THE WALKING DEAD No. 123, March 2014 |
Despite arguably being the instalment where creator
Robert Kirkman finally starts to make good on his promise that “there are going
to be a lot of deaths” during the multi-issue event “All Out War”, this
particular edition of “The Walking Dead” still seems to take quite a while to
warm-up. Such an impression appears to be predominantly due to the American author seemingly
being far more interested in scripting short one or two-page character-driven
dialogue-heavy scenes than actually progressing the inevitable final
confrontation between Rick Grimes’ survivors and the brutal gun-toting Saviors.
As a result for the opening third of this comic book it isn’t actually all that clear as
to whether Negan’s climatic assault upon the Hilltop colony is going to occur within its pages or not. For rather than start with the foul-mouthed
psychopath bringing down the Virginia fort’s corrugated iron gates with a
rampaging truck, the reader has instead to wait and wade through a series of depressingly
dreary soul-searching scenes involving Carson, Eugene, Carl, Sophia, Maggie and
Andrea first.
Fortunately when the action does arrive it is fast and
furious, containing bullets and screeching motor vehicles enough to rival a
“Mad Max” motion picture. Indeed the sheer amount of flying hot lead whizzing
from panel to panel during this firefight is rather spectacular, especially
when it turns one of the Savior’s truck cabs into so much Swiss cheese.
Sound
effects also dominate during this issue, as the periodical’s pages
are covered with “Brakka! Brakka! Brakka!”, “Pkow!”, “Vroom!!”, “Blam!” and
“Skkrrgh!” Not to mention the occasional sickly “Slissh!” as Michonne’s sword
slices through a bad guy or “Shukk!” as Dwight’s crossbow sends a
zombie-contaminated bolt into one of Grimes’ unfortunate people.
The
Sanctuary’s despot, unaware of the mini-revolt taking place back at his home
base, is clearly in his element during all this chaos, swearing and cursing as
he leads his men forward intent on ‘mowing his opposition all down’. Once again
though the Kentucky-born writer is quick to highlight that his homicidal
creation isn’t just a one-dimensional murdering maniac, and bestows Negan with
some genuinely ‘human’ moments as the tyrant repeatedly tries to convince the
former Police deputy to surrender. The dictator's pained facial expressions and
profanities when despite all his efforts Rick refuses to ‘hang his bare
backside over the side of the Hilltop’s wall and let Negan climb up and slap it
red” shows genuine emotion and makes it clear that he’d rather not
assault the settlement.
Charlie Adlard’s pencilling is equally as dynamic, once
the battle begins. His page composition, using a series of small square panels
to illustrate quick-paced action, and then larger, almost splash-pages for the
bigger events, such as Rick Grimes leading his ‘army’ out against the Saviors guns blazing,
really imbues the struggle with fraught energy and a sense of urgency bordering
upon panic. Things move very quickly during the conflict and at no point does
the British artist let it slow down.
Writer: Robert Kirkman, Penciller: Charlie Adlard, and Inker: Stefano Gaudiano |
It is a good issue but the story of Negan's attack against Rick and co. still has a few more twists and turns to take. But, yeah, the action is definitely hotting up.
ReplyDeleteCertainly one of the better ones Bryan... and I've little doubt I'll be bemused and perplexed by what is to come ;-)
DeleteSounds like a great issue and Negan's back to his potty mouthed best.
ReplyDeleteIt certainly had its moments Bob... took a little while, but we got there in the end :-)
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