The world we knew is gone. The world of commerce and frivolous necessity has been replaced by a world of survival and responsibility. An epidemic of apocalyptic proportions has swept the globe, causing the dead to rise and feed on the living. In a matter of months society has crumbled: no government, no grocery stores, no mail delivery, no cable TV. In a world ruled by the dead, the survivors are forced to finally start living. Rick. Ezekiel. Gregory. Negan. Each man holds the fate of their community in their hands... and WAR is on the horizon! This volume collects THE WALKING DEAD #109-114, the prelude to ALL OUT WAR—the epic battle that will change the world of THE WALKING DEAD for years to come

Following the events of SOMETHING TO FEAR, Rick and the other survivors accept a new way of life under Negan's rule, but not everyone agrees. Collects THE WALKING DEAD #103-108

As the Eisner Award winning series continues, no one in The Community is safe from what happens within its walls. Collects THE WALKING DEAD #79-84

From the beginning, both Robert Kirkman's comics and AMC's series of The Walking Dead have brought controversy in their presentations of race, gender and sexuality. Critics and fans have contended that the show's identity politics have veered toward the decidedly conservative, offering up traditional understandings of masculinity, femininity, heterosexuality, racial hierarchy and white supremacy. This collection of new essays explores the complicated nature of relationships among the story's survivors. In the end, characters demonstrate often-surprising shifts that consistently comment on identity politics. Whether agreeing or disagreeing with critics, these essays offer a rich view of how gender, race, class and sexuality intersect in complex new ways in the TV series and comics.

This special Walking Dead issue contains THE WALKING DEAD 27, featuring the first appearance of The Governor, as well as the Governor origin story that first appeared in the CBLDF LIBERTY ANNUAL 2012. Find out the origins of the villain.

There are 34 brief but meaty chapters ... the last six will really sate the hunger of diehard "Walking Dead" fans. ~ Mekeisha Madden Toby, MSN ReviewsOn the streets of Atlanta, the fight to survive is a daily battle. From the drug-infested corners of one of the city's worst housing projects, to alleyways filled with ravenous zombies-- Blindsided by the Walking Dead examines one man's battle to overcome the violence, drugs, and crime of the 'hood; starting with a young IronE Singleton determined to succeed despite an abusive mother, an absent father, and the temptations of instant gratification inherent with the thug life. Football and Faith in God become IronE's allies in his quest to escape and help him reach for the lights of the University of Georgia's football field and theater stages. After years of struggle--failed businesses, small roles, and an ill-fated trip to Los Angeles--IronE snags his major breakthrough role, playing the kind of drug-dealing, gun-toting thug he would have become on the streets, in The Blind Side. When he is cast as T-Dog on AMC's international mega-hit "The Walking Dead", IronE examines through art what humanity is about and what it means to truly survive against all odds. Alongside cast mates Michael Rooker, Norman Reedus, Jeffrey DeMunn, and Andrew Lincoln, IronE fought, gagged, and sweat his way into the hearts and minds of millions around the world.

Zombie stories are peculiarly American, as the creature was born in the New World and functions as a reminder of the atrocities of colonialism and slavery. The voodoo-based zombie films of the 1930s and '40s reveal deep-seated racist attitudes and imperialist paranoia, but the contagious, cannibalistic zombie horde invasion narrative established by George A. Romero has even greater singularity. This book provides a cultural and critical analysis of the cinematic zombie tradition, starting with its origins in Haitian folklore and tracking the development of the subgenre into the twenty-first century. Closely examining such influential works as Victor Halperin's White Zombie, Jacques Tourneur's I Walked with a Zombie, Lucio Fulci's Zombi 2, Dan O'Bannon's The Return of the Living Dead, Danny Boyle's 28 Days Later, and, of course, Romero's entire "Dead" series, it establishes the place of zombies in the Gothic tradition. Instructors considering this book for use in a course may request an examination copy here.

Historically, zombies have been portrayed in films and television series as mindless, shuffling monsters. In recent years, this has changed dramatically. The undead are fast and ferocious in 28 Days Later... (2002) and World War Z (2013). In Warm Bodies (2013) and In the Flesh (2013-2015), they are thoughtful, sensitive and capable of empathy. These sometimes radically different depictions of the undead (and the still living) suggest critical inquiries: What does it mean to be human? What makes a monster? Who survives the zombie apocalypse, and why? Focusing on classic and current movies and TV shows, the author reveals how the once-subversive modern zombie, now more popular than ever, has been co-opted by the mainstream culture industry.

The 21st century has seen a board game renaissance. At a time when streaming television finds millions of viewers, video games garner billions of dollars, and social media grows ever more intense, little has been written about the rising popularity of board games. And yet board games are one of our fastest growing hobbies, with sales increasing every year. Today's board games are more than just your average rainy-day mainstay. Once associated solely with geek subcultures, complex and strategic board games are increasingly dominating the playful media environment. The popularity of these complex board games mirrors the rise of more complex cult media products. In Game Play: Paratextuality in Contemporary Board Games, Paul Booth examines complex board games based on book, TV, and film franchises, including Doctor Who, The Walking Dead, Lord of the Rings, Star Trek, The Hunger Games and the worlds of H.P. Lovecraft. How does a game represent a cult world? How can narratives cross media platforms? By investigating the relationship between these media products and their board game versions, Booth illustrates the connections between cult media, gameplay, and narrative in a digital media environment.

The powder keg: once it goes off, it can't be contained.