'Daybreak': Zombies, One More Time...

We're very nearly on the verge of being overwhelmed by zombies—in more ways than one.


Publisher: Drawn & Quarterly
Length: 160 pages
Author: Brian Ralph
Price: $21.95
Format: Hardcover
Publication date: 2011-09

We're very nearly on the verge of being overwhelmed by zombies—in more ways than one. Some might argue it's already happened. Monsters go in and out of vogue, of course, and vampires have been enjoying a solid run of late, but my utterly nonscientific sniff-o-meter is registering that zombies have overtaken them for the number one spot. They’ve been making a solid show of it in everything from books (World War Z, Pride and Prejudice and Zombies), movies (Zombieland, Shaun of the Dead, the various George Romera Dead flicks), comics (The Walking Dead) and TV (The Walking Dead, again). Even erotica has seen the publication of something called Sex Zombies, I kid you not. (Look it up. You know you want to.) We may be nearing the limits of tolerance for zombie stories, if we haven't passed it already.

Now comes Daybreak, a slickly-produced hardcover graphic novel from Brian Ralph, whose previous work was Cave-In, a hundred-page comic that tells the story of an underground-dwelling mole-man entirely without words, eschewing dialogue and narration. Daybreak doesn’t go that far—there's plenty of dialogue here—but it does rely on long wordless passages to convey much of the action. Given that this is a post-apocalyptic zombie story, much of that action involves running away from awful things, digging through rubble, and occasionally fighting for one's life.

Most important, though, is the question: is Ralph bringing anything new with his rendition of the zombie takeover?

The answer is a qualified yes. Raph's clever structural trick is to make the familiar trope of the walking dead into a second-person narrative—the reader is a participant in the action, albeit a silent one (or at least, one whose dialogue remains absent from the page). So characters peer out from their panels directly at you, the reader, and speak to you directly, and include you in the action. Sometimes, the action is something you'd probably want to avoid, but there's no choice in the matter: their world is yours, too. It's a good technique to draw the reader in, and probably the single most engaging element in the book.

Apart from that initial surprise, though, there's not a whole lot new here. The rubble-strewn landscape, with its endless vistas of rocks and lumber and broken-down machinery, hides a numberless horde of zombies and a few plucky survivors. The reader is one of the latter, and ends up having much more to do with fellow survivors than with the walking dead. The last remnants of humanity scramble to find food and shelter while staying out of sight of both the zombies and the potentially-even-more-sinister fellow survivors. (There is one entirely predictable encounter with a bearded old man whose got some ugly secrets locked up in his shelter. Nothing too surprising here.)

An overly familiar story suffering from a thinness of plot might be saved by rich, evocative artwork, but that's not the case here. Ralph's drawings are cartoony and monochrome, simple sepia-toned line drawings that manage (usually) to convey what's going on. Crosshatching and fine line work create textures, often evoking old-fashioned wood-block printing. At times this suggests a certain primitive aesthetic and, perhaps, subtly underscores the new dark ages in which civiilization now finds itself.

The style is curiously static, though, considering all the action flaring up from time to time. Worse than that, the artwork also grows repetitive, with little that stands out for the reader's eye to engage upon. The monotonous panel structure—six square panels per page, every page, two across and three down—adds to the dullness. Again, there may be a thematic reason for the regularity; in the grand scheme of things, hunting every day for food and a safe place to hide would get monotonous. The trick, though, is to convey this to the reader without causing him or her to feel it, too.

Besides all this, there are moments where the simple artwork couples with the second-person point of view to render some sequences visually confusing. Because "you" are the character experiencing these events, Ralph limits the perspective to what you would see in a given situation—running for your life, for example—but sometimes this results in confusion. Admittedly, in real life this would probably result in confusion too, but it merely adds to the frustration for the reader at certain key moments in the story.

