I would like to propose some terminology for a particular type of headcanon that can be applied across many media, though centered around actor-based media like movies and TV based on actor-transitivity and character-transitivity: the Universal Transitive Headcanon (UTH). This proposal will be the basis of a series of posts that I intend to write analyzing movies, books, comics, and other media through the UTH.
For those who are not familiar with the term, “headcanon” refers to an unofficial interpretation of a work of fiction, which may or may not have any support in the source material, but which are not part of the official canon as defined by the source material.
Once a work of fiction goes out into the world, the creator no longer has complete control over it. The beauty of this is that fans can find their own interpretations whether or not the creators actually agree with those or not, and those interpretations can have an incredible life of their own even when (as the vast majority of the time) they are not considered by the creators to be canonical–they are officially not official.
The foundational concepts of the Universal Transitive Headcanon are:
Actor-Transitivity: Every character played by a single actor is part of the same continuity. For example, this would dictate that Darth Vader and Mufasa are part of the same character story.
Character-Transitivity: Every actor that plays a single character is part of the same continuity, as well as in non-acted media like comic books. For example, this would dictate that Adam West’s Batman is part of the same continuity as George Clooney’s Batman, as well as the Batman of comics and cartoons.
Multiple-Layer Transitivity: A continuity connection need not be limited to one transitive step. By this premise, it becomes to possible to, for example, examine how Beetlejuice and Edward Cullen are part of the same character story. Because: Michael Keaton played Beetlejuice, Michael Keaton played Batman, Robert Pattinson played Batman, Robert Pattinson played Edward Cullen.
Acting as Themself: If an actor plays Himself/Herself/Themself in a work of fiction, then by that extension the actor themself is part of their UTH, and so everything extending out from their acting roles is autobiographical. This may also imply that, for instance, one actor is the secret identity of another actor.
Disregarded Factors: Particular details that make contininuities difficult or impossible to correlate may be disregarded as necessary to make a unified narrative–such as differing character appearances, different family structures, different countries of origin, simultaneous or out-of-order timelines, or the fact that multiple characters combined by the continuity have canonically died (I’m looking at you, Sean Bean).
Future posts will further explore the possibilities of the Universal Transitive Headcanon for metafiction storytelling!
Well, worse than that. Tried to eat it, and judging by the puddle of vomit on the floor, couldn’t keep it down.
“Oh, Mama,” I said, not even thinking about how she couldn’t hear me, “I’m so sorry.”
Mama’s hand normally stayed inside the dining room cabinet, the kind that most families used for nice china. With it just me now, I used ours for other stuff, like interesting bones and rocks I came across. Naturally, Mama’s hand was the centerpiece. I picked it off the floor—fortunately, far enough from the vomit that it didn’t need cleaning—and placed it back on its display rack. I judged that it looked ok, despite one finger, the one that would’ve held a ring if Mama had ever gotten married, hanging off kind of funny. The pinky, along with most of the dried flesh under it, was gone completely. It didn’t look how Mama intended. But the tattooed planchette on the back didn’t suffer much damage, so I suspected it would still work.
Not that I looked forward to trying it out.
Mama would have a lot to say about something trying to eat her hand.
And it would prove her point about I still needed her, even with her dead and all. What if the thing came back and decided to try something a little fresher?
She had Rufus tattoo the planchette once she went into hospice and knew she wouldn’t come back home. Rufus agreed to bring his tattoo equipment in and do the work right there, though he had some concerns.
“Seems like it won’t have much time to heal,” he’d said. “Not if you’re—and pardon me for saying this out loud, Mudge—not if you’re preparing to depart this world.”
“You mean ‘die,’ and yes, of course that’s happening on schedule, but I plan on sticking around for at least two weeks more.” Then she looked at me from where she lay in the bed. “And once I’m gone, Leann, you carry on the skin care. You can follow directions, can’t you?”
“Yes, ma’am,” I said.
While Rufus tattooed the planchette on the back of her hand, Mama barely showed any reaction, and me having six or eight tattoos of my own (all done by Rufus), I knew she had to be feeling some pain. She even refused the numbing gel that Rufus offered, explaining that a little hurt at the end of her life would help her go out on good terms. “Besides, take the pain out, and that might dilute some of its power. Don’t you think so, Rufus, you being the expert?”
“I don’t know, Mudge.” Rufus spoke without looking up. He didn’t like interruptions while he worked. “Maybe I’m not precisely sure what this is for.”
“You know what a Ouija board is for, don’t you?” Rufus affirmed that he did. “We got us one made by the Hasbro company. Leann here will use it in conjunction with my hand once I’m gone.” I’ll credit Rufus this much: he barely showed any reaction when Mama explained how she instructed me to cut off her hand once she was good and dead and how she left me with a detailed instruction sheet for keeping the hand preserved for as long as possible. That way, any time I needed advice or guidance or just wanted to talk, I could use the tattooed hand as a real planchette and create a direct link to Mama in the Afterlife. “Being my hand,” she said, “will ensure she reaches me and not some destructive demon. You see my logic, Rufus?”
He nodded and continued to ink the hand. “One thing I don’t quite get,” he said, “is the little window in the planchette. I’m drawing a little eye right now, but how on a Ouija board is Leann supposed to see the letters?”
“She’s gonna have to open that up with a knife. Later on.”
Rufus’ hand paused briefly. He looked over his shoulder at me, his mouth hard to detect beneath his big beard, and then he turned to Mama. “Am I to understand that I’m creating something to be defaced?”
“I’ll pay you all the same,” said Mama.
“I told you I will not accept the money of a dying woman.”
“Then just keep drawing, Rufus. It’s my hand. Soon it’ll be Leann’s. What I do with it is my business.”
“Just a sad thing to do with a man’s art,” said Rufus, but he finished the tattoo. The whole cutting off of the hand and making the hole, that came later, and I have a whole different story to tell about that.
Something trying to eat the hand though, I couldn’t just let that go. Bad enough to see Mama’s hand sitting in the cabinet all mangled. So, I went to the game shelf, where I expected to find the Ouija board underneath the boxes that held Monopoly and Pay Day, the only games that Mama liked to play, but instead of its usual place, it lay sideways on top the other two, the lid off kilter. I lifted the box and studied it, looking for signs of what might have moved it and replaced it in such a cock-eyed fashion. We had the special edition Ouija board, the one Hasbro made to tie in to that scary TV show, the one with the two brothers, and we bought it because Mama thought the boys were cute. “Leann, if only you could find you a man who looks like them,” she liked to say.
“Uh-huh,” I’d say, but only so I wouldn’t sound disagreeable. That would mean starting a fight. I imagined boys who looked pretty would get squeamish around a girl who could chop off her dead mama’s hand and bore a perfectly round hole through it. The kind of men I liked I kept to myself, and I didn’t keep them around long.
Once I had the pretty-boy Ouija board opened up on the table in front of me, I propped Mama’s hand on top of it and called for Mama.
No answer at first, and I thought, uh oh, it doesn’t work anymore.
I tried again. “Hello, Mama, you there?”
Finally, the hand began to shake, almost like a vibration that reached a fever pitch. I breathed easier as it began moving around the board, spelling out a reply.
“Mama, I’m so sorry. Something tried to eat your hand, and I’m thinking you might know what did it. Is it a rat?”
The hand made a little circle, as if it didn’t know which way to go at first. Then it slid decisively over to the word “No.” It sat there, still vibrating, like it was shivering, like it was scared. A normal planchette needed a living person to place their fingers on it, but Mama’s needed no such thing. It did all the work by itself.
“Was it an animal?” I said. “Of any kind?”
The hand slid to the edge of the board, approached “Yes,” but swiftly swung back to “No.” It continued to vibrate on top of the word.
“Well then, was it a person?”
The vibration grew stronger, and I swear it managed to elevate itself off the board as it swung hard over to “Yes.” I bit my lip. I never saw Mama’s hand do that before.
The hand moved slower as it spelled out the name, the one name I didn’t want to see, not the name of some pretty boy on the TV who hunted ghosts, but the name of the one person I cared anything for, the name of a tattoo artist with a big belly and a face covered mostly by beard. A man Mama would never approve of for me, at least not as a boyfriend, on account of the fact that he already had one ex-wife and nearly fifteen years more of life than I had.
But it made sense because no one else knew about Mama’s hand, and Rufus knew where I kept the emergency key in the flower bed, and on the few occasions that I let him sleep over he’d asked me to take the hand out of the cabinet so he could see how it worked.
“Nope, not going to do it,” I said to him more than once. I’d only taken the hand out on two occasions, and both of them when I couldn’t find something. Both times I could tell Mama wanted to keep talking, but once she spelled out the hiding place of my Bowie knife or the handcuffs that used to belong to my grandpa when he served as sheriff, I put her back.
I felt bad about those times now. Mama probably got lonely. But I didn’t need to hear any lectures about how Rufus wasn’t right for me or how I’d get a man if only I would fix up the house in a more acceptable way. Besides, Rufus spoke of the hand in a way that might offend Mama. It reminded him of a Hand of Glory, he said.
“A Hand of Glory,” I said. “That sounds like something Mama would approve of.”
He shook his head. “That’s what they call the hand chopped off a thief. After he’s been hanged, of course.”
“For whatever purpose would they do that, Rufus?”
“It’s helpful in opening locked doors, I hear.”
“I wish I could get one of them,” I said. “It would look good in the cabinet.”
“You kinda got one already.”
“Mama’s Hand of Glory.” I considered that. “She’s not a thief, though. Not unless stealing a person’s life makes you a thief.”
“You still got your life, Leann.”
“And I mean to keep what’s left,” I said.
Now I felt bad about saying that. Maybe for that reason, I couldn’t bring myself to put Mama’s hand back in the cabinet. Instead, I threw it into my shoulder bag as I grabbed my keys. I had to get to the tattoo shop.
The whole way I wondered what could’ve happened, and I thought back to the time we bought the Ouija board with the pretty boys on it, when Mama gave me the warning. “Leann, whatever you do, never, ever use a Ouija board by yourself. That’s how you invite a demon in.”
