“…that’s because they’re not even zombies, they’re just infected, they got this rage virus, amps them up like they’ve been smoking the schwag”: The Fear of ‘Becoming’ in The Walking Dead and Cujo.
This statement, featured in Breaking Bad (Season 4, Episode 2, 00:11:11-27), encapsulates a modern cultural conversation about zombies, or rather, those infected with a virus. The characters argue that the most terrifying foes in their video games are not traditional zombies but infected individuals who exhibit rabid, uncontrollable behavior—a reflection of a deeper cultural fear of transformation and loss of control.
Fear of transformation is a central theme in both Stephen King’s Cujo and The Walking Dead, spanning its comic series and AMC adaptation. While The Walking Dead focuses on fear through the literal “walking dead,” and Cujo through the rabid Saint Bernard, both texts extend beyond their monstrous focal points to explore the deeper, more unsettling fear of losing one’s identity. This essay examines how both works engage with the fear of "becoming"—of transforming into something other than oneself—and the consequences of living with that fear.
The Fear of Becoming: A Shared Theme
In both Cujo and The Walking Dead, the primary fear transcends the physical threat of monsters. Instead, the fear lies in the infectious nature of the antagonists: The Walking Dead’s undead transmit a virus that ensures everyone eventually joins the ranks of "the dead," while Cujo’s rabies-infected dog poses a threat not just of death but of spreading uncontrollable rage. These fears emphasize the potential loss of self, a transformation into something monstrous and alien. The infected in The Walking Dead and Cujo’s rabid state both symbolize a broader existential dread: the dissolution of individuality.
The characters’ reactions underscore this fear. In The Walking Dead, survivors constantly grapple with the inevitability of becoming one of "the dead," knowing that even a natural death leads to reanimation. Similarly, in Cujo, the rabid Saint Bernard embodies the loss of control, as his infection turns a once-loyal pet into a lethal predator. These shared fears of transformation and the unknown serve as allegories for deeper societal anxieties.
Fast Zombies, Rabid Dogs, and the Evolution of Fear
The depiction of "zombies" in The Walking Dead and related media often distinguishes between "infected" and "undead." Slow zombies, exemplified in earlier works like Night of the Living Dead and Shaun of the Dead, represent death’s inevitability and the slow decay of humanity. Conversely, the "infected" in 28 Days Later or World War Z evoke fears of rapid, uncontrollable change, akin to the rabid behavior of Cujo.
As Juliet Lauro and Karen Embry argue in A Zombie Manifesto: The Nonhuman Condition in the Era of Advanced Capitalism, "A comparison of the 1978 Dawn of the Dead with the 2004 remake exemplifies the significance of the zombie’s ability to adapt in order to take on current societal fears... The 2004 zombies are notably faster than those of 1978" (Lauro & Embry 100). This evolution aligns with the capitalist urgency of consumption and destruction, creating a terrifying mirror to human behavior. Similarly, Peter Dendle’s The Zombie Movie Encyclopedia observes that the infected in 28 Days Later act "like dogs: all it takes is a bite or a scratch to transfer the condition" (Dendle 59). Cujo’s rabid state parallels this behavior, as he infects not by choice but as a result of his disease.
Toxic Masculinity and Fear of Control
Both The Walking Dead and Cujo incorporate toxic masculinity as a source of fear. In Cujo, Joe Camber’s abusiveness mirrors his neglectful treatment of his dog, ultimately leading to Cujo’s rabidity. His actions reinforce the idea that unchecked masculinity fosters destructive outcomes. The motif of unbuckled belts in Cujo symbolizes male dominance and aggression, with men asserting power over women and, by extension, the narrative itself.
*Toxic masculinity also permeates The Walking Dead. Gender roles are starkly divided, with women often relegated to domestic duties while men lead and fight. For instance, in Season 1, Episode 3, Andrea challenges Ed over his dismissive attitude toward household work, only for him to assert, "Ain’t my job, missy" (The Walking Dead 00:39:41-43). This power dynamic reinforces the fear of patriarchal structures persisting even in post-apocalyptic scenarios.
Public Consciousness and Historical Parallels
Both works reflect societal fears tied to real-world crises. Stephen King’s Cujo emerged during a period of rabies panic in the 1970s, with British fears of rabid dogs influencing cultural narratives. Neil Pemberton and Michael Worboys note that the rabies scare led to widespread anxiety about the "country being overrun with rabid dogs" (Rabies in Britain 187). This cultural context influenced King’s portrayal of Cujo as a victim of human negligence.
Similarly, The Walking Dead reflects post-9/11 anxieties, with its debut comic Days Gone By released in 2004, three years after the attacks. As Todd Platts notes, "The events of 9/11 recalibrated the genre," sparking a surge in apocalyptic media as audiences grappled with global fear (Locating Zombies in the Sociology of Popular Culture). Both texts illustrate how fear of disease and societal collapse resonates with audiences during times of crisis.
Conclusion: The Enduring Fear of Transformation
Ultimately, both The Walking Dead and Cujo reveal that the true horror lies not in external monsters but in the fear of losing oneself. This existential dread is encapsulated in the characters’ struggles to protect their humanity while facing inevitable change. Despite their "happy" endings, the consequences of survival—grief, guilt, and memory—linger as reminders of the horrors endured.
As Lauro and Embry aptly summarize, "The zombie is not inherently evil, like a vampire; it is merely a servant" (Lauro & Embry 97-98). Similarly, Cujo and "the dead" are not inherently malevolent but victims of circumstance, reflecting humanity’s deepest fears: transformation, loss of control, and the fragility of identity. By examining these fears, The Walking Dead and Cujo transcend their genres to offer profound insights into the human condition.
Refrences:
Breaking Bad. George Vincent Gilligan Jr, Netflix, 2011-2013.
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King, Stephen. Cujo. Hodder And Stoughton, 2011.
Kirkman, Robert. "Days Gone By". The Walking Dead, 2004.
Kirkman, Robert. "No Turning Back". The Walking Dead, 2016.
Lauro, S. J., and Embry, K. "A Zombie Manifesto: The Nonhuman Condition In The Era
Of Advanced Capitalism". Boundary 2, vol 35, no. 1, 2008.
Pemberton, Neil, and Michael Worboys. Rabies In Britain: Dogs, Disease And Culture,
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Platts, Todd. "Locating Zombies In The Sociology Of Popular Culture". Sociology
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2XIAAAAA%3Ac1XHjgQ-P16YOyJaULqJpfOtjKELjsMyuGwqIzotUED4CAbpUhD-
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