Editorial Review

Introducing the first eight volumes of this fan-favorite series collected into one massive paperback collection!Collects The Walking Dead #1-48. ... Read more

Reviews

The Definitive Book of the Dead!, May 11, 2009
Most of the folks here already know that The Walking Dead saga is a compilation of stories by Robert Kirkman that expand on the story that is well know to any zombie movie fan. The main story. The one started in earnest by George Romero in 1968 with Night of the Living Dead [and was later remade in 1990 (the version that I prefer) by Tom Savini (with Romero oversight)].

This Walking Dead "Compendium" is a compilation of Volumes 1 through 8 (or call it Books 1 through 4, or call it issues 1 through 48), and it continues the story of (former) Police Officer Rick Grimes and his band of normal-world-refugees across a world suddenly infected by a Walking Dead sickness..

The group finds a new home after a perilous Georgia countryside journey at the start of the story only to find out that zombies may be the least of their problem, and what is deemed a safe haven is only as safe the protection it offers against zombies. Yes...venturing out into The New World is dangerous. Outside the gates of the new home awaits unfathomable chaos and horror; hordes of the undead, along with other survivors in desperate situations that do the unthinkable to stay alive (or entertained).

As the story matures, it is much less about zombies and more about what happens to society, its morals, laws and standards when government is lost and the planet becomes mostly uninhabitable. There's real, heartfelt emotion in The Walking Dead series combined with believable scenarios.

I'm not a regular comic book reader, but I was drawn to The Walking Dead by the Book releases that bring the convenience of being able to get many chapters of the story without the month to month or volume to volume waiting. And I am now hooked. Now I subscribe to the issue releases.

Each chapter of The Walking Dead is like reading a screenplay with storyboards of a version of Night of the Living Dead that began simultaneously, but in a different part of the country. Sure...The Walking Dead is kind of a rip-off of a story (stories) already told, but the key is that it's done very very well. The zombies are true to the original Romero creation: slow and stupid as opposed to the Rage-infected people in 28 Weeks Later / 28 Days Later) or the fast zombies in the 2004 remake of Dawn of the Dead.

So anyone in need of a very well done zombie fix that you don't put into your DVD player should absolutely get down with The Walking Dead sickness. Add this one to your cart if you're new to The Walking Dead...you won't be disappointed at its length because the story never gets tired.

An Epic In Every Sense, August 24, 2010
When I heard that AMC was going to produce a television series based on the zombie epic "The Walking Dead," I was both concerned and delighted. A bona fide classic in undead lore, "The Walking Dead" graphic novels are brutal and surprising--not really what I would picture for a basic cable TV show (the first season is slated for 6 episodes, we'll see if it goes beyond that). But AMC has produced terrific and prestigious shows like "Mad Men" and "Breaking Bad," so I'm pretty stoked to see what they do with this. Add Frank Darabont of "Shawshank Redemption" fame as the creative force behind the show, and we just might have a winner! In anticipation, I've gone back through the volumes of "The Walking Dead" to discover again the many pleasures that this series has to offer. The Compendium Collects the first Eight Chapters listed below--a great value but a MASSIVE book!

"Chapter One: Days Gone By" is the jumping off point--and, in truth, sets things up in a fairly typical way. After being involved in a shoot-out, cop Rick awakes from a coma isolated, but not alone, in a local hospital. Apparently, in the time he was out, something has shifted in the world and now the dead walk. The chapter introduces Rick and many other principles as he tries to figure out what is happening as he crosses the state to locate his family. On the outskirts of Atlanta, Rick is reunited with his wife Lori, son Carl, and police partner Shane with a group of other survivors. At this stage, hope is still alive and people are just waiting to be rescued and order restored. While the set-up has been quite familiar, the chapter highlight involves a very real human betrayal that redefines the mindset of all involved. A lot of characters are introduced to set the basis for the rest of the story. Good, with an emotionally charged finale, this is a worthy introduction that gets our band of survivors on the road.

"Chapter Two: Miles Behind Us" picks up with Rick, Lori, Carl and the entourage seeking out refuge. Having given up on immediate rescue--the group now just pursues safety. This section is most notable for the introduction of Tyreese, a natural leader who forges a strong alliance with Rick. The group stills thinks that they can wait out the zombie problem if they can just find somewhere isolated and secure. A gated community seems just perfect and the group is thrilled by the prospect of some normalcy. But all is not as it seems, and "The Walking Dead" establishes that no one is safe. Chapter Two destroys what little innocence is left in our band as they face their first real losses as a new unit. It is well plotted, well orchestrated and genuinely harrowing as the group come to understand that safety is an illusion. While Chapter One was an effective plot set-up, this one really sets the tone of danger. Excellent.

"Chapter Three: Safety Behind Bars" finds our ragtag band of survivors moving into a new safe haven. This one has real promise--it's a well secured prison. While Chapter Two has forced us to confront the fact that no one is safe, new hope springs alive. Still wary from their encounter on Herschel's farm, the group extends an olive branch to the family to share the safety of their new digs. So a community starts to form again and the group begins to grow with the newcomers as well as four inmates that were alive in the prison. Building a safe structure takes the primary focus of this chapter but all the new people are still wary of trusting one another. Jockeying for dominance and leadership, this bloody good chapter makes us confront that the zombies are not the only dangers inherent in the new world. With murder, suicide, and betrayal--its starting to get harder to determine the good guys from the bad. And in true cliff hanger fashion, the safe haven may be slipping from their grasp--or actually, it may be ripped away!

"Chapter Four: The Heart's Desire" wraps up the prison cliff hanger from the previous chapter. Among other things, Rick takes another controversial step to defend his tribe. Is he losing his humanity or doing whatever is necessary to survive? As a new character is introduced, the enigmatic warrior Michonne, things start to unravel for Tyreese. Still haunted by his daughters death and what he did in its aftermath, his relationship with Michonne threatens those he is already involved with. The series retains its heart with the continuation of the love affair between Glenn and Maggie including a racy nude scene. But the destruction of Rick and Tyreese's friendship packs a huge wallop. Easily one of the more dramatic chapters, the series hits an all time high with Rick's "We are the Walking Dead" speech--an absolutely unforgettable moment of raw emotion.

"Chapter Five: The Best Defense" takes things in a new direction. Tracking a downed helicopter, Rick, Glenn and Michonne head off to look for survivors. What they discover instead is another encampment--a whole town fenced off and self sufficient! Perhaps less involving in the initial trek, the chapter picks up with the introduction of the town's "Governor." When our traveling trio discover that their new friend might not be an ally, it's already too late. Most notable for its extreme violence and brutality, both Rick and Glenn suffer severely at the hands of this new madman. Most of the material back at the prison is relatively uninvolving making this a weaker entry in the series. But the danger that Rick in Michonne find themselves in has very real consequences that set up a new storyline for the future. Essential, but somewhat unpleasant.

"Chapter Six: This Sorrowful Life" picks up with Rick, Glenn and Michonne held captive as the ruthless "Governor" tries to extract the location of their camp. Finding unexpected allies in the doctor, his young assistant, and a perimeter guard Martinez--a plot to escape has been hatched. The escape is exciting, but the real action comes when Michonne seeks retribution against the "Governor." In easily the series most disturbing sequences, let's just say Michonne means business! "The Walking Dead" has continually blurred the lines between "good" and "bad" and amped up the moral question of what makes a hero--and within this installment we see one of our protagonists exact horrifying vengeance! Returning to the prison, the camp has been overrun and our heroes must again face a zombie hoard. But in the midst of this, a very human betrayal is discovered and Rick is once again faced with the choice of murder. An action packed volume!

"Chapter Seven: The Calm Before" is a relatively peaceful edition of "The Walking Dead" as the name might imply. A small band rounding up supplies faces down more of the "Governor's" men. Then the group, wary of being discovered by their newfound enemy, starts to become complacent when no sign is of attack comes over the next few weeks. We see normalcy start to return as Rick and Lori confront unpleasant aspects of their relationship, Lori gives birth, Maggie and Glenn consider a family, Michonne starts to thaw, the new "doctor" gets comfortable. But in this peace, one of the crew finally goes over the deep end with unpleasant consequences. Sometimes sweet, sometimes sorrowful--this edition sets up real hope and is really great in furthering the character development aspects of the story. This makes it an unexpectedly strong entry in the series! But all is shot with one heck of cliff hanger!

"Chapter Eight: Made To Suffer" reintroduces the "Governor" and what happened in the aftermath of Michonne's visit. The rest of the volume is an all out assault as the "Governor" and his crew try to break into the prison. With some of the protagonists considering departure, it leaves an even smaller band to deal with the onslaught. Non-stop action fuels this story and there are severe casualties. In a brilliant and bold move, all expectations are thwarted in the bloody confrontation. "The Walking Dead," which has already established itself as an epic in zombie literature, bravely pushes to the next level! Riveting, heartbreaking, and very surprising--nothing will ever be the same after this battle! My favorite so far--if only for its audacity and "take no prisoners" approach!

A great deal, no matter what I think of the story, June 8, 2009
Everywhere I turn these days, I see zombies: in movies, novels, toys, video games, clothing, and far too many comics to count. I am absolutely sick and tired of them, so when I would read glowing reviews of Robert Kirkman's comic series THE WALKING DEAD, I would scoff and move on to something else. But the glowing reviews continued, becoming even more positive as the series progressed, and I began to have second thoughts. Then Image Comics announced THE WALKING DEAD COMPENDIUM VOLUME 1, and I was sold on giving it a shot. This is a sturdy, high-quality softcover collection of the first 48 issues, printed on glossy paper. 1088 pages for $37 on Amazon is too good a deal to pass up, and this gamble more than paid for itself. Police officer Rick Grimes, shot in the line of duty, wakes up in a hospital bed. There are no responses to his calls for help. Eventually realizing that the building is vacant, he makes his way to the cafeteria for something to eat, at which point both he and the reader plunge into a horrifying realization of what has happened to the world during his recovery. From there, it's non-stop suspense, even during what could be considered the "slow points". Even though my overall opinion of the story is middling, I had a hard time putting this book down at night.

I am a big fan of post-apocalyptic fiction - Earth Abides, Alas Babylon, A Canticle for Leibowitz, On The Beach, The Stand, The Road, and numerous other examples of this subgenre are displayed proudly on my bookshelf. I'm not concerned as much with the details of whatever disaster befalls the world as I am with how the survivors deal with it, and that's what I get from THE WALKING DEAD. While the story results from a zombie plague, that's not the main attraction, and I'd be perfectly content if we never received an explanation of how it happened. The survivors are what drive this story, constantly struggling, battling hopelessness, gaining and losing friends, and not knowing if they'll see the following day. When they finally realize their place in this transformed world, it's a bigger chill than any flesh-eating, walking corpse can provide.

Even with all those positives, I can't say that I completely enjoyed the story. The earliest chapters, where Rick slowly comes to the realization of what has happened, and his first encounters with survivors, are exceptional. The isolation and despair are palpable, and these chapters stand out for their realistic tone - in fact, I feel that the most effective chapters are the ones where the least happens. However, once the town of Woodbury and "The Governor" enter the picture, it began to read like Garth Ennis took over as writer. I don't doubt that humanity could sink to some frightening depths in a disaster such as this, but some of the later chapters were so over-the-top that they seemed like simple shock value.

Tony Moore provides art for the first 6 chapters, with Charlie Adlard taking over for the remainder of this collection. Both artists do great work on this series, with their own particular strengths. Moore's facial expressions speak volumes, and Adlard's work is grim & gritty. Both of these guys can draw some horrifying scenes of death and destruction.

So, this compendium is your perfect chance to experience THE WALKING DEAD for the first time, as it gives you a good-sized chunk of the story under one cover, rather than having to buy multiple trades. Come witness the end of the world... and the beginning of a new one.

The Reading Dead: *practically* perfect in every way, July 8, 2010
As a reader of comics for about 25 of the 35 years I have lived, I can say with some authority that this is the best series currently running. AND it has maintained that stature since the completion of it's first story: Days Gone By, which is of course included in this compendium.

The artwork of The Walking Dead may not have the most creative or stylized art, but as an art teacher I can say that the composition and style always support the needs of the drama, characters, and story. This is a black and white book, but that actually helps maintain the detail the artist includes; the grays and contrast are used to create feelings and moods that keep the reader hooked. The best thing about the artwork, however, is even beyond this huge compendium into issue 74 of the series it is consistent. You meet many many characters who fall in and out of the story, yet without giant S's or spiders on their chests' the artist manages to keep you aware of who's who - even when the cast count goes higher than the average X-men story.

As for the story, The Walking Dead is most amazing in that a huge earth-shattering Zombie apocalypse is only the scene on which the characters interactions and relationships are the star of the show - and that most fans don't even notice because of how sly Kirkman can be. Each included sequential story takes the stakes higher and pushes the reader to do anything to get to the next page, even to the point of speed-reading the zombie fights to get to the effect or aftermath of them.

The only fault of this book (garnering 4 stars rather than the deserved 5) is that it has been published in paperback and weighs about 5 lbs. This makes it nearly impossible to take with you, but if you do attempt to read it anywhere but a flat surface the tome will most likely pull itself into pieces before you're able to lend the book out to your friends (which no doubt you'll be dying to do).

Pure, Undead Fun, November 25, 2010
I have not read graphic novels regularly for a long time. I just stopped reading them, and as many say, moved on to word novels. I have however always remained a zombie fan, and I knew this series existed. I had thought to pick it up before and see what all the hype was bout, but nope, I didn't give in. Then AMC picked TWD up, and I was still wary.

Then I watched the first four episodes and I loved the show, so I had to get the comic. I had heard some talk it down, saying they did not like the art, the black and white, and/or that the dialogue was bad. I did not have a problem with any of these. However, I have been out of comics, so it is not like I'm comparing it with a lot of the current work. All I can say is that for a casual graphic novel guy, and a zombie fan, the series is fantastic. The characters (for the most part) jump out of the pages at you. Previously when I did read this art form, I never really cared too much about the characters, but I did with this.

Lets not fool ourselves though, if you are even bothering to visit this page at all, you are a zombie fan, so let me do you a favor . . . buy it already. Just don't read it so fast like I did, finishing it the day after you get it!

Best Zombie Story Ever...Zombies aren't Important though!, November 23, 2010
Ever wondered what it be like if 95% of the world's population was killed off? Well in this case that 95% are turned into zombies. We've seen movies, we read the books, but we haven't had a comic series take the zombie world and make it interesting...till now. This Compendium edition of walking dead contains issues 1-48 in one huge size book. So right when you flip open the cover you'll notice first off the comic is in black and white. Yep this is drawn more like a manga then a comic. But you soon learn that it isn't the coloring that makes it so great to view but the actual art itself.

Rick Grimes is the main character of this story and it basically picks up right after the zombie apocalypse. He wakes from the hospital bed only to walk through a empty hospital and into streets filled with nothing, as in no one is on the streets and cars parked all around the streets. He soon stumbles upon a zombie and this begins the whole story. It's hard to tell you what happens next without much spoilers but I'll give you a general idea of what happens. Soon Rick meets up with a group of people and they start their survival adventure through the mostly dead world. From RV's to houses to even prisons this group of characters will face many horrors along the way. If you think zombies are bad imagine the crazy people in the world like murders and rapist with no laws to keep them in check. How certain people will use the zombie apocalypse as a way to re-create societies the way they envisioned it.

While the story has a ton of side stories to build up characters the main stories in this are basically 3 Arcs. The beginning arc, the Prison Arc, and then the governor arc. Each arc becomes more and more disturbing seeing as when they finally get to the final arc we actually even have a main antagonist. If it wasn't bad enough zombies are ready to eat you we now have sadistic humans who are trying to kill you.

Those are just SOME of the horrors our heroes will have to face. Don't expect anyone to be safe in this story though. This isn't a happy go lucky, every survivor will survive story. This isn't a story about just cause your a kid you'll survive against a zombie attack. Characters you begin to read about, learn about, and maybe even feel for them despite them being a fictional character could suddenly die with just a flip of a page. No one is safe in this series just like in real life, if the zombie apocalypse were to happen no one is truly safe. Just cause your the hero of this story doesn't mean your gonna be a living hero Pain

Sure there are moments the series can feel like it drags. The dialog can feel like it's just dragging on to drag on and some speeches characters give make it feel like their trying to hard to to make everyone a "Hero". Also one arc feels like it was just a way to fill up time to kind of give the author time to think of a actual meaningful plot. While it lasted one to many issues it was probably the only slow and meaningless plot. The rest of the plots make up for it and the ending will leave you wanting SO much more!

To Sum it up your basically getting 48 volumes of pure zombie awesomeness. From betrayal to love to death it's all in this book. I strongly suggest anyone who loves zombies to check this story out ASAP! Anyone who can deal with the death of many characters even if it's not meaningful. Who can deal with sex and cursing and thought provoking moments that will make you question morality itself. Who understand that even though this is a zombie story it deals with alot more then just zombies. Then this book is a must buy and it's why it's probably one of the best collections you can get at it's price.

Story - 10 - If you LOVE character development this is a MUST read. You grow to love some characters, hate others, but overall you truly enjoy this journey of survival seeing as how well done they create these characters.

Art - 10 - Some might complain about the black and white but I can't see anyone disliking the actual art. Haunting would be the appropriate word for this one.

Enjoyment - 10 - You get over 40+ issues for such a small price and such an amazing comic. Took me almost a week to complete and I'm already wanting to re-read it. Don't miss out on such a well made comic for such a low price!

Overall - 10 - Think just proved why it's a must buy.

Steal of a deal., November 22, 2010
I checked out the first compilation from my local library and was hooked on the series. Instead of checking out 12+ individual books I just decided to buy this. Around $40 for this thick of a graphic novel is AMAZING. (1000+ pgs!!) This book is worth well over $100, and if you're a fan of the series then I extremely highly recommend it. The only bad part is waiting for the Compendium Two, as there haven't even been enough written to make another one of these!

One word: AMAZING., July 29, 2010
This is the BEST series I've read in a VERY long time. I waited a long time to pick this series up because the idea of a monthly "zombie" book didn't appeal to me very much. Plus, it was black and white and I didn't see what the big deal would be. But, after several people recommended it heavily and told me to give it a try, I finally started to come around. Then I started seeing the whispers of this being converted into a television show on AMC (slated for Fall of 2010) and would be directed/produced by one of my favorite directors, Frank Darabont. I couldn't very well refuse to give it a try if Mr. Darabont himself was going to be involved in a series. So I picked up the compendium and started in. It is immediately addictive! Kirkman's writing is so conversational, its easy to skip right over the artwork and that would be a mistake! The artwork is great! The artist(s) changed between some of the chapters but the feel of the book remains constant throughout and the artwork gets even better as the book goes along! Its as if the team gets into the groove and create seamless scenes and dialogue spots and action points without ever looking disconnected. That's difficult to do without color!

The greatest thing about this series (not just this one compendium) is that its ongoing. It doesn't just show you a slice of life in the middle of a zombie apocalypse as so many movies have done in years past. Instead, this shows us what we would probably do if it really happened! The human interactions are the best and there are so many emotional moments that the book becomes hard to read at times. There is attachment to these characters and their quest for survival.

Hats off to Kirkman, Adlard, Moore, Rathburn and Wooton. These guys have put together an AMAZING, heartfelt, emotional, gory, disgusting series and I can't wait for more (and I can't wait for the television series!!)!!

See Rick Run.... See Rick Run Away From Zombies, March 31, 2010
Every zombie fans dream is a Romero story that never ends. And every medium has its defining zombie story. Cinema has Night of the Living Dead. Books have World War Z. And comics have The Walking Dead, which is like the Romero story that never ends. (Written by Robert Kirkman, with art by Tony Moore, until issue #7 when he is replaced by Charlie Adlard.) If you haven't read this yet you need to apologize to yourself. Like a hand-written apology. Because this is hands down one of the greatest zombie stories ever told. Soon to be a show on AMC, with Frank Darabont (Shawshank Redemption, The Mist, The Green Mile) onboard to direct the first couple of episodes. So you definitely want to buy this now before that airs.

It starts off with our hero Rick waking up from a coma in a hospital to a whole new, savage world. (Sound familiar?) A world in which the dead have risen from their graves. A world where the dead outnumber the living. Rick sets off to find what has become of his wife and son.
I won't say too much as this is an ongoing comic series, but not one TPB (which is how I buy them) has let me down, and the story just gets better & better. I will say though that since this compendium ends with issue # 48 you will have your heart ripped out, and slammed against the floor!!! It will leave you scrambling for the next volumes, just to make sure everything is ok. You'll clutch your chest as you read this series. Kirkman takes you through this new life in this post-apocalyptic world, and makes you love the people in it... before they're all ripped from your arms & pages. One thing that fascinates me is that even in a world overun with the walking dead, humans are still the greatest monsters.

The artwork is phenomenal, done in black and white for that NOTLD feel, which only adds to it's beauty & nostalgia. Every character is awesome, and every character is unique in their own way. The story is unlike anything you will ever read, and yet encompasses everything you've ever loved about the zombie sub-genre. Read volume one, and if you're not hooked, then I promise I will eat my own arm. A solid 10 out of 5 stars. 5 just isn't nearly enough to express my love for this powerhouse of a comic.

In short: READ THE WALKING DEAD!!! Max Brooks (author of World War Z) liked it, and so will you.
This compendium collects The First 8 Volumes - Issues #1-48

absolutely amazing, June 28, 2009
This is an amazing collection of all the issues released up to the 48th. It is a great way for new readers to get quickly caught up on an amazing story that I hope never ends. When I first got this book it was a day before amazon had put the book under review. I got my copy and was a little bit nervous. I thumbed through it a bit and read through the whole thing and there seemed to be no problem at all. Anyway, this collection is to die for, however, I feel that you do get the whole story when you read the collection but having to wait every month for the new issue really helps the story's time line from feeling so jumpy. But that is really nothing that the book could have helped. Get this book. If you like Zombies, if you like stories, if you like anything. This book is for you. wicked cheap too. ... Read more

Editorial Review

One of Serenity's greatest mysteries is finally revealed in The Shepherd's Tale, filling in the life of one of the show's most beloved characters - Shepherd Book! Who was Book before meeting Mal and the rest of the Serenity crew, how did he become one of their most trusted allies, and how did he find God in a bowl of soup? Answers to these and more questions about Book's past are uncovered in this original hardcover graphic novel by rising stars Zack Whedon (Dr. Horrible, Terminator, Fringe) and Chris Samnee (Blackest Night: Tales of the Corps, Daredevil). A pivotal chapter in the ongoing Serenity saga, The Shepherd's Tale is also a rollicking, action-packed epic in its own right. ... Read more

Reviews

Really disappointing, November 10, 2010
Those who watched Firefly and Serenity are aware of Book's implied rich past. As the series was unfortunately canceled, we find out very little and all sorts of questions remain open. When I first saw this novel available for sale, I expected it to provide some relief for my curiosity.

To put it bluntly, I am very disappointed. The biggest problem is the extremely short length. You could easily fit all the text on a single page and I could tell you the whole story in 60 seconds. One would expect a book published with the purpose of filling in the gaps of a story to do the thing properly. This doesn't even come close. Furthermore, there are a number of inconsistencies, and we arguably end up with more questions than before.

/* SLIGHT SPOILER */
We know that Book had ties to the Alliance (from that Firefly episode where they heal his wounds), but we find out that there was a "falling out" and they (quite literally) threw him out. Why they would treat him as a VIP, save his life and then let them go (as was done in Firefly) is a complete mystery and we're, once again, left hanging.
/* END SPOILER */

Basically, this is a bad fanfic. Save your money and pretend it doesn't exist.

Interesting narrative, but something seems off., November 10, 2010
I have huge respect for anyone other than Joss Whedon, even if its his brother, trying to write something on Serenity and make people happy. However this story was off to me for two reasons. The first will be far more relevant to most people.

The number one reason why the story seemed a little off to me is that it was simply FAR to short. You get a brief overview of events without any real detail and then all of the sudden you are back another six years further into the past of Shepherd Book. Although what was in the book was enjoyable I was inevitably disappointed by the lack of material. It was like being able to only look at pictures from someones past when you know there is a movie about it somewhere, it was insufficient.

On the same point, the chronology seems strange. This is not to say it is right, it is just hard to put into context when all that has been written about the universe is confined to a small time period. This is the end of what normally constitutes a review for a book so you can stop here with me saying a nice read but overall somewhat disappointing knowing the amount of depth of the character that could have been explored and the cost of the book.

Now to my second complaint.Please if you are going to read this part read to the end so you understand why I am saying what I am saying, besides my desire to discuss the issue.

The way the book handles race is atrocious. No where do you meet people any people who are not white except when it fits into a modern stereotype. The story is set 500 years into the future, and manages to show women in equal or at least somewhat more equal status, yet it fails to show race progressing past the stereotypical surface point that it now occupies. It is hard to continue to talk about this without giving anything away, but all it takes

************ (MINI SPOILERS POSSIBLY) ***********
is a look at the scene of Book's childhood or his companion during his teen years to see that race in the comic book, set five hundred years in the future is so stereotypically portrayed. In truth it was just a huge disappointment to me to see these caricatures be the portrayal of Book though the second half of the comic. I could go on and talk about how it seems stupid that, in a world that is supposed to be equally founded by the Chinese, you see no one who is Chinese etc. But in truth most people do not see why I am saying this so I might as well stop.

The fact that this comic came up so short in the creation of this rich world artistically, meaning the background is shown in a complex way with people acting different than now, where minor characters are from all races and sexes for that matter, and the characters are not shown in a dynamic non stigmatized manner is disappointing because to me the inclusion of these, what may seem to some details would make the world come alive with a richer quality. One one of my favorite things about the show was the way they would switch to Chinese to cuss or the way the world especially in the pilot episode was formed visually, that is part of the sadly missing aspect of this book that makes it seem strange.

A must have for the Serentiy Fan, November 8, 2010
If you are a Serenity/Firefly fan, I shouldn't have to tell you The Shepherd's Tale by Joss and Zack Whedon is a must have. There is no more mysterious character in the Firefly storyline than Shepherd Book. He's a preacher who knows how to fight, a renegade who carries legitimate Alliance ID papers. He is a man made entirely of secrets, and this is your chance to learn them.


Shepherd's Tale starts off right before the movie Serenity starts. Haven is under attack, and Shepherd quite literally sees his life pass before his eyes, in reverse order. Once upon a time, we met Shepherd on the pilot episode of Firefly, when Kaylee asked him where he was headed, and he said he didn't know. One box of strawberries later, and Shepherd has bought passage on Serenity, to wherever it happens to be going. How could we have known he had just, that morning, left the monastery?

