly every genre, sub-genre, and style imaginable. It offers science fiction, romance, horror, crime fiction, historical fiction, humor and more by the finest artists and writers working in the medium today. For more information, visit http://www.imagecomics.com.

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ABOUT IMAGE EXPO
Image Expo is a three-day comic book convention commemorating Image Comics’ 20th Anniversary and celebrating creator-owned comics, being held on February 24, 25, and 26, 2012 at the Oakland Convention Center. Image partners Robert Kirkman, Erik Larsen, Todd McFarlane, Marc Silvestri, and Jim Valentino, will be the guests of honor, appearing for signings, panels, and special events. Other special guests include Image founders Rob Liefeld, and Whilce Portacio, plus the creators of today’s best creator-owned comics, including Ed Brubaker and Brian K. Vaughan.

via Image Comics Press Release

Brian Wood/ Fiona Staples/ Riccardo Burchielli/ Becky Cloonan (Vertigo, 2011)

The centerpiece of this collection is the five-part story “Metal,” which is about the clash between paganism and Christianity in 9th century Norway. It’s certainly a story with dramatic possibilities: Wood chooses to tell it mainly by following a couple named Erik and Ingrid as they travel the countryside terrorizing Christians, burning every church they encounter. The twist is that they are both on a mission from the Norse goddess Hulda, who they actually see and converse with. This is a storytelling choice very much in the Vertigo tradition; the line has frequently been accused of too much magic and fantasy over the years. But it’s an odd approach in a title that has been grounded in historical fact. Life was hard in the Viking era, and much of the strength of Northlanders has come from unflinching depiction of that reality. So while the story was involving enough, I found it the weakest one so far. The other two tales are brief. “The Sea Road” is a single-issue story about a sea captain who ventures further west than any before him, finding both new land and doom. “The Girl In The Ice” is a two-parter about an elderly fisherman who finds a corpse frozen in the ice. What he chooses to do about it is what drives the story: finding out how she got there does nothing to change his fate. Bleak stuff indeed, even in a series not known for happy endings.

Jason Aaron/RM Guera/Jason LaTour/Davide Furno (Vertigo, 2011)
Scalped Vol. 8: You Gotta Sin to Get Saved

The series is headed towards its conclusion, but that doesn’t stop Aaron from throwing in some new complications, opening up several possibilities for how it may all end. The biggest one: in the middle of a battle for tribal leadership with his mentor, Red Crow names Dash as his successor.  Dash promises Red Crow he can be counted on 100%, while telling his FBI bosses that he is ready to take Red Crow down. Will he take down Red Crow or replace him? Only time will tell. In the two shorter stories “A Come-To-Jesus” is devoted to Wooster T Karnow, Sheriff from White Haven Nebraska, a minor background character who shows signs of becoming important to the story. And “The Night They Drove Old Dixie Down” shows Red Crow’s FBI nemesis Baylis Nitz go from disgrace and attempted suicide to a miraculous return to grace as a hero. It’s a truly surreal episode, with a tone quite different from any other issue in the series so far. The five-part title arc also checks in on Carol and Dino, and Catcher and Officer Falls Down. Catcher has his big confrontation with Dash, but saying anything more would be too much of a spoiler.

Robert Kirkman/Charlie Adlard/Cliff Rathburn (Image, 2011)
The Walking Dead Vol.15: We Find Ourselves

The group has decided to stay in town and build up the defenses, so Kirkman gets the opportunity to bring politics into the mix. Longtime community resident Nicholas makes a play to take the town back from Rick and his group. That threat is neutralized, but Abraham is having some thoughts of his own. In the midst of this Carl wakes up from his coma, which causes Rick to reflect on how much surviving has changed them both. Plus there are some significant relationship developments (saving the biggest one for the last page). This is a relatively low-key installment in the series, a breather after the massive zombie attack in the previous collection. But there is still plenty of character development, with groundwork laid for future developments.

Grant Morrison/Sean Murphy (Vertigo, 2011)
Joe the Barbarian: The Deluxe Edition

When a gang of school bullies take Joe Manson’s candy bar they inadvertently trigger a near-diabetic shock. As Joe begins to hallucinate, his effort to get downstairs for a soda becomes an epic journey through a fantasy kingdom. The most striking thing about the series is the visuals: Sean Murphy did an incredible job, it’s just gorgeous. He has a lot of fun with the DC-oriented toys in the story. There’s a lot of Batman, Robin, and Lobo, but John Constantine even makes an appearance in Chapter 6, in the crowd scene where all the heroes gather to follow Joe into battle. It’s especially striking the way he turns the house into almost a character in the story. He talks about that in his “Storytelling Breakdown” essay included in this collection.

