2/28/08

Silver Age Yorick

Spoof of Y: The Last Man, casting it as a rip-off of an obscure Silver Age girl's romance comics. Fantastic.



Unsurprisingly, the writer of Yorick, The Last Man On Earth was a woman: Sally Polenti, a trailblazer in the comics field and almost totally unknown today. Her work on Yorick is more soap-opera-ish, perhaps, than Brian K. Vaughan’s - but then again, she also doesn’t have any of those Trivial Pursuit factoids Vaughan seems compelled to insert into any and all narratives he writes. And if you thought Vaughan’s depiction of the longing between 355 and Yorick was hot - well, Polenti’s positively smolders. Plus, mad scientists in just about every issue. Girls Romance Comics went out of business in 1958, and most of its writers went into television writing, explaining why it’s now a footnote in comics history. Highly recommended.

link

2/19/08

Notes Toward Zombie Popularity

While the vampire (especially the gothic mode) is a study in the repulsion/attraction dynamic the modern world feels toward hereditary aristocracy, the zombie narrative allows anyone to imagine themselves to be free in a depopulated world filled with riches. It is a anti-authoritarian fantasyscape. All the (primarily masculine) skills the modern world has little use for become paramount in the post-zombie apocalypse: self-reliance, individuality, gun-play, mechanical inventiveness, bravery. Just as the image of the space-age / interplanetary pioneer was crucial to Heinlein's vision of expansion libertarianism, the later-day zombie narrative can attract those bored with the inaction and routine of daily life in the modern first world.

This renders the zombie narrative a portion of the survivalist fictions whose extreme expression is the Last Man On Earth trope.

2/18/08

Reason Articles on Zombies and Politics

We the Living Dead
The convoluted politics of zombie cinema
Tim Cavanaugh | February 2007


It’s vain to argue that zombie politics don’t lean left, but the positioning is not simple. Bob Clark’s 1970 film Children Shouldn’t Play With Dead Things, for example, is something of a reactionary fantasy, with the undead attacking the most irritating band of flower children in movie history—possibly the exact moment America turned decisively against hippies.

George Romero's Diary of the Dead
David Weigel | February 18, 2008, 9:26am

11/20/07

Discussion Thread on Frederic Brown's "Knock"

everything2.com

wikipedia

"The last man on Earth sat alone in a room. There was a knock on the door..."

10/9/07

Apocalypse Kitsch

The Last Man On Earth T-Shirt, for sale at Frankenstein's Attic.




T-Shirt logo is based on the 1964 Vincent price adaption of I Am Legend by Richard Matheson.

9/11/07

Quote

"Even with nobody left, hell is still other people."

Richard Harlan Smith
Package insert for the DVD release of The Quiet Earth.

7/30/07

Themes: Unaffected Pockets

Last "Men" survive through luck (or no reason), immunity, or physical protection from the destroying element. One theme is the unaffected pocket of land or valley or island. Best used for Last Man genre in Z For Zachariah. Also used in two atomic war films, The Offshore Island and The Day the World Ended.

Bibliography: The Last Man Alive

The Last Man Alive
Alexander Sutherland Neill
1939


Entire work online.

A. S. Neill on Wikipedia

7/13/07

Time Magazine review: The World, The Flesh and The Devil (1959)

Monday, Jun. 01, 1959

The World, The Flesh and The Devil (MGM) is a passionately sincere, pictorially brilliant, monumentally silly example of how people who are obsessed with the race question tend to see everything in Black and White. In this instance, the audience is asked to believe that when most of humanity has been wiped out by a cloud of radioactive sodium, the three people who have managed to save their skins will spend most of their time worrying about the color of them.

