Armageddon Quotes

That’s the thing about the collapse of civilization, Blake. It never happens according to plan – there’s no slavering horde of zombies. No actinic flash of thermonuclear war. No Earth-shuddering asteroid. The end comes in unforeseen ways; the stock market collapses, and then the banks, and then there is no food in the supermarkets, or the communications system goes down completely and inevitably, and previously amiable co-workers find themselves wrestling over the last remaining cookie that someone brought in before all the madness began.

They loved scenes of righteous Godly vengeance on sinful mankind. They loved to show God’s chosen people safe from harm, watching with happy faces as they were proved right to the world. But they never showed the aftermath. They never showed weeping humans, crushed and dying in pools of their own fluids. Young men smashed into piles of red flesh. A young woman cut in half because she was passing through a hatchway when catastrophe hit. This was Armageddon. This is what it looked like. Blood and torn flesh and cries for help.

Sorry, there’s just not enough mead to go around.

The hugest changes were the ones that could not be seen – that’s where the real apocalypse lay: in people’s hearts, their souls, their beings.

As the night air started to creep in, he lifted her in his arms and walked the back way to their home on campus. He spent the evening digging her grave, not even caring who came his way. He didn’t care whether he lived or died, now that he had lost his only love. Mike glanced into her face one more time, and then covered her with dirt. “We bury our own. We take care of the ones we love.” He spoke softly, then placed a flower on her grave and made his way back to their dorm room.

You stumble upon an unhappy Martian sentry on a mission and shoot ineffectually at his powersuit a few times before he pulps you with his laserbeam eyes and hideous poisonous-gas breath. Glory!

This was especially true in some millennialist sects that filled their literature with paintings of Armageddon. Pictures of terrified people running away from some formless fiery doom that burned their world down behind them, while smug worshipers—of the correct religion, of course—watched from safety as God got with the smiting.

Every fundamentalism focuses on end times, and Armageddon is, in a sense, a rhetorical trope, an emphatic and overwhelming conclusion, meant to wrap up and make tidy the mistaken wanderings of history. For a fundamentalist the end is one of the forms desire takes, a passion no different from lust or avarice, intense with longing and the need for fulfillment and relief. It’s like they’re horny for apocalypse. They get off on denouements, which partly explains why Hell House never amounted to much more than a series of murderous conclusions. It focused only on that part of a story where life finds itself fated. Inside every act a judgement was coiled. Real people with their ragged and uncertain lives, their stumbling desires, their bleak or blessed futures, would only break into the narrative, complicating the story, dragging it on endlessly.

What silence rules the ghostly hoursThat guard the close of human sleep!(“The Testimony of the Suns”)