Tag Archives: zombies

The Continually Disappointing and Melodramatic Dead

Warning: This post contains ranting. Also, spoilers! So if you aren’t caught up on The Walking Dead or haven’t watched the season 5 premiere (and you still care), turn back now.

Ah, The Walking Dead. I never read the graphic novels, but when the television show started back in 2010, I was excited. I love apocalyptic fiction, and it’s not a genre that’s covered often, or well on television. The BBC series Survivors was enjoyable, but only lasted for 12 episodes, and I guess you could call BS:G post-apocalyptic, but that’s about it. The Walking Dead gave us the end of the world and gave us zombies, which hadn’t been quite so overdone as they are now.

The 6-episode first season was well done. The setup was good, personal relationships and conflicts were established. There was a clear goal of getting to the Atlanta CDC to see if there was hope for a cure.

Season 2 starts with some excitement (oh by the way, the CDC stuff from last season? A hopeless waste of time). Sophia is missing! Carl is shot! The apocalypse is clearly no place for children. The group finds a farm which seems safe enough, owned by a vet who moonlights as a doctor and they stay there. For the entire season. Just hanging out on the farm. The story stopped moving forward, and instead each episode centered on personal drama and all the characters yelling at each other without actually communicating.

Season 3 has the survivors camping out in a prison. We get introduced to the Governor, who’s a bit of a caricature of a villain and Michonne, who everyone loves, but her defining character trait at this point is that she has a sword. Rick goes crazy, but he’s such a boring character that nobody cares. A bunch of major characters die, and the survivors return to the prison. Oh, and now there’s a baby. Because that will end well.

Season 4 brought the Governor back, and this time tries to make us sympathize with him. He just wants a family to take care of, he’s not so bad. Oh, wait, he just decapitated a sweet old Hershel, never mind. Once the prison is left behind, things did pick up a bit. The group gets separated, new relationships form, Michonne develops into an actual character. And then there’s Terminus. Everyone starts heading toward this apparent sanctuary. There’s mystery! There’s intrigue! What is Terminus? Is it safe? Who are these people who run it? The season ends with most of the group locked in a shipping container. Apparently no, Terminus is not safe, but Rick and the others are determined to survive.

That brings us to season 5. I’m so mad I can’t even form proper paragraphs.

  • After all the Terminus build-up – who are these people? What are they going to do? Are they cannibals? Within 5 minutes of the season opener, all the questions are answered. Yup, they’re totally cannibals, and they’re going to kill Rick, Bob, Daryl, and Glenn RIGHT NOW.
  • The four merry men are knelt in front of a trough and we watch 4 redshirts get their throats slit like pigs. Then, it’s Glenn’s turn. Oh no! Not Glenn! He’s going to die!
  • Nevermind, we get Carol ex machina, who blows up part of Terminus just in time to save him!
  • Ugh, this whole situation is so dumb and lacks any kind of tension. We know they’re not going to kill off 4 leads in one scene at the very start of a season. Was anyone actually worried? And having them saved right before it’s Glenn’s turn to die is just lazy. Mix it up a bit. If Bob had been first in the kill line, I might be worried for him. But Glenn? Don’t waste my time.
  • So the whole five episode arc leading up to Terminus is just done, boom. Cannibals all dead, Rick and co. are free in the first half of the episode.
  • This episode also features Tyreese. He’s with Judith (Carol has gone off to be a hero), and watching over one of the people from Terminus. This character plot device tells Tyreese he and the baby are going to die because T won’t kill him. Tyreese is a good guy, he just wants everyone to get along, but he gets the message and eventually pounds the guy’s face into the dirt (though I’m kind of skeptical that he actually killed him since he wouldn’t let Carol go in and see the body).
  • Then, a happy ending! Rick and Carl are reunited with Judith! Tyreese is reunited with Sasha! Carol is reunited with Darryl! Beth’s still MIA, but who cares! There are tears of joy, maybe the rest of the season will be one big love-in.
  • We got two flashbacks at the beginning and end of the episode that showed the people running Terminus and how they had been captured and brutalized by others before, so that’s why they turned into butchers themselves. But there’s a pretty big discrepancy between killing your captors and protecting your own, vs. sending out broadcasts and putting up signs drawing people to you so you can capture, kill, and eat them. And they’re all dead now anyway, so the flashback at the end really did nothing. If you want to explore these characters, fine, but this was a really brief and lazy way of doing it.
  • TDW is very subtly trying to show us that our favourite characters are becoming the monsters they were trying to fight. Oh, did I say subtle? I meant they are using a sledgehammer to drive that point across.
  • The action scenes are starting to feel like they’re just showing off how good the make-up and effects departments have gotten at gore. And they are good. But now it just seems like the show is trying to gross us out rather that create horror in any literary way.
  • There are things that make me think I want to continue watching season 5 – another actor from The Wire, Morgan from way back in season 1 – but I also know I’ll continue to be disappointed. They’ll continue meeting and killing new people. Some big thing will get built up this season only to be resolved within an episode once they finally get there. Characters will yell at each other and question if they have become monsters. And on and on and on.

