New Fiction 2021 – October

Short Stories

  • “Iqsinaqtutalik Piqtuq: The Haunted Blizzard” by Aviaq Johnston (2020) // "She’s too grown up to remember the scary parts of our land.“
  • "Uironda” by Luigi Musolino & James D. Jenkins (trans.) (2018) // “From enormous, heinous acts derive enormous, heinous hells.”
  • “The Bloody Chamber” by Angela Carter (1979) // “The worst thing was, the dead lips smiled.”
  • “Tree of the Forest Seven Bells Turns the World Round Midnight” by Sheree Renée Thomas (2016) // “This he believed in, this he could follow — the curved finger of flesh.”
  • “The Remorse of Professor Panebianco” by Greye La Spina (1925) // “Why does she look at me so? She is pitying me—me!”
  • “The House Party at Smoky Island” by Lucy Maud Montgomery (1935) //

    “Of the dead nothing but good; so I will say of Susette only that she was very beautiful and very rich.”

  • “Calcutta, Lord of Nerves” by Poppy Z. Brite (1992) // “I could have crawled all the way into that wet crimson eternity, and kept crawling forever.”
  • “Letter to a Young Lady in Paris” by Julio Cortázar (1951) // “Vomiting bunnies wasn’t so terrible once one had gotten into the unvarying cycle, into the method.”
  • “The Pelican Bar” by Karen Joy Fowler (2009) // “Humans do everything we did. Humans do more.”
  • “Cargo” by E. Michael Lewis (2008) // “A noise sounded—a moist ‘thunk.’ From inside.”
  • “The Erl-King” by Elizabeth Hand (1998) // “He’s got her now and he won’t want to give her back.”
  • “Tlön, Uqbar, Orbis Tertius” by Jorge Luis Borges & Norman Thomas di Giovanni (trans.) (1940) // “We found out (inevitably at such an hour) that there is something unnatural about mirrors.”
  • “The Show” by Priya Sharma (2011) // “The world was ripe. She’d weighed it in her palm.”
  • “Teratisms” by Kathe Koja (1991) // “What color does blood burn?”
  • “Kerfol” by Edith Wharton (1916) // “I can see the exchange of glances across the ermine collars under the Crucifix.”
  • “Demon” by Joyce Carol Oates (1996) // “No he was loving, mad with love.”
  • “The Other Place” by Mary Gaitskill (2011) // “She did not have a wedding ring, which meant that maybe no one would miss her. ”
  • “Absit” by Angélica Gorodischer & Amalia Gladhart (trans.) (2013) // “The girl didn’t move, she didn’t speak, she did nothing against the black, black sky full of stars.”
  • “Guess” by Meg Elison (2020) // “I am beginning to think we should drink all there is while we still can.”
  • “Ghosts of August” by Gabriel García Márquez (1980) // “Just then the smell of fresh cut strawberries made me tremble.”
  • “Aura” by Carlos Fuentes & Adrian Ziegler (trans.) (1962) // “They have forgotten that in solitude, temptation is greater.”
  • “The Follower” by Nuzo Onoh (2014) // “Chairs tumbled to the ground; someone moaned. All was madness.”
  • “The Death of Halpin Frayser” by Ambrose Bierce (1891) // “Halpin Frayser was a poet only as he was a penitent: in his dream.”
  • “The Shadow” by Edith Nesbit (1905) // “The most horrid ghost-story I ever heard was one that was quite silly.”
  • “The Story of Ming-Y” by Lafcadio Hearn (1887) // “Then their lips separated no more;—the night grew old, and they knew it not.”
  • “What You Eat” by Alys Hobbs (2020) // “Look at all this cream and sugar…”

Poems

  • “Ammutseba Rising” by Ann K. Schwader (2015) // "Perhaps our daughters will walk in shadow gladly, holding hunger inside them for a weapon.“

Comics/Single Issues

  • "Heavy Fog” by Abby Howard (2021) // "I can barely taste the burning.“
  • "Tatter Up!” by Graham Ingels (1955) // "Such beautiful rags…“
  • "Rasberry Surprise” by W. Maxwell Prince, Martín Morazzo, Chris O’Halloran, Good Old Neon (2018) // “The process only lasts for as long as you’re alive.”
  • “Strung Along” by Richard Corben (2016) // “Ever see a skinned rabbit?”
  • “Free Ride” by Cameron Morris & Nina Matsumoto (2016) // “Always pay my debts.”

