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The world remains in a state of flux, but life in a post-zombie society goes on. It’s now three years since Bernard Marlowe’s stunning election victory. Incidents involving the undead have fallen to an all-time low, and great strides have been made in the development of a groundbreaking treatment to reverse the devastating effects of the infection. The new prime minister is still grappling with the realization that running the country isn’t quite the walk in the park he thought it might be. The one-time flavor of the month is now the most unpopular leader in recent memory. His scandal-plagued government has degenerated into a laughing stock and is hurtling head-first toward a humiliating electoral defeat. Regaining the public’s trust, or restoring their deepest fears, may be his only chance of winning – and there is nothing he won’t do to hold on to power.
What happens when the zombie apocalypse turns out to be a zombie aberration? Three years have passed since the rising of the undead, and life has more or less returned to normal. Zombie encounters are now few and far between. The undead are more of a nuisance than a menace; they are less likely to sink their teeth into unsuspecting civilians than they are to be attacked by vigilantes and rabid lynch mobs. Laws have been passed for the zombies’ own protection, and they are safely and humanely quarantined from society. Dead Rite, an undead management and control firm, suddenly finds itself on the brink of bankruptcy. The zombie population is dwindling and the bills are piling up. So when a lucrative opportunity unexpectedly presents itself, it seems almost too good to be true. A tale of misfits, weirdos, outcasts, alcoholics, trust fund activists, dead-head hippies, sleazy politicians and psychotic hillbillies; all foot soldiers fighting in the war on horror.
Riley Haig is a mild-mannered wage slave returning to his hometown following a decade-long absence. From the moment he arrives, everything feels off by a degree or two. Dark secrets lurk behind every corner, long-forgotten figures re-emerge from his murky past, and he is haunted by the eerie notion that something terrible could happen at any given moment. Then the bodies begin piling up. Langdon Pryce is a bestselling novelist in creative freefall, in the middle of writing a story about a mild-mannered wage slave returning to his hometown following a decade-long absence. A crisis of confidence forces him to re-examine his own life and values, spurring him on to produce what he hopes could be his greatest work to date. Then things get weird.
School’s out. It’s a hot summer’s day, and a group of suburban teenagers look for new ways to kill time and fight off boredom. While the boys want to test the limits of their invincibility by attempting a dangerous skateboarding stunt, the girls just want to escape the heat and go home. Then a zombie stumbles into the neighborhood. A short prequel to The War on Horror II: Return of the Undead Menace.
One rule. One winner. One hundred million dollars. A group of random strangers are invited to take part in a mysterious lottery with an intriguing premise. Twenty-seven accept the offer. But what begins as an unusual social experiment quickly descends into something much more sinister. The contestants receive more than they bargained for, and the dark side of human nature reveals itself. As the lottery spirals into a life-and-death struggle for survival, Alice Kato is left searching for answers. How far are ordinary people willing to go to win this extraordinary amount of money? Is there anyone she can trust? Is there any way out? And just who exactly is pulling all the strings? Everyone has their price. Most just don't know what it is yet.
Three disparate and deranged tales featuring deluded narcissists, desperate wannabes, cunning fraudsters, lecherous vampires and sociopathic social climbers, in the city where dreams are sold and nightmares are conjured. FALSE ICONS AND SACRED COWS: Fr. Arthur Gerdtz is on a mission from God. His church is fighting for relevance in the modern world. Attendances are dwindling, atheism is rising, and Instagram celebrities are bigger than Jesus. This veteran priest is in danger of losing his religion – until he brings some Old Testament values into the twenty-first century. THE HONEY TRAP: Two lost souls are drawn to each other one night via Tinder. He is a successful businessman, searching for a reprieve from a life of solitude. She is a sweet-natured but damaged schoolgirl who just wants to be understood. Both long to connect with another human being. They know that meeting up is a bad idea, and they know their actions could have far-reaching consequences. What they don’t know is that the other hides a secret. THE SHARPEST KNIVES IN THE DRAWER: Cameron Knight and Eric Haas discover the realities of being a Hollywood screenwriter haven’t quite met their expectations. Their dreams of living the high life have fallen by the wayside and they find themselves hopelessly out of their depth, struggling to finish the lowbrow horror gore-fest they have been hired to write. Do they have what it takes to make it in Hollywood? How far they are willing to go to succeed in such a cut-throat industry? And when you have no limits, how do you know when you’ve gone too far?