The storytelling is Morrison at his most linear: the only other project I could compare it to would be We3 (which also featured talking animals, oddly enough).There was lots of potential to blur reality and fantasy, but he makes it clear that the whole thing is the product of hypoglycemic shock (at least until the very end). The narrative jumps from the fantasy world back to Joe’s actual journey through the house often enough to remind the reader what is going on, but not so often that the spell of the fantasy is broken. That’s a neat trick, not easy to pull off.

On my first reading I wondered if the story really needed eight issues. I still have that reservation after a second reading. Not that it’s padded, exactly, just that it might have been stronger if it were a bit more compact: six issues, say.

Mike Mignola/John Arcudi/Guy Davis (Dark Horse, 2011)
B.P.R.D. Hell On Earth Vol.1: New World

Collecting the first story arc after the conclusion to the series-long War on Frogs story line. Mignola really is serious about this being a new chapter, even numbering the trade “1.” I enjoyed having a story that was focused more on team dynamics, after all the huge world-threatening action in the preceding collection, not to mention the complex cast of characters, each with a long history. There is still plenty of connection to what went before. Andrew Devon continues to distrust Abe Sapien (understandable, since he believes Abe is the Antichrist!). Panya the ancient Egyptian mummy is beginning to manipulate people more obviously. And Abe runs into Captain Daimio, as well as Daryl the wendigo. In his Afterward Mignola acknowledges the more personal scale of this story, but he also promises that the new story line is called Hell on Earth for a reason. I just hope he takes his time ramping up the action.

Attendees of Image Expo, taking place February 24, 25, and 26 in Oakland, California will get something else in addition to excellent programming, array of exhibiting publishers and artists, and face time with their favorite collectors — the chance to get six comics with convention-exclusive covers.

The first 5,000 attendees of Image Expo will receive a free copy of THE WALKING DEAD #94 by Robert Kirkman, Charlie Adlard, and Cliff Rathburn with an exclusive cover picturing Michonne, katana at her side, atop an intertwined mass of zombies.

An exclusive GLORY #23 featuring a new cover by Ross Campbell and the slogan “FIGHT CENSORSHIP” will benefit the Comic Book Legal Defense Fund and will be available only at the CBLDF booth.

Other exclusive covers are THE DARKNESS #100, featuring a sketch cover by Marc Silvestri; ARTIFACTS #14 with art by Stjepan Sejic and a blank back cover for attendees’ favorite artists to sketch on, THIEF OF THIEVES #1 with art by Shawn Martinbrough, and CHEW #24 with art by Rob Guillory.

The Image Expo convention-exclusive variant covers will be available in limited quantities.

ABOUT IMAGE COMICS
Image Comics is a comic book and graphic novel publisher founded in 1992 by a collective of best-selling artists. Image has since gone on to become one of the largest comics publishers in the United States. Image currently has five partners: Robert Kirkman, Erik Larsen, Todd McFarlane, Marc Silvestri and Jim Valentino. It consists of five major houses: Todd McFarlane Productions, Top Cow Productions, Shadowline, Skybound and Image Central. Image publishes comics and graphic novels in nearly every genre, sub-genre, and style imaginable. It offers science fiction, romance, horror, crime fiction, historical fiction, humor and more by the finest artists and writers working in the medium today. For more information, visit www.imagecomics.com.

ABOUT IMAGE EXPO
Image Expo is a three-day comic book convention commemorating Image Comics’ 20th Anniversary and celebrating creator-owned comics, being held on February 24, 25, and 26, 2012 at the Oakland Convention Center. Image partners Robert Kirkman, Erik Larsen, Todd McFarlane, Marc Silvestri, and Jim Valentino, will be the guests of honor, appearing for signings, panels, and special events. Other special guests include Image founders Rob Liefeld, and Whilce Portacio, plus the creators of today’s best creator-owned comics, including Ed Brubaker and Brian K. Vaughan.

