Powerful Pages - The Walking Dead by Robert Kirkman (2003 - 2019)

Powerful Pages - The Walking Dead by Robert Kirkman (2003 - 2019)

In a surprise move, writer Robert Kirkman brought his comic book powerhouse The Walking Dead to an end in July without any fanfare.  The end of the line for the written exploits of his beloved hero Rick Grimes came in issue 193.  That's quite a run for a series that truly came from out of nowhere, a title the creator himself acknowledges had little chance of surviving a dozen issues.  Instead, it became a major brand in and of itself, leading to a massive hit for AMC in the form of a television series.  That show has produced one spinoff already with others waiting in the wings, and there are feature films in the production line.  The property has also yielded novels, board games, and video games, as well as collectibles and apparel.  It is undoubtedly one of the most successful and culturally significant comic series of its time, and the franchise lives on despite the abrupt conclusion to the books that launched this phenomenon.

I am a fan of both the comics and the television show, though I have always favored the former--and I have always tried to make that clear.  Fans of the show, which has always had its ups and downs, need to understand that there is a vastly superior undistilled format of this story out there.  Now, I'm not going to argue that the comics haven't seen their fair share of ups and downs, no series can last that long without a few hiccups.  I will state, however, that the peaks have always been far higher while the valleys have rarely cut that deep.  In fact, I will hail Robert Kirkman's The Walking Dead as one of the finest stories ever penned, and those who cherish a grand opus in the horror genre will find few alternatives as big, bold, and insightful.  Truthfully, if I am searching for a signature work of similar breadth, only a few candidates come to mind.  While Stephen King's The Stand is a finer offering, I would rank this alongside Carrion Comfort by Dan Simmons.  Some might say that's high praise for a comic, but I rate Alan Moore's Watchmen among the best things ever written, and I view the format no differently than I view books, screenplays, essays, songs, or poems.  Okay, that's a lie: poems are always dead last where literature is concerned.

In addition to my love for the written word, I'll claim some expertise here as a horror fanatic who has some serious love for the zombie sub-genre.  And I'll ramp up the praise here by stating that I'm not sure that anyone other than dear departed George Romero himself has done as much for that niche.  Where zombie tales are concerned, I would rank only the original Dawn of the Dead above Kirkman's comics, and I see that as debatable.  It's not just that this series revitalized the zombie craze, it took it to even greater heights.  It did so by presenting an epic journey, the story of one man who forever changed the landscape of a searing apocalyptic vision.  Rick Grimes faced incredible odds.  He encountered devious villains.  He won fierce battles and suffered heartbreaking losses.  Unlike many protagonists, he also made devestating mistakes.  This character's story gave readers so much to enjoy, so much to mourn, so much to debate, and so much to savor.  I don't think the medium had ever seen anything like it, and I'm not sure we'll ever experience anything to rival this gargantuan undertaking again.

In taking us on this journey, Kirkman actually took us on numerous journeys, and many of these episodes would rate as epics on their own.  In the beginning, Rick struggled to find purchase in a terrible new world; zombies were the greatest threat in this grim environment, but there were other threats, to include his best friend.  Then came Hershel's farm, and that gave way to one of the richest and most celebrated arcs, the prison storyline.  Kirkman introduced us to the Governor during this chapter of The Walking Dead, and in facing this vile foe, our hero would lose damn near everything.  Then came Alexandria, and something that genuinely resembled hope.  Later we would meet Negan, one of the most hated baddies ever to grace the printed page.  Negan earned this status by virtue of maybe the biggest shock Kirkman ever assailed his devoted audience with, and major jolts have been one of the staples of The Walking Dead from the very beginning.  The Whisperers would soon join the fray, representing perhaps the creepiest fiends to appear in these pages.  The tale would reach its unexpected end in the Commonwealth, another gripping piece of this unforgettable puzzle.  There were other stories woven into this mammoth tapestry, introducing us to countless characters we would come to love or hate.  AMC has brough most of these players, places, and events to the small screen, often to tremendous effect.  And yet, aside from where Jon Bernthal's work as Shane is concerned, it has repeatedly fallen well short of the mark.