Los Angeles, 1993. Fawn de Jager is a former child performer struggling to make a name for herself in the cut-throat world of pop music. Julian T. Rockefeller is her manager, a one-time music business high-flyer and a full-time disciple of the rock and roll lifestyle, trying to rebuild his reputation and stay relevant in a rapidly changing industry. Steven and Rahul kidnap people for a living. On the brink of bankruptcy and facing imminent obsolescence, Julian takes one last roll of the dice in his bid to launch Fawn’s career. It could be the worst idea he’s ever come up with – or it could be the best. When you’re that desperate, it can be hard to tell the difference.
A depressed town in the middle of nowhere. A cowed sixteen-year-old struggling to fit in at a new school. A plan for violent retribution against those who have made his life a misery. But before Grover Tench can follow through with his vengeful intentions, his world is thrown into disarray thanks to a chance encounter with Kevin Zhu – private school kid, borderline genius, and unlike anyone he has ever met. Kevin favors creativity over carnage, brainpower over bloodshed, and he convinces Grover there might be a better way. Together the two teenage outcasts will devise a strategy to fight back against their oppressors in a way that will have the whole world talking. They soon discover that with a little bit of ambition and a lot of ingenuity, there are no limits to what they can accomplish. But can they really get away with something so audacious? Or are they in way over their heads?
Battlefields have traditionally been considered places where the spirits of the dead linger, and popular culture brings those thoughts to life. Supernatural tales of war told in print, on screen, and in other media depict angels, demons, and legions of the undead fighting against—or alongside—human soldiers. Ghostly war ships and phantom aircraft carry on their never-to-be-completed missions, and the spirits—sometimes corpses—of dead soldiers return to confront the enemies who killed them, comrades who betrayed them, or leaders who sacrificed them. In Horrors of War: The Undead on the Battlefield, Cynthia J. Miller and A. Bowdoin Van Riper have assembled essays that explore the meaning and significance of these tales. Among the questions that the volume seeks to answer are: How do supernatural stories engage with cultural attitudes toward war? In what ways do these stories reflect or challenge the popular memories of particular wars? How do they ask us to think again about battlefield heroism, military ethics, and the politics of sacrifice? Divided into four sections, chapters examine undead war stories in film (Carol for Another Christmas, The Devil’s Backbone), television (The Twilight Zone), literature (The Bloody Red Baron, Devils of D-Day), comics (Weird War Tales, The Haunted Tank), graphic novels (The War of the Trenches), and gaming (Call of Duty: World at War). Featuring contributions from a diverse group of international scholars, these essays address such themes as monstrous enemies and enemies made monstrous, legacies and memories of war, and the war dead who refuse to rest. Drawing together stories from across wars, branches of service, and generations of soldiers—and featuring more than fifty illustrations—Horrors of War will be of interest to scholars of film, popular culture, military history, and cultural history.
The Ethics of Horror: Spectral Alterity in Twenty-First Century Horror Film examines the theme of spectral haunting in contemporary American horror cinema through the lens of ethical responsibility. Arguing that moral obligation can manifest as terror to the complacent self, the text extracts this dimension of ethics in twenty-first century horror films. Drawing on the ethical theories of Emmanuel Levinas and Jacques Derrida, which posit the asymmetrical obligation of the self to the other, Michael Burke highlights how recent horror films portray spectral antagonists as ethical others that hound protagonists and summon them to an accountability that they can neither evade nor ever completely fulfill. Burke observes the resulting destabilization of notions of ethical responsibility and justice in a variety of contemporary horror subgenres, including technohorror, haunted house and zombie films.