What We Become is about guilt and the things these survivors have had to do and sacrifice to still be around. There are zombies and people pointing guns at each other. It’s fine, but I like the fact that these people are still trying to survive more compelling than reading their stories, you know? Maybe if I was reading each issue as it came out I’d be more invested in their struggles, but for now I’m fine without knowing all the details.

By: Robert Kirkman (writer), Charlie Adlard (artist), Cliff Rathburn (gray tones), Rus Wooton (letters) & Sina Grace (editor)

The Story: Is this promise of a new colony a blessing or a threat?

Five Things:

1. How do you know who to trust?  - I really do like how TWD continues to be about everything BUT the zombies.  How do you know who to trust?  Clearly, no one can survive in this zombieland on their own, but where do you stop your circle or trust?  Rick’s gang has added new folks before: Michonne, Abraham, the Arlington folks…  Clearly, more people is potentially better, but only if it is the right kind of more.  If “more” means “more Governor” or “more cannibals” then it’s a bad thing.  And of course anyone who has survived this long in the apocalypse is going to be a little paranoid due to natural selection.

2. How badass is Rick’s gang? - Rick makes an interesting observation towards the end of this issue: His gang is pretty darn badass and maybe they don’t have to worry about running into bad guys because they’ll just kill them if they act funny.  How true is this?  What evidence do we have that Rick’s gang is all that tough?  Let’s see, they got smashed by the Governor.  They crushed the cannibals.  So, their record would be 1-1.  I guess they did take out that other group that attacked the Arlington compound about 10 issues ago, but that wasn’t really a fair fight with Rick’s group being fortified.  And, Rick’s group is clearly tougher than the original Arlingtonites, but those sheep are so wimpy that it kinda defies reason that they would have survived this long (it’s almost a plot hole).  I think it’s not THAT clear that Rick’s group is badass.

3. Adlard does great storytelling. - Simple storytelling excellence is easy to take for granted, but when you also review books like the GI Joe comics, you realize that you can’t just assume the the storytelling will be solid.  With Adlard, you rarely get anything flashy (although there are some pretty vistas in this issue), but you can always tell the characters apart and the action is always crystal clear.  There’s even a neat fight scene in this issue where Rick smashes a dude to the pavement and each panel flows from the one before.  That’s slick because we’ve all see countless comics that make you wonder, “how the hell did he land on the RIGHT side of his face if he was being thrown like THAT in the panel before?  Did he do a flip or something?”

4. A little slow… - I know that TWD is a slow burn kinda comic and I don’t want to lose that, but I honestly wouldn’t mind if this series picked it up a little.  Nothing too fast.  Just like listening to a podcast at 1.5X.

5. Andrea?  Rick?  Carl? - Remember when it was a big deal that Rick and Andrea hooked up 4-5 issues ago?  Now that doesn’t even rate a mention?  Where’s Carl?  Can Michonne talk anymore?  These issues are becoming very Rick-centric.  If the overall story is going to advance slowly, I’d like to at least check in on all of these smaller issues, not to mention that I think the Rick/Andrea dynamic has a lot of potential.

Conclusion: After sucking wind for a few issues, TWD has a nice bit of forward momentum again and that’s great.  This series has a wonderful quality where Kirkman could probably just ad lib for years because we’ll always want to know what happens next.  Still, it wouldn’t hurt my feelings if they stepped on the gas a little bit.

Grade: B-

-Dean Stell

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By: Robert Kirkman (writer), Charlie Adlard (artist), Cliff Rathburn (gray tones), Rus Wooton (letters) & Sina Grace (editor)

The Story: New stuff pops up, but is this going to be a threat or an opportunity?

Five things: 

1. Glad to see something intriguing happen! - I was really hard on the last issue of TWD.  The last “big climax” a few issues back (the unsuccessful insurrection by the Arlington natives) was kind of a dud and then when we have a few issues of fumbling long-standing characters, I did start to wonder if this series had jumped the shark when Andrea started talking to Dale’s hat.  So, it was nice to see TWD get back to a sense of mystery and exploration.  We haven’t had that in a long time (since Rick’s gang came to Arlington) and exploration is an important part of this series.  Just having a new scenario to exert some new forces on the equilibrium the characters are settling into is a great thing and can power the series through rough patches.

