15 hours on the road and I was my own red-eye on I-94’s corridor of stripclubs, fireworks and roadkill, racing past dead deer in Michigan, then Gary, Indiana’s steel mills and through Chicagoland, the Sears Tower in the distance waiting for its evil eye, till the highway gave out in Wisconsin. Yes, I went to WisCon 32, the world’s oldest feminist science fiction convention. And there I felt deeper fatigue than 15 hours, 2 countries, 4 states and 2 time zones. Zombie fatigue.
I’ve mentioned zombie fatigue before. I’m fatigued not because zombies are boring, but because I know more than I’d like and there’s always more. I receive review copies for zombie comics. I see zombie movies at Midnight Madness. Games, zombie walks, a Sufjan Stevens’ song—all probably part of some think tank’s project for the new zombie century. Zombies are inescapable. So, of course, I attended a WisCon panel where Jim Munroe asked: “Do you suffer from zombie fatigue?” While panelists weren’t happy with the panel’s titular question (“Does It Have To Get Boring Before It Gets Good?”), I can put my fatigue to
work answering their two zombie-related questions.
The first is, Are there Japanese ghoul-type zombie plague movies? Yes, offhand, I can think of three. They’re all comedic, but they exist. Wild Zero (2000) is like Rock’n’Roll High School, if aliens had turned the High School students into zombies. And if
the Ramones were Guitar Wolf, who also share a last name with their band: “Bass Wolf, Guitar Wolf and Drum Wolf.”
InTokyo Zombie (2005), characters are excited that Japan finally has its own zombie-plague. It stars Takeshi Miike regulars Sho Aikawa and Tadanobu Asano as jiu-jitsu aficionados who accidently kill their boss, bury him on a huge, garbage mountain (“Black Fuji”) and flee when the many bodies buried there rise up. Director/screenwriter Sakichi Sato also wrote Ichi the Killer and Gozu.
But before I totally tear up Ian’s yard, I’ll just add that Tokyo Zombie was originally a manga by Yusaku Hanakuma. (Last Gasp is releasing a nice-looking English translation in September, 2008).
If it were shot in the San Fernando Valley, Stacy: Attack of the School Girl Zombies (2001) would be a very particular kind of straight-to-DVD softcore title. But, instead, Naoyuki Tomomatsu’s Stacy
is a zombie plague parody with a chainsaw named, “Bruce Campbell,” and “Romero Squads” that hunt and kill “Stacies,” zombified teenage girls.
And with every teenage girl inevitably becoming a Stacy, we come to the
second question: Could there be a feminist zombie story?
Why not? Avoiding the tricky question of what “feminism” is or
“zombies” are, I can think of two graphic novels and two movies
about women and zombies.
Faith Erin Hicks’ Zombies Calling (Slave
Labor Graphics, 2007), Joss and her friends survive metafictionally
by following zombie movie rules. But Zombies
less about surviving than Joss realizing her own competence as a
“zombie-ass-kicking-ninja” (6) and finally feeling able to leave
London, Ontario for London, England, where she meets a lad as
apparently Canada-obsessed as she is obsessed with England. The hero
of Michael and Peter Spierig’s movie Undead
(2003) could be the woman who Joss wants to be. By the movie’s end,
former Miss Catch-of-the-Day, Rene guards an post-apocalyptic
Australian zombie pen with her shotgun, wearing stompy boots and her
beauty queen tiara. Beyond the pleasure of a girl with a gun, the
film itself is arguably feminist in the way that slasher movies can
be feminist. Except in these zombie stories, a woman does the
Kephart and Patricia Gomez’ Graveyard
Alive!: A Zombie Nurse in Love (2003)
and J. Marc Schmidt’s Eating
Steve: A Love Story
(Slave Labor Graphics, 2007) are more complex. Both focus on the
experience of zombified women. Graveyard Alive! is
a 1960s-style hospital romance set in Montreal. There’s gore, but
the film’s more Douglas Sirk, Nicholas Ray (and James Whale) than
Fulci or Argento. Bitten by a zombie woodsman, Nurse Patsy receives
an “ugly pretty girl” make-over via zombification and becomes
desireable to the hospital’s male staff—and the envy of the other
nurses. But the zombie plague developing in Victoria Hospital is
less important than Nurse Patsy’s newfound self-confidence and joie
zombie plague is even more tangential in Eating Steve.
Set in Australia, Eating Steve
is also about a woman coming to terms with the aftermath of a zombie
attack. But unlike Nurse Patsy, Jill deals with having tried to eat
her boyfriend’s brain. And unlike most zombies, Jill recovers after
one taste. She retreats to an isolated farmhouse—not holing up to
escape zombies but to get her life back together. She cuts her hair.
She flirts. And once she pays attention to media again, she saves
the world. But she doesn’t have the ugly pretty girl make-over.
And, me? I like my red eyes just fine.