The bestselling start of the Walking Dead series, now in mass market!
In the Walking Dead universe, there is no greater villain than The Governor. The despot who runs the walled-off town of Woodbury, he has his own sick sense of justice: whether it’s forcing prisoners to battle zombies in an arena for the townspeople’s amusement, or chopping off the appendages of those who cross him. The Governor was voted “Villain of the Year” by Wizard magazine the year he debuted, and his story arc was the most controversial in the history of the Walking Dead comic book series. Now, for the first time, fans of The Walking Dead will discover how The Governor became the man he is, and what drove him to such extremes.
About the Author
ROBERT KIRKMAN is best known for his work on The Walking Dead and Invincible for Image Comics, as well as Ultimate X-Men and Marvel Zombies for Marvel Comics. He is one of the five partners of Image Comics and is an executive producer and writer on The Walking Dead television show.
JAY BONANSINGA is a New York Times Bestselling novelist whose works include Perfect Victim, Shattered, Twisted, and Frozen. His debut novel, The Black Mariah, was a finalist for a Bram Stoker award.
Read an Excerpt
The Walking Dead
Rise Of The Governor
By Robert Kirkman, Jay Bonansinga
St. Martin's PressCopyright © 2011 Robert Kirkman and Jay Bonansinga
All rights reserved.
It occurs to Brian Blake as he huddles in the musty darkness, the terror constricting his chest, the pain throbbing in his knees: If only he possessed a second pair of hands, he could cover his own ears, and maybe block out the noise of human heads being demolished. Sadly, the only hands Brian currently owns are busy right now, covering the tiny ears of a little girl in the closet next to him.
The seven-year-old keeps shuddering in his arms, jerking at the intermittent THWACK-GAHHHH-THUMP outside the closet. Then comes the silence, broken only by the sticky sound of boot steps on bloody tile, and a flurry of angry whispers out in the vestibule.
Brian starts coughing again. He can't help it. For days he has been fighting this goddamn cold, a stubborn blight on his joints and sinuses that he cannot shake. It happens to him every fall, when the Georgia days start getting dank and gloomy. The dampness gets into his bones, saps his energy, and steals his breath. And now he feels the pounding stab of a fever with each cough.
Doubling over in another hacking, wheezing fit, he keeps his hands pressed down on little Penny's ears as he coughs. He knows the sound of his rasping is attracting all kinds of attention outside the closet door, out in the convolutions of the house, but there's nothing he can do about it. He sees tracings of light with each cough—like tiny filigrees of fireworks across his blind pupils.
The closet—barely four feet wide, and maybe three feet deep—is as dark as an inkwell, and it reeks of mothballs, mouse droppings, and old cedar. Plastic coat bags hang down in the darkness, brushing the sides of Brian's face. Brian's younger brother Philip told him it was okay to cough in the closet. In fact, Brian was free to cough his fucking head off—it would draw out the monsters—but Brian better not give his goddamn cold to Philip's little girl. If he did, Philip would crack Brian's head open.
The coughing fit passes.
Moments later, another pair of lumbering footsteps disturbs the silence outside the closet—another dead thing entering the kill zone. Brian squeezes his hands tighter against Penny's ears, and the child flinches at another rendition of Skull Splitting in D minor.
If asked to describe the racket outside the closet, Brian Blake would probably revert to his days as a failed music store entrepreneur and tell you that the head-cracking sounds are like a percussive symphony they might play in hell—like some trippy outtake from Edgard Varèse or a druggy drum solo from John Bonham—with repeating verses and choruses: the heavy breathing of humans ... the shambling footsteps of another moving corpse ... the whistle of an axe ... the thunk of steel sinking into flesh ...
... and finally, the big finale, the splat of moist, dead weight on the slimy parquet.
Another break in the action sends fever chills down Brian's spine. The silence closes in again. Eyes now adjusted to the darkness, Brian sees the first shimmer of thick arterial blood seeping under the bottom of the door. It looks like motor oil. He gently yanks his niece away from the spreading puddle, pulling her back against the boots and umbrellas along the back wall.
The hem of Penny Blake's little denim dress touches the blood. She quickly pulls the fabric away, and frantically rubs at the stain, as if the very absorption of the blood will infect her somehow.