2. Interesting new scenario. - The new scenario is neat and kinda makes sense.  So far, Rick’s gang has mostly been out in rural areas.  Not a lot of people = not a lot of settlements.  Now we’re in the Washington, DC area and it makes sense that there would be more pockets of survivors and that they’d start to interact like a big game of Sid Meier’s Civilization where you can achieve supremacy via diplomacy, economic prowess or military conquest.  It sounds like Rick’s group was that “nation” in Civilization that was off in the corner doing its own thing, but will now be forced to find a way to deal with these other groups and who knows if their weaponry will be sufficient to be taken seriously.  Just the sense of exploration makes me a little giddy even if a nay-sayer would say that this scenario is similar to the prison/Governor set-up from ~60 issues ago.

3. Shoosh! Carl’s getting his memories back… - Man, this is going to be rough.  Poor kid and poor Rick.  Can you imagine having to tell your kid that his “dream” of killing another child was no dream… That it really happened?  And imagine telling him that it was the right thing to do because the other kid was a sick bastard.  If Kirkman keeps handling Carl this way, it’ll be a powerful reminder of just what a screwed up childhood this world forces on the kids.

4. Fight was a little pointless. - Actually, it was a LOT pointless.  While is was great to see Michonne back in action after being kinda forgotten for a number of issues (although the trade-off is that Andrea disappears in this issue), this scenario didn’t do much for me.  Sure, it established that this new dude is a badass, ninja, martial arts dude.  But, I kinda have to call BS on the way he darted away when Abraham was about to shoot him.  I don’t care how many ninja moves you know….bullets are faster than people.  There’s no dodging.  And, it seemed like the fight went on for a few pages more than was necessary to establish this dude’s bona fides.

5. Adlard’s art is again kicking butt. - Adlard really did a nice job with all the fight sequences in this issue.  A LOT of modern comic artists can’t draw a fight to save their lives because you can’t figure out how a character’s body flows from panel-to-panel (“How did he go from punching that dude in the back of the head to throwing a right knee to the solar plexus between these two panels?”).  Adlard draws like he’s actually watched or competed in some combat sports and it is SOOOOO appreciated.  Seriously…comic artists should be required to watch MMA.  Not only that, all of the blows landed in this fight had power behind them.  Adlard aces the art of showing the punches and kicks at their extremes: either wound up to punch OR following through after the punch….but never showing a snapshot in the middle of the punch.  Bravo!

Conclusion: I hesitate to say this series completely has it’s mojo back because there are some shaky elements in this issue, but just giving the story a forward trajectory will cover up a LOT of shortcomings.  There is so much of this world to explore, so let’s see some more of it!

Jumping on point?: If you don’t mind being a little confused, you could totally jump on here and figure it out.  Of course, you’ll understand much better by starting at the beginning or at least backing up to around issue #85 or so.

Grade: B

-Dean Stell

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Rick faces his past while Glenn faces the future.

Creator, Writer: Robert Kirkman
Penciler, Inker, Cover: Charlie Adlard
Gray Tones, Cover Colors: Cliff Rathburn
Letterer: Rus Wooton
Editor: Aubrey Sitterson
Publisher: Image Comics

We open on a flashback scene–Carl races toward the street with Rick in pursuit–yanking his son away from the street as a car zips by. As Rick talks to Lori, she transforms into a zombie and rips him apart…while he stays put and takes it, feeling he deserves it…and then he wakes. The nightmare prompts Rick to take Watch rather than wake his son, and we get to see a bit more of his coping mechanism in dealing with recent losses.

This is yet another very character-driven issue; a slice-of-life to which we actually have 54 issues’ worth of context. The writing is just where it needs to be–consistent, believable (given the zombie apocalypse that makes up the environment our characters find themselves in), and no real problems. Kirkman doesn’t let things get stale, though–the issue’s end suggests that these characters’ status is far from “quo.”

As the writing remains consistent and believable, so too does the art. No problems here; the art team keeps a nice, consistent style that fits well with the writing.

While it’s probably not “ideal” to jump into a series 55 issues in, this issue kicks off the next six-issue arc, and as such is about as good a point as any to jump into the deep pond if you’re up for some swimmin’. The final page will have an impact on long-time readers, and might just hook a newer reader into staying around to see what happens.

Ratings:

Story: 3.5/5
Art: 4/5
Overall: 3.5/5

story ROBERT KIRKMAN, art / cover CHARLIE ADLARD & CLIFF RATHBURN

Price: $2.99

Mother and Child. No one is safe.

