An analysis of a dystopian world based on the zombie apocalypse in

reference to the comic book and the movie The Walking Dead

Chapter 1. Dystopian and post-apocalyptic literature

As this paper aims at analyzing the dystopian world based on the zombie apocalypse, it
is necessary to introduce the concept of dystopia first. Therefore, the opening chapter
contains a theoretical background related to the issue and covers some definitions and
the origin of dystopia and utopia as well, due to the fact that the former emerged as a
response to the latter. Moreover, this part of the thesis focuses on the development of
these concepts in literature. Furthermore, this section introduces the concept of post-
apocalypse, its representation in literature, as well as the differences between dystopian
literature and post-apocalyptic fiction.

1.1. Definition of dystopia and its origin

Defining the concept of dystopia is not an easy task, therefore, over the centuries,
various definitions and approaches to the subject have been proposed by different
scholars. According to Oxford Advanced Learner’s Dictionary, a dystopia is “an
imaginary place or state in which everything is extremely bad or unpleasant”. As
mentioned by Jelena Pataki (2017: 426), “the term is predominantly defined through its
antonym and inevitable predecessor - utopia, that is, a perfectly organized, imagined
society or place”. Many definitions state simply that dystopia is the opposite, or the
reverse of utopia, however they often do not explain “in what ways the dystopia is
different, and what this difference means” (Alihodzić, Veseljević Jerković 2016: 426).
Consequently, it creates an ambiguity and confusion that is exacerbated even further by
“the terminological mayhem” (Voigts and Boller 2015: 1) that can be observed in the
area of dystopia. Indeed, there is a number of terms relating to the concept of utopia and
dystopia, such as anti-eutopia, anti-utopia, pessimist utopia, negative utopia, critical
dystopia, critical utopia, or cacotopia (Voigts and Boller 2015: 1). These terms indicate
different names to the same issue put forward by various people, or they result from the
formation of new words that stem from ‘utopia’. However, some terms refer to the
subcategories of utopia and dystopia that have been proposed so far. As for the term
‘anti-utopia’, it is sometimes treated as a synonym of dystopia, nevertheless, other
1
experts point to vital differences between those two. Thus, it can be observed that the
concept of dystopia is very complex and complicated, so that there are various points of
view about the issue that contradict each other very often.

It is also worth to mention that “with the creation of every new associated word,
the concept of utopia took on a more precise meaning” (Vieira 2010: 3). Similarly, the
meaning of dystopia has changed since it was coined in 1868 by John Stuart Mill in his
political speech before the British Parliament. The economist introduced the concept of
dystopia as the opposite of utopia or cacotopia, stating that:

It is, perhaps, too complimentary to call them Utopians, they ought rather to be called
dystopians, or cacotopians. What is commonly called Utopian is something too good to
be practicable; but what they appear to favour is too bad to be practicable. (Oxford
English Dictionary: 143)

The author refers to the already existing term ‘utopia’ and its original meaning as a
good place, thus, dystopia presented as the opposite, denotes a place that is bad. Indeed,
the word originates from the ancient Greek and means “a bad place”. Additionally, Mill
makes a reference to the term cacotopia that was introduced by Jeremy Betham in 1818
and derives from the word κακόs, meaning ‘bad, wicked’.

Due to the fact that dystopia “emerged in the wake of utopia and has followed it
ever since” (Kumar 2013: 19), it seems vital to explain the notion of utopia first in order
to understand clearly the latter.

Basically, the concepts of utopia and dystopia can be approached from different
perspectives, therefore there are many diverse definitions. According to Fatima Vieira
(2010), the term utopia can refer both to a general intellectual concept and to literary
genre. Likewise, Gregory Claeys (2013b: 14) in his article entitled “Three variants on
the concept of dystopia” observes that “utopianism, taken more broadly, clearly does
consist of three facets: a literary tradition, an ideology or ideologies, and a tradition of
communal living and organization”. In addition, the author suggests that the term
dystopia also has three different meanings depending on the point of view.