Another convulsive coughing fit doubles Brian over. He fights it. He swallows the broken glass of a sore throat and pulls the little girl into a full-on embrace. He doesn't know what to do or say. He wants to help his niece. He wants to whisper something reassuring to her but cannot think of a single reassuring thing to whisper.
The girl's father would know what to say. Philip would know. He always knows what to say. Philip Blake is the guy who says the things that everybody else wishes they had said. He says what needs to be said, and he does what needs to be done. Like right now. He's out there with Bobby and Nick, doing what needs to be done ... while Brian hunkers here in the dark like a scared rabbit, wishing he knew what to say to his niece.
Considering the fact that Brian Blake is the oldest of the two siblings, it's odd how Brian has always been the runt. Barely five feet seven in his boot heels, Brian Blake is a raw-boned scarecrow of a man scarcely able to fill out his black peg-leg jeans and torn Weezer T-shirt. A mousey goatee, macramé bracelets, and a thatch of dark Ichabod Crane hair complete the picture of a thirty-five-year-old Bohemian waif stuck in Peter Pan limbo, now kneeling in the mothball-scented gloom.
Brian sucks in a hoarse breath and looks down at the doe-eyed Penny, her mute, horrified face ghostly in the darkness of the closet. The child has always been a quiet little girl, with an almost porcelain complexion, like that of a china doll, which has given her face a rather ethereal cast. But since her mother's death she has turned even further inward, becoming more wan and stoic, to the point of appearing almost translucent, with tendrils of raven-black hair obscuring her huge eyes.
For the last three days, she has hardly said a word. Of course, they have been three extraordinary days—and trauma works differently on children than it does on adults—but Brian is worried that Penny is perhaps slipping into some kind of shock.
"It's gonna be okay, kiddo," Brian whispers to her with a lame little cough as punctuation.
She says something without looking up at him. She mumbles it, staring down at the floor, a tear pearling on her dirty cheek.
"What was that, Pen?" Brian cradles her against him and wipes her tear.
She says something again, and again, and again, but not exactly to Brian. She says it more like a mantra, or a prayer, or an incantation: "It's never-ever going to be okay, never-ever-ever-ever-ever."
"Sshhhhh." He holds her head, pressing it gently against the folds of his T-shirt. He feels the damp heat of her face against his ribs. He covers her ears again as he hears the THWACK of another axe blade outside the closet, smashing through the membrane of a scalp, into the hard shell of a skull, through the layers of dura, and into the pulpy gray gelatin of an occipital lobe.
It makes a smacking noise like a baseball bat hitting a wet softball—the ejaculate of blood like a mop head slapping the floor—followed by a ghastly, wet thud. Oddly, that's the worst part for Brian: that hollow, moist thump of a body landing on expensive ceramic tile. The tile is custom made for the house, with elaborate inlay and Aztec designs. It's a lovely house ... or at least, it once was.
Again the noises cease.
Again the horrible dripping silence follows. Brian stifles a cough, holding it in like a firecracker that's about to pop, so he can better hear the minute changes in breathing outside the closet, the greasy footsteps shuffling through gore. But the place is dead silent now.
Brian feels the child seize up next to him—little Penny girding herself for another salvo of axe blows—but the silence stretches.
Inches away, the sound of a bolt clicking, and the closet doorknob turning, rashes Brian's body with gooseflesh. The door swings open.
"Okay, we're good." The baritone voice, whiskey-cured and smoky, comes from a man peering down into the recesses of the closet. Eyes blinking at the darkness, face shimmering with sweat, flush with the exertion of zombie disposal, Philip Blake holds a grue-slick axe in his workman's hand.
"You sure?" Brian utters.
Ignoring his brother, Philip gazes down at his daughter. "Everything's okay, punkin, Daddy's okay."
"Are you sure?" Brian says with a cough.
Philip looks at his brother. "You mind covering your mouth, sport?"
Brian wheezes, "You sure it's clear?"
"Punkin?" Philip Blake addresses his daughter tenderly, his faint Southern drawl belying the bright, feral embers of violence just now fading in his eyes. "I'm gonna need y'all to stay right there for a minute. Awright? You stay right there until Daddy says it's okay to come out. You understand?"
