A Review of The Walking Dead, Vol. 28 – Time’s Up

TITLE: The Walking Dead, Vol. 28: A Certain Doom
AUTHOR: Robert Kirkman
PENCILLER: Charlie Adlard
COLLECTS: The Walking Dead #173#178
FORMAT: Softcover
PUBLISHER: Image Comics
PRICE: $16.99
RELEASED: 
September 27, 2017

***WARNING: MAJOR spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

When you get right down to it, we’re really just waiting for all of these characters to die.

Consider the horrible things that happen to people in The Walking Dead. It’s not at all uncommon to see human beings ripped apart, disemboweled, and eaten alive. And that’s just by the zombies. Now look at everything the characters do to each other. They go to war with one another, cut each other up, bash each other’s brains in, and all manner of grotesque things. That’s the world they live in. Nobody in The Walking Dead dies of old age. Everyone in these stories is on a ticking clock.

In this volume, a major character’s time runs out. And it’s handled unconventionally, at least by Walking Dead standards.

When we open the book, the people of Alexandria are about to face the biggest zombie hoard of their lives. As the survivors rush into action, Rick and Negan struggle to survive amidst the undead. All the while, a group within the extended network of communities is preparing to rebel against Rick’s leadership. A group with a familiar name…

Let’s jump right in: This is the book where Andrea dies. Issue #165 ends with the discovery that she was bitten while helping fend off the giant hoard. Rick discovers what happened at the end of issue #166, and issue #167 is devoted entirely to her death.

We almost crack the fourth wall in #165. On the very first page, Negan is fighting off zombies, and says: “It’s funny how they keep trying to bite you, isn’t it? I mean, who’s getting bit these days–after knowing the rules this long?” And on the very last page? Andrea with a bite mark on her neck. I can’t decide whether Negan or Kirkman is the bigger jerk…

Kirkman seemed unexpectedly emotional about Andrea’s death, even including a personal message in lieu of a letters section in issue #167. He literally apologizes for killing Andrea, apparently anticipating how hard it would be for his more loyal readers. The message struck me as strange, and almost self celebratory to do that immediately after the story in question. The issue spoke for itself. The idea is that even after once again losing a woman he loves, Rick must continue on and draw strength from those around him.

Then again, Kirkman wasn’t wrong about the reaction. This story and this world can bring out a lot of emotion in its audience, and evidently its creator as well. Plus, it’s not like the message hampers the content itself. I just wouldn’t make a habit out of it.

Andrea is one of the few characters in The Walking Dead to die peacefully. Other longstanding characters like Glenn and Lori had their lives violently ripped away. But with Andrea, both the readers and the characters know it’s coming, and they’re left to agonize over it. My favorite page in the entire volume is a 16-panel montage of Andrea being visited by various characters, each saying goodbye in their own fashion. It’s a very honest way to look at a death. It’s simple, but extremely effective.

As one might expect, Rick can’t bring himself to put Andrea down so that she doesn’t become a zombie. Ergo, we get a scuffle between Rick and a zombified Andrea. An awkward physical transition and some repetitive dialogue notwithstanding, it’s a pretty good scene, centered around Rick’s inner turmoil over whether he can bear the battle any longer. Very empathetic, given everything we’ve seen.

This book also takes us a few more steps toward Negan’s redemption, as he and Rick are forced to fight side by side against the hoard. Negan even saves his life at one point, and subsequently opens up about what happened to his wife, Lucille.

The Negan redemption arc has been the most interesting thing about the series for awhile now. What makes it work so well is that Negan is an admitted psychopath. So while it seems like he’s come along way since we first met him, it’s not far fetched that this could all end up being a giant ruse. And with Andrea now gone, Rick is about to be extremely vulnerable. Seems like a hell of a good time to spring a trap. I’m not betting on a swerve turn, however. Negan trying to be a good guy is a lot more interesting than Negan reverting to his old ways.