Rick & Co. interact with newcomers/survivors who claim to know what caused the outbreak of the walking dead.

Creator, Writer: Robert Kirkman
Penciler, Inker, Cover: Charlie Adlard
Gray Tones, Cover Colors: Cliff Rathburn
Letterer: Rus Wooton
Publisher: Image Comics

After last issue’s cliffhanger suggesting revelation this issue, we begin the issue with the follow-up: one of the new-comers indeed has knowledge as to what caused the plague of the walking dead. But he needs to get to Washington to deliver said classified knowledge. The two groups of survivors clash over this as well as what to do with the immediate future, driving to the issue’s conclusion…which promises more change.

The story here is as always top-notch. After the last couple arcs really driving home the idea that no one is safe and strangers bring disaster, this issue plays with those expectations a bit, making me feel that it is that much more realistic–it’s certainly a great read as part of the ongoing story! Even though we don’t get to know a whole lot about the newcomers, there’s just enough there that I’m interested, and want to find out more about them and how they’ll play into the ongoing narrative. There’s a consistency–in character portrayal, as well as character growth based on recent/prior events that adds to the strength of the issue.

The art–also as always, top notch–keeps a dark mood on these characters with lots of shadow really conveying how dark a point many of the characters have reached. I have no complaint visually–this simply is The Walking Dead, recognizable in style if not specific characters.

This is the tail-end of the 6-issue TPB cycle, so not really the greatest point to jump on…though if you don’t want to start at the very beginning, this arc is certainly a good point to jump on-board. I see no reason for long-term/continuing readers to pass on this issue.

Ratings:

Story: 3.5/5
Art: 4/5
Overall: 3.5/5

Rick, Carl, and Michonne find they’re not alone, and actually get some down-time.

Creator, Writer: Robert Kirkman
Penciler, Inker, Cover: Charlie Adlard
Gray Tones, Cover Colors: Cliff Rathburn
Letterer: Rus Wooton
Publisher: Image Comics

Last issue’s cliffhanger saw our heroes being approached by a couple of figures on horseback…Glenn and Maggie, who apparently have managed to survive. These two take Rick, Carl, and Michonne back to where they’ve been staying–Hershel’s farm. Once there (and into a bit of relative safety) the three try to decompress, each in their own ways, and we get some nice character moments…and then a new development threatens the safety they have, and some answers might just be forthcoming.

Story-wise, there’s not a lot of progression in this issue. Oh, there’s progression, don’t get me wrong. But as with so many issues of this series, it’s very character and story-driven…so I for one would probably be just as happy with no zombies in the issue as I would with an issue full of zombie-butt-kickin’ action. Kirkman maintains such a sense of consistency in his writing…I continue to enjoy the story he is laying down month after month, and after so long with these characters, he certainly knows them (and created them, for that matter); other than the fact that I’m now intrigued at where he’s going to take things from this issues cliffhanger page, I’m quite satisfied.

Visually, Adlard & Rathburn continue to also maintain a consistency on the visual front that keeps me impressed. Even characters I haven’t seen in half a year are recognizeable, and as with the writing….I just don’t have any complaints.

All in all, another strong, consistent issue. While not a lot happens, we’re introduced to several new characters, and reintroduced to some old. Not a horrible point to jump on board to check things out, though one might prefer to start with the beginning of the arc, if not the beginning of the series for the full scope and context.

Certainly worth the cover price!

Ratings:

Story: 4/5
Art: 4/5
Overall: 4/5

Though reunited with an old friend, Rick & Carl are far from safe.

Creator, Writer: Robert Kirkman
Penciler, Inker, Cover: Charlie Adlard
Gray Tones, Cover Colors: Cliff Rathburn
Letterer: Rus Wooton
Publisher: Image Comics

Rick and Carl continue to go about their lives–such that they are–seeking survival in this unsafe world they live in. Rick tries to teach Carl to drive–a practical thing that Carl takes a bit differently. The two presently discover that they are not alone, and this reunion changes the outlook of their evening. Though mistakes are still made, their survival skills seem to be holding…though they probably wonder at it when a pair of horses and riders approach.