With a slight nod, the pale little girl gives him a feeble gesture of understanding.
"C'mon, sport," Philip urges his older brother out of the shadows. "Gonna need your help with the cleanup."
Brian struggles to his feet, pushing his way through the hanging overcoats.
He emerges from the closet and blinks at the harsh light of the vestibule. He stares and coughs and stares some more. For a brief moment, it looks as though the lavish entryway of the two-story Colonial, brightly lit by fancy copper chandeliers, is in the throes of being redecorated by a work crew afflicted by palsy. Great swaths of eggplant-purple spatters stain the teal green plaster walls. Rorschach patterns of black and crimson adorn the baseboards and moldings. Then the shapes on the floor register.
Six bodies lie akimbo in bloody heaps. Ages and genders are obscured by the wet carnage, the mottled, livid skin tones, and the misshapen skulls. The largest lies in a spreading pool of bile at the foot of the great circular staircase. Another one, perhaps the lady of the house, perhaps once a convivial hostess offering peach cobbler and Southern hospitality, is now splayed across the lovely white parquet floor in a contorted mess, a stringer of wormy gray matter flagging from her breached cranium.
Brian Blake feels his gorge rising, his throat involuntarily dilating.
"Okay, gentlemen, we got our work cut out for us," Philip is saying, addressing his two cronies, Nick and Bobby, as well as his brother, but Brian can barely hear over the sick thump of his own heartbeat.
He sees the other remains—over the last two days, Philip has started calling the ones they destroy "twice-cooked pork"—strewn along the dark, burnished baseboards at the threshold of the living room. Maybe the teenage children who once lived here, maybe visitors who suffered the Southern in hospitality of an infected bite, these bodies lie in sunbursts of arterial spray. One of them, his or her dented head lying facedown like a spilled soup pan, still pumps its scarlet fluids across the floor with the profusion of a breached fire hydrant. A couple of others still have small hatchet blades embedded in their crania, sunk down to the hilt, like the flags of explorers triumphantly stuck into once unattainable summits.
Brian's hand flies up to his mouth, as if he might stem the tide rising up his esophagus. He feels a tapping sensation on the top of his skull, as though a moth is ticking against his scalp. He looks up.
Blood drips from the overhead chandelier, a droplet landing on Brian's nose.
"Nick, why don't you go grab some of them tarps we saw earlier in the—"
Brian falls to his knees, hunches forward, and roars vomit across the parquet. The steaming flood of khaki-colored bile sluices across the tiles, mingling with the spoor of the fallen dead.
Tears burn Brian's eyes as he heaves four days of soul-sickness onto the floor.
* * *
Philip Blake lets out a tense sigh, the buzz of adrenaline still coursing through him. For a moment he makes no effort to go to his brother's side, but simply stands there, setting down his bloody axe, rolling his eyes. It's a miracle Philip doesn't have a groove worn into the tops of his eye sockets from all the eye rolling he's done over the years on his brother's account. But what else is Philip supposed to do? The poor son of bitch is family, and family is family ... especially in off-the-scale times such as these.
The resemblance is sure there—nothing Philip can do about that. A tall, rangy, sinewy man with the ropy muscles of a tradesman, Philip Blake shares the same dark features as his brother, the same dark almond eyes and coal-black hair of their Mexican-American mother. Mama Rose's maiden name was Garcia, and her features had dominated the lineage over those of the boys' father, a big, coarse alcoholic of Scots-Irish descent named Ed Blake. But Philip, three years younger than Brian, had gotten all the muscle.
He now stands over six feet tall in his faded jeans, work boots, and chambray shirt, with the Fu Manchu mustache and jailhouse tats of a biker; and he is about to move his imposing figure over to his retching brother, and maybe say something harsh, when he stops himself. He hears something he doesn't like coming from across the vestibule.
Bobby Marsh, an old high school pal of Philip's, stands near the base of the staircase, wiping an axe blade on his size XXL jeans. A portly thirty-two-year-old junior college dropout, his long greasy brown hair pulled back in a rattail, Bobby Marsh is not exactly obese, but definitely overweight, definitely the type of guy his Burke County High classmates would call a butterball. He now giggles with nervous, edgy, belly-shivering laughter as he watches Brian Blake vomit. The giggling is colorless and hollow—a sort of tic that Bobby cannot seem to control.
