by Chris Arrant
"To me, the best zombie movies aren't the splatter fests of gore and violence with goofy characters and tongue in cheek antics. Good zombie movies show us how messed up we are, they make us question our station in society... and our society's station in the world. They show us gore and violence and all that cool stuff too... but there's always an undercurrent of social commentary and thoughtfulness."
That quote is from Robert Kirkman's introduction to the first collection of
The Walking Dead, and gets to the core of why he writes the book, and also why fans love it.
It’s that technique, or formula if you will, that has proven so successful for the series which debuted at Image Comics in December 2003. In the resulting months since the inaugural release, the series has steadily risen in the charts and in the hearts of comic readers. Acclaimed by comic fans including
Shaun of the Dead co-creator Simon Pegg,
Walking Dead has followed the life of policeman and family man Rick Grimes as he deals with the tragedy that has affected his life, his family, and the world itself.
In recent issues, Rick and the crew have found a makeshift home behind the high steel fences of a high-security prison just outside Atlanta, Georgia. Although they have had a rocky relationship with the surviving prisoners, it seems quite calm compared to their previous homes. But this tenuous peace can't be permanent, otherwise what fun would that be?

"By the end of issue #18 we’ll see the situation with the prisoners resolved," Kirkman explained. "So that won’t really be an issue, one way or another. The plan right now is for Rick and Company to establish the prison as their home base, their safe place. Eventually they’ll be venturing out of their new safe zone to explore the world around them but first they’ve got to learn everything they can about their new home. That’s what issues 19-24 will be about--setting up the prison as their home. They moved into the place in issue 13 but things have been so crazy there are entire wings of the prison that haven’t been explored. There’s also plenty of things left to go wrong, which will be abundantly clear by the end of issue 18."
One of the big questions left unanswered in the pages of
The Walking Dead is, simply put, where did the zombies come from? In the first issue, the reader was left just as clueless as Rick, who awoke from a coma to discover the world in shambles. When asked if there are plans to reveal the origin of the zombie plague, creator Robert Kirkman is apprehensive.
"I think the story is more about the characters than the zombies and we really don’t
need to see why the zombies are doing what they’re doing," said Kirkman about the origin of the zombies. "Besides, they’re explained in at least some small way in almost every zombie movie. I say pick one and go with that if it makes you feel better. Me? I prefer to tell what’s happening to Rick and crew
now instead of what happened completely out of their control with no relation to them
months ago. It just doesn’t interest me."

"Of course, if sales ever take a dive you’ll see “The Walking Dead: Origin” full color special in stores," Kirkman added facetiously.
When we talk about the beginnings of the
The Walking Dead, it leads us also to grasp for the end of the series. In the movies that made the zombie genre famous, it follows the lives of a select group who seem to be the last survivors of the zombie invasion. One of the things Kirkman promised when he began the series is to find out how people would survive during this catastrophe, and how life goes on.
When asked the inevitable end, Robert Kirkman explains that he's got a plan.

"Not right now," Kirkman said bluntly. "But do any of us really know how we’re going to die? I like that the characters don’t know and I don’t know. I plan on doing at
least 75 issues and I’d like to go
well past that. So I don’t think having an end in mind is all that important. I do have events planned up through issue 50 so it’s not like I’m flying by the seat of my pants or not working towards anything."
"At the end of the day though--if I ever get into a pinch--I could just have zombies eat everyone. Instant last issue," Kirkman joked.
Switching gears a little bit, the success of
The Walking Dead have been emblematic of the zombies it portrays: slow and steady.
In an industry where most series experience a steady & slow decline in sales except when a new creative team, revamp, or a new first issue,
The Walking Dead has experienced a steady increase in sales of 112% since its first issue. With only one change of artists, the series has consistently defied the odds and garnered acclaim from all corners of the industry.

