Where Are All the ‘Good’ Zombies? The Rise of Rafael Styx Holds the Key…
Mark Ricche
|
As I was re-watching Season Five of “The Walking Dead” last week to prep for its return on Valentine’s Day, a thought crossed my mind: “Are all zombies bad or doomed to be so?” When I say “bad,” I mean blood-sucking, single-minded, brain-eating, stiff-walking, apocalypse-causing beasts.
Has there never been a “good” zombie portrayed in literature or film? Has there never been a full-fledged, Stage 4, terminal zombie with true altruistic designs on life? And if not, why is that so?
I guess what I am really asking is: “When will the next generation of zombie lovers provide the foundation of a new zombie archetype?” At what point will a fresh, new contribution be made to zombieology (the mythology of zombies)? One that provides true landmarks such as Night of the Living Dead (1968) or 1985’s Day of the Dead (which gave us Bub, the first “humanized” zombie of cinema) or Return of the Living Dead, also 1985 (which introduced the first brain eating zombies). These films offered us evolutionary trigger points in the zombie lexicon. They were the genesis of a number of zombie archetypes that soon after entered our collective zombie consciousness.
Perhaps I have become a little bored of the entire zombie craze as of late. It was all downhill for me after World War Z. Global warming, Ebola containment, government corruption… that certainly summed up 2013! So, dare I ask, at what point will our generation be able to take the zombie icon to the next level, or are we doomed to view our current zombie clichés as nothing more than just a passing fad.
This penchant to uncover a “good,” or “humanized,” zombie story led me to several new zombified finds. I came across Jonathan Levine’s 2013 film Warm Bodies, the TV miniseries “In the Flesh,” and The CW series “iZombie,” to name a few. But will any of these become classics and rewrite the Book of the Undead, so to speak? Let’s examine.
Warm Bodies embraces an intriguing concept: Can love revive a zombie from the dead? Part comedy, part thriller, part romance, this modern-day retelling of the Romeo and Juliet story was engaging, if not a bit far-fetched for most hardcore zombie lovers. I give the film props for its production value, all-star cast, and overall ingenuity for having some fun playing with typical zombie tropes. But I was still looking for something that was more than just clever for cleverness’ sake. Yes, we have come along way since White Zombie (1932), but what, if anything, do these modern stories contribute to the historical zombie database?
“In the Flesh” was a 2013/14 award-winning BBC3/America television miniseries that plays on the allegorical premise of racism. Set four years after the zombie apocalypse, the government is now trying to recondition the zombie nation, or PDS (Partially Deceased Syndrome) sufferers, helping them to reintegrate into society. Not since Planet of the Apes has a sci-fi premise been used so eloquently on the subject of race relations. And on top of having a bisexual protagonist, the series further diversifies its cast with female leads, which helps provide it a passing grade on the Bechdel Test (a true rarity in the current realm of modern TV programming).
Addressing topics that include depression, gender politics, suicide, drug addiction… the writers of “In the Flesh” were not shy in their compelling approach to subject matter. So then, why was the show cancelled after only two seasons? Is it that modern audiences lack the attention span to engage in a thinking (wo)man’s television show, or has TV become too escapist in its golden age? (Which reminds me… can someone please notify all Hollywood costume designers that the only “defenders of justice” allowed to dress in anything other than polyester should be superheroes. If I see another show where the lead investigator is wearing Gucci or his or her assistant has a coif of hair, I may just shoot myself… and then return as a zombie to wreak my vengeance!)
Which leads me to “iZombie,” an American-made television series loosely based on a DC comic. The premise centers around a county morgue employee who eats the brains of deceased murder victims, which in turn imbues her with not only elements of their personality but, more importantly, flashback episodes that allow her to psychically help solve their murder cases. With a whopping 100% Rotten Tomatoes score (Season 2), this show is on a roll, but it’s a bit youth-oriented for my tastes. (I should admit that I do not use Rotten Tomatoes as my critical gauge for assessing production value of any sort; I prefer The New Yorker.) “iZombie” is a satire much like “In The Flesh,” but more so a satire of the state of modern television.
It would seem that I had been left high and dry for a good, human zombie story that didn’t cater to a demographic half my age. Will this generation ever be able to rise to the cause and create a true zombie classic? And then I came across Styx.
Now, go figure that it would be a literary source that would finally satisfy my desire for a “work of art” instead of a “clothing advertisement” disguised as TV show. But then again, where does Hollywood get most of its source material if not Simon and Schuster?
When Styx, by Flemish crime writer Bavo Dhooge, crossed my desk, I felt like I had finally found what I was looking for. It is the story of Rafael Styx, a corrupt cop turned zombie on the hunt of a serial killer nicknamed “The Stuffer,” who fills his victims with mounds of sand and then poses their carcasses as public art displays. Interesting crime novel premise, I thought, even if it reminded me of the 1988 movie Dead Heat starring Treat Williams and Joe Piscopo. So I dove right in, devouring the first twelve chapters in one reading.
