Rumi, a young man with schizophrenia who has a voice that narrates his life 24/7. Eve, an albino vampire who is running from the police. And the world—infested with flesh-eating zombies. In an apocalyptic world riddled with ruthless zombies, Rumi must fight the past that haunts him and survive if he wants to meet his family in Perak. But when the greatest enemy is not the zombies but Rumi himself… Will he make it?

A group of unlikely heroes are all that stand in the way of humanity’s demise as the zombie apocalypse engulfs the kingdom in this high fantasy adventure set in the world of Zombicide: Black Plague. Witch Hunter Helchen mourns her dear friend, one of many heroes The Black Plague has sent to their grave as it consumes the kingdom. Yet she is determined to save what remains of humanity. Helchen and her companions travel to the labyrinthine canals of Zanice to obtain magical resources that would change the course of the zombie plague. Horrendous swaths of the undead mark their journey, and the companions are pursued relentlessly by necromantic forces of evil. When they discover a friend turned foe, Helchen must decide if all zombies are monsters… or if a new darkness is taking shape across the land.

“Playful and (un)deadly serious . . . chew[s] through a near-exhaustive array of films, television, literature, culture, music and even cocktails.”—Times Literary Supplement They have stalked the horizons of our culture, wreaked havoc on moribund concepts of dead and not dead, threatened our sense of identity, and endangered our personal safety. Now zombies have emerged from the lurking shadows of society’s fringes to wander the sacred halls of the academy, feasting on tender minds and hurling rot across our intellectual landscape. It is time to unite in common cause, to shore up defenses, firm up critical and analytical resources, and fortify crumbling lines of inquiry. Responding to this call, Brain Workers from the Zombie Research Center poke and prod the rotting corpus of zombie culture trying to make sense of cult classics and the unstoppable growth of new and even more disturbing work. They exhume “zombie theory” and decaying historical documents from America, Europe, and the Caribbean in order to unearth the zombie world and arm readers with the brain tools necessary for everyday survival. Readers will see that zombie culture today “lives” in shapes as mutable as a zombie horde—and is often just as violent. “An intelligent and highly engaging collection that will appeal to legions of zombie fans, to students in the humanities, and to scholars working in fields that have already been affected by or are now preparing for the zombie apocalypse. It blends entertaining, illuminating, and accessible readings of zombies and zombie culture with unique interventions made from authoritative positions of expertise.”—Julian Murphet, author of Faulkner’s Media Romance

Zombies first shuffled across movie screens in 1932 in the low-budget Hollywood film White Zombie and were reimagined as undead flesh-eaters in George A. Romero’s The Night of the Living Dead almost four decades later. Today, zombies are omnipresent in global popular culture, from video games and top-rated cable shows in the United States to comic books and other visual art forms to low-budget films from Cuba and the Philippines. The zombie’s ability to embody a variety of cultural anxieties—ecological disaster, social and economic collapse, political extremism—has ensured its continued relevance and legibility, and has precipitated an unprecedented deluge of international scholarship. Zombie studies manifested across academic disciplines in the humanities but also beyond, spreading into sociology, economics, computer science, mathematics, and even epidemiology. Zombie Theory collects the best interdisciplinary zombie scholarship from around the world. Essays portray the zombie not as a singular cultural figure or myth but show how the undead represent larger issues: the belief in an afterlife, fears of contagion and technology, the effect of capitalism and commodification, racial exclusion and oppression, dehumanization. As presented here, zombies are not simple metaphors; rather, they emerge as a critical mode for theoretical work. With its diverse disciplinary and methodological approaches, Zombie Theory thinks through what the walking undead reveal about our relationships to the world and to each other. Contributors: Fred Botting, Kingston U; Samuel Byrnand, U of Canberra; Gerry Canavan, Marquette U; Jeffrey Jerome Cohen, George Washington U; Jean Comaroff, Harvard U; John Comaroff, Harvard U; Edward P. Comentale, Indiana U; Anna Mae Duane, U of Connecticut; Karen Embry, Portland Community College; Barry Keith Grant, Brock U; Edward Green, Roosevelt U; Lars Bang Larsen; Travis Linnemann, Eastern Kentucky U; Elizabeth McAlister, Wesleyan U; Shaka McGlotten, Purchase College-SUNY; David McNally, York U; Tayla Nyong’o, Yale U; Simon Orpana, U of Alberta; Steven Shaviro, Wayne State U; Ola Sigurdson, U of Gothenburg; Jon Stratton, U of South Australia; Eugene Thacker, The New School; Sherryl Vint, U of California Riverside; Priscilla Wald, Duke U; Tyler Wall, Eastern Kentucky U; Jen Webb, U of Canberra; Jeffrey Andrew Weinstock, Central Michigan U.

