The Walking Dead: Volume 2: Miles Behind Us
by Robert Kirkman (creator, writer, letterer);
Charlie Adlard (penciler, inker);
Cliff Rathburn (gray tones);
Tony Moore (cover)
In The Walking Dead: Volume 1: Days Gone Bye, the reader is introduced to Rick Grimes, as he wakes up from a coma in a hospital. He is by himself and immediately rings for assistance from the nurse and, then he goes in search of his home and family. He is alone and he reaches out to make a connection. In the Walking Dead: Volume 2: Miles Behind Us, we see an extension of that first intuitive search for the other.
Everybody wants to belong to someone, somewhere. This theme is developed on three levels in "Miles Behind Us:" on the personal level, on the group level and, on a "praediastic" [a word I made up from the root word, "praedium"] level. We see personal relationships develop within the small band of survivors moving on from their encampment outside of Atlanta, GA. Despite their disparate backgrounds and, the more tentative the odds of making a connection, the more tenacious the effort to establish an intimate relationship becomes. This goes beyond the group dynamics that need to be hammered out in ordered to survive; it is human nature. More importantly, it is non-zombie nature. While the zombies roam the landscape and will swarm their prey, there is no indication that they have developed any sort of societal bond, even at a pack level. There is no evidence that they recognize one another individually, much less that they can develop one-one-one relationships. But with Rick and the survivors, we see a range of personal relationships: Rick and his wife keep their marriage intact; two seven-year olds flirt; a May-December relationship buds; two teenagers declare their eternal love; two characters have a purely physical interconnection because they are lonely; two other characters look like they're hooking up out of genuine chemistry...
With every relationship started however, the group dynamic changes. Perhaps it is the herd instinct that asserts itself and compels them to think there is safety in numbers; but subjugating the individual interests to the group's good is a struggle of identity on one hand; but a recognition that even though you can't depend on anyone else, you also can't do it (survive) alone. The closeness of life in the RV they have been operating out of is too much; but then again, when the opportunity presents itself to live at the abandoned Wiltshire Estates, they want to remain neighbors. When circumstances bring them to the farmstead of Hershel Greene, Rick's group presumes integration into the household as a matter of due course and Lori is outraged when she encounters resistance.
There is a strong tradition of individuals identifying strongly with physical land. In English culture, the Earls and Dukes and such are often referred to by the names of their estates. In Rebecca (by Daphne DuMaurier) we see the strong correlation between Manderley and its master. In "Miles Behind Us," Rick and the survivors seek more than a secured shelter. If that were not true, they could keep trekking across the landscape in the RV; but they want to settle down in homes with yards; in a place where they can be neighbors (Wiltshire Estates) or even work collectively toward a greater community (the farmstead.)
Against the odds and despite the risks, people reach out to each other and attempt to build communities. It's a matter of both survival and desire.
The artwork in this volume contains less of the exaggerated features found in "Days Gone By," though the black & white panels still depend on compositional values such has balance, clarity and perspective and; when they are lacking create confusion as to the action taking place. The scenes where couples kiss or are rendered hard-edged and unsexy, belying the established mood. Worse, you can't discern whether the couples are kissing or attacking each other :-/ Again, in a couple of action panels (e.g. the zombie battle at the barn) the lack of contrast and/or perspective creates questions as to who or what is happening. Finally, the distinction between Lori and Maggie is too fine. Both characters have black hair and wear plaid at one point, making easy recognition difficult.
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| Attack at the Greene Farmstead Barn Adlard and Rathburn have chosen to eliminate the frames between the scenes in this panel, emphasizing the compression of time in the action sequence (everything seems to be happening all at once) and the confusion of the attack in progress. The lack of contrast and line of perspective, combined with the the fact that this is not a single scene frame makes the panel difficult to interpret without referencing other panels both before and after this one.The woman being attacked ("Daddy!") is the same woman in the center of the frame ("No!") and the figure on the right is not her father, but Rick Grimes! [The curvature at the bottom right-hand corner is due to the proximity of the illustration to the spine and the owner's unwilingness to break the spine for a flatter scanned image] |
The artwork is better than in "Days Gone Bye," though the ideas expressed in both volumes are often more sophisticated than the medium itself.
Other Stuff: I purchased The Walking Dead: Volume 2: Miles Behind Us from More Fun, a comic book store in Ashland, OR.
This post is part of the Murder, Monsters, Mayhem feature being hosted by Jennifer L. at www.jennsbookshelves.com
This book also qualifies for the Where Are You Reading? Challenge hosted by Sheila at her blog, Book Journey. The Walking Dead: Volume 1: Days Gone Bye starts out on the outskirts of Atlanta, Georgia.
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