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After fifty-three issues it’s still kicking zombie ass and dropping fanboys’ jaws.

It’s safe to say that The Walking Dead has defied expectations. I mean, come on: it’s a zombie book, and one roaming out there in a sea of other zombie books, which were all spawned by an even greater number of zombie movies. How does one manage to keep this particular sub-genre fresh and interesting, even after nearly five years? The answer is simple enough-you tell a great story, and the creative team on this comic has always done just that. It has, from the start, focused much more on the survivors and their struggles than it has on new and increasingly gruesome ways to have shambling corpses tear those survivors apart, and it stands out from the pack because of this.

This issue in particular is a great example of The Walking Dead‘s strengths. For one thing, it’s very thematically tight. All throughout its twenty-two pages the surviving characters which have regrouped at Hershel’s farm are dealing with their personal losses, often in ways which make the others worry, which is saying something. One of the more unusual(though apparently not unique) coping mechanisms involves the mysterious Michonne, the sword-wielding loner who had a very disturbing back and forth with the infamous ‘Governor’ recently. Without dropping any spoilers on you, I will just say that a lingering question about her is finally answered in this issue. And that brings me to another technique in Kirkman’s toolbox that works fantastically in this series: the ramped-up cliffhanger. This month, as in many previous, we have a mystery or two cleared up, only to have a bigger one rear its head at the conclusion, resulting in those ‘holy crap’ moments that just make you hungry for more. It’s a formula that is a custom-made classic for serialized fiction, and a perfect fit for a book like this one.

In this age of the superstar writer(which is, by the way, a very positive thing), the artists often get ignored for their contributions to a successful book, so now I’d like to add a word or two about the awesome Charlie Adlard. First of all, keeping this series in black and white was a great move-the stark contrast and lack of color really amplifies the world these characters inhabit, one which is devoid of nearly everything but the ongoing struggle to remain alive amidst so much death. Adlard uses shadow beautifully, and when coupled with his masterful facial expressions the images say more than a panel full of word balloons ever could. His grasp of perspective is always used to add to the drama, and the little bits of grit and grime and spatter help anchor the world of the living dead to our own. On top of all that, his covers are always eye-catching, especially with the assistance of Cliff Rathburn’s coloring.

Yes indeed, this issue is more of the same, but for once that’s a good thing. And yeah, it’s a zombie book, but what a zombie book it is. It just goes to show that when something is done well, regardless of how many times the subject’s ground has been trod upon by the less-than-skilled, people will take notice and enjoy it. If you doubt me on that, just go down to your local shop and and ask which trades have been consistently selling out, and which books have been added most to the pull lists. The Walking Dead is one of the most entertaining and satisfying comics on the shelf, and you’re depriving yourself of a great read if you’ve been avoiding it because of its subject matter. Believe me, I understand. If I have to look at or hear about another monkey, robot, ninja, or pirate I will seriously consider drinking a bottle of drain opener. But if they’re handled half as well as Kirkman and crew handle zombies, I’ll come to my senses and live to review another day.

The Walking Dead #53
Written by: Robert Kirkman
Art and cover by: Charlie Adlard
Gray tones and color by: Cliff Rathburn
Lettering by: Rus Wooton
Published by: Image Comics

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