The start of the film is striking. The hero, a young Negro (Harry Belafonte), is trapped by a mine cave-in. Five days later he digs his way back to the surface. "I made it!" he shouts in triumph, but nobody replies. The pit head is deserted. The town is deserted. The highways are deserted as the hero, panic-stricken, goes speeding off toward Manhattan, the nearest big city, in the first car he finds. At the Hudson River he is stopped short. The George Washington Bridge is jammed to the rails with abandoned automobiles, all arrested in a desperate plunge toward the suburbs of no return; the Lincoln Tunnel is the same.

The hero crosses to Manhattan in a rowboat with an outboard motor, wanders half insane with loneliness and terror through the enormous canceled city. "I'm alive!" he screams, "I'm alive!" But by this time he has lost all hope that anybody else is. He takes up residence in a pleasant apartment on lower Fifth Avenue, begins to make the best of his mournful immense inheritance of culture and convenience.

So far so good. But then the moviemakers feel obliged to give their black Adam a white Eve (Inger Stevens), and all at once the grand drama of humanity's survival collapses into an irrelevant wrangle about racial discrimination that has no more real significance, under the circumstances of the story, than a hotfoot in hell. Adam and Eve fall in love, but Adam refuses to accept the fact. He cannot begin a new world because he cannot forget the old; he cannot let social injustice die with the society that fostered it. At this point the moviemakers introduce a particularly amiable snake into their unedifying Eden. A cultivated white man (Mel Ferrer) wanders into town; and of course he too falls in love with the heroine.

The story falls into the predictable triangular pattern, which soon resolves into the predictable eternal question: Which boy will get the girl? In this instance, the answer is intended to answer the race question, but since Actor Belafonte's skin seems just about as light as Actor Ferrer's, the audience may justifiably wonder if the question itself is not almost academic. Anyway, black boy gets white girl—or seems to. But then in the confusing finish (which was reshot after a big front-office foofaraw), all three wander off together hand in hand—with the girl in the middle.

Survival scenarios paper

Surviving Armageddon: Beyond the Imagination of Disaster
Mick Broderick

Science Fiction Studies
#61 = Volume 20, Part 3 = November 1993

7/9/07

Online Dating Persona Test

The Last Man on Earth

Shit, rejected again. You are The Last Man on Earth.

Sorry, but most women would rather see the human species wither to an end--and therefore deny the most fundamental instinct that living creatures have--than sleep with you.

We've learned the following: you don't think things through. You're haphazard. You're dangerous. You're somewhat inexperienced. It's totally obvious that you're a horny bugger, as well. Everybody knows that and steers clear.

To top things off, when you do find your way into a relationship, you tend to be a dick somewhere down the line and fuck it all up.

There's a small, but negligible, chance we're wrong. In any case, your friends find your shit hilarious. There's nothing cooler than a dude reducing himself to human rubble.

FACT: The apocalypse has come. All are dead. You never should've asked her out.

"The Last Man on Earth" Brendan Day

Published in Polyphony 2, Wheatland Press, 2002

Tangent Short Fiction Review
Polyphony 2 ends with Brendan Day's first story about the "Last Man on Earth." This story magnificently captures the stereotypical science fiction reader/writer who feels isolated from the rest of the world and finds himself in a dead-end job. "Davis" Davison is working as an elevator operator who uses the quiet times to read his pulp magazines and dream of his own success. Day manages to capture the perfect feel for this story, both disjointed and focused at the same time, providing a strong exit from the anthology.

Mumble Reader
Last in this volume is Brendan Day's "Last Man on Earth," a Kavalier and Clay-like story of an elevator operator with a passion for the pulps and a screenplay titled, you guessed it, "Last Man on Earth." There's an odd series of events which lead him to the roof, with his supervisor and his supervisor's girlfriend, who don't seem to be what they are, and who show him some of what will be . . . very little of which matches his Campbell-fueled dreams. This story left me with a lot of questions, but it also intrigued me.

Time Magazine review of Alfred Noyes "The Last Man" (aka "No Other Man")

Apocalypse, Pugnacity

No OTHER MAN—Alfred Noyes—Stokes ($2.50).

