This paper will analyze queer identity and its relationship to the concept of futurity as it is represented in the figure of the zombie through a comparative examination of The Last of Us (parts one and two) and Telltale Games’ The Walking Dead series. In the first installments of both franchises, players take on the role of a male protector of a female child, and in both series, players assume the role of the female character in sequel games. The female characters—Ellie in The Last of Us and Clementine in The Walking Dead—are openly and explicitly shown to be queer in the later games. While in other media (e.g., TV shows like In the Flesh) the question of queer futurity and an emphasis on the queer zombie’s inability to procreate through pregnancy or participate in traditional rites of passage acts as a metaphor for queer exclusion from real-world heteronormative institutions, in these games, queer flourishing is contrasted against the zombies’ undeadness and becomes a microcosmic representation for human futurity writ large. From another angle, queer family dynamics emphasizing adoption and found family work in concert with predation by zombies to ensure that ecological population balance is maintained in the context of “apocalypses” that in fact provide the vehicle through which Homo sapiens can avert a much worse catastrophe caused by climate change. In both games, however, the queer material is used to some degree as a form of pinkwashing to present the games’ narratives as progressively minded while drawing attention away from issues of racism and ableism exhibited on the part of the games’ creators.