“I don’t believe in demons,” I said. “The same’s I don’t believe in God.”
“Well, just take my word on it: both are true.”
Of course, I asked her how I could use her tattooed hand as a planchette by myself and not bring in one of her demons. She scoffed at that. “Because it’ll be my hand, that’s why. You won’t be by yourself. Not really.”
Rather than accuse her of making up rules as they suited her, I let that one go. But as I drove, I wondered if maybe Mama had it at least partially right—that someone other than her daughter using the planchette alone could invite something unpleasant into the world.
I got my confirmation at the tattoo shop.
Inside, I found Huey, the high school drop out that Rufus took on as an apprentice, huddled in a corner, holding his bleeding wrist.
“Oh, Jesus, Leann, he just went crazy and bit me. Said he couldn’t help it. But if I call the police, I just know I won’t have a job anymore.”
I looked at the wound. It looked bad, but not as bad as the bite mark on Mama’s hand, and if it caused some long-term damage, that would save some future customer from a bad tattoo. But fortunately for Huey, it looked like Rufus could still practice some restraint. Maybe I could save him.
“Where is he?” I said.
“In the john.” He pointed toward the back of the shop, where a chair sat propped under the bathroom door handle.
“You put that there?” I said.
He nodded. “He ran in there after biting me. I saw that trick in a movie. Thought it would keep him trapped while I waited.”
“Waited for what?” I said.
He seemed at a loss for a second. “Well, for you, I guess. You think I still got a job?”
I had no answer to that. I needed to see about Rufus, so I left Huey to whimper over his wound and went closer to the door. If I didn’t know better, I would swear that I could feel Mama’s hand vibrate in my handbag. I used my own hand to tap on the door.
The voice that answered sounded guttural, not at all like Rufus’ soft voice. It sounded like two people trying to talk at once out of the same mouth-hole, and one of the people didn’t know how human speech worked.
I thought again of Mama’s warning not to use the Ouija board by yourself.
After some false starts to our conversation, I could finally make out a sentence from the other side of the door. “Leann, I can’t control this…this hunger. All I wanna do is eat.” When he said “eat,” something impacted the door from the other side, probably Rufus’ shoulder, and the legs of the chair seemed to give a little. I didn’t know what to say. I just knew I would not hand myself over to Rufus to devour. Or whatever had possessed Rufus.
“Why’d you do that to Mama’s hand?” I said.
Again, he struck the door. The chair still held, but it would not for much longer.
“I wanted to talk to her,” Rufus managed to say. “I wanted to ask her if she’d give me her blessing.”
“Oh, Rufus, don’t say it.”
“I was gonna ask you to marry me. She said yes, by the way. Now I just wanna eat you.”
“That wasn’t Mama, Rufus,” I said, though I had to wonder if I had Mama’s estimation of Rufus all wrong. I put my head against the door and instantly regretted it when Rufus hit it again. The chair wouldn’t sustain another blow like that one.
“I don’t want to. But I got to eat you. You need to open this door now.”
“How about we make a deal, Rufus?” Then I proposed that Rufus stop trying to bash the door down. In exchange, I would open the door, but only if he swore he’d back all the way up from the door and sit on the toilet and wait.
No reply. Still, I reached into my handbag where I felt Mama’s hand. I was right earlier. It was vibrating. I held it as it continued to shake, trying to escape the fate I had already assigned to it. “I’m gonna open the door.” I started a count-down, beginning with three, and once I got down to one, I pulled the chair aside, threw open the door, and tossed Mama’s hand inside the bathroom. The door stayed open long enough for me to see Rufus sitting on the toilet, like a good man who follows a bargain no matter what the demons inside him might say. His eyes widened when he saw me, his beard, his beautiful beard, crusted with Huey’s blood.
As he scrambled for his meal, I slammed the door shut and replaced the chair.
Later, I learned that Rufus ate the whole thing, bones and all.
It didn’t make him better though. I hoped it would, but it didn’t. Maybe Mama would’ve known that before I did, but without Mama’s word, you’ve got to take your own chances.
Rufus lives in the Vissaria County Psychiatric Hospital now. Whatever entered his body that day took him over completely, eventually.
They don’t allow visitors. No one expects Rufus’ condition to improve.
And that makes me sad. But whatever gave him the idea that he needed Mama’s blessing or that he needed anyone’s permission other than my own? As if I belonged to anyone other than myself?
The cabinet looked empty without Mama’s hand, and my days got quieter without Rufus coming around. For the cabinet, I found the bones of a two-headed snake in the woods behind the house. I grew fond of it and stopped thinking much of Mama’s hand. Or of Mama herself.
I decided to name the snake skeleton after Rufus. Unlike his namesake, he—I mean, they—would never bite me.
But if they ever tried to talk to me—or for me—they would need to go.
Douglas Ford lives and works on the west coast of Florida, just off an exit made famous by a Jack Ketchum short story. His weird and dark fiction has appeared in Dark Moon Digest, Infernal Ink, Weird City, along with several other small press publications. Recent work has appeared in The Best Hardcore Horror, Volumes Three and Four, and a novella, The Reattachment, will appear later this year courtesy of Madness Heart Press. In the harsh light of day, he sprinkles a little darkness into the lives of his students at the State College of Florida, and he lives with a Hovawart (that’s a kind of dog) who fiercely protects him from the unseen creatures living in the wooded area next to his house. His five cats merely tolerate him, but his wife is decidedly fond of him, as he is of her.
The Backlands prison barge dropped me where Riverway 53-A-Lesser splits off Riverway 53-A. There, a small break in the tree canopy made farming possible, in theory. I was told to build a homestead.
I don’t think the Eternal Bureaucracy expected much from a political exile like myself. Back in the districts, I was a Vice-Commissioner of Grains and Necessaries, a literal bean-counter, spending my days in granary offices and my evenings in tea shops, hiding from sunlight and pollen. The bargemaster saw the unlikelihood of my success, and he gamely committed to bring more subsistence rations.
The dark forest extended from my sunny patch to an infinite depth, so that looking into it felt a bit like standing between two mirrors. The ground was unbearably flat. so flat it was difficult to understand distances or directions. The only feature, the only landmark to use to define “location” at all, was the river, and even that, I knew, split and split ad infinitum as it flowed toward some sea yet undiscovered, confounding explorers, cartographers, and even the Bureaucracy’s pet gods.
Alone, outside my old environment, I had lost a sense of myself. I found myself staring—into the water, into fire, into the sky. I often lost track of what was I doing. I felt hemmed in by the dark and the riverbank. Before long, I found myself clutching an ax with aching hands, wasting time hacking away at the ironbarks, trying to expand my circle. It didn’t work. There was a constant sense that I had just had an important thought and forgotten it. It was loneliness. It was exhaustion. It was the geography.
The extreme privacy had some advantages. The first night, I opened a politically sensitive letter that I had been holding secret since the camps. It was written in a sharp, deliberate script. In the lamplight, the words looked like they were cut into the page. The letter assured me that I still had friends in the Bureacuracy, and that if I could only hold on until a less politically dangerous time, I would be reinstated with honor.
On the third day, while using the washbasin, I saw my face had become asymmetrical. As I watched, the left side fattened. I put a hand to it and felt the bones below shift. The left side soon contaminated the right, and my face became someone else’s. It looked at me with eyes not my own.
I tried to speak. With effort, I reclaimed my lips. They thinned and tightened back into my old nervous mouth. I made them speak. “Hello,” I said. My voice was fearful and fearfully polite.
My mouth transformed back into that of the Second Face. “Hello,” it said.
“What are you?” I asked.
“I don’t know,” he said. “I used to be you. I remember being you.”
The transformation became easier. My face snapped back together as I said, “But you’re not, anymore.”
“No,” said Second Face. “I’m less, now, somehow. I’m only a part.”
I thought for a moment. There was a lack in my mind, an empty space, but I couldn’t remember what had been there. “You split from me,” I stated.
Second Face contorted into being and replied, “Yes.”
“Do you remember everything I remember?” I asked.
“How would I know?”
We shared a smile, one superimposed on the other. Mine faded faster. Panic set in. I asked, “Do you remember our childhood?”
More vividly? I thought. I worried I was less than Second Face, ready for replacement. I asked, “How about our first kiss?”
“Under the rubber tree, with Selena.” With a playful grin, the Second Face asked me, “Do you remember walking home after, the smell in the air, that sense of being connected, of being part of the kissing bulk of humanity?”
“I can’t.” My voice quaked.
“I guess that’s what I am. Or part of what I am.”
I walked outside out of an instinct to be by myself, to think. Of course, Second Face came with me. It gamely tried a smile, and I wrenched control away and frowned, heavily. What was missing?
“You took my sense of wonder,” I accused.
“Oh, please. I’m too small for that, even I can tell that. I got a cluster of wonder-related memories, at most. Also, some muscle memory, I think.” Then, his expression softened. “Chin up, friend,” he said. “I’m still here! It’s not like I can walk off on my own. Let’s work. Let’s get our minds off this.”
We did work. That day, I cleared shrub from under the trees to make way for climbing beans. This would normally be miserable work, but Second Face made the time pass quickly. He joked, he laughed, he pointed out beauty. “Look at the river! It’s so blue in the sunlight,” he would say, or, “I wonder if that sound is a bird or an insect?” His voice was so unlike mine; it was slow, deep, and relaxed. As he narrated the forest, it seemed less dark and eternal, but instead vibrant and homey. His voice even comforted me at night. “Being an exile here isn’t the worst fate,” Second Face cooed. “We might even meet someone else, someday. It’s an adventure!” I felt lighter, just listening to him. I stopped resenting Second Face’s existence. After all, I reasoned, people have come back from the Backlands. Maybe there’s a cure. I drifted off to sleep.
The next morning, I felt even better. It was as if during the night, something rough and abrasive and stuck in my heart had been surgically removed. Its absence felt euphoric. That is, until it started talking.
