The Living Dead 2 (The Living Dead, #2)(30)
The samurai were a warrior caste in feudal Japan who wore distinctive armor and often fought with a sword in either hand, one long (a katana or tachi) and one short (a wakizashi or tantō). Though they were feared because they had the authority to execute any commoner who displeased them, they were bound by a strict code of honor—Bushido—which demanded they commit seppuku—ritual suicide—should they dishonor themselves.
Samurai have had a massive impact on popular culture, everything from westerns (The Magnificent Seven and A Fistful of Dollars are remakes of Akira Kurosawa samurai movies) to Star Wars (the film is heavily influenced by the Kurosawa film Hidden Fortress, and Darth Vader’s helmet is modeled after a samurai helmet).
Our next story explores what happens when these highly trained soldiers face off against their first horde of zombies. The author says, “Lore would have us believe that samurai were almost superhuman in their devotion, but of course people are people. I wanted to create a character who is a slave to what he is, much as the zombies are slaves to what they are. I studied film at NYU, where I had a passionate interest in Kurosawa and horror cinema. Seven Samurai essentially has the same plot as most zombie movies: protagonists improve the defenses of a location, deal with social problems among the survivors, and then fight off the horde.”
London’s primary resource in writing the story was the Hagakure by Tsunetomo Yamamoto, a samurai how-to pamphlet written in the eighteenth century. Its opening line is: “I have found the essence of Bushido: to die! In other words, when you have a choice between life and death, then always choose death.” Which somehow seems appropriate as a lead-in to a zombie story.
From the window of his guard hut, Takashi Shimada watched the trees. Three of the mouja lurked at the edge of the forest on the far side of the rice paddies. Takashi could just make out their shapes through the thick misty rain that made the flooded paddies seem to boil. Two of the figures at the edge of the forest were men in muddy tunics, caked with blood; the third was a woman, her kimono shamelessly open. Takashi watched, waiting, as the shadowy figures shambled toward the village. It did not matter if they traveled one mile per day or a hundred. The dead were coming, and they carried with them a hunger for human flesh.
A loud twang pierced the silence, like the string of a shamisen harshly plucked; an arrow whizzed through the air, cutting through raindrops as they fell to the earth. It struck one of the men in the forehead, splitting his rotting skull like a ripe kabocha. Undeterred, the other mouja lumbered forward as the man’s body fell to the ground in a heap.
In the next hut over, Seiji stood motionless, unwavering since letting the arrow fly, his falcon eyes peering into the distance. Takashi wondered if Seiji was admiring his precise shot, or if his mind was elsewhere, asking himself why he had come to this inconsequential farming village to fight these monsters. All of the samurai had doubted their mission since arriving at the village, though none of them shared their concern with the others—such behavior was unbefitting of a samurai. Seiji finally lowered his bow, then knelt on the ground. After a moment of silent meditation, he drew an arrow from his rabbit-hide quiver, nocked it, and rose to his feet once more.
When the mouja first arrived, it was discovered they only fell when struck directly in the head by an arrow, sword, or spear. Takashi recalled the samurai’s confusion as they watched the creatures approach the village looking like blowfish, their bodies riddled with arrows. Seiji’s technique was so precise he never wasted an arrow. When only a few wandering mouja appeared at a time, the other samurai left it to him to eliminate the threat.
Watching the fluid elegance of Seiji’s ritual put Takashi at peace. Seiji raised the bow so that the horizontal shaft of the arrow was level with his eyes. He extended his hands, his movement loose and calm. His knuckles were curved, as if he held two tiny teacups in his fingers.
Had Takashi been the one holding Seiji’s bow, he would have found it difficult to fire at a woman. He might have needed Seiji to place a nimble hand on his shoulder and remind him that it was not a woman anymore.
Seiji’s drawing hand opened like the wing of a bird, and with remarkable grace he let the arrow fly.
It was a perfect shot. The arrowhead pierced the woman’s eye, erupted out the back of her skull, and passed through the remaining man’s eye socket as well. The arrow continued on, finally coming to rest in the soggy bark of a lilac tree.
Takashi looked away, feeling the vomit crawl up his throat. He wondered whose grandmother, dead and buried years before, that had been. He wondered whose father, too slow to escape the mouja, had just been defiled.
In this new world, Bushido was just a specter lurking in the dark caves of samurai minds. Takashi knew a curse had fallen over the five islands, that none could die without rising as a perverse rotting thing, mindless and hungry for flesh. To obey the honor laws was to set a place for Death at one’s own table.
Edo, Kyoto—for all Takashi knew all of the major cities had already fallen. This little village would have been defenseless. But the farmers had known that the mouja were on their way, so they had sought out a champion.
They had found Takashi at a trading post and begged him to take up their cause. It was a hopeless task. They needed an army to stand a chance. But hell was coming, and honor dictated it is better to go down fighting, protecting those who could not protect themselves. Bushido or no, doing anything was better than sitting around and drinking sake, awaiting the inevitable. So Takashi had agreed, and recruited a few other ronin to join him in protecting the town.