And what led him to join a monastery, to pledge his life to God, in the first place? What does a man go through to realize his only hope is start over? I won't spoil anything for you, just to say that Zack Whedon did the character justice. More than once I said "no way!" out loud while reading. Who he was, what he went through, the things he did, Serenity truly is the place for him.

Graphic novels aren't cheap, and this one'll cost ya about fifteen bucks. If you're a Serenity fan, I say go for it. The hardback covers are a nice surprise as well. It's not the longest graphic novel you're ever going to read, but I gotta say, when I got to the last page, I felt it was the right place for the story to end.

The only downside of Shepherd's Tale is the artwork, and that's the only reason it didn't get five stars. I don't know if it was a stylistic choice, to draw everyone who wasn't Shepherd Book in a rotoscoped/impressionist style, but let's just say it's a good thing I already know who all these people are. The artwork is pretty blah, but if you are an obsessive browncoat (and what browncoat isn't?) you'll want to add The Shepherd's Tale to your collection.

Meh., November 10, 2010
When I first heard they were telling the story of Shepherd Book I was sooo excited. I've been a fan of Firefly/Serenity for a long time and Book was one of my favorite characters and this story promised answers about his past. Unfortunately we got the short, boring version of Book's past. No depth, no reasons for why Book is who he is, just fluff. This book was, in a word, unnecessary. Save your money.

$14.99 for 56 pages?! Do not endorse this..., November 11, 2010
It's $15 for 56 pages. Please stop and consider that for a moment. I know it's Serenity. I know it's hard bound. This is a great property and a great publisher, but this is an obvious attempt to overcharge a fan base. Other licensed titles in hardcover format do not cost this much. I will not buy this book as I don't want to see more of this. Eventually it will be collected in a trade or an omnibus. I can wait. I read it in the store yesterday, which I am not a fan of, but in this case I felt obligated.

As someone else pointed out, the big question from the tv show, namely why is Book given a warm reception on the alliance ship, isn't even answered. It actually seems to contradict the show. It isn't worth $14.99 or even $8.49 with the Amazon discount. There is no reason this couldn't have been a $5.99 double issue, other than to exploit die-hard fans. If you have tons of cash, you're already gonna order this, but if you are a Serenity/Firefly fan on a budget, you are gonna feel ripped off. Please just browse this in a store and see for yourself.

Don't waste your money., November 10, 2010
I'm a huge Firefly/Serenity fan. Lost count of how many times I've watched the series. Got the movie on DVD and Blu-Ray. I was really looking forward to this graphic novel.

Alas, this book is a huge disappointment. All the descriptions on the cover call it an in-depth look at the Book's past, but there's no depth to it whatsoever. I can sum up the plot line in three or four sentences without losing any depth. (I won't, out of respect for the people who will inevitably disagree with me and don't want it spoiled.) On top of all of that, there's a nagging and dissatisfying inconsistency with the series.

Had I known what I was buying, I would have saved my money, and I recommend you do the same.

Answers? Yes. Anything else? No., November 11, 2010
When Joss Whedon created Firefly and later Serenity, he created a rich and full cast of characters. One was Shepherd Book, a religious man with a past that defies expectations. Fans of the show have been curious and speculative about his history for years. Now we have those answers. Unfortunately, that's all we have.

Writer Zack Whedon's epilogue states that he wrote it in spurts over an embarrassingly long time, and it shows in the finished product. We receive glimpses of Shepherd's past, which do indeed provide answers to the major questions (including some questions raised here) but that is all we get. I hesitate to call this the character's backstory, because it doesn't even feel like a story. It feels like all of the character reveals Joss Whedon had planned to dole out to viewers in pieces over years, as portions of other stories, but cobbled together in a rather arbitrary way. There is no single, coherent plot that binds these scenes together. Arranging these moments in reverse chronological order would have worked in the course of a multiple year series; each time we learn of an event in Shepherd's past, our opinions and beliefs about his past and loyalties are questioned. However, this reverse chronological order defies the causality of the narrative. The trick worked wonders for "Memento" due to the nature of that hero. Here, it falls flat. Had this been a biography of the character instead, leading the character from his teenage years to the moments before his last scene in "Serenity," it might have had enough weight to feel like a self-contained product.

Ultimately, this provides the answers to Shepherd's past that fans have been waiting for, but the execution is lacking enough that I wouldn't recommend picking it up if it can instead be borrowed from a friend or library. The content is worth knowing, but it should be viewed as the character's chapter of the show's writers bible moreso than a stand-alone package.

It's a great outline for the story I want to read. Not the story., December 4, 2010
I'm a great fan of Firefly, and have made an effort to read most of the follow-ons to the TV show and the movie Serenity. Like everyone else, I've been drawn to the mystery of Shepherd Book's past, since he was an intriguing mix of warrior-monk. So I was particularly anxious to read this graphic novel to tell me, as promised, the Shepherd's Tale.

It doesn't suck. But it wasn't nearly as good as I had hoped.

The story is told in flashbacks: vignettes that begin with Shepherd Book in Haven, and which step backward in time. At the end, I knew who Book is-and-was, but I was disappointed. We learn more about events than about his character, and in the show it's Book's character that is so compelling. This graphic novel is much more of an outline for the novel I *want* to read than it is a standalone story.

But the "how Book found God in a bowl of soup" scene was really, really good.

I won't tell you not to get this book. If you're a Firefly fan, you probably do want to read this (even though it'll take only an hour or so; I doubt it's 50 pages long). But set your expectations on the low side.

This isn't the backstory we waited so long for, November 12, 2010
Ok, first the pros: The art's not bad (not great either). The story isn't horrible.

Now the minor cons: Way too short. Does not provide an in-depth look at Book's background so much as a cursory glance.

Now the biggest problem I had: Just about every Firefly fan I know was anxious to find out what in Book's past caused him to be treated like a VIP by the Alliance when he was wounded. This book answers that...in a completely nonsensical way. (Without giving away the plot, halfway through the story you'll say to yourself "Ah, it makes sense now" and then 5 pages later you'll say "Well, now it doesn't make a lick of sense, I'm surprised they didn't kick him in the ribs and hurl him into the vacuum") Were it not for that major drawback, I probably would have rated this 3 or maybe even 4 stars.

Die-hard fans of the 'verse will want this for their collection. That being said, many of those same fans will probably hate it and choose to ignore it as canon.

Serenity: A Shepard's Tale (Abridged), November 12, 2010
I could just mark this as 5 stars because I'm a Firefly fan-boy, or I could mark it 5 stars because it's about Shepherd Book, but I can't.

The graphic-novel/comic-book thing was good, but I was left wanting more; a lot more. While I got many answers to Shepard Book and his past, it could have been expanded on a lot more. This wasn't really a story at all, only glimpses and peeks into Book's past. While everything adds up and it is structured well enough, each glimpse was too fleeting; Just as I would get interested in a memory, I was ripped out and thrust into another.

By my counting (which is always questionable) there are 10 or so sections; each dealing with a different time period. At least 7 of these could be and maybe should be turned into a longer "episode." While this may be the end, I'm hopeful it may spawn a more complete telling of his life and times, allowing the story to come full circle. Just like a bowl of soup.

Overall, it answered the questioned I had before reading it, and left me with even more that I'd like answered after reading it. It was also disappointing that it was so short. ... Read more

Editorial Review

Life in the community is as near as Rick and his group can ever hope to come to life returning to normal. So why is Rick so on edge? Will his behavior spell doom for everyone else? Will they let it get that far? ... Read more

Reviews

A quest based on lies., November 23, 2010
After listening for a time to the tales of Washington d.C., the truth is finally revealed. Its a wonder that no one died in the process, either. Still, nobody found themselves in pieces and the band kept moving, knowing they had lost too much to stop without at least looking. That's when they meet a man on the side of the road and that man tells them that he has a place that they HAVE to see. It has everything they could want and more - and that makes the group think about killing him then and there. The problem with that is that the group really hasn't lost hope - perhaps a good thing and perhaps not - andso they find themselves listening and following. Along the way they provide proof that they are viable and then they are shown into a town that is thriving right next to the dead. Children in the streets, happy neighbors, running water - everything the world left behind. They even want the newcomers to help out and become whatever they know how to be, rick included. The problem with this is that something else is amiss and the group can see it in their eyes. Still, they have no idea what that means or what sort of horror could be living within these walls.

As with other Walking Dead pieces, I really liked this. i had wondered about the myths that were being fed to the group about d.C., and I wonder what would have happened if nothing would have been there. They had, after all, been expecting a government or at least a group of scientists. So, this works out in their favor. Futher, it helps bond some of the charatcers we have seen travelling with the remainder of the "superjail" group, and they really need to become part of the group. Sure, they have been there and they have taught the group a lot. Still, they didn't feel like part of the group until now which is a great thing.

I also like the continued thing that shows that humans are dangerous out there. Even when Rick and his group finds something that looks decent they turn into their own brand of horror, looking at everything in some terrible manner. Considering what has happened in the last few books i cannot blame them, but it still shows how they have even become that thing that they have been trying so hard to keep at bay.

Another thing I liked was that we got to see a city again and that we got to see some of the ways that people are trying to stay alive. These are a bit different and the same as well, and they say something about the people. they also say something about the dead and what is happening with them, showing whether they are slowing or if they are still the pague they once were. Combine that with the grand artwork and you have something beautifully constructed and that has so much more to offer.

If you are a new fan, never read out of order. If you are a watcher and want a view, start at the beginning. a warning on spoilers, however; reading the books will stick closely to some of the things seen in some of the early episodes. Things change, certianly, but things also stay the same. so, read with care. for people who think that this is just another town or just another human story, perhaps you have grown hard s well. The terrible things they contend with are beautiful in their own rights and do not have to be teeth or fingernails of the dead. People who want to live are just as bad.
i liked this more than the last one, too, and round it into 5 stars. Thank you.

The restless spirit, November 27, 2010
Rick and company have settled in to the community behind the walls near Washington, D.C., although it was made clear at the end of the previous Volume that Rick was finding it hard to adjust to this comfortable, safe existence. His spirit is somewhat restless, but it is based on a fear of people, and how easily they can screw even the best of things up. Abraham validates that perspective with an experience he has beyond the fences of the community, and throughout this volume, we get to see that perhaps this place is too good to be true in some ways, and that people are the same where ever you go and no matter how safe and secure you feel you are.

The same antsy sense of things that Rick has with this place is a sense I was getting about it as well. Certainly, you would hope to find a place where you can finally relax and rest and feel safe behind thick walls, but at the same time, as a reader, you look for things to go wrong in this screwed up world, expecting them to, as Rick does here. And by the end of this volume, Rick's fears are confirmed, but once again, as has happened in the past, he loses control for a time before settling back into the role of reluctant hero and reluctant leader once again. I think it is at those times that Rick, and TWD, are at their very best.

I felt the last volume was a bit draggy in spots, and while this one has its lulls as well, the story picks up the pace once again, especially near the end, with promises of interesting things to come in volume 14.

A Tentative Return To Humanity--Character Development Continues To Distinguish A Zombie Epic, December 28, 2010
When I heard that AMC was going to produce a television series based on the zombie epic "The Walking Dead," I was both concerned and delighted. A bona fide classic in undead lore, "The Walking Dead" graphic novels are brutal and surprising--not really what I would picture for a basic cable TV show. The first season ran with 6 episodes, and the ratings were stellar for AMC (a network know for terrific and prestigious shows like "Mad Men" and "Breaking Bad"). With Frank Darabont of "Shawshank Redemption" fame as the creative force behind the show and Robert Kirkman's (the comic's creator) involvement as a writer, we have a winner gearing up for a second season--so check it out if you haven't already!

But picking up with the graphic novels, Kirkman hits us with "Volume 13: Too Far Gone." Now, I had heard some initial disappointment about this volume--and for those looking for general mayhem and violence, this is certainly one of the more subdued chapters thus far. I have to say that initially I agreed. With Rick and clan installed in a new community, there are dozens of new characters sharing center stage. I found this off-putting at first. But what happens in "Too Far Gone" is far more important than just another attack. Rick's growth and character development are a highlight and how he, and the others, start to acclimatize to their new surroundings has surprising emotional resonance. The characters face the crossroads where they're allowed to start feeling human again and start to face the moral repercussions of the things they've done and will have to continue to do in order to survive. I ended up really feeling connected with "Too Far Gone" in a surprising way. If you're open to seeing "The Walking Dead" as a fully rounded epic, these moments of introspection are entirely crucial! KGHarris, 12/10.

Too Far Gone-Another Great Read, November 26, 2010
Book 13 of the series doesn't disappoint. The writing remains solid despite this volume being somewhat less action packed (which means a lot more falls on Kirkman's writing). His previous style shows through as the action starts to escalate around Rick's new home near Washington D.C., but don't worry you'll still be good and surprised at moments. The threat builds from inside and outside the city with mini-episodic-climaxes (as the individual issues each try to end with some form of climax or cliffhanger).
Overall, this was a solid book which focuses on certain characters starting to show cracks after being in this new zombie infested world for almost two years, story world time. The series has always been character driven and since they are "safe" in their new homes this volume really zooms in on a couple characters (some of the old group and some new townies) to show the difference between the ones who have been safe and the old group that has been on the road for over 18 months before finding a haven.
Read it, and wait for 14...

Can the world be rebuilt?, December 7, 2010
"The Walking Dead, v.13"
Written by Robert Kirkman
Illustrated by Charlie Adlard & Cliff Rathburn
(Image Books, 2010)
----------------------------------------------
In this latest installment of his zombie epic, author Robert Kirkman is still taking his time building up major themes and allowing the zombies to stay in the background. This volume picks up where the last left off, and doesn't go much further, but is equally compelling and suspenseful. The main issues are institutional - can civil society be rebuilt after an apocalypse, and how will the survivors deal with criminality and aggression? - and personal: can Rick Grimes still be our hero as he continues to unwind mentally and make increasingly bad decisions? What are his limits, and has he become a danger to the survival of others? And if Rick snaps completely, how many of his old friends will stick by him? The roamers are still outside the gates, but the real danger seems to be within... Once again, I'm eagerly waiting for the next volume.

PS - I'm starting to wonder how long zombies can exist without any food. Seems like their complete decay and re-death would be inevitable, since entropy exists regardless of spooky viruses or horror-story conventions. Will there be a time when the survivors step outside their sanctuary walls and find the world shockingly empty of monsters? Just wondering. (Joe Sixpack, ReadThatAgain book reviews)

I Hate to Do This, November 24, 2010
By far the weakest effort in the series lies here. The new "safe town" strays far away from the previous tone of the series. There's too many problems in this trade for me to call it good or great. It has its moments but its very flawed. Here's my laundry list of problems.

*The expression of sorrow by telling stories is getting really old. Everytime someone is dwelling on a matter, they tell a long drawn out story to express themselves, then Rick or another character tells a story in return to relate to the character. It was effective 5 trades ago. It's getting really old now.

*We got this huge build-up from Douglas with no delivery. He seems like an alright guy in the end, but the last book hinted him at being a violent pervert. The books just feel like they contradict his character.

*Rick loses it....again. When Rick went insane at the prison I lost respect for the character, and now he just commits a horrible idiot move this time around. I understand that he's been through a lot, but this is RICK GRIMES were talking about.

*Too many characters to deal with. You absolutely have to read the previous volume right before this one, or else you'll forget who these masses of people are.

It has some good suprises and plot points, but I'm just starting to get irritated. I know the story needs to progress, but its too far from the original feel of the Walking Dead. Maybe that's why they titled this trade "Too Far Gone." ... Read more

Editorial Review

This hardcover features the first 12 issues of the hit series along with the covers for the issues in one oversized hardcover volume. Perfect for long time fans, new readers and anyone needing a slightly heavy object with which to fend off the walking dead. ... Read more

Reviews

Best Zombie comic EVER, December 31, 2006
"The Walking Dead" is (as the name somewhat implies) one of those zombie comics that have become so popular as of late. I've read a few of them, and I must say, this one is the best. The opening is actually startlingly similar to the film "28 Days Later" as our hero, a small-town cop, wakes up from a coma to find that the world has been overrun by zombies and everything he knew and loved is missing or outright destroyed. That similar starting point aside, after that the story takes on a really unique flavor for a zombie story. It's not so much about the zombies themselves, but about our hero, the ragtag group of survivors he joins, and how they try to rebuild after the cataclysm.

Yeah, I know that a lot of zombie movies, at least the really good ones, are "commentaries on society" instead of straight horror flicks. That's very true. But every zombie movie has to have an ending. With "The Walking Dead" being an ongoing comic, and therefore open-ended, we get to see facets of life in a "zombie world" that we rarely see in a zombie movie. The comic is almost never about the immediate threat of a zombie attack (in fact, it becomes clear that many living humans are far more dangerous in this new world than zombies are). It's about how people get by after their entire world has been stripped away from them. That means it really runs the gamut of human emotion -- from terror to grief to anger. It's very dark, often painful, frequently moving, and even occasionally funny. It's like real life.

Really, this story would work almost as well in any global catastrophe scenario, from nuclear war to apocalyptic meteor strike. It's about how people survive, not what they're surviving.

There's No Place Like Home...Anymore, December 19, 2006
Most of the folks here already know that The Walking Dead Book 1 is a compilation of Robert Kirkman's first 12 (Volumes 1 & 2) Walking Dead comic books that, beginning in 2004, picked up on a story that is well know to any zombie movie fan. The main story. The one started in earnest by George Romero in 1968 with Night of the Living Dead and later remade in 1990 (the version that I prefer) by Tom Savini (with Romero oversight).

The Walking Dead begins the story of Police Officer Rick Grimes as he wakes up from a coma--after being shot months ago in a normal world--in a world overrun by The Walking Dead. The beginning of the story starts kind of the way Paul S. Anderson's film adaptation of the popular game Resident Evil (2002) ended...with the lead character waking up from a coma (in Resident Evil after her adventure trying to stop a virus from escaping into the population that creates zombies; and you guessed it...she failed to stop it).

I'm not a regular comic book reader. But I was drawn to this volume compilation because of the convenience of being able to get a full story without the month to month waiting for each issue. And I am now hooked.

I was surprised to see that Tony Moore's art that supported Kirkman's Walking Dead story was all black and white throughout instead of color, but as I said earlier, I don't read a lot of comic books, so perhaps that's standard op.

Book 1 was like reading a screenplay with story boards of a version of Night of the Living Dead that begins simultaneously, but in a different part of the country. Yes, it's kind of a rip-off of a story (stories) already told, but the key is that it's done very very well. The zombies are true to the original Romero creation: slow and stupid as opposed to the 28 Days Later (2002) or 2004 remake of Dawn of the Dead fast and thinking zombies.

Book 1 took me under 2 hours to get all the way through, so indeed, it's just like spending the time to watch a film in front of your big screen.

Volumes 3 & 4 are already available individually and the Book 2 compilation of Volumes 3 & 4 is scheduled for January 2007 (my preorder is in!). Volume 5 is also out already and Volume 6 is scheduled for February 2007; I have no info on the release of Book 3 (Volumes 5 & 6 compilation), but I'd guess mid-2007ish.

So anyone in need of a very well done zombie fix that you don't put into your DVD player should absolutely get down with The Walking Dead sickness. Add it to your cart.

Kirkman's Zombie Soap Opera begins!, June 20, 2007
The Walking Dead Book 1 is a wonderful hardcover collection containing the first two trade paperbacks in the series. Robert Kirman has created an interesting world and a host of even more interesting characters based on a premise that has been overused in the past (i.e. the world being overun by zombies). The art in the beginning of the book is definitely better than at the end, and once the artist changed when the second storyline came along it took a while for me to get used to it, but Kirkman's excellent writing soon won me over again. With the Walking Dead the strength of the writing really counts for a lot, and it should not really bother me that the book is in black and white, but it does. The characterization of Rick and his family is superbly done, and all the scenes are well-written and excellent. Even so, I would have given this book 5 stars if it appeared in color. Many would scream bloody murder, but I think that the only comic book in black & white worth 5 stars is Alan Moore's From Hell. The Walking Dead is entertaining, but would have looked even better in color, easily warranting the 5 stars I wish I could give. Still, I would definitely recommend it to anyone, even those who don't like the horror genre. It is so much more than just a horror comic. Read it, and find out for yourself.

GREAT APOCALYPTIC ZOMBIE SAGA!, May 11, 2007
I love zombies. They are us... but inverted. When they enter the scene, you know there's no happy ending possible. No going back. They are such a massive threat, no character is ever in advantage.

THE WALKING DEAD is a great comic book where we follow a group of several character as they try to survive. There is no goal. There is no mission except just to keep on going. The main characters are RICK (ex-cop), LORI and their son CARL. SHANE is another ex-cop (friend of Rick). ALLEN, DONNA and their twin boys. DALE, an old, bitter man, CAROL, GLENN, SOPHIA and many others they meet along the way.

The beginning of the story shows Rick waking up from a coma (like in that movie 28 Days Later). Except that the hospital is already full of zombies. That's when he find MORGAN and his little boy DUANE. They help him get a car and soon enough, Rick tries to get to Atlanta, where he believes his wife and son are.

But Atlanta is a mess.

There is plenty of gore on these comic books. You won't feel disappointed. And some characters are quite nice. You do get kinda sad when they die. I like the black and white imagery - I guess a color version would be too red for some if you know what I mean. The storyline is nicely conducted and you do get easily into the story. I, for example read all these 300 pages at one go.

The only thing I did not like too much was the drawing of some characters. There are many, many characters in this book and some of them look very close to others... sometimes I had to go back a few pages and see who am I seeing.

But STILL this is a great work.

Buy This Now!, November 9, 2006
If you are a fan of Zombies or comics,then here is the best of both worlds. I bought this book to see if it was any good and I was blown away. Who would think that a book about zombies would do so goodby not showing zombie attacks in every comic(12 issues in this collection all with the orginal black and white art). Plus, this book has every cover in color! I have already pre-ordered the next book and I suggest you jump in and see what the best of comics have to offer.

ALL DEAD HERE!, December 13, 2006
In the back of this graphic novel is a letter written by the author and artist. In it he explains his love for zombie movies, but his hate for two words associated with every movie...THE END. He wanted to know what happened afterward, what happened after the helicopter flew away, what did the survivors go through, did they die, did they live where did they go? I have to admit I have this same reaction every time I finish watching a zombie film, I wanted more. For that reason The Walking Dead was created, with an open ended storyline, never ending always flowing.

First of all the book itself is gorgeous black and white with a splash of red, its heavy and you just want to rub your hands all over it because its so smooth. From the opening page, you understand that the artists and the author are true fans of the genre, and that they are talented enough to be able to introduce many characters but still giving personalities and background without confusing the reader or losing them. Drawing zombies, and giving them "life" is a hard thing to do, and they accomplish that feat even in black and white. You cannot see the tinge of rotting green, or the iridescence of the flies on their faces, or the blood when they tear into their victims but you don't need to because in black and white they are even more frightening. I could actually swear that I smelled them coming off the page, lips shrunken back, teeth long and hungry and the primordial need to eat flesh.

The storyline is simple and familiar, but it's so well scripted that it's a whole different spin on the zombie universe all together. Rick wakes up from coma, to find the whole town is deserted but for the walking dead, confused and concerned he goes to find his family but they are gone. A survivor explains to him what he knows, and Rick decided to go to Atlanta because that's where his wife and child would have headed to be with her family. So he gathers some guns, gets into a car and off he goes. I won't go into the rest, because as a graphic novel you have to see it to believe it. I read this in one sitting, slowly absorbing every single detail from to the branches on the trees down to gore flying through the air. Volume 1 does leave you with a "will be continued", but you aren't left feeling gypped at all. I already have Volume 2 on order!

Decent, May 28, 2007
The Walking Dead book one is a compilation of the first comics in the series (read other reviews for more info). The story isn't original in the slightest. The whole thing is sort of a smattering of ideas already done before a million times. Survivor survives, survivor finds food and shelter, survivors eventually turn on each other, etc. The book pulls it off decently enough, but if you are looking for something new steer clear. There were a few plot nuggets that struck me as original, but it's entirely possible I just missed seeing the movies they based them from.

The art for the first half of the book was quite good. It had some very detailed images, and I enjoyed the style. Unfortunately, the second half must have been done with different artists/time contraints. Every frame takes a much less detailed approach, and sometimes the characters even look distorted. I feel it really took the book down a notch, because the detailed art was one of the few things the first half had going for it. The second half is passable by all means.. just dissapointing.

Overall, if you like zombies give it a try. Just don't expect it to knock your socks off. Personally, I'll still probably buy book #2 despite #1's shortcomings.

Brilliant, June 21, 2007
Before he started getting high profile projects like Ultimate X-Men and Marvel Zombies, Robert Kirkman got noticed for creating The Walking Dead. And now, the first twelve issues of Kirkman's brillant and horrific series are collected in this oversized, handsome hardcover. The series begins as police officer Rick Grimes wakes up out of a coma to find the world has changed quite a bit. Zombies are everywhere, and human survivors are few and far between. Soon enough though, Rick is re-united with his wife Lori, young son Carl, and partner Shane, along with a host of other survivors, but as he soon learns, the most dangerous life forms walking around now aren't the zombies, but are in fact the humans. That's what helps make The Walking Dead so good. Kirkman really gets down and dirty examining the effects on these people in this crisis that changes everything they know about the world. The stark black and white artwork from Tony Moore, Charlie Adlard, and Cliff Rathburn has a lasting effect as well. This first hardcover volume concludes with a discovery that sets the stage for the future of the series, which proves the previous notion over what's is more dangerous in a world crawling with zombies. If you've never checked out The Walking Dead before, pick this up.

THE Zombie Classic!, March 30, 2007
Robert Kirkman has done no less than write Greatest Zombie Story EVER.

Think of the best parts of the George A. Romero films. Consider what are your favorite scenes in Zack Snyder's Dawn of the Dead remake. Ponder the best chapters and narrators in Max Brooks' World War Z. The Walking Dead has all of that, put together, plus a whole lot more. More in-depth, fully fleshed out characters, simple yet stunning plots, heartbreaking humanity, and buckets of zombie gore!

Collecting the first 12 issues of the comic book, the story is great and the artwork is fantastic.

Today, as in the zombie-infested future, this will be seen as a benchmark of the genre.

Have I mentioned that this may be the Greatest Zombie Story EVER ?

The Walking Dead: There Is No Substitute.