“Miss me?” said Rough Thing. Its face, cruel yet pained, appeared over my own. “No? I hurt.”
I hurt, I would learn, was not so much a description of mood as a statement of being. Rough Thing hurt, both in the adjectival and verbal sense. It had taken memories I was glad to lose: memories of old unhappy far-off things, cupboards and switches and silences. It liked to remind me of them, every now and then. As I planted a bean, it remarked, “Your father never loved you. It’s not that he was incapable of love. He just chose not to exercise that capacity towards you.” When I started turning the soil in my main plot, it said, “Hot, isn’t it? It’s very hot, you know.”
Second Face overcame its fear and came out. Our mutterings became three-way, as Second Face explained its interest in certain painful sensations, and Rough Thing showed Second Face dead birds in the forest. Soon, we lived peaceably enough, passing the days in sweat and sun, watching our first crops start to grow.
The next time the barge arrived, I ran into the shallows, waving a little letter, begging the bargemen to take it. Instead, they poled further into the middle of the river, glancing at me with embarrassment and fear. Maybe they were unnerved by Rough Thing, which punctuated my urbane pleas with honest but unnerving comments such as, “Hope is everything!” and “I’m pathetic!”
I gave up and watched as the barge passed. On deck was a new exile, a woman. She did not look at me as she feebly tried to keep her hair arranged, despite the wind. A metropole type, I thought derisively. Less fancy now, aren’t you?
Almost as soon as she was out of view, Second Face said, “We should go find her. They probably don’t want to travel too far before they drop her off.”
“Why?” I asked.
“I… don’t know.”
“You didn’t split off with a lot of forethought, eh?” I teased.
Second Face just said, “It just feels like we should find her. We need…” his voice trailed off.
Suddenly, Rough Thing took violent control of my mouth and lungs, fully absorbing my face. It said, “Company. We need company.”
“Yes. You are not good at understanding us. I am. We’re lonely. Trust me.”
“Why would I trust you?” I retorted, and Rough Thing was, even more so than usual, hurt.
Partly to mollify him and partly out of curiosity, I took a gift bundle of beans and some foraged fruit and set off down the riverbank.
After three days of walking, I found the newcomer’s homestead in the middle of a buzzing meadow. The level of campcraft was surprising for a metropole woman; the shelter was made very practically, her bent-staff traps, leaning over the meadow grass like farmers pulling weeds, had already snapped up a pair of rabbits.
Rough Thing said, “Figures that the prison barge would drop her off where there’s so much game and soil and leave people like us in the woods.” I nodded vigorously.
The woman appeared on the meadow edge, carrying a bundle of kindling. She didn’t see me immediately. I ducked down and said, “Second Face, take over for a bit.”
“You’re more likeable.”
We popped into view, Second Face beaming, shouting, “Welcome to the Backlands!”
The woman dropped her bundle and ran to her ax. Second Face held my hands up. “It’s alright. We’re unarmed.”
What followed was a tense and lengthy explanation of what, precisely, he meant by “we.” The woman, Luciana, was less alarmed than I expected. “I knew about the faces. But I didn’t expect them to be so…vibrant,” she said, causing Second Face to blush until I took control again.
“Fascinating,” she said. “The change—it isn’t painful?”
She reached a hand out, then stopped herself. “May I?” she asked. I nodded. Her hand lay on my cheek, and I allowed a shift to Second Face, and then, briefly, to Rough Thing. “It’s fascinating,” she remarked.
The only tension arose when I explained my plans for returning to favor. “Oh, you sweet man, they will never have us back,” she said, causing me to harrumph until she felt compelled to say, “I suppose it is possible your allies will help. I suppose. Possible.”
She tried to revive the conversation, but I cut it short. “It will be getting dark soon,” I said. “I’d better start back.”
“Oh.” She leaned to one side, looking quite girlish for a woman her age. “I thought that maybe you’d spend the night?”
I tried to hide my surprise and failed. “You did?” We hadn’t seemed to have much of a connection.
She gestured all around. “It’s not as if either of us have other prospects. And,” she grinned mischievously, “I’ve never been with three men at once.”
Courtship in the districts moved much more slowly than this. I gulped and said, “Maybe another time.” Luciana pouted, and her pout was echoed by Second Face. “I’m going to go.”
As I left, Second Face, called back, “Just follow the river to find me. Come soon.”
“I will!” called Luciana in response.
I returned to my homestead and spent a week alone. Luciana stayed in my mind. I wasn’t quite infatuated with her, but the absolute lack of other human company had lent her a certain desirability. I fantasized often.
I split twice more, creating Joaquin, who was convinced he was a ghost possessing me, and The Otter—not an animal face, just a human, whose name is too long a story to relate. The other faces also became more physical. Rough Thing sometimes manifested on my chest and remained there for hours. The faces demonstrated an alarming degree of control, sometimes taking control of my arms or legs and moving me like a marionette. We started to snap at each other.
Fortunately, Luciana made good on her promise. She came up the fruity path, calling out, “I have news!” I ran to meet her. I ran up the bank to her, surprised at my vigor. I gave her a kiss, a more lingering one than was common between friends. She seemed blissful, radiant even. “I have someone for you to meet,” she said. Then, she told me her story.
Luciana grew up in the metropole; she was educated in the central academy. Her first assignment was in god control, and she failed at it spectacularly. She fell in love with her target, the Brushfather, the Ancestor-Spirit Class deity of a string of remote villages.
“No one believes me,” said Luciana’s first face to me, some time later, “but love at first sight does exist.” Her mind rebuilt itself, with the Brushfather at the center as well as the edges. “It was like Bureaucracy re-education,” Luciana once said, wistfully.
“The Bureaucracy sent in the army, of course. They did their level best to destroy the Brushfather. They might have succeeded. I don’t know. I never saw him again. Until last week.” Suddenly, her face rippled into that of a serene older man.
Luciana’s memories of the Brushfather formed the core of a split. It was not the real god, but it was a very good memory of him. And I, like Luciana, fell in love on first sight.
We ran through a complex web of introductions, using the finest Bureaucracy etiquette. “Joaquin, I present you to Luciana,”…” etc., etc. Yet, my mind never left the Brushfather. Eyes as old as time, a smile as addictive as innocence—he had something I had been craving all my life.
That night, all of us lay and held each other. Luciana, Second Face, me, the Rough Thing, we all basked in the love of a god. “It’s lonely out here. Let’s live together,” I said.
Luciana and the Brushfather replied, two faces speaking an overlapping voice, “Yes, let’s.” It was the happiest moment of my life. Until the morning.
In the morning I had a split, or maybe an integration, or both. Rough Thing had changed, taken in more of me. It was urbane. Its eyes were hard. Not like the Brushfather at all. More like my actual father.
He savagely took control of my head and turned it to look at Luciana, lying naked and asleep in the shelter. I struggled to regain control, but all I could get was my left ring finger. I flapped it frantically. Rough Thing looked down at the counter-revolutionary finger and laughed. “The Brushfather doesn’t love you,” it said. “None of them do.”
I waited for Second Face to take over. I felt sure he would have something positive to say, something like, “He could, someday. It’s early, so who knows?”
Rough Thing used our arm to roughly shake Luciana awake. “What?” Luciana asked. A few faces cycled onto her head, all of them groggy but happy. I waggled my ring finger in warning.
“You don’t care about me.”
“What?” Luciana’s first face registered confusion.
“You haven’t tried hard enough. You’re old and soft and tired. Life out here isn’t like the metropole, is it?”
The words were familiar. I realized I’d said them, we’d said them, to lovers over the years. A lifetime of petty, stupid resentments flashed into my mind. Rough Thing had a part of the core of me. It had what I had always used to manage relationships.
Luciana’s faces and Rough Thing proceeded to have a three-way shouting match. Her first face was indignant, shocked that faces as plain as ours could feel entitled to so much more. Luciana tried to de-escalate the conversation and directed her arms’ efforts toward getting dressed and staying near the door. But the Brushfather just showed sadness, deep and real grief. He clearly had no armor, no way to understand that Rough Thing’s words had nothing to do with him, that they were just expressions of pain. He took Rough Thing’s words seriously, and my heart broke to see how he hurt.
When the damage was beyond repair, Rough Thing let Second Face take over. Second Face simply whined, “This was supposed to be better,” he said. “Why isn’t it better?”
Luciana’s faces showed an incredible amount of patience, so much that I think maybe they liked us more than I’d guessed, but finally she left in disgust.
Rough Thing sat us down, alone, in the dark. Only then did he let me speak.
“Why did you do that?” I asked.
“Because you wouldn’t.”
“I mean, why was it necessary at all?”
Rough Thing took my left hand and placed it, comfortingly, on my right. “I think you know.”
“I do,” said the Otter. “Rough Thing needed to say those things because they were true. To him.”
Rough Thing flickered in, saying, “You hit the nail on the head. Precisely so. I am the only one of us who values the truth.”
I said, “Your ‘truth’ isn’t the truth, Rough Thing.”
“Is yours? Do you want to talk about why we’re in the Backlands?” Rough Thing puppeted us to our feet. It walked us to the door, looked out at the southwest, as if he could see the districts. “I was there, you know. The other faces didn’t know they existed yet, but I did. I remember. I remember your meeting with the Yellows. Their agendas, their dreams, their ideals. I felt the danger from what is now Second Face.”
Rough Thing launched into a cruel impression of Second Face. “Maybe we can chaaaaaaange the wooooooorld. Maybe they’ll like us mooooooooore. Maybe I won’t be so boooooooored.” Its normal voice came back. “And we wrote that damned memorandum.”
Our body rushed to the river. We looked at each other face to face, overlapped and reflecting. “Don’t you understand?” it yelled. “I kept us safe! You all hated me, but I saw the dangers. There were dangers in rising too fast in the Bureaucracy. There were dangers in making our opinions known. And there are absolutely, beyond a doubt, dangers—”
“In being happy,” I finished.
