THE WALKING DEAD No. 122, February 2014 |
Whilst Issue Two Hundred and Twenty Two of “The Walking
Dead” more than lives up to franchise creator Robert Kirkman’s advance
warning that ‘at times the plot would
slow down’ during the marathon multi-issue event “All Out War”, the sense of
anticipation throughout this storyline’s eighth instalment is actually
pleasingly palpable in places. And whilst little, if any action, actually takes
place within its twenty-two pages, the periodical’s plot development does
promise plenty of profanity-laden violence in the near future.
To begin with
the “Image Comics” partner shows just how much the ever-loathsome Negan’s once
unquestioning rule over The Sanctuary has quietly eroded behind the
foul-mouthed tyrant’s back, as his lieutenants Dwight and Carson agree to
‘fight’ for “a chance to be [their] own man again.” The Saviour’s sadistic
leader also features in a disturbingly grotesque scene where he demonstrates to
his men that they will wield “space-aged zombie bacteria weapons” when they
next confront Rick Grimes’ forces, by rubbing his barb-wired baseball bat
Lucille up against the slavering face of a walking cadaver.
But most of the tense
atmosphere, and thus enjoyment from this magazine, is actually generated by the
constant vigil of the guards sat atop the barricade protecting the Hilltop
colony. For with every turn of the page it seems likely that the reflective peace of the survivors is going to be suddenly shattered by either an attack of
the Undead or Negan.
Unfortunately whilst such narrative growth is both
essential and engaging, there are still far too many quiet moments of
dialogue-heavy contemplation within this comic book to make it an especially
worthwhile read. Particularly as Kirkman seems perfectly content to ‘fill up’
the vast majority of the magazine with a seemingly endless parade of page-long
snapshots within which ‘couples’ simply talk to one another. Indeed it could be
argued that the 64,810 readers of this particular issue could quite easily have
given it a miss, and be no worse the wiser.
Charlie Adlard’s artwork is also a
somewhat inconsistent ride, especially at the start when his opening
illustration of a strutting Negan appears disproportionately tall and thin.
Indeed the British artist would appear at his most effective when the panels
focus in upon his character’s faces. The hatred and venom glowering off from a
captive Eugene’s aspect being an especially impressive example of such strong
pencilling. Disappointingly though Adlard’s single and double-splashes are
dishearteningly lack-lustre with the exception of a two-pager depicting Negan
lining up a troupe of manacled zombies.
The gray tone work of Cliff Rathburn is
also worthy of a mention, especially as the colorist seemingly creates some
nice three-dimensional effects by fading some of the panels’ background
artwork.
Writer: Robert Kirkman, Penciller: Charlie Adlard, and Inker: Stefano Gaudiano |
Viewing this as a stand alone comic, I have to agree with your review 100%. It is only because I read it as part of a six-issue graphic novel that I view it slightly more sympathetically. Without wishing to give anything away, Negan is far too overconfident. Once your two most trusted lieutenants start plotting behind your back you just know it's going to turn out badly... but for who? Obviously I know, but no spoilers from me. My lips are sealed.
ReplyDeleteMany thanks Bryan. I actually enjoyed this issue more than my review probably lets on, as although little happened (imho) I did enjoy the tension and did keep thinking that all of a sudden I was going to turn the page and whoever was doing the talking was going to get shot or bitten. Unfortunately that never happened and is a feeling its impossible to receive a second time when re-reading.
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