"I think it sucks. I mean, I really hate knowing that scads and scads of people are out there reading my books," Kirkman smiled.
"It should be said that
Invincible also rises in sales every month (so far, fingers crossed) so I think it’s a sign that people
do want new ideas, or at least new characters in comics," Kirkman explained. "I would never claim that having a bunch of people attacked by zombies is a new idea. But yeah, every month when sales go up I do a little dance; it’s really pretty ridiculous (the dance). Every month when numbers come in I’m always expecting a drop... so I’m equally shocked and delighted every month. It’s not going to last forever, it’s got to level out some time."
Going back to discuss the change-up in artists, when it was first announced some people were apprehensive. Tony Moore had carved a niche with his solid and expressive linework, and seemed integral to the series he helped create with his long-time friend sine 7th grade, Robert Kirkman. As lateness became a factor, Moore decided to step away from the series after issue 6 and let another artist come into the fray to make sure the series kept on schedule.
"It was tough. I’ll be honest," Kirkman explained. "Tony was a big part of the book and like you said, my friend since the 7th grade. But the schedule was slipping and I had already watched
Invincible start a steep plummet in sales when the schedule slipped and I didn’t want to see this book suffer the same fate. Tony, I think, wasn’t enjoying the book as much as he should have been, and I hated seeing my friend under such stress. For the good of himself and the book, he bailed. He’s doing some great projects right now that will all be seeing the light of day before the end of the year so everything has worked out for the best."

Enter Charlie Adlard, artist of such books as
Warlock,
2000AD, and the cult hit
Astronauts in Trouble.
"Charlie was a dream come true. It was one of those things where I had
always wanted to work with Charlie. I’d been a fan for some time and I was pretty sure I wouldn’t be able to get him. I’m still shocked he said yes, but I’m very thankful. Charlie really made me more excited about the book when he came on board. I think his work has a darker, more serious tone to it than Tony’s and that’s really what I wanted to do with this book. In the end, Charlie is a perfect fit for the
Walking Dead. He, along with gray toner Cliff Rathburn are working a special kind of magic on these stories.
Kirkman continued, saying "I think they’re a big part of why the book saw some really steep climbs in sales once they came on. . And while some people did say they preferred Tony when Charlie took over I’m hearing exactly the opposite from people who started with Charlie’s issues and worked their way back. I think in the end, comic fans just fear change."
Now that Charlie Adlard has been onboard
The Walking Dead for over a year, Robert Kirkman is still amazed by the artwork that comes in.

"What’s not to like?" Kirkman exclaimed. "His pages usually come in two batches. He’s send me half the book and then a few days later he’ll send me the other half. Those two days are like Christmas for me! I pour over every damn panel like I’ve got nothing better to do. It honestly really does kill my work schedule because I’m just staring at the pages for hours. With Ryan Ottley on
Invincible he’s sending me a page or two a day, so it’s a pretty steady stream, so it only kills a few minutes each day. But Charlie, hitting me with those bundles... heh. I think Charlie’s facial expressions are top notch. He really tells what I’m trying to tell without going over the top. Looking at issue 17, because I’ve got it in front of me, there are a few pages where someone’s just giving someone a “look” and it’s
perfect.
"Also, Charlie’s use of shadow is a sight to behold," Kirkman explains. "He’s just throwing stuff down like it’s nothing and it turns out perfect. His page layouts are superb and easy to follow. When I do actually put some action in the book it flows exactly how I want it too. Charlie’s a real pro. I’d do whatever I had to do to keep him on this book for the long-haul...and I’ve told him as much."
One of the added bonuses included in the single issues of
The Walking Dead is the inclusion of a letters column, entitled "Letter Hacks". Letters columns had long been a staple in the industry, but were eschewed away in the late 1990s to some disdain from fans and creators alike. But that tide is slowly turning, as letter columns became championed by Brian Michael Bendis in the pages of
Powers, and in
The Walking Dead.

"Every single month I sit down to do that stuff and I really,
really don’t want to. It’s a pain... it takes forever. But every time I’m at a con, or online I’m always seeing someone say it’s their favorite part of the book or that they read the book one day and then read the letters column the next day. It seems to be important to people. And goddammit... they’re buying the book...they’re putting the food on my table, I might as well give them what they want. Hell, truth be told I think the fans deserve more. I’ve got a great bunch of people reading this book as near as I can tell."
It was recently announced that another of Kirkman's creations,
Invincible, had been optioned as a major motion picture by the people behind the successful
Constantine movie. Looking at
The Walking Dead you can almost imagine, almost visualize, a movie from this
"Sure, why not. Make it a trilogy... that’s be cool, wouldn’t it?" KIrkman said. "I’m more in the Alan Moore camp on movies. I’d want them to be good, I’d do what I could to ensure that (like writing the screenplay for
Invincible) but at the end of the day its apples and oranges and I don’t think one effects the other. Movies... feh. I’ll take comics any day."