So much better than the flicks, August 23, 2007
These books have the potential to tell a zombie story with no end. Such is a desire of many lovers of the genre--including Kirkman, who states at the end of this book how he's always wanted to know 'what happens next.' The story is typical zombie fare, but that is a strength rather than a weakness. With nightmarish illustrations, Kirkman depicts a post-zombification world filled with the similar kind desperation one saw in the old films. It's refreshing that he hasn't tried to reinvent the genre. ... Read more

Editorial Review

An epidemic of apocalyptic proportions has swept the globe, causing the dead to rise and feed on the living. In a matter of months, society has crumbled: There is no government, no grocery stores, no mail delivery, no cable TV. Rick Grimes finds himself one of the few survivors in this terrifying future. A couple months ago he was a small town cop who had never fired a shot and only ever saw one dead body. Separated from his family, he must now sort through all the death and confusion to try and find his wife and son. In a world ruled by the dead, we are forced to finally begin living. ... Read more

Reviews

Continues where Romero usually ends..., December 21, 2005
I was out of the comic book reading hobby for several years, but I have to say that I was glad that i came back to reading comic books again. One of the first titles that hooked me this second time around was Kirkman's The Walking Dead for Image Comics. I have to say that its taken the current renaissance of zombie films and books and ran away with it.

Using the same slow, shambling zombies that Romero first made popular with Night of the Living Dead and its subsequent sequels, Kirkman continues the story where Romero usually ended his films. All those times people have wondered what happened to those who survived in zombie films need not imagine anymore. Kirkman has created a believable world where the dead have risen to feast on the living, but has concentrated more on the human dynamic of survival in the face of approaching extinction.

I won't say that the story arc collected in this first volume has little or no zombies seen, but they've taken on more as an apocalyptic prop. One can almost substitute some other type of doom in place of zombies and still get a similar effect (as was done in Brian K Vaughn's equally great series, Y: The Last Man). What Kirkman's done is show how humanity's last survivors are now constantly, desperately adapting to a familiar world through unfamiliar circumstances. Characters from the start make the sort of mistakes regular people would make when they don't know exactly everything that is happening around them. Instead of chiding these people as one reads their story, we sympathize and hope for their continued survival.

I am hopeful that the rest of the collected trades will be equal to and maybe surpass this first story-arc. Already kirkman's done more to realizing the universe Romero created than alot of the hack filmmakers who have taken Romero's idea and cannibalized it for their own profit. I consider The Walking Dead as a must-read for anyone looking to find something different from all the costumed superhero titles.

Wow!, May 20, 2005
Robert Kirkman, The Walking Dead: Days Gone Bye (Image, 2004)

Days Gone Bye is the first installment of what Robert Kirkman promises will be an epic graphic novel. (As I write this, Days Gone Bye has been out for less than a year, and vol. 3 is due to come out any day now; Kirkman is really cranking away on this one.) While it opens with one of the most common scenes in modern zombie lit, Kirkman's stated intention is very different than much of what we've seen recently, and at least in the first installment, the practice goes hand in hand with the theory.

Rick Grimes is a Kentucky cop who gets himself shot at the opening of the story. He wakes up from a coma some time later to find a deserted hospital. Upon searching, he finds that the walking dead of the title have pretty much taken over the planet. Rick heads for Atlanta, seeking his wife and child, and meets up with a group of survivors. While zombies form the frame of the story, what's at the core of this book is the dynamics between the survivors; the zombies are just the spice to their meat.

This is exceptional stuff. If the series continues to be this good, I can easily see it taking a place beside Watchmen on my very, very short shelf of the graphic novels I liked so much I actually went out and bought copies. ****

The South Rises again! So do the Dead..., February 15, 2005
Let's talk, for a second or two, about the coming Zombie Apocalypse, the subject of Robert Kirkman and Tony Moore's ambitious and brutally beautiful graphic novel series "The Walking Dead".

Let me break the bad news to ya, big guy. You're not going to survive it.

Everyone watches zombie flicks with the notion that they'll survive. They're going to be one of the shotgun-toting mall-rustling heroes when it dawns on everybody that the Army ain't showing up.

Well let's put it to you this way: the Zombie Apocalypse is coming, and you're not going to make it. You're going to go get your mail, or be carrying your groceries out of the supermarket, and that's when you're going to meet your first Zombie. You've got a billion things flying through your noggin, Champ: pick up the kids, college tuition, your crazy stock portfolio, war and rumors of war, bio-terrorism, the big presentation at the Office tomorrow.

The Zombie is very Zen. It clears its mind. It has one single, driving purpose: it wants to sink its yellow tusks into your flesh and sample a little human pad thai.

Isn't that the way it always is---these things, like summer guests, always occur when you're just not prepared?

That's the guts of "The Walking Dead". Writer Kirkman states out front that he's less interested in a straight-out horror story---zombies springing out of the darkened woods and chowing down on some filet-au-Bob---than he is in exploring the dark thickets of the human brain exposed to what Kirkman calls "Extreme Situations".

Exactly.

The story follows Kentucky police officer Rick Grimes, thrown into a coma after a routine traffic stop goes bad. Just like "28 Days Later" he wakes up in an empty hospital. He buzzes on the nurse call-button; nobody shows up to help him. Which is, as we will shortly find out, probably a good thing.

Why? Because the hospital---most of it, anyway---is a tomb. Dead. Silent. There's a corpse, supine, fallen between elevator doors, his guts exposed, partially devoured. But for that single dead man, Grimes finds, to his horror, the hospital is deserted.

Of course, there's the matter of the lunchroom, stuffed to the grills with the Living Dead.

You could call it "While you were Sleeping", but it's not romantic, and it certainly isn't a comedy. While Grimes was out cold, the World Ended. The Dead Walked, and ate, and infected. Civilization ground to a halt. His town is dead; his house, run down; his wife and son, missing. The neighbor's house claimed by squatters. Word is everyone has gone to Atlanta, where the military has cordoned off the city and is protecting civilians. Grimes, in search of his family, in search of answers, takes a police cruiser and heads South.

To be sure, in zombie flicks I always root for the flesh-eaters, and here, whatever Kirkman says, you're reading "The Walking Dead" to see zombies, not follow a soap opera. But happily, Rackerton invests enough details in these characters to make them compelling: each has an agenda, obsessions, private vices, prejudices.

In other words, real people.

It certainly doesn't hurt Kirkman's story to have an artist as fine as Tony Moore bringing his vision to life. The black & white panels, the shadings, the crispness of the art---all of it is gorgeous, helping to accentuate the horror, but also to highlight the brutal beauty of a world gone feral.

Life, say the Buddhists and Christians, is Suffering. Suffering shapes us, molds us, ennobles us or breaks us apart. This is what is at work in "The Walking Dead: Days Gone Bye": you see the characters change, shift, mutate, evolve---into stronger creatures, true, and into weaker, viler, sneakier creatures as well.

But if this is a hard world, Tony Moore's artwork makes it a bleakly gorgeous one. Take a hard look at the scene around a campfire in a wintery wood, seconds before horror intrudes: the downy snow, the shaded woods of the thicket, the faces sunk in shadow, backlit by the fire.

Some scholar once said that the Living can never stand up to the Dead: they are too many, and their hungry, avid minds are not freighted with the conscience of the Living.

Kirkman and Moore have put that contention into question in their first auspicious volume of the "Walking Dead". Doubtless the Dead will Walk, and the Walking will die---but who will survive, and what will become of them?

I'm hungry for more.

JSG

Best Graphic Novel of 2004, May 18, 2004
Brilliant artist Tony Moore takes a superb script by Robert Kirkman to give us a fresh retelling of the "zombie world order" horror story. Inkwash over pen and ink works perfectly to convey a human tale of survival at the end of civilization. This book is a character study with examples of courage, cooperation and compassion balanced by equally well rendered paintings of human fear and envy. I usually walk by black and white comic books, but this one wouldn't have been as good in color. 2004 is not quite halfway over, but I doubt I'll read a work of fiction this year I'll enjoy more.

Decent, But Not Amazing, February 6, 2006
In his introduction to this first collection of "The Walking Dead" series, writer Kirkman explains that rather than a simple gorefest, his goal was to create a character-based storyline which realistically shows what one person might face when civilization collapses. While he has certainly done that, he hasn't brought anything particularly new to the table. There are plenty of captivating stories about how human nature works under such stress, from William Golding's classic "Lord of the Flies", to Thomas Disch's science-fiction "The Genocides", to Portuguese Nobel laureate Jose Saramago's brilliant "Blindness". In this initial six-book collection, Kirkman shows us nothing we haven't seen before, either in film or literature.

The story starts, as many have pointed out, with a situation almost identical to the excellent British film 28 Days Later, with the protagonist waking from a coma in a hospital and then stumbling out to discover what's happened to the world. However, before everyone runs around yelling "rip-off" (oops, too late for that) it needs to be pointed out that this series was pitched to Image in 2002 and was ready to be launched in Spring 2003, but was bumped to a Fall release. Meanwhile, 28 Days Later hit wide release in the US in June 2003 , and Kirkman has said in many interviews that while he was shocked to see the same opening hook, he never considered going back to rescript the opening. In any event, it's not a big deal, but hopefully that dispels any notion of plagiarism.

So, after waking from his coma, Kentucky small-town cop Rick must try and figure out what happened while he was recovering from a gunshot wound, and where any other survivors are. There are the standard scenes one might expect: he visits home, gathers supplies, and makes a plan to head to Atlanta to look for his wife and son. His journey slowly acclimates him to the horror of the situation, but nothing can prepare him for the literal army of the dead he finds in Atlanta. Fortunately, he hooks up with a tiny band of 10-15 survivors outside of the city. The rest of the book is about the group's attempt to band together in the face of adversity and form some kind of new community. Kirkman does a fairly good job of this, although people seem a good deal less traumatized by the situation than one might expect. The only character I totally bought was the mechanic who was practically catatonic after seeing his whole family ripped apart in front of him.

As in all such end-of-the-world stories, a new pecking order among the humans starts to emerge, leading to tension and conflict. One of the catalysts for this is the question of whether or not the group should stay where they are. This debate is a little strange, in that it's only really held by two characters, and their camp is totally indefensible. This is where the book gets a little unrealistic -- the characters seem a good deal too carefree to the danger all around them, and naturally, there are several zombie incidents as a result. Still, a sequence where the hero takes a dangerous run into town to get some guns, and the subsequent training of everyone with guns is nicely done. Especially when the hero and his wife argue about whether or not their kid should carry a gun. This six-book arc ends with an excellent climax, and made me a little more interested in picking up volume two.

The artwork tends to be a little too flat and simple for my taste, with fairly even shading. However whenever there are zombies to be shown, these are given plenty of attention and detail, creating a kind of discrepancy in styles that I found a little awkward. One reviewer wrote that it resembles movie storyboard art, and I tend to agree. On the whole, the book was fine, just not that original -- but I'll be back to check out more.

THE WALKING DEAD - a fast review, October 18, 2005
All right. So I walked into this comic store and spotted this graphic novel on the shelf and bought it. Why not? I dig Brian Keene. I dig Romero. Why the heck shouldn't I dig this?

I took it home. Read it. Read it again.

The next day I was back in the comic book store, hunting up volume 2. And volume 3.

I'm a believer. This is such a well written thoughtful story. The zombies are secondary to the plot and charecterization. It kind of reads like a soap opera B-movie. Wonderfully compelling. I handed it off to my wife, who hates zombies, and she loved it.

Like the dead things we are, we'll keep coming back for more of THE WALKING DEAD. I recommend this one highly.

A Great Series!, September 1, 2005
I bought this book basically on the title alone. I was very happy with what I found inside. This is a story of a man that awakens from a coma to find the world overrun with the undead. The story is very reminiscent of Romero's films, very character driven with the zombies as part of the background and not a goofy gorefest. Great plot, great artwork. It's highly addictive (for myself and those I've loaned it to).

Zombie Fans; This is your Bible, May 2, 2007
Ask any given zombie fan what their favorite zombie flick is.
Chances are they'll name something from the Romero catalogue.
Ask the same zombie fan what their favorite zombie book is;
if they have an answer at all, it'll probably be "The Walking Dead"

DO NOT EXPECT A GOREFEST.
Of course there is blood and violence.
But that's not what's at the heart of this ongoing series.
This black & white tale is totally character driven.
You'll love some, and hate others,
but regardless you'll always be sad to see them go.
I laughed, I almost cried (if you have a wife and kids you'll understand)
I flinched, I yelled into the pages.
From soup to nuts, this series has got it all.
Some interesting zombie ideas too(ie: they hunt by scent)

If you call yourself a serious fan of the zombie sub-genre
you need to own this.
Hell, even people who aren't too crazy about zombies should own this.
This isn't just a good zombie series
It's good writing in general
And (dare-I say) possibly the greatest piece of graphic literature put to paper.
Long after you close the back-cover it'll stay with you.
And trust me, you'll be buying the rest of them once you're done.

MORAL OF THE STORY:
Individuality is the only thing that separates us from the undead.

Zombie fun!, December 30, 2006
In his introduction, Robert Kirkman says that the best zombie films are really about the characters and are a reflection on society.
I agree.
He further states that his goal was to work in this tradition.
He succeeds. Big time.
This book is a total winner. I cannot wait to devour volume 2.

What do you do when the world ends?, March 14, 2006
First off, let me just come clean. I am a huge fan of apocalypse stories. What I find intriguing is the mental exercise of figuring out the how, when, where, why, and what of survival in the face of overwhelming odds. What do you do when all of your friends and neighbors are gone, and you are left to your own devices? What thought processes influence your decision-making? The zombie apocalypse ups the ante a bit. Now, in addition to having few to no modern conveniences or complex systems of civilization to rely upon, you also have to watch your back, your front, and your sides constantly. You also have to watch out for friends and family - those that have "turned" and cannot be trusted. Now you are truly alone, and everyone is against you.

For Robert Kirkman, this is where the story begins. The Walking Dead series takes on the important questions. Not "how did this happen," but "what do we do now?" In Volume 1, we follow protagonist Rick Grimes from his literal awakening (from a coma) into this apocalypse through his journey to Atlanta to reunite with his family. Along the way, we begin to learn the character of the man, and to see how he handles the challenges he faces in this new dead world. What makes this story so special is the author's handling of the human element. The characters are well-drawn and smack of realism. They make typical human decisions, some rash, some wise. They have distinct personalities. They interact with each other the way real people might. They are intriguing, and I can't wait to find out what happens to them next.

On a final note, the artwork is fairly straightforward pen and ink, with an emphasis on the characters that allows their emotions to take center stage. The art is suffused with an air of realism, with the drawings neither too artsy nor too strained. A good balance that complements the storyline. ... Read more

Editorial Review

J. Michael Straczynski, the creator of Babylon 5, joins forces with rising star artist Shane Davis (SUPERMAN/BATMAN: THE SEARCH FOR KRYPTONITE) to create this original graphic novel that gives new insight into Clark Kent’s transformation into Superman and his first year as The Man of Steel. This is the first in a new wave of original DC Universe graphic novels, featuring top writers’ and illustrators’ unique takes on DC characters. ... Read more

Reviews

Superman for the 21st Century! Absolutely awesome..., October 27, 2010
This graphic novel is everything I had hoped for, and much more. I've been a fan of Superman for 10 years, but I've never been able to completely relate to Clark Kent / Superman; it always seemed like he was too perfect, too removed, too different. Well, Superman: Earth One has changed all that for me. This is a story about a young guy trying to find his way in his world, wrestling with temptations and fears, and striving to do the right thing by the people who have adopted him as one of their own. There are many moments in this novel that touched me, but two stand out: Clark "visiting" Pa Kent, and the truth behind Krypton's apocalypse.

J. Michael Straczynski's writing is full of conviction, hope and realism. Superman's world is our world, and his trials and triumphs are ours, too. Shane Davis' art is gorgeous throughout, depicting Metropolis and its citizens with a cinematic flair not too often associated with comic books. I won't spoil the story, but trust me when I say you won't be able to put it down until you reach the last page.

Do yourself a favor and read this book. And if you know a kid or a teenager lend them your copy or give them one. We all need better heroes nowadays, and Superman is the greatest of them all.

I can't wait for the sequel!!!!!

The best Superman graphic novel since "Birthright", November 12, 2010
Superman: Earth One (SEO) is simply is the single best Superman origin story ever done, surpassing even Superman: Birthright. Better than the Golden Age, Silver Age, Bronze Age or John Byrne's reboot. It is much, much better than the latest, and fairly lame, "official" origin of Superman detailed in Superman: Secret Origin which was lifted straight from Superman The Movie. SEO is not lame. The art is terrific, as opposed to the weak art of Secret Origin. The story is superb. The usual tropes are there. Sent from a dying world, Jor-el, Lara, Last Son of Krypton, the Kents, Metropolis, Lois, Jimmy, Perry. The big differences are a different and brilliant explanation for how, and why, Krypton exploded. There is completely new villain, and most importantly, no Lex Luthor. But no Luthor is actually a breath of fresh air. If I owned DC Comics SEO would become the "Official" origin of the Man of Steel. It is truly that excellent. And I have been reading, and enjoying Superman comics for 45 years. Now that the Multiverse is officially back in the DC Continuum, hopefully SEO will become a regular title, or at the very least, a quarterly or yearly special. Everything was not explained. There is plenty of room for sequels. If you buy one graphic novel this year, buy this one. And the fact it is in hardback is even sweeter.

a must read for Superman fans, November 16, 2010
Superman: Earth One presents Superman the way you've always known him--and yet radically different. His story is entirely familiar: Rocketed from the doomed planet Krypton while still an infant, he lands on earth, to be found and raised by the kindly Jonathan and Martha Kent, who instill in their adopted son the best values and sensibilities the world has to offer. But Earth One (part of a larger series from DC focusing on iconic characters in more "real-world-like" settings) has a gravitas and a sense of place that anchors it more solidly in the world we know than practically any Superman comic in ages. Even better, it's a "mature" comic that kids, teens, and adults can all read and enjoy.

Writer J. Michael Straczynski is a comics veteran, so it's no surprise that he crafts a story that draws you in immediately, even as it covers the most familiar aspects of Superman's life. Straczynski is also a regular TV and movie scribe, so he naturally imbues his story with a cinematic pace and scope. It works amazingly well. Even a long-winded voiceover from the late Jonathan Kent, a plot device that could have gone horribly wrong, or at least been unforgivably cheesy, succeeds and inspires the reader just as it inspires Clark Kent to live up to his full potential.

Artist Shane Davis does a remarkable job not only with Metropolis but also with the legendary core cast. His Clark Kent and his Superman are young and vibrant (both recognizable but still different enough that you almost believe a pair of glasses and a nerd act are enough of a disguise for the most famous man in the world), and his Lois Lane is beautiful and lifelike. Jimmy Olsen and Perry White shine under Davis's pencils as well.

One thing the story does not have is Lex Luthor, and thankfully so. The Superman-Luthor rivalry is tired, in comics, movies, and TV. Seeing Superman come to grips with his Kryptonian nature and his humanity at the same time while trying to save the world from a shockingly horrifying alien invasion is a joy. Involvement from the overexposed Luthor would only have mired the story, and Straczynski wisely avoids it.

If you're looking for a reason to enjoy Superman again, to understand why you liked the hero in the first place, Superman: Earth One is the place to start.
-- John Hogan

Rebooting an icon, November 16, 2010
Superman Earth One has polarized fans of the Man of Steel, with some finding it a worthy "rebooting" of the venerable character, and others believing it is little more than pandering to today's Twilight-obsessed tweens and teens.

Put me firmly in the former camp. Writer J. Michael Straczynski and artist Shane Davis have crafted a wonderful new start for Superman with this graphic novel, one that manages to put a fresh spin on the character's familiar origin without jettisoning what makes him iconic. It reads much like Brian Michael Bendis's Ultimate Spider-Man series in that regard, where everything old is new again, updated for a new millennium but still with a nod toward tradition.

[Minor spoilers below.]

The book begins with Clark arriving in Metropolis to find his place in the world. Through flashbacks, the reader learns that he has no knowledge of his Kryptonian heritage, but knows only that he came from the stars in a ship that crashed on Earth, where he was found by the Kents. Pa Kent has already died by the time this story begins, a major break with the John Byrne reboot of the 1980s. Clark isn't at all sure what his destiny will be; after renting a dive in a bad part of town, he applies for positions with major league sports teams, think tanks, and a run-down Daily Planet. Of course, he excels at all of them except the journalism gig, where Perry White notes that his writing is "fine, but nothing special." Guess which job he settles on?

Other reviewers have noted that this graphic novel doesn't really get started until an alien invasion begins. I disagree. The early pages are charming; I like Clark bumming around Metropolis, and I even like the much-reviled hood he wears in one scene, making him look a bit emo.

What I liked most about this novel is the sense that anything can now happen in the Superman universe. I could buy this Superman telling humanity to stuff it just as easily as I could see him staying around to protect us through the long haul. I like the subtext about sacrifice, duty and honor, and also Straczynski's unabashed love letter to print media, evidenced by his scrappy Perry White and the editor's can-do attitude. I like that this Superman's Krypton is a little fuzzy around the edges (maybe even morally fuzzy, if we take the word of the book's villain), and I look forward to learning more.

What I didn't like about this GN:

1. Shane Davis is a fine artist, and I can understand why he was selected here: his style is a blend of classic superhero with a touch of manga thrown in. It works. The only problem I have is with his depiction of Superman himself. The character's head looks too big, his frame a little too gangly, to be an effective Man of Steel. While I don't fault Davis for the minor costume changes here, I also don't like them. There is an odd, sculpted-muscle-tone look to Superman's abdomen that puts me in mind of a Kevlar vest. Not necessary.

2. The alien villain looks like a juggalo instead of a serious, intergalactic threat.

3. My biggest gripe is something that won't cause too many readers to even bat an eye: Clark's interview with Superman at the book's end. It totally undercuts the integrity-in-journalism theme I mentioned earlier, as it means that Clark gets his job at the Planet under false pretenses, through a faked interview that bumps Lois's factual story off Page One. Maybe in an era of partisan journalism (Fox, MSNBC), this won't rankle anybody except crotchety old-timers who believe that what appears beneath a reporter's byline in the main news section of a newspaper ought to be objective and fair. Clark HAS no objectivity where Superman is concerned, because he and Superman are one and the same. To write about Superman as if he is another person is unfair and a lie, and if White knew about it, Clark's nice little speech at the end of the novel wouldn't mean squat. He would be fired, and deservedly so. (Another minor annoyance: Clark's bylined story is difficult to read because it runs into the binding of the book.)

To be fair, Straczynski didn't create this skewed Clark/Superman/reporter dynamic. It's bugged the hell out of me all the way back in the days when Clark would "scoop" Lois -- a hardworking, non-superpowered reporter -- because he was Superman and could cover his own news more effectively than she. By blocking the career advancement of a talented reporter (and seemingly delighting in it), he showed a misogynistic streak very unbecoming of an iconic hero. I had hoped this would be one trait that would be smoothed over in this rebooting, and maybe Straczynski has plans to address it in later installments, but otherwise it's the one truly false note in an otherwise stellar reimagining.

Overall, Straczynski and Davis have created the template that Hollywood should follow in its next attempt to adapt Superman for the big screen. If Warner would just film this graphic novel, they'd have a definite winner. As it stands, I look forward to a sequel to Superman Earth One that builds on the strong groundwork established here.

Superman for the 21st Century!, October 27, 2010
This is what Superman would be if he came to Earth about 20 years ago and debuted today!

It's a great read and I'm praying someone gets this into the hands of the people who are making the next Superman movie (like Christopher Nolan or Zack Snyder). For the first time since seeing Christopher Reeve as Superman, I'm ready to embrace another version of Superman! This succeeds where Geoff Johns failed (it doesn't rush Clark into the Superman suit) and nails Clark's decision to become a worldwide icon right on the head!

I bought this at my local comic shop, for more than what Amazon is charging only becuase I want to support comic book stores. However you get this book--just do it! It's worth the time you put into it!

Worth buying..., November 24, 2010
This is as good as advertised. Artwork is outstanding and Straczynski offers a very realistic view of a 20 something Clark as he tries to figure out what he wants to do with his life. Well worth the $19.99 cover price....or the discounted price Amazon has it for.

Fundamental Misunderstanding of Who Superman Is, November 6, 2010
I'm a longtime J Mike fan, having enjoyed his work on Real Ghostbusters, Babylon 5, Rising Stars, Squadron Supreme, Thor. . .and I'm a longtime Superman fan, too. I had high hopes for this book, thinking it'd be a case of two great tastes that taste great together. Imagine my surprise after reading it this morning and discovering that, no, J Mike fundamentally doesn't understand the character of Superman.

I know he loves the character, I know he's a longtime fan (longer than me, given the difference in our ages). But reading this comic, I got no sense that J Mike knew what that special magic is that makes Superman so very different from all the other comic book superheroes on the market today. Absolute All Star Superman did a much better job with Superman than J Mike is doing, and Grant Morrison is really much better as a Batman writer.

Overall I have to say this book is "good enough. . .I guess." The scenes involving the Daily Planet and its cast are top-notch material. Much of the rest of the story is recycled from other, often better stories into a patchwork quilt of Superman-like ideas without Superman-like heart. The art is very good, though in some places the artist trips over himself.

So what specifically went wrong with this book? (SPOILERS AHEAD)

...

There are a lot of great touches in Superman: Earth One. There is a scene wherein Clark buys a newspaper even though the newspaper machine is broken and he could have simply taken a Daily Planet without paying for it. The scenes with Perry White, Lois Lane and Jimmy Olsen working at a dessicated husk of a Daily Planet are no short of brilliant.

But Clark/Superman himself. . .and the morality that makes him. . .are the problems here. We're confronted with a Superman that doesn't WANT to be Superman. His parents tried to push him into being a superhero--his mother sewed his suit, a holdover from John Byrne's Superman: The Man of Steel, Vol. 1, but in this story the "S" stands alternately for "Son (of another world)" from Martha's perspective or "Superman" from Jonathan's perspective. After Jonathan Kent's death, all Clark wants to do is find a great job with gobs of pay so he can help support his mother. . .he's not interested in truth, or justice, or any of that nonsense. This entire story shows us a Clark/Superman coming to terms with who he is, who he wants to be, and who he SHOULD be.

And that would be a great story, except that almost all the dialogue outside of the Daily Planet reads like actors who know their lines but don't understand them. They ring false and hollow, like a poorly-executed stage play or a high school production of Shakespeare. Clark walks around with a slouch and his hoodie up, like some kind of street punk. He has a fantastically emo speech while sitting on his father's grave in the wee hours before dawn. Beyond that, he has very little to say--much of what it means to be Superman comes in pointed sermons from his father and mother in flashbacks throughout the book that serve as underscores to what is happening to Clark at that moment in the story--a "See, this is what they were talking about" sort of narrative structure. I suppose I would like it more if I weren't so familiar with J Mike's writing, but I am, and at this point the technique just feels tired.