In the general sense utopia refers to a state, place or condition that is perfect and
desirable, whereas dystopia indicates the reverse - no one is willing to live there.
Dystopia is connected with violence, poverty, disasters, and any other miseries faced by
humans. Utopia, on the other hand, relates to an ideal society that attempts to create a

2
perfect social, political, and legal system. In this general concept, utopia and dystopia
are referred to as utopianism and dystopianism. As stated by Davis (2013: 23):

In this typically ideologically oriented understanding, utopia is defined rigidly in terms

of the quest for a state of impossible perfection, thus giving rise to a dystopian parody
that satirically illustrates the futility and folly of all utopian aspiration.

Fátima Vieira (2010) explains in detail the origin and the meaning of the word
‘utopia’. She mentions that the term was used for the first time in 1516 by Sir Thomas
More in his narrative of the same title, utopia is thus the name of the fictional village
that “represents his concept of an ideal society”. Vieira (2010) points out that:

In order to create his neologism, More resorted to two Greek words – ouk (that means
not and was reduced to u) and topos (place), to which he added the suffix ia, indicating
a place. Etymologically, utopia is thus a place which is a non-place, simultaneously
constituted by a movement of affirmation and denial. (Vieira 2010: 4).

The author indicates that the word ‘utopia’ was coined as neologism that is a new word
or expression created for the need to name something newly discovered. Basically, three
types of neologisms can be distinguished:

- Lexical neologism – new words generated in order to term recently developed

concepts or refer to pre-existing ones
- Semantic neologisms – pre-existing expressions applied “in a new cultural
context”
- Derivation neologisms – words that are created on the basis of other words and
are their “variations”. (Vieira 2010: 3).

It seems obvious that utopia emerged as a lexical neologism, however More

complicated the situation further by coining another term, eutopia, that is a derivation
neologism and means “the good place”. As observed by Vieira (2010: 5), Thomas More
“created a tension that has persisted over time and has been the basis for the perennial
duality of meaning of utopia as the place that is simultaneously a non-place (utopia) and
a good place (eutopia)”. It suggests that utopia as a place does not really exist, it is just
an imaginary vision, a fiction that cannot be reached. As a matter of fact, taking that
dystopia is the opposite of utopia, the former denotes a place that is “bad” and at the
same time it refers to a non-place as well.

3
 Fatima Vieira (2010: 5) explains that utopia appeared, because

More wanted to convey a new idea, a new feeling that would give voice to the new
currents of thought that were then arising in Europe. More’s idea of utopia is, in fact,
the product of the Renaissance (…) [when] emerged the ability to arrange society
differently in order to ensure peace” (Vieira 2010: 5).

However, although Thomas More introduced the term utopia, it was not him that
discovered utopianism, “which has at its core the desire for a better life”. Vieira admits
that “in fact, More made a connection between the classic and the Christian traditions,
and added to it a new conception of the role individuals are to play during their
lifetime” (Vieira 2010: 6).
Apart from the general understanding of utopia and dystopia that has been the
subject of this subchapter, these concepts have been also defined in terms of literary
genre. The following section of this paper focuses on the origin and the development of
dystopian literature and film.

1.2. Dystopian literature

1.2.1. The origin of dystopian literature

As regards the origin of utopia and dystopia, it should be noted that these notions have a
very “broad and diverse” tradition (Claeys 2015: 16). Indeed, the concept of and ideal
place and society, as well as its opposite date back to antiquity and derive from
mythology and religious beliefs. Claeys (2013: 146) points to the idea of Eden or
Heaven and Hell on the other side, which paved the way to the creation of utopia and
dystopia. It introduced the duality, the two extremes – the absolute paradise and the
highest misery. Undoubtedly, this concept contributed to the emergence of the term
utopia and dystopia, which have been shaped throughout the centuries.
As observed by Zhurkova and Khomutnikova (2019: 186), “the development of
dystopian genre is largely determined by its relation to the utopian literary tradition. Not
only the dystopian genre emerged from the utopian one, but became its thematic
reflection”. Indeed, utopia shows an ideal community where the rules of fairness and
justice prevail, whereas dystopia depicts the society as extremely miserable because of
the omnipresent injustice, inequality, violence, environmental destruction, or war.
Utopian literature emerged as a reflection of humankind’s moods and sentiments
that could be observed in the 18th century, such as the belief in the ability to surpass

4
one’s boundaries and create an ideal society. Dystopian literature, on the other hand,
appeared as a response to social, political, and economic changes that could be observed
in the 20th century. As stressed by Moylan (2000, xi):

Dystopian narrative is largely the product of the terrors of the twentieth century. A
hundred years of exploitation, repression, state violence, war, genocide, disease, famine,
depression, debt, and the steady weakening of humanity through the buying and selling
of everyday life provided more than enough fertile ground for this fictive underside of
the utopian imagination.

