Posted By John Sears on December 16, 2010

We here at the ZRC believe strongly in journalistic integrity, so we can’t grant a full review (and righteous kicking) to these products yet since we haven’t purchased any of them.

Though I’d sincerely like to.

Instead, just know that in this festive time of year there are still lots of people looking to cash in on the hatred of the Differently Animated, and they’re making junk like this:

Little Red Riding Hood’s Zombie BBQ
–A re-release of a 2008 game that apparently sucked on ice due to bad controls. Nice job going for quality there, Nintendo.

Age of Zombies
–An updated release of an older PSP game for the iPad and iPhone, apparently this is another dual stick shooter (ala Zombie Apocalypse and many others) but with a sense of humor; a sense of humor in that, it thinks it’s hilarious to shoot Zombies.

Think Geek’s Zombie Attack Hoodie:
–This is super-offensive. Apparently, however, the wearer of the hoodie isn’t necessarily (or even likely) a ‘Survivor’, as there are signs that they have since become a Zombie (stereotype) themselves, according to the merchants of death at Think Geek:

This hoodie features the battle scars you earned in your fight with the zombie hordes. Clearly, you’ve had better days. There are bloody handprints near the pockets and slashes across the chest. There’s a deep slash across the back that reveals your exposed spine. There’s a bandage on your left wrist revealing bite marks. There’s a chunk of missing skull on the back of the hood, which is lined in brains. We’d say you ought to get that looked at, except there’s a pretty massive blood spatter on the front of the hood around the area where your mouth would be. Which implies that you ain’t one of us any more. But you put up a valiant fight, and for that we salute you. But we’re not taking the helmet off, no how, no way.

Good job pushing the ‘us vs them’ theme, Think Geek. You could have come to us for mediation, but oh no, you had to go the Zombie Apocalypse route, and now look where it’s gotten you: afraid to take off your headgear for the rest of your (probably short) lives. Nice work.

Category: Zombie Media | No Comments »
Tags: Anti-Zombie Products

Posted By John Sears on December 16, 2010

Hooray! Now I can get back to feeling my index fingers.

Sorry about the pictures being dark; days are very short up here at this time of year and I keep forgetting it gets dark in this neighborhood (due to houses and trees to the West) at about 3:30. Ooops. I’ll snag some daytime shots and maybe a video tomorrow.

Now here you go, the proof that Zombie Snowmen can and do exist! (Well, this one, anyway. Hopefully until spring. Maybe more now that I’ve got the process down.)

Natural light shot. Let’s see how the neighbors appreciate Zombies in Snow form, huh?

More natural light.

The problem with a flash plus snow and corn syrup is it sometimes looks like he’s a ‘christmas ornament’ as the Art Director put it.

Sometimes though it comes out just right though.

These are to show I didn’t ‘cheat’, as the Art Director put it, and only do the side facing the road. I hope her meticulous attention to detail is as stringent about feeding me through a straw if my fingers fall off from the cold.

Aww. Isn’t that an adorable Zombie Snowman? How could anyone hate this lovable face?

As is usual, the full set of pictures is up on flickr (here this time), and we’ll have more Zombie news and analysis that doesn’t pertain to snow shortly, I promise.

Update: Got those daytime shots I promised.

Category: ZRC News | 2 Comments »
Tags: Zombie Art

Posted By John Sears on December 15, 2010

Have you ever stopped to think about the *politics* of Zombies? We all know about the ‘Zombie Apocalypse’ scenario, as presented by Mr. Romero, Mr. Russo and so forth. Max Brooks has made a good living positing strategies for surviving such a grim and contrived situation, and even now his fictional triumph of the Living over the Differently Animated (employing similar strategies) is supposedly in development as a big budget Hollywood feature.

Likewise, Robert Kirkman’s apocalyptic Walking Dead is everywhere these days, and there too, coexistance between the Living and the Differently Animated is completely out of the question; in fact, it’s a question nobody really bothers to ask. In Zombie fiction generally, there are precious few who *do* consider it. We’ve tried to highlight those brave souls here on the ZRC blog, from Skin-Horse to Erfworld to Fallout 3.

By inclination and in part because of training, however, I am very interested in politics, so naturally I’ve wondered about how, assuming humans and Zombies ever do come to a true understanding and co-existance, the politics would play out. Things like voting rights, pressure groups, lobbies, political parties. Who would support Zombies? Who would oppose them? How would the economics work? How would the government respond to a sudden, dramatic increase in the Differently Animated’s number, sans the Romero-style bad behavior (indiscriminate devouring and such)?