Video Games

  • Silent Hill 2 dev. Konami Computer Entertainment Tokyo (2001) //

    “I’m not your Mary.”

  • Little Nightmares II dev. Tarsier Studios (2021) // Not a word.
  • Maneater dev. Tripwire Interactive (2020) // “Shark hunters kill for the same reason we all do: to feel complete.”
  • Twelve Minutes dev. Luís António (2021) // “Be honest with yourself. You knew this would happen.”
  • Nightmare Collection: Dead of the Brain dev. FairyTale (1992) // “I don’t think he can reply… he doesn’t have a brain.”

Movies

  • The Babysitter dir. McG (2017) // “Probably when your body starts to reek like cheese.”
  • Dracula dir. Tod Browning & Karl Freund (1931) // "There are far worse things awaiting man than death.“
  • Venom: Let There Be Carnage dir. Andy Serkis (2021) // "I have tasted blood before, my friend, and that is not it.”
  • Titane dir. Julia Ducournau (2021) // "Can’t you feel the energy? Between you and me?“
  • Frankenweenie dir. Tim Burton (2012) // "I don’t want him in my heart. I want him here with me.”
  • Gretel & Hansel dir. Oz Perkins (2020) // "What eats with its teeth, but never feels fed?“
  • Deep Red dir. Dario Argento (1975) // "It seems that there are some things which you just cannot do seriously with liberated women.”
  • LandLocked dir. Paul Owens (2021) // "Somebody’s been back here.“
  • The Lure dir. Agnieszka Smoczynska (2015) // "Put your hand deep inside me and drag me onto the shore.”
  • Lamb dir. Valdimar Jóhannsson (2021) // "She’s not used to strangers.“
  • Population 436 dir. Michelle MacLaren (2006) // "We are the union of the divine.”
  • Pet Sematary Two dir. Mary Lambert (1992) // "No brain, no pain. Think about it.“
  • The Slumber Party Massacre dir. Amy Holden Jones (1982) // "She drinks too much milk.”
  • Messiah of Evil dir. Willard Huyck & Gloria Katz (1973) // “And they’re waiting. They’re waiting for you.”
  • Track of the Vampire (aka Blood Bath) dir. Jack Hill & Stephanie Rothman (1966) // “The horror of death is that you desire it.”
  • Halloween Kills dir. David Gordon Green (2021) // “There’s a big fella in our bathroom, and he’s wearing a monster mask!”
  • The Hitch-Hiker dir. Ida Lupino (1953) // “You guys are gonna die, that’s all. It’s just a question of when.”
  • Office Killer dir. Cindy Sherman (1997) // “There now. He’s a much more handsome boy.”
  • Tigers Are Not Afraid dir. Issa López (2016) // “Bring him. To us. To where the dead wait for him.”
  • Shin Godzilla dir. Hideaki Anno & Shinji Higuchi (2016) // “This is the reality. All else is just a dream.”
  • Wolf’s Hole dir. Věra Chytilová (1987) // “I’ll tell on you! Monster! Pig!”
  • Saint Maud dir. Rose Glass (2020) // “Please don’t let me fall again.”
  • The Cursed Palace dir. Hasan Redha (1962) // “Do you see what money does? How it makes brothers eat one another’s flesh?”
  • Dream Home dir. Pang Ho-cheung (2010) // “The market is extremely volatile, but the worst is yet to come.”
  • Viy dir. Georgiy Kropachyov & Konstantin Ershov (1967) // “The devil take you and your wretched tongue.”
  • Halloween dir. John Carpenter (1978) // “Death has come to your little town, Sheriff.”
  • La Llorona dir. Jayro Bustamante (2019) // “She asked me not to drown.”
  • Last Night in Soho dir. Edgar Wright (2021) // “I didn’t want any of this.”
  • The Invisible Man dir. James Whale (1933) // “I might even wreck a train or two… just these fingers around a signalman’s throat, that’s all.”
  • The Wolf Man dir. George Waggner (1941) // “You policemen are always in such a hurry. As if dead men didn’t have all eternity.”
  • Blood Diner dir. Jackie Kong (1987) // “Seems like the work of pathological weirdos.”
  • Antlers dir. Scott Cooper (2021) // “We found a part of a man in the woods today.”

