The Undead War means a battle of survival for the remaining pockets of humanity. It's the only thing that matters these days. Survive and win at all cost. The old ways of life mean nothing anymore. Those God-forsaken 9-to-5 jobs, the bills, the corporate empires, politicians bickering over stupid crap, all those laws on the books and everything that meant anything were swept aside. That includes those nice big screens televisions, computers, jewelry, gold, those fancy cars and the money that everyone slaved their asses off to get - it don't mean a damn thing anymore. When those things came back to life, the governments said they were going to eradicate the undead, the zombies, zekes, ferals, walkers or whatever those damned things are being called these days, but instead the governments the world over just collapsed. There's nothing left of the old ways of life just the surviving and dying.

Explores the intersection of the vampire and zombie with 21st Century dystopian and post-apocalyptic cinemaTwenty-first century film and television is overwhelmed with images of the undead. Vampires and zombies have often been seen as oppositional: one alluring, the other repellant; one seductive, the other infectious. With case studies of films like I Am Legend and 28 Days Later, as well as TV programmes like Angel and The Walking Dead, this book challenges these popular assumptions and reveals the increasing interconnection of undead genres. Exploring how the figure of the vampire has been infused with the language of science, disease and apocalypse, while the zombie text has increasingly been influenced by the trope of the areluctant vampire, Stacey Abbott shows how both archetypes are actually two sides of the same undead coin. When considered together they present a dystopian, sometimes apocalyptic, vision of twenty-first century existence.Key featuresRather than seeing them as separate or oppositional, this book explores the intersection and dialogue between the vampire and zombie across film and televisionMuch contemporary scholarship on the vampire focuses on Dark Romance, while this book explores the more horror-based end of the genreOffers a detailed discussion of the development of zombie televisionProvides a detailed examination of Richard Mathesons I Am Legend, including the novel, the script, the adaptations and the BBFCs response to Mathesons script

A POST-FALL FANTASY TABLETOP ROLEPLAYING GAME SET IN A RAMPANT OCEAN OF VERDANT GREEN. Some three hundred years ago the empires of the world were toppled by a wave of fast growing greenery, a tide of rampant growth spilling from the West known as the Verdancy. Now chainsaw-driven ships cut their way across dense treetop waves, their engines powered by oilfruit, rope-golems, honey and pride.You play a wildsailor, part of a motley crew consisting of humanity's weathered descendants, cactoid gunslingers, centipedal fungi, silk-clothed spiderfolk, and other, stranger things. With your fellow crewmembers, you'll journey across the lingin' tide discovering charts, pursuing drives, and avoiding mires of the deep.The Wildsea hungers and grows, roots sinking deep into the forest floor as the waves above ripple with life. What will you discover in its depths?The Wildsea is a tabletop roleplaying game from Quillhound Studios for 2-6 players inspired by stories like Sunless Sea, Bastion, and the Bas-Lag Trilogy. The Wildsea uses a narrative, fiction-first d6 dicepool system that draws inspiration from games like Belly of the Beast, Blades in the Dark, and 13th Age.

A quick-playing skirmish game of survival and horror in the aftermath of a zombie plague.

Nothing brings the family together like a zombie apocalypse ... Fifteen-year-old Jeremy Barnes would rather watch a zombie movie than shoot a real one, but he has no choice if his family wants to survive the end of the world. Their plan? Drive across the infected United States to a cabin in the Colorado Rockies without a scratch, but their trip takes a complicated detour in the middle of Nebraska when they find Kaylynn, a girl who can handle a baseball bat better than Jeremy can hold a .45 Beretta. And when they stumble into a sanctuary, Jeremy soon learns that Kaylynn is stronger than she looks-a deadly secret lies inside her. After the radio picks up a distress call from Kansas City about a possible cure, Jeremy's parents go with a team to investigate. They never return. The only way to find their parents is for Jeremy and his sister Jewel to rely on a dangerous girl who might just turn on them at any moment.

In an apocalypse there is definitely a beginning where mistakes are made and the seeds of evil are allowed to sprout and take shape. However, an end is not so certain. Once an Apocalypse occurs not even death is certain. Sometimes death is only the beginning. At first light that morning, Dr Lee steps into the Walton facility on the first day of human trials and can barely contain her excitement. The labs are brand spanking new and everything is sharp and clean. They've been built to her specifications and are a scientist's dream. It's where cancer is going to be cured once and for all. By midnight it's a place of fire, of blood and of death...a death that, like the Apocalypse, is seemingly never ending.

Whether preparing us for economic recovery after the zombie apocalypse, analyzing vampire investment strategies, or illuminating the market forces that affect vampire-human romances, Economics of the Undead: Zombies, Vampires, and the Dismal Science gives both seasoned economists and layman readers something to sink their teeth into. Undead characters have terrified popular audiences for centuries, but when analyzed closely, their behaviors and stories—however farfetched—mirror our own in surprising ways. The essays collected in this book are as humorous as they are thoughtful, as culturally relevant as they are economically sound, and provide an accessible link between a popular culture phenomenon and the key concepts necessary to building one’s understanding of economic systems big and small. It is the first book to apply and combine economics and our society’s fascination with the undead, and is an invaluable resource for those looking to learn economic fundamentals in a fun and innovative way. Contributions by: Kyle William Bishop, Eleanor Brown, Ian Chadd, Darwynn Deyo, Steven Horwitz, Daniel Farhat, Jean-Baptiste Fleury, Enrique Guerra-Pujol, Brian Hollar, Sebastien Lecou, Joseph Mandarino, Alain Marciano, Fabien Medvecky, David T. Mitchell, Michael O’Hara, M. Christine Phillips, A. Lynn Phillips, G. Michael Phillips, Lorna Piatti-Farnell, Robert Prga, Hollis Robbins, Sarah Skwire, Ilya Somin, David Tufte, Mary Jo Tufte, and Charlotte Weil