Until now, I can’t say that I’d seen the issue explored a great deal in fiction (Breathers talks about some of this before wallowing in negativity about the Differently Animated). However, not only does Dead Eyes Open address the topic, it does so in an extremely original way, and what’s more, presents a nuanced and balanced portrayal of the Differently Animated, both as people and as characters. This is an amazing graphic novel!

Even better, you don’t have to take my word for it – Dead Eyes Open is free to read, in its entirety and annotated, online!

Dead Eyes Open starts off with a fascinating premise and goes on from there. John Requin is our protagonist. He’s a middle-aged family man, a psychologist who does family counseling, and he’s got a problem. See, John died a short while ago, and then he.. came back. There are some noticeable downsides, as well as advantages, to his new condition, but he isn’t even sure what that condition is, and he’s afraid to reach out for help. Meanwhile, his wife tries to be supportive, and his daughter insists that he isn’t, in fact, her father anymore.

As novel as the Zombie family dynamic (something seen all too rarely in Zombie media) is, however, Requin will soon find himself involved in a broader Undead Rights movement, as the number of Zombies returning (hence their in-world name, ‘Returners’) grows rapidly. From terror cells to black government ops, press conferences to detainment camps, Requin is at the center of all the action, and an ordinary man has to take an extraordinary role in advancing Undead Equality.

That ordinary man just happens to be a Zombie.

Fantastic. Simply fantastic, is all I can say. The story is interesting, the characters have real depth, as a reader you don’t see the surprises coming. The art evolves quite a bit over the comic’s run, and the black and grey, slightly gritty style really suits the story.

The best part for me is that the Zombies/Returners aren’t just people, they’re interesting, well-developed people, good, bad, and everything in between. A recurring theme of Dead Eyes Open is that, fundamentally, the Returners are human, are the same humans they were before they came back. Sometimes that means a flawed family man like Requin, trying to do his best; sometimes it’s a wannabe terrorist with a chip on his shoulder, sometimes a cop, sometimes a war criminal. The point being, Zombies aren’t props. They aren’t a tool to remind you of your own mortality, or shame you into better behavior, or make you wonder about the legitimacy of the government. They just *are*, with thoughts and feelings and desires of their own, working through a tough time, and in need of allies and friends amongst the living as they figure out what it all means.

Dead Eyes Open carries the reader all the way from the early days of the phenomenon to the end of the Requin’s struggle for equality, and it behooves all true Zombie Rights supporters to read it through all the way. No spoilers from me. It’s that good.

Dead Eyes Open receives our highest rating, the Zombie Friendly rating. Congratulations to Matt Shepherd and Roy Boney, Jr for their outstanding work.

Category: Zombie Media | No Comments »
Tags: Comics, ZRC Reviews

Posted By John Sears on December 14, 2010

Well, I got some work done on the Zombie Snowman today, at any rate. A few notes:

1) Corn syrup plus food coloring and a bit of water *does* make a paint-like substance you can use on packed snow, but the snow itself is too fragile to apply much pressure. On the other hand it soaks into the snow a lot less than water does, and so undermines the snow’s integrity less.

2) It takes a *ton* of corn syrup though.

3) Water plus food coloring works better than I remembered, especially for overhangs and hard to reach spots with a brush.

I may try the lime gelatin trick Wednesday; tomorrow is probably a day off the snowman beat because I got corn syrup *everywhere* and need to launder my winter gear, heh. Man that’s sticky.

Pictures follow:

Category: ZRC News | No Comments »
Tags: Zombie Art

Posted By John Sears on December 13, 2010

I’ve hesitated to put up a full review of this game for some time, having purchased it weeks ago, because..

Well, I haven’t put a ton of time into playing it, to be blunt. This isn’t an issue of being rushed though, or even of ordinary laziness. It’s just..

The game just isn’t fun. At all.

Let’s back up. Zombie Apocalypse is an arcade-style semi-isometric perspective shooter, available for the Xbox 360, where you play as one of four intentionally stereotypical Zombie Apocalypse scenario protagonists (a retired soldier, nerd, disgruntled surgeon and bimbo) and mow down hordes of the Differently Animated as they rise from.. everywhere (graves not necessary) and try to devour you, as well as the same woman in the same blue suit who repeatedly requires you to protect her until a helicopter arrives to rescue her (but not you).