The anxious giggling had started three days ago when one of the first of the undead had lumbered out of a service bay at a gas station near the Augusta airport. Clad in blood-soaked overalls, the grease monkey shuffled out of hiding with a trail of toilet paper on his heel, and the thing had tried to make a meal out of Bobby's fat neck before Philip had stepped in and clobbered the thing with a crowbar.
The discovery that day—that a major blow to the head does the job quite nicely—had led to more nervous chortling on Bobby's part—definitely a defense mechanism—with a lot of anxious chatter about it being "something in the water, man, like the black-fucking-plague." But Philip didn't want to hear about reasons for this shit storm then, and he sure doesn't want to hear about them now.
"Hey!" Philip addresses the heavyset man. "You still think this is funny?"
Bobby's laughter dies.
On the other side of the room, near a window overlooking the dark expanse of a backyard, which is currently shrouded in night, a fourth figure watches uneasily. Nick Parsons, another friend from Philip's wayward childhood, is a compact, lean thirty-something with the kind of prep-school grooming and marine-cut hair of an eternal jock. The religious one of the bunch, Nick has taken the longest to get used to the idea of destroying things that were once human. Now his khakis and sneakers are stippled with blood, and his eyes burn with trauma, as he watches Philip approach Bobby.
"Sorry, man," Bobby mutters.
"My daughter's in there," Philip says, coming nose to nose with Marsh. The volatile chemicals of rage and panic and pain can instantly ignite in Philip Blake.
Bobby looks at the blood-slicked floor. "Sorry, sorry."
"Go get the tarps, Bobby."
Six feet away, Brian Blake, still on his hands and knees, expels the last of his stomach contents, and continues to dry-heave.
Philip goes over to his older brother, kneels by him. "Let it out."
"I'm—uh—" Brian croaks, sniffing, trying to form a complete thought.
Philip gently lays a big, grimy, callused hand on his brother's hunched shoulders. "It's okay, bro ... just let it all out."
"It's all right."
Brian gets himself under control, wipes his mouth with the back of his hand. "Y-you think you got all of them?"
"You searched ... everywhere? In the basement and stuff?"
"Yes, sir, we did. All the bedrooms ... even the attic. Last one came out of hiding at the sound of that fucking cough, loud enough to wake the fucking dead. Teenage girl, tried to have one of Bobby's chins for lunch."
Brian gulps down a raw, painful swallow. "These people ... they ... lived here."
Philip sighs. "Not anymore."
Brian manages to look around the room, then gazes up at his brother. Brian's face is wet with tears. "But they were like ... a family."
Philip nods, and he doesn't say anything. He feels like giving his brother a shrug—so fucking what—but all he does is keep nodding. He's not thinking about the zombified family he just dispatched, or the implications of all the mind-numbing butchery he's already wreaked over the last three days—slaughtering individuals who were recently soccer moms and mailmen and gas station attendants. Yesterday, Brian had gone off on some bullshit intellectual tangent about the difference between morals and ethics in this situation: Morally, one should never kill, ever, but ethically, which is subtly different, one should maintain the policy of killing only if it's in self-defense. But Philip doesn't see what they're doing as killing. You can't kill a thing that's already been killed. What you do is squash it like a bug, and move on, and stop thinking so much.
The fact is, right now, Philip isn't even thinking about the next move his little ragtag group will make—which is probably going to be entirely up to him (he has become the de facto leader of this bunch, and he might as well face it). Right now, Philip Blake is focused on a single objective: Since the nightmare started less than seventy-two hours ago, and folks started turning—for reasons nobody has yet been able to figure out—all that Philip Blake has been able to think about is protecting Penny. It is why he got the hell out of his hometown, Waynesboro, two days ago.