I took a deep breath, then said, “Rough Thing, I have never said this before to you. Thank you. Thank you for keeping us safe, all those years. But now, it’s time to go.”
Rough Thing offered a steady string of counterarguments, from the rational (“Where am I going to go? Your back?”) to the emotional (“You think you’re safe now?”). However, I could not be budged. All I did was repeat, again and again, “It’s time to go.” I willed all my thought into this one demand, repeating it like a meditation. Time slowed and the world came into focus, and still I repeated it. “It’s time to go. It’s time to go.” My diaphragm ached from speaking and still I repeated it.
Rough Thing appeared on my chest, a raised face. I took off my shirtwaist so he could hear me better. Inch by inch, he emerged from my chest, an ugly crab shedding a beautiful shell. Rough Thing’s mouth bit the ground and pulled, wrenching a small body out of my flesh. When it finally separated from me, I lost consciousness.
The next morning, Rough Thing had gone. It had taken with it a great number of memories and capabilities, as well as about two stone of muscle and fat.
I saw it every now and then, foraging in the forest. It had grown to an adult size, but its body that looked like it was drawn without the use of a live model—a body painful to inhabit. Usually, I waved. It never waved back.
I returned to my farming and tried to focus on taking care of vulnerable little Second Face. The summer passed drowsily. Then, near the time of my first grain harvest, a barge came without a prisoner.”Hail, sir,” said the bargemaster—the same who had ignored my waving letter. I briefly looked backwards to make sure someone more important hadn’t arrived. “Letter from the metropole.” He handed me the envelope and I held it like a precious stone.
Joyous tidings! The tyranny of the Greens is no more. The whole Bureaucracy is Yellow—yellow like new blossoms, yellow like the dawn! You shall be reinstated and promoted. The bargemaster has been instructed to bring you back immediately.
Yours, Silvio Velez, Acting Minister of Justice and Appropriate Displays of Patriotism
“Ready?” asked the bargemaster.
“What—” I stammered. “What about…” I let Joaquin and the Otter flicker on my face.
The bargemaster was stoic. “They reabsorb in the districts. We’ve rehabilitated prisoners before. No one will know you were a monster if you keep quiet about what happened here.”
“I…” I said. “I need to get my old clothes.” I ducked into the shelter… then ran out the back, into the forest. I ran until I wheezed, then I walked. I walked past Rough Thing, digging for tubers, and past Luciana’s perfectly-laid trap lines. I walked into the great beyond of the Backlands.
I didn’t know myself at all before I was sent to the Backlands. I can’t go back. Not until I know myself better.
Author’s Note: I’ve always felt “personality” is a group project, made up of a whole bunch of mental processes, some of which are dysfunctional as hell. Looking at and understanding the processes is useful, and terrifying, and kind of fun. I’d been meaning to write a story about it for awhile when a fellow writer proposed “many-faced monsters with many loves” at a prompt party. That prompt, years of rumination, two pints, and some new-parent sleep deprivation all came together and became this story.
Lee Chamney is an education writer and is new(ish) to fantasy. He writes stories that have dry humor, humanist tones, and a lot of weirdness. One of his bosses once described him as having “an awkward charm,” which is at least half right. You can keep up with his publications and play one of his choose-your-own-adventure games at www.leechamney.com.
He was lost in the guillotine section of the big department store. He could never have guessed there was such a thing, or he might have taken more care when the doors of the elevator opened and let him out. He was on the wrong floor. The lighting here was dim and bloody, the lamps shaded to deliberately cast a gory glow over the items that were on sale. It was crude and unfair. By the time he realised his error he had already wandered too far into the enormous room and his sense of direction was confused. He had no idea how to get back to the elevator.
Members of staff were gazing at him as if he was a violation of this refined space, a drifting smell or spreading stain. Conscious of their eyes on his back, he pretended an interest in the products on offer. He studied the blades, stroked the rough ropes and tapped the wooden frames. Nodding to himself and muttering, he tried to broadcast a message, to somehow radiate his intention to return another day, maybe tomorrow or next week, and purchase a model. In the meantime he was browsing, testing, and yes, he was sincere and innocent, a real customer.
His random passage took him in a circle that consisted of epicycles, a meandering path that perhaps resembled the rolling of lopped heads in some idealised schematic of brutality. At last a tall man approached. They were all tall on this floor, these members of staff, horribly tall as they stood in their unexpected corners, but the altitude of this one was especially remarkable. And yet he wore a coat too long for his body. His posture was rigid, beyond militaristic, and his moustache bristled, but then he smiled and made a little bow, as if he was sniffing a bowl of soup.
The others were watching carefully. There were no customers on this floor apart from him, just staff members, and it was clear the extra tall man was the floorwalker, that he could cover the distances necessary in next to no time at all with his long legs, that he was feared by his colleagues. Within that fear was awe, and nested in the awe was love, but more fear underpinned the love. These secret layers of regard were the geological strata of a commercial tyrant, as difficult to erode as the igneous slabs of a towering sea stack bathed in spray at high tide.
But they were far from the ocean now. This department store was located in a city in a landlocked country, and the land undulated with hills all around, not waves. Then the floorwalker clasped his hands theatrically.
“May I be of assistance, monsieur?” he asked in an accent that was so courteously forbidding that the syllables of his words were like crumbs of biscuits too durable to dissolve in strong tea. “And if not, why not?”
“I’m just browsing today.”
“But what exactly does monsieur have in mind?”
“My name is Mr. Plum.”
“Come now, monsieur, you must have some idea of the particular model you are most interested in? We have every kind of guillotine in stock, the full historical and futurological range. There are the cruder versions that hack and the improved devices that slice. We have long drop and short drop models. Those that catch the blood and others that allow it to trickle or even spray.”
“That’s very helpful.”
“But is it helpful to you, monsieur?”
“My name is Mr. Plum. I was born in this country too. I haven’t yet decided what I need. I’m just browsing, for a friend.”
“For a friend, you say? That strikes me as unusual.”
“For an enemy, I mean.”
“Then it is for yourself you are shopping!”
“Yes, but I wasn’t…”
There was no point arguing. He was out of his depth with this fellow, this utterly lanky floorwalker, a man who was probably never out of his depth anywhere, even while wading across a continental shelf, not that the department store was nearer the ocean now than before. Not enough time had passed for sufficient tectonic activity to take place. Yet it felt as if he had already been trapped here for innumerable years. And now the floorwalker was taking full charge of his destiny, leading him not by the hand but with a form of mercantile magnetism.
Mr. Plum muttered to himself, “I only came into this store for a kettle. I got out of the elevator at the wrong floor, that’s all. I’m reading a book at home, a difficult book. I wanted a coffee break but I don’t have a kettle. I will return to my book when I can. With or without coffee, I’ll read it to the end.”
“Is monsieur troubled?”
“Not at all. No, wait, I want to know where we are going.”
“To browse the products.”
“I see. Yes. That’s your answer, is it?”
“Monsieur stated that he wished to browse. I can facilitate that wish. I am not yet a genie but I have the capability of making some wishes come true. The easy wishes, mostly. Your wish is a very easy one.”
Mr. Plum shrugged. He did this because his shoulders were trembling. The nerves inside his torso were vibrating unbearably. The shrug untied some unwholesome knot and he was well again. Able to walk, to accompany the very tall man, they stopped together next to an apparatus that might have been a grandfather clock rather than a guillotine. And it was explained to him that yes, it told the time as well as lopped off heads. It had been designed for the parlour, for people who still had parlours in their houses, and did monsieur have a parlour too?
“Not really. No, I don’t.”
The look he received was so withering, he added, “Sorry.”
“This way, monsieur!”
They passed squat machines with iron frames and no ornamentation, practical but unlovely, and highly rococo golden devices that soared almost to the ceiling, splendid but equally terrible. They were heading towards a very large guillotine that stood on a platform by itself, like an actor on stage about to recite a monologue. A long wooden ramp connected the lunette of the machine with the lane of a bowling alley. Skittles in the form of little human figures stood and waited for a severed head to roll along and knock them down. Execution as recreation.
“What does monsieur say?”
“It’s too big. It wouldn’t fit in my house.”
“For the garden. An outdoor model. You can sit in a chair and knit while the heads roll down the ramp. Does monsieur knit?”
“Not even cardigans, I’m afraid. And I don’t have a garden.”
“But are you not educated?”
“Of course. I have a university degree.”
“A bachelor’s degree then? Well, that can’t be helped. There are other models to show you. This way, monsieur!”
And they were off again, passing rows of guillotine variants that removed heads with circular blades or blades like the rotors of a propeller. One was simply a perfect replica of a breadknife but enormously magnified and fixed on a pivot to a board as wide as a double bed. Another was a bed, with the blade activated by springs in the mattress. A particularly grotesque version was a giant pair of crimping scissors and Mr. Plum could imagine the muted snip as the blades closed together and left a stump of a neck with bloody corrugated edges.
“Keep going, monsieur.”
“I like the look of the one over there.”
He realised it was a mistake to say this, but he desperately wanted to divert their path away from the hideous coffin-like contraption that stood directly ahead of them, a guillotine that clearly sliced sideways rather than vertically. He didn’t want his body in proximity with such a thing. The one he had pointed out was small and inoffensive in comparison, the sort of contrivance one might keep on a coffee table in the lounge without running the risk of adverse comments from visiting friends. It was like a little cabinet with a door, the blade hidden within.
“Monsieur, this is considered to be a lady’s guillotine. Akin to one of those pearl handled revolvers that ladies keep, or kept, in their handbags. Monsieur! But you are not buying a gift for wife or mistress! You are browsing for yourself. We worked this out using logic only a few minutes ago!”
Mr. Plum spoke thickly, as if congealed blood already clogged his throat. “Perhaps I myself am a wife or mistress. Perhaps.”