J Mike also isn't above cannibalizing his own ideas from other books he's written. After the Kents take baby Clark away from the mountainside spaceship crash (I think J Mike or Shane Davis, the illustrator, needs to bone up on his geography if he thinks mountains are in Kansas), the government arrives in "black helicopters" and captures the spaceship. . .and proceeds to experiment on it in secret for the next 20 years. An idea last seen in Supreme Power Vol. 1: Contact by none other than J Mike Straczynski.

So, cutting to the chase, an alien dressed like a member of Insane Clown Posse. . .but with metal-and-energy wings. . .that he doesn't need to fly, he just has them because they're cosmetic, I guess?. . .arrives with a bunch of spacecraft and starts tearing the planet apart. Turns out he and his people. . .planetary neighbors of Krypton. . .blew up Krypton 20 years ago and they've been on the hunt for the last remaining Kryptonian ever since. Why did they hate Krypton and go to war with them? Because the plot compelled them to! So these aliens show up to find the last Kryptonian and, whether he shows or not, they're going to kill a lot of people just cuz. And with that, Clark actually has (an albeit brief) debate with himself on whether he should reveal himself.

But of course he does, and they fight and fight and it's all supposed to be very epic. . .except that Mark Waid did it better in Superman: Birthright. And while they fight, the people of Earth aren't really interested in helping Superman and aren't really inspired by him--the way they see it, this is all his fault anyway. Only Lois and Jimmy seem to really give a hoot, and help rescue Superman from the anti-Superman-weapon-du-jour, a red sunlight energy beam. Meanwhile, the ship that brought Superman to Earth, the one in the custody of the government, self-repairs, joins him in the battle to free Earth, and he climbs aboard and uses it to attack the alien capital ship.

Yes, that is correct. SUPERMAN doesn't defeat the enemies with his own powers and abilities. He climbs into his interplanetary baby carriage and lets it do all the work for him.

And after the end of the battle, in a recording from his spaceship, he is told that part of his purpose in life is to "Avenge the murder of Krypton."

Now, there are a lot of problems with this as a Superman book. The feel and flavor of it are all wrong for these reasons:

First, Superman is an inspirational figure. That is one of the things that makes Superman, among all the superheroes in comics, unique. People (in the comic universe) look at him and are inspired to be better people or do greater things because of him. People LIKE him. By taking that away from Superman, you're left with another "big strong guy who does property damage." I suppose you could say that this is the story of proto-Superman, of Superman before he's learned to be an inspirational figure, but in that case this is the story of Superman BEFORE THERE WAS A SUPERMAN. Not really an interesting or engaging story there, more of a "oh, we've seen this before in Batman Begins [Blu-ray]."

Which leads to another problem--Superman's previous raison d'�tre was to help people. To fight for truth, justice, and (originally) the American way. He was the Boy Scout. I would argue that to change that aspect of the character is to make him into a completely DIFFERENT character. . .in which case, why don't you just make that completely different character? (Answer: J Mike already has, in the aforementioned Squadron Supreme. . .itself a Marvel take on a more "realistic" backstory for Superman). Now, in this book, we're presented with a Superman who must avenge the murder of his world. Sound familiar? It should. That's Batman's backstory.

So in this book, J Mike successfully both removes the flavor of Superman stories and transforms Superman into Batman with a different power set. Which is done specifically to try and make Superman more engaging for a modern audience. The problem is, when you change Superman into a completely different character to make him interesting for a modern audience, you're not presenting the modern audience with Superman. . .you're giving them something, oddly enough, COMPLETELY DIFFERENT.

The art in this book is, like the writing, satisfying but occasionally clumsy. Shane Davis suffers somewhat from that mid-90s tendency to shove as many superfluous lines in his artwork as possible. Not as clumsy as Rob Liefeld, not as skilled as Jim Lee. The overall look for the book is fantastic, very moody, with a 30s vibe to the buildings of Metropolis that I think works really well.

That said. . .I do not understand why he felt the need to redesign Superman's costume. It's very much like Superman's normal costume. . .but there's a gold edging around the S-shield (that, I'll admit, bothered me probably way more than it should have), there appears to be some kind of extra padding around the sides of his torso and inner thigh (and I can't help but wonder if the costume sounds like corduroy pants when he walks as a result), and his (stirrup) boots are flared at the top. He also has enormous Beltloops of Power that were large enough to be distracting.

I wish I had been able to love this book. But this is not the best work of its writer, or of its lead character. And the freshest Superman of recent memory remains All-Star Superman, with its wacky--but absolutely SUPERMANy--oddity.

An Update worth the money, November 29, 2010
Excellent story with fluid movement and a smart plot. Does not talk down to the reader or expect us to know Supes history ~ as a 51 year - old reader of the Kryptonian Mythos I thoroughly enjoyed this new twist on an old story.
I expect great things in this line of Earth One stories and especially enjoyed the Jimmy Olsen angle presented.

Not "emo" or "Twilight"-esque, October 27, 2010
This story starts right as Clark is settling in to a small apartment in Metropolis. Jonathan Kent has just died and Clark has graduated from a junior college and is trying to find a so he can take care of his mother. He is about 20 at this point. He isn't "emo" and the overall story really has nothing in common with "Twilight." DC's insistence on making this comparison has resulted in an inadvertent and unnecessary sabotage, but I digress.

The story stays true to the traditional continuity in many ways. They cover how the Kents found Clark, where the suit and name came from and all of that. At a core level, neither the character or the overall story have really changed. Some things 'are' different though, and those are really interesting.

The fate of Krypton has changed somewhat. The end result is the same in that it blows up, but the reason why is different. It makes a lot of sense though. That is the case with most of the changes made to the traditional Superman continuity. More sense has been made of it.

Now, there are things in this story that made me wonder if Straczynski has simply run out of ideas. For example: Superman is fighting a villain near the end of the story. It is arguably the most important struggle in the whole comic and they stop it dead for a villain monologue. That is almost forgivable though. It's the way the author tries to excuse it that drives me nuts. Between that and the constant flashbacks, the story gets really slow at times. This is why I only gave it four stars. There was some exposition that almost made me drop it to three, but I loved the art.

The art is just great. The standout piece, I think, is the redesign of the iconic suit. It stays true to the classic design while giving it a really nice modern look that I could definitely see in a future Superman movie.

As a side note, I think what qualifies as a 'good' Superman story depends on the Superman you grew up with. My earliest recollection of Superman is the Superboy TV show. From there, I've always watched or read something "Superman" in some form all my life, and he is updated often to keep his relevance, so I'm used to the changes. A casual fan or someone who has based their entire fandom of Superman on the 90s cartoon or on the Donner movies may have some trouble getting into this comic. I would venture to say that this is where some of the negative critique is coming from.

The comic is very good all around and is a really decent price on Amazon right now, so I would say get it while the gettin' is good. I would also recommended "All-star Superman vol. 1 & 2."


4 stars out of 5. Bring on "Batman: Earth One"!

A FANTASTIC SUPERMAN STORY!!!, November 15, 2010
I absolutely loved this book! I have been heavily anticipating it ever since it was first announced almost a year ago, along with the yet to be released BATMAN: EARTH ONE. Reading interviews with JMS about his love for Superman and the general direction for this book created a greater excitement in me, making me confident that this book would be well written by a great writer who is clearly one of the biggest fans of the character out there. For JMS, Superman means something, rather than just a character that's fun to read about or watch on film. I've been enjoying JMS' current run on the main Superman montly title, but this is the real treasure between the two Superman works.

I've only read less than a dozen Superman stories, but this might be the best one (we'll see what I think once I get SECRET ORIGINS and possibly BIRTHRIGHT). The only contender might be BRAINIAC or LAST SON, but this book was pretty spectacular. Yet I've been a fan of Superman for a long time, watching the Donner films as a kid and watching the animated series as a teenager.

What I loved most about this book was the pacing of it. While I enjoy reading collected trade editions quite a bit, you can still tell that there's a pause about each 20 pages because it's a collection of monthly issues. While this doesn't normally bother me much, it does cause a slight interruption in the pace of the story, even if it's subtle. Not the case here. Not having those pauses in this book made a huge difference for me, being able to enjoy it as a self-contained story. The pacing felt more like a film, and that made me love it even more.

I really appreciated the characterization of Clark. It had a much more naturalistic way of explaining what's motivating Clark, as well as the fears and concerns he has faced throughout his life. He wants to use his abilities for good and to make a difference in the world, but he wants to have a "normal life" as well, which is soemthing he has not been able to enjoy growing up. Metropolis feels like a real city, and I really enjoy the supporting cast.

I also loved the new villian and the variations in continuity. I didn't mind it in the slightest, because I knew this story wasn't in continuity, and had the freedom to make whatever changes. And I think the changes are for the better for this book, and for any possible follow-up volumes that follow. I also enjoy the different characterizations, and the idea that (spoiler alert) Superman is inspired by Jim and Lois' ideals. I love the idea that we inspire Superman, rather than Superman inspires us. I also really like that we clearly see what motivates Clark in his endeavors. That is a huge plus for me. Superman's motivations have never been a question for me, but it's almost like you have to put the pieces together for yourself. It's clearly spelled out here.

The artwork is also fantastic! Shane Davis just moved up into my top 5 artists possibly. I also loved the textured/embossed cover rather than jacket cover. The whole package really just tells how this is something new and different for DC. They made some bold moves and a ton of marketing/media attention to get the word out about this book, and it looks like it is paying off. I hope that DC does the same thing for BATMAN: EARTH ONE. This is exactly the kind of product to have available for fans when Snyder's Superman film is released (and for the Batman films as well, respectively).

It think this book has two target audiences: 1) The mainstream audience who doesn't read Superman comics. This is designed for people who want to read a good Superman story that is self-contained and is not burdened with 70 plus years of continuity. People can get this book here off of Amazon, or their local bookstore, read it and enjoy it, then put it down and move on without having to pick up following issues every month to keep up with the story. For even casual fans of the Superman films or other mediums, this book is for them (and based on sales of of this book and the marketing push, I'd say it's getting said audiences' attention). 2) For longtime fans who might be interested in something new, different, and creative. If the story in this book were meant to replace the long-running continuity and mythos, I might not like it as much. But it stands alone as it's own work. Superman is JMS favorite character since his childhood, and that comes across clearly.

DC has already given the sequel a greenlight, and JMS has shifted around his workload to focus on this book. It will probably be another year until we see it, but it will be worth it. This story, and publishing it in the stand-alone graphic novel format holds a lot of potential for the future of DC comics.

I can't give this book enough praise. It is awesome! WAAAAY better than All-Star Superman. For me that book pales in comparison to this one. I really did not enjoy All-Star Superman, as I felt it did not live up to the hype that everyone ascribes to it. It's not bad, but Morrison's book just does not strike me as nearly as epic and beautiful the way it often gets praised as. I'm really looking forward to reading SECRET ORIGINS and possibly BIRTHRIGHT down the line, but for now EARTH ONE goes a long way for me. This is exactly the kind of Superman story to provide for mainstream audiences. ... Read more

Editorial Review

JUST IN TIME FOR THE ALL-NEW TELEVISION SERIES ON AMC! This hardcover features another 12 issues of the hit series, all in one oversized hardcover volume. Perfect for long time fans, new readers, and anyone interested in reading a zombie movie on paper that never ends. Collects The Walking Dead #61-72. ... Read more

Reviews

A Segment Of Horror, A Segment Of Calm--A Human Interlude Provides Danger Too, October 26, 2010
When I heard that AMC was going to produce a television series based on the zombie epic "The Walking Dead," I was both concerned and delighted. A bona fide classic in undead lore, "The Walking Dead" graphic novels are brutal and surprising--not really what I would picture for a basic cable TV show (the first season starting 10/31/10 is slated for 6 episodes, we'll see if it goes beyond that). But AMC has produced terrific and prestigious shows like "Mad Men" and "Breaking Bad," so I'm pretty stoked to see what they do with this. Add Frank Darabont of "Shawshank Redemption" fame as the creative force behind the show, and we just might have a winner! In anticipation, I've gone back through the volumes of "The Walking Dead" to discover again the many pleasures that this series has to offer. Book Six collects the following two chapters.

"Volume 11: Fear The Hunters" instantly became one of my favorites in the entire series! Just as the story seemed to be tapering down, this episode has Rick getting his mojo back after having been sullen and unsure since the prison riot. One of the most morally ambiguous chapters, we see the toll this new world has had on the camp's children--and it isn't pretty. Andrea and Dale, long in the periphery, step up into leading roles and the group discovers religion when they take in a priest with a shady past. But when our crew is hunted and then confronts another extremist group intent on eating them--yes, I said it--it's not something you're likely to forget. Drama, carnage, and moral consequence all play equal roles in this unforgettable edition!

"Volume 12: Life Among Them" gets the team back on the road to Washington D.C. But while their reason for going to D.C. always seemed like a hastily (and sloppily) drawn plot point, it soon becomes clear why it seemed so sketchy. However, the group are recruited by another community--and things might be just too good to be true. Entering a private housing sub-division, we get echoes of days gone by (when the team thought they were safe in Volume 2). This time, however, they are joining a group. Kids are playing in the streets, wives exchange recipes, cocktail parties are held, and holidays are observed. Somewhat hopeful, somewhat wary--confusion and acceptance are at war. While not a lot of actual action, we do seem to be gearing up for some major developments as suspicions fester. A nice interlude.

brilliant horror story, November 16, 2010
Tragedy and loss are the backbones of The Walking Dead, an ongoing comic book set in the aftermath of a zombie apocalypse. What creator and writer Robert Kirkman does wisely throughout the series is examine the social implications of life in the aftermath. What kinds of trials and tribulations would the survivors face, how would they grow and adapt to these challenges, and how would they cope with this new world order? When civilization is gone, what happens to the civilized man in a world without rules?

In examining these questions, Kirkman has often posited that the enemy isn't always the zombie. While they are an omnipresent threat, the real monsters lurking in the shadows, the horrors that should be feared, are often human.

Book 6 is divided into two chapters, "Fear the Hunters" and "Life Among Them," both of which were previously collected in paperback volumes. "Fear the Hunters" opens with the band of survivors, led by police officer Rick Grimes, reeling from a tragedy that has claimed the life of two more members of their group. When a priest stumbles into their camp, tensions rise and their paranoia grows deeper when another friend goes missing and it becomes clear they are being tracked and hunted.

Throughout the series, Kirkman has run his characters ragged, putting them through one torturous scenario after another. They've survived violent zombie raids and insane armies of men. Characters are established, crafted with equal care and complexity, and then heartlessly murdered. No one is safe. Grimes and the survivors he has helped to protect have come to know and expect cruelty, and they know the living human monsters are far more dangerous than the undead.

The reactions to strangers are tempered with caution, fear, and distrust. The choices made by Kirkman's lead characters, particularly Grimes, have been polished with a reason borne from the experiences they have lived through, the too-close encounters they have survived. The decisions Grimes makes when he encounters the hunters at the close of the opening chapter are so heavily influenced by the agony he's suffered in the past that it stands as a stark reminder of how far this man has come. The Rick Grimes presented in this collection is a far cry from the man readers were introduced to in the first book, and it is a believable, natural bit of character development. For all of the horrors these characters have survived, none of them have been left unscathed or unaltered.

"Life Among Them" further reinforces their suspicions when another stranger, Aaron, walks into their camp. Grimes and the survivors are heading toward Washington, D.C., hoping to find civilization, a city untouched by, or at least reestablished from, the zombie nightmare. They are low on food and exhausted when Aaron makes them an offer none can refuse--a home, a community, a stable life like the ones they used to know.

It's a credit to Kirkman's skill as a writer that he can thrust his characters into what is, by all accounts, a peaceful safe zone and make it feel unsettling and claustrophobic. There are kids playing in parks unsupervised, families walk the streets at night unafraid and towed behind their dogs. Yet, for all its apparent normalcy, it's like something out of The Twilight Zone. There is an awful tension lurking beneath it all, forcing one to wonder when the other shoe will drop. When it does, it's a doozey, showing a depth that is perfectly within character and offering a promise to turn the series on its head once again.

The Walking Dead is a brilliant horror story and expertly told. With over 70 issues under his belt, Kirkman has yet to make a serious misstep in his storytelling, keeping each story arc tight and deftly plotted. Each arc feeds into the next, informing and sculpting it, building upon the history that's been created in scarily natural ways. It is one of the most consistent and well-crafted series on the market today and should not be ignored.
-- Michael Hicks

These dead don't rot, October 28, 2010
The sixth collected hardcover edition of The Walking Dead finds survivors Rick, Carl, and the rest of the now small crew taking on even more horrors in this zombie-laden world. Without giving too much away, writer Robert Kirkman manages to inject a delicious (no pun intended) twist with Dale, and concluding with a new sense of hope for the survivors as they finally find themselves in Washington and surprisingly in safety as well, but there are promises of future terrors just over the horizon. From the beginning, The Walking Dead has been an intelligent and thought-provoking ongoing saga of a world overrun by a zombie apocalypse, and since then Robert Kirkman has taken the series to unprecedented new heights as he continues to prove that the worst thing to encounter in this world aren't the walking corpses themselves, but the human survivors who, to put it lightly, haven't adapted all that well. You'll never find a better horror tale in comics, period. Let's only hope that Kirkman and Frank Darabont manage to weave the same kind of horror magic in the television realm when The Walking Dead premieres on AMC on Halloween night.

A very good graphic novel, November 22, 2010
I have been a faithful follower of the Walking Dead Series. I was waiting a long time for this book. But at least it was fun to read. I can't wait to read the next book, so I hope you guys let me know as soon as it comes.

Thanks

Eliexer ... Read more

Editorial Review

An epidemic of apocalyptic proportions has swept the globe, causing the dead to rise and feed on the living. In a matter of months, society has crumbled: There is no government, no grocery stores, no mail delivery, no cable TV. In a world ruled by the dead, we are forced to finally begin living. This volume follows our band of survivors on their tragic journey in search of shelter. Characters live and die as they brave a treacherous landscape littered with packs of the walking dead. ... Read more

Reviews

As we rejoin our characters, they are, well... still battling zombies, August 18, 2008
If you enjoyed the first volume of "The Walking Dead", there's no reason to not pick up this second collection. New artist Charlie Adlard's style is more scratchy and jagged than Tony Moore's smoother realistic take on things in volume one, but jagged and scratchy somehow nicely complements the story's frequent edgy jolts. This is the last handful of stories before the characters begin a long stay in an abandoned prison, so enjoy the variety of locales while you can. "The Walking Dead" isn't perfect: the bickering (between characters who have paired off into couples and between many characters in general) can get tiresome, and often there are too many dense speeches even when characters aren't bickering. But for all its faults (and they're relatively minor ones), "The Walking Dead" is nevertheless a bracing, dramatic piece of ongoing horror fiction that's a welcome antidote to usual comics fare.

Refreshing take on the genre, April 28, 2008
The Walking Dead is a very mature story that takes a look at topics ignored by many of the other examples of the Zombie Survival Fiction genre. It shows how emotion leads to action in ways that can shock modern readers' sense of stability. It provides an interesting commentary on how thin the veneer of civilization is despite all attempts by the characters to cling to it. It lets the reader experience the loss of structure and provokes thoughts of "what would I do" beyond the typical "raid the gun store, grocery store and head for a cabin in the woods" mentality we've seen before.

The entire series thus far (1-7) has been top notch and a real example of how graphic novels can tackle stories that would take a 600 page novel to cover in detail.

Maybe I Spoke Too Soon, February 6, 2008
My review for the first volume of "The Walking Dead" was pretty much glowing. The review was even titled "A Character Driven, Sprawling Epic." That's pretty much a stamp of approval. The writing which ranged from bland to good to exceptional was balanced out by Tony Moore's art, which really gave life to Kirkman's characters.

Well, Moore is no longer the series artist, starting with this volume. He still does the covers, but the new penciller for each issue of "The Walking Dead" is Charlie Adlard, and to compare his art to Moore's is like comparing the scrawlings of an elementary level child to the prose of a published author. Adlard isn't horrible, but his panels are often ugly. The action scenes fall flat because the details blend together, leaving you guessing at what is going on some of the time. A lot of the characters are drawn to look quite similar, and it leaves you forgetting who is who.

Another bad thing about losing Moore was that Charlie Adlard's art isn't good enough to mask the flaws in Robert Kirkman's writing. As far as where Kirkman is taking the story and the plots he has going on, he's doing a fine job. However, he is pretty bad at dialogue. Every character speaks the same, and no one ever seems to be casual. To keep this exposition-heavy prose "light," he throws in words like "ain't" and "man" a lot, but that isn't enough to make these forced words seem like a person would really speak them. He needs to work on giving each character a voice. Also, he needs to tone down the sexism a tad. A few of the reviewers noticed it in the first volume, but it wasn't quite as blatant as it is here. In this story, men do the tough work and women watch the children and nag the men. That needs to change. Fast.

I was convinced I was reading a great story after volume one, but now I'm less sure. I'll probably keep reading until the end (if there ever is an end), but I'm hoping that things get a lot better than this. And yeah, I really wouldn't mind a new penciller.

6/10

Comparatively to the first installment of the series, we're given better story and more melodrama, but worse art, August 6, 2010
After the death of Shane, Rick decides that the group needs to move away from the dangerous outskirts of Atlanta. Along the way they pick up a few new people along the trip: Tyrese, his daughter, and her boyfriend. The group begins to get to know each other as they travel trying to find a place to settle... Of course, nothing is that easy in the zombie apocalypse.

THE WALKING DEAD is compulsively easy to read. Just think "soap opera zombie apocalypse" to get to the reason why it's so fun and quick to read. The story focuses almost completely on human relations (as dramatic as those have been and will continue to be) while never really losing sight of the zombie-infested world. That being said, I'm not kidding at all when I describe this as a zombie soap opera, so if you can't abide some clunky dialogue and melodramatic plot lines, then venture no further. (Seriously, even the series's primary concern, after not getting eaten by zombies, is who gets to sleep with who. After that: betrayals and pressure-cooking personalities until they explode all over the page. If that's not soap opera and melodrama, I don't know what is.)

However, for those of you with a sense of humor and who are just looking for a bit of entertainment, THE WALKING DEAD delivers in spades. I mean, it'll never get onto my "best of zombies" lists or even my favorite graphic novels, but I can't deny how ravenous I was to finish this series. It's kind of like junk food. You know it's bad for you, but it's just too easy to snack on at times.

Something I noticed about the series is that the more the group travels, the better I like them. The more they stay in one place the more desperate the plots become. Volume 2 is almost completely a "road" installment and thus one of the stronger volumes, in my opinion. Plus, this volume introduces the reader to a large number of new people. One of my favorite characters for the series is Tyrese (also: Andrea and Michonne), who is introduced here along with his daughter and her boyfriend (who I like a lot less--or rather, not at all). After that we get Hershel and the large number of family and neighbors at hits farm. Of course, I don't really care for any of them much. I eventually developed a grudging respect for Hershel himself, but that definitely wasn't for any of his actions this early in the series.

Speaking of new characters: this is also the volume where everyone decides that "Oh snap, the world is practically ended and if I don't get some now, it may never happen again." Yeah, it's almost put in those exact words for several characters. Still, I can't help but wonder with all this sexing going on how there aren't more babies popping up. I mean, unless these women had long term birth control (like an IUD or Implanon) or boxes of condoms amongst the supplies, it's a little amazing that sex is looked on so lightly in this end times. Actually, I'll save this rant for later, because there's a specific scene a few volumes ahead that I want to rant on.

In a soap opera everyone has to pair off. For proper betrayals, fights, and drama there has to be sex, after all. However, it makes me wonder if that's a more or less realistic view. It's an interesting topic for discussion anyway: If you were one of the few survivors of the zombie apocalypse would you immediately look to form a new romantic attachment for security or whatever despite (a) not knowing the other person very well, (b) losing your loved ones, (c) the complete lack of birth control, (d) the person most likely not even being compatible with your personality at all--it's not exactly a wide selection remaining... Anyway, I suppose all speculation can only remain speculation until the zombies are upon us. Kirkman thinks that the human race is hard-wired into sex and maybe that's a logical view. Plus, good for the drama, so who am I to argue?

Now, I do have a serious complaint about "Miles Behind Us". The artist of the first volume, Tony Moore, left and Charlie Adlard has taken over. Now, I don't want to call Adlard's art "bad," but it lacks the precision and cleanness of Moore's that so appealed to me. Many panels look awkward or just plain ugly. Just about the only panels I really liked in the whole book were the very first panel with Lori against the skyline and the first full panel of Tyrese and family. Otherwise, I just had a hard time getting into Adlard's art. It's probably no fault of his own and only due to the fact that he has to take over for what Moore established, but all the same it was a huge disappointment. However, I wills say that the heavier shading and darker tones of this volume probably suit the overall town of the series better. I know my eyes will get used to non-Moore art with time, but for now I'm a bit sad to see him go.

I wanted to include a scanned image to show the difference between the two art styles (probably one of my two favorite panels), but my scanner is currently out of commission. However, I'll try really hard to remember to add one later when I get it working again! If you're curious, feel free to (nicely) harass me until I get it done.

just as good as the first, November 24, 2007
I'm so happy they chose to go with black and white instead of color. The starkness and simpleness of the drawings--the lack of color (distracting in this case), it all pulls you in to the story, in to this world. And it is a good story, leading up to their new home: the prison.

I just don't get it..., January 5, 2009
I love zombies; I've seen every single George Romero film. I love comics; I've been reading them for about 18 years. I should love The Walking Dead, and lord knows I've tried, but I just can't.

Volume 1 is great. The artwork is great, and the story moves at a brisk enough pace to keep things interesting, despite the sometimes naff dialogue and one dimensional characters. After finishing the first volume I couldn't wait to get my hands on volume 2. Volume 2 wasn't as good; the new artist was marginal at best, and the story/dialogue/character development side of things had gone down hill.

I started to wonder what all the fuss was about, but surely a series that sometimes finds itself mentioned alongside Y the Last Man had to have something going for it. So I soldiered on and read volumes 3 and 4. Instead of improving, the dialogue became comically bad. The pathetic female characters were not the author's attempt to comment on the male characters sexism, they were in fact, just pathetic.

Still, I decided to give the series one last shot, because despite all negatives, it was still pretty readable, (much like Budweiser is drinkable) and I'd started to care a little bit about Rick, Dale, Andrea and the rest.

Wow- I sure wish I'd stopped at four, as volume 5 is to zombie comics what the Dolph Lundgren Punisher is to comic movies. A big flaming pile o' poo, complete with one of the least believable comic villains I've ever encountered.

But hey, for some reason a lot of people are still really into this, and who am I to judge, I used to read that crap Image put out in the 90's (although this might be even more poorly written).
But if you're like me, and you liked volume 1, but weren't that into volume 2, but you thought to yourself "Hmmm, maybe this will get good again..." stop right there. It won't. It sucks. Go spend your hard earned money elsewhere.

