U+1F9DF Zombie
U+1F9DF was added in Unicode version 10.0 in 2017. It belongs to the block
This character is a Otro símbolo and is commonly used, that is, in no specific script.
The glyph is not a composition. Its East Asian Width is wide. In bidirectional text it acts as Other Neutral. When changing direction it is not mirrored. U+1F9DF offers a line break opportunity at its position, except in some numeric contexts.
The CLDR project calls this character “zombi” for use in screen reading software. It assigns these additional labels, e.g. for search in emoji pickers: muerto viviente, no muerto.
This character is designated as an emoji. It will be rendered as colorful emoji on conforming platforms. To reduce it to a monochrome character, you can combine it with
El Wikipedia tiene la siguiente información acerca de este punto de código:
A zombie (Haitian French: zombi; Haitian Creole: zonbi; Kikongo: zumbi) is a mythological undead corporeal revenant created through the reanimation of a corpse. In modern popular culture, zombies are most commonly found in horror genre works. The term comes from Haitian folklore, in which a zombie is a dead body reanimated through various methods, most commonly magical practices in religions like Vodou. Modern media depictions of the reanimation of the dead often do not involve magic but rather science fictional methods such as fungi, radiation, gases, diseases, plants, bacteria, viruses, etc.
The English word "zombie" was first recorded in 1819 in a history of Brazil by the poet Robert Southey, in the form of "zombi". Dictionaries trace the word's origin to African languages, relating to words connected to gods, ghosts and souls. One of the first books to expose Western culture to the concept of the voodoo zombie was W. B. Seabrook's The Magic Island (1929), the account of a narrator who encounters voodoo cults in Haiti and their resurrected thralls.
A new version of the zombie, distinct from that described in Haitian folklore, emerged in popular culture during the latter half of the 20th century. This interpretation of the zombie, as an undead person that attacks and eats the flesh of living people, is drawn largely from George A. Romero's film Night of the Living Dead (1968), which was partly inspired by Richard Matheson's novel I Am Legend (1954). The word zombie is not used in Night of the Living Dead, but was applied later by fans. Following the release of such zombie films as Dawn of the Dead (1978) and The Return of the Living Dead (1985)—the latter of which introduced the concept of zombies that eat brains—as well as Michael Jackson's music video Thriller (1983), the genre waned for some years.
The mid-1990s saw the introduction of Resident Evil and The House of the Dead, two break-out successes of video games featuring zombie enemies which would later go on to become highly influential and well-known. These games were initially followed by a wave of low-budget Asian zombie films such as the zombie comedy Bio Zombie (1998) and action film Versus (2000), and then a new wave of popular Western zombie films in the early 2000s, the Resident Evil and House of the Dead films, the 2004 Dawn of the Dead remake, and the British zombie comedy Shaun of the Dead (2004). The "zombie apocalypse" concept, in which the civilized world is brought low by a global zombie infestation, has since become a staple of modern zombie media, seen in such media as The Walking Dead franchise.
The late 2000s and 2010s saw the humanization and romanticization of the zombie archetype, with the zombies increasingly portrayed as friends and love interests for humans. Notable examples of the latter include movies Warm Bodies and Zombies, novels American Gods by Neil Gaiman, Generation Dead by Daniel Waters, and Bone Song by John Meaney, animated movie Corpse Bride, TV series iZombie and Santa Clarita Diet, manga series Sankarea: Undying Love, and the light novel Is This a Zombie? In this context, zombies are often seen as stand-ins for discriminated groups struggling for equality, and the human–zombie romantic relationship is interpreted as a metaphor for sexual liberation and taboo breaking (given that zombies are subject to wild desires and free from social conventions).
Representaciones
Sistema | Representación |
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N.º | 129503 |
UTF-8 | F0 9F A7 9F |
UTF-16 | D8 3E DD DF |
UTF-32 | 00 01 F9 DF |
URL-Quoted | %F0%9F%A7%9F |
HTML hex reference | 🧟 |
Mojibake mal de windows-1252 | 🧟 |
Codificación: GB18030 (hexadecimales bytes) | 95 30 E1 37 |
Otros sitios
Registro completo
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