What's interesting is that the people behind the bite-shuffle-and-moan stuff don't bother disguising that too well. While most of us point to George Romero's quickie horror film "Night of the Living Allegories For The Vietcong" as the first zombie apocalypse to impinge itself on our awareness, Pierre "Peyo" Culliford's "Black/Purple Smurfs" was really what set the pattern: a 'foreign' infection swarmed over the Aryan blue people and turned them into mindless dark-colored monsters. This leaves us with the question of what Elly Patterson thinks of when she's forced to picture the zombie hordes who want to eat her brain.
The answer seems to derive from the fact that Lynn and Elly see the world as being insanely polarized. The underlying idea behind the strip is that the women of the world must band together and weep bitter, angry and helpless tears because men have used their greater strength to make sure that their evil, unfair and undeserved authority may never be challenged. The drooling, shambling hordes thus not only wail BRAAAAAAAAAAAAAAAIIIIINNNNNSSSSSS but also KEEP'EM IN THE KITCHEN.
The really interesting thing about all of this loops back to Smurf Village. Remember how I mentioned that the Belgian dude seemed to live in fear of the black people swarming all over Brussels? Guess what country was pulling Nazi-style bullshit in the Congo before World War Two? Just as Black Smurfs is fear of the chickens coming home to roost and marrying his daughter, Elly's fear of city workers and sports fans visiting genocide on the librarians comes from her hidden need to pound anyone in her way flat.