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zombies

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491 Quotes

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Quotes filed under zombies

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Sure, zombies can __e a metaphor._ They can represent the oppressed, as in Land of the Dead, or humanity__ feral nature, as in 28 Days. Or racial politics or fear of contagion or even the consumer unconscious (Night of the Living Dead, Resident Evil, Dawn of the Dead). We could play this game all night.But really, zombies are not __upposed to be metaphors._ They__e supposed to be friggin_ zombies. They follow the Zombie Rules: they rise from death to eat the flesh of the living, they shuffle in slow pursuit (or should, anyway), and most important, they multiply exponentially. They bring civilization down, taking all but the most resourceful, lucky and well-armed among us, whom they save for last. They make us the hunted; all of us.That__ the stuff zombies are supposed to do. Yes, they make excellent symbols, and metaphors, and have kick-ass mythopoeic resonance to boot. But their main job is to follow genre conventions, to play with and expand the Zombie Rules, to make us begin to see the world as a place colored by our own zombie contingency plans.

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I went into the living room and looked down at my mother__ torn body and shook my head. It was surreal. I guess some people in that situation would have crumbled, some would have cried, but I__ emotionally disconnected from life a long time ago. For that, I had to thank the skeletal bitch on the floor, with her greedy rodent soul and her short-tempered ape-mate in the kitchen. If anything, her death was a belated answer to old prayers, with a bit of an unexpected mess.

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They all call me "Excuse me," even though my nametag clearly says "Jordan." It's like people don't actually exist while they're working. Workers are just tools who aren't supposed to have feelings or personalities. You don't become human until your shift is over. Until then, we're all just zombies. We're dead to the world: infected people who need to be avoided, unless, of course, someone needs to know where the paintbrushes are located.

JM
J. Cornell Michel

Jordan's Brains: A Zombie Evolution

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I forced my weary body up from the ground, my eyes burning with rage. I'd had enough of nearly dying. I'd had enough of secrets and mysteries. I was filled to the brim with pain and misery. It had taken its toll on me. It was hard to hold on to the very things that made you human, when there was nothing good left inside of you. In fact, I no longer felt human. I didn't feel anything except anger. It was time to find Kellan.

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There is another system, more beaded than weather or murder, that is moving up into the province. As Les leaves the chair to investigate his son__ crying a thousand zombies form an alliterative fog around Lake Scugog and beyond, mouthing the words Helen, hello, help. This fog predominates the region; however, other systems compete, bursting and winding with vowels braiding into dipthongs so long that they dissipate across a thousand panting lips. In the suburbs of Barrie, for instance, an alliteration that began with the wail of a cat in heat picked up the consonant __uh_ from a fisherman caught in surprise on Lake Simcoe. The echoing coves of the lake added a sort of meter, and by the time these sounds arrived in Gravenhurst, the people there were certain that a musical was blaring from speakers in the woods. All across the province, zombies, like extras in a crowd scene, imitate a thousand conversations. They open and close their mouths on things and sound is a heavy carpet of mumbling, a pre-production monstrosity. In minutes the Pontypool fog will march on the town of Sunderland and over the barriers south of Lindsay.

TB
Tony Burgess

Pontypool Changes Everything