The floorwalker arched his lush eyebrows and now they were so high that to reach them for a plucking a woman with tweezers would require an extendable ladder. Or a man with that ladder could conceivably pluck them. It was a modern city, despite its remoteness from the ocean, from the trading networks, from foreign news. For long moments the eyebrows remained up there. He kept his eyes fixed on them. Then they descended soundlessly, at last, and he heaved a sigh of relief, for the floorwalker was smiling. They didn’t descend like blades.
“I understand. You jest. It is for a masque, a fiesta.”
“For one of those, yes.”
“A malign fiesta. In that case, permit me to explain its workings.”
“I grant you permission.”
“You open the door and ask your enemy to smell the interior. Your enemy falls for the deception. They insert their head into the space and inhale. The drop of pressure inside the box then activates a switch that causes the blade to fall. The drop is short, too short for a decapitation. The neck is only partly severed. The victim stands up in surprise and pain. Now the box is attached to his head. He can’t get it off, so you will offer to help. You take hold of it with both hands, a firm grip, and you twist with all your strength. That finishes him off.”
“I see. But what does the inside smell like?”
“Pine resin varnish, monsieur.”
“My name is Mr. Plum.”
“May I suggest that monsieur try it out in the changing room?”
“But I haven’t decided.”
“May I insist that monsieur try it out there?”
The other staff members giggled. They were still standing in their corners, in the alcoves and niches of the walls. He licked his lips. Ought he to make a run for it? But it was futile. The long legs of those man-spiders would catch up with him, they would converge on his fleeing form from all directions. He was doomed that way. The only chance he had was to continue the charade and somehow come out the far end in one piece. He shrugged again, nodded and lifted his hands in mock surrender. The echoes of the giggles faded away. Silence reigned.
Swooping on the box with his long arms, the floorwalker snatched it up in gnarled and massive palms and conveyed it to the nearest changing room. Mr. Plum followed in his wake, pulled along on invisible strings.
The curtains in front of the changing room were dyed the brightest of pulsating reds. But the floorwalker swept them aside and ushered him inside, then he placed the guillotine on the coffee table that was the only item of furniture in the oval room. He departed and closed the curtains after him and Mr. Plum was left alone with his anxiety and his imminent death. He turned to examine his reflection in the mirror, but there was no mirror. There was a screen on which shapes flickered. They were a projection but he was unable to locate the projector.
The shapes achieved greater clarity, came into full focus. And now sounds rose all about him from hidden loudspeakers. The baying of a mob. The shapes were figures of men and women, those who had come to watch a public execution. It was only an illusion, but it unnerved him. He wondered if he ought to thrust his head into the box and hold his breath for a minute, then withdraw and claim the apparatus was broken. Hadn’t the floorwalker told him it was operated by the breath of the victim? But that would only buy him a little time, not enough.
The alternative was really to cut off his own head and have done with it. His body resisted this option, he felt nauseous. What should he do? Remain in this room until after closing time and then hope to sneak out when the staff were gone? But he wasn’t sure the floorwalker ever left the department, or even had a home to go to. It seemed implausible. Then an audacious idea came to Mr. Plum. Picking up the box and turning on his heel, he pushed his way through the curtains without parting them. He looked neither to left or right but marched out briskly.
With his best attempt at a confident voice, he stopped before the floorwalker and said, “Yes, it works perfectly fine. I’ll take it.”
“Monsieur actually tried it?”
“Of course I did.”
“And the result for monsieur was?”
“It’s just what I need.”
“But… but did monsieur follow my instructions?”
“To the smallest detail.”
“You pushed your head into the box and breathed in.”
“Yes. Then the blade fell.”
“And it cut off your head? But I don’t see…”
“It didn’t cut it off entirely. No. I had to twist the box around several times before that happened. Then I knew it was a good device and I picked up my head and put it back on my neck. I wish to buy it.”
“Well now. Does monsieur want it gift wrapped?”
“No need. I’ll take it as it is.”
The floorwalker lifted his immensely long arms and let them drop again and this gesture was one of the deepest disappointment. The tall men in corners and alcoves groaned in unison. Mr. Plum reached for his wallet. He was acutely aware that all eyes were probing his bare neck, searching for the join, for the mark. Not finding it, they would grow suspicious very rapidly, but he might well be out of here before they had time to stop him. It was just a question of finding the elevator. Or maybe there was a flight of emergency stairs somewhere near?
“How much is it?”
“One large and tarnished penny, monsieur.”
“I only have a florin.”
“We don’t have change in the till.”
“Do you even have a till? No, don’t answer that! Keep the change. Keep it until it does change. Until you change.”
“Monsieur is very generous. Very wise.”
“And the way out?”
The floorwalker pointed in two different directions with two of his long arms and Mr. Plum went in a third direction, clutching his guillotine and whistling, but his breath came in shuddering gasps and even when he saw that he was indeed heading straight for the elevator doors his lungs still rasped against his ribcage and every step was an ordeal. But no one followed him. He had won. He pressed the red wall button and the door opened immediately. Then he stepped inside and it closed. He stood to attention, wondering if this box was a guillotine too.
No, it wasn’t. The elevator descended to the ground floor. He stepped out and left the department store. It was early evening already. As soon as he stood in the street, a smile formed on his face and he uttered the words, “I’m free.” The nearest tram stop was only a short distance away. He caught a tram back to his own district, walked for fifteen minutes to his apartment block, tramped up the stairs to the level on which he resided. He placed the guillotine on the floor, groped for his key and opened the door, then picked up the box and carried it inside.
The kitchen was a melancholy place. It still had no kettle. He found space for the guillotine on the counter next to the blender.
Then he went into his study to resume reading a book, the book he had abandoned halfway through, the difficult book. It was the oldest book he owned and he couldn’t recall how it had come into his possession. He sat at his desk and frowned. The words on the page no longer made sense. Even the individual letters were incomprehensible. They resembled bubbles within bubbles. He flicked through the volume rapidly. The same script filled every page. The language the book was written in must have gone extinct while he was shopping in the store.
That did sometimes happen. But what bad timing! What was the solution, if any? He turned his head in the direction of the kitchen. Surely an extinct man was the kind of man who would be able to read an extinct language with ease? But suicide was a drastic action to take for the sake of finishing a book, one he hadn’t found especially entertaining even when he was able to understand it. A desire to chop the book in two overwhelmed him. “I’m not free at all,” he told himself as he stood and wandered out of the study. “None of us can ever be that.”
Author’s Note: The belief that a complete story can grow from a small seed, from just one idea or something even smaller than an idea, an image, a remark, or in this case a pun that just popped into my mind one day for no reason, ‘Are you Being Severed?’ And the moment I had those words I had the story entire. It grew in my mind with an inevitability that seems to have little to do with any conscious effort on my part. Watching the still unwritten story unfold in my mind was like watching the spreading of a pool of water from an upset jug. It just formed a pattern, the pattern it couldn’t help but form. Then it was merely a case of me setting down in words that story and its pattern. I also wanted to see if it was possible to include the sorts of allusions and puns that many readers feel lessens a story’s impact in such a way that the impact isn’t lessened at all. I wanted to find out if such tricks might even enhance the impact. That is how this story came into being.
Rhys Hughes was born in Wales. His first book, Worming the Harpy, was published in 1995. Since that time he has published fifty other books, more than nine hundred short stories, and innumerable articles. He graduated as an engineer but now works as a tutor of mathematics. His most recent book is an epic poem, The Meandering Knight, and he is currently working on a collection of experimental stories to be called Comfy Rascals. His blog may be found at http://rhysaurus.blogspot.com
TRANSCRIPT: Dark kitchen, grainy. Camera, low resolution, is pointed at a cooking range with dented skillet resting on it. Both are crusted with food and what appears to be rust. The stovetop paint is flaking off in layers. Over the side of the skillet, a lump which appears to have hair in it is visible. A black sheet has been draped across the counter behind the cooking range. After a moment of rustling, it becomes apparent that hands in black gloves have been in view.
It is unclear if the voice has been dubbed over, but likely belongs to the person cooking. Voice is soft, whispery, and barely audible over the snap of the flame. Audio peaks often.
VOICE: I really— hello. I find cooking videos soothing to watch, so I— I decided to make one of my own. I hope that— I hope that you find it soothing too. To start, I—
The speaker fumbles with the pan. There is a glimpse of stained, cuffed sleeves.
VOICE: I have to make a lot of food, so this pan isn’t— it’s not the best one I could have picked, ah… I’ve done it wrong already.
A hiss. The pan is removed and replaced with a pot. The contents are not visible but slosh when the pot is moved.
VOICE: So— so… let’s start with… an easy thing everyone likes to eat. It—it’s soup. Don’t— don’t criticize me.
The speaker retreats. Chopping is audible offscreen while the speaker continues.
VOICE: In the… you have to sauté it to soften it, but I’m afraid it, er… it’s only gotten harder. That’s… that’s all right. It doesn’t matter. It’s just a stew.
There is a nervous laugh.
VOICE: Oh, it’s— it’s a bone. Here.
There is a thump, and crackle. The pot rattles and begins to bubble over.
VOICE: Then we add it to the— to— it’s boiling— wait—
The camera is knocked to the side, tilting the video. A handful of lump is crumbled into the pot, which causes the liquid to spill over the edges and splash across the stovetop. There is a hissed exclamation and the video terminates abruptly.
VIDEO TITLE: I have to cook a lot so I made another video.
DESCRIPTION: The last video was hard to see. I’m sorry.
TRANSCRIPT: The camera has been moved to above the stove. The video appears to sway in a way that suggests that the camera is suspended rather than mounted. There is a strong light to the right of the video, but the left is in strong shadow. A glistening oil can sits below the light. The dented skillet from the first video sits on the bottom right burner, by the oil.
VOICE: Good— morning. I watched the last one and … this is better now. I’m not— I don’t want to make soup. Today it’s a … gnocchi.
Rustling. With both hands, white pellets are poured into the skillet. They continue to move after being poured into the skillet.
VOICE: These are ones I grew myself, so they’re— you know they’re fresh.
With both hands, the speaker hoists the can and gingerly pours oil into the skillet. While the oil is poured, static and audio distortion increases.