So that’s it. I obviously didn’t care for the episode, which is disappointing since the build up in season 4 actually made me excited for this premiere. I think I’m mostly just mad that I keep watching the show when it clearly gives me no joy.

This is the Way the World Ends

Warning: This post will deal with sexual violence against women, and include examples of it from literature, movies, and games. Read at your own discretion.


Plague has struck. It starts slowly. A sniffle here, a fever there. Then it spreads, faster and faster. Soon, everyone is sick. Then most people are dead. The few humans who were immune start to band together and rebuild, but not everyone has the same goals.

Death comes, but it doesn’t stick. The dead get back up and start walking. Start feeding. Soon the world is overrun. Those left alive are no longer living, they’re merely surviving; going from place to place in search of food and shelter from the horde. Of all the limited resources, trust in other people is the most scarce.

War. Two nations are at a standstill and then someone presses a button. It doesn’t matter who fired first, but soon the warheads are dropping and the world will never be the same. Survivors separate into factions based on differing ideals, and soon a different kind of war is underway.


The apocalypse is rife with opportunities for storytelling. There are so many ways that humans can destroy themselves, and just as many avenues to explore about starting over again. Stories about the end of the world usually describe people at their best – banding together to rebuild – and at their worst. Part of humans at their worst that gets shown in these stories tends to be men capturing, subjugating, commoditizing, and raping women.

Apocalyptic and dystopic fiction was always one of my favourite genres so I’ve read/watched/played a lot of these narratives and unfortunately, I can think of more of them that use this device than ones that don’t. Five years ago, this may not have bothered me. But now that I’m aware of the issue and see how prevalent it is, it’s impossible to stop seeing it.

Rape, or threat of rape of female characters tends to be used for one of three, often overlapping, purposes.

To show how bad the situation is, or how evil a villain is.

  • In the book Blindness a group of violent infected take control over a hospital and the women are subjected to rape in exchange for food.
  • In the movie Waterworld, the male protagonist considers trading the two main female characters to slavers.
  • In the show The Walking Dead, threat of rape is used by The Governor to get information from a woman he has taken captive.

So they can be saved.

  • In the book Dies the Fire a mother and her children are captured by a group of survivalists. The mother is killed, and one of the daughters is about to be raped before she is saved by the male protagonist.
  • In the book The Stand, two of the women who become part of the Free Zone were rescued from a group of other survivors who had repeatedly raped them.
  • In the game Dead Rising one of the psychopaths (who is female) has captured a group of women and is torturing and killing them. You must kill the psychopath and save the women.
  • In Dead Rising 2 one of the psychopaths kidnaps and tries to forcibly marry a woman so he doesn’t have to die a virgin. You must kill the psychopath and save the woman.
  • In the movie 28 Days Later the two main female characters were taken as the “answer to infection”. They were dolled up and handed over to male soldiers to be raped. Ultimately they escape this, saved by the male protagonist.

