This episode is a great demonstration of why it’s important for shows to build some tension and some goodwill before it delves into the heavy plot mechanics. There’s more than a few similarities between “I Ain’t a Judas” and the episode that kicked off the back half of season three, but there’s also a marked difference in its character beats and strong themes, in how much we care, and in how much we’re invested in the nitty-gritty of moving a story along.

As the chain gang reels from the Governor’s attack, they start questioning the next course of action and whether or not Rick is fit to lead the group going forward. Woodbury prepares for war, but when the Governor starts taking more extreme measures, Andrea takes it upon herself to try and bring things to a peaceful resolution. Loyalties are brought into question, both at the prison and Woodbury, and unexpected allies threaten to tip the balance in the Governor’s favour.

The bulk of “I Ain’t a Judas” is taken up by plot development, as the characters make their preparations for the next big event in this conflict. The last two episodes were similar, but “I Ain’t a Judas” succeeds where they had problems for a number of reasons. For one thing, it all feels like an organic extension of the characters’ decisions and personalities. Nothing happens simply for the plot’s sake: confrontations and decisions are what drive the story, both in Woodbury and the prison, and they build on what came previously.

The episode also delivers a lot of good character moments, and in accordance with the title, they all build on this theme of betrayal and changing sides. Aside from the new additions to Woodbury, “I Ain’t a Judas” has Andrea and Merle in the prison interacting with the chain gang and dealing with the switch in loyalties since everyone was together. The natural desire to catch up on all that’s changed is a great entry point to exploring the current state of the group, what’s different and what’s the same, and why their loyalties have changed or not changed.

The second half of the season has put more emphasis on Andrea and it’s a welcome change, especially after her lacklustre appearances in the first eight episodes. She’s growing into a new role within the show, something that doesn’t require a mentor or a shadow like she’s had previously, and she’s driving the story rather than being driven by it. It’s a great development, especially for fans of the comics who have been a bit disappointed by her characterisation in the show, and it’s nice to see Laurie Holden getting more material to play around with.

The Walking Dead is building its big conflict between Woodbury and the prison at the same time as the conflict is actually unfolding. The war isn’t just guns blazing; it’s the moments like what we get in “I Ain’t a Judas”. It’s about loyalties and decisions and consequences, and at the core it’s about these people. That’s why The Walking Dead is different from — and better than — the average zombie story and the average TV show.

John keegan is Editor-in-Chief for Critical Myth, a partner site of SciFi Vision. Paul Pearson is Critical Myth's reviewer for The Walking Dead.