Stages include a cemetary, a junkyard, a city center and so forth. Violence is extreme, weapons are plentiful, gore is fairly considerable. In other words, in many respects, just another Anti-Zombie game. However, Zombie Apocalypse is an Anti-Zombie game with a fairly high price tag for Xbox Marketplace (about 10 bucks), and a more prominent than usual pedigree (it was published by Konami).

What’s the problem? Well, the ZRC is of course outraged by the casual and wanton violence against the Differently Animated. Yet again gamers are presented with a zero-sum conflict with the Undead, forced by game logic and convention to slaughter literally hundreds of virtual people who are acting out the worst and most egregious Anti-Zombie stereotypes. But that was more or less a given from a game called ‘Zombie Apocalypse’.

The issue here for me as the designated game reviewer here at the ZRC is that this game isn’t fun. It has a bit more graphical polish than any of the numerous XBLA Zombie defense games I’ve played, but that’s all. Perhaps worse, there are several annoying factors in the gameplay that make it more frustrating than enjoyable. For example, when your character is ‘eaten’ and respawns, the Zombies in the level remain. If a horde had accumulated that was far too large to deal with, you may find yourself doomed to simply be regenerated into their next meal.

The fact that each stage is essentially the same as the last structurally (as opposed to the set decorations) and that Zombies rise from the ground more or less randomly, and that civilians to save appear more or less randomly, makes the whole thing feel like gambling with a computer for no stakes with no reward. You aim with one joystick, move with another, tap the fire button in regular intervals and wait to be randomly overwhelmed and die. Boooooooring.

I was going to give the game a few more hours, but honestly? I’ve played a lot of shooters in my day (and I mean a ton), but Zombie Apocalypse is one of the least rewarding I’ve ever purchased from a major company. To think that Konami, which once turned out sterling classics like Gradius, Lifeforce and Contra, games which were enormously fun as well as socially uplifting (telling the story of a unified human race fighting against monstrous alien invaders) has been reduced to slapping together shooters to cash in on the Anti-Zombie craze? A game where the only point is to kill as many people without pulses as possible, for as long as possible, robotically and repetitively?

It’s just plain sad.

Thus this game from Konami earns our lowest rating, that of Living Supremacist.

Boo.

Category: Zombie Media | No Comments »
Tags: Videogames

Posted By John Sears on December 13, 2010

I was reluctant to read this summary of the history of Zombies in American pop culture, especially since it’s from AMC (purveyors of the despicable Walking Dead grand guignol spectacle), but, shockingly, unlike NPR and the NYT, AMC actually seems to have people who know what they’re doing working the Zombie history beat, and it’s a good, if short, read.

What went right here, where the others I’ve mentioned went so horribly, horribly wrong?

1) Actual in-depth knowledge on display.
–Whereas in both the NPR and NYT pieces, the history of Zombies as Americans understand them was slapdash and full of oversimplification, here we get a much broader view. Voodoo derived Zombies aren’t just given a casual mention and thrown overboard in favor of the post-Romero paradigm, but actually discussed at some length. European Zombie films receive prominent notice and attention as well, though the most recent revival of Undead filmmaking in Europe isn’t mentioned (one can’t have everything). Important but obscure (today) works are talked about in relative depth, reflecting their historical importance, and forgotten innovators are mentioned. Even though it’s short you actually get the sense that real knowledge is on display here.

2) Just the facts
–NPR and NYT both had outside voices take the topic of Zombies in the media and run with it to argue for their particular, idiosyncratic ideas of what Zombie media ‘means’. This led to a lot of trouble, especially when facts were played with loosely or not at all. AMC takes a more objective approach, talking about publication dates, broad themes, etc, and doesn’t try to spin an elaborate sociological theory out of the topic.

3) Focus is important
–One argument I got a lot in defense of Mr. Mantz’ thing for NPR was that it had to be greatly oversimplified because of the length constraints. Here, however, AMC exposes that there’s more than one approach to writing a short piece. They chose, instead of crushing facts in a trash compactor to slide under a word count, to keep their focus narrow: Zombies on film. Combined with refusing to overly editorialize (see number 2) this lets them keep it short and simple without having to make it wrong as a result.

