I figured out my lack of enthusiasm. Well, except for noticing the unoriginal parts. It’s because of Crossed. This issue they all sit down and talk about their lives before–Shane has a moment it’s clear he’s thinking about getting jiggy with Lori on the road while Rick was comatose (maybe Moore’s best quality is his ability to convey his character’s unspoken thoughts)–and I thought about the same scene in Crossed. There’s nothing interesting in this scene here, except Rick becomes less of a believable cop every issue. Unless he’s supposed to be Andy Griffith.

There’s also the whole discreet pro-gun thing. Sure, it’s a zombie holocaust, but all the arguments for the seven year old running around with a gun could be used by some white supremacist. Only they’re easily digestible here, because it’s the end of the world.

And did they make Glenn white? He doesn’t look Asian anymore.

CREDITS

Writer, letterer and editor, Robert Kirkman; artist, Tony Moore; publisher, Image Comics.

Ah ha, now we’re getting somewhere. Rick’s wife got busy with the evil friend–Shane–while Rick was laid out in a hospital bed in a coma. Unfortunately, Rick’s just going to forgive her without any drama, but hopefully Kirkman will give her the chance to do it again.

Can you tell I don’t like Rick’s wife?

But it’s also this issue where Kirkman introduces his first original zombie idea, which is a good one–and a little late, he could have done it first issue right after his 28 Days Later homage. The zombies attack by smell, specifically the lack of it. Rick and Glenn (his name isn’t Short Round after all) slather themselves in zombie stink and go gun shopping. Good stuff. Kirkman even had me thinking Glenn might die.

As far as the art, Moore has yet to make an impression on me. It’s competently illustrated, but kind of underwhelming.

CREDITS

Writer, letterer and editor, Robert Kirkman; artist, Tony Moore; publisher, Image Comics.

I think it might be me. I think I might not be suited for Walking Dead. I mean, it’s all very competently done and it’s sort of interesting if wholly unoriginal (the best friend really after Rick’s wife was no surprise, Moore’s art gave the character that body language from his first panel)–I just don’t care.

Kirkman’s characters are really, really boring. It’s like he goes out of his way to make them unoriginal–except maybe the little guy who warns Rick about his best friend, that character is interesting… since the evil friend is probably going to end up killing him.

I also don’t like the kids. They’re really annoying.

I’m sticking it through for a few more, to see if it picks up. Hopefully Kirkman will start killing off supporting cast members so I can remember their names. Also, some zombie attacks might liven the book up a bit.

CREDITS

Writer, letterer and editor, Robert Kirkman; artist, Tony Moore; publisher, Image Comics.

Wow, talk about cutting back on the drama quotient.

This issue is mostly spent on expository dialogue explaining the zombie plague to Rick. It shocks him a little but it’s all okay because he finds his family at the end. Unfortunately, as much as I love the celebratory emotional scene, Kirkman didn’t really make it mean anything. It’s not like Rick had a long, hard journey. The most traumatic thing was apparently having to jump from one building to another. Not even zombie related.

I’m rather unsold on the whole thing so far. Kirkman’s slight Southern dialect makes the characters sound forced, not real.

I don’t even know the Asian kid’s name. It’d probably be inappropriate to nickname him Short Round.

Speaking of names, we never get to find out what Rick names the horse he rides into Atlanta. It seems like a rather important detail and Kirkman skips it.

CREDITS

Writer, letterer and editor, Robert Kirkman; artist, Tony Moore; publisher, Image Comics.

I’ve been hearing about Walking Dead for a long time and have always meant to read it. Not sure what pressed me this time (possibly the impending television show).

My initial reaction? I’ve seen most of all this before. The opening, either from Day of the Triffids or 28 Days Later, is something I’ve seen. The dad and kid, seen them before. The race stuff, seen it before.

However, I haven’t seen such a hopeful protagonist. Kirkman sets up Rick–one issue down and I already know the protagonist’s name and refer to him by it, two points to Kirkman there–as insanely positive. He’s walking through a zombie apocalypse and he thinks his wife and kid are going to be a-okay.

I’m not sure if Kirkman intends it… but that kind of naive positivity in a protagonist is endearing–though it doesn’t fit with him being a cop.

CREDITS

Writer, letterer and editor, Robert Kirkman; artist, Tony Moore; publisher, Image Comics.