The
majority of authors who write zombie fiction adequately explore the idea that
the living are far more dangerous to the survival of the species than walking
corpses. If we consider the zombie phenomenon as a "plague" then
Stephen King himself described how the center of civilization would collapse
upon itself in his iconic novel, The
Stand. The military is well-equipped and there are plenty of emergency plans
in place in the event of an outbreak, however, the best-laid plans of mice and
men often go awry.
Any
zombie-virus outbreak that has been imagined in popular fiction is an extension
of a severe natural disaster—on a much larger scale. The tragedies of Hurricane
Katrina and Superstorm Sandy have devastated families and have altered lives
forever; there has been much criticism levied at the procedures that were
implemented to protect and preserve. But there are tales of heroism and
sacrifice, of people coming together for a common good, but in the media, we
often read the stories about long lines for gasoline amid fights and looting.
The events
of 9/11 were generation-defining, etched forever into the memories of a country
that will forever grieve. While my own recollection of the event remains vivid,
fear touched every corner of our country and challenged our way of life.
It's not my
intention to summarize these disasters and the ripple-effect upon society;
however, we should observe these disasters, and popular fiction, as factors
that demonstrate the relevance of zombie fiction as a genre.
We
understand that George Romero's films display a microcosm for many problems we
face in a self-serving world. Indeed, we can analyze all of his zombie films
and pick them apart for the sake of critical analysis for years, but
essentially, Romero didn't need a big budget or explosions to provide
apocalyptic stories that demonstrate our failures—and why such an event would
be possible. In comparison, The Walking
Dead comic book series by Robert Kirkman analyzes the social and
psychological impact of a cataclysmic disaster. While characters attempt to
define morality, city-state structures rise and fall as the result of fledgling
social experiments. I'm reminded of Ancient Greece, and from a historical
perspective, I have to consider what it took to finally unify those cities into
one nation.
There are
many authors who offer their own unique perspective regarding the reaction and
the fallout from a zombie apocalypse, and many of these concepts explore the
definition of humanity in the face of a crisis. Zombie behaviors also allow us
a glimpse into the hive-mind mentality of a consumer-culture.
I believe
that showcasing an apocalyptic scenario in the city of Detroit would provide
the backdrop for many of these themes. Necropolis
Now utilizes characters who are damned by their own flaws, though what
makes them weak in a civilized world may help them in a crumbling city.
The zombie
genre is significantly relevant. While I don't dare compare myself to Romero or
King, I believe there is plenty of room to explore important themes with a
disaster-scenario that uses zombies, while still being able to entertain.
Zombies are certainly an extension of the contagion-outbreak scenario; but as
King and Romero masterfully explained, our human failings—our paranoia, greed,
and self-loathing—are the greater catalysts for the unraveling center. In a
fictional apocalypse where suffering and violence are rampant, there emerges a human
spirit capable of love and virtue; our search for these heroes within the pages
of a zombie novel where norms have dissolved in the wake of terror mirrors our
need for more heroes to emerge out of the muck and negativity of the real
world.
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