Single Episodes

New Fiction 2021 – September

The Curse of Monkey Island dev. LucasArts (1997)

I’ll never have fun beating my head against adventure game puzzles, and this game even offers an easier mode which I declined to my own detriment. But the jokes land, the animation is astounding for a game of this vintage, and I had a lot of fun exploring all the pirate and gothic elements that have carried this series since the start.

Star Trek: Deep Space Nine – Dominion Wars dev. Gizmo Games (2001)

I’ve enjoyed playing all of the Deep Space Nine video games this year, but this is kind of a down note compared to its more character-focused and bombastic predecessors. It’s just “faceless” as Eurogamer noted in their review, lacking the character moments that make this show special. The saving grace for me is the alternative history presented by its second campaign. It’s both horrifying and engaging as it strays from the path to present a “what if?” scenario akin to supposing that Germany won World War II.

“Old Buck” dir. David James Armsby (2021)

Oof, I feel you bud. It comes for all of us.

Candyman dir. Nia DaCosta (2021)

It steps confidently and knows what it wants to be, what it wants to say. I had to watch it twice when the ending didn’t land for me initially, mostly because the ending of the first movie flares out spectacularly. But this movie isn’t trying to be that, and deserves its own look independent of how it got here.

Shang-Chi and the Legend of the Ten Rings dir. Destin Daniel Cretton (2021)

This follows the same early (and uninteresting) beats as those pre-Taika Waititi Thor movies, but it brings it home with some cool boss fights and proper martial arts action scenes. I think I’ll always be weighed down by a desire for more interpersonal scenes when MCU just wants to throw cool superhero shit at me.

Malignant dir. James Wan (2021)

You think you know where it’s going, then you know where it’s going, but it arrives there in such garish and stylish duds that you’re still stunned when it sashays into the room.

Copshop dir. Joe Carnahan (2021)

Don’t sleep on Copshop. It’s mostly a throwback to hyperviolent tough bro shootout movies but the chamber drama aspect and non-bro protagonist (who still channels BDE) mixes it up in an interesting way. Just well-performed all around. Also Toby Huss’s performance :chefkiss:.

The Card Counter dir. Paul Schrader (2021)

I should have known Paul Schrader going in, but I didn’t realize the prolific catalog of his until Googling afterword. This new movie hits on moments and looks that are great, but feels off in the end, like budgets were cut or (quite possibly) adjustments were made for a pandemic. I felt like it needed an extra couple of scenes, maybe ten minutes or so. Something to connect the kid to Isaac’s character more effectively.

Carrie dir. Brian De Palma (1976)

It starts out like a made-for-TV special about troubled teens, but then there are those scenes in Carrie’s house and any time she has to deal with bullies, and you know something’s not right. The way they build tension during a montage of senior prom scenes is perfect. It’s obvious what’s going to happen and yet your heart is pounding waiting for the drop, then it continues well beyond where it felt it was going to end. A renowned work for a reason built on stellar music and Spacek’s performance.

New Fiction 2021 – September

The Curse of Monkey Island dev. LucasArts (1997)

I’ll never have fun beating my head against adventure game puzzles, and this game even offers an easier mode which I declined to my own detriment. But the jokes land, the animation is astounding for a game of this vintage, and I had a lot of fun exploring all the pirate and gothic elements that have carried this series since the start.

Star Trek: Deep Space Nine – Dominion Wars dev. Gizmo Games (2001)

I’ve enjoyed playing all of the Deep Space Nine video games this year, but this is kind of a down note compared to its more character-focused and bombastic predecessors. It’s just “faceless” as Eurogamer noted in their review, lacking the character moments that make this show special. The saving grace for me is the alternative history presented by its second campaign. It’s both horrifying and engaging as it strays from the path to present a “what if?” scenario akin to supposing that Germany won World War II.

“Old Buck” dir. David James Armsby (2021)

Oof, I feel you bud. It comes for all of us.

Candyman dir. Nia DaCosta (2021)

It steps confidently and knows what it wants to be, what it wants to say. I had to watch it twice when the ending didn’t land for me initially, mostly because the ending of the first movie flares out spectacularly. But this movie isn’t trying to be that, and deserves its own look independent of how it got here.

Shang-Chi and the Legend of the Ten Rings dir. Destin Daniel Cretton (2021)

This follows the same early (and uninteresting) beats as those pre-Taika Waititi Thor movies, all that high court family drama stuff, but it brings it home with some cool boss fights and proper martial arts action scenes. I think I’ll always be weighed down by a desire for more interpersonal scenes when MCU just wants to throw cool superhero shit at me.