THE TWENTY-FIFTH HOUR—Herbert Best—Random House ($2.50).

ATTACK—Leland Jamieson—Morrow ($1.50).

Coming fashions in war books are forecast in two novels from England, one from the U. S. From England comes apocalypse, from the U. S. pugnacity.

In No Other Man and The Twenty-Fifth Hour British Authors Alfred Noyes and Herbert Best offer their visions of the destruction of the human race and civilization in war. Both are good enough stories in themselves. As examples of what English men of letters are providing for beleaguered Britons to read while waiting for total war, they are two of the most curious documents ever written.

Both books begin in the last of the great World Wars. In The Twenty-Fifth Hour mankind dies out doggedly from plagues brought on by bacteriological war fare. Author Best writes with a kind of exaggerated pulp-paper toughness. His de cline of the west is slower, crueler, more realistic, less snagged with philosophical, religious and artistic asides than Poet Noyes's. A buzzard broods over his all-but-dead planet, whose curse is that there is still some doomed life left on it. Only the women are halfway happy as barbarians. Explains Author Best's hard-boiled hero: formerly most women were the drudges of lazy, torpid husbands. The roving sol diers, who kill these husbands and take their places, are more loverlike, practice such endearing military virtues as cooking, washing and mending their own socks.

Poet Noyes's world (No Other Man) is ended at one stroke by a death ray. Only survivors are Hero Mark. Heroine Evelyn (they were submerged in a submarine and a diving bell respectively when the ray struck); some citizens of Assisi, Italy; several herds of contented cows. Author Noyes does not explain how the citizens of Assisi survived or who milks the cows twice daily on a depopulated planet.

Noyes thinks that annihilation is the best thing that could have happened to the debased human race. He has a high old time making his death ray catch in compromising positions all kinds of people who have irked Poet Noyes for years. There is moralizing Critic Sir Herbert Boskin & wife. On a sofa Lady Boskin "was in the arms of a dead man with a long, pale nose, and a red mustache, which gave a touch of macabre comedy to their attitude. . . ." Sir Herbert was in another room, "as dead," observes Poet Noyes gleefully, "as Napoleon. ... On a table beside him there was a magnificently bound copy of a pornographic work. . . ."

Though Authors Noyes and Best differ as to how the old world will end, they are in entire agreement about the nationality of the survivors who will carry on the race. In both novels the Adam & Eve of the new world are an English university graduate and a U. S. girl.

Significantly different from these books of doom in pulse, pace and outlook is a story of war and sudden death by U. S. Author Leland Jamieson. It is a simple, all-action narrative (recently serialized in the Saturday Evening Post) about outnumbered U. S. planes and a power-diving hero in an undeclared Blitzkrieg against the U. S. Fatigue sickens the young airman, fear of death cramps his stomach muscles, terror of being lost at sea in the night momentarily deprives him of his senses. But the last thing he thinks about is the end of the world.

Monday, Jul. 29, 1940

10/18/06

Top Five Tips for The Last Man on Earth

1. Arm yourself. In all probability you are not alone. Handguns for now.

2. Look around, cautiously. Do the best you can to determine what kind of empty world you are in… don’t yell to find other people until you know you want to meet them. They might be zombies, mutants, alien zookeepers, etc. Ask yourself some basic questions: Are the animate dead walking the street and hungering for living flesh? What do you smell? rot? decay? Is the hideous shambling form you spot in the distance a horrible mutated survivor or the undead? Will the mutants hate you for your good looks or blame you for destroying the bulk of humanity? Will the alien zookeepers bring you a mate? Will she be hot? It will take at least one act before you know for sure what’s going on, so stay flexible in the first few days.

3. Get some wheels. A motorcycle will get you through all the wrecked and abandoned but you have to worry about wrecking it (no doctors) and it really can’t carry much in the way of ammunition and supplies. A rugged off-road vehicle with simple mechanics would be best, but nothing with an open top (zombies.) Take spare tires and basic vehicle fluids and parts and equipment (battery, spark plugs, distributor cap, etc.) Fill up as many gasoline cans as practical before the power goes off. Getting gas out of underground tanks is not as easy as it looks in the movies and siphoning gas out of other cars is time consuming and leaves you exposed (zombies.)