Artistically, the book is strongest in issue #167, as that’s where the strongest subject matter is. Penciller Charlie Adlard, inker Stefano Gaudiano, and grayscale artist Cliff Rathburn turn in some absolutely beautiful imagery. There’s almost too much to mention. Virtually everything during Rick and Andrea’s final scene is awesome. The character acting is emotional and on point, particularly from Rick. There’s an absolutely gorgeous two-page spread of Rick at Andrea’s bedside during her dying moments. The tragic tenderness of that moment, coupled with how visually shaken Rick is, make Andrea’s transformation into a zombie that much more horrific. The scuffle itself isn’t perfect, but the turn itself is.

The talk between Negan and Rick in issue #164 is also artistically notable, as it’s the most vulnerable we’ve ever seen Negan be in front of another person. It’s one of the few moments in the entire series where we can tell he’s being honest. We don’t just get that from his dialogue. It’s also in his eyes, how he’s positioned in certain panels, the lighting/shading in the scene. It’s human connection, and it’s a pivotal scene in the relationship between these two characters. Now it’s just a question of how real it was on Negan’s end…

While they don’t have Negan with them any longer, the Saviors reassert themselves in this volume. It’s not remotely on the same scale as before. But it’s mildly compelling, and an alright source of tension. It takes something of a bizarre turn in issue #166, when Rick accidentally kills their new leader Sherry. During a physical confrontation, she gets pushed into a table at an awkward angle and her neck snaps. The Walking Dead isn’t exactly known for its unconvincing death sequences. But I didn’t buy this one. The physicality of it was strange. Oddly enough, it’s similar to the awkward transition we see in issue #167. Both involve an attacker being on top of Rick, and then being pushed backward. Perhaps we’ve finally found something in this series Charlie Adlard doesn’t draw perfectly.

Obviously, The Walking Dead is in no danger of…well, death. The series seems as healthy as it’s ever been. But from a creative standpoint, I often wonder about story patterns we see in the book, and whether a paradigm shift is in order.

I refer specifically to the use of big bad villains leading big bad groups to terrorize Rick and our heroes. We’ve had the Governor, we’ve had Negan, and to a lesser extent we’ve had the Whisperers. But Negan, the Saviors, and the All Out War storyline have been such a tough act to follow. It’s virtually exhausted the villain formula. Even when the Whisperers put a bunch of heads on pikes, it seemed to pale in comparison to the violent bullying we saw from the Saviors. And if we’re not fighting bad guys, we’re fighting zombies, which are essentially an environmental hazard at this point.

The book’s saving grace is that we still care about the characters, specifically the ones that have been with us a long time. Rick, Carl, Michonne, Negan, and Eugene all come to mind. But have we reached the point where we can’t break any new ground with them? In the long run, how healthy is a series where readers are just waiting for the clock to run out on the characters they love? What can be done to give The Walking Dead a creative jolt?

I don’t have the answer. I just hope Robert Kirkman does

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A Twisted Dark, Vol. 1 Review – The Horror in Your Head

TITLE: Twisted Dark, Vol. 1
AUTHOR: Neil Gibson
PENCILLERS: Atula Siriwardane, Caspar Wijngaard, Heru Prasetyo Djalal, Jan Wijngaard, Ant Mercer, Dan West
FORMAT:
Softcover
PUBLISHER:
TPub
PRICE: 
$14.99
RELEASED: August 2014

By Rob Siebert
Editor, Fanboy Wonder

Twisted Dark is a series that lives up to its name in more ways than one.

From the UK-based TPub and author/editor/founder Neil Gibson, Twisted Dark is a collection of short psychological horror and suspense tales. This is indeed the twisted and dark underbelly of the human psyche. We’ll meet Rajeev, who rises to power in Dubai through manipulation and deceit. There’s Soames, a patient in a psychiatric ward convinced everything around him is a twisted game. We also have Ashbjorn, whose fractured mind is trying to shield him from the unspeakable pain of his horrific reality. These stories and characters stand alone for now. But they all exist in the shared universe of Twisted Dark. They may not know it, but their paths have already started to cross…

What I really enjoy about Twisted Dark is that it showcases the versatility of the black and white comic book. You’ve got so many different methods and textures on display here, at times from the same artist. Caspar Wijngaard, for instance, does “Routine.” We see deep blacks, a lot of jagged lines, and a high black and white contrast. He also does the cover, so it’s the style you expect when you open the book. But then later, we get “Cocaina,” in which he lowers the contrast, and starts playing with grays. His brother Jan Wijngaard also gets to show off with two stories. I would classify his style as softer than Caspar’s, and bit sketchier. It’s one thing to do that between different titles. It’s another to do it within a single volume, and is a real credit to both men as artists.