Malignant dir. James Wan (2021)

You think you know where it’s going, then you know where it’s going, but it arrives there in such garish and stylish duds that you’re still stunned when it sashays into the room.

Copshop dir. Joe Carnahan (2021)

Don’t sleep on Copshop. It’s mostly a throwback to hyperviolent tough bro shootout movies but the chamber drama aspect and non-bro protagonist (who still channels BDE) mixes it up in an interesting way. Just well-performed all around. Also Toby Huss’s performance :chefkiss:.

The Card Counter dir. Paul Schrader (2021)

I should have known Paul Schrader going in, but I didn’t realize the prolific catalog of his until Googling afterward. This new movie hits on moments and looks that are great, but feels off in the end, like budgets were cut or (quite possibly) adjustments were made for a pandemic. I felt like it needed an extra couple of scenes, maybe ten minutes or so. Something to connect the kid to Isaac’s character more effectively.

Carrie dir. Brian De Palma (1976)

It starts out like a made-for-TV special about troubled teens, but then there are those scenes in Carrie’s house and any time she has to deal with bullies, and you know something’s not right. The way they build tension during a montage of senior prom scenes is perfect. It’s obvious what’s going to happen and yet your heart is pounding waiting for the drop, then it continues well beyond where it felt it was going to end. A renowned work for a reason built on stellar music and Spacek’s performance.

New Fiction 2021 – August

“A Delicate Architecture” by Catherynne M. Valente (2010)

Are adults not simply inured to supping of the children?

Mega Man 5 dev. Capcom (1992)

Madness is completing Wily’s Castle and expecting a different outcome.

Psychonauts 2 dev. Double Fine Productions (2021)

“Weird game haha.”

“Little Runmo” dir. Gooseworx (2019)

They got our number.

“Three Robots” dir. Victor Maldonado & Alfredo Torres (2019)

A tour of the classics.

“Beyond the Aquila Rift” dir. Léon Bérelle, Dominique Boidin, Rémi Kozyra, Maxime Luère (2019)

Does it matter when she’s there in the flesh?

“Ice Age” dir. Tim Miller (2019)

One might conclude that there is no conclusion.

“Sonnie’s Edge” dir. Dave Wilson (2019)

Punching bag problems.

“When the Yogurt Took Over” dir. Victor Maldonado & Alfredo Torres (2019)

I might write “a view from the snow globe” but I don’t think it matters from someone within the snow globe.

“The Secret War” dir. István Zorkóczy (2019)

Revisionist carnage.

“Sucker of Souls” dir. Owen Sullivan (2019)

Giving Romanians a bad name.

“The Witness” dir. Alberto Mielgo (2019)

Standing on tippy toes at the edge of the valley.

“Suits” dir. Franck Balson (2019)

At some point you stake the future on an immovable rock.

“Good Hunting” dir. Oliver Thomas (2019)

Blending of genres is most encouraged.

“The Dump” dir. Javier Recio Gracia (2019)

Heavy Metal origins, as was the style at the time.

“Shape-Shifters” dir. Gabriele Pennacchioli (2019)

Werewolf fight, werewolf fight.

“Fish Night” dir. Damian Nenow (2019)

If your brain doesn’t float during the spaces in between, well, what’re you even doing?

“Helping Hand” dir. Jon Yeo (2019)

Prepare me for the sacrifice.

“Alternate Histories” dir. Victor Maldonado & Alfredo Torres (2019)

Some satisfaction in the alternatives.

“Lucky 13” dir. Jerome Chen (2019)

Love defined by need.

“Blindspot” dir. Vitaliy Shushko (2019)

A collection of assorted parts.

“Zima Blue” dir. Robert Valley (2019)

The wildest dream of all.

The Green Knight dir. David Lowery (2021)

What is given is so very easily taken away.

The Suicide Squad dir. James Gunn (2021)

When in doubt, redo.

Escape from Mogadishu dir. Ryoo Seung-wan (2021)

Simmer on low for ninety minutes, then turn to high until steaming.

Free Guy dir. Shawn Levy (2021)

Something that certainly exists.

Don’t Breathe 2 dir. Rodo Sayagues (2021)

You really needn’t.

The Night House dir. David Bruckner (2021)

The abyss wonders about you.