Excerpted from The Walking Dead by Robert Kirkman, Jay Bonansinga. Copyright © 2011 Robert Kirkman and Jay Bonansinga. Excerpted by permission of St. Martin's Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
I have been having withdrawals from "The Walking Dead" and was really excited when I saw this at Books-A-Million. If you are a fan of the show you should really enjoy it, and no worries, it won't ruin the next season because the characters aren't the same. The plot is similar in that you have a group of survivors trying to get to Atlanta, in this case it's a group of guys, two brothers, Phil and Brian, Phil's little girl, Penny, and a couple of their friends. Brian struggles to overcome his place in the family as the weaker of the two brothers, even though he's the eldest. They face many dangers and the changes in the dynamics of the group are very interesting. I really enjoyed how this "zombie book" is different from the typical "zombie book" just like "The Walking Dead" is different from the typical zombie movie. They focus on the survival instead of the blood and gore. But no worries, zombie fans; there's plenty of blood and guts to satisfy the biggest zombie fan! I think I would have given this book five stars if there had been more of a love interest in the book, but that's just the girl in me.
Please never stop the walking dead take it to the grave like Stan lee with spiderman
All the Gory Detailed Imagery of the Graphic Novels & TV Show Written Out and Described in This Picture-less Novel Addition to The Walking Dead Series. If You Are a Fan of the Show or The GN's or Both.....I Would Highly Highly Recommend This Book!
Even if you are a not a viewer of the television series or a reader of the graphic novels it is based on, this novelization is a very good zombie story. It is action-packed, fast-moving, scary and yes, graphic (but isn't that what we liked about zombie stories). The story itself is about a small group of survivors after the zombie outbreak and how they try and love in this new world. One of the characters will become the Governor that is in the title and a major character in the original stories. This didn't deter from this story. Each chapter leaves you wanting more and therefore you don't want to stop reading. I think now I will have to check out the TV show and/or the comics!
Ok I was not thrilled with the Escalade wreck as outlined, but was still a great story overall. Almost made The Governor one character you felt sympathy for. Well worth reading if you like the comics.
It had a slow start but really picked up from there. I really enjoyed this one.
Its a good book read it
If you read the graphic novels you will understand this better than watching the Awesome TV show.
Great book which rivals the comics and is much better than the show. Highly recommended.
I would recommend this book. Kept me coming back to read what's going to happen next. Again, would recommend if you like zombies.
This was a fatastic read. You get a inside view on how the governer was created. Was not a boring read. Well entertained book.
I love reading the backstory on The Governor! He is the chaaracter I love to hate but I love seeing him before he turned into such a monster.
This book is very well-written, with gruesome details and superb attention to detail. Amazing for any fan of The Walking Dead.
I have read all of the comics/ graphic novels and have watched every episode of the television series. I loved the book, however, I am still unsettled with the big "reveal". It just doesn't correlate well. That's the only thing I disagree with. Same goes for the TV series. Why all the changes? I can see how some things can't be put on TV, but things have just been made way too different. Some of the changes were good, but most are not. I guess I'm just a big fan of the old adage "If it ain't broke then don't fix it."
If you like zombies and the Walking Dead show, you will LOVE this book!! Really fun and well written! A great read!
I love the show. I thought I'd try the first book. I'm really glad I did. This book was interesting, fast-paced, surprising, and left me having an anxiety attack through most of it.... My only problem with it is the actual style of the writing. I really enjoy fine writing like that of Michael Chabon and Barbara Kingsolver, so reading this felt kind of like reading a great story by an amateur author. If you can get past that, it's quite a ride.
Really good book. Gets a little weird about hlfway through.
A very well written and thorough explanation of the Governor. I am a very big fan of The Walking Dead, and this book serves as a great backbone of Philip's story and his transformation. Has just as much suspense as the show, and I reccomend it to anyone who loves TWD. Money well spent!
Loved this book, couldn't put it down!
This book was awesome and will blow your mind at the end
Tends to drag a bit in the beginning but has an unexpected twist at the end. Loved it!
I really enjoy reading this book and finding out the back story to the Governor. Pretty "realistic" scenarios and believable characters. I didn't want to put it down.
I thought that this book provided good insight into a man with nothing to loose in a world with nothing to provide. I am glad to see them clarify a very disturbing issue in the comics. It is still disturbing but at least its...Well just read the book.
This book has a "Holly ****!" moment every chapter. Couldn't put it down.
I really enjoyed this & I cannot wait for Road to Woodbury.