I stumbled across this book at C2E2 this year. It’s got a three-page opening story that provides a hell of a hook, and an appetizer for the book’s brand of storytelling. I love that first page (shown right). There’s a haunting sense of foreboding in the art alone. And then you read that lone bit of text at the bottom. Now that‘s a hook.

Most of these stories have a narrator with a very storybook-ish voice. Everything’s very plainly spoken, and seemingly unbiased. There’s a haunting quality in that. Especially after we see all these awful and disturbing things happen. We have no indication that the narrator is part of the horror itself in any way. But he’s your messenger, so you develop a subtle fear of him (her?) as well.

Once you hit the second or third story, you inevitably recognize a pattern to the storytelling. It’s the classic twist take on horror. (Twisted Dark…get it?) At some point in the story, you learn that your main character isn’t who you thought they were, or that they were being deceived somehow. Evil and/or bloodshed commences. You learn not to get too invested in who you’re seeing, and you’re always on the look-out for the swerve. This has obvious pros and cons. When you have an anthology of twist stories, they almost aren’t even twists anymore. They’re stories that adhere to a format. “Windowpayne” comes at about the midpoint of the book, and is about an entrepreneur with a facial scar who creates windowpanes that double as a sort of television. The character is interesting, but the story has an ending you can see a mile away because of the story patterns.

In apparent recognition of that pattern, the majority of the book’s subsequent twists become a little less jarring, though often no less violent. “Munchausen’s Little Proxy,” which is about a woman addicted to surgery, is more of a character piece than a narrative with a twist. Ditto for “The Pushman,” about a train worker from Tokyo. As there are several more volumes of Twisted Dark, I’m curious to see how the stories are positioned going forward.

On that note, all these stories and characters apparently exist in the same universe, and there are connections to be found. Perhaps I’m simply not eagle-eyed enough to spot them, as none were apparent to me as I closed the book. But I don’t doubt they’re there.

I appreciate the psychological component of Twisted Dark. While there’s no shortage of violence, they aren’t stories about violence, or gore, or monsters, or any of that. Twisted Dark recognizes that the scariest place of all is the human mind…

There’s an argument to be made that “The Routine” is the book’s best tale. It’s got a very horror-ish look, and it’s the first major twist we see, so it’s the most intense. But the character that gets the most development is Rajeev, by virtue of being the only one who’s story gets a sequel. He starts off as a humble but average man from south India who becomes a slave laborer, but in time rises to power. I wouldn’t call Rajeev’s tale the best in the book, but it does get the most page time, and thus the most progression. The second story, “A Heavenly Note,” is somewhat unique. While Rajeev rises to power in the first tale, the second one is about maintaining that power. That’s not always something you see in stories about the rise of tyrants. Obtaining power is one thing. Keeping it is another.

Twisted Dark would still work as a series featuring self-contained short stories. What we get is fairly simplistic, at least at this point. But the book manages to make good on it’s name. Plus, the idea that all these stories will somehow bleed into one another adds another level of intrigue. If you like your horror a little less gory, and more psychological, Twisted Dark is up your ally.

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A Review of The Walking Dead #167 – Andrea’s Fate

TITLE: The Walking Dead #167
AUTHOR: Robert Kirkman
PENCILLER: Charlie Adlard
PUBLISHER: Image Comics
PRICE: $2.99
RELEASED: May 3, 2017

***WARNING: Spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

There’s always been a direct correlation between the quality of a Walking Dead story, and how real and relatable things feel. That’s what’s made this story different from typical zombie lore. We’ve had so much time with these characters, and seen them to do much more than run from zombies. The world they live in is obviously a fantasy. But we’ve seen them grow and change like real people.

That’s what makes issue #167 so impactful. To a certain extent, it feels like a real person has died. Furthering that point, it’s handled in a very raw and emotional fashion. This is unquestionably one of the best issues of the entire series. Maybe the best.