A Fine Enough Read, but Predictable, December 1, 2007
I had major problems with The Walking Dead, Vol. 1: Days Gone Bye because author Robert Kirkman borrowed liberally from the plots and themes of established zombie greats like Dawn of the Dead (Ultimate Edition) and 28 Days Later (Widescreen Edition). Thankfully, in volume 2 he actually begins to get original and tread some new ground. And "Miles Behind us" is an enjoyable enough read, to be sure (it's got everything you'd expect in a zombie comic: action, gore, and weighty thematic material). I turned to it as a diversion from studying and it certainly served its purpose. But is it great? Not by a long shot. Volume 1 had also been plagued by the cliche factor (using stereotypical gender roles and set-ups to move the plot along), but did not suffer nearly as badly from predictability as volume 2 does. At every turn, Kirkman seems to be lazily setting up the plot, and it all begins early on in volume 2 when our intrepid band of survivors meets three other survivors who join their group ... making the number of people in their group exactly what it was in volume 1 before Kirkman had to kill some people off. One of the new members, Tyreese, is even an almost exact match for the departed Shane, so that Rick Grimes can have an athletic, trusted sidekick to help lead the charge in fighting zombies (minus the burden of a love triangle with Grimes' wife). Kirkman's set-ups, meanwhile, are obvious stages for another action scene, and he adheres pretty closely to your expectations for what is going to happen. When the group finds a seemingly utopian gated community that they are convinced they can use to start a new life you might wonder if their new home might be teeming with as-yet-unseen zombies who will force them to make a quick, daring exit? You'd be right. When a vet who heals an injured group member reveals that he's been keeping his zombie-fied neighbors and family members locked up in his barn in the hope that their 'disease' will go away, could it possibly be that said zombies are about to escape and prove once and for all that they cannot be contained / controlled? Of course, which won't surprise anyone who's seen Romero's "Day of the Dead."

As for the characters themselves, they just aren't interesting. News of Lori's pregnancy fuels some charged moments between her and Rick, who's pretty certain that the baby may belong to the aforementioned Shane, but for the most part the two just continue to bicker their point-counterpoint, reasonable vs. optimistic arguments. Tyreese pairs off with another survivor within moments of his arrival in the group, while another also finds some action with the vet's farmer-girl daughter, making this zombie story feel like an episode of "Grey's Anatomy." There are stabs at intrigue with some mysterious plotting between Tyreese's daughter and her creepy boyfriend, but since we don't know anything about them, where they came from, or what they might be up to, it's awfully taxing to care. ... Read more

Editorial Review

This hardcover features issues #13-24 of the hit series along with the covers for each of the issues, all in one oversized hardcover volume. Continuing the tale of Rick Grimes and his band of survivors from the zombie apocalypse that has ravaged the world. ... Read more

Reviews

Book of the Dead, March 12, 2007
Most of the folks here already know that The Walking Dead saga is a compilation of stories by Robert Kirkman that expand on the story that is well know to any zombie movie fan. The main story. The one started in earnest by George Romero in 1968 with Night of the Living Dead [and was later remade in 1990 (the version that I prefer) by Tom Savini (with Romero oversight)]

Book 2 is the combination of The Walking Dead volumes 3 & 4 and it continues the story of Police Officer Rick Grimes and his band of normal-world-refugees across a world suddenly infected by a Walking Dead sickness..

In The Walking Dead Volume 3, the group finds a new home after a perilous Georgia countryside journey in Volumes 1 & 2. The home that they find in Volume 3 used to keep the bad locked in when the world was normal, but in our players' New World their home will hopefully keep the bad out.

However, there are some inhabitants already in their new home...both alive and undead. Which will be most dangerous to Rick's group? That's the question and plight of volume 3.

As the group settles into their new home in Volume 4, it's time to clean "the big house". Clean house of some bad prior residents. Clean house of some undead residents. And clean house of rules made prematurely...like, "You kill, you die." That rule clearly just won't do in The New World.

Relationships are forged and strengthened, and relationships are betrayed and broken. A new character (Michonne) is introduced, and she brings with her a strange (split?) personality, a dose of unrest for the gang and--most oddly--an unexplained ability to seemingly tame the undead.

I'm not a regular comic book reader. But I was drawn to The Walking Dead by the volume releases that bring the convenience of being able to get several chapters of the story without the month to month waiting for each issue. And I am now hooked.

The Walking Dead volumes are like reading a screenplay with storyboards of a version of Night of the Living Dead that began simultaneously, but in a different part of the country. Yes, it's kind of a rip-off of a story (stories) already told, but the key is that it's done very very well. The zombies are true to the original Romero creation: slow and stupid as opposed to the 28 Days Later (2002) or 2004 remake of Dawn of the Dead fast and thinking zombies.

Volumes 1 through 6 are all available individually. There is a hard cover compilation of Volumes 1 & 2 (Book 1) and this, Book 2, is a hard cover edition of volumes 3 & 4. Each volume takes under an hour to get all the way through; each hardcover compilation takes under 2 hours. No matter how you choose to purchase...hardcover or individual volumes...you'll be left wanting more. I have no info on a hard cover release of Volumes 5 & 6, but I'm sure that it will happen if you prefer to wait.

So anyone in need of a very well done zombie fix that you don't put into your DVD player should absolutely get down with The Walking Dead sickness. Add it to your cart, but be sure to start with volume 1 (or Book 1) and read them chronologically.

Once Bitten....., October 4, 2007
Imagine the world as you know it gone, and you are constantly on the run. Pursuing you slowly but surely are a horde of exhaustless dead. In this graphic novel The Walking Dead 2, our little band of ragtag survivors finds themselves in a prison, literally. Surrounded by a fence, which keeps the dead out, they must now clear the grounds of any "leftovers" which might be hiding in dark corners. It's an enormous task. The good news is that they have a lot of food, and room to move around. The bad news is that the prison was still occupied by a couple of prisoners and they have no idea what crime these men committed to be there. Trust isn't an issue in a world where everyone must have each others back, including strangers. Each person there has lost someone, and human nature is to cling to anything you have left. Families are formed, friendships are tested, and enemies are quickly dispatched. The new rule is "kill and you die" which means kill one of the living and you will become one of the dead, but not the walking dead, just plain dead.
I wont give anything away, but I will say that I was completely shocked, disgusted, appalled, giddy, distressed, moved and keyed up by this novel. I know that they could never put this on film because they wouldn't ever get permission for such staggering "kick in the teeth" carnage. At one point I had to just put the book down and wait for the blood to come back to my face.
I can't stress enough how richly this graphic novel is drawn. The artistry, the sheer genius of it and the rawness just oozes off the pages. I have seen zombies in films that cannot mirror the ones that are on these pages. Their eyes are filmy white, skin peeled back by the rays of the sun, maggots dropping with every shuffled step, putrid organs now black with rot trailing behind. Their fingers, and arms and legs are bent at angles the human form wasn't meant to. It's a feast for the eyes, as well as the brain.

Great series!, February 8, 2008
This is my new fave series. Can't get enough. If you love romero, things undead, or just character based work, you'll really dig this. I've gotten all 3 hardcovers and now mope about till the new issue hits newsstands. Recommend getting the hc for easy access to all the gooey stuff inbetween. Cover art in the back is a plus. Just go ahead and order it already.

Dead and loving it, September 17, 2007
Robert Kirkman's ongoing zombie saga continues in this second hardcover collection, which collects issues 13-24 of the series (otherwise known as volumes 3 and 4 of the TPB's). As the story picks up, cop Rick Grimes, along with his pregnant wife and young son, and a group of fellow survivors, have found what appears to be an abandoned prison, which they plan to make into a sanctuary as the zombie plague continues to wreak havoc. What also occurs in this TPB plants the seed for chaotic future events, including the coming of a mysterious survivor named Michonne, and a big revelation in regards to the effects of the plague. Charlie Adlard's pencils are once again more than solid, with Cliff Rathburn's gray tones providing a stark look to the proceedings. Horror comics are rarely this good, but Kirkman has crafted a work of horror comic genius here that is clearly inspired by the works of the great George Romero. Just as his films displayed, Kirkman proves that the scariest thing about a zombie outbreak aren't the dead themselves, but the humans in the middle of it all. All in all, of you liked the first hardcover volume of the Walking Dead in the least, this second collection is a must own. For newcomers to the series, things only get better from this point forward.

Another graphic zombie hit, March 24, 2008
This is book two of the hit zombie comic series. It collects issues 13 through 24 of the ongoing series. Kirkman doesnt shy from being frank and honest in his storytelling, and suprisingly, the focus of the stories are not the zombies, but the human survivors. Dont be surprised if this is made into a movie soon.

More of the Modern Zombie Classic!, March 30, 2007
Collecting trade paperback volumes 3 & 4 (comic books 13-24) this is a great story of life amongst the zombies.

How can Robert Kirkman possibly top what came before? I don't know. But he does it again, here. What's worse - the zombie threat, or the threat the survivors pose to each other?
You'll have to read the million shades of gray in this edition of the zombie classic to find out!

Kirkman is writing a Modern Zombie Classic, that really about the true nature of humanity. And human frailties are very present in this installment.

If there's a god in Hollywood, he should be making Walking Dead movies, right now.

Still Strong, February 12, 2010
This hardcover edition collects the 3rd and 4th trade paperbacks which is actually issues 13-24 of the monthly comic. The hardcover is well put together with nice binding and high quality glossy pages. For those of you who don't know, the comic is in black and white which I think works very well for the grimness of the book. In this collection the words "We are the walking dead" are uttered by one of characters which sums up the title. These stories were never about the zombies, but about the people trying to survive. Sure there are fights with the zombies and they are always a part of the story, but they are back round to the true story of the interaction of the characters. Kirkman has done a great job of fleshing out the players and telling a very interesting story. The art is solid and the writing is always top notch. Besides the actual issues, this collection also has a two page sketchbook and the covers to all the individual issues. Great series and the hardcovers are a great way to collect them.

Great Zombie Lore, October 16, 2008
This series is of course a compilation of the graphic novels by the same name, here put together in such a wonderfully flowing fashion. I love the story line that Kirkman has built up and the characters are great to follow (even the real baddies, and I don't mean the dreaded Z's). My only argument against these is that they actually use the Z word (we all know you ain't supposed to!) instead of "infected" or whatever the newest slang is. The graphics are beautiful and the stories engrossing; a must have for ANY zombie fan.

The dead keep walking, December 29, 2007
Our band of survivors has found a prison that looks like an ideal shelter for them. Unfortunately, it's infested with zombies and it has to be cleared out. In the process, they find an unexpected pocket of survivors in the form of four former prisoners. Rick and the rest of his crew struggle to make the prison safe and have to face both the threat of death from the zombies and the more insidious threat of harm from each other.

This volume reprints issues 13-24 of the ongoing comic book series. The same material can also be found reprinted in the paperback compilations The Walking Dead Vol. 3: Safety Behind Bars and The Walking Dead Vol. 4: The Heart's Desire. Much of the drama in this volume focuses on the struggle between surviving humans rather than battles with the zombies. After Rick's group of survivors moves into the prison, two young girls are murdered but the culprit is unknown. Suspicion falls on the prisoners, but there's no evidence against them. In addition, all of the survivors face incredible stress each and every day and the author goes to some lengths to show the effects. Relationships fray, some come apart at the seams, and the group struggles to decide what rules they should live by, if any. It's pretty weighty stuff, but the author does a good job of weaving it into the story.

The Walking Dead continues to be a no-brainer for any fans of the zombie horror genre but others should not turn away without giving it a chance. The characters seem both real and distinct from each other. The story is packed with dramatic tension and I give it my highest recommendation. I certainly wouldn't recommend starting with this volume, read The Walking Dead Book 1 (Walking Dead) first. But if you've read the first part of the story, then go ahead and keep reading.

I am still hooked and enjoying this series, June 11, 2007
The group is trying to make a life at a former prison. They are working out a way to adapt to the new life with zombies. They do not expect to be rescued because it has been over a year. I will be waiting for the third book in
November. ... Read more

Editorial Review

At long last, the survivors of Robert Kirkman and Charlie Adlard's acclaimed post-apocalyptic survival adventure find the hope they've longed look for. Can a town not yet ravaged by the horrors unleashed on Earth possibly be all it's hoped for? Is there a far more sinister secret behind their newfound safe haven? Even worse, can people forever changed by the worst in humanity ever hope to get back to their old selves? The next chapter of The Walking Dead is primed to change everything! ... Read more

Reviews

It's A New Day, A New Dawn--But Is It Time To Feel Good?, August 27, 2010
When I heard that AMC was going to produce a television series based on the zombie epic "The Walking Dead," I was both concerned and delighted. A bona fide classic in undead lore, "The Walking Dead" graphic novels are brutal and surprising--not really what I would picture for a basic cable TV show (the first season is slated for 6 episodes, we'll see if it goes beyond that). But AMC has produced terrific and prestigious shows like "Mad Men" and "Breaking Bad," so I'm pretty stoked to see what they do with this. Add Frank Darabont of "Shawshank Redemption" fame as the creative force behind the show, and we just might have a winner! In anticipation, I've gone back through the volumes of "The Walking Dead" to discover again the many pleasures that this series has to offer.

"Volume 12: Life Among Them" gets the team back on the road to Washington D.C. But while their reason for going to D.C. always seemed like a hastily (and sloppily) drawn plot point, it soon becomes clear why it seemed so sketchy. However, the group are recruited by another community--and things might be just too good to be true. Entering a private housing sub-division, we get echoes of days gone by (when the team thought they were safe in Volume 2). This time, however, they are joining a group. Kids are playing in the streets, wives exchange recipes, cocktail parties are held, and holidays are observed. Somewhat hopeful, somewhat wary--confusion and acceptance are at war. While not a lot of actual action, we do seem to be gearing up for some major developments as suspicions fester. A nice interlude.

A twist in perspective, August 5, 2010
This was one of the most low keyed Walking Dead volumes I have read, with only a couple of minor scrapes with the undead and most of it dedicated to interaction between Rick and his group and a new group of people who find him. They are welcomed with mostly open arms into a community outside Washington, D.C. This community seems too good to be true and much like me, some of the characters are finding it hard to adjust to a world that seems safe and normal...normal being the part that feels strange to everyone.

I think what was most interesting in this particular volume was the fact that while we do not know everything about this new group, on the surface they appear to be completely on the up and up, while Rick and his group have the perspective of being the ones not to be trusted...and based on their actions, it almost seems as if Kirkman wants us to feel a little uncomfortable with Rick and the others rather than this other group. I thought it was an interesting twist and raises the question of whether or not it is impossible for things to ever go back to what they were before the apocalypse for Rick, his son, Michonne, and some of the others.

My guess is that things are about to get stirred up in this series, because as is the case with previous episodes, there is usually a calm before the storm. I just wonder if Rick is going to be the one that is going to be the cause of all the trouble this time around.

Fine series remains fine., September 21, 2010
Robert Kirkman, The Walking Dead: Life Among Them (Image, 2010)

As I write this, we are less than six weeks away from the premiere of the AMC adaptation of The Walking Dead, and the anticipation level is excruciating. Granted, at least half of us are already asking "are they going to screw this up as bad as CW did Legend of the Seeker?", but you know the drill. And this is the atmosphere in which I (finally!) got my hands on Life Among Them, the twelfth book in the series. (I've had it on hold from the library for about five months now.) The group, now whittled down almost to a core, has almost made it to Washington, DC, when a startling revelation changes everything... or does it? Rick and Abraham decide to plow on to Washington anyway to see if they can scavenge some supplies, and there they find out that the title of this book does not mean what they think it means, not at all. (Sorry, couldn't think of any other way to do that without a spoiler, cheesy as it is.) There's nothing I can say about The Walking Dead that I haven't already said in earlier reviews, and the simple fact is that the steadiness of the quality of the series makes it one of the great pleasures in comics today. If you're curious about the upcoming series, what better way to prepare than to read the books? ****

Holding my breath...., July 30, 2010
As usual, this book is well written and the art is stable (nothing worse than 5 artists with wildly different styles trading turns throughout a trade). This book feels short. Its DEFINITELY a precursor to something major but nothing drastic happens here. You get introduced to the town, the people and the situation. All looks too good to be true....can't wait to see what Vol 13 holds!! ... Read more

Editorial Review

This hardcover features another 12 issues of the hit series along with the covers for the issues all in one oversized hardcover volume. Perfect for long time fans, new readers, and anyone interested in reading a zombie movie on paper that never ends. Collects The Walking Dead #49-60. ... Read more

Reviews

After the massacre..., May 12, 2010
If you've been keeping up with The Walking Dead up until the point where this fifth collected hardcover edition picks up, then you've probably been wondering just what Robert Kirkman has up his sleeve now. In the wake of the massacre at their prison-based safe haven, Rick and his young son Carl continue their trek through the zombie-populated world, only to have Rick fall ill and Carl fend for himself for a time. After that, we are introduced to some new faces, re-introduced to some old ones, reunions are had, and that sense of dread that hangs over every panel and page continues to permeate more and more the longer the series goes on for. If there's any indication from the events that take place in the two storyarcs collected here, "Here We Remain" and "What We Become", it only re-affirms the fact that the worst thing to come out of the zombie apocalypse is not that the dead are returning to life and feasting on the living, but the mental effect that it is having on the survivors and denziens of this new wasteland, which has been Kirkman's intention since the beginning. Charlie Adlard continues to deliver the goods in terms of his pencil work, while Cliff Rathburn's underrated work on the gray tones of Adlard's pencils and inks adds subtle degrees of equal parts emotion and horror that has helped make The Walking Dead so good for so long now. All in all, if you've missed out on the series since its inception, it is way past time to check out The Walking Dead, and this fifth collected hardcover is proof positive of that.

4.5 stars - Worth the wait, May 23, 2010
After the events at the end of The Walking Dead, Book 4 it was sure hard waiting a year and a half for the fifth hardcover collection of Robert Kirkman's ongoing zombie saga The Walking Dead. Everything Rick and his band of survivors had worked so hard for was gone, as was half of the supporting cast. Could things possibly get worse?

This collection starts with Rick and his son Carl on their own and needing a place to regroup. Rick gets sick so the focus of the story shifts to Carl, who has so much more on his shoulders than any kid ought to. I swear, in the "normal world" that kid would need decades of therapy. Eventually the remaining survivors regroup and encounter another band of survivors with their own baggage and agendas. It's good to have some new faces after so long, and it's also good that the action in this volume is less outlandish than the whole Governor story. Don't get me wrong, that was a good one, but it just seemed a little over the top. Anyway, Kirkman puts the ship back on course here and I'm really looking forward to seeing where he takes it.

The art is solid as usual. I still don't love Charlie Adlard's style, but I love the way it is inked and "colored" (it's all shades of grey). I still wish Tony Moore would come back for an arc or two though.

The Walking Dead Book 5 was absolutely worth the wait. Robert Kirkman has created a zombie epic to rival nearly any other zombie book or film, and the best part is that it never has to end. If you're already a Walking Dead fan, you don't need me to tell you to grab this collection. If you're new to the series, go grab The Walking Dead, Book 1 (Bk. 1) right away, and welcome to the apocalypse.

Zombie Apocalypse has never been better, June 21, 2010
I highly reccomend reading the entire 'Walking Dead' series. What happens at the end of the world? This series tries to answer that question. Not to mention it is because of the effing Zombie Apocalypse. What could be cooler?

Regrouping And Rebuilding--A Zombie Epic Slows Down, August 24, 2010
When I heard that AMC was going to produce a television series based on the zombie epic "The Walking Dead," I was both concerned and delighted. A bona fide classic in undead lore, "The Walking Dead" graphic novels are brutal and surprising--not really what I would picture for a basic cable TV show (the first season is slated for 6 episodes, we'll see if it goes beyond that). But AMC has produced terrific and prestigious shows like "Mad Men" and "Breaking Bad," so I'm pretty stoked to see what they do with this. Add Frank Darabont of "Shawshank Redemption" fame as the creative force behind the show, and we just might have a winner! In anticipation, I've gone back through the volumes of "The Walking Dead" to discover again the many pleasures that this series has to offer. This book contains the following two chapters.

"Chapter Nine: Here We Remain" deals with the aftermath of the fateful prison massacre. It is a decidedly more subdued event as Rick and Carl regroup. There are some genuinely creepy moments as Rick adjusts to his personal losses. But more than anything, he seems to have lost his identity. Rediscovering some of the other survivors, Rick no longer wants to hold a position of authority--he can't deal with the responsibility any longer. A major highlight of this episode involves Rick and Michonne's growing closeness as we finally crack some of her mysterious allure. A necessary chapter of respite, but when new characters show up at the end--I'm not really crazy about the new direction. Spinning a rather ridiculous tall tale about traveling to Washington DC, the new group containing a self-proclaimed "scientist," easily enlist the crew to go with them. A little far fetched considering the circumstances. One of my least favorite for this reason.

"Chapter Ten: What We Become" chronicles the caravan on the initial stages of the journey to Washington DC. While I'm not crazy about the new characters leading this expedition, Abraham does provide an alpha male challenge to Rick. Highlights of this chapter include an eerie dream sequence, a moment of weakness for Maggie, and an act of brutality that bind Rick, Carl and Abraham in a discussion about the animalistic nature of this new world. But perhaps the scariest thing in the series thus far is the "herd" of zombies that is introduced proving, once again, that the calm is always followed by the storm in "The Walking Dead." The sequence leaves our heroes on the run once more. Good, but not great--since the loss at the prison, the group still has some rebounding to do.

Keeps getting better!!, August 24, 2010
walking dead is one if not the best zombie comic out there. every time i get the latest book I can't put it down.

delivery date pushed back repeatedly, July 25, 2010
but totally worth the wait, so excited for the show this fall (they're filming in my neighborhood right now!).

Quality Product, June 14, 2010
If you ever wonder what happens after the zombies come and any veneer of civilization is gone, this is the comic for you. Quality job guys... just wish I didn't have to wait over a year since the last HC to get this. ... Read more

Editorial Review

An epidemic of apocalyptic proportions has swept the globe, causing the dead to rise and feed on the living. In a matter of months, society has crumbled: there is no government, no grocery stores, no mail delivery, no cable TV. In a world ruled by the dead, we are forced to finally begin living. This volume follows our band of survivors as they set up a permanent camp inside a prison. Relationships change, characters die, and our team of survivors learn there's something far more deadly than zombies out there: each other. ... Read more

Reviews

Glad it's finally out; hate waiting for the next one., June 9, 2005
"The Walking Dead" is one of the best comic stories I've read, and I've been into the medium since the early 70s. This is the third collection of the ongoing series; the first two are "Days Gone Bye" and "Miles Behind Us." The plot is this: America has been overrun with cannibalistic zombies, and the few remaining human survivors struggle to hang on. The main protagonist is Rick Grimes, a cop who awakens out of a coma (a la "28 Days Later") to this new and horrifying state of affairs. After some close calls, he reunites with his wife and young son. He soon becomes the leader of a group trying to find sanctuary in a world gone mad.

In "Safety Behind Bars," we pick up with Rick and company as they attempt to put down roots in a maximum-security prison. Rick is certain that it will be an easily defensible home, but he hadn't reckoned on finding four living occupants - and they aren't guards. The two factions settle into an uneasy truce, but events conspire to bring about yet another cliffhanger confrontation (that's why I hate waiting for the next installment).

I enjoy this series for a number of reasons. First, it accomplishes what the creator intended: to show what happens after the typical zombie movie ends. Robert Kirkman's desire is to follow Rick for years and watch him grow and change as a person who's trapped in an extreme situation. Second, the story centers on what we really want to see in a good zombie yarn: how the humans react to and deal with a post-apocalyptic world. Finally, Rick, his family, and the others are three-dimensional characters, with strengths and weaknesses that come to light under duress and create the series' bread-and-butter conflicts. The excellent writing accomplishes these goals in an original and compelling way, and has kept me hooked on "The Walking Dead." In fact, when I saw this edition at a Stockholm sci-fi store, I bought it there instead of waiting until I got home (even though it cost more and I had to carry it around in my pack). That's how much I like it.

Some reviewers have wished for the return of the original artist who did the "Days Gone Bye" story arc. I initially wanted that as well after comparing it to the penciling in "Miles Behind Us." But the current illustrator has hit his stride with "Safety Behind Bars," and I've come to appreciate his darker and rougher style (be advised that the series is in black and white, but it really fits the tale's grim nature). I have only two issues with this format. The first is waiting six months for the next one. Second, it would be cool if the letters pages from the comics were reprinted. I guess these are the downsides of buying the collection vs. the actual series.

Even with the zombie genre at the point of over-saturation, "The Walking Dead" stands out as an excellent character study that transcends its subject matter. I recommend reading the first two collections before diving into this one. Bravo to Mr. Kirkman for creating a fascinating new world.

You kill. You die....having safety behind bars is as simple as that, February 18, 2006
Safety Beind Bars is the third collected volume of Robert Kirikman's excellent The Walking Dead comic book series from Image Comics. This volume collects issues 13 through 18 and it continues that journey and travails of surviving in a world overrun by the undead. As the tagline of the books proclaim, in a world ruled by the dead we are forced to finally start living. This is so true in Safety Behind Bars as Kirkman and returning artist Charlie Adlard tell the story of Rick Grimes and his band of survivors as they come across what they think will be their salvation from the threat of the hungry dead: an abandoned prison complex.

The last we saw Rick, Tyrese, Lori and their ragtag band of survivors they had just been forced off the the presumably safety of the Herschel farm after the tragic events which transpired within its fences. But Safety Behind Bars starts off with the group discovering an abandoned prison complex that may just solve their shelter, safety and food problems. Once again, Kirkman's writing is tight and to the point. The characters of Rick and the rest of the survivors continue to evolve as the days and months pass by in the journey to survive. What they find in the abandoned prison is both safety and danger, but not in the way of most people thought it would come in. Sure there are still zombies both inside and outside of the prison's security fences, but as the enormity of the crisis finally crashes on everyone --- that there won't be a rescue --- the survivors reach the threshold of their breaking points to the detriment of everyone involved. It's especially tragic for Tyrese as a tragedy pushes him to acting on his base instincts in an act of vengeance that is both understandable and horrifying.

More people are introduced to the group in the form of surviving group of inmates left behind by fleeing prison guards. This new group acts to change the group dynamics and even add more conflict to what Rick and his group thought was going to be safety from the dead. Instead, human nature --- as Kirkman sees it --- causes more problems and danger than the dead represent. The events of The Walking Dead has really changed everyone involved and we lose more people to both living and the dead.

