The Walking Dead 5 (February 2004)

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

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

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

CREDITS

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

0 thoughts on “The Walking Dead 5 (February 2004)”

  1. While I like the soap opera elements of Walking Dead, I agree that it may not be everyone’s cup of tea. The uniting feature I find about Kirkman’s writing here and on Invincible, is that he seems to write every cliche known to zombie and mainstream hero comics, and you STILL don’t know what’s going to happen next. A lot of books start where the creator isn’t quite sure where it’s going, and I think you should give it a couple dozen (they’re quick reads) before you sum it up. Again, such simpler genre fiction may not be for you. I don’t know if I’d compare it to Ennis-he’s easily one of the best, more mature writers working today, while Kirkman seems to be still feeling his oats as a younger creator. Also, Charlie Adlard takes over as series artist after the first six by Moore, whose clean style I didn’t think fit a book that needs darker atmosphere. Happy Trails.

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