4. Hit the grocery store. Stock up on canned goods, can openers and calorie-dense foods with a reasonably long shelf life such as nuts, chocolate, and dried fruits. Eat all you want… your weight will never be a problem again. (If there is a last woman, she’ll accept you for who you are.) Bottled water, medications, hygiene products are also on the shopping list, but don’t try to get everything, this is all just to tide you over until you…

5. Get out of the city. Hundreds of tiny events out of your control can go wrong in a city and kill you: fires, disease, roving gangs of mutants, etc. You want to think fortress. Find a little place in the country and clear the trees around it for a free-fire zone. Stock up on firewood and candles. Keep a generator going if you must, but ease back on it so that when it breaks or there’s no more gas, it won’t come as such a shock. Make trips back to urban centers to stock up on food, medicine, and to hunt for the last woman on Earth (unless you already found her… but would a spare really hurt?) Stockpile, stockpile, stockpile. Food, weapons, ammunition, medicine, pornography, clothing, fire extinguishers, how-to books and tools. Take up farming. And if any lived, get a dog.

10/17/06

Bibliography: Newman, Kim

"I think the appeal is getting rid of all the boring people in the world. One of the few films that plays with the actual wish-fulfillment fantasy of the end of the world as we know it is the much-misunderstood Red Dawn, which expresses precisely that strange survivalist mix of preparedness and eager anticipation that characterizes popular images of the apocalypse. Except for a few gloomy nuke dramas, not many end of the world stories involve imagining oneself among the many, many dead. In a sense, end of the world dramas are the ultimate Reggie Perrin fantasy, doing away with the old life and starting over again. Also, There's an aesthetic pleasure in ruins (at its most extreme, see the bucolic apocalypse of After London) and a Peter Pan-like joy to playing pirates. There's the selfish fact that we all envy posterity. When we die, we miss the end of the story and that can be infuriating. There's a sense that if we have to go, we'd rather the board were swept clean with us."

-Kim Newman, Apocalypse Movies: End of the World Cinema

10/9/06

Bibliography: Brians, Paul

Brians, Paul. Nuclear Holocausts: Atomic War in Fiction, 1895-1984.

Shaggy God

"An important subcategory of the post-holocaust love story is the Adam and Eve formula, in which the two survivors of a holocaust must mate to ensure the continuation of the human race. The genre is a large one, including many stories not depicting a nuclear war, and was well established long before the atomic era. One of the best known early examples is Alfred Noyes's 1940 novel No Other Man, mercilessly satirized in Ronald Duncan's 1952 atomic test catastrophe novel The Last Adam (London: Dobson). Satiric treatment of the formula also figures in Damon Knight's "Not With a Bang" (1950; note the punning title), which is little more than a joke criticizing female prudishness. At the end of the story the last man stands paralyzed and dying in a men's room while the last woman waits outside, too proper to enter and see what is taking him so long."

The Last MAN on Earth
"Another way in which atomic warfare is connected with sexuality is in its effect on reproduction. In The Man with Only One Head (1955), Densil Barr depicts universal sterilization from cobalt-bomb-induced radiation as creating a frenzy of illicit copulation (one would suppose no contraception was available in 1955); adultery is consequently made a capital crime, despite the fact that 43 percent of the married population is indulging. Barr satirizes the values of his time by stating that men would rather see the human race die out than have their wives impregnated by the one man left fertile on Earth."

10/2/06

Sub-Categories Ordered by Degree of Concept

1st Order
The main character is the last living example of homo sapiens on a world devoid of other sentience, either terrestrial, extra-terrestrial, or artificial.