Andrea has been bitten. After having been with her for so long, Rick must once again say goodbye to a woman he loves. But can he bring himself to continue on without her? And how does her death impact Carl, Negan, Michonne, and the rest of the survivors? Especially now that the Saviors may once again be a threat…

I’ve never been any good at saying goodbye. Maybe that’s why this issue resonated so much with me. This is essentially one big goodbye to Andrea. They even forego the letters column this month, replacing it with a message from Kirkman about the character. It all may seem a little self-important. But The Walking Dead has such a passionate and devoted fanbase, that you can actually see the some of the reasoning behind it. Andrea has been part of the series since it’s second issue. She was one of the “originals.” So her death means that much more.

My favorite page in the issue is on a 16-panel grid, where we see major and minor characters alike pay their respects to Andrea. Each gets one panel. There’s a striking honesty on this page. You have some of the obvious, “we love you” and “if it hadn’t been for you” type stuff. But Heath, for instance, says: “We never talked much. I’m sorry for that. I’m not the best at making friends.” Carl’s love interest Lydia says, “I don’t think you like me, but…I’m not going to hurt Carl.” Then you have Negan, who puts his own little spin on a goodbye. And that’s not even taking the artistic quality of the page into account. It’s fantastic work by Kirkman, Adlard, and the entire team.

Kirkman uses Andrea’s death to talk about the human condition a little more directly. When talking with Carl about his relationship with Lydia, she tells him “People like to think there are people out there they’re meant to be with” but that “Anybody can love anyone if they want to.” He’s essentially trying to debunk the idea of soulmates, and asserting the notion that people make their own destinies. One might read that as Kirkman getting on his high horse. I suppose that’s true. But it’s his book, after all…

As one might imagine, much of the issue is spent with Rick and Andrea alone. He sits at her bedside in her final hours. It’s good stuff, but we get some odd repetition. Rick breaks down, talking about how he can’t go on, can’t stay strong, etc. In her last big monologue, Andrea tells Rick that he must continue, and how he’s made everyone else stronger. Then a few pages later, after Andrea has passed, Rick doubts himself out loud again. As he did just a few pages earlier, he says he “can’t do this anymore,” and that he just killed a woman a matter of hours ago. (It happened last issue. Long story.) The only real difference is that Andrea is dead in the latter scene. It’s a big difference of course, and Andrea’s monologue has all the appropriate power. I just wonder why the choice was made to have Rick repeat himself. In between those stretches of dialogue, we get four whole pages of silence, simply letting the art show us the final moments of Andrea’s life. I wonder if it would have been better to maintain that silence.

Charlie Adlard, inker Stefano Gaudiano, and gray tone artist Cliff Rathburn work their usual magic here. I almost hate to use that term, as it seemingly lessens the gravity of what they’ve been able to accomplish on this series. Adlard and Rathburn have been with the series since its early days. So it’s always gratifying to see them there when a long-standing character leaves the book.

There are a good amount of splash pages and two-page spreads in this issue. There’s a two-page shot of Rick at Andrea’s bedside that’s tremendous. There are a lot of deep black in the room, yet we get the sunlight coming in through the window. This is also a great showcase for Adlard’s character “acting” skills. He’s become absolutely amazing with the subtleties in human facial expression. Case in point, the splash page of Rick’s face after Andrea is gone once and for all, and the impact of what’s just happened finally sets in. Then you have the panel below, where Andrea has died, and Rick has to prevent her from turning…

Despite Andrea’s death, this issue is really about two things: Perseverance and hope. This is the most painful and most personal blow Rick has faced since he lost his wife and baby. But the issue ends not with more grief, but with an eye toward the future. The Walking Dead isn’t necessarily a series that’s known for it’s optimism. So often this world prompts its character to act on their darkest and most disturbed impulses. Going the other way was smart, given the emotional impact of what we’re seeing. It’s part of what makes this a landmark issue for the series.

One of the things Kirkman does very well with The Walking Dead is create a certain legacy for characters that have died. The deaths of characters like Glenn, Lori, and Herschel are still being felt in the series today. So as we move forward, the question becomes: What will Andrea’s legacy be?