For character development

  • In the game The Last of Us, Ellie is taken by another group of survivors. Their leader tries to take her under his wing, but when she doesn’t cooperate he decides to kill her. When she injures him, it’s suggested that he intends to rape her before killing her. In the chapter after this experience, Ellie is noticeably quiet and withdrawn.
  • In the book Dead: Revelations a young girl is captured by a man and repeatedly subjected to rape, physical abuse, and psychological torment.

The severity of the sexual violence against women that is portrayed varies, but the thing most of these examples have in common is that it’s completely unnecessary. It’s not driving the story forward. It’s not adding any real character development.

The use of rape rarely tells us anything we don’t already know about a villain. In The Walking Dead, we know that The Governor is a bad guy. We’ve seen him manipulate and kill. We’ve seen him send his own people into the zombie-fighting arena for sport. Why do we need to see him force Maggie to take her shirt off and threaten her with rape in order to get information when we know the thing that makes her vulnerable is sitting in the next room? This seems like something added for shock value rather than any real narrative reason.

Similarly, adding rape to the all too familiar “save the women” trope is a lazy and gratuitous way to make male protagonists more heroic. In The Stand, Dana and Susan’s backstory of having been part of a harem wasn’t even mentioned in the original release of the novel, it was added in as part of the unabridged re-release. Did mentioning their ordeals before they joined Stuart’s group add anything to either of their stories? Did adding in rape somehow make their characters more understandable? relatable? interesting? Not really. In Dead Rising 2, the woman you save from being forced into marriage and sex isn’t even distinguishable from any of the other dozens of survivors you save once it’s over.

What about adding rape for character “development”? When I was about halfway through The Last of Us, I was ecstatic that I had yet to see any questionable content about women. I knew how poorly the genre could treat women, and given the dark setting I expected to hear something that indicated women were a commodity in the post-infection world. But I didn’t. Then, Winter came. We were now playing as Ellie instead of Joel. Ellie gets taken captive by David, the leader of another group, who tries to assimilate her into it. When he realizes she’d never join them he decides to kill her. When she fights back and injures him, apparently killing her isn’t enough and he attempts to rape her first. Why? What purpose did this serve? We already knew David was a bad guy, this didn’t do anything to change that. We already knew Ellie was strong and could defend herself; her fighting off a rapist rather than just a murderer did nothing to change that. At this point Ellie had been captured, injured, faced with cannibalism, separated from her only friend in the world and feared for his life. She had been left alone – something she had earlier admitted was her greatest fear. If the goal was to emotionally traumatize her, they had done all they needed to do. And then, almost flippantly, with a couple of seconds of cinematic and 2 lines of dialogue, rape gets added to the equation. I guess she needed to be punished for being so uppity? Fucking awful.

While I think most authors add rape to their stories without worrying about the consequences out of laziness, ignorance, or a desire to be edgy, some seem to use the end of the world setting as a sandbox for depravity. The book Dead: Revelations is probably the worst example I’ve seen, where there are more female characters being enslaved and abused than not. That’s one zombie series I will not be reading any more of.

The only one of the examples above where the inclusion of rape adds any nuance or social commentary to the story is 28 Days Later. It raises questions about who the real monsters are and shows how those in charge of the safety of citizens can be the most dangerous ones, especially when it comes to women. That’s 1 out of 10 that doesn’t make my skin crawl too much, not a very good ratio. Incidentally, 9 out of 10 of these examples were penned by a male, with Dead Rising 2 being the exception.

A scary thing about this post is that I didn’t have to go looking for any of the examples I’ve used here. They’re all from books, movies, or games I’ve finished where the violence portrayed against women has stuck in my head. I’m sure there are more examples that I just don’t remember. The amount this happens in fiction and in the dystopic, end of the world genre in particular is staggering. Adding rape to fiction with fantastical elements, which end of the world stories often have, seems especially gratuitous and hateful. The dead getting up and eating people? Totally believable. The hand of God coming down and setting off a nuclear blast? Sure, why not? Women not getting subjugated and violated by men? No, never, not going to happen.