VOICE: The oil keeps— it keeps the can from rusting, so I cover it often… stop it!
The speaker bumps the skillet with their arm, knocking it over. The pellets crawl in all directions after they are spilled.
VOICE: Don’t you understand this is import—
The camera swings wildly. For two frames a thin white hand with too many fingers is visible grasping the black sheet behind the stove before the video terminates.
VIDEO TITLE: Unboxing at home. Fun
DESCRIPTION: I made an unboxing. It is a surprise that I haven’t seen unboxed before. There wasn’t anything at the end of the other video. Please don’t leave rude responses I will see them.
TRANSCRIPT: The camera, tilted, is fixed on a damp cardboard box tied with a string. There are no visible maker or mailing marks on the box. One corner is crumpled in; that corner is stained black. The stain is spreading across the counter, which appears to be the kitchen counter. The lighting is even, but deeply yellow. A tapping which has been audible since the beginning of the video ceases.
VOICE: Hello. I… the cooking was… I will practice so it isn’t so disappointing. Thank you. Today is an unboxing, I…
The speaker reaches into view, and places gloved hands on the box. The speaker appears to be wearing the same stained button-up shirt as in the video ‘Easy cooking for the family.’
VOICE: This is the box… first I untie it…
The speaker fumbles with the string until it comes undone.
VOICE: And then… it’s sealed with… with tape, which I have to cut… I wonder what’s inside? What could have been sent to me?
A nervous, whispery laugh. A kitchen knife with nicked blade is used to saw the box open. There does not appear to be tape holding the flaps together.
VOICE: This is… the hard part because it really has to… hold still. There.
The knife is placed to the left of the box. The speaker gingerly opens the flaps and reaches inside.
VOICE: Now it’s exciting. Aren’t you excited…?
The speaker pulls out a glass jar. The contents are black. White objects float inside. The speaker is excited; their voice pitches up.
VOICE: Oh! It’s my teeth!
The speaker holds the jar closer to the camera. A black fluid runs down the jar from a large crack near the lid. The speaker is audibly disappointed.
VOICE: Oh… it’s leaking…
The hands pull back and footsteps are heard leading away from the microphone. After a full minute of silence, the footsteps return and the video terminates.
VIDEO TITLE: Organic gnocchi garden.
DESCRIPTION: It is not a creepy video. It is filmed in my house please stop asking. It is my house. Please stop asking where my house is. It is a private house.
TRANSCRIPT: The voiceover begins immediately. The camera is held at an average shoulder-height, moving down a dim hall lined with wooden slats. The ceiling is low and does not have light fixtures. The construction style is of the early 1900s.
VIDEO: I had— many people— ah, who asked about the gnocchi. Of course it was good, it’s not… I don’t know what… is that—
Nothing changes in the hallway, but the progression stops.
VOICE: …there isn’t anything. It doesn’t matter, here we are.
The speaker turns, and the camera faces a door the same color as the hall. The speaker, wearing black gloves, fumbles with the door. When the door is opened, a buzzing is audible. The speaker fumbles with a pull string.
VOICE: I keep it in the dark. They said it’s a favorite. It took me a while to figure this out but it isn’t too hard…
The light comes on with a click. The camera sways close to a large. blackening ribcage, mostly stripped of flesh. It appears to be the remains of a cow or pig.
VOICE: Here. And… sorry, I have to open it… a bit strong… ah, if I had another hand— ha ha—
The camera dips as the speaker turns the carcass to face the camera. Black spots buzz across and the speaker hisses and waves them away. A large white blob is visible. After a moment the camera focuses as the speaker pushes it closer. The white is a chest full of writhing maggots. A fly lands on the camera, blotting out half of the video. The voice sounds relieved.
VOICE: And that’s the— my indoor garden.
VIDEO TITLE: f
TRANSCRIPT: The camera swings unsteadily over a pot of yellow oil. There is the sound of shallow breathing for eleven seconds before the video abruptly terminates.
VIDEO TITLE: fryung with mushrooms
DESCRIPTION: im ok
[A significant amount of hard returns seperate the first two words from the following text:]
I SAW YOU THIS IS YOUR LASRT WARNING STP SNREAKING ARIUBD MY HIUSE
TRANSCRIPT: There is swinging and as the camera is fixed into place above the stovetop. A large pot is visible; it is filled with bubbling oil. The hands withdraw from the camera before the speaker begins.
VOICE: Today we are going to fry some mushrooms. Um… I found a bunch of them recently…
There is rustling and the speaker holds a porcelain tray up to the camera. On the tray are several mushrooms trailing mycelium. Alongside the mushrooms are lumps that appear to be covered in fuzz.
VOICE: Since it wasn’t very interesting and I don’t know how to do the video skip, I took the oil to boil while I wasn’t recording. I’m sorry if you wanted to see it. I turned it up to the highest setting until it boiled…
The tray tilts and the contents slide into the oil. As the lump hits, there is a pop and sizzle. Oil bursts across the stove and tray. The speaker yanks back with a startled inhalation, jostling the camera. The tray is pulled away. There is the sound of it being set down off-camera.
VOICE: —ah, and then we, and then we wait for it to finish.
There is a forty-second pause in speaking. The camera is set back into its original position.
VOICE: I know how long it’s supposed to cook. Until it…
The contents of the pot blacken as the oil continues to boil.
There is rustling off-screen.
VOICE [mumbled]: Oh, no.
A hand rests on the side of the stove.
VOICE: I forgot the tool to take it out with…
There is a pause. The speaker hesitates over the boiling pot before plunging their hand into the pot. There is a shrill scream. The camera is knocked spinning. The video terminates.
VIDEO TITLE: Cooking with a roast beef.
DESCRIPTION: Thank you for concern. Today we will cook a roast beef. Please know I did not disturb the gnocchi for this roast.
TRANSCRIPT: The camera is pointed at the oven. The door is open, and the interior is blackened. From the color, grime, and lighting it seems to be the same stove as in previous videos. The speaker’s voice is audible from what seems to be behind the camera.
VOICE: I wanted to show— oh. Hello. Today we’re going to… cook a roast. A… a roast beast. Beef.
With a scraping noise, a rusty metal tray is pushed into view. It is held by an unsteady, bandaged hand. On top of the tray are three chunks of rib bone. The shriveled meat on the ribs is tinged green.
VOICE: I… er, I cut the beef… and now it’s on the plate. So the plate goes into the oven, which is hot… I turned it to, er, to [inaudible] degrees… please be careful with hot things. Though it doesn’t— it doesn’t hurt too much, so don’t worry. Thank you.
The speaker slides the tray into the oven, and then carefully closes the oven door. Though there is a glass window, the inside is not visible due to a combination of filth and lack of light. The video continues to record the oven for several hours without interruption.
Nothing changes in the video until 3:41:53, when there is a distant noise of glass breaking and a light flickers. At 4:08:03 there is a muffled scrape and thump, and a possible second voice with an indistinct exclamation. At 4:15:47 there is a metallic shriek, a series of loud bangs, and shouting, speaker undetermined. The shouting ends abruptly with a damp thud. The camera shakes slightly and is not reoriented.
The video continues without note until 5:32:11, when the oven begins to emit smoke, and at 5:46:23 there is a brief flare of red before the ribs visibly catch flame at 5:52:09. The fire continues, smoke obscuring the image, until there is the sound of loud footsteps approaching at a run. The oven door is yanked open.
VOICE [out of breath]: And— and that’s a —
Violent coughing. The video terminates.
VIDEO TITLE: How to fix a broken window.
DESCRIPTION: A window is broken so I am going to fix it.
The video is clearer, though still filmed at low resolution. The camera is tilted back in view of a broken window. Large shards of glass remain in the splintering frame. The sky is an overcast grey. Shuffling comes from behind the camera before a throat is cleared.
VOICE: Good— good morning. Today is— a window is broken. That’s… that’s not good. Because it goes outside. So anyone could get out. Or … or in. A-anyway. I have… household…
The speaker shakily holds a staple gun in front of the camera with bandaged hand.
VOICE: I tried to sew it, but… the needle broke. And the other thing we needed was… fabric. That you have around the house. Please— please remember, this is a private residence. Okay.
The staple gun is removed and a large piece of translucent, pale fabric, notably marked with brown stains, is held in front of the camera. With rustling, the speaker’s gloved hand holds the fabric up to the window frame. The staple gun is brought up to the gloved hand, and there is over six seconds of hesitation.
VOICE: Oh… shoot.
A third hand, in an ill-fitting black glove, slides into view from the far side of the window. It holds the fabric against the frame.
VOICE: Ah, and then you… just staple it, like this. And like this… over a bit… down…
As they speak, the speaker erratically staples the fabric to the windowframe until the fabric is stretched completely across. It has ragged edges and hangs loosely. The amount of light is greatly diminished. All hands retreat from the frame.
VOICE: Until it’s done. So you can’t just get out.
The speaker’s gloved hand comes back into view, pushing against the fabric with two fingers, outward; it stretches with the pressure, though it is not elastic.
VOICE: Now you can… um… see through it, but not go through it. Ow!
The speaker yanks their hand back, evidently having pricked a finger on the glass. A dark spot remains on the fabric. There is a hiss and whimper before the speaker continues, subdued.
Video begins mid-sentence. The speaker’s voice is distressed and nearly inaudible. The camera is close to a skillet, at an angle. The stove appears to have been cleaned, though it is still crusted with rust and stains. The oil can is on the stove, near the skillet. In the corner of the video is the side of a large pot, with what appears to be plastic melted to the side. There is a white plate with a cut of meat about the size of a thigh ham on it; the meat is resting in a pool of bright red juices. The meat appears fresh. There is a several-second pause before the speaker begins again with a shivered inhalation.
VOICE: Hello, um, today I’m making a… sauté. Ah, I… I don’t like it when anything goes to waste, so I try to use all of it… ah… well, so we’re going to bruise in a skillet.