The Protégé dir. Martin Campbell (2021)

Justifying the means.

Reminiscence dir. Lisa Joy (2021)

Jacked into some blurry sense of what is.

Star Trek: Lower Decks – “Strange Energies” (2021)

Some humans are better cartoons.

Star Trek: Discovery – Season 3 (2020)

The rubber band can only extend so far.

Star Trek: Lower Decks – Season 1 (2020)

A layercake of evocation.

Loki (2021)

Collar time and broken horns.

Star Wars: The Bad Batch (2021)

The accepted configuration is showing.

New Fiction 2021 – August

“A Delicate Architecture” by Catherynne M. Valente (2010)

Are adults not simply inured to supping of the children?

Mega Man 5 dev. Capcom (1992)

Madness is completing Wily’s Castle and expecting a different outcome.

Psychonauts 2 dev. Double Fine Productions (2021)

“Weird game haha.”

“Little Runmo” dir. Gooseworx (2019)

They got our number.

“Three Robots” dir. Victor Maldonado & Alfredo Torres (2019)

A tour of the classics.

“Beyond the Aquila Rift” dir. Léon Bérelle, Dominique Boidin, Rémi Kozyra, Maxime Luère (2019)

Does it matter when she’s there in the flesh?

“Ice Age” dir. Tim Miller (2019)

One might conclude that there is no conclusion.

“Sonnie’s Edge” dir. Dave Wilson (2019)

Punching bag problems.

“When the Yogurt Took Over” dir. Victor Maldonado & Alfredo Torres (2019)

I might write “a view from the snow globe” but I don’t think it matters from someone within the snow globe.

“The Secret War” dir. István Zorkóczy (2019)

Revisionist carnage.

“Sucker of Souls” dir. Owen Sullivan (2019)

Giving Romanians a bad name.

“The Witness” dir. Alberto Mielgo (2019)

Standing on tippy toes at the edge of the valley.

“Suits” dir. Franck Balson (2019)

At some point you stake the future on an immovable rock.

“Good Hunting” dir. Oliver Thomas (2019)

Blending of genres is most encouraged.

“The Dump” dir. Javier Recio Gracia (2019)

Heavy Metal origins, as was the style at the time.

“Shape-Shifters” dir. Gabriele Pennacchioli (2019)

Werewolf fight, werewolf fight.

“Fish Night” dir. Damian Nenow (2019)

If your brain doesn’t float during the spaces in between, well, what’re you even doing?

“Helping Hand” dir. Jon Yeo (2019)

Prepare me for the sacrifice.

“Alternate Histories” dir. Victor Maldonado & Alfredo Torres (2019)

Some satisfaction in the alternatives.

“Lucky 13” dir. Jerome Chen (2019)

Love defined by need.

“Blindspot” dir. Vitaliy Shushko (2019)

A collection of assorted parts.

“Zima Blue” dir. Robert Valley (2019)

The wildest dream of all.

The Green Knight dir. David Lowery (2021)

What is given is so very easily taken away.

The Suicide Squad dir. James Gunn (2021)

When in doubt, redo.

Escape from Mogadishu dir. Ryoo Seung-wan (2021)

Simmer on low for ninety minutes, then turn to high until steaming.

Free Guy dir. Shawn Levy (2021)

Something that certainly exists.

Don’t Breathe 2 dir. Rodo Sayagues (2021)

You really needn’t.

The Night House dir. David Bruckner (2021)

The abyss wonders about you.

The Protégé dir. Martin Campbell (2021)

Justifying the means.

Reminiscence dir. Lisa Joy (2021)

Jacked into some blurry sense of what is.

Star Trek: Lower Decks – “Strange Energies” (2021)

Some humans are better cartoons.

Star Trek: Discovery – Season 3 (2020)

The rubber band can only extend so far.

Star Trek: Lower Decks – Season 1 (2020)

A layercake of evocation.

Loki (2021)

Collar time and broken horns.

Star Wars: The Bad Batch (2021)

The accepted configuration is showing.

New Fiction 2021 – July

“Revisited, Part One” by Anonymous (2003)

You can hear the same story a hundred times and find a different telling.

“Ha’mara” by Kevin G. Summers (2003)

If the song is of a genuine soul.

“The Orb of Opportunity” by Michael A. Martin and Andy Mangels (2003)

The end result can’t be known.

“Broken Oaths” by Keith R. A. DeCandido (2003)

Festering is in poor taste, but satisfying nonetheless.