Like most readers, I am sad to see this story come to an end.  However, I cannot find fault with Kirkman's decision, and I found the last beat in this tale to be a powerful one.  The Walking Dead ended in much the same way that it began--the finale was equal parts unforseen and satisfying.  It came as a surprise, and it resonated because it worked on such a personal level.  In telling his tale and establishing Rick Grimes as a legend, I feel that Robert Kirkman has done something truly legendary.  I give this saga my highest recommendation, and I can't thank those involved enough for nearly two decades of stupendous zombie excitement.  Lest I forget, let me note here that while I think Kirkman's vision and talent are the primary ingredients in The Walking Dead's success, the artwork has always been a perfect match to his gruesome musings.  The initial run was brought to life by Tony Moore, who is also credited as the co-creator, and Charlie Adlard took over from there--though Moore still handled the covers until issue #25.  The stability represented therein, which is a true rarity in this industry, is yet another driving force behind the scope and the magnificence of this once-in-a-lifetime venture.  In summary, there are few works of art that have meant so much to me, and I am truly sorry to be writing what I hope is both a rave review and a fond farewell.

Final Grade: A+

The Walking Dead: Something to Fear

I'm eagerly awaiting tonight's episode of The Walking Dead, but last night I finally got to sit down with the latest graphic novel and catch up with Rick and the gang.  I was already dreading "Something to Fear" as one of the big deaths (yes, there are more than one) had already been spoiled for me (thanks again, Scott!), but I wasn't expecting to see more than one of my favorites perish and this was a tough read from start to finish. 

I've frequently described Kirkman's The Walking Dead as a title that I would put up there with Stephen King's The Stand so far as scope and depth are concerned.  This is a challenging story that has riveted countless readers with its dedication to delivering an unrelenting product, and the latest installment is another indication that Kirkman will not pull any punches in his quest to unnerve and disturb.

Like usual, I tore through this volume as soon as I had an opportunity to sit down with it, and I wasn't disappointed.  The tension was unbelievable, and while one of the big deaths that shook up me up was sudden and completely unexpected, one of them was a grisly affair that seemed to go on forever.  This isn't a title for the faint of heart, and "Something to Fear" was one of the most gruesome offerings we have been served up thus far.

In fact, it quickly went from grim and difficult to thoroughly depressing, though the last page revealed an unexpected direction that will make the wait for the next collection nearly impossible to endure.  Everything was top-notch about this installment, though I was most impressed by Negan, the bloodthirsty thug who was unveiled with such grandeur that he instantly joins The Governor as one of The Walking Dead's most memorable villains.  In fact, thus far I think he represents a more terrifying and powerful adversary, and if Kirkman can deliver a finale deserving of his potent introduction, well then, we may just have a villain who is actually capable of dispatching The Governor as the title's most despicable menace.

Negan beating  ________ to death with a bat wrapped in barb-wire.

 Can you imagine that?  What would it say about Kirkman and his talent if he can equal or top The Governor?  Does one story deserve two villains of such stature?

I love the show, and I'm eager for tonight's mid-season finale, but the source material is superior, and "Something to Fear" was a great example of just how good this book is.  This was not the most exciting or entertaining entry to date, and it was actually rather dreary at times, but at the same time the strength of this arc was impressive to behold.  It was challenging, it was saddening, it was sadistic, and it was extremely violent.  As the story progresses and Rick's journey becomes more and more difficult, I feel that we are at the onset of a descent into a new realm of horror, or at least that's my take after enjoying another dastardly sampling of The Walking Dead. 

The Walking Dead: Season 3, Episode 7 (When the Dead Come Knocking)

Last night was another solid outing for The Walking Dead, and as we head toward this week's mid-season finale, the tension is incredibly high.  This show always leaves me wanting more, and there have been several fine cliff-hangers to close out episodes, but I'm particularly anxious for next week's show.  This season has featured an abundance of action, but the plot has been gaining steam slowly, setting up a looming conflict between Rick and the band of survivors he has led to the prison and The Governor and his people in Woodbury.  Next week these communities will finally clash, and the stakes are incredibly high.

I continue to marvel at Andrew Lincoln and his masterful portrayal of Rick, which has certainly proven to be an incredibly demanding role.  He is the heart and soul of this show, and he excels at giving the audience a compelling character to cement this epic program.  Having said that, the rest of the cast is incredibly gifted as well, and with every episode fan-favorites like Daryl and Michonne become even more important to The Walking Dead's success.  As with many of my favorite shows, this is a true ensemble piece, and if one were to ask me to name my favorite character, I'm not entirely sure that I could.  Even if I did, if you asked me the same question a week later it's entirely possible that my answer would change.

