According to my multi-dimensional convergence scenario, the Dead saga is set in some fictional mid-eighties years (1985-1988 A.C.), where society and pop culture incorporate many elements "resembling" our decades counterparts (1968; 1978; 1985; 2005 A.C.). I call this alternative dimension 'THE STRETCH', because "trendy" elements last in a period of time longer than how they manage to do in "our" line.
So basically many details, controversial each to other from "our" perspective, co-exist in the set of years depicted by the Dead saga.
This parallel version of society just progressed as such with no specified reasons whatsoever (however we can suppose: different taste, politics, history).
For example, even if Ben and Barbara wear 1968 clothes, both are PLACED in the fictional 1985 A.C. belonging to GAR's alternative dimension. Clothes like those co-exist with 1978-styled clothes, and so on... you can apply the same concept to EVERYTHING you see in each Romero Dead movie, from machinery to televisions, from vehicles to houses.
Samely, a Florida (where DAY takes place) resembling "our" 1985 Florida co-exists with a 1968-like Pittsburgh (where NIGHT takes place) and a 1978-like mall (where DAWN takes place).
In GAR's universe, 1985 A.C. (or A.D. as you prefer) looks like a miscellanea of styles and integrated details; a cauldron of cultures.
NIGHT, DAY and DAWN are set in this fictional 1985 A.C. (the only canonical year we got from the saga), while LAND is, of course, slapped on 1988 A.C. -------> three years later, as stated above.
In my view, this sci-fi attempt to bring the Dead saga chapters into a whole works a lot.
Same timeline, same dimension (The Stretch), different stadiums of the Outbreak.
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The 'morphogenetic fields' theory elaborated by scientist Rupert Sheldrake.
If the (Living) DEAD represent a totally new "race" in terms of biology, then read this:
"There is mounting evidence that as more and more people learn or do something it becomes easier for others to learn or do it. In one experiment, British biologist Rupert Sheldrake took three short, similar Japanese rhymes -- one a meaningless jumble of disconnected Japanese words, the second a newly-composed verse and the third a traditional rhyme known by millions of Japanese. Neither Sheldrake nor the English schoolchildren he got to memorize these verses knew which was which, nor did they know any Japanese. The most easily-learned rhyme turned out to be the one well-known to Japanese. This and other experiments led Sheldrake to postulate that there is a field of habitual patterns that links all people, which influences and is influenced by the habits of all people. This field contains (among other things) the pattern of that Japanese rhyme. The more people have a habit pattern -- whether of knowledge, perception or behavior -- the stronger it is in the field, and the more easily it replicates in a new person. In fact, it seems such fields exist for other entities too -- for birds, plants, even crystals. Sheldrake named these phenomena morphogenetic fields -- fields which influence the pattern or form of things."
Or:
"Sheldrake's brilliant contribution was to take what have been fairly loose ideas about morphogenetic fields and formulate them into a testable theory. Briefly, the theory goes as follows: Morphogenetic fields carry information only (no energy) and are available throughout time and space without any loss of intensity after they have been created. They are created by the patterns of physical forms (including such things as crystals as well as biological systems). They help guide the formation of later similar systems. And finally, a newly forming system "tunes into" a previous system by having within it a "seed" that resonates with a similar seed in the earlier form.
Thus, from this perspective, the DNA in the genes of a living system (like an oak tree) does not carry all the information needed to shape that system, but it can act as a "tuning seed" that tunes in the morphogenetic fields of previous systems of the same type. Morphogenetic fields are thus the repository of what might be described as genetic habits."
So basically, WHATEVER was "re-animating" corpses (virus?) has even made them "sensitive" to some sort of "Morphogenetic Field" which interconnets all the DEAD, as a net.
They are unconsciously LINKED each to other from the beginning. Thus, DEAD D.N.A. can tap "cultural" infos into this brand-new morphic field.
Bottom line: ZOMBIES can almost "evolve".
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Originally Posted by Deadman_Deluxe
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