“… Loved I Not Honor More” by Christopher L. Bennett (2003)

Do not forget yourself.

“Three Sides to Every Story” by Terri Osborne (2003)

The world is replete with tragic ends.

“The Devil You Know” by Heather Jarman (2003)

Is the price the only penance?

“Foundlings” by Jeffrey Lang (2003)

A flow chart’s inevitable path.

“Chiaroscuro” by Geoffrey Thorne (2003)

The center cannot hold behind a locked door.

“Face Value” by Una McCormack (2003)

The enemy of my enemy is my necessity.

“The Calling” by Andrew J. Robinson (2003)

Touring farm houses in a tornado.

“Revisited, Part Two” by Anonymous (2003)

After all, you knew.

“Dissection-chan” by Junji Ito (2015)

The soil is purest where we cannot see.

“Blackbird” by Junji Ito (2015)

It’s anchored to the middle.

“Magami Nanakuse” by Junji Ito (2015)

Follow, like, and stay home.

“Whispering Woman” by Junji Ito (2015)

Trust the stranger to provide a whisper.

“Security Booth” dev. Kyle Horwood (2021)

I cannot abandon the sense of place.

Simply Mindy dev. Sexums (2016)

If fucking is the objective, what is the journey?

Zola dir. Janicza Bravo (2021)

Perhaps a respite from the utter seriousness of the pursuers.

A Quiet Place Part II dir. John Krasinski (2021)

The hero is always going to find themselves alone.

Black Widow dir. Cate Shortland (2021)

Circle around to the time warp.

F9 dir. Justin Lin (2021)

The bloat of certainty.

Pig dir. Michael Sarnoski (2021)

The sheen of asphalt has never been so inviting.

Old dir. M. Night Shyamalan (2021)

You could’ve left us wanting.

Snake Eyes dir. Robert Schwentke (2021)

A missed connection.

Jungle Cruise dir. Jaume Collet-Serra (2021)

The rope sags most in the middle.

New Fiction 2021 – July

“Revisited, Part One” by Anonymous (2003)

You can hear the same story a hundred times and find a different telling.

“Ha’mara” by Kevin G. Summers (2003)

If the song is of a genuine soul.

“The Orb of Opportunity” by Michael A. Martin and Andy Mangels (2003)

The end result can’t be known.

“Broken Oaths” by Keith R. A. DeCandido (2003)

Festering is in poor taste, but satisfying nonetheless.

“… Loved I Not Honor More” by Christopher L. Bennett (2003)

Do not forget yourself.

“Three Sides to Every Story” by Terri Osborne (2003)

The world is replete with tragic ends.

“The Devil You Know” by Heather Jarman (2003)

Is the price the only penance?

“Foundlings” by Jeffrey Lang (2003)

A flow chart’s inevitable path.

“Chiaroscuro” by Geoffrey Thorne (2003)

The center cannot hold behind a locked door.

“Face Value” by Una McCormack (2003)

The enemy of my enemy is my necessity.

“The Calling” by Andrew J. Robinson (2003)

Touring farm houses in a tornado.

“Revisited, Part Two” by Anonymous (2003)

After all, you knew.

“Dissection-chan” by Junji Ito (2015)

The soil is purest where we cannot see.

“Blackbird” by Junji Ito (2015)

It’s anchored to the middle.

“Magami Nanakuse” by Junji Ito (2015)

Follow, like, and stay home.

“Whispering Woman” by Junji Ito (2015)

Trust the stranger to provide a whisper.

“Security Booth” dev. Kyle Horwood (2021)

I cannot abandon the sense of place.

Simply Mindy dev. Sexums (2016)

If fucking is the objective, what is the journey?

Zola dir. Janicza Bravo (2021)

Perhaps a respite from the utter seriousness of the pursuers.

A Quiet Place Part II dir. John Krasinski (2021)

The hero is always going to find themselves alone.

Black Widow dir. Cate Shortland (2021)

Circle around to the time warp.

F9 dir. Justin Lin (2021)

The bloat of certainty.

Pig dir. Michael Sarnoski (2021)

The sheen of asphalt has never been so inviting.

Old dir. M. Night Shyamalan (2021)

You could’ve left us wanting.

Snake Eyes dir. Robert Schwentke (2021)

A missed connection.

Jungle Cruise dir. Jaume Collet-Serra (2021)

The rope sags most in the middle.