Indeed, dystopian writers witnessed the atrocities of the First and Second World Wars,
the rise of Hitler and Stalin, the Nazis, the fascists, and the communists.
In addition, they experienced the economic crisis all over Europe. All these
circumstances destroyed the current perception of the world once and for all. The
traumatic events and experiences took a toll in the form of negative visions of the
future.
However, scholars point to the fact that the transformation from utopian
literature into dystopian fiction was the gradual process. Together with the growing
pessimism as well as with the negative perspectives on human nature, at first satirical
utopias came into being. Satirical works were shaped into dystopia that functions as a
warning for people and aims at changing and reconstructing the community. Dystopian
works indicated the misconceptions in utopian ideas in relation to a real society. Lyman
Tower Sargent (2010: 103) notices that utopianism has been criticized for the pursuit of
an ideal or perfect community, while the perfect society in fact would be “finished,
complete, or unchangeable”, as it will not develop any further. Therefore, “a utopian
society will always become a dystopian one” (Baldwin 2019: 3). As noticed by Wynne
(2020: 8), “dystopian novels also warn readers of the effects of technological control”
(Wynne 2020: 8).
Basically, Dystopia has been “recognized as the negative counterpart of utopia,
(…) a utopia gone wrong’’ (Pataki 2017: 426). Lyman Tower Sargent (2013: 9) stresses
that utopia is “essential for the improvement of the human condition”, however “if used
wrongly, […] utopianism is dangerous”. Therefore, the concept of dystopia was
introduced.
The first three dystopian novels written against utopian models are George
Orwell’s 1984, Aldous Huxley’s Brave New World, and Yevgeny Zamyatin’s We. They
depict the critique on totalitarian regimes, politics, and the new technologies (Baldwin

5
2019: 3). Margaret `Atwood is another prominent dystopian writer, whose The
Handmaiden’s Tale (1985) follows the themes of genetic manipulation, religion,
sexuality and introduces the subject of feminism. Women in her novel are enslaved,
treated like objects and completely under control of men. Further on, “with the
emergence of film adaptations of books, series such as The Maze Runner and The
Hunger Games have brought in millions of fans to the genre” (Wynne 2020: 1).
Rana Neel (2021) points to common elements of dystopian fiction works:

 Governmental control
Government is one of the prominent elements in most of the work of dystopian fiction.
The government is presented as a powerful and oppressive entity suppressing the
society and state or even a no government scenario where anarchy prevails. For
example, Orwell’s 1984 or The Hunger Games by Suzanne Collins.
 Technological control
An advanced technology controls society. Robots, computers, or some highly advance
and scientific means are used to control society, place, or the character’s mind.
 Environmental destruction
Showcasing the setting of a place inhabitable for humans often after destruction or the
story of a probably upcoming disaster.
 Loss of individualism
Showcasing the danger of conformity, loss of individualism presents a world where
personal choices of an individual such as their physical appearance or their way of
living are control by an authoritarian state.
 Survival
Fend for yourself or die is the common element found in dystopian fiction. The citizens
or the characters living in a dystopian world often have to survive on their own in
between the ruins, destructed environment, collapsed society, inhabitable places,
powerful and oppressive dictators, etc. The quest for survival is prominent in dystopian
fiction.

Dystopian fiction is basically concerned with the following themes: good vs.
evil, totalitarianism, rebellion, family, politics, violence, surveillance, nature,
corruption, oppression, and class. (Neel 2021). However, as observed by Voigts
and Boller (2015: 2), nowadays, in the 21 st century dystopian fiction deals with a
variety of challenges posed to humans:

climate change; the shortage of resources and other ecological disasters; the unipolar
new world order after the end of the Cold War; the global spread of failed states;
global overpopulation; demographic crises; inequality and terrorism; as a result:
migration and displacement; wild urbanisation; rampant consumerism; the social and
economic disasters of global capitalism; religious, ethnic and cultural strife;

6
 fundamentalist counter-reactions to modernity; unchecked scientific dynamics in
biotechnology, cloning and ‘reprogenetics’; nuclear proliferation; the rise of
illiberalism; un- checked surveillance and Big Data; viral pandemics; human
regression and trans- or posthuman displacement by computers, robots, and so forth.