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A Review of The Walking Dead #163 – The Value of Context

The Walking Dead #163TITLE: The Walking Dead #163
AUTHOR: Robert Kirkman
PENCILLER: Charlie Adlard
PUBLISHER: Image Comics
PRICE: $0.25
RELEASED: February 1, 2017

By Rob Siebert
Editor, Fanboy Wonder

With its 25-cent price tag, The Walking Dead #163 is theoretically a jumping-on point for new readers. Given what a global phenomenon it’s become, it’s almost hard to imagine The Walking Dead needing new readers. But if you’re someone who strictly reads the trades, only picks it up here and there, or are indeed among the uninitiated, the Undead Express has stopped and opened its doors for you.

In the spirit of new readers, the plot is pretty straightforward: A bunch of zombies are headed toward Alexandria. As in, thousands upon thousands of zombies. Literally the biggest hoard we’ve ever seen in the pages of TWD. Andrea takes a group on horseback to try and divert some of the hoard away. But Rick, Negan, and the people of Alexandria cannot escape the inevitable. Alexandria is about to be flooded by an ocean of the dead.

the-walking-dead #162, two-page spreadWe learned about this giant hoard last month in The Walking Dead #162. The revelation came with one of the best spreads penciller Charlie Adlard has ever done (shown right). With aid from inker Stefano Gaudiano, and gray tone artist Cliff Rathburn, he gives us an image of a seemingly endless sea of walkers. And of course, you have that one looking out at the reader, which gives it a tremendous punch.

We don’t have an image like that in this issue. One that demonstrates the immense magnitude of the threat our heroes are facing. We see big groups of zombies, and we see the ginormous hoard from a distance. But there’s nothing like this, where we can really see  how massive and all-encompassing the threat is.

I’m not greedy enough to expect Adlard and the artistic team to produce a two-page spread of this quality in back-to-back issues. However, issue #163 is not only the most widely printed in the book’s history (as editor Sean Mackiewicz notes in the letters section), but comes at an almost irresistible price. So if I have the choice of putting that spread in this issue or the one immediately before it, I’m putting it here. For readers who didn’t pick up issue #162 it would offer valuable context, along with a great taste of Adlard’s brilliance.

the-walking-dead #163, 2017, Charlie AdlardIf there was ever an issue to up that zombie gore factor, it’s this one. What we get on that front is decent. There’s lots of crushing and squishing going on. Zombies being cut apart as they’re pushed through Alexandria’s front gate (shown left), bodies being impaled on spikes, zombies walking over each other, etc. It’s good stuff, but without that context of just how big the threat is, it’s lacking something. That extra fear isn’t there.

Rick’s relationship with Negan has been one of the focal points of the series in the last few years. What does Negan have to do to earn his trust? Can he earn his trust? Can he ever be forgiven or redeemed? In this issue, he gets to flat out ask Rick about that after saving his life. This comes moments after Rick calls the other survivors to follow Negan’s lead in going on the defensive against the walkers. What kind of personal hostilities would Rick open up with Maggie if he forgave the man who killed her husband? As it stands, things aren’t exactly peachy between Alexandria and the Hilltop.

Michonne has a tremendous character moment here. After trying in vain to divert some of the zombies away from the main group, she jumps off her horse and simply starts cutting them down one at a time. She and Jesus then opt to take turns. Every little bit helps, and based on the solicitations for upcoming issues, Rick and his crew are going to need all the help they can get. Not just from zombies, but from those they thought were their allies. Allegiances are about to change.

I’m curious to see how many new readers jump in with this issue. They didn’t necessarily structure it to be noob-friendly. It was essentially business as usual. But when it comes to The Walking Dead, business is booming. So it wouldn’t surprise me to see them sink their teeth into a few new readers.

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A Glitterbomb #1 Review – When Bad Things Happen to Bad People

Glitterbomb #1, 2016, Djibril Morissette-PhanTITLE: Glitterbomb #1
AUTHOR: Jim Zub
PENCILLER: Djibril Morissette-Phan
PUBLISHER: Image Comics
PRICE: $3.99
RELEASED: September 7, 2016

By Rob Siebert
Editor, Fanboy Wonder

Glitterbomb may not look like a book about purity of spirit, overcoming society’s preconceived notions, or the parasitic nature of the entertainment industry. But it covers all of that, with some tentacles thrown in for good measure.