The volume ends in an even bigger cliffhanger than the previous two collected volumes. Like the best drama series on TV, The Walking Dead hooks you in with great writing, well-drawn characters and a great hook that pulls the reader in and doesn't let go. The cliffhanger at the end of the book just reinforces it and it is an understatement, to say the least, that I will be anticipating the next volume with bated breath to see what Kirkman and Adlard has in store for Rick and his people.

Story Gets More Interesting; Art Stays Bad; Sexism Gets Worse, March 13, 2008
The more morally grey something is, the more interesting it is to me. Hell, my favorite season of Angel is the fifth, when he becomes the CEO of the evil company he'd been fighting for the previous four seasons. I love seeing characters in a bad situation, forced to develop and do things that will up the drama-ante and push them in ambiguous directions. It's just plain interesting.

So I'm glad Kirkman filled this third volume to the top with moral ambiguity, because the whole idea is really seeing how these characters deal with a world taken over by the dead. The problem is, as I stated in the last issue, the characters aren't really distinguishable from each other. Rick develops nicely and so does Tyreese, but everyone else seems like cardboard cutouts. That, plus every time they open their mouths, they become exposition machines. The dialogue in this sucks. There is absolutely no way around that. Unlike the mediocre second volume, the story makes up for it a little, but it still leaves me a bit dry.

And there are also much worse problems. For one, the art--no long Moore, who illustrated Volume One which was the only really GOOD volume so far--is not getting much better than what we saw in Volume Two, which--to say the least--wasn't so good. But that doesn't even register when you compare it to the NEXT problem:

I just can't get over the overt sexism in this comic, and how it seems to be getting worse and worse with every issue. The character Andrea, who is known as the best shooter of the entire gang, has to convince the men to let her come along to kill zombies. They agree, but she is only allowed to get the ones they don't kill. Rick's wife Lori is pregnant, so every time she offers up a complaint--despite its validity--the characters blame it on hormones. Similarly, when Lori is arguing with Rick and calls him on trying to act like a patriarch, he tells her to "Shut the (expletive) up!" Of course, no one comes to her defense, because in the world Robert Kirkman has created, women are submissive to men. It brings my enjoyment of this series down considerably, and I'm getting to the point where I'm not sure if I'll continue with this book or not, no matter how good the story gets, if it even does get better.

5/10

Dear God, if there is a zombie apocalypse please keep me away from Rick Grimes!, February 8, 2010
Sometimes, I'll read a good book and hear it's going to be made into a movie or TV series. And, I'll feel a little concerned that they won't be able to produce a product as good as the source material. Well, with the Walking Dead (which AMC has ordered a pilot episode for), I felt the exact opposite. Here, I had read a book that could only benefit from another writer. Below are some of the antics of Rick and his pals that drove me nuts (includes SPOILERS).

When we left Rick and his gang at the end of volume two, he was suggesting they set up shop in a large prison complex. He states, "there can't be that many [zombies]" to be cleared out. This despite the fact that there are clearly zombies in the prison yard and the gate to the prison is sill closed. So actually, there could be an entire prison population worth of zombies in there. But this doesn't occur to Rick for some reason.

So they decide to start cleaning house. Rick needs to be reminded by Andrea (whom he trained to shoot a gun) that she should go with him and Tyreese as she is the best shot. Rick doesn't argue, although when another wave of zombies descends on Rick, Andrea and Tyreese who does Rick wisely send to get more ammunition? Former professional athlete Tyreese? Nope. He sends crack-shot Andrea to get bullets instead of using her to shoot zombies. Great call Coach Grimes!

After defeating the zombies they then encounter four prisoners who have survived the zombie assault. But these are no ordinary prisoners! They are the four least curious prisoners who have ever lived. They give Rick a tour of the compound. Upon entering the garage prisoner Dexter remarks "I've never been in here." Really?! You've been free for weeks (months?), holed-up in a prison also occupied by hungry zombies and you didn't scour the place to see what equipment you had available (in this case cars, buses, and motorcycles)? Prisoners are, if nothing else, resourceful. It makes little sense that only while giving a tour to a stranger that they'd start to take stock of their surroundings.

The same can be said of the prison guns. The prisoners know the location of the where the guards' weapons are kept in the prison. But they don't make an effort to get them until threatened by the stupidity of Rick Grime. Now, Rick is a dangerous moron, no doubt. But you'd think sharing a prison with zombies might have put "retrieve guns" higher on the prisoners' do-to list.

Rick tells his gang about the four prisoners inside. His wife then, very validly, points out that shacking up with prisoners might pose some safety risks. Not the craziest idea. Rick patronizingly tells her that "... so far we've got no reason to treat them like criminals." Actually, you have every reason to treat them like criminals based on the fact that they are incarcerated criminals! Wasn't Rick a cop!? If anything shouldn't he be more wary and knowledgeable about what criminals are capable of? The best part his wife (who's always good for a laugh) relents and agrees with him! Then to add insult to he chalks up concern to her pregnancy hormones!

Let's be clear, if your pregnant wife starts to cry because you forgot to water the plants, then hormones are probably an accurate assessment. If she starts to cry because you don't believe her when she suggests that criminals might be prone to criminal activity, her tears probably have less to do with hormones and more to do with the fact that she now realizes she's married to an absolute moron. To his wife's credit, when prisoner Thomas later beheads two young girls and stabs Andrea, she at least doesn't say "I told you so." Lori, when will you respect yourself enough to realize you deserve much better?

Rick's got some other good ideas too. He wants to bring Hershel and his clan to the prison. You might remember Hershel as the farmer who pulled a gun on Rick and came close to killing him. Alternately, you might remember him as the guy who believes zombies are a national treasure that need to be preserved until they can be restored to life. (Side note - I loved Hershel's theory on zombies and wanted to see it explored further). To be fair, Rick has a vision of growing crops at the prison (something Hershel could greatly assist), but it seems like he is putting the cart before the horse somewhat.

Rick then decides to drive several hours back to Shane's grave to kill zombie Shane - which is always the polite thing to do. But he decides he can't tell his wife what he's going to do - the crazy old ball and chain might suggest that he's lucky to be alive and taking any unnecessary risks is foolish. Foolish like a fox! Killing a zombie that, when he was alive tried to kill Rick, is far more important than protecting his wife, children and companions. Do zombies have souls? Do they feel pain? Do they ache to be freed of their undead existence? These are heady, philosophical and ethical questions that need to be answered ASAP! Paging Professor Rick Grimes! Rick then further thumbs his nose at danger by choosing a motorcycle over an enclosed vehicle.

Later, Patricia frees Thomas in an effort to save him from being executed by Rick. I get what the author was going for, but it's tough to understand why Patricia chooses such a crazy course of action. She and Thomas have a brief three panel exchange earlier. I guess we're to infer that that sparked a larger friendship or romance. But it's far from clear, and Patricia just comes across as some sort of insane, one-dimensional, "the death penalty is wrong" talking point.

I practically cheered out loud when Dale and Andrea start contemplating leaving Rick's band. Good for you two! Get as far away from this buffoon as possible! Dale, you've totally scored with Andrea - a beautiful woman at least thirty years your junior. Don't let Rick Grimes screw this up for you! If you need further convincing please have a word with Farmer Hershel. He met Rick, and since then he's lost several sons and daughters.

Similarly, I cheered for Dexter when he pulls a gun on Rick at the end and tells him and his group to get the hell out of his prison. Dexter, if you let Rick live then the zombies have already won!

An engrossing comicbook series, May 11, 2006
Like many readers, I've been an on again/off again comicbook fan for many years... In the last couple of years (since the year 2000) I've returned to the fold, this time taking advantage of the many top-quality graphic novels out there, and Robert Kirkman's "Walking Dead" was one of the titles most frequently recommended to me since I started this reading spree. It lives up to the hype.

I just finished reading books 1-4, which collect the first twenty-four issues of the comic, and man, I can't wait for book #5 to come out. The series tells the story of a guy named Rick, a small-town cop and self-described Barney Fife who wakes up from a hospital stay to find the world changed around him -- it's zombie time, but zombie time with twist. The twist is that, unlike all the movies and TV shows we've all seen, "The Walking Dead" has a much longer, open-ended story arc -- Kirkman and co. don't have to wrap things up in a tidy, two-hour package, so there is space for the story to unfold at its own pace, with character development that's more prolonged and in-depth than the usual zombie flick allows. By the end of Book 4, the crisis has lasted about a year and Rick and his band of survivors are about twelve strong, having lost about an equal number of family and friends over the course of the story. It's a taut, grim, reflective plot line that keeps your interest and compels you to read. I, for one, hope this isn't just another one of those neat B&W comix that kind of fizzle out, but rather that Kirkman really gets the chance to do what he says he wants to do, and follow Rick's saga as far as he can. Anyway, I'm hooked. As long as he keeps writing this series, I'll be first in line to buy it. [copyright joesixpack @ slipcue.com ]

Safty Behind Bars...not likely!, May 26, 2006
In a world where the dead rule, a band of the living take refuge in a prison. Seems a little too easy, but what could go wrong...don't worry about the dead ones. It's the living prisoners you need to watch out for. When Hershel opened that door and I turned the page...my jaw dropped to the floor. Totally wasn't expecting it. Volume 3 is the best so far.

Great Addition to the Genre, February 20, 2006
Excellent story and artwork. The author really put some thought into the plotline. He did a great job of using the overall concept to examine other societal issues in a fresh way. If you are a fan of the zombie genre at all, then you are sure to enjoy this book.

A solid story, laying mor foundation..., April 12, 2008
Some may say this bit of the ongoing saga is a bit over done or even stolen from other sources...but I prefer to listen to what the author has said himself in his description of his own work.

He is taking his favorite things from all the zombie movies and stories he has ever experienced and laying the groundwork up to the point we all know. Yes, we have probably seen most of this before, but a new day is coming and we need this to see where the characters have been before we can branch off into new territory.

The author states he wants to make this series the zombie flick that never ends...he wants it to go on past where the end credits begin to roll on other series. With this part of the saga, we have reached that point and now it begins to change, and become unpredictable.

Take it from someone who has read all the way to the latest issue...it does build on what has gone before...and it really holds your attention. I have enjoyed every word of it.

Great series picks up steam, August 18, 2007
The Walking Dead series focuses on a world similar to the film "Night of the Living Dead." Robert Kirkman, the author, has stated in interviews that his goal is to make a zombie movie in comic book form that doesn't just end in a couple of hours. He wanted to create a persistent zombie world where we could see how the situation affected characters over time. This book gathers issues 13-18 of the series and focuses primarily on the survivors as they attempt to take over a prison to use as their new home base. As is often the case, it isn't just zombies that they have to worry about... man is his own worst enemy.

Walking Dead may be part of the zombie craze going on in comics right now, but it's certainly not empty exploitation. Robert Kirkman has created a riveting story that pulls you in and makes you want to read the next chapter as soon possible. The art is crude in a way but creates the perfect atmosphere to accompany the dangerous world with death lurking around every corner. This series is one of the best.

Thought-provoking, Chilling, and Heart-warming All at Once, August 13, 2005
The best of the zombie movie genre (that is to say, Romero's films) usually have had a thing or two to say about human nature. Robert Kirkman has been doing this to some extent in "The Walking Dead" all along, but perhaps more conscientiously with the third volume "Safety Behind Bars". After the events of last volume, Rick, Lori and company find an abandoned prison which, ironically, is the perfect place to hide out from the dead wandering the world. But there are still a few human prisoners, and while they seem a reasonable lot, it soon becomes clear that even when the dead roam outside, and humanity is on the ropes, a serial killer still feels free to act on his sick desires.

Kirkman's strong suit is characterization. Indeed, this is the most important thing he brings to an otherwise standard genre piece. His characters act and interact like real people would under these circumstances. Despite the horror of the world, people are only so willing to trust one another, treat each other with decency, or to put their own self-interests on hold for the benefit of the survivors. Indeed, even when circumstances would appear to be black and white, they blend into gray almost immediately.

Granted, Kirkman is telling a sprawling epic story here. Not every character is important beyond eventually being cannon fodder (zombie food or otherwise). Don't have any revelations about life and your place in the world if you're not in the top tier characters, because two pages later you will be dead. Nonetheless, even if every character isn't the most important character, Kirkman does an excellent job of making each character distinct.

The artwork by Charlie Adlard and Cliff Rathburn is terrific. They fill this volume with decayed corpses, gut-wrenching gore and death, at the same time depicting quiet moments of smiling children, happy couples, and general peace. Particularly effective is the juxtaposition of the cold, bleak prison walls that are the only form of safety. Naturally, we also know that the prison isn't completely safe, because there are zombies in every dark corner, and creepy convicts walking in the bright sunlight.

While Kirkman has taken on other comic book projects, I sincerely hope he keeps this one on the front burner. It is thought-provoking, chilling, and, at odd-moments, heart-warming all at once. ... Read more

Editorial Review

This hardcover features another 12 issues of the hit series along with the cover art - all in one oversized hardcover volume. Perfect for long time fans, new readers and anyone interested in reading a zombie movie on paper that never ends. ... Read more

Reviews

Kirkman, you-son-of-a-gun!, December 30, 2007
WOW! I continue to be amazed by how great this series is. I imagined going slow reading this latest HC book 3. A chapter here, a chapter there... usually reserved for the duration of my train rides only (to and from work). After I got off the train and arrived home, I couldn't stay away. I had to finish this story. So, I didn't move from my couch until I was finished. All I can say is, whoever is debating reading this series, do yourself a favor and start now. My only reservation about reading the Hardcover editions is that it takes so long for the next ones to come out.

The dead still walk..., January 2, 2008
The third hardcover collection of Robert Kirkman's The Walking Dead finds former cop Rick Grimes and his crew of survivors having made their prison home zombie-free and completely settling in to their surroundings. Things are pretty much okay until they notice a helicoptor in the sky crashing in the distance. Soon enough, Rick, Michonne, and Glen are lead to a small, hidden community run by a sadistic madman calling himself the Governor. He has plans for Rick, Glen, and especially Michonne, as we witness what is perhaps the best to come from Kirkman on the series so far. What is contained here is by far the most violent and disturbing sequences to be seen in The Walking Dead so far, and only furthers the tried and true notion that in a zombie outbreak, the most terrifying aspects aren't the zombies, but the survivors and what they have become in a new world. If you've been following the series, the third hardcover collection of The Walking Dead will not disappoint, and as usual, you'll be salivating for more once you reach the last page of the book. All in all, Robert Kirkman's The Walking Dead only gets better and better, and the proof of that can be seen right here.

The Book of the Dead III, December 21, 2007
Most of the folks here already know that The Walking Dead saga is a compilation of stories by Robert Kirkman that expand on the story that is well know to any zombie movie fan. The main story. The one started in earnest by George Romero in 1968 with Night of the Living Dead [and was later remade in 1990 (the version that I prefer) by Tom Savini (with Romero oversight)].

Book 3 is the combination of The Walking Dead volumes 5 & 6 and it continues the story of Police Officer Rick Grimes and his band of normal-world-refugees across a world suddenly infected by a Walking Dead sickness..

In The Walking Dead Book 2, the group finds a new home after a perilous Georgia countryside journey in The Walking Dead Book 1. The home that they find in Book 2 was used to keep the bad locked in when the world was normal, but now in Book 3 this new home will hopefully keep the bad out. Because venturing out into The New World is dangerous. Outside the gates of the new home awaits unfathomable chaos and horror; hordes of the undead, along with other survivors in desperate situations that do the unthinkable to stay alive (or entertained).

Book 3 (mainly the second half) is much less about zombies and more about what happens to society, its morals, laws and standards when government is lost and the planet becomes mostly uninhabitable. There's real, heartfelt emotion in The Walking Dead series combined with believable scenarios.

I'm not a regular comic book reader, but I was drawn to The Walking Dead by the Book releases that bring the convenience of being able to get many chapters of the story without the month to month or volume to volume waiting. And I am now hooked.

Each chapter of The Walking Dead is like reading a screenplay with storyboards of a version of Night of the Living Dead that began simultaneously, but in a different part of the country (much like George Romero's planned 2008 US release of Diary of the Dead). Yes, The Walking Dead is kind of a rip-off of a story (stories) already told, but the key is that it's done very very well. The zombies are true to the original Romero creation: slow and stupid as opposed to the Rage-infected people in 28 Weeks Later / 28 Days Later) or the fast zombies in the 2004 remake of Dawn of the Dead.

Volumes 1 - 7 of The Walking Dead are also all available individually. Volume 8 is listed on Amazon for an early 2008 release as of this writing.

So anyone in need of a very well done zombie fix that you don't put into your DVD player should absolutely get down with The Walking Dead sickness. Add `em to your cart, but be sure to start with Book 1 and read the stories chronologically.

Top notch, February 8, 2008
If you are into the zombie genre, these stories are a must read. As the author states, this story will hopefully go on forever.

I can only recommend the three (for now) hardcover books, they are a superb finish to an already excellent story.

Meet the Governor from Hell, December 29, 2007
The story in this volume picks up with Rick Grimes and the rest of the survivors established in a prison and living reasonably well. As they continue working to improve their living situation, they see a helicopter in the air and then it crashes a few miles away. Rick, Michonne, and Glenn take a car to see if there are survivors in the crash. They find that someone else has beaten them to the crash site so they set off in search of whoever has been there. Thrilled to learn of more survivors, their hopes are soon dashed as they learn that the "Governor" of the walled community is a sadistic, psychotic who enjoys using torture and murder to get what he wants. Rick and the others are put through hell and face certain death if they can't escape.

Book 3 reprints issues 25-36 of the ongoing comic book series. The same material can also be found reprinted in the paperback compilations The Walking Dead Vol. 5: The Best Defense and The Walking Dead, Vol. 6: This Sorrowful Life. The trend of focusing more on conflict between humans that began with the last book is even more prevalent here. The Governor is truly demented and is at least as big a threat as the zombie hordes shuffling around. The scenes between he and Michonne are especially brutal, and some of it is pretty gory. Fortunately, the very worst of the physical damage is not depicted graphically although enough is that this is not for the squeamish. There aren't many opportunities for laughter and smiles in this story, it's a pretty intense portrayal of what can happen when people face extreme dangers.

The Walking Dead remains a great read. I'd highly recommend it not just to fans of the zombie genre but anyone looking for a superior story. This is by far the most intense book of the three hardback volumes to date. For those who haven't tried the series, by all means begin by reading The Walking Dead Book 1 (Walking Dead) first. Those who enjoy the first two books will not be disappointed by this one.

The Zombie Story that Never Ends, February 8, 2008
The third hardcover installment of "The Walking Dead" (contains volumes 5 and 6), continues to chronicle the life of Rick Grimes, ex-cop, and a myriad of other characters that attempt to survive in the sprawling adventure written by Robert Kirkman. "The Walking Dead" makes an excellent addition to anyone's zombie and/or comic collection.

It just keeps getting better and better!!!, January 27, 2009
These WALKING DEAD books just keep getting better and better. After finishing BOOK #2 I was wondering if the series would get repetitive and boring. But I was dead wrong. Robert Kirkman just manages to keep things surprisingly unpredictable.

At the same time, it is amazing how intense the story get at certain times. I find it also very funny the way Kirkman appears to pay some nice homages now and then to George Romero. News people on a helicopter? Very nice, Mr. Kirkman. Now I cannot wait to put my hands on Book #4.

This series is truly amazing and I can only say that it puts to shame 90% of all zombie films out there.

This series is mandatory reading for any true zombie connoisseur! ... Read more

Editorial Review

If any comic has a claim to have truly reinvigorated the genre, then The Dark Knight Returns by Frank Miller--known also for his excellent Sin City series and his superb rendering of the blind superhero Daredevil--is probably the top contender. Batman represented all that was wrong in comics and Miller set himself a tough task taking on the camp crusader and turning this laughable, innocuous children's cartoon character into a hero for our times. The great Alan Moore (V for Vendetta, Swamp Thing, the arguably peerless Watchmen) argued that only someone of Miller's stature could have done this. Batman is a character known well beyond the confines of the comic world (as are his retinue) and so reinventing him, while keeping his limiting core essentials intact, was a huge task.Miller went far beyond the call of duty. The Dark Knight is a success on every level. Firstly it does keep the core elements of the Batman myth intact, with Robin, Alfred the butler, Commissioner Gordon, and the old roster of villains, present yet brilliantly subverted. Secondly the artwork is fantastic--detailed, sometimes claustrophobic, psychotic. Lastly it's a great story: Gotham City is a hell on earth, street gangs roam but there are no heroes. Decay is ubiquitous. Where is a hero to save Gotham? It is 10 years since the last recorded sighting of the Batman. And things have got worse than ever. Bruce Wayne is close to being a broken man but something is keeping him sane: the need to see change and the belief that he can orchestrate some of that change. Batman is back. The Dark Knight has returned. Awesome. --Mark Thwaite ... Read more

Reviews

Best "comic" I have ever read, January 10, 2005
It's amazing how well this story, originally written as a 4-part mini-series in 1986, has held up. This story is responsible for the re-emergence of Batman not just as a superhero, but as a tortured anti-hero with flaws that make him no less obsessed than the supervillains he hunts. Not only do we get heaping servings of the dark, obsessed Batman, we also meet an him as an older man, a true "lion in winter" who must come to grips with his mortality and the unstoppable decline of age.

Miller allows us to use our hero to percieve the world around us, and in doing so The Dark Knight Returns also ends up as a critique of 20th century society (and 21st, for that matter). Batman is just a few public opinion points away from being considered no different than the likes of Two-Face and the Joker.

The relationships between Batman and those he hunts is simply outstanding work by Frank Miller. Generally, there are three types of villains. The first are everyday thugs that are shallow and meaningless both in dialogue and mentality. The second is a savage gang leader. Powerfully built, full of rage and singularly focused hate often seen in the young, this character forces Batman to confront his own mortality and, in an awesome final confrontation, turn to the experience of age for victory. But the most powerful relations come with Batman and his fights with the classic supervillains Two-Face and The Joker. In one really powerful scene, Batman realizes he is equally as tortured as Two-Face, but with one difference: Two-Face feels remorse and despair for what he has once again become (One panel has him actually jumping off a skyscraper, in a possible suicide attempt). He has recieved redemption from society as well as himself, but was unable to maintain it from either. In contreast, Batman, has accepted what he has become, and revels in his darkness. And then of course, there's my favorite, The Joker. We have here an excellent portrayal of a supervillain with no conscience whatsoever, who commits evil deeds not for any agenda or flawed goal, but simply because he enjoys doing them. His ending scene with Batman is another one to remember, and I can't imagine it happening any other way.

The supporting cast in the graphic novel are also superbly detailed. Superman is portrayed as equal parts god, innocent child, tortured soul, government flunky, dumb jock, and a lampoon of the comic industry's idea of superheroes as flawless humans. The interesting point is, Miller creates a Superman that is not to be mocked, but understood and even sympathized with. His contrast with Batman benefits the development of both characters. Other characters, including a naive yet gifted Robin, a Gordon who is more fully fleshed-out as a cop than anything you'll see on NYPD Blue or Law and Order, and Green Arrow, who has become the epitome of grizzled in a novel full of grizzled ornery old men.

By now, I think you can guess I kind of liked it. Frank Miller has published here a brilliant novel. If the Gods of Hollywood are truly kind, perhaps one day this will be converted into a movie. The excessive use of Batman-as-narrator increases the difficulty of writing a screenplay, but the plot is not only flawless, it is still relevant. Miller, in 1986 mind you, points out how America has a love affair with celebrities (including superheroes), public perception, a fascination with criminals, and how modern media loves to praise heroes (and successful people in general) only to aid in their entertaining downfall from public grace.

By the end of the graphic novel, with some of the most original artwork for it's time (notice how good the story is that I didn't even mention how it looks until now?), Miller has us realizing we have experienced a story that explains obsession, public perception, conscience, mortality, and what it truly means to be a hero better than any psychology textbook could, and I am including those textbooks with the pictures.

A Western: A Fistful of Gotham, August 4, 2003
In a phrase, The Dark Knight returns is simply a "western." The old hero comes out of retirement to save his town one last time. On his way, he meets an assortment of old acquaintances, both friend and foe. At the end, there's a nice sunset for him to ride off into. Or is there?

Frank Miller's book is more of a character study of a retired vigilante who just can't take it anymore. Think "Unforgiven" with tights and thermite. Like Arkham Asylum, this is a story of a man and his obsession. Miller's text puts us into that moment, and also reveals his doubts about his chosen calling. Batman here is a man divided, the reluctant hero, and he behaves as such. THIS Batman even realizes that his personal moral code may be suspect. (But never for long.) And the fact that he seems to be instrumental in bringing the Joker out of a catatonic state is telling. Do we beget our own demons? The story questions this repeatedly, and leaves it to us.

Fleshed out not only with cameos, but with a new Robin, a new Commissioner, and several other characters, this is a true work of literature and art. Varley's coloring in particular electrifies this book.

Worthy of addition to any serious collection, be it graphic novel or literature.

Miller's Masterpiece, November 20, 2001
One of the problems with writing about a genre classic nearly fifteen years after its original release is that so many will have tried to surpass it since then (mostly unsuccessfully). Such is the case with Miller's Dark Knight Returns. In the wake of superior product like Alan Moore's The Killing Joke and From Hell, inferior product like McFarlane's insipid Spawn series, and middling product like Miller's own Sin City limiteds, it's hard to understand what a splash was made by The Dark Knight Returns on its original release. Even in light of Miller's work on classics like Ronin, Elektra: Assassin, and the great Wolverine limited series, Dark Knight was something special, something so dark and twisted and mature, it all but demanded that the rest of the genre mature toward its standard, and almost literally forced establishment critics to take the genre seriously at last. No small feat, especially when considering the character Miller chose to work with -- after all, Batman to most people meant Adam West hitting Cesar Romero with a resounding POW! Not exactly the best way to reenergize a medium, right?

Except Miller did it -- boy, did he ever. Dark Knight was and is one of the most powerful pieces of comic art it's ever been my privelege to own. From the Miller/Janson team's gritty illustrative style, expertly suited to the material, to Lynn Varley's exquisite sense of color and mood, to Miller's expertly-written story, Dark Knight is everything a graphic novel should be.

Take as just one for-instance the story: It's a brilliant reimagining and reinterpretation of the entire Batman mythos, bridging the gap between every era of the Masked Manhunter's long career, from the dark noir of the early days, through the "Boy Scout" period of the forties and fifties, and even a little of the "science fiction" and tv-era Batman (though thankfully not much of either), and on to the modern Darknight Detective period. Miller takes Bruce Wayne into his mid-fifties, retired but still troubled in his heart, and sets up a chain of circumstances which force Batman's emergence from that retirement, even as Jim Gordon is being forced out of his job, Two-Face is supposedly "cured" by self-aggrandizing doctors, and the deadly Mutant gang, a "purer breed" of criminal, practically owns the streets of Gotham. Miller ties all of these disparate elements together in unique ways, and weaves from them a story so enthralling, and so full of mythical echoes, that few have been able to equal it, even today.