The story in this book continues to be engaging, month after month–so much so that I’d love to have this as a weekly (or at least more frequently than once monthly) book. Kirkman‘s characters continue to hold my interest, and all the more after the previous major story, I find myself drawn into the issue, wondering what’s going to happen next, and even if the characters will survive the issue or otherwise emerge relatively unscathed. In short, the writing is of the same high quality I’ve come to expect on this title, and this issue does not leave me disappointed.

Similarly, the art is also of the same high quality I’m used to. There’s not too much to say on the art other than that. Everyone’s recognizeable, I’m not left wondering what’s going on in any of the panels where that’s not the intention, and it simply looks ‘n feels like The Walking Dead.

If you’re willing to sorta jump in, get wet, and check out your surroundings, this is about as good an issue as any to jump in on. I don’t imagine it’d be too hard to get the basic idea of what’s going on and catch the surface-level story. Obviously a long-time reader will find more depth than the newer, though.

As with previous issues, this current issue is a comic that I’m willing to buy monthly now…and then buy again when the collected volume eventually ships.

Ratings:

Story: 4/5
Art: 4/5
Overall: 4/5

Rick and Carl face an uncertain future as they begin to deal with all that they’ve lost…and still, those pesky zombies abound!

Creator, Writer: Robert Kirkman
Penciler, Inker, Cover: Charlie Adlard
Gray Tones, Cover Colors: Cliff Rathburn
Letterer: Rus Wooton
Publisher: Image Comics

This issue seemed like a very quick read. On the one hand, that’s not so good: I’m not a huge fan of plonking down $2.99+ for something I read quickly and then have another few weeks to wait for the next segment of story. At the same time…the story is engaging, and I’m very interested in finding out what happens–interested enough to forego waiting for a collected volume to read an entire arc in one go.

We were told that “no one was safe,” and that Big Changes were in store for this title. Those promises have been delivered, and while it’s sad to see the loss of so many familiar characters, this issue is like the first issue of a whole new series. The world is full of zombies. A man and his son are on the run, seeking only to survive, both nursing the loss of loved ones. Even as they hold to each other, safety isn’t likely to be found…and life is certainly not to be taken for granted. While the bulk of this issue’s story focuses on Rick and Carl, we’re also showing a couple other characters, hinting at their whereabouts and present situation. As with most issues in this series, the individual issue seems mostly character-focused, as the characters dialogue and face the world in which they find themselves.

The art remains perfectly suited for the story, and is as instrumental in conveying the mood as the writing itself. The story without these visuals would not be the same at all.

While the impact of this issue would be greatly increased by having read the prior issues if not the entire series…I think this is a decent jump-on point if you’ve been hearing about the series or otherwise been curious, but wondered where to begin. This is certainly worth checking out!

Ratings:

Story: 4/5
Art: 3.5/5
Overall: 3.5/5

The survivors at the prison continue to deal with having been attacked by The Governor’s group of survivors.

Creator, Writer: Robert Kirkman
Penciler, Inker, Cover: Charlie Adlard
Gray Tones, Cover Colors: Cliff Rathburn
Letterer: Russ Wooton
Publisher: Image

This issue shows the prison survivors continuing to deal with the aftermath of the assault by those survivors led by The Governor. While dealing with their recent losses, the Governor returns with a hostage to make his demands known…as he acts on assumptions of his own.
It also continues to show us that the ads have been true–that no one is safe, which helps remind us just how realistic this book is.

The art holds true, clearly showing what it needs to show and conveying the necessary mood. Testament to its effectiveness–I felt rather nauseous after reading a particularly gruesome scene in this issue.

The story is certainly moved forward, and a number of good character moments are shown.

While this is certainly not something to hand to a young’un…it continues to be a great human drama.

Well worth picking up–though as a single issue, this may not be the best point for a new reader to jump in. As a continuing reader, you won’t want to miss this chapter.

Ratings:

Story: 4/5
Art: 3.5/5
Overall: 4/5

The prison group braces for impending attack while facing a new loss…

Creator, Writer: Robert Kirkman
Penciler, Inker, Cover: Charlie Adlard
Gray Tones, Cover Colors: Cliff Rathburn
Letterer: Rus Wooton
Publisher: Image Comics

There’s not really too much to be said about this issue that I didn’t say in my review of the previous issue. The characters react to Carol’s having gone over the edge, and deal with the increased reality of the danger that still faces them. As they continue to interact with the conflicting tension of impending attack and wondering why it hasn’t already come, we get a few more character moments before the last-page cliffhanger that promises some extra depth to this title, as if there wasn’t already.

