Zombie Tales #4
Posted: Monday, August 25, 2008
By: Mark J. Hayman
Chris Morgan & Terry Morgan
Gabriel Hardman, Minck Oosterveer, Jason Ho, Chris Peter (c)
BOOM! Studios
"Zaambi"
More than a century after civilization has fallen to the relentless hordes of undead, the small, fortified village of Honchu remains as a beacon. The people have adopted, or reverted to, a feudal system, struggling to maintain both life and honor within a state of constant siege. Leaving aside the mystical subtext, which is underplayed until the latter part of the book, the "zaambi" stand in for bandits, barbarians, and any other force seeking to destroy the peace and sanctity of a feudal society. However romantically portrayed, sufficient misery and terror existed under the various Shogun; the people of Honchu must also endure true Hell in the form of hopelessness. This is a tale of relentless, almost oppressive, pathos.
The story relates four ages of the young protaganist, Toshiro. From his adolescent trials in the way of the samurai, to becoming a wandering ronin when his village is overrun, to the discovery of a possible means of ending the scourge that has ravaged the Earth. The fourth and final chapter sees him implement those means. By the end Toshiro has lost, literally, everyone.
Without knowing the means by which they collaborated, it's tempting to think of the story as a sort of renga, but my Irony Sense is tingling at the notion that they've produced an exquisite corpse. However, it was accomplished; the Morgan brothers have produced a gem, filled with compelling twists and "gotchas!" Toshiro's narration, which comprises the majority of the text, is natural and seamless, variously expressing the wonder and excitement of youth through the hardened weariness of a professional soldier, then fusing them in anticipation of the final act.
The three artists, Hardman, Oosterveer, and Ho, bring distinct styles which, nevertheless, mesh so flawlessly that there are no obvious interruptions between chapters. Chris Peter's subtle and consistent colors contribute heavily to this sense of visual integrity. The combined effect is reminiscent of Tommy Lee Edwards' current work on Marvel 1985, which is a fair compliment.
Genre enthusiasts will be pleased that the ghouls are of the classic Romero variety, with the caveat that supernatural forces are in full play. Still - slow, stupid, dead with a shot to the head. Though objects of terror, the zaambi are treated and dispatched with respect, as the villagers believe them to be suffering and inhabited by demons, lending greater depth to the conflict. This passage describes their feelings: "We were not able to burn or behead our fallen brothers. They are likely zaambi now, their souls in torment. This has weighed heavily on us all." When metaphysical forces are firmly introduced near the end, their use is both deft and dramatic, providing a haunting denouement.
Though I'm not a fan of horror comics - films and novels tend to work better for me - "Zaambi" is something entirely different. Not quite a masterpiece but definitely worth your time and effort.
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