Farrah Durante is a middle-aged, out of work actress and mother desperately on the hunt for her next part. But neither Hollywood nor her agent have anything for her. They’re not exactly kind about it, either. But when Farrah is at her lowest, she’s possessed by an otherworldly monster. She then abruptly wakes up with no memory of what’s happened. The world hasn’t been very nice to Farrah Durante. Now, she and her new “companion” are going to be not-very-nice right back. And blood will be spilled.

What we have here is a good ol’ fashioned cathartic revenge story. There’s certainly no shortage of either catharsis or revenge here. In Jim Zub’s indictment of the entertainment industry, Farrah has committed the unforgivable sin of aging in Hollywood. Her desperation and her struggle to keep up with the needs of her young son, who is so little and naive, are heartbreaking. People also say things to this woman that are almost impossibly mean. Normally it’s considered a bad thing to get possessed by a sea monster. But for Farrah, it’s an improvement.

Glitterbomb #1, 2016Zub’s concept and his intentions make for a good comic. But the issue really belongs to penciller Djibril Morissette-Phan and colorist K. Michael Russell. The sheer despair and hopelessness injected into Farrah make her almost immediately relatable as a character. Look at her body language, the bags under her eyes, the complete lack of anything remotely resembling contentment. Delightfully complimentary are Russell’s dreary, muted, gloomy colors. This issue feels like it takes place in the middle of an L.A. heatwave. I read Farrah as being constantly sweaty and dirty. Except, of course, when she plunges into the ocean. We get a gorgeous two-page spread, and a little hint as to the monster’s motivation.

I’ll also credit Glitterbomb with actually giving me a fright. At the bottom of page 26, Farrah’s son takes a fall. Then on page 27, she leaps to catch him as he’s about to hit the ground. Before you can process the entire image, there’s brief moment where you wonder if he’s actually going to complete the fall. Definitely one of the more jarring moments I’ve seen in recent memory, as it’s so much more reality-based than someone being killed by a monster. Though to the issue’s credit, if you’re picking it up without having seen any previews (as I did), that first kill is a big surprise. Did not expect that at all…

Post-story, Holly Raychelle Hughes also contributes a heart-wrenching prose essay about how awfully she was treated in the film industry. Frankly, it’s worth the $3.99 on its own.

Glitterbomb #1, 2016, FarrahI can’t say I expected a story like this from the author of Skullkickers. But Jim Zub and this team have something good here. There’s a satisfying moral to Glitterbomb as well. One might be distracted at first by the blood and gore. But one can certainly appreciate the message about how to treat people, particularly those down on their luck.

After all, karma can be downright monstrous.

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A Review of The Walking Dead #156 – True Psychopathy

The Walking Dead #156, 2016, Charlie AdlardTITLE: The Walking Dead #156
AUTHOR: Robert Kirkman
PENCILLER: Charlie Adlard
PUBLISHER: Image Comics
PRICE: $2.99
RELEASED: July 7, 2016

***WARNING: Major spoilers lay ahead for The Walking Dead #156.***

By Rob Siebert
Editor, Fanboy Wonder

When reading The Walking Dead, I always try to keep in mind something Robert Kirkman wrote in the letters column for issue #100:“A good indication that we’re not going to do something is if hundreds of people predict it. If it’s obvious, we’ve probably already decided not to do it…because it’s obvious.”

So with all signs pointing to a Negan/Alpha romance, we probably should have realized a swerve was coming. And it’s every bit as bloody and graphic as you’d expect from Negan.

After spending about two years as a prisoner in Alexandria, Negan has escaped and joined The Whisperers. But he needs to prove himself, mainly to their leader Alpha. As we come to learn, Negan’s way of life doesn’t necessarily mesh with his new cohorts. As a result, near the end of the issue he abruptly kills Alpha, and then beheads the corpse. We close with the line, “Wait until Rick gets a look at you…”

Alpha, TWD 156This is the issue where the emotionless and merciless Alpha finally breaks. So much of this series has been focused on what the apocalypse turns people into. But we’ve never gone the other way. In the our final scene, Negan destroys the psychological barrier she’s built around herself. Despite her status as a villain, it’s heartbreaking. Especially when she talks about missing her daughter Lydia, who we’ve come to know. Then, of course, Negan robs her of the chance to ever see Lydia again. Thus her story becomes even more tragic.