The story is definitely good–and this issue at once wraps another arc while firing stuff into high gear for the next arc. The characters are all believable and acting in-character, and nothing seems to–in retrospect–be outta thin air or anything…it all makes sense in context of the characters’ lives and such.

Visually, another good job by the art team, maintaining the visual style/consistency we’re used to on the title. Other than feeling–as even the collected volumes have–too short, I have no complaint with this issue.

If you’ve not checked the title out before, you’re better off checking out any of the first 6 collected volumes before coming to the current arc (and this is the final issue of what I believe will be in the 7th volume, due out before too long here). If you’ve been following the current arc, I see no reason for you to not pick this up.

And the title in general, I certainly recommend, particularly if you’re looking for something character-driven with realistic human beings rather than over-the-top action and idealized characters.

Ratings:

Story: 4/5
Art: 4/5
Overall: 4/5

The gang at the prison continue to prepare for an attack they feel is imminent from a neighboring group of survivors…

Creator, Writer: Robert Kirkman
Penciler, Inker, Cover: Charlie Adlard
Gray Tones, Cover Colors: Cliff Rathburn
Letterer: Rus Wooton
Publisher: Image Comics

Except for the final page of this issue, in a way it doesn’t seem like much happens. The survivors are all relatively safe (given they’re living in a post-zombie-apocalypse world), and a couple major plot points have recently been dealt with, and the next major bit isn’t quite here.

But that’s the beauty of this title…it’s NOT full of all-out, non-stop action. The characters have all had their shares of trauma and horrible experiences and seen things no human should rightfully ever have to see…but they’re still human. They haven’t (generally speaking) degraded to mindless beasts or anything. They live, they love, they talk, they eat, they have relationships…life goes on, just changed by the obvious zombie presence that has–41 issues in–become more a backdrop to the human drama than an in-your-face action-filled focal point.

Rick and Lori discuss the state of their life–and that of their son–at present, as well as an improving relationship with Carol. Others in the party spend some time practicing with guns and live ammo, preparing for the invasion they feel is coming from Woodbury, and find themselves in a potentially lethal situation with zombies hanging around. A new guest is taken on, and Carol finds that her new friend isn’t going to judge her on her past.

All in all, this is another fine issue of an enjoyable series. The story moves forward–however slowly–and we continue to see the days march on for the characters living at the prison, while zombies continue to exist outside the protective fences. This feels less like a “chapter” and more like a “segment”–it picks up right where the previous issue left off with no real break (just the “previously:” blurb on the inside cover) and the ending will presumably lead right into the first page of the next issue the same way.

The art may not be terribly iconic or poster-worthy and whatnot…but it holds its own with the words of the story, showing what isn’t said, and playing its integral role in the overall storytelling. The black-and-white/greytones work well, and bring the standard, integral tone to the book–it doesn’t feel sketchy, and it’s far from some bright/colorful thing (which would take away from the mood of the book). I have no problem with the art in this issue, that’s for sure.

It might be sorta tough to simply “break in” on this series, with 40 issues’ stories already played out, and not a lot of exposition. At the same time, it’s more an issue of time having passed for the characters than deep intricacies and revelations from the past and future converging on the present or anything. Assuming the standard 6-issue arc(s), this is the penultimate chapter to this particular arc, so not exactly an ideal point for a new reader to jump in.

I’d encourage you–if you’re at all interested in zombie stuff, or just a very well-written human drama to consider checking out the TPBs for this series (6 volumes are already out), and if you like those, jump in with the next arc.

Ratings:

Story: 4/5
Art: 4/5
Overall: 4/5

By: Robert Kirkman (writer), Charlie Adlard (art), Cliff Rathburn (gray tones), Rus Wooton (letters) & Sina Grace (editor)

The Story: Life drags on inside the Arlington enclave.

Five Things: [SPOILER WARNING]

1. What a bummer resolution to the Rick-Andrea situation!  Really?  Issue #90 ends with Rick and Andrea having a passionate kiss and then we come back to the scene at an undetermined time later to see Rick pushing her away?  That sucks!  There’s no real problem with having the relationship “end” in this fashion, but why did everything have to happen off-panel?  We don’t even know if they just kissed or slept together or had an affair for a week.  This was a really unsatisfying way to handle two characters in which the readers have a lot of emotional investment.