Ultimately, this book feels thin, despite its 160 pages and satisfying heft. It moves fast and can be read in an hour, but it leaves little impact. Without the visceral scares of a film or the linguistic complexity of a novel, a comic must rely on the interplay of word and image to generate its impact. That's what's missing here—the images are too simple to be terrifying, and the situations are too familiar to linger long in the mind. There may be life in the zombie genre yet, but Daybreak fails to make a convincing case.


Cover down, pray through: Bob Dylan's underrated, misunderstood "gospel years" are meticulously examined in this welcome new installment of his Bootleg series.

"How long can I listen to the lies of prejudice?
How long can I stay drunk on fear out in the wilderness?"
-- Bob Dylan, "When He Returns," 1979

Bob Dylan's career has been full of unpredictable left turns that have left fans confused, enthralled, enraged – sometimes all at once. At the 1965 Newport Folk Festival – accompanied by a pickup band featuring Mike Bloomfield and Al Kooper – he performed his first electric set, upsetting his folk base. His 1970 album Self Portrait is full of jazzy crooning and head-scratching covers. In 1978, his self-directed, four-hour film Renaldo and Clara was released, combining concert footage with surreal, often tedious dramatic scenes. Dylan seemed to thrive on testing the patience of his fans.

Keep reading... Show less

Inane Political Discourse, or, Alan Partridge's Parody Politics

Publicity photo of Steve Coogan courtesy of Sky Consumer Comms

That the political class now finds itself relegated to accidental Alan Partridge territory along the with rest of the twits and twats that comprise English popular culture is meaningful, to say the least.

"I evolve, I don't…revolve."
-- Alan Partridge

Alan Partridge began as a gleeful media parody in the early '90s but thanks to Brexit he has evolved into a political one. In print and online, the hopelessly awkward radio DJ from Norwich, England, is used as an emblem for incompetent leadership and code word for inane political discourse.

Keep reading... Show less

The show is called Crazy Ex-Girlfriend largely because it spends time dismantling the structure that finds it easier to write women off as "crazy" than to offer them help or understanding.

In the latest episode of Crazy Ex-Girlfriend, the CW networks' highly acclaimed musical drama, the shows protagonist, Rebecca Bunch (Rachel Bloom), is at an all time low. Within the course of five episodes she has been left at the altar, cruelly lashed out at her friends, abandoned a promising new relationship, walked out of her job, had her murky mental health history exposed, slept with her ex boyfriend's ill father, and been forced to retreat to her notoriously prickly mother's (Tovah Feldshuh) uncaring guardianship. It's to the show's credit that none of this feels remotely ridiculous or emotionally manipulative.

Keep reading... Show less

If space is time—and space is literally time in the comics form—the world of the novel is a temporal cage. Manuele Fior pushes at the formal qualities of that cage to tell his story.

Manuele Fior's 5,000 Km Per Second was originally published in 2009 and, after winning the Angouléme and Lucca comics festivals awards in 2010 and 2011, was translated and published in English for the first time in 2016. As suggested by its title, the graphic novel explores the effects of distance across continents and decades. Its love triangle begins when the teenaged Piero and his best friend Nicola ogle Lucia as she moves into an apartment across the street and concludes 20 estranged years later on that same street. The intervening years include multiple heartbreaks and the one second phone delay Lucia in Norway and Piero in Egypt experience as they speak while 5,000 kilometers apart.

Keep reading... Show less

Featuring a shining collaboration with Terry Riley, the Del Sol String Quartet have produced an excellent new music recording during their 25 years as an ensemble.

Dark Queen Mantra, both the composition and the album itself, represent a collaboration between the Del Sol String Quartet and legendary composer Terry Riley. Now in their 25th year, Del Sol have consistently championed modern music through their extensive recordings (11 to date), community and educational outreach efforts, and performances stretching from concert halls and the Library of Congress to San Francisco dance clubs. Riley, a defining figure of minimalist music, has continually infused his compositions with elements of jazz and traditional Indian elements such as raga melodies and rhythms. Featuring two contributions from Riley, as well as one from former Riley collaborator Stefano Scodanibbio, Dark Queen Mantra continues Del Sol's objective of exploring new avenues for the string quartet format.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.