Is it a perfect article? No, of course not. Discussing Euro-Zom movies without mentioning the Blind Dead films? Tsk tsk. Still, on balance, AMC laid out the cold, hard and unpleasant history of Zombies in Cinema with a useful overview that provides many leads that the casual reader could use to learn more, especially if they have Netflix.

This is how you do it, people. If AMC can manage an objective article on Zombies, surely the parts of the media whose profit margins aren’t officially driven by Anti-Zombie hate can pull it off.

Update: I hadn’t noticed but the AMC thing is actually older than the more recent NPR and NYT pieces, which is doubly damning to the NYT and NPR, because someone had gotten to it before them and done a much better job, methinks.

Category: Zombie Media, ZRC News | No Comments »
Tags: Euro-zom, Journamalism, Movies, Social Justice

Posted By John Sears on December 12, 2010

I’ve been debating the nomenclature of this one this afternoon. Is it a Zombie Snowman, or a Snow Zombie? I’m tending toward Zombie Snowman, Snow Zombie sounds like it’s an actual Zombie somehow made of snow, whereas Zombie Snowman makes Zombie the modifier on ‘Snowman’.

I probably overthink these things.

However, I had time to do so because.. making a Zombie Snowman is a struggle with this weather and the snow we’ve gotten. It’s cold, the snow is very dry (cannot be shaped into snowballs very well), and the wind is pretty gusty. Plus, ice keeps flying off the trees and smacking me in the head. Ow.

So I got pretty dispirited, even as I found pieces of snow I could stack upon one another to make a snowman-ish shape. It just wasn’t looking like snowmen are ‘supposed’ to look. But then I got to thinking – Zombies often don’t look like they’re ‘supposed’ to look either! Why should a Zombie Snowman have to conform to narrow standards of snowman aesthetics?

Which cheered me up a bit, plus then I got a snow-head piece to balance fairly well, and it looks pretty neat with the arms in:

I don’t have coal, or even dark rocks for the eyes, so I used red bottlecaps (because Zombies are sometimes shown with glowing eyes).

Taking advantage of the very narrow snow-waist, I put in some exposed ribs by using sticks:

I think we’re dug out enough to get to the store, so barring another mini-blizzard, tomorrow I get the Karo syrup, food coloring and other supplies to properly Zombie up this snow dude.

Category: ZRC News | No Comments »
Tags:

Posted By John Sears on December 12, 2010

The ZRC compound, located here in lovely Madison, is currently buried in snow. You know what this means:

Zombie Snowman time is here at last!

Pictures will be forthcoming as the project progresses.

Category: ZRC News | No Comments »
Tags:

Posted By John Sears on December 11, 2010

It’s to be expected, though not of course approved of, that The Walking Dead’s enormous commercial success will cause a certain amount of navel-gazing and faux-introspection on the part of the Mainstream Media, attempting to explain its own staggering financial haul even as their various media platforms fade into increasing obsolescence in the post-modern era.

Still, this NYT Television section piece attempting to discern the origin of the ‘appeal’ of Zombie hating fiction was particularly clumsy and offensive.

Next thing you know, NPR and the NYT will join forces. At least this article, being mostly (offensive, Living Supremacist) opinion, has fewer gross factual errors.

Some lowlights:

ZOMBIES are a value stock. They are wordless and oozing and brain dead, but they’re an ever-expanding market with no glass ceiling. Zombies are a target-rich environment, literally and figuratively. The more you fill them with bullets, the more interesting they become. Roughly 5.3 million people watched the first episode of “The Walking Dead” on AMC, a stunning 83 percent more than the 2.9 million who watched the Season 4 premiere of “Mad Men.” This means there are at least 2.4 million cable-ready Americans who might prefer watching Christina Hendricks if she were an animated corpse.

…

Mainstream interest in zombies has steadily risen over the past 40 years. Zombies are a commodity that has advanced slowly and without major evolution, much like the staggering creatures George Romero popularized in the 1968 film “Night of the Living Dead.” What makes that measured amplification curious is the inherent limitations of the zombie itself: You can’t add much depth to a creature who can’t talk, doesn’t think and whose only motive is the consumption of flesh. You can’t humanize a zombie, unless you make it less zombie-esque. There are slow zombies, and there are fast zombies— that’s pretty much the spectrum of zombie diversity. It’s not that zombies are changing to fit the world’s condition; it’s that the condition of the world seems more like a zombie offensive. Something about zombies is becoming more intriguing to us. And I think I know what that something is.

