Genre: Horror | Write: Robert Kirkman | Artist: Tony Moore | Release Date: 2004
Publisher: Image Comics
Collecting issues 1-6, Days Gone Bye follows Rick Grimes who awakens from a coma to find the world overrun by zombies. Searching for his family, he navigates a decaying society, encountering new survivors, dangers, and the harsh cost of survival.
Writing
The Walking Dead, Volume 1: Days Gone Bye introduces readers to a bleak, character-driven apocalypse where the real danger isn’t always the zombies—it’s the people trying to survive among them. Kirkman wastes no time throwing us into the chaos. The story follows Rick Grimes, a small-town sheriff’s deputy who wakes from a coma to find society has collapsed. It’s a gripping and intimate opening, evoking 28 Days Later, but quickly carving out its own identity.
Kirkman's writing is focused on realism—this isn’t about high-concept horror or stylish zombie slashing. Instead, it’s grounded in emotional struggle, leadership, desperation, and humanity. The pacing is excellent, steadily expanding the cast and scope without sacrificing depth. Rick’s reunion with his family is handled with believable emotion, and his slow transition into the group’s de facto leader sets the stage for later moral complexities.
Dialogue is functional but strong—it reads naturally and conveys emotion well. The relationships are nuanced, even this early. Lori’s conflicted loyalty, Shane’s possessive delusion, and Carl’s emotional reactions hint at the intense psychological arcs to come. The ending is especially potent, with Shane’s unraveling showing that the apocalypse doesn’t just reveal who people are—it breaks them.
Though the zombies are ever-present, the horror is more about the collapse of civilization and the hard choices people must make. This thematic foundation sets The Walking Dead apart and ensures long-term narrative potential.
Rating: 4 out of 5
Art Style
Tony Moore’s black-and-white artwork for Volume 1 is deeply expressive and works exceptionally well with Kirkman’s grounded narrative. The monochrome palette strips away glamor and spectacle, leaving a raw, gritty visual style that enhances the bleakness of the setting. The absence of color allows for sharp contrasts and a heavy emphasis on shadow, heightening tension and creating an oppressive, desolate atmosphere that suits the tone perfectly.
Moore’s characters are distinct and emotive. Facial expressions and body language are skillfully rendered, enabling readers to pick up on fear, anger, loss, and guilt with minimal need for dialogue. Rick, in particular, is portrayed with a weariness and drive that perfectly reflects his sudden role as a protector in a world gone to hell. Carl, Lori, Shane, and the rest of the supporting cast are all visually distinct and well-animated—no small feat in a genre filled with ensemble casts.
Zombies are grotesque but not overly exaggerated. Moore strikes a balance between horror and realism, with decomposing flesh, empty eyes, and twisted limbs rendered in a way that is both unsettling and grounded. The violence is impactful without being gratuitous; its rawness serves the story rather than sensationalism.
Panel layout is straightforward and easy to follow, which works well in a story where pacing and emotional beats are essential. Moore also uses close-ups and silent panels to excellent effect, letting moments breathe—especially during tense or tragic sequences. This visual rhythm adds to the book’s immersive quality and emotional resonance.
Rating: 4 out of 5
The Verdict
In the end, Days Gone Bye is a masterclass in slow-burn, character-driven horror. With sharp writing by Robert Kirkman and deeply expressive art by Tony Moore, it lays a powerful emotional and thematic foundation for the long-running series. It’s not just about zombies—it’s about what happens to people when the world ends. Compelling, grounded, and unforgettable, Days Gone Bye gets 4 out of 5.
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