2nd Order
At some point in the narrative, the main character is presented to the reader or thinks him/herself to be the last living homo sapiens. The narrative contains the primal scenes of the Last Man genre. The character eventually comes in contact with one or more sentient beings. The stories vary in length of time before contact, the nature of that contact and the results of that contact. A critical difference is also to be found in the number of people left alive that are eventually discovered.

3rd Order
Stories that use gendercide to drive the plot. While not all gendercide in fiction results in a Last Man (or woman) story, some are pitched directly as that by using the phrase.

4th Order
Stories that whittle a group of characters down to an Adam and Eve Shaggy God plot, technically resulting in a “Last Man.” This is to be differentiated from 2nd order stories where a classic Last Man meets a surviving Last Woman.

5th Order
Stories that are a pun on the phrase “Last Man on Earth.” Also stories that refer to the Biblical notions of the "Last Man," i.e. the generation that will witness the return of Christ.

10/1/06

Common Plot Structures

Last Man stories can be organized into a number of sub-categories based on how the Last Man concept or situation is conceived and used in the story. These are by no means exclusive divisions. Many stories exhibit a mixture of two or more of these. The following reviews will be tagged by category.

The Last Man on Earth
Stories that feature the main character as the last living human being on Earth in total isolation from any other sentient beings (terrestrial of extraterrestrial in origin, organic or artificial in sentience.) These stories can either feature a plot where everyone dies or disappears around the main character or where the mechanism of the death/disappearance of every one else sets the plot in motion.


The Last Woman on Earth
A rare gender reversal of the basic Last Man theme.


The Last Man on Earth (for now)
Many of these begin by suggesting the character is the Last Man, but other people (mainly fellow survivors) gradual appear or are encountered. Many feature periods of isolation broken by contact. Since this is the form that most Last Man stories take, the period of time before the main character meets other survivors is a distinguishing feature.

This has the further sub-types:

The Last Heterosexual Couple on Earth
The basic science fiction Adam and Eve story. They are depressingly common; sometimes referred to as “Shaggy God” stories. The more facile form results in the story being set thousand of years ago and the plot reveals the couple as being the Biblical Adam and Eve, asserting the literal truth of Genesis. They can also come in the form of a story set in the future, were the two must re-populate the Earth with no apparent concept of inbreeding.

The Last Love Triangle on Earth
The conflict of the love triangle can range from an unspoken attraction all the way up to pitched battle in the empty streets. A surprising number of these stories have been created.

The Last Groups on Earth
Instead of the Last Man encountering just a few survivors, enough come together to (or attempt to at least) restart a society.


There are also stories that do not feature the (overwhelmingly temporary) total isolation and the primal scene of the Last Man trope of travel or investigation of the de-populated world. The “Last Men” of these stories do not think at any point they are the last senitent being on the earth.

The Last (Hu)man on Earth
Last Man stories in that the world is de-populated of human beings but not of other sentient entities (intelligent animals, zombies, mutants, artificial intelligences.)

The Last Male on Earth / The Last Female on Earth
Another ironic take on the notion of the Last Man, where a male main character is/becomes or a female main character discovers/creates the only male in a world populated only with females. The story reversed in gender is quite rare. Stories of this nature often grapple with the theme of gendercide.

The Last (Fertile) Man on Earth
Stories where all men are impotent/sterile save one.

The Last MAN on Earth

An odd sub-set that should not be considered Last Man stories at all. The emphasis of the title is on the masculinity of the main character and not the de-population of Earth. Connotations with the Nietzschean conception of the Last Man are often present as well as a sub-text of anti-feminism or, at least, pro-masculinity. The main character is the last potent man on Earth, however the story chooses to define that term.

9/26/06

Bibliography: The Last Man on Earth (anth.)