As one example of the mythical resonances in Dark Knight, have a look at Miller's dramatic depiction of Batman's old pal Superman. Here the "big blue schoolboy" (as one of the characters hilariously describes him) is shown as Jerry Siegel and Joe Schuster always meant him to be: an earthbound god among mortals. One panel in particular is key to this image: Superman holding the tank up over his head (with the memorable caption, "We must not remind them that giants walk the Earth."), a very dramatic (and very deliberate) redrawing of the cover of Action Comics #1. The panel is meant to remind us of the basic difference between DC's two primary exponents: Batman is a mere costumed crimefighter, but Superman is, well, Super, man! From Part 3 on, the conflict between the two characters seems inevitable, and promises to be spectacular.

Then there is the Batman himself -- and here Miller has done something so astounding it beggars description. For example, consider Bruce Wayne's intensely-rendered flashback to his parents' murder, done in a series of still-frame-like panels, with no dialogue, narration or sound effects, just the horrifying images: a finger tightening on a trigger, Thomas Wayne's huge hand falling away from his shocked son, the strand of pearls splitting apart as the gun is fired again -- this is a dark sort of visual poetry, so immediate and visceral it makes you understand at last just why Bruce Wayne was so damaged in those fleeting, horrifying moments. Similarly, the HUGE bat crashing through Bruce's window (symbolizing the futility of resisting destiny, the second coming of Batman, the spirit of "the finest warrior, the purest survivor" and about a half-dozen other things), takes Bob Kane's original idea and expands it once more into the realm of myth -- this is not just a bat but a Bat, the soul and spirit of someting bigger than Bruce Wayne, Gotham City, or even Superman himself. This is the stuff, as Alan Moore once noted, of legend.

There's so much else in this rich tale, from brilliant caricatures of David Letterman, Ronald Reagan, and Dr. Ruth (not to mention a totally undeserved slam at Harlan Ellison -- "eating our babies for breakfast," indeed!), to Miller's brilliant reimagining of Robin (no longer a boy wonder but a girl wonder!), that 1000 words simply can't shower Dark Knight with enough praise. If you're a Bat-fan, this volume should definitely be in your collection. If not, it will make you see what you've been missing. In any event, what are you sitting around reading this for? You could be reading Dark Knight instead! Waste no more time!

a comic book work unlike any other, August 3, 1998
I've been a comic book reader for many years, and to this day I cannot recall another single work of comic book art that is quite so brilliant as Frank Miller's Dark Knight. Certainly Cerebus, Sandman, Cages and From Hell are to be lauded for their genuine genius, but Dark Knight remains my all-time favourite creation. Frank Miller has written a gripping story of tragic heroism and bitter social commentary. His Batman is truly a larger-than-life, tormented hero, brilliantly conceived with his many flaws and perverse obsessions intact. Miller plays with the comic book universe beautifully, realising a world wherein the so-called "super-hero" does exist, and exploring the ramifications of this fact. Batman's final confrontation with Superman at the end of this graphic novel is bar-none the most cunningly conceived battle in comic book history. It is achingly poignant to see the two old warriors confront one another at last: Superman with his compromised good-guy! agenda and Batman with his twisted, demoniac fixation. Batman loathes the figure that Superman has become, while Clark Kent pities the poor, lost soul who has sacrificed his very existence for that which he pursues with a vengeance. "You Bruce, with your obsession..." Miller has created in Dark Knight a vividly real and passionately affecting tale of Heroes and Madmen, riveting from start to finish.

Dark Knight - A Modern Comics Classic, October 1, 2001
Frank Miller's groundbreaking 1986 comic book series still packs a punch today. (I first read it only a few years ago.) This was the story which proved superhero comics can be powerful drama and social commentary. This tale of a middle-aged Bruce Wayne returning one last time to fight crime as the Batman is an original and interesting mixture of ironic frivolity and serious themes. It is the themes in the subtexts of the story that most make this work intersting. These themes include the issue of pure justice (as typified by the Batman) versus the corruptible system, and whether the power of justice best belongs in the hands of the legal system or to individuals. Miller offers scathing satirical sketches of spineless politicians, vacuous mass-media, and criminal-coddling pop psychology. Miller's fascinating portrait of Batman as a complex, tortured, and three-dimensional human being cannot be soon forgotten. The Dark Knight Returns is a compelling story of of a troubled hero in an unheroic world.

Believe the hype, September 28, 2003
Doubtlessly one of the most talked about comic book storylines of the past twenty years, its reputation is well founded. While material that was as hyped as The Dark Knight Returns is often ultimately disappointing, or seems outdated decades later, every time one reads The Dark Knight Returns he'd be more convinced that this is indeed a perfect piece of modern literature; and comics, American comics most of all, very rarely got this good. The Dark Knight Returns is one of a handful of graphic novels (e.g. Watchmen, The Sandman and Marvels) that achieve the status of genuine and timeless classics.

In the time of its release in the early 80s, The Dark Knight Returns was revolutionary, in every aspect. Frank Miller, already an acclaimed artist for his work on the early issues of Wolverine, already proved himself as a writer in 1984's brilliant and groundbreaking mini-series Ronin, but The Dark Knight Returns in 1986 was his break into the world of mainstream comics, and remains his most important achievement. But while his work on the series was within the world of super-hero comics, and within the financial safety of publishing under the DC Comics banner, Miller took mainstream comics to disturbing new places and super-heroes were never looked at the same way again. Taking inspiration from the groundbreaking work of the Dennis O'neil / Neil Addams team who revolutionized super-hero comics in the late 70s, and from his own former partner Chris Claremont, Miller made super-hero comics darker, more reflective and more mature than was ever made before. For that he took darkest character in the DC Universe, the Caped Crusader himself, and took him 20 years into the future, well into retirement. The new Batman is well into his 50s, sad and tired, and a much rougher kind of hero than he was before. Miller's very modern look on the Dark Knight was disturbing and discomforting to say the least; Dark Knight Returns is not an adventure story, it's a moral examination of his character and the problematic nature of his actions. Never before was Batman judged so harshly by his own author, and it's difficult for the reader to accept it - since, while Batman's actions are here presented as problematic to say the least, if not criminal, but he is also more human and more recognizable than we'd ever seen him before.

But it's not just the view of Batman's character that makes Dark Knight Returns so disturbing - it's the view of the world. Miller's future is dark and bleak, and eerily realistic. He goes to great lengths to create a realistic and convincing world, right down to creating a new slang for the new young generation. Through countless minor characters and little stories, each one rounded and well-constructed by its own right, Frank Miller creates a Gotham City we can know, a Gotham we can relate to. It's a city living in fear, a city that's in the grip of a merciless gang more ruthless and vicious than the criminals Batman faced in his prime. In Bruce Wayne's own words, it's a city that's `given up hope, like the whole world seems to have'. And as the city lies in the shadow of the fear of the Mutants gang, so the world lives in the shadow on nuclear holocaust. It is in the middle of this reality that a real hero is proven. And despite all the doubt and all the misgivings, the Batman presented here is more heroic than he ever was. It takes one kind of hero to fight madmen on a daily basis and thwart their diabolical schemes; it takes quite a different one to face himself and the world and not give up.

Batman isn't the only character who is given fantastic care on The Dark Knight Returns. Commissioner James Gordon, a character who had become much more important and more sophisticated in the last twenty years, is an important part of the story, and his part in it is fascinating, although more thought would be given to him on Miller's second Dark Knight expedition - Batman: Year One in 1988. The Dark Knight Returns also features a young and energetic Robin, who serves the role that Robin should have from the beginning - to provide contrast to the character of the Batman. Interestingly, though, the death of Jason Todd is often referred to, though it was released three years before Jason actually died in the comic continuity - and even then, his death was decided by a readers' poll. Hmm... Alfred Pennyworth, of course, completes the classic team. As for villains to battle - Two of Batman's most classic enemies, The Joker and Two-Face, return on The Dark Knight Returns - mainly as subplots, and to serve as reflections for Batman himself. This story is not about fighting madmen. There is, though, a grand final showdown at the end, in which Batman fights a surprising enemy...

As for the art: Frank Miller's artwork is an acquired taste. So is Lynn Varley's coloring, which is subtle and pale and may seem somewhat outdated to modern readers. Miller's drawing on The Dark Knight Returns is not as impressive and appealing as his work on Sin City, but if you enjoyed his early artwork, especially on Wolverine and Ronin, you'll like this one too. The artwork really is brilliant, if you take the time to see its subtleties. At any rate, on The Dark Knight Returns Miller had the benefit of not only the wonderful coloring of Lynn Varley (who also collaborated on Ronin) but also one of the finest inkers in the world of comics, Mr. Klaus Janson, who contributed to the series beyond words, gave it a lot of its atmosphere and created some of the darkest and most impressive images of Batman and Gotham City. In every possible way, The Dark Knight Returns is a masterpiece. If you like comics, and not just super-hero comics, by all means read it.

The Batman story that changed comic books, August 2, 2004
Frank Miller may not have set out to make comic book history when he first created this legendary tale, but that's what he did. Much of the broad genre of 'modern' comic storytelling was inspired by this one story. Here is where Batman first truly earned the title 'Dark Knight'.

This story, originally issued as a four-part mini-series, begins with the fact of Batman's retirement, and the ever-increasing wave of crime that has risen in his absence. A storm is brewing in Gotham, and with rumbling clouds and eventually with searing lightning bolts, the Batman returns to his city. Over the course of the four issues, he takes on the city's gangs, and the Joker, and eventually even Superman, who has become a tool of the State, charged with either bringing Batman in, or taking him down. The cover of the fourth issue is one of the greatest pieces of comic art I have ever seen, and I've been reading comics for a looong time. Batman is armed and armored to the teeth; he has to be--he's facing off against Superman. Even with all the armor, you just know Superman is going to clean his clock, and Batman has to know, too. Even so, Bats is still going to throw down with Big Blue.

Part of what makes this story great is that it's not fed to the reader like pablum. The story is often told in the form of TV news reports about what's happening, and the reader must discern for him- or herself what is really going on. The dialogue is filled with dark, biting satire, spewing forth from the mouths of the ever-present "talking head" experts. It is not an easy story to follow, and was seen at the time as extremely violent. But it is worth the investment of time and thought. It is a comic book for adults, if you will, and was among the first comic books to treat it's reader as a mature, thinking individual. At the time, such an approach was virtually unheard of. Those who read and enjoy today's comics, which are almost all aimed squarely at mature readers, may realize how large a debt is owed to this seminal work.

When many of today's most popular comic writers and artists are asked what inspired them to enter the field of comics, they point to this work. Stephen King said of it, "....Probably the finest piece of comic art ever to be published in a popular edition." You must have heard something about this book if you are here, reading this review. Buy this book, and read the story. It is, arguably, the greatest comic book story ever written.

The top of its medium, December 3, 1999
The Dark Knight Returns is perhaps the finest comic book graphic novel of all time. This four issue series almost single-handedly invented graphic novels as a medium for serious artistic and literary expression, opening the door within a few years for Maus: A Survivor's Tale, among others. The Dark Knight was the first series to popularize offset printed on high-quality papers, rendering it closer in form to a museum catalog than a newsprint comic book. First of all, the images are stunning. Frank Miller's series also represents a critical exploration of the hero icon--here we see an older character on the verge of physical and moral collapse, wrestling with his mortality, limitations, and the dark obsession that has that has been his life. As such, it is also closer by far to Poe or Conrad, than to Jughead or Wonder Woman.

The best of its kind, March 6, 2001
Along with Alan Moore's 'Watchment,' this is the work that put the graphic novel on the literature shelf. While it doesn't have Moore's literary ambitions, it is altogether more successful at achieving its own goals.

The Dark Knight returns takes an important and rich pop culture figure, The Batman, and treats him in a serious manner - all the layered and ambiguous nuances in the character that Tim Burton failed to deliver in his movies are in this book. The story posits a middle-aged Bruce Wayne, obsessed with the legacy of The Batman, and pushed to don the outfit once more by the cess-pool of Gotham City. Along the way he picks up a new Robin, struggles against the Joker one last time, and stages the all-time superhero fight: Batman vs. Superman. Beautifully written and paced, finely illustrated [except for the third section], this is a gripping and satisfying story.

The Pitch Black Knight, November 23, 2002
As dark as Batman was ever intended to be. An intense tale of renewal and retribution. Batman has been gone for a decade, and Gotham is under siege of a young generation seemingly gone mad. The entire world is holding it's breath while a crazed Reagan prepares for nuclear war in South America. Then, like a dark Christ, Batman reappears to reclaim his city, and in the process saves the whole world. Millers words and art are as perfect as this art form gets. Batman here is a chunky, aging warrior refusing to be hampered by age. He uses intutition, intelligence and malice to carry the battle for Gotham right to the bad guys and gals. This is one of the true classics of the comic book world, but also an important piece of American political satire. It savages the political and cultural landscape of the eighties. This is not a child's story, it is not a tale of heroism and absolutes, it is a work that prods the mind and astounds the senses at the same time. What more can one ask for in these days of compromise and duplicity? Nothing more than the ultimate Batman, and here you will get it. ... Read more

Editorial Review

No one is safe in the aftermath of the most shocking Walking Dead storyline yet! The remaining survivors continue the road to Washington DC, but not everyone will make it out alive! Collects issues #61-66 of the New York Times best-selling series, The Walking Dead! ... Read more

Reviews

Putting the Bang Back into the Series!, January 9, 2010
FYI I purchased this at my nonlocal comic shop, for Amazon has been having major difficulties with this title. Reality of the matter is that they had the release date wrong. I believe you can order this product if you go to other formats.

Anyway, the book is awesome. As a hungry fan of the series I ate this up in no time. I won't reveal too much but the danger has returned to the group. There's another frightening threat and not everyone will survive. I like how Kirkman is obeying his own format by coming up with new ways to maintain the tone and pace of the series. The suprises come in threes and there is never a dull moment. It's comics like this that gain my respect for Robert Kirkman. All I can say after 11 volumes is keep going! I want more!

The Title Is Becoming Ever More Ambiguous, January 12, 2010
With each volume of this terrific series, it becomes clearer that Rick's assessment (that we, the living, are now the true walking dead) is pulling into focus. The latest travails of the nomadic survivors are equally internal and external in nature, with some truly disturbing behaviors on the part of "bad guys" and "good guys" apart. Suffice to say some of Cormac McCarthy's THE ROAD has rubbed off on Kirkman.

The other reason to jump on the Walking Dead bus if you're new to the series is its status as the rarest of pop culture creatures: a source material that is probably going to wind up a ground-breaking TV show. Kirkman's characters are so well-rounded, it'll be fun to watch what a respected auteur like Frank Darabont and a prestige network like AMC will do with it.

The Preacher, the Hunters, and the Dead, January 23, 2010
FEAR THE HUNTERS! (The Walking Dead: Volume 11)

Written By Robert Kirkman

Illustrated By Charles Adlard & Cliff Rathburn

Collects Issues 61-66

"A man's gotta eat. If it makes you feel any better...you taste much better than we thought you would."

The first big story arc in a while, Fear the Hunters finds Rick and company still on the road, slowly running out of food, and options. Not to mention that they're being followed and watched... The first issue alone, #61, will give you a clue as to what to expect--and you'll be surprised at how quickly the terror begins and the fun truly ends. As they continue toward Washington, lives will be lost, bad deeds will be done, and a new character will be introduced. Then you just have to tell yourself that there are still five more issues to read before the collection is over...

"I don't think I've had a chance to introduce myself before. I'm Chris, it's good to meet you. You probably think I'm crazy, and I understand that. Why wouldn't you? But I'm not, none of us are. I don't expect you to believe that, but it's important to me that I say it."

Both Kirkman and Adlard have outdone themselves here, both the writing and the art are better than previous collections. Volumes 9 and 10 had me worried there for a little bit--our characters seemed to be going nowhere...and Washington seemed a little too far away. The new characters were fine, yet it still seemed like everyone was walking in circles, not doing much. Yet here is were it picks up pace--and it doesn't stop.

"You know the drill--we have to keep these people scared. We should actually pick them off sooner, thin their numbers out and make them fear for their lives."

Yet even though the writing and art are better, is the actually plot worth reading? The simple answer: yes! Although it is reminiscent of The Road, Fear the Hunters is more than worthy. In many ways, the Hunters are more savage and brutal than the Governor himself--and that's saying something. Whereas the Governor still had a shred of mercy for his daughter, these people...have no soul. They long ago ran out of food, and have taken to hunting down human and eating them--no matter what the age.

"Cannibalism? How did it come to that?"
"The simple answer? We got hungry. We're terrible hunters. You ever hunted before? Animals are quick. It's hard. You spend so much time finding a good hiding place--and waiting. It's almost pointless. So we decided to hunt easier game. People don't run from us.
We were desperate."

So although this volume was delayed because of National Comic Book Skip Week, throw all your anger away and buy it as soon as you can. If I have a single complaint about this volume, it's that it simply went by too fast...and that we didn't see more of the hunters. Well, who knows--maybe Kirkman will surprise us in later issues...Dang. I just realized now I have to wait another 6-7 months before volume 12 comes out.

"Just came to ask you this. Will you stop coming after my people?"
"In all honesty? Probably not."

RK keeps on putting out quality material, March 19, 2010
Another excellent volume of TWD. If you are a fan of the series this volume will not disappoint. I'm continuously worried that they will not be able to keep coming up with new angles and twists to keep my attention but this volume delivered.

a great comic !, March 18, 2010
As a french, I'm used to the french/belgium graphic novel... I have to say this one blew my mind. The story is somehow very classic and complies to what we have seen already in various zombie movies. The characters and how they change through time is the strong point of the comic. the drawing is another good point. Well, I love it !

Building momentum... and terror, too, March 11, 2010
The Walking Dead, v.11
Written by Robert Kirkman
Illustrated by Charlie Adlard & Cliff Rthburn
(Image Books, 2009)
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Robert Kirkman's zombie-apocalyptic mega-saga picks up steam and returns to pure horror in this chilling latest volume. Once again, it's not the zombies that are the main danger, but the humans, as the insanity from without gives way to the insanity from within. This is one of the best volumes so far, and some of Kirkman's best character work in any title he's written.

Recommended. But not for little kids. (Joe Sixpack, ReadThatAgain book reviews)

The pain gets deeper, February 9, 2010
Rick and company continue to fascinate me as a reader, even after eleven volumes, and I continue to wonder if Robert Kirkman will ever stop coming up with new ideas and new challenges for our group to deal with, but so far, that is not the case. Trouble comes at the survivors, as it always seems to, from both outside and inside the group, and this new addition to the saga is no different. A murder comes early and a slow building dread caused by an unseen enemy stays with the group throughout most of this volume. A character relates a soul wrenching tale of what he felt he needed to do to survive before joining the group and I was once again surprised (although by now, I probably shouldn't be) when a character we are close to dies.

As this story continues to move forward and the group continues to face new enemies, it is clear that their own humanity is in constant jeopardy. While nemesis like the Governor, from a few volumes back, were brutal and I would be hard pressed to provide him with any redeeming qualities, it is not always that cut and dry and Rick also is questioning how brutal he has become lately. He and the others seem willing to not only do away with their enemies, but make them suffer for their crimes. His level of viciousness has rubbed off on his son, at least to a certain extent, and while these characters are just that, characters, it is heartbreaking to see how lost many of these people seem to be, unsure of who they are anymore or what they are doing in this dead world.

Which for me, continues to make this story all the more intriguing.

Kirkman never fails., May 12, 2010
Robert Kirkman, The Walking Dead, vol. 11: Fear the Hunters (Image Comics, 2009)

The release of a new volume of Robert Kirkman's The Walking Dead is always cause for celebration (or at least it is when my library finally gets it in). Even when Kirkman takes a long digression from the main storyline, he's bound to make it gripping. Such is the case with Fear the Hunters, a book that generally stays away from the zombies and gives the dwindling group a far more fearsome predator to combat (telling you what would be a spoiler). When the confrontation occurs, some members of the group, including Rick, discover things they might not want to know about themselves. Still, newfound knowledge or not, Washington, DC awaits... another solid volume in one of the best American series being published today. If you haven't yet discovered The Walking Dead, pick up Days Gone Bye at your earliest convenience and get sucked in. ****

GREAT!!, March 1, 2010
I have to say that if you haven't read the first 10 trades, then you aren't going to like the too much. The continuation of the story is what makes it so good.

survival from zombification, February 12, 2010
This edition presents a wonderful continuation of the Walking Dead series. Rick and his band of survivors are dwindling as they trudge on to a zombie free zone. THi sedition si a great read and a good addition to any zombie book enthusiast. ... Read more

Editorial Review

Out on their own, danger lurking around every corner, our ragged band of survivors tries to live long enough to reach Washington D.C. Continuing the long-running saga, Robert Kirkman continues to take us to places we've never been. The 10th book in this series collects The Walking Dead #55-60. ... Read more

Reviews

Do our actions define us?, August 14, 2009
"What we become" continues to follow Rick as he and Abraham's group make their way north to Washington D.C. In the first couple pages we see that Rick is really beginning to crack from the traumatic events that took place in Vol.8. He doesn't sleep and he talks to his dead wife on a disconnected phone that he found in a abandoned house, but Rick isn't the only one. Feelings of unrest and suicide begin to fester in the group and an encounter between Rick and Abraham have them at each others throats. As the group takes up camp at a gas station Rick realizes that they are only a days drive from this hometown and he still has the keys to the police armory. Rick, his son Carl and Abraham set out to retrieve the supplies and we a glimpse into Abraham's past. During their talk, the two men find reconciliation and a common thread, both men have been changed by tragedy and they wonder if the terrible things they've seen and done have made them less human, but Rick has no regrets "We do what we have to do, It doesn't matter if we can live with ourselves as long as we LIVE". "What we become" is a very entertaining read. The survivors are on a intriguing quest but you begin to wonder if they can hold together long enough to see it to its end. Rick, whether he means well or not seems to be the catalyst for the group's descent. After breaking camp Andrea tells a brooding Dale that it's name to move on. "fine" dale snaps, "I'm anxious to see the NEXT way he's going to endanger us". As much as I hate to admit it, I am too.

Kirkman's zombie epic continues, September 7, 2009
"The Walking Dead, Vol. 10: What We Become"
(Image Books, 2009)
------------------------------------------------------------
NOTE: Mild spoilers below
------------------------------------------------------------

Robert Kirkman's zombie epic, "The Walking Dead," continues to simmer in its mix of claustophobia and gore. In this volume our hero, Rick, revisits his home town and confronts the darker side of what zombie-killing has done to him psychologically... He also has a one-on-one session with his potential main antagonist, a giant-sized, high-testosterone military guy who's competing with Rick for dominance of their scrappy survivor gang. The zombies are still out there as well, but just when we start to think they don't pose much danger to our well-organized heros, the tide turns when Rick and his caravan run into a dreaded, unstoppable zombie *herd*. The "Walking Dead" series seemed to be coasting a bit in previous volumes -- here it's clear that it is picking up steam, and it seems sure that something big's about to blow in issues to come. Stay tuned... and pick this one up! (Joe Sixpack, ReadThatAgain book reviews)

great story continues...., November 17, 2009
ROBERT KIRKMAN can really write and has en excellent ear for truthful dialog . i'd like to read more graphic novels than i do but it can get kinda costly . from what i've read and seen though , this is by far my favorite book out there . i really like the illustrating too . the effort put into these characters and their triumphs and failings , how they articulate and process what's happening around them to themselves and to one another is very (non graphic) novel worthy in my opinion . i can't wait for the next installment in the brutal saga (each six months). the store i currently get these books from has them ALL in stock . that might suggest what an outstanding job these folks are doing . perhaps you could turn me on , because i can't think of another book half as compelling or well done as this one . that there is no color does not matter at all . great characters . great situations . great storytelling . THANKS ROB and friends .

Story keeps getting deeper, October 1, 2009
Boy do I love the Walking Dead. My only complaint is that I have to wait so long between trade paperback releases. The story keeps moving along and the characters are certainly deep. I'm the sort of person who guesses plot twists in movies 10 minutes into watching them and the Walking Dead definitely keeps me guessing. That's one of my favorite aspects of the story, it doesn't treat the reader like an idiot.

The other thing that I love is that the characters act like real people not like a necessary devise used to scare you or for cheap thrills. For example, characters change their minds, are loyal followers and then finally get fed up with things and change direction. They do stupid things that are motivated by emotion and stress rather than stupid things motivated by an author attempting to leave you with a cliffhanger.

Kirkman understands the medium. I only hope that when Hollywood "discovers" him they don't ruin his creativity. His writing is simple and that's the key to his success. Although successful simple writing takes time which other media doesn't have the patience for. Image and the Walking Dead are good partners in this creativity by allowing the story to progress without rushing things along before their due time.

I plan to continue buying these books. I've been hooked since issue 1.

What we do for those we love, August 20, 2009
Each volume of The Walking Dead tends to run in one of two separate veins. The ultra violent and the thoughtful. Volume 8 served as both a ending and a beginning of sorts, providing us with a violent shakeup that changed things forever for Rick and the rest of the survivors. Volumes 9 and this Volume, while providing us with some moderate zombie violence, mostly gives us the chance to dig deeper into the characters and what makes them tick. Rick and a character introduced in the previous volume, Abraham, both are coping with all the brutal and ugly things they have been forced to do just to survive. Things that in the eyes of family and friends may be unforgivable or at least something they cannot accept. We get to witness Rick in action when three men decide to assault him and his boy and what vicious things he is willing to do to protect what is left of his family. Though there is tension between him and Abraham, they share their stories and come to understand one another much better-they will do whatever it takes to survive. The world is an ugly place and all the innocence and beauty in people has pretty much died, leaving the ugly behind...an ugly that is brutally necessary.
Into this mix steps Morgan, Rick's old friend that was hiding out in their hometown. Its interesting to see how Morgan, who cannot bring himself to kill someone who has turned into a zombie that he cares about, is feared because perhaps he has gone insane with grief while Rick himself is starting to be feared because he has refused to be consumed by his grief but instead has lashed out at anything in the world that would threaten him. ... Read more

Editorial Review

Buffy Summers and her Slayer army have suffered heavy losses throughout Season Eight and faced scores of threats new and old, but the one mystery connecting it all has been the identity of the Big Bad Twilight! In this penultimate volume of Season Eight, New York Times bestselling novelist and comics writer Brad Meltzer (The Book of Lies, Identity Crisis) joins series artist Georges Jeanty in beginning the buildup to the season finale in the story line that finally reveals the identity of Twilight! In the aftermath of the battle with Twilight's army, Buffy has developed a host of new powers, but when will the other shoe drop, and will it be a cute shoe, or an ugly one? Still reeling from the losses of war, Willow goes looking for missing allies, and discovers a horrifying truth about several of the Slayer army's recent ordeals. Adding to the mayhem is the unexpected return of Angel, in his Season Eight debut! This volume also features two stories from series creator and executive producer Joss Whedon! In the Willow one-shot, Whedon and Fray artist Karl Moline reveal for the first time what Buffy's witchy best friend was up to between Seasons Seven and Eight, with a mind-blowing cameo by a frequently requested character. And in "Turbulence," Joss spotlights the complicated relationship between Buffy and Xander with a conversation that changes it forever. ... Read more

Reviews

WTF, October 21, 2010
I have looked forward to this Act IV of the season for years now, finding where the story concludes, how is this big bad related to Buffy's development and history?