1.2.2. Dystopia as a genre

As dystopian fiction refers to the future and speculates on terrible consequences that
humans might face when existential threats are still neglected, it is acknowledged to
belong to the category of speculative fiction. As Margaret Atwood, a famous dystopian
writer once noticed:

If you’re interested in writing speculative fiction, one way to generate a plot is to

take an idea from current society and move it a little further down the road. Even if
humans are short-term thinkers, fiction can anticipate and extrapolate into multiple
versions of the future.

She points to the fact that dystopian fiction concerns the contemporary society and the
setting that is commonly known to the reader. Indeed, the concept of setting is very
important in dystopian literature, as contrary to the science fiction genre, which very
often takes place in space, dystopian fiction is set on Earth. As observed by Russel
Wynne (2020: 8), “the one aspect that differentiates dystopian literature from other
styles of fiction is the connection to real-world problems in the form of the setting”. By
presenting the potential negative scenarios of the future and the consequences of current
human actions, dystopian works are perceived as a caution against utopian ideas.
Dystopia has been “recognized as the negative counterpart of utopia, (…) a utopia gone
wrong’’ (Pataki 2017: 426). Lyman Tower Sargent (2013: 9) stresses that utopia is
“essential for the improvement of the human condition”, however “if used wrongly,
[…] utopianism is dangerous”. Therefore, the concept of dystopia was introduced.
There is an ongoing debate among the scholars as to whether dystopia can be
treated as an independent genre. Zhurkova and Khomutnikova (2019: 186) explain that
“there are five main approaches to this problem: dystopia and utopia have similar genre
nature; dystopia and utopia represent a complex meta-genre; both genres are merely
varieties of science fiction; dystopia represents an anti-genre; dystopia is an independent
genre”. However, the authors assert that due to the fact that “the subject of description is
identical for both utopias and dystopia, and what differs is the character of narration”
both genres can be perceived as “a united meta-genre”. As a matter of fact, it seems
essential to compare the notions of utopia and dystopia.

7
1.2.3. Utopia vs dystopia

The complexity and duality of the concept of utopia and its derivation – dystopia, have
been the interest of various scholars, who often stress that it is basically troublesome to
distinguish between these two concepts. Matos (2012: 42) claims, that the distance
between utopia and dystopia is small and can be just a matter of opinion”. Similarly,
Krishan Kumar (2013: 19) admits that “dystopia is not so much the opposite of utopia
as its shadow. (…) So close are the genres that it is not always clear what is a utopia and
what a dystopia”. Moreover, the academics point to the subjective nature of these
concepts, as they are highly dependent on one’s point of view. Each human being has
his/her own system of values, opinions and desires, so that can decide oneself what is
favorable and what is not. Besides, one’s vision of utopia can create a dystopia for
others. As Claeys (2013b: 14) affirms: “Clearly just as one person’s freedom fighter is
another’s terrorist, one person’s utopia is another’s dystopia. Dystopia, in other words,
rather than being the negation of utopia, paradoxically may be its essence”.
In order to understand the basic differences between the concept of utopia and
dystopia, the following table presents a brief comparison between these notions.

Table 1. Comparison between utopia and dystopia

Parameters of
Utopia Dystopia
Comparison

Utopia is an imaginary society Dystopia is a society that is disoriented

Meaning
that is in perfect order. and chaotic.

The situation of dystopia is hostile and

Utopia is a peaceful land with
Characteristic full of agitation. The commotion never
disciplined citizens.
lets anything set.

Utopia is the presentation of

Allegory Dystopia is the presentation of hell.
paradise.

Utopia is systematic, calm,

Dystopia is the opposite state of utopia.
clean, ordered, fair, and things
It is imbalanced, chaotic, lawless, dirty,
happen smoothly there.
Features and violent. Propaganda is used to
Independent thought and
control the citizens of a dystopian
freedom can be seen in a utopian
society.
society.

