The brakes are being applied in this issue as our group of survivors resume their daily mundane existence, the ‘Hunters’ barely merit a mention. Rick & Carl get to do another father & son heart-to-heart, and while I am usually a fan of them, this time I just felt that Carl was speaking in the exact same voice as Rick and it did not really work. Carl was speaking the words of a man, and no matter how much he has had to grow up, his reasoning behind why he had to kill Ben was too lucid and too sophisticated.
The need for food plays an important part in Walking Dead #67, and it has been touched on before, but I liked the way it dominated the early part of this issue.
True to the solicit, we do find out the truth about Eugene, and I was quite surprised when it was over within a couple of pages – no long lyrical explanations, no soliloquy, just a rather mundane man with a mundane excuse. It rang true, as did Abraham’s reaction, which was far more interesting.
The art is, as ever, pivotal to the success of this book, as much as the writing is. Charlie Adlard gives some of the cast a more unkempt look this issue, especially Rick who is now sporting longer hair and a beard. These subtle changes Adlard introduces also gives a feeling of momentum,of moving on from the ‘Hunters’ arc.
This issue felt like it was over too soon, but it was essentially a holding installment for a big reveal at the end, which is going to lead into a whole new set of variables into this most brilliant of dramas / zombie soap operas. Speaking of the undead, there were a few around in this issue, but only in the distance, an indication, if any is needed, that although the title speaks of them, zombies play less and less of a role in these recent installments. What I am trying to convey is this – ‘The Walking Dead’ does not actually need the walking dead as a focus. The human drama effortlessly grabs your attention, leaving you wanting more.