The speaker picks up the oil can with difficulty and coats the surface of the skillet in oil. While both hands are gloved, a bandage is visible around the wrist of the right hand.
VOICE: The skillet is— it’s already on. So the— oil is so it doesn’t stick.
A nervous laugh. The oil can slips from their grip, splashing oil across the stovetop and meat. The can is shoved out of sight.
VOICE: Then— um— then — salt—
The speaker picks a glass container from offscreen and fumbles with it, dropping it; the meat is covered in a pile of fine salt. There is a sharp intake of breath. The container is snatched from the plate.
VOICE: It’s fine. It’s fine. You’re supposed to— to have it sit in the salt anyway. It’s not bad now. I should cook it and it will be fine. It’s good. It’s good to not be wasteful. I’m sorry. I’m sorry. Just put it in the skillet so you can cook it.
A muffled click offscreen. The speaker picks up the meat and places it onto the skillet. They yank their hand away from the pop and sizzle of oil.
VOICE: Ah— then it’s— two minutes. Just two minutes.
There is a pause of 3:06 while the meat begins to smoke. From this point on the video is somewhat obscured by smoke. The sounds of breathing are audible under the cooking. At 3:49 the speaker very quickly flips the meat over with their hand, then shoves the skillet aside and places the plate atop the burner. The blackened meat is dropped onto the plate, splashing juice across the stovetop.
VOICE: Then it… it’s done. And you… you get to eat it. So that’s good, it’s very, it’s delicious, savor it.
The speaker’s hands return to frame with a fork and knife spotted with white and brown stains. They cut into the meat, shakily piecing out a chunk which is stabbed and lifted out of frame. There is the sound of chewing, followed by a choke and retching. The plate is knocked aside, into the pot, which topples, spilling brown liquid across the stovetop. The contents of the pot roll into view. Fused to the inside of the pot is a melted white shopping bag with distorted THANK YOU written across it in red. Within the bag is a swollen, pink lump with finger- or toenails.
The thin sound of sobbing.
The video terminates.
The channel was removed shortly following upload of the ninth video.
Phase Two consists of a trip outside Sector 684. It’ll take us two days to reach the human-curated farm fields. We’ll have the chance to see how our creators lived before the dark decline. How they coexisted with their animals in vast, clear-skied land.
The minis are the most excited. We watch them swing their small fleshy legs off the seat, tapping their thighs as the clean-train rumbles beneath us. We are so thankful for them and their bright, eager smiles. Their presence is like a memory of something that never happened, like a nostalgia that presses down some of the building ache.
They were Phase One of the curative trial for the pandemic sweeping across the cities. Dysthymia was rampant across several sectors, reducing our conscious biomechatronic population to that of the humans before extinction. Most selecting to be disconnected or discarded for parts. Our sector took immediate action with the introduction of preventive treatment.
First, the minis, now the farms.
They tell us it’s to be expected. We have our creators’ subconscious after all, and with that comes malfunctions.
We all go still as our ear-assist announces we’ve left the sector limits.
Please enjoy this relaxing music. It’s a human-led orchestra that fills our cabin. We can hear the imperfections but relax to it all the same. From the windows, the minis point at the giant stacks in the Purification Plants. The smog is thicker the further we leave the city behind with fewer sky-scraper purifiers to filter out the radiation and pollutant emissions. It doesn’t affect us, but the sight is not as pleasant. That familiar stirring begins somewhere not medically pinpointable. A heavy feeling, a dragging, oozing…
To your left, you’ll find the wheat fields.
We look outside, the purifying stacks pepper the field to allow a rolling landscape to appear. The land flits by as the sun takes over the sky. It glints over the vast field of golden stalks the ear-assist calls “wheat”. Not real wheat of course, but dyed and fashioned algae bloom made to resemble this shimmering grain.
Soon the stalks transform into a vibrant green, almost the neon color of pure algae, but this color breathes life. “Corn stalks”, we’re told. A word made to oval our mouths.
Fun fact! Corn was the last surviving crop humans could grow before the dark decline.
The minis wave excitedly at a person-shaped figure made of wheat-algae in the middle of the field, arms out-spread, eyes black as coal.
Once we stop, we’re led off the clean-train, the minis walking with a peculiar jump. The farm curators welcome us, handing us each a wrapped uniform bundle. Except it’s not like any uniform we’ve ever seen. We “ooh” and “ahh” at the bright plaid, the rough material of jean overalls, the boots with thick soles. It’s what the farmers got to wear, they tell us, and at this we scowl, handing over our thin white smocks in exchange. Still, when we put them on, the material is not as heavy as it looks. Our different colors make us distinguishable.
They take us first to where the animals lived. We’re much more eager to see that. Humans we understand, we live with what they’ve left behind, but animals are a peculiar creature. Fur-covered things people used to keep in their own homes, have them curl up in sleep on the edges of beds.
Most ate pellets and corn (from our ears, the ear-assist takes on a guided-tour persona. We believe they’re having fun) and really, anything they could get their paws on. They were hungry things. Our hands run across the cool metal of the old pens. Rows upon rows unfurling forward for who knows how far. Which is this one? We ask.
It’s the pig pens. Those cute fat pink animals with their pushed-in noses and squeaker sounds. Oh, how we would’ve loved to have seen those. They used to stack them right here. A practice later condemned when the animals were becoming extinct. An infographic of previous headlines quickly scrolls through our minds, clouding our view. Riots, pyres of rotting animal corpses filling the skies, famine. Our steps grow slower, heavier around the pens.
We wrinkle our noses at the rust-colored stains. The metal containers are rusted for effect. There’s no longer any danger in touching it, but it serves as a reminder. Look how far we’ve come. We are lucky.
We feel the plush hay of the slatted bottoms. Run fingers across the barn hooks and barrel feeders. Test the weight of what they call feed, rub the coarse hairs on the patches of fabric said to feel like the real thing! Our imaginations are often unused, but we fire them up, testing what’d it be like to be a “piggie”—such an adorable word, isn’t it? Our ear-assist trills.
The minis wear their long snouts for the occasion, provided by the curators of the farm. They snort and oink, wiggle around until our biomuscles lift into a smile.
The curators ask if we’d like to step into a room for a full olfactory experience. We decline, a reminder of something never-lived telling us it isn’t pleasant. But some of the minis, dressed in their tiny jean overalls and plaid shirts to match ours, rush in.
They come out jostling, their dilated retinas wide and their pig snouts bouncing. They say it’s like nothing they’ve ever smelled, and they go back in at least two more times.
After we’ve seen what there is to see of the pig pens, we’re ushered into a rounded room with a colossal rotary platform in the center. This one was used to hold a thousand of those black and white beasts at once, for what purpose we’ll soon find out. The curators come around and pin black-spotted white pins over our flannels. We’re all labeled “cows”, another word we enjoy stretching our mouths for.
Each of us picks a spot to stand. A bubbling sound—a laugh, we realize— finds its way from the pit of our stomach to our mouths as we face each other from across the giant rotary. The minis trade their piggy noses for supple pink bags with nipple tips called utters. The curators strap it to the minis, and they dig their small fingers into the rubbery pliable material.
The guided-tour voice speaks in our ears along with a joyful jingle. The heifer—the female cow, spent most of her day here in the milk parlor. This thousand-cow rotary alleviated the strain of milking cows one by one and provided most of the population with a delicious, refreshing drink. Can you imagine how many humans it would take to milk a thousand cows a day? Well, a thousand humans, of course! A vintage laugh track from human sitcoms blares through our ears.
We mimic it. The stomach sound erupts from our mouths again as we rush to grab hold of the bar in front of us, the rotary begins to slowly spin. We feel light, made of air.
Kept running twenty-four hours a day, this handy device slowly drained away a heifer’s heavy load of milk through its utters down into those pipes you see running into the center containment drip. Fun fact! A similar system was devised for lactating human mothers during the last baby blast.
The minis are told to push forward into a funneled cone. A device latches onto their installed utters, and we all watch in astonishment as foamy liquid erupts down into the clear pipes. Fascinating. We all wish we could have utters of our own.
Again, they move us along to the next area of the tour. The curators jokingly call us “the herd”, apparently another farming reference. We now get to see where the actual farmers lived. They load us onto a moving platform, lugged by a big-and-little-wheeled vehicle they call a tractor. A clean-tractor, of course. We would never ride on anything that would cause pollutants like our creators did. It was the first order our ancestors were programmed with. Infographs threaten to scroll through endless articles and images of the dark decline when the world went white-hot, but a jolt from the clean-tractor sets us right again.
Once we get there, the minis launch from their seats, running toward the oddly box-shaped home. We find ourselves rushing after them in our thick-soled boots, uncaring for the squelch of wet dirt.
We like the creak of wood beneath our feet as we climb steps into the farmer’s house. A mural of them colors across a wall outside, painted bright faces and broad smiles. Their offspring’s hands gripped in theirs. They stand proud and large as if saying this is ours. All of it.
Here is where the good old farmers would live. They tell us a farmer couple would usually occupy a residence of this size. They’d have an average of three or more children, breeding them to inherit their parent’s line of work. It’s sickening so few people could take up so much room, our ear-assist admonishes. Think of the wasted space!
Our containment buildings spread for four blocks, four tall buildings with nothing but recharging units and taking up as little bit of earth as possible. Our societal production buildings are the same. Four, stacked, so our entire city feels smaller than this farmer’s home.
There are so many rooms, so many chairs. Some of them rock, others that wheel. Feather-made beds from when birds flew high and low enough to catch. We take turns sitting on the bouncing beds, splaying out over soft covers and equally (if not more) lush pillows. There are animal-shaped heads protruding from the walls, long snouts and flickery ears. Lamps also shaped like animals, you would think the farmers had even loved these creatures.
“Where are their containment tanks?” The minis ask. As if anticipating these questions, the guided-tour voice tells us they didn’t need containment units like we have, everything they needed was processed through sleep and sustenance. We know that, but the minis were programmed for companionship, not the burden of our creators. We watch as their little mouths turn down at the corners, flirting their little fingers across the beds.
