No End

Oh, look, it's "Glee" with zombies.

Let me set the scene for you: it's the year whateverumpteen C.E., and some worldwide catastrophe has inexplicably turned most of the world's population into zombies... and even more inexplicably has turned the remaining humans all homosexual. Much as I hate the notion of Sharknado, "gay plague" seems a solid contender for the lamest idea for a disaster movie. Or webcomic.

*Siiiiigh* okay, okay, let's give it its due. It's decent enough. Nice, clean, polished, unpretentious visual style, distinctive characters, dialogue that sounds neither stilted nor overly-slung, plus I'm diggin' the ancient Greek mythology nomenclature for towns - given my bases in a strategy game are currently named Nyctimus, Lerna, Nereus, Arachne and Cornucopia. Also, I'm only joking about the zombie plague turning survivors gay. In fact No End does a great job of not trying to justify itself or explain the joke, lightly implying explanation and exposition, head and shoulders above the hamfisted approach of Eth's Skin and its like. There are people lusting after each others' hot asses in a frozen wasteland and said posteriors just happen to be of the same sex. Cheers. Now let's shoot some zombies. Actually, No End's biggest flaw has little to do with its cast's sexual orientation and more with the weak balance between relevant action/intrigue and tedious, codependent, interpersonal claptrap. That much shoujo-quality gut-spilling really gets in the way of... y'know, literal gut-spilling.

That, and its big, stunning, shocking, flabbergasting, thunderous dramatic reveal foreshadowed chapter after chapter for most of the story was just painfully obvious from the very moment the character in question was introduced.

Still, as one road warrior after another turns out to be like, totes gayballs, it starts wearing thin. You set out cheering for it the first time, "shipping" the cute shy boys, then nodding along approvingly the second time, then rolling your eyes a little the third time, then skimming impatiently when the pattern keeps repeating. There's suspension of disbelief and then there's bullshit. Necessary concessions to storytelling don't extend to simply ignoring logic and the laws of nature. As with the nonsensical overabundance of warrior women in newer computer games, a valid need to acknowledge exceptions to the rule overshoots its mark into insulting political propaganda which only harms the setting's verisimilitude.

The vast majority of  a sexually reproducing species will logically be attracted primarily to the opposite sex, regardless of occasional bouts of grab-ass in the showers. That attraction makes reproduction more likely, makes that genetic predisposition more prevalent in the next generation, and the next, and the next, etc. It's not a moral stance, nor a point of pride. It just is. It's reality, and reality is not optional!

If you want to cancel out that natural principle for the purposes of your story, then you really will have to come up with a homoplague or gayfluenza to explain why your humans are not acting human. It'll have to be a heapin' big pile of pretextium crystals too, to explain:
- how your population didn't retrench in conservative primal values when threatened, as human societies are wont to do
- how your authoritarian regimes are not restricting their subjects to procreative sex to out-breed each other, as such regimes do
- how the population hasn't dwindled to nothing generation after generation
- how musical theatre can survive a stiff-limbed, groaning, shuffling zombie apocalypse
and other such paradoxes.