Zombies are just so easy to kill.

Let’s start with the obvious: the author who wrote this (Chuck Klosterman, author of ‘Eating the Dinosaur) has obviously paid very little attention to Zombie media. The assertion that the depiction of Zombies in fiction (leaving aside their actual treatment by society) has little changed little since Night of the Living Dead is strange, to say the least, especially since the Zombie phenomenon in American pop culture started decades before Night (with films like White Zombie, King of the Zombies, Revolt of the Zombies, etc). After Romero and Russo cobbled together a new variety of hate on-screen, it’s true that American film tended to ape their materialistically oriented design, for a while. It’s also true that Romero and Russo had a major falling out, and that Russo’s subsequent movies (Return of the Living Dead and its ilk) feature very different forms of the Undead, who, contra Mr. Klosterman, are capable of thinking, planning, working in groups, even, and famously, talking.

I mean, is he unaware of the ‘braaaaaaains’ stereotype? Really?

The fast zombie/slow zombie divide is, as I have discussed before on the blog, mostly an American phenomenon. European Zombie stereotypes never got hung up on the ground speed of their villains; in European Anti-Zombie film, the ‘Zombies’ can use mass transit, boats, or even provide their own, presumably Zombified, horses (Tombs of the Blind Dead and its sequels are somewhat famous for this).

More importantly for the ZRC, depictions of the Differently Animated ARE changing, and sometimes for the better. Movies like Shaun of the Dead made token gestures at what Klosterman calls ‘humanizing’ the Undead (who, already being humans, hardly need it); indie film has gone considerable further, with George’s Intervention being amongst the ZRC’s standout favorites.

Let’s move to the core premise of Mr. Klosterman’s argument: Zombies are popular because they are (on screen) easy to kill:

A lot of modern life is exactly like slaughtering zombies.

IF THERE’S ONE THING we all understand about zombie killing, it’s that the act is uncomplicated: you blast one in the brain from point-blank range (preferably with a shotgun). That’s Step 1. Step 2 is doing the same thing to the next zombie that takes its place. Step 3 is identical to Step 2, and Step 4 isn’t any different from Step 3. Repeat this process until (a) you perish, or (b) you run out of zombies. That’s really the only viable strategy.

Every zombie war is a war of attrition. It’s always a numbers game. And it’s more repetitive than complex.

I trust you, astute readers that you are, see where this is going: the old saw that ‘Modern Life Makes Us Into Zombies’

In other words, a not-entirely-dissimilar argument to the one we took issue with from NPR. Here, instead of technological alienation being to blame though, it’s rote, repetitive tasks, which, ironically, are the things computers are best at performing and removing from dependence on human labor. So the same end-result is obtained from the exact opposite socio-technological phenomenon.

Consistency never has been the strong suit of the Anti-Zombie faction.

Klosterman again:

In other words, zombie killing is philosophically similar to reading and deleting 400 work e-mails on a Monday morning or filling out paperwork that only generates more paperwork, or following Twitter gossip out of obligation, or performing tedious tasks in which the only true risk is being consumed by the avalanche. The principal downside to any zombie attack is that the zombies will never stop coming; the principal downside to life is that you will be never be finished with whatever it is you do.

You know that you’ve led a pretty sheltered existence when you compare, even humorously, following Twitter with the end of the world and downfall of all civilization, commonly the outcome of these Anti-Zombie media products. Honestly? The principal downside to life is that you will never be finished with.. living?

Well, you know, it’s impossible to successfully punish a suicide, Mr. Klosterman. Attendance of this ‘life’ thing is strictly optional.

At heart the Klosterman argument is that we find Zombie movies appealing because the threat they present is manageable and vaguely similar to the threat of a full email inbox, and that therefore, we can triumph over these woes vicariously on screen before dealing with them in real life at home.

Yeah… not buying it. For one thing, most Zombie movies end with the principal cast having either lost utterly, or having been driven to the brink of destruction. Very few show any sort of triumph of the Living, and those that do usually have it leavened by tragedy or delivered by an outside force that rescues the protagonists. Romero’s body of work in particular has an extreme misanthropic edge, arguing that we are too screwed up and self-destructive as a society, if not a species, to survive the application of moderate outside pressure. Robert Kirkman, whose Walking Dead franchise this NYT column ostensibly discusses, has a very similar view, and his argument against human resilience and the ‘normalcy’ of the Zombie Apocalypse is made explicitly on the COVERS TO THE WALKING DEAD TRADE PAPERBACKS:

Ahem. I’m sorry, but, once again, we’re arguing not about subtext, but about text, and once again, the mainstream press and its hired guns Did Not Do the Research. The central premise of The Walking Dead is, in fact, that modern life, with its superficiality and shallowness, is completely unlike survival in the Zombie Apocalypse. In order to help you understand that point, without even having read a single page or purchased a single volume or seen a single episode, they printed it on the outside of the books, in fairly large font.

