THE WALKING DEAD No. 130, August 2014 |
Featuring a wonderfully tense and nerve-wracking beginning,
as an imprisoned Negan unsuccessfully attempts to convince Magna and her group
that he is being tortured by Rick, and then a fantastically chilling scene
depicting Marco and Ken hiding from a horde of zombies in a somewhat
waterlogged ditch, “There Were Whispers And I Was Afraid” bears all the
hallmarks of a genuine return to form for writer Robert Kirkman. Certainly the
majority of this comic’s 71,885 readers in August 2014 must have momentarily
stopped breathing when it fleetingly looked as if the former leader of the
Saviours was about to be released upon the unsuspecting inhabitants of
Alexandria. Whilst a similar number must also have been temporarily numbed by
the suggestion that the Undead could actually communicate with one another;
“Where they go?” “Don’t Know. Keep Moving.” “Okay.”
Frustratingly however, no sooner have the roamers passed
their prey by and the ‘talking dead’ shambled out of earshot, than this title (once
again) disappointingly focuses all of its attention upon the day-to-day mundane
struggles of life in a post-apocalyptic world. A move on behalf of the series’
creator which undoubtedly prevents any excitement to be had from
the book’s remaining two-thirds.
Admittedly the American author’s cliff-hanger ending, which
involves a semi-conscious Marco ranting about hiding inside “a barn on a hill”
surrounded by “so many” zombies who “were speaking” is particularly
well-written. But in order to reach this potentially cataclysmic conclusion any
perusing bibliophile must first wade through a tediously tiresome account of
Carl and his father making their way to the Hilltop colony by cart, and then an
even more wearisome five-page sequence simply showing Maggie and Grimes walking
up to Miss Greene’s house in order for Rick to see Glenn’s child Hershel
Junior.
Luckily artist Charlie Adlard is able to imbue Issue One
Hundred and Thirty of “The Walking Dead” with some additional moments of
interest, courtesy of some ‘stand-out’ panels. The British penciller’s drawings
of a long-haired, grizzled Negan, wide-eyed and supposedly terrified “even [at]
the sound of his name…” genuinely shows just how good the Shrewsbury-born illustrator
can be when sketching facial expressions, and this skill fortunately holds him in good
stead throughout Kirkman’s lack-lustre and dialogue-heavy script.
Writer: Robert Kirkman, Penciller: Charlie Adlard, and Inker: Stefano Gaudiano |
I totally agree with your assessment, Simon. Yes, this issue has some very tense moments but it also drags in places. This is becoming an all too familiar failing of the series.
ReplyDeleteThanks Bryan. I was especially disappointed with this issue as it started so well. I'm simply not sure why Kirkman continues to dwell upon the mundane..?
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