Utopia is not controlled by Dystopia is governed by a tyrannical

Government constructed government government that keeps the citizens under
systems. constant surveillance.

Environment Utopia shows a back-to-nature Nature is destroyed in dystopia. A

concept. They preserve nature dystopian society is highly advanced in

8
 and the natural world. technology.

Source: https://askanydifference.com/difference-between-utopia-and-dystopia/

1.3. Apocalyptic/Post-apocalyptic literature

Apocalyptic and post-apocalyptic fiction belong to the subgenre of science fiction that
deals with the end of human civilization or certain society. The genre involves
catastrophic events, both natural and man-made, such as alien invasion, nuclear war,
pandemic, dysgenics, runaway climate change, resource depletion, zombie infections, or
other disasters. Apocalyptic fiction the end of the world takes place during the timeline
of the plot. Meanwhile, post-apocalyptic literature is set after such an event, when the
characters are trying to survive.
Apocalyptic and post-apocalyptic literature have the same roots as the dystopian
fiction. The early idea of apocalypse derives from religious beliefs and can be found for
instance in Christian Bible. However, post-apocalyptic fiction appeared in the 20 th
century as a response to the fear of technology, communism, fascism, xenophobia and
nuclear war. (Pagan 2019).
Both dystopian and post-apocalyptic works are linked to various subgenres of
speculative fiction, “typically placed under the science fiction heading” (Pagan 2019).
Amanda Pagan (2019) also differentiate between science and fantasy, stating that in
science fiction the science causes the dystopia or apocalypse in the story, while in
fantasy magic is the cause of it. As observed by Curtis (2010: 7), “postapocalyptic
fiction exists at a genre crossroads between science fiction, horror and utopia/dystopia”.
Each genre consists of the elements that are typical for the other, nevertheless, there are
some unique features that differentiate it from the rest.
The concept of apocalyptic or post-apocalyptic fiction is compared to the
dystopian literature, as “in many cases, the line between the two genres is decidedly
blurred” (Thompson 2018). Tonya Thompson marks the main difference saying that:

While dystopian fiction often explores social or political struggle, society is still
operating and has not yet collapsed (although it might be on the brink). Meanwhile, in
apocalyptic fiction, the focus is less on society and more about the characters or a man
vs. nature conflict.

Thus, post-apocalyptic fiction concentrates on the interaction between the characters

and reveals a lot of information about the psychological state of the heroes, their

9
thoughts, fears, needs and personal values. Dystopian literature focuses more on the
community and the oppression of the government than on the direct repercussions of the
wide-spread disaster.
Nevertheless, it is still sometimes very hard to determine whether the narrative is
a dystopian or a post-apocalyptic story. For example, The Hunger Games by Suzanne
Collins depicts a dystopian society created as a result of a nuclear war, so that it should
be also classified as post-apocalyptic fiction; however, the story does not focus on the
consequences of the war, but on the effect that the society has on the characters. (Pagan
2019). The perfect example of a fiction that belongs to both genres is a comic book
series, The Walking Dead by Kirkman. It presents a group of survivors after a zombie
plague has spread across the world. They are trying to stay alive and reach the place,
which is thought to be free of the zombie pandemic. Throughout the plot the dystopian
society is presented and therefore the story is also a dystopian fiction.
Both dystopian and post-apocalyptic works are linked to various subgenres of
speculative fiction, “typically placed under the science fiction heading” (Pagan 2019).
Amanda Pagan (2019) also differentiate between science and fantasy, stating that in
science fiction the science causes the dystopia or apocalypse in the story, while in
fantasy magic is the cause of it.
As a matter of fact, it is not the theme that determines whether the work belongs
to dystopian literature or the post-apocalyptic one, but the way of presentation and the
plot. Thus, both genres involve similar issues and catastrophic events, like for example
zombie apocalypse. The following chapter introduces the concept of zombie in
literature and its origin.