On the one hand, I must thank the authors for giving me the opportunity to continue to enjoy and share in the lives of my most beloved cast of characters. Much of the dialogue is still sensational, and I really enjoy the transition to comics with a self-referential explosion in powers and relationships of characters to a new medium. You can't expect the story and characters to remain stuck in the television/drama genre. A new vehicle of expression (e.g. comics) makes for new plots, new stakes and new rules of storytelling.

HOWEVER, the reveal of the Big Bad, the explanation for this development, and the ensuing direction are just far fetched, even within a fantasy realm. Even in the story of the superhero with suspension of disbelief we need consistency in character, we need plausible explanation within the defined reality, and it needs to "add up" with the earliest episodes. I call b.s. As in last episode of Lost b.s. As in I feel uncomfortable reading about this cosmic boinking b.s.. You find a lot of the same themes in Watchmen, but there the universe-time-love-thing actually makes sense logically, the characters' motivations are clear and you feel that the story was planned from the beginning rather than having the reveal tacked on last-minute at the end of a long brainstorming session involving a lot of marijuana and doritos.

This is the first time Buffy has ever insulted my intelligence. I still love her, but we might have to go to counseling.

Fun start but then goes a bit crazy, October 24, 2010
After the joyless slog of the last volume this book starts strong. Buffy has gained Superman-like powers leading to some funny scenes, interesting banter and well... joy. She outruns bullets, lifts locomotives and leaps tall Tibetan temples in a single bound (while everyone around her groans at the reference). The start of this book is happy.

But soon plot twists of out left field overwhelm the book. A group of villains ask to join the slayers and are accepted without question. A long-lost character shows up out of no where. Twilight's identity is revealed and passed off with a completely inadequate explanation. And then we have dozens of pages of world-shaking super sex. Oh and everyone has magic ipads now.

The illogical plot is lampshaded as Giles rambles for pages while everyone demands he get to the point. He never does. And I worry there is no point.

This is not a bad book, it's just not well thought out. I'll stick with it hoping it will all make sense in the end but I'm less and less confident it will.

Rocketed Over The Shark, December 4, 2010
Yes, it's terrible. Really, really terrible. Jar-Jar Binks terrible. YES.
Buffy, as a show, was top notch. It was art; great writing, spectacle, and character. But the comic book leaves much to be desired: after the first issue, it makes no sense. It's convoluted; it's boring, it's kitsch. And all the writers are the same as the show! Something's amiss here.
Buffy has an army of slayers who fight off villians. Then they fight off the U.S. Army (what, huh?), then they go to Tibet, where Buffy is super strong, then the Big Bad shows up...it ain't Warren, who even the writers admit in letters (whoops! we forgot he's dead!) that he shouldn't even exist. The Big Bad is Angel, who evidently took a leave of absence from his own successful (and extremely well-written comic by Drak Horse's competitors, IDW) who is the weakest, lamest Big Bad since, well, Season Four. And they do this for more than 24 issues! There's also some lesbian scenes that do not belong, are out of character, and a sorry attempt to pander to the LGBT community at the expense of the character and good writing. Did I spoil it? Sorry. Save your money and buy Angel's own comic. This isn't the Buffy that you know. It's a poor imitation. Bargain basement.

Wha...huh?, October 18, 2010
I'll be nice this time and let you know right now: spoilers ahead!



Twilight, the seventh collected volume of Buffy the Vampire Slayer: Season Eight, appears to begin to bring everything full circle...sort of. The "big bad" of Season Eight called Twilight is none other than everyone's favorite vampire with a soul, Angel. Given that he went by "Twilight" when the series began reveals a big in-joke towards the Twilight-tween obsession (as Buffy says, she picked that idea first, and her vamp was much better), but also reveals a bigger picture as to what creator Joss Whedon was painting when he launched this comic series. Granted, at first when I saw a super-powered Buffy having airborne sex with Angel, I was at a bit of a loss for words. Still though, there is something so hypnotic about this storyarc that I can't help but enjoy it. Not to mention the conversation between Buffy and Xander in regards to his relationship with Dawn is sort of fitting (yet still somewhat gross, sorry), and the last page of the appearance of Spike on the last page of the arc promises that the Buffy-verse is in fact coming full circle. Granted that the series has lost steam since it first began, don't believe all the naysayers and give it a look for yourself before you decide if Whedon and co. (in this case the script is courtesy of novelist and Identity Crisis writer Brad Meltzer) have truly jumped the shark. Either way though, from this point forward, things are going to get even more interesting for Buffy and her crew.

the buffster boinks!, December 11, 2010
while i can't argue with the many folks who offered quite valid criticisms, as far as I'm concerned, even the multitude of sins is forgiven by the quiveringly realistic scenes of the buffster boinking! i mean, come on...who among you hasn't wanted to see this, in our little collective warped minds...speaking for myself, of course!!! ok, call me a voyeur, call me twisted, call me perhaps a little too enthusiastic about a mere comic strip...nevertheless (as hepburn famously once said), nevertheless...as we watch one of humanity's greatest sexual athletes (and most attractive young women) getting down, i can only stand in awe and stare as the words "flimsy excuse" were redefined!

Um... OK, December 2, 2010
I'm guessing most people who are thinking of buying this have bought the previous Season 8 books, and, like me, have watched a slow decline in the story and art quality. This release maintains the decline. The artwork is dodgy, and the story is really pretty lame. The big reveal makes very little sense. Given how meticulous Joss Whedon has been in the past with details, I am very surprised as it feels very much like something the writers thought up two days before the comic was due.
I assume season 8 will finish soon (given the motion comic is on the way). I really hope the comic picks itself up and finishes well. So far I am not that confident.

Good Grief What Have Joss Done to The Whedonverse?, October 14, 2010
9 words sum up the silliness of the 'plot': Flying space sex and an 'evolving' intelligently designed universe.

It doesn't make any sense and looks as ridiculous as it sounds. Stupid doesn't begin to cover it. ... Read more

Editorial Review

In the last volume we learned that no one is safe. Now, after the staggering losses they've sustained, Rick and Carl are left to pick up the pieces and carry on, knowing that they could join their fallen friends and family at any moment. This volume collects The Walking Dead issues #49-54. ... Read more

Reviews

Pause that Refreshes, January 17, 2009
The Walking Dead is Robert Kirkman's ongoing series that attempts to make the ultimate zombie movie in comic book form. In the process, he shows the effect that living in post-zombie-apocalypse world has on people. This volume reprints issues 49-54 of the ongoing series. Following the devastating events of The Walking Dead, Vol. 8: Made to Suffer (v. 8), the story starts off with Rick and his son Carl trying to find a place of relative safety as well as make their peace with what has happened to them.

Most volumes of Walking Dead have a fair amount of action, and this one is no exception. But in terms of story, this is definitely a pause of sorts. It serves partly as an epilog to what has come before, and equally as a prolog to a major new direction in the series as it moves forward. After the nonstop tension of the past few volumes, this is a welcome break that serves the reader well. We meet some interesting new characters and the survivors undertake a major new mission that will open the book up to a number of new possibilities in future volumes.

Overall, this is an easy book to recommend to readers who have followed the series up to this point. The story moves along at a good pace and there are some great moments featuring Carl and Rick. As much as I've enjoyed where Walking Dead has gone in past chapters, I'm equally curious to read more about what's still to come.

Picking up the pieces, January 17, 2009
After the violent explosion that was Volume 8 of this series it was to be expected that this segment of the story about Rick would be told with a little bit of a softer touch.
Rick and Carl are struggling to move on after the massacre at the prison and Michonne is off wandering by herself, killing the remnants of the zombies left at the prison.
Rick and Carl both get to face their fears and try to cope with the loss of everyone they knew, not knowing if anyone at all survived but knowing that Lori is gone from them. Each of them faces this in their own way and Robert Kirkman's compelling storyline reminds me that while the zombie action and full on mayhem of Volume 8 was part of the reason I really enjoy this series the smaller, quieter moments of everyone trying to retain some sense of humanity also make this series great.
The story leads us to some new people who perhaps are going to inject a spark of hope into the small group that Rick, Carl, and Michonne come together with, but that remains to be seen. Given the ups and downs that Rick has faced I can't say that I blame him when he tells Carl that he should trust no one and never, ever let his guard down.
The saga continues with wonderful storytelling and keeps me wondering what is next for Rick and the few survivors of prison as they hit the road once again.

A Necessary Pause, March 9, 2009
while it's true that this volume is slower than the last three, it is necessarily so. the intimacy present in volume 9 serves as the after-dinner cigarette to help stimulate digestion of the roller coaster ride of recent events. Kirkman is not slipping, and the series isn't going to stagnate; the focus of this story is changing into something more personal and real, if that was possible.

however, this volume is not without its shockers, surprises and scares (though they are scares of a different nature). it is one part epilogue, one part prologue (and two parts awesome).

another great book, February 11, 2009
Once again they have done it. This book is amazing, the graphs are awesome and the story line is action packed. Zombies, Zombies,Zombies.
The only gripe I have is the waiting for each one. I read these things in about an hour, and I can't wait till the next one to comes out. Keep on doing what you do!

Series stays amazing., February 7, 2009
Robert Kirkman, The Walking Dead: Here We Remain (Image, 2009)

Note: this review contains major spoilers for Made to Suffer, the previous book in the series, and possibly books five, six, and seven as well. If you're planning on reading the series and haven't gotten that far yet, skip this review. (And if you're not reading this series, you darned well should be.)

After the apocalypse that was Made to Suffer, the eighth book in Kirkman's excellent series, Rick and Michonne, who previously went their separate ways, are left to pick up the pieces in Here We Remain. As we open, just after the events of the last book, Michonne has come across the remains of the RV, while Rick and Cal, the only two survivors from the last stand at the prison, have fled into the woods and are simply looking for a place to rest. They find it, and with it, a miracle: a working telephone, which Rick uses to communicate with what seems to be another small band of survivors. But that's far from the only revelation to be found here. Here We Remain is a volume of setup, as Kirkman switches major storylines, but it's very good setup. It's often how authors handle this kind of volume, where nothing huge happens, that shows the real strength of an ongoing series; it should be no surprise to anyone who's been around since day one, but if you needed any more evidence, here it is; The Walking Dead is one of the strongest series going today. Highly recommended. ****

A Necessary Transition, January 27, 2009
I am a huge fan of everything Robert Kirkman is currently writing. With that out of the way I must say that Volume 9 is my least favorite of the Walking Dead series. I know that there is a larger story being told here and I can't expect every arc to be chocked full of zombie stomping excitement. I appreciate Kirkman's focus on character development, a focus that is sorely lacking in other authors' projects. So, I'll treat this one like a little breather before being thrown back into the fray that I expect in Volume 10. I'll be the first in line to buy it ... ... Read more

Editorial Review

Amazon.com Review

Amazon Exclusive: A Q & A with Author Lynda Barry

Q: You said in a Comics Journal interview that the book What It is wasn't planned. But that you did fill in gaps once you had pages in a general order. Is this the same process you used for Picture This? And how is Picture This different from the prior book?

A: For Picture This it was pretty much the same process. I start with a question--in this case it was "What makes us stop drawing?" and I make pictures while I think about the question and pretty soon the book just sort of starts to gel. The difference was with Picture This I had to have the pages up on a wall where I could see them. And there were a lot of pages so I had to create 'walls' to put the pages on in my studio--there isn't enough wall space to do it--and it turns out the 4 x 8 sheets of blue styrofoam used for construction insulation worked perfectly. The sheets are long, lightweight, sturdy and really portable. So I could put about 40 pages on each sheet and drag the sheets all over the studio so I could move the pictures around until they started to interact with each other.

I think my biggest challenge was accepting the fact that Picture This is a picture book. It was really hard for me to just put in pictures that weren't comics. I was worried about that. I've never been known for my drawing skills. I was worried that people would feel ripped off.

Q: How has your perception of your audience changed as your work has become more widely known?

A: Well a lot of the people who read my comics are getting older--not just the people who are my age, I'm talking about kids--especially the ones who started reading my work when they were little. I love meeting them now in their twenties and thirties and having them tell me about sneaking my books out of their parents' room, or running into them at the library. I love that. And I love the younger cartoonists I meet because of my work. So maybe my perception of my audience hasn't changed as much as my perception of my work as being something that moves reliably though time.

But the biggest change has come because of teaching my writing workshop for the last ten or so years. It's changed my perception about people in general and the role that images play in our lives. I see people completely differently now because of it--my "audience" now is anyone who has had an urge to write a story or make a picture but is too confused about where to begin and worried about what the point of doing any of this might be.

Q: Do you find any value in misreading of your work by reviewers or your readers?

A: I don't read what people write about my work and when people talk to me about my work I do my best to change the subject as quickly and politely as possible. Sometimes though when people get the name of my books wrong I love it. I really love how "What It Is" became "What Is It" and "This Is It" and "Where Is It" and "What Is That."

But by far my favorite mix up was when someone was telling me how much they liked my book "Cruddy" but they thought the name was "Crappy"--which still cracks me up. I don't correct anyone about such things and my hope is no one ever corrects them. I like that kind of "misreading" the best.

Q: What would you say to someone who asks about the functionality of your books, their purpose?

A: My goal is to make a book for someone who is sitting in the waiting room at the Jiffy Lube while they were getting their oil changed. I want to make books that are picked up by a bored or waiting person who starts to thumb through them and gets drawn in enough so that they stop noticing they are waiting at the Jiffy Lube and instead start to itch to make something with their hands. A picture, or a comic or anything at all. I'm devoted to the idea that the use of images can not only transform our experience of time and space, but also has an absolute biological function that is directly tied to an essential state of being which is this: the feeling that life is something worth living.

Reviews

Take a ride with the near-sighted monkey!, November 24, 2010
Just thumbing through this book makes me feel like a kid again. The idea of painting and drawing on lowly 'binder paper' rocks my line art graphic mindset. There are a myriad of creative trails to follow and I've just begun the journey. There is such honesty in the pages, such a wonderful mix of spirit, technique, angst, and fun in a book about making art. Maybe "expressing ourselves" is a better term than "making art". Lynda Barry helps you open the door to expression.

My favorite quote from the book so far is "The worst thing I can do when I'm stuck is to start thinking and stop moving my hands."

I'm off to do a mood doodle and follow along with Marlys, Arna and the cephalopod.

Loved This One!, December 14, 2010
Endlessly entertaining and filled with inspiring images and examples. No wonder everyone loves Lynda Barry so much. If you are a writer, a photographer, a painter, an artist of ANY sort, you will find something to like in this. ... Read more

Editorial Review

Penned by Whedon and Brett Matthews, who wrote several episodes of Firefly as well as Dark Horse's final Angel comics series and the animated Chronicles of Riddick feature "Dark Fury," Serenity follows a ship full of mercenaries, fugitives and one law-abiding prostitute in their pursuit for fast cash and a little peace along the fringes of space. The ragtag crew of Serenity take on a scavanger mission with the hopes of earning enough dough to disappear for a while. Only too late do they realize the whole gig is orchestrated by an old enemy eager remake their aquanitance with the help of some covert-operatives known only as the Blue Gloves. Artist Will Conrad (Marvel's Elektra and Witches) and colorist Laura Martin (Astonishing X-Men and The Ultimates) paint a rough and wild world of adventure across a strange and dangerous universe, in this not-to-be-missed tale straight from the brain of pop-culture mastermind Joss Whedon! ... Read more

Reviews

Hard even for a Browncoat to enjoy, February 6, 2006
Well, I unfortunately have to add my negative review to the other disappointed FIREFLY/SERENITY/Whedon fans below. Like many of the others reviewing here, I am a huge fan of both the series FIREFLY and the film SERENITY, so I was eager to enjoy a new adventure of Mal and his crew. I ordered this with great excitement and finished it with considerable sadness. I had hoped that this might equal in quality some of Whedon's other projects on Dark Horse, but this was easily one of the weakest. The problem isn't the artwork. It is gorgeous to look at and the characters all look quite like the real life models (not that that is a necessary measure of quality). The problem was the utterly uninspiring story.

Here is my suspicion: I'm guessing that the novel partly arose from an unfilmed, partially scripted episode from the television series, and a not terribly good episode at that. Many of the scenes seem to merely mimic scenes to be found in the series and the film, while the scenes that are completely original simply aren't very inspired. The story is also very unbalanced. If you read writing guides on how to write a TV script or a film script or a short story one rule of thumb is that a script needs to have three to five acts (depending on the writing coach). This graphic story feels as if Act One takes up the first two thirds of the book, with too little space devoted to the climax, and an act or two missing. To be honest, it doesn't feel like a completed story at all.

So does the book have any redeeming values? As I stated above, it is a well-drawn story. The problem is entirely the story, not the art. Storywise, it does provide some filler between the end of the series and before the start of the action in the movie. That is not a small thing, but the problem is that there just isn't much of a story. In fact, the whole thing feels more like an outline of a story rather than a story.

Do I recommend this to fellow Browncoats? I guess I don't. Now, if someone had told me not to get it, I would probably have ignored him or her and gotten it anyway, so I won't blame any FIREFLY fan wanting this as well. But while the series and the movie are things I treasure, this is a story I may never look at again. So while I don't recommend it, any real fan of the show is going to want to own it. Then we can all be disappointed together while we await word as to whether the DVD sales of the movie will be sufficient to bring about a made for TV movie or mini-series.

A useful bridge, February 2, 2006
This graphic novel serves as a useful bridge between the final episode of "Firefly" and the film "Serenity." As a Browncoat, I've found it especially useful for showing new fans of the series because it answers the questions that they'd have from the last episode and the film (which starts everyone off on a different note than they were left in the show). For instance: "When and why did Book leave the ship?" This book isn't going to take the place of the television show for the fans that want to see our Big Damn Heroes played by the actors themselves, but it serves as the final episode that they were never able to make.

Perfect filler between TV series and movie, August 23, 2006
Quick admission: I'm a huge fan of the Firefly TV series and "Serenity". I think both were horribly underappreciated, and can't understand why they weren't more successful.

This graphic novel was penned by Joss Whedon, so the dialog, tone, and timing are dead on. In many ways, reading Serenity: Those Left Behind is like watching an unaired episode of the TV show. The story deals with the events that take place after the final episode of Firefly: Objects in Space, but before the movie. All of the Serenity crew are in fine form, and even several characters from past episodes show up.

The only reason I can't give this book a 5 is the art. I'm not a big fan of the artist. While I can definitely understand the difficulty of drawing a comic based on real people, I've seen better.

All in all, a great story, and a must-have for all Firefly/Serenity fans!

An OK primer for the movie, March 31, 2006
As you are probably getting from other reviews there is sort of a mixed bag here. I won't be saying much different myself. What it boils down to is if you are interested in knowing what happened between the television series Firefly and the movie Serenity you get your answer here. The downside is the plot of this little graphic novel is not Joss Whedon's best.

Essentially this book puts together all three comics from the Serenity comic book mini-series that came out a little bit before the movie. The artwork is great. The dialog flows exactly as if you were watching an episode of Firefly. You also get a couple questions a few fans have been answering like how/when did Sheppard Book leave and what happened to the men with the blue gloves?

What limits the book is the main story around this. It's rather cliche and kind of comes from way out into left field. It doesn't make too much sense if you think about it and it really doesn't further the Firefly story. Keep in mind I'm talking about the main story and conflict of this series. Not those questions this series answers for fans.

So... should you buy this graphic novel or not? I say if you're a fan of the Firefly series and have the money burning in your pocket then go for it. Granted the comic book series probably has more collectable value (especially the alternate covers), but this book puts it all in one convenient place.

If you never been exposed to Firefly, but saw the movie and liked it then you got a situation because this book will answer questions you never asked, so then you're stuck with a weak plotline. You're better off saving for the Firefly DVD set, which is well worth the expense. If you never seen either the movie or the series, but are a comic fan... well just pass this one up.

Great Material, February 4, 2006
Okay, I don't eat, sleep, and breathe Firefly like some of the reviewers do, but I loved the series and the Serenity movie. I think that this graphic novel fills in the gap between the series and movie quite well. Some of the artwork on the various characters is hit-and-miss. The artist(s) seemed to have an especially tough time with Inara. But, the story's good and the artwork is otherwise first-rate. I liked the full-page interstigial drawings of each of the characters, especially Wash, Kaylee, and Zoe. I hope that they're released as posters!

A prequel to the "Serenity" movie to explain the absent friends, April 27, 2006
"Firefly" was cancelled halfway through its first and only season. The final few episodes did not get aired, which seemed a fitting ending, because when the series began they skipped the pilot movie to air some other episodes first. When we finally got to see the episodes that did not air, we discovered that River Tam was something more than some sort of insane person with psychic tendencies. One of the things we know about Joss Whedon television shows from watching "Buffy the Vampire Slayer" and "Angel" is that there is a story arc for the first half of a season, which combines with a second half story arc to up the ante. Consequently, just as "Firefly" was getting interesting, FOX pulled the plug. Having already killed off "Dark Angel" to make room for "Firefly," it was adding insult to injury (or visa versa).

But "Firefly" fans were legion, they were vocal, and they bought enough copies of the DVD set of the abbreviated series and that gave Whedon the backing to do "Serenity," a theatrical movie that would bring some closer to the "Firefly" saga. However, the opening of the movie established that Inara and Shepherd Book were no longer aboard the good ship "Serenity." We would find out where they were in the course of the movie, but that still begged the question as to how it came to be that they left Captain Mal Reynolds and the rest of the crew behind. This would be the sort of things that fans would be able to speculate about for years, as did "Star Trek" fans filling in the gap between the original series and the first movie. However, Whedon has saved us from such fun.

"Serenity: Those Left Behind" is more a prequel to the "Serenity" movie than it is a an attempt to cover everything in between. More specifically, it is the story that explains why Inara and Shepherd Book parted company with Mal. Whedon came up with the story with Brett Matthews, who does the script, with art by Will Conrad. We bbegin with Mal, Zoe and Jayne in the middle of another sticky situation, which they manage to get out of with their lives, but not the money they were supposed to be paid. We then learn that the pair of blue gloved government agents who are after Simon and River Tam, hire an assassin with an artificial eye named Agent Dobson to find the pair. His incentive is that he will get to kill Mal Reynolds (who is, of course, responsible for the eye), so the confrontation between these two is inevitable and the meeting place is the wrecked spaceships of the Battle of Sturges.

Because of Whedon's involvement this story gets to be part of the "Firefly" canon and for that reason I round up on "Serenity: Those Left Behind." But I had to admit the story really seems like a standard "Firefly" episode, with a couple of specific things tacked on at the end to set up the situation for the film, and nothing like the film before the film. The main plot line really does not provide the impetus to justify Inara and Shepherd Book leaving "Serenity," and I would think a better job of doing that could have come from a pair of single issue stories. Still, fans will be inspired to check this out and hopefully their disappointments will be tempered accordingly. Yes, in case you were wondering, all of the variant covers of the "Serenity" crew for the three issues, half of which are really nice, are to be found within the pages of this trade paperback collection. Nathan Fillion provides an Introduction on the joys of finally becoming a comic book superhero that is a nice additon to the proceedings as well.

So, when and why and how did..., April 9, 2006
...some stuff happen between the end of Firefly and the beginning of Serenity?

It's like one of those gaps in your jaw, when a tooth has broken off or a major filling has fallen out. Your tongue keeps poking with progressively growing obsession and habit, and when the dentist (I have a very friendly sone, so no dentist-jokes here!) finally fills the gap it's a great relief. Something becomes complete. Of course, it's artificial and not the real thing, but it's better than that horrible feeling of a void, of incompleteness.

This book fufills that need. I'd rather have had a load of Firefly episodes, but we can't have those, right? So, here's a filler, and as fillers go it does the job admirably. Thanks to Joss for giving us that. You're even nicer than my dentist.

Till Noever, owlglass.com, Author: KEAEN, SELDIENNA, CONTINUITY SLIP

Disapointed Firefly fan, February 25, 2007
Look... I'm a HUGE Firefly fan. It's my favorite tv show of all time. Seriously! However the comic just didn't do anything for me. It's not that it was bad, it was just forgetful and short and uninteresting. I wanted to love it... I wanted to find something to fill the gap since Serenity, but this isn't it.

Fillin' in the blanks, February 9, 2006
I just got this yesterday and I found it an enjoyable read, though a little short. This graphic novel fills in the time between the last episode of Firefly and the Serenity motion picture. It nicely addresses some of the unanswered questions, especially why Shepherd Book left Serenity. I also enjoyed the exchange between Wash and Mal about Inara. That was definately a Joss Wheldon moment and it really had the feel of the original Firefly series. I won't say this is a must have but I liked it. I would recommend any Brown Coat at least give this a look.

It's not you, it's me, July 24, 2006
As a dyed in the wool browncoat Firefly Serenity fan, I just had to read this. What happened between the end of 'Firefly' and the start of 'Serenity'? I've got to know. I could only find this whilst travelling overseas, it hadn't been released in Australia, or at least, I couldn't find it.

But when I did, I was mildly disappointed. Not to say the artwork or the characterisations or the storyline is to blame. The artwork is good, but it's not Jack Kirby. I'm a fan of Jack Kirby marvel comic art and much of the modern stuff just leaves me cold. The characterisations were consistent with Firefly but not especially deep. I suppose Firefly is a hard act to follow.

Reading the graphic novel I was hoping for some kind of revelation and only got a bridging episode. To put it in 'Firefly', the TV series terms, had this novel's storyline been made into a TV episode, it would not have been as mind bogglingly good as the brilliant 'Objects in Space', not even as good as 'Our Miss Reynolds', although it's more important to the whole firefly mythology than a straight action episode like 'the Train Job'. To jump across media boundaries again, all told I found it better than the very disappointing movie novelisation of 'Serenity'.

"Serenity: Those Left Behind". A decent enough story but don't expect fireworks. But in the absence of more Firefly episodes or movies, let's hope a graphic novel series emerges. ... Read more