Negan is such a fun character that it can be difficult not to like the guy. Until he does something awful, and you’re kicking yourself for not remembering just who he is. Issue #156 is a textbook example. He saves a young woman from being raped, and then seems to show Alpha his own unique version of compassion. But we’re reminded that he is a psychopath in the truest sense of the word. He talks about losing his ability to feel a full range of emotions after the death of someone close to him (presumably his wife). This explains why he has such a difficult time when other people get emotional around him. We see it here with Alpha, and the scene with Carl from issue #106 comes to mind.

Negan and Alpha, TWD #156The line about Rick is obviously curious. The way Rick has come to him for guidance lately, my guess is Negan tries to use the murder of Alpha as a get-out-of-jail card. Now, as a free man who happens to have the leader’s ear, he’ll have a huge amount of influence, and perhaps the ability to chart a new course.

The praise for Charlie Adlard’s work almost goes without saying at this point. The scene where Alpha breaks down is fantastic. Strictly from a visual standpoint, we can see the cracks start to appear in her hardened demeanor until she finally loses control. The final page also lands really well. But my favorite moment in the issue can be seen above. Negan doesn’t know how to handle Alpha breaking down, and Adlard simply has his eyes dart to his right. He’s so obviously uncomfortable that it inevitably becomes funny. Of course, then he cuts her throat. Kind of a buzz killer.

So whose side is Negan really on? Is he about to take command of The Whisperers? Or will he show his loyalty to Rick? The only thing we can be sure of is that in the end, Negan will be on his own side. I’d be surprised if a reunion with Lucille isn’t far off.

Images from readcomics.net.

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A Review of The Vision #6 – The Jig is Up!

The Vision #6, 2016TITLE: The Vision #6
AUTHOR: Tom King
PENCILLER: Gabriel Hernandez Walta. Cover by Marco D’Alfonso.
PUBLISHER: Marvel
PRICE: $3.99
RELEASED: April 6, 2016

***Miss last issue? Boom. Or head back to the beginning with issue #1.***

***WARNING: Minor spoilers ahead.***

By Rob Siebert
Editor, Fanboy Wonder

This series needs to get cancelled…in seven months.

Tom King has signed an exclusive deal with DC, and will succeed Scott Snyder as the writer on Batman. But we’ll be seeing his handprints on The Vision through issue #12. That should really be the end of this series, as you’re not going to find anyone who’s going to top this, or even maintain the current quality. Plus, let’s be honest. This is Marvel. If there’s enough demand, another Vision series will be part of their next big relaunch.

The jig is up for The Vision’s wife, Viv. Her husband has learned her secrets. Vision literally discovers Grim Reaper’s body buried in the back yard. The question now is, what happens going forward? Does The Vision maintain this classic American facade he’s created? Or is it all for naught now that the bodies are piling up?

The Vision #6, Gabriel Hernandez Walta, headshotKing and Gabriel Hernandez Walta aren’t going to earn any points with the PETA crowd on this issue, as Grim Reaper’s body is discovered by a small dog, which is subsequently killed. It’s a jarring image, but that’s part of this book’s M.O. isn’t it?

Speaking of which, how about this headshot? It’s not even the blood. That’s just the garnish on the dish. It’s the eyes, the color of the “skin,” and the way the shadow frames his face. This page puts you inside the issue, and face to face with The Vision. As such, it puts you in the shoes of all the citizens who interact with he and his family.

And yet, it’s not as though Vision is cast as this awful horror comic villain. In some ways, he’s very sympathetic here. He wants to be normal. He wants a family, and he’s willing to go to drastic measures to make that a reality. But of course, he was doomed to fail from the start. And if anyone finds out about those drastic measures, his entire existence is ruined.

It looks like next issue we’re officially acknowledging the elephant that’s been in the room this whole time: Wanda Maximoff, a.k.a. Scarlet Witch. We’ve had a good six issues to dive into Vision’s new status quo, and now is a good time to peek behind the curtain and see just how we got here. Wanda had some sort of role, most likely unknowing, in the creation of this family. I’m curious to see if that role is as unsettling, or perhaps as horrific, as what has subsequently unfolded.

Image from author’s collection.

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