10
 References

Alihodzić, Demir and Veseljević Jerković, Selma. 2017. The Boundaries of Dystopian
Literature. The Genre in Context. Tuzla: Off-Set,
Baldwin, Mary, Elizabeth. 2019. “The Evolution of Dystopian Literature”
https://www.ramapo.edu/honors/files/2019/08/Baldwin-Senior-Project.pdf DOA
October 12, 2021.
Claeys, Gregory. 2010. The Cambridge Companion to Utopian Literature. Cambridge:
Cambridge University Press.
Claeys, Gregory. 2013a. “News from Somewhere: Enhanced Sociability and the
Composite Definition of Utopia and Dystopia,” History, 98 (2 (330)), 145–173.
Claeys, Gregory. 2013b. “Three Variants on the Concept of Dystopia,” in Fatima Vieira
(ed.) Dystopia(n) Matters: On the Page, on Screen, on Stage, 14-18.
Curtis, Claire P. 2010. Postapocalyptic Fiction and the Social Contract: We’ll Not Go
Home Again. Lanham, MD: Lexington Books.
Davis, Laurence. 2013. “Dystopia, Utopia and Sancho Panza” in: Fatima Vieira
(eds). Dystopia(n) Matters: On the Page, on Screen, on Stage, 23-27.
Kumar, Krishan. 2013. “Utopia’s Shadow” in Fatima Vieira (ed.) Dystopia(n) Matters:
On the Page, on Screen, on Stage, 19-22.
Matos, Andityas S. M. C. 2012. “Law, literature and cinema: an essay on dystopic
movies”,https://www.academia.edu/35184137/Law_literature_and_cinema_An_e
ssay_on_dystopic_movies, DOA October 1, 2021
Moylan, Tom. 2000. Scraps of the Untainted Sky: Science Fiction, Utopia, Dystopia.
Boulder, CO: Westview Press.
Neel, Rana. 2021. “Distopian Fiction: Examples, Elements & Themes of Dystopian
Literature”,https://www.pandorapost.com/2021/08/what-is-dystopian-fiction-
examples-elements-themes-of-dystopian-
literature.html#5_Common_Elements_of_Dystopian_Fiction DOA 9 October,
2021.
Oxford Advanced Learner’s Dictionary. 2021.
Oxford English Dictionary. 1989. Second edition. Oxford University Press.
Pagan, Amanda. 2019. “End of the World as We Know It: Apocalyptic, Post-
Apocalyptic, and Dystopian Worlds”,

11
 https://www.nypl.org/blog/2019/12/19/apocalyptic-post-apocalyptic-dystopian-
worlds DOA 17 October, 2021.

Pataki, Jelena. 2017. “To Read and Learn: The Necessity for a New Definition of
Dystopia and Bridging the Gap between the Old and Contemporary Dystopias.” In
Demir, Alihodzić and Selma Veseljević Jerković. The Boundaries of Dystopian
Literature. The Genre in Context, 426- 430.
Sargent, Lyman Tower. 2013. “Do Dystopias Matter? In in Fatima Vieira (ed.)
Dystopia(n) Matters: On the Page, on Screen, on Stage, 10-13.
Vieira, Fatima. 2010. “The concept of utopia” in Gregory Claeys (ed.) The Cambridge
Companion to Utopian Literature, 3-27.
Vieira, Fatima. 2013. Dystopia(n) Matters: On the Page, on Screen, on Stage.
Cambridge: Cambridge Scholars Press.
Voigts, Eckart and Boller, Allessandra. 2015. Dystopia, Science Fiction, Post-
Apocalypse: Classics, New Tendencies, Model Interpretations. Trier:
Wissenschaftlicher Verlag Trier.
Thompson, Tonya. 2018. “The Differences (and Similarities) Between Dystopian and
Post-Apocalyptic Fiction”, https://www.servicescape.com/blog/the-differences-
and-similarities-between-dystopian-and-post-apocalyptic-fiction, DOA 16
October, 2021.
Wynne, Russel. 2020. “An exploration of Dystopian Literature”, https://bbk12e1-
cdn.myschoolcdn.com/ftpimages/646/misc/misc_184083.pdf, DOA 9 October,
2021.
Zhurkowa, M.S. and Khomutnikova, E.A. 2019. “The Genesis of Dystopian Meaning
Structure and its relation to Utopian Literary Tradition”, Advances in Social
Science, Education and Humanities Research, volume 298, Atlantis Press, 186-
190.

Internet sources

https://askanydifference.com/difference-between-utopia-and-dystopia/

12