ZC Rating 4 of 7: Very Good
"I say, Zoc, you're slipping," Zombos said.
"What do you mean," I asked.
"Typos, my boy, typos. Your last post had typos. Tsk, tsk. The least you could do is proofread your own work before subjecting your learned readers to..."
My mind wandered as Zombos pontificated, drifting to thoughts of wagging puppy dog tails, cabbages and kings, and zombies. Wait a moment—zombies? Why yes! Why not?
No other horror subgenre elicits more fodder for cinema than those nihilistic automatons of sheer irrational fright and disgust. Whether born of thumping voodoo drums, cosmic radiation, or the crisp tinkling of test tubes, the walking dead have brought metaphorical life to many cinematic, philosophical, theological, and fictional works. No other unreal monster instills such chills and thrills as a shambling or sprinting—and badly decomposing—undead aunt, uncle, or significant other that has eyes and teeth only for you. From social commentary to gore, zombies are the cat's meow when it comes to biting allusive storytelling and visceral visuals combined.
Boom! Studios' Zombie Tales Volume One takes full advantage of this ironic oasis of socially relevant dead people by collecting, into a nicely-sized book, stories that run the gamut of zombiedom motifs, including loss of identity, religious dilemma, and gruesome humor. It's a rare treat to find a collection that provides stimulating horror entertainment across every story. The Walking Dead trades come to mind as one of the few that can do that. Zombie Tales Volume One accomplishes the same feat, and while each story is not above average, many are, and all are competently good.
My favorite would have to be Daddy Smells Different. That foreboding title aside, one of the challenges in doing a short graphic story is to provide enough build-up, within the limited span of panels, to enable an effective ending; one that will leave you thinking—and feeling—a little off the well-trodden trail of typicality. Writer and artist, John Rogers and Andy Kuhn, create a 1950's-style tale of terror with their snappy narrative, told in the first person by a little boy who goes through a more challenging change than puberty. It's poignant, a little sad, and provides a kicker ending that leaves you uncomfortable. Both artwork and narrative work horrifyingly well together and capture a bit of that old EC Horror Comics magic.
I, Zombie:Remains of the Day, a three-part story written by Andrew Cosby and illustrated by three capable artists in their different styles, is a sublime dip into the bizarro world of zombie humor. Another tale told in the first person narrative style, it depicts the trials and tribulations of one poor dead-head whose hunger goes deeper than just sweetmeats. Here, loss of identity becomes more replacement by a different one; one you definitely could say is a life-style change, or maybe "dead-style" would be more accurate. With a little tongue in cheek dialog, and decomposing anatomy, the story provides a happy ending only possible in your zombie imagination. One amusing scene has zombie bunnies poised for mayhem. It reminded me of a similar, albeit much more serious scene in Kim Paffenroth's Dying to Live novel.
Another three-part story by writer Keith Giffen, and artist Ron Lim, is a darkly-humorous, more philosophical exploration of a zombie mind slowly becoming dissolute; a once-living personality slowly dissolving into nothingness. Parallels can be drawn to the reality of alzheimer's disease as the real horror of becoming a zombie is explored in Dead Meat: the loss of one's self, one's uniqueness.
Religious dogma is the underpinning for The Miracle of Bethany, written by Michael Alan Nelson and drawn by Lee Moder. I recall one reviewer mentioning this story could be construed as blasphemous in its use of Lazarus as Zombie O, but fiction can never be blasphemous; only reality can. It's a story that looks at how a miracle can become a curse if the spirit—and flesh—is weak. We all stand naked in the Garden of Eden after all.
Religion also plays into Zarah's decision-to-be-made For Pete's Sake. Writer Johanna Stokes and artist JK Woodward explore that decision—how long do you hold out hope for the one you love in the face of despair—before you can move on with your dramatically altered life? Here, the zombie apocalypse has created a new culture of "them and us", with people moving from building to building across foot-bridges built from roof-top to roof-top, while the 
ravenous, ungodly zombies walk streets below. Life goes on, as best it can. I can think of some ungodly places on earth now that closely parallel the unreal world Zarah finds herself in. What would your decision be?
While there are other rewarding stories in this engrossing anthology, the last one will leave you with a bitter taste in your mouth as another, once happy, little boy fights to find his way back home in A Game Called Zombie. This one hearkens back to The Twilight Zone, but there is no Rod Serling here to neatly tie things up. Instead, little Travis must contend with zombies that no one else can see; worse yet, they can see him. Is he hallucinating from the onset of schizophrenia? Where did his dad go? Whatever you do, don't open your eyes. What was chasing you is now standing in front of you.
"Zoc, are you listening?" asked Zombos.
"I'm sorry, were you saying something?"
"You are incorrigible!" he stammered. "The typos, man, the typos!"
"Oh, I already fixed those," I answered, my mind wandering again. Now if someone in Horrorwood would work up a zombie anthology film, that might be interesting...
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