New Fiction 2021 – June

“What Is Remembered” by Alice Munro (2001)

Edge of the continent.

“Old Babes in the Wood” by Margaret Atwood (2021)

The vortex of paternal effort.

Altered Egos by Kenneth Girard (1983)

Every which way but alone.

“The Ghoul Man” by Jaime Hernandez (2002)

The niche less discovered.

“Futon” by Junji Ito (2015)

A safe place to dream.

“Wooden Spirit” by Junji Ito (2015)

The rule is it hurts no one else.

“Tomio • Red Turtleneck” by Junji Ito (2015)

You chase the tiger.

“Gentle Goodbye” by Junji Ito (2015)

A torturous self-indulgence.

If On A Winter’s Night, Four Travelers dev. Dead Idle Games (2021)

Drawn to the fallen.

“Are You Lost in the World Like Me?” dir. Steve Cutts (2017)

A certain point of view.

Fatherhood dir. Paul Weitz (2021)

The familial duty.

Hachi: A Dog’s Tale dir. Lasse Hallström (2009)

Attributes admired and forgotten.

The Squid and the Whale dir. Noah Baumbach (2005)

The fools whose voices rise like foam.

La Rosa de Guadalupe – “Cachito de lotería” (2018)

Credit to the spirit, blame to the flesh.

Dr. Cándido Pérez – “El premio y el tesorito” (2021)

The nurse and the housekeeper deserve better.

New Fiction 2021 – June

“What Is Remembered” by Alice Munro (2001)

Edge of the continent.

“Old Babes in the Wood” by Margaret Atwood (2021)

The vortex of paternal effort.

Altered Egos by Kenneth Girard (1983)

Every which way but alone.

“The Ghoul Man” by Jaime Hernandez (2002)

The niche less discovered.

“Futon” by Junji Ito (2015)

A safe place to dream.

“Wooden Spirit” by Junji Ito (2015)

The rule is it hurts no one else.

“Tomio • Red Turtleneck” by Junji Ito (2015)

You chase the tiger.

“Gentle Goodbye” by Junji Ito (2015)

A torturous self-indulgence.

If On A Winter’s Night, Four Travelers dev. Dead Idle Games (2021)

Drawn to the fallen.

“Are You Lost in the World Like Me?” dir. Steve Cutts (2017)

A certain point of view.

Fatherhood dir. Paul Weitz (2021)

The familial duty.

Hachi: A Dog’s Tale dir. Lasse Hallström (2009)

Attributes admired and forgotten.

The Squid and the Whale dir. Noah Baumbach (2005)

The fools whose voices rise like foam.

La Rosa de Guadalupe – “Cachito de lotería” (2018)

Credit to the spirit, blame to the flesh.

Dr. Cándido Pérez – “El premio y el tesorito” (2021)

The nurse and the housekeeper deserve better.

New Fiction 2021 – May

What Remains of Edith Finch dev. Giant Sparrow (2017)

I told someone that this game is “great” and then realized that isn’t the word for a video game like this, because this isn’t fun or joyous in the way video games are held up to be, even though it is an artistic achievement for sure. But then, some parts are fun, and some parts are joyous, and should I feel guilt for feeling that when the overall work evokes sadness, tragedy, elation, catharsis? (I reckon art is a complicated conjuring in the mind of the audience.) It is a melange of words in many senses. An affirmation of life and its myriad roads to the same destination. A heck of a video game.

Star Trek: Deep Space Nine – The Fallen dev. The Collective (2000)

A story retold from a different point of view three times, even if the tellings are 75% identical. The first time is fresh and interesting, the second is about finding the similarities, and the third is acceptance of the inevitable trodding down the same ol’ path. It’s a third-person shooter of its era that kept reminding me of other contemporaries like American McGee’s Alice and Grand Theft Auto III. It’s probably the most successful in marrying the source material of Deep Space Nine to a mass market video game.

Bone Tomahawk dir. S. Craig Zahler (2015)

The scene, holy mackerel. Everything leading up to it is just a rad character study and dialogue gliding around on the wind. I don’t know what the state of the modern Western movie is per the critics but I’m sure this falls into some kind of deconstructive category, breaking the genre down into its elements and amping up two of the five or something. It builds the way short fiction builds, the feeling that something is going to happen, it’s going somewhere, and while some such works are content to let it float down to a gentle landing, this movie slams it down on the table.