Asimov, Isaac, Martin H. Greenberg, and Charles G. Waugh (eds). The Last Man on Earth. New York: Fawcett, 1982

The New Reality • (1950)
novelette by Charles L. Harness

Knock • (1948)
short story by Fredric Brown

Kindness • (1944)
short story by Lester del Rey

A Man Spekith • (1969)
novelette by Richard Wilson

Continuous Performance • (1974)
short story by Gordon Eklund

The Coming of the Ice • (1926)
novelette by G. Peyton Wertenbaker

Trouble With Ants • (1951)
novelette by Clifford D. Simak

The Second-Class Citizen • (1963)
short story by Damon Knight

Flight to Forever • (1950)
novella by Poul Anderson

Lucifer • (1964)
short story by Roger Zelazny

Original Sin • (1946)
short story by S. Fowler Wright

Resurrection • (1948)
short story by A. E. van Vogt

In the World's Dusk • (1936)
short story by Edmond Hamilton

Day of Judgment • (1946)
short story by Edmond Hamilton

Eddie for Short • (1953)
short fiction by Wallace West

The Underdweller • (1957)
short story by William F. Nolan

The Most Sentimental Man • (1957)
short story by Evelyn E. Smith

Introduction (The Last Man on Earth)
essay by Isaac Asimov

9/22/06

Bibliography: Millay

Lament
Edna St. Vincent Millay

Listen, children:
Your father is dead.
From his old coats
I'll make you little jackets;
I'll make you little trousers
From his old pants.
There'll be in his pockets
Things he used to put there,
Keys and pennies
Covered with tobacco;
Dan shall have the pennies
To save in his bank,
Anne shall have the keys
To make a pretty noise with.
Life must go on,
And the dead be forgotten,
Life must go on,
Though good men die;
Anne, eat your breakfast;
Dan, take your medicine,
Life must go on
I forget just why.

Bibliography: Newman, Kim

Newman, Kim. Apocalypse Movies: End of the World Cinema. New York: St. Martin’s, 2000.

UK edition: Millennium Movies: End of the World Cinema. London: Titan,1999.

Pg. 18
The more complicated a civilization becomes, the more fun it is to imagine the whole works going up in flames.

Pg. 18

What if the world we know were destroyed, but you alone (or suitably partnered) survived? The commonest recurring image of the Apocalypse, in literature and film, is the dilapidated and depopulated city. As the survivors tour corpse-littered streets, we are allowed to peer at a world caught unaware by the moment of its extinction. To be the inheritor of worthless riches and an inexhaustible supply of canned food is not perhaps such an unattractive prospect.

Pg. 19
…a half-wished for descent into the dog-eat-dog barbarity and the extermination of all the boring people in the world.

Hatch, Robert
Review of Five in The New Republic
“To suppose that the atom will bring quick death for millions and a bright, clean world for a bright, clean boy and girl to repopulate is to tell a fairy story to the soft-minded.”

Pg.109
On The World, The Flesh, and The Devil
Buildings are left intact, but people are instantly vaporized—one wonders if the inventors of the neutron bomb were trying to mimic the effect.

9/20/06

Genre Defintion

Last Man stories are a sub-set of the Post-Apocalypse/ Post-Holocaust genre whose narratives feature a main character who believes that they may be the last person alive on the earth. The primal scene of the Last Man story is the main character wandering through a deserted city center in search of other survivors of the catastrophe that depopulated the world or local area.

Rarely do Last Man stories actually feature a world in which only the main character is left alive. There is very little drama in the struggle of a lone character with the elements and general entropic traumas of civilization collapse or de-evolution. Those that do are often savagely ironic short stories.

There are also stories that are called Last Man stories that do not contain a sole main character and often begin with a cast of characters that have survived the catastrophe. Likewise, some stories that refer to themselves as Last Man stories are adopting the Nietzschean meaning of the phrase or a Biblical interpretation that refers to the last generation before the return of Jesus Christ and the subsequent chaos of "The End Times."

I will attempt to review and categorize the major sub-sets of the Last Man genre in written fiction and film. I will also provide synopses of stories and films that could be considered part of the genre in order to build a canon of works.