2. Don’t like the Rick – Carl relationship either.  Man, Rick just isn’t have a very good time.  Now his son is getting all kinds of chippy with him.  Hopefully Kirkman has a plan here because it isn’t fun to see Rick getting yelled at by his son.  There were such great dramatic possibilities when Carl got shot in the face.  Imagine if Carl had forgotten everything that had happened and had to be told that his mom was dead, that he’d killed Shane and later executed another child in cold blood, etc.  THAT would have been incredible to see if Carl would reform in the same way that he had formed the first time.  But, I really don’t get the point of having him get shot if it was just to have him scream, “You don’t understand!” at his father and argue with him about the proper terminology for this hole in his head.

3. Vague new threat.  So…someone is watching the Arlington enclave.  We’ve already seen that.  In fact, one of the last crises was strangers attacking the compound.  We don’t really need to see that again.  Granted….it probably won’t be precisely that same scenario.  This stranger could be friendly.  They could be there with GOOD NEWS for a change.  But, the fact remains that the cliffhanger on the final page didn’t hit with typical TWD crispness because it came out of the blue.

4. Maybe it’s over for the series?  This is the nagging feeling I had as I read this issue.  We were all quite excited about the TWD television show, but maybe we should have been careful what we wished for.  The TV series has been “meh” and the TV series, along with the TWD novel and the TWD board game and the TWD video game (that’s in development)….not to mention new series like The Infinite…..might have been a bridge too far for Kirkman.  The ongoing comic book story is very non-compelling right now.  And, that’s a damn shame because there is still so much fun stuff to do with these characters, but we won’t get to do any of it watching them stewing in their misery in this little compound.  Have Rick’s band decide the Arlington residents are too weak and have them leave them to starve?  Have Rick’s band force the others outside the fence?  Has Michonne run off on her own with Rick and Abraham trying to find her?  Have them explore Washington DC to find an supply stocked bomb shelter intended for Congress people?  Have them commandeer a boat and have them try to live on an island for a while?  Any of these would be more exciting than what we’re getting right now.

5. Charlie Adlard is still getting it done.  What a professional!  The dude just cranks out issue after issue like a machine.  Each issue is good and he never showboats.  Most series like this would have full-page spreads of zombies all over the place so that Adlard could sell the art for a mint, but we never have that problem with TWD.  It’s just page after page of wonderful sequential storytelling.

Conclusion: Has my favorite ongoing series jumped the shark?  Who knows, but this series needs fixing asap because watching the way Kirkman has treated his characters the last few issues isn’t promising at all.

Jumping on point?: Not at all.  We’re smack in the middle of a trade paperback, so this isn’t the place to hop on.  You’d honestly be best served to start with the first issue and read forward from there (it’s a great ride), but if you’re really stubborn, you could probably start after at issue #49 which is where the second phase of TWD began.

Grade: D+

-Dean Stell

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Yeee!

The Dead Have Never Been So Alive!

Collecting issues #’s 1-48 (that’s right, FORTY… EIGHT) of TWD, this is the biggest chunk of rotting goodness you can get for thirty-seven bucks. This sprawling tale, which is really more about the emotional and psychological toll an apocalyptic event has on Rick Grimes and the somewhat revolving cast (mu-ha-ha!) than the titular zombies. But, do not fear if it’s zombies you’re after. Even if they aren’t there (and when they are, watch it, bub, because, chances are somebody’s gonna die!) their presence looms like the gathering dark over anything that’s happening in the story–whether it be marital unfaithfulness or crazed survivors. The AMC show has been really amazing, but nothing beats the original series by Robert Kirkman with beautiful art by Charlie Adlard, Cliff Rathburn and Tony Moore. Take my advice. Read it, see it, have nightmares about it.

story ROBERT KIRKMAN, art / cover CHARLIE ADLARD & CLIFF RATHBURN

Price: $2.99

Glenn will soon regret his decision.

story ROBERT KIRKMAN, art / cover CHARLIE ADLARD & CLIFF RATHBURN

The BEGINNING is near…

Story: Robert Kirkman Art/Cover: Charlie Adlard & Cliff Rathburn

He has gone too far.

Story: Robert Kirkman Art/Cover: Charlie Adlard & Cliff Rathburn