In zombie fiction, staying human in a world that is gradually turning monstrous is dependent on physical as well as emotional survival. Consequently, love—especially romantic love—is often presented as the most important anchor to one’s humanity as well as the emotion that constitutes the greatest vulnerability for a person, while transferring the ability to love and care to zombies is the most effective method of humanizing the monster and questioning the borderline between human and Other. The present paper looks at the many variations of romances set in zombie-ridden worlds. The discussion will differentiate among the three basic types of romances: interhuman, interzombie, and interracial (human–zombie) ones, adding to them the examination of the romantic relationship in which one of the partners becomes infected and descends into a limbo-state, generating parallels with sick-lit romances. Interhuman love will be considered as the metaphorical immune system preventing zombification and also as possibly transgressive and rebellious in an autocratic system that came to being as a response to a zombie-tsunami. Queer love will be discussed as a form of liberation from old-world normalcy in a post-apocalypse and as a parallel to various forms of zombie love as the expression of hope for a more empathetic, democratic, post-anthropocentric future. The analysis will argue that the mystical element in such representations of love suggests the utopian aspect that distances this hope from realistic expectations. The discussion will also include subversive representation of the above-listed functions in the comic/parodic mode. The analysis will include but will not be limited to Carrie Ryan’s The Forest of Hands and Teeth YA series (2009–2011), CW’s iZombie (2015–2019), Isaac Marion’s Warm Bodies (2010), Seth Graham-Smith’s Pride and Prejudice and the Zombies (2009), and HBO’s The Last of Us.