![]() State of Decay was unique for its appreciation of zombie mythology above all else. That’s the gratifying part of State of Decay. The hero killed, which wasn’t supposed to happen. That fortuitous rucksack of food to feed your survivors for another day. The disparate survivors working together, one a firefighter, the other a car salesman, another a low level politician. The panic of holding one zombie back while two more lunge at you from either direction. ![]() The unexpected horrific face in your flashlight beam as you’re exploring a dark house that you thought was empty. The tension as you’re filling your gas tank while a horde shambles down the road toward you. The genius of developer Undead Labs is how well they get not just the essentials of zombie mythology, but the moment-to-moment incidentals. State of Decay 2 is to State of Decay what Dawn of the Dead is to Night of the Living Dead. But Dawn of the Dead is a timeless work of genre filmmaking and mythology. ![]() Years later, with a budget for better production values, with a larger crew on a more conventional shoot, with better actors, better effects, better cinematography, a better set, better distribution, and better marketing, he realized a fuller expression of what he created in his first movie. But it wouldn’t be fully realized until Dawn of the Dead. So what if the word zombie comes from Haitian mythology? So what if the concept was inspired by the “vampires” in Richard Matheson’s Last Man on Earth? So what if the theme is a variation on the 1956 Invasion of the Body Snatchers? When George Romero gathered some buddies to make a no-budget amateur movie in Pittsburgh, thousands of miles from Hollywood, he invented a new mythology. Night of the Living Dead invented zombies. ![]()
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