Also comedic is the presentation of the sole policeman involved in the story, whose buffonish, clumsy, constantly failing and constantly racist behavior can also be perceived as a rather pointed comment for the police in general. Furthermore, the fact that Tae remains a zombie, constantly jumping to eat what and whomever she wants, adds even more to the whole slapstick comedy element.
In that fashion, the fact that they are undead is the main source of comedy here, as limbs and even heads on occasion tend to leave the girls on the most uncomfortable times, not to mention their constant need to be in intense makeup during their public appearances, for people not to realize they are actually zombies. Lastly, the fact that they are zombies also moves in the same, lack-of-will-on-their-side path, while also providing the second element of the narrative
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The thoroughness with which the whole phenomenon is presented is one of the best traits here, with Sakai showing the hardships idol groups have to face in order to make it to the top, entertaining company employees at retreats, appearing in commercials, participating in races, performing for free on the street and many other deeds before they actually manage to be in real concerts. The girls are essentially prisoners of Kotaro, who tells them exactly what and when to do, with the fact that he has given them numbers (0-6) as aliases highlighting the lack of identity these girls face, as they essentially exist only as parts of a group, rather than individuals. The first is the concept of idols, with the creators presenting an apt metaphor for how the whole thing works. Munehisa Sakai directs a story by Shigeru Murakoshi which unfolds in three different levels. At the same time, the mysteries and the questions continue to pile up. Lily was a transgender child actress while Tae, the only one who has not regained conscience, the only one whose past is not known, to a point at least.Īs Kotaro tries to both promote and train them as hard as possible, in the most death-defying ways in both occasions, the girls start to bond, examine both their past and their current lives, and face personal issues that bring them even closer together. Yugiri was an oiran who lived between the Bakumatsu and the Meiji Restoration eras in the 19th century. Junko was also an idol, although from the Showa era, who was popular during the 80s. Ai was the former lead performer of Iron Frill, a 2000s idol group Sakura idolized in life. Saki was a delinquent and leading member of the all-female biker gang Dorami. Sakura is the first to wake up from her brain dead state, with Kotaro next having them perform in a death metal concert at the Saga Live House Geils, which surprisingly, ends up in huge success and 5 of the rest of the six girls, regaining their senses the next day. Ten years later, Sakura, along with six “legendary” girls from various eras of Japan’s history, are brought back as zombies by a man named Kotaro Tatsumi, who seeks to revitalize Saga Prefecture by putting together an all-zombie idol group that would become eventually become known as Franchouchou. In the year 2008, high school student Sakura Minamoto is abruptly killed by a truck on the morning she plans to submit an idol application.
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