Growing from their early roots in Caribbean voodoo to their popularity today, zombies are epidemic. Their presence is pervasive, whether they are found in video games, street signs, hard drives, or even international politics. These eighteen original essays by an interdisciplinary group of scholars examine how the zombie has evolved over time, its continually evolving manifestations in popular culture, and the unpredictable effects the zombie has had on late modernity. Topics covered include representations of zombies in films, the zombie as environmental critique, its role in mass psychology and how issues of race, class and gender are expressed through zombie narratives. Collectively, the work enhances our understanding of the popularity and purposes of horror in the modern era. Instructors considering this book for use in a course may request an examination copy here.

When a rogue comet enters our solar system and collides with Mars, it sends a huge dust and debris cloud into Earth's orbital path. This cloud contains an alien virus that infects 1/3 of the worlds population. At first it only sickens, but soon mutates turning its victims into blood-thirsty zombies intent on spreading the virus. Sean Sullivan and his three best friends find themselves in the middle of a world wide zombie apocalypse. Struggling to save family and friends, the young men must embark on a cross country trip to safety. Upon arriving they find zombie and human alike intent on their destruction. With intense realism and edge of your seat suspense, author Richard McCrohan leaves you breathless as you discover who will live and who will fall victim to Pandora.

This volume aims to map out the complex relationships leisure has with notions of place and space in contemporary life. Illustrating the transdisciplinarity of this key feature of leisure studies, it explores how leisure places and spaces affect personal, social and collective identities.

After transmigrating into the apocalypse, he acquired a Super Fusion System.Two Level 1 Zombies can be combined into a single Level 2 Zombie, the combined zombie would also be completely loyal.The higher the zombie’s level, the better it looked.The zombies also possessed unique skills and techniques. Some are heaven shattering and groundbreaking, with the ability to take the life of any adversary.In fact, the zombies will even continue to spawn new zombies every day.

While television has always played a role in recording and curating history, shaping cultural memory, and influencing public sentiment, the changing nature of the medium in the post-network era finds viewers experiencing and participating in this process in new ways. They skim through commercials, live tweet press conferences and award shows, and tune into reality shows to escape reality. This new era, defined by the heightened anxiety and fear ushered in by 9/11, has been documented by our media consumption, production, and reaction. In Small Screen, Big Feels, Melissa Ames asserts that TV has been instrumental in cultivating a shared memory of emotionally charged events unfolding in the United States since September 11, 2001. She analyzes specific shows and genres to illustrate the ways in which cultural fears are embedded into our entertainment in series such as The Walking Dead and Lost or critiqued through programs like The Daily Show. In the final section of the book, Ames provides three audience studies that showcase how viewers consume and circulate emotions in the post-network era: analyses of live tweets from Shonda Rhimes's drama, How to Get Away with Murder (2010–2020), ABC's reality franchises, The Bachelor (2002–present) and The Bachelorette (2003–present), and political coverage of the 2016 Presidential Debates. Though film has been closely studied through the lens of affect theory, little research has been done to apply the same methods to television. Engaging an impressively wide range of texts, genres, media, and formats, Ames offers a trenchant analysis of how televisual programming in the United States responded to and reinforced a cultural climate grounded in fear and anxiety.

This book examines the phenomenon of urban fear – the increasing anxiety over crime and violence in Western cities despite their high safety – with a view to developing a comprehensive, critical, exploratory theory of fear, space, and urban planning that unravels the paradoxes of their mutual relations. By focusing especially on the southern European cities of Palermo and Lisbon, the book also aims to expand upon recent studies on urban geopolitics, enriching them from the perspective of ordinary, as opposed to global, cities. Readers will find enlightening analysis of the ways in which urban fear is (re)produced, including by misinformative discourses on security and fear and the political construction of otherness as a means of exclusion. The spatialization of fear, e.g., through fortification, privatization, and fragmentation, is explored, and the ways in which urban planning is informed by and has in turn been shaping urban fear are investigated. A concluding chapter considers divergent potential futures and makes a call for action. The book will appeal to all with an interest in whether, and to what extent, the production of ‘fearscapes’, the contemporary landscapes of fear, constitutes an emergent urban political economy.