Media affects how and what people think. Lazily throwing instances of rape into dystopic stories in order to show how dark and dangerous the world is, to prop up male heroes, or to “develop” female characters normalizes it. Yes, rape is something that happens in the real world, but casually adding it or eluding to it in fiction is just not necessary and does more harm than good. Many people are all too familiar with it, and don’t need fiction to remind them of the trauma. We also don’t need reminders or reinforcements that men often have power over women’s bodies. We get to see that in the news, and in our governments. We get to hear men comment on a women’s physical appearance before giving any heed to the things she has to say. We get to hear the vocal subsets of small-minded, awful men who think women need to be punished for having sex, or not having sex with them, or wearing certain things, or just existing in their space.

If rape doesn’t add anything to the story… why add it to the story?

The Walking Dead: Season Two (Review)

The Walking Dead is an episodic, narrative adventure game from Telltale Games. After the success of the first season, they made a second season, this time allowing us to play as Clementine. The first episode was released at the end of 2013 and the last, No Going Back, just came out last week.

TDW:S1 was one of my best gaming experiences from last year, so how does season 2 stack up?

The first episode of the season started off great. Playing as 11-year old Clementine, there was a definite sense of vulnerability and the game wastes no time putting her on her own. At the same time, it’s really emphasized how strong Clem has gotten, despite her young age and small stature. She kicks zombie ass and holds her own with the living as well. When a new group she meets refuses to give her the help she needs, she takes matters into her own hands and helps herself. The first episode has some great, if hard to watch moments, like when Clementine has to stitch up a cut on her own arm. It’s stomach-turning, and amazing. Really well done.

The Walking Dead season 2 game

As opposed to season 1, where the zombie threat was just beginning, at the time of s2, zombies seem to be old news. They’re still a threat (though sometimes merely an annoyance), but the real problem is the living. This game does feature a ‘big bad’ in the form of Carver, the leader of a settlement, who provides the biggest threat in episodes 2 and 3. The game did a good job of making me hate the bad guy and root for the good guys, but once this storyline ended, it seemed to go off the rails.

The writing got very sloppy, especially when it came to the other characters. I like Clem’s development (I should, I did get to shape it), but a number of the other characters were all over the place. Character deaths, which I felt were impactful and well-done in S1 became questionable and often meaningless. A couple of deaths in episodes 4 & 5 left me wondering “really? that’s what killed them?” and seemed to happen to try to provide a reason for future character actions rather than feeling organic in any way.

Warning, incoming rant. I really don’t like hating on all the female characters, but the ones left at the end were just terribly written. Jane started off understandable – she knew that other people could be liabilities and was afraid of losing someone she loved again, so she liked to stay on her own and tried to give Clem advice to keep her alive. But then, when she decides that Kenny is a loose cannon, she turns into one herself in order to prove it? What? Her and Kenny’s entire ending conflict felt so contrived, and her behaviour made my decision at the end easy when I assume it was supposed to be hard. But the worst character was Bonnie. I use the term ‘character’ very loosely, as she doesn’t really have any. She spends most of the game agreeing with anything anyone says. Or telling you what to do. “Clem, grab this”, “Clem, squeeze into that small hole full of zombies”, “Clem, go rescue that person from certain death.” Then, after a being nice to her, and compliant all game, she starts accusing Clementine of being useless when she can’t save another character. At this point I just wanted her to get eaten. The worst part of this was that the dialogue options didn’t even give me a choice akin to telling her to go fuck herself.

By the end of the game, I felt like I was watching an episode from The Walking Dead tv show – namely, watching characters yell at each other and make completely nonsensical decisions.  The fact that the supporting characters couldn’t get anything done without the action or direction of an 11-year old also did nothing to endear me to anyone other than Clem.

When I was finally past all the unexplainable nonsense at the climax of the last episode, the ending I got was actually pretty well done and got me a little emotional. However, the rest of the final chapter had already left a bad taste in my mouth.

Rating: 6/10 – Playing as Clementine was enjoyable, and the game started off well enough, but soon went off the rails. A game so focused on story over gameplay really needs to have exceptional writing, but this game doesn’t. Poor character development and meaningless deaths take away from the formula that made the first season so great.