Now, for those of you who are part of the current “all things zombie craze” and who are interested in reading this book without much foreknowledge, I’d suggest you cease reading this article right now and click here so that you can begin your own literary journey. Or you could wait for the pending film to be released as I was recently informed that Hollywood has already laid claim to the rights (no shocker there). Otherwise, please note… MAJOR SPOILERS lie ahead!
Since I knew the antihero of this story would be zombified at some point, I read the first several chapters with the impatience of small child. I found the opening of the story very necessary in its establishment of our soon to be protagonist, if not a bit drawn out. (I, of course, am a zombie fan so I wanted to get to the juice.)
And get there I did, in Chapter Seven when the author finally zombifies his lead character and then sets him loose in the small beach town of Ostend, Belgium, both past and present. What I mean by that is there is a time-traveling component employed as well, which sets up a rather intriguing literary mechanism for future sequels (although I felt it was a bit of an under-utilized device in its current incarnation).
Just after zombification occurs, the story really takes off and leaves you breathless. The time invested in the first six chapters begins paying dividends as we see Rafael Styx mutate and actually become the story’s crusader-champion, a “good” zombie if you will. A zombie with a conscience. Who’d have thunk it? In fact, as Styx’s contends with his metamorphosis, he actually becomes more human in the process. Not since Stevenson’s Jekyll and Hyde have we explored the duality of man at this level.
With each flip of the page, Styx’s body disintegrates, but his soul revives. (Now, wouldn’t we like to see that happen to Donald Trump?) This exploration of (or play on) age and wisdom is the hearty metaphorical paradox poised at the book’s center. The story truly goes beyond the common, pop-culture zombie motifs we are so often bombarded with, be it in film or literature. Yes, it employs the drama found in “In the Flesh” and explores a supernatural component (time traveling) much like in “iZombie.” And as with Warm Bodies, it employs humor, satirical and otherwise. (Chapter Nine, in particular, is a knee-slapper that harkened me back to the joy I had in watching Vincent D’Onofrio devolve into the character Edgar in Men in Black [1997].) But Styx also dances with themes of humanity that aren’t often explored in the zombie entertainment realm.
What I mean to say is that this story is relatable. How often can we say that about a zombie story? It shouldn’t be a surprise to those who appreciate true art that it’s the exploration of these themes, such as the overpowering human struggle to survive, that keeps one engaged in a good story. Forget about the themes of love and honor that are too often overplayed in our superhero-laden entertainment industry (and yes, those themes are also present in Styx). What I am talking about here are the day-to-day human struggles we all face, like rolling out of bed to accomplish something… anything… that might contribute to one’s family or society. We all have our head against the wind much of the time, and the odds are never in our favor (sorry, Katniss). But we triumph simply by plowing ahead. Simply by existing in some cases. And Rafael Styx does too.
Now, I don’t mean to scare you away with all of this heady mumbo-jumbo. Trust me; this book is both stimulating and enjoyable. I assure you that you’ll have just as much fun as I did trying to solve the murder mystery alongside Styx. Much of this story’s thought-provoking composition will only come to you as an afterthought. (It’s all between the lines.) But the substance is there to siphon. And this is where Styx truly shines. You begin to question whether our hero will even make it to the end of the story. After all, he is a zombie. His fate is decided. And if he knows he is going to die, why bother hunting “The Stuffer” down? Why not just knock out his own bucket list? And therein lies the crux of the human condition so eloquently posited in this book: “To be or not to be?” And for what purpose?
I am aware that my review is a bit figurative… and purposely so. I honestly don’t want to spoil the various twists this book employs or the delicate manner in which it engages and satisfies. But this book is what I believe to be the first legitimate “good” zombie story we have seen in a long time, if ever. And when I say “good,” I mean a legitimate, conscientious, zombiefied-hero tale! When was the last time you could say that?
Thought-provoking to say the least, and engaging beyond the final chapter, I found myself reliving this story for days after putting it down. In fact, I dare say author Bavo Dhooge and his American co-author/translator, Josh Pachter, adeptly rewrite the zombie rules. Styx represents the new zombie order. Whereas most zombie stories pit us against the zombies, in the case of Rafael Styx, it is just one zombie against the world. And if the brain-eating zombies of Dawn of the Dead (1978) were supposed to symbolize our loss of singular identity through our adoption of mass consumerism (and yes… those zombie films of the 80s did make a social statement, if you look deep enough), then it’s about time we see a full-fledged zombie with a conscience that perhaps shows us who we are now… or who this next generation would at least like to become. After all, is that not already the message of the current generation? “Yes, we can!” “Black lives matter!” “We are the 99%!” The individual can make a difference.
Between global warming, ISIS, and this dreaded US election of 2016, we all need a little hope. And although Rafael Styx reminds us that our species will never be infallible, he also reveals that hope is out there and that the human spirit can triumph.
If our generation’s contribution to zombieology can perhaps be that of the emotional, self-aware, or conscientious zombie, with a purpose that goes beyond brain munching (a la 2012’s “Les Revenants”), then Styx might just be the new generation’s antidote… the next “classic” title, if you will. Suffice it to say, you won’t regret this book as a personal indulgence or post-holiday/birthday gift for any zombie-loving fan.
Enjoy.
-
Book
Categorized:Editorials Reviews