Repeatedly.

Yeesh.

Attention Mainstream Press Outlets: The Zombie Rights Campaign is available to write general interest articles on the Zombie cultural phenomenon! We, unlike the people you’ve been going to lately, actually know a few things about the history of Zombies and American pop culture.

Further the ZRC will donate any fees for such general information pieces to charity, because, quite frankly, you’ve been part of the problem (to date) and your money’s not clean.

Category: Zombie Media | No Comments »
Tags: Journamalism, Mainstream Media

Posted By John Sears on December 9, 2010

I think it’s time for something a little different around here, so we’re reaching into the backlog and grabbing out a gem of a movie to review that, well, strictly speaking it doesn’t feature Zombies.

I know, I know, but bear with me; it does tell a very interesting story about an individual who is quite Differently Animated.

By Her Hand, She Draws You Down is the latest film from Anthony Sumner, whose film anthology Slices of Life received a slightly mixed review from the ZRC. I am pleased to say that we had a chance to discuss our concerns with Mr. Sumner at The Dark Carnival (where we also saw By Her Hand) and he was most conciliatory on the issue of Zombie Rights. We had a chance to voice our concerns and rarely have we seen a creative person show such willingness to listen to constructive criticism.

By Her Hand, She Draws You Down (based on a story by Douglas Smith) stars Zoe Daelman Chlanda (who we’ve also recently seen in Hypochondriac) as Cath, a boardwalk portraiture artist with.. unusual needs (we’ll get to that) and Jerry Murdock as her partner Joe, and opens as Cath and Joe are setting up shop on a gloomy day at the beach, with Cath drawing portraits and Joe keeping watch. Watch for what? Well..

There are certain constraints in talking about the plot of a short film, and these constraints are chafing a bit here. Suffice it to say, Cath has certain special, shall we say, dietary requirements, and fulfills them through her work. Unfortunately, that requires her to prey upon her patrons. (The precise mechanism by which this occurs, I promise, is nothing you’ve ever seen before and legitimately disturbing) Joe is caught between his love for her and his growing revulsion over what she has to do to survive, along with a sneaking suspicion that her inability to completely control her hunger could lead to his own demise.

A couple of things really stand out about this film. One is how close to a two-man (person? actor?) play it feels; the story here isn’t about visceral scares or some abstract concept of monstrous-ness, but rather is about the death of trust and intimacy between two people who have been growing apart for a long time, even as they are bound together by tragedy and secrets.

The other thing that stuck with me is that the film avoids shallow moralizing against the Differently Animated, the Us vs Them thing that we see so often here at the ZRC in our work with Zombies. Cath does horrible things to survive, and Joe sticks with her out of love, guilt and obligation. Lesser films jump at the chance to demonize or dismiss their DA characters whose existence in any way impinges on that of ‘Normal’ people, but By Her Hand doesn’t give the audience a chance to summarily reject Cath and Joe in favor of the Normal people. This is their story, and good or bad, they’re recognized as human beings, individuals with thoughts and feelings, who are struggling through a very tough time.

The ending in particular calls into question the nature of this struggle, one that puts Cath against the nearly insurmountable drive we’re all given for survival, and the lengths to which we can go to try and run from our pasts and our pain, with questionable degrees of success. By Her Hand is reminiscent of the some of the best in independent horror film to explore this territory; if I had to explain it in the old ‘If you liked X, see Y’, standard, X would probably be Let the Right One In, which should tell you how much I liked By Her Hand.

Though not strictly about Zombies, for its emotionally honest and open portrayal of the struggles of those who may, through no fault of their own, be the bearers of certain instincts that place them into conflict with larger Living society, the ZRC gives By Her Hand, She Draws You Down a Zombie Tolerant rating.

See it if you have the chance, you won’t be disappointed.

Category: Zombie Media | No Comments »
Tags: Movies, Social Justice, ZRC Reviews