Steven Yeun

One standout had been under-utilized this season until last night's offering, but Glenn (Steven Yeun) definitely had a full plate in Episode 7.  "When the Dead Come Knocking" found he and Maggie (the gorgeous Lauren Cohan) imprisoned in Woodbury.  Merle (Michael Rooker) wants to know where his brother is, and The Governor wants the scoop on the other group's location, so Merle spent much of this episode working Glenn over.  Glenn's a tough nut, and he didn't crack, but The Governor managed to get Maggie to spill the beans. 

Meanwhile, Michonne found her way to the prison and met up with Rick and the gang, and they formed an uneasy alliance that should become stronger as time passes.  Michonne was struggling with a gunshot wound, but that didn't stop Danai Guriri from kicking a lot of ass.  Aside from Andrew Lincoln, I thought Jon Bernthal was the show's big find in the first two seasons, and now Guriri and David Morrissey (The Governor) are proving to be just as critical to the show's success in Season 3.  I think that there can be no doubt that Guriri is a stellar representation of the character fans of the comic just can't get enough of, and last night's episode only added to her appeal.  Morrissey is also doing a terrific job, but I'm still a bit on the fence in regards to the way AMC has chosen to depict the character.

Now, anyone who has read the comic series knows that the show has made a lot of changes.  Many of them have been relatively minor, slight alterations that serve to keep those who read the comic on their toes without really disrupting the plot.  Some have been major alterations, to include shocking deaths for characters who survived far longer in the comics, or the addition of stellar characters like Daryl and Merle.  The people behind the show are using the comic series as the basis for their efforts, but they aren't painting by the numbers.  Yet in spite of the liberties they have taken, some of the choices they have made with The Governor's character are particularly intriguing. 

Robert Kirkman, the mastermind behind The Walking Dead, has gone on record as saying that the show intends to show a more seductive side of the character and that they wanted to make him more political.  Yet in many ways, some feel that in giving us a more nuanced version of this character, The Governor has essentially been defanged.  Now, we're not even halfway through the season yet, and The Governor is proving to be a solid villain, but I do think that there is some merit to those claims.   

In the comics, Rick and Michonne (not Glenn and Maggie) wind up in The Governor's clutches, and since there is no Merle, it's The Governor who works them both over.  He promptly cuts Rick's hand off, and Michonne is beaten and raped repeatedly by this despicable menace.  He is utterly deplorable and his actions set him up as the finest villain the comic series has yet to produce.  The show is giving us a sound villain, that much is true, but I do believe The Governor that comic fans know and despise would eat the television version of his character alive.  To a certain extent I'm okay with that; television is a different medium with different requirements.  However, as much as I like this show, last night's scene with The Governor and Maggie hit me the wrong way.

Maybe I'm thinking about this too much, but I didn't like the way they arranged that scene.  I think I would have preferred if they had gone all the way with the material and allowed The Governor to beat and rape Maggie, though I think they should have found a way to do it off-screen.  Simply allowing The Governor to force Maggie to disrobe was a bizarre choice.  Was it an attempt to hint at the way the scene unfolded in the comic or was it a shameless attempt to titillate the audience?  Seriously, why have her disrobe to begin with given the way things played out?  Anyone who has read my work knows that (much like Kirkman) I don't believe in pulling punches, so I think they should have taken things to the limit, but in lieu of that, I would have abandoned the disrobing aspect altogether.  It was totally unnecessary given the direction they took, and that moment did serve as a compelling example of how the show's version of The Governor isn't nearly as demented or ruthless as his comic counterpart. 

The comic book version of The Governor

Now, this was still a terrific episode, and it really set the stage for the mid-season finale.  The Walking Dead remains the best thing going on television (at least until Justified starts up again) and the show is only getting better.  In truth, I firmly believe that whether you prefer the show or the comic, The Walking Dead is the best thing happening in horror in 2012, to include television, motion pictures, comics, and novels.  That's lofty praise, but Robert Kirkman and his bloodthirsty creation deserve it.  Next week's episode should be explosive.

Will Rick and The Governor square off?

Will Daryl and Merle have a reunion?   

Will Glen and Maggie be rescued? 

Will the show find a way to set their version of The Governor up as a figure who is just as terrifying and monstrous as the comic book's superior villain? 

Will there be another shocking death before the second half of the season gets underway? 

I don't know, but I do know this: I'll be watching.