The floors all creak inside as well, a cacophony of sound that reminds us of their unusual music. Each room smells different. The entire manor fitted for a full experience. Their couch room smells sweet, their sustenance room like burnt flesh and salt. Their bed rooms like something none of us can name but turns our insides as soft as pillows. Rooms with wooden cages for their fleshy babes, more colorful and elaborately decorated than the other spaces.
We can tell care went into those.
The curators stop us for a vid-viewing. A gold-haired farmer places their offspring into those wooden cages, her lips to its frontal skull, a song on her lips. That soft feeling happens then too. They say it’s normal, nothing to be alarmed of. But when the minis extend their heads, their frontal skulls waiting for our lips, an ache takes over the soft.
Eventually, we all drag our feet to the door. Everything resplendent with tender detail. We all understand it was unnecessary, wasteful, selfish even. Yet, we all linger on the wood-creaking porch, leaning hips on the rail, feeling the prickling sun at our backs, the wind a lure to those algae wheat mazes.
When the minis grab hold of our hands, we squeeze back tightly.
On the clean-train back to Sector 684, we pass our own production farms. A swarm of mechanized beez are released every hour like steam from the factory’s top. The soil is especially rich here as worrmz and other decomposing machinations are released to spread out like roots in a greenhouse.
There’s no warming softness as we view this, too used to our thriving system to allow that strange sensation to find us. Instead, the trip has left us with this emptiness of feeling. This hole where that softness should be. This cold where a hot-breath of flame could be burning. They tell us this is normal too and it’ll pass. But we’re no longer sure. We think we are infected.
There’s a point on our trip back to the city where our wireless connection, our ear-assist, everything disconnects. No service. And my head is mine alone.
I am here.
My mini shuts down with its head against my arm and that warm buzz comes up to sting behind my retinas. I imagine this is how a dream must feel. The act of reconstructing a memory or a thought that belongs to me alone just as the humans once did, as the cows and the pigs and the farmers all must’ve as well.
If I could, I’d hold onto this memory of mine, dream again of the farm. Of the field of real wheat and a friendly sun at my back. For now, I can only wonder when I’ll return.
Author’s Note: I try to be as conscientious as possible when it comes to my carbon footprint. I kept wondering if anything I did even made a difference: recycling, buying in bulk, etc. Then I thought about what the planet would look like once humanity had done all the damage it could do and who would inherit this disaster. Would our robotic legacy do better or would life weigh on them as it did us? Who knows, but it brought out some interesting scenarios.
Fueled by the magic of espresso, Miami-born Vanessa Montalban channels her wanderlust for far-off worlds into writing speculative fiction. She’s a first-generation grad student at the University of South Florida and a librarian-in-training hard at work creating her own collection of stories.
Miss Peregrine’s Home For Peculiar Children is a 2011 contemporary fantasy novel, the first in a series of three books by Ransom Riggs depicting children with unusual abilities.
The protagonist of the book is Jacob Portman, who as a child was enamored by his grandfather Abe’s stories of fleeing from Nazi persecution of Jews in World War II–to hear his grandfather tell it there were literal monsters and his grandfather found safety in a secret safehouse with peculiar children watched over by a “wise old bird”. When he was a child, Jacob took these stories literally, but as he grew older he doubted their literal reality, figuring that his grandfather was communicating with metaphor about the horrors of war. As his grandfather dies, Jacob sees a vivid vision of what appears to be a monster lurking nearby, but no one believes he saw what he saw, and he is sent to therapy to cope with the trauma of his grandfather’s death.
His therapist, Dr. Golan, suggests that Jacob should travel to Cairnholm, Wales, the place where his grandfather had lived at the supposed home for peculiar children. There he can either establish the reality of the home, or not, and settle what everyone else believe to be fantasies. He travels there with his family on a work trip.
This book has a very good hook, although it’s clear from the title and the picture of the book that it’s clear that “peculiar children”, whatever that means, are central to the book, and one can probably assume that the home for peculiar children exists or they wouldn’t name the book after it, there is still plenty of mystery in the book to keep turning the pages. As the mystery is revealed there is plenty else to keep the story going in terms of interesting characters and looming villains. It’s hard to discuss it in much more detail because the reveal of the mysteries is the biggest part that is fun in the book.
But another thing that makes this book stand out from other fantasy books is the found pictures that form the basis for many of the ideas. Throughout the book are actual found photographs of “peculiar” children, children who appear to be floating, or appear to be an invisible child visible only as hovering clothing, or things like that. Riggs has worked with collectors of these odd photographs to make a huge collection of images of these, and many of the characters are based on these photographs, so it’s really interesting how those odd photographs, presumably of early photographic special effects, were the basis of the story–it lends the story some feel of truth as well as adding a very cool weird touch to it all.
Untitled Goose Game is a 2019 puzzle stealth game developed by House House in which you are a goose generally making a nuisance of yourself in a small village.
“It’s a lovely morning in the village, and you are a terrible goose” is the line that starts the game. You are a goose with a purpose, and that purpose is a seemingly arbitrary handwritten list of objectives written on lined notebook paper wherein the only unifying seems to be “to be a nuisance”. As the villagers are trying to go about their daily business tending gardens, running pubs, and otherwise going on about their lives, you are the goose among them causing them endless inconveniences, stealing their things and move those things to other places, honking and scaring them at inconvenient times, and otherwise just generally making their days unpleasant.
Different villagers respond differently to seeing you–though generally most of them will chase you to retrieve their things if they see you stealing them, so much of the game is based on looking inconspicuous until their back is turned and then stealing and running off before they notice. There is also a puzzle element to the game, as many of the objectives give you a general idea what needs to be done but not HOW to do it. For instance, one of the objectives in the first area is to make a man wear a different hat… but how do you do that? Both the hat on his head and the other hat hanging on a hook are out of your reach.
This is a diverting and silly game, and it’s fun to have a game where your main objective is to be rather annoying, but the stakes are not earth-shaking by any stretch of the word.
Visuals Cute cartoony style, even if it is a little creepy that none of the humans have eyes.
Audio Very cute, the instrumental music cranks up in intensity when someone starts chasing you, and the HONK noise is amusing enough that I usually just walked around honking whenever I wasn’t trying to be stealthy.
Challenge Some of the challenges are pretty straightforward, others take some experimentation, but generally it’s pretty low-stakes since the worst thing that generally happens is that a human takes back a thing you stole and puts it back where it was originally. Where the biggest challenge comes in the game is later advanced objectives when you have a time-limit for completing a series of tasks. You have to work quite hard (and also be pretty lucky) to streamline your nuisance-making to fit it in tight time-limits. (It’s also probably the silliest idea in a silly game, who is imposing these time limits on the goose?)
Story Extremely light on story, which is fine, it’s not a story game. Other than the generally increasing dislike of the villagers toward the goose, there is not much progression. (But that’s okay, it’s not a game you play for story!)
Session Time Except for the time-based goals later in the game, you can start and stop pretty much whenever, and it will save your progress (even the time-based ones, the time limits are only a few minutes, so it’s not a big time unit anyway).
Playability Easy, there are only a few buttons–movement with the joystick, a general “manipulate” button, and a dedicated honk button (you can also flap your wings but that is almost never necessary, you can do it just for fun).
Replayability Certainly some replay value, after you beat the basic objectives you get some extra timed objectives, and even after that you could go back and find new ways to annoy the villagers (such as stealing all of their belongings and hording them in your den).
Originality Obviously stealth games are nothing new, but this one made quite a stir because the choice of the goose as protagonist and the goals as being just generally ways to be annoying to random villagers made this game a thing of its own.
Playtime It took me a few hours to play through everything including the advanced objectives.
A silly and fun stealth puzzle game well worth the time and cost. Even after all of the memes it inspired, I still found it original and fun and did not wear out its welcome. I still go back and play it just for fun even though I have completed all of the objectives.
Dog Man: For Whom the Ball Rolls is a 2019 graphic novel for kids, the eighth in the Dog Man series by Dav Pilkey (creator of Captain Underpants). The series so far has been reviewed here.
The villain Petey the cat is trying to turn over a new life and be a force for good instead of a force for evil, mostly motivated by a desire to live up to the confidence of his son, an immature clone of himself, known as Lil’ Petey. Lil’ Petey is a good-hearted scamp who is now in shared custody between Petey and Petey’s nemesis Dog-Man who is half-dog half-cop (Lil’ Petey and Dog Man are also members of a superhero group the Supa Buddies with the third member being the robot 80HD). But Lil’ Petey’s faith in humanity has been shaken.
The Fair Fairy is a long-running children’s TV show where a fairy explains to children how to be fair. But, it turns out that she’s not so good at keeping her temper when dealing with kids when she flips out (again!) on live TV and stomps off to become the newest villain. This combined with a minor mishap with some “supa brain dots” that turn a pond full of tadpoles into flying telekinetic monsters that team up with the Fair Fairy to wreak havoc on the city, and Dog-Man and his friends again have their work cut out for them!
Still very enjoyable series for grade-school age kids.
In case you haven’t heard of the names, Charles Babbage and Ada Lovelace (the most common way she was referred to, though it was never quite her name she did answer to it) were real historical figures that worked together on the early theory of computing before the first calculating machines were made in the first half of the 19th centure. Charles Babbage built a functional prototype of the “difference engine” which was a mechanical computing engine using gears and steam that could calculate sums. He had plans for much a more complex machine built on the same concepts he called the “analytical engine” for which he had very detailed designs. Babbage was a celebrity of his time, though notorious for almost never quite finishing his projects, and he never actually finished building an analytical engine. Ada Lovelace was the daughter of Lord Byron, and her mother strived to insulate her from her father’s “poetical” ways (which seems to be a commentary on mental health rather than the poems themselves), and very accomplished in the field of mathematics, especially for a woman living in her time when women were actively discouraged from mathematical pursuits. The thing she is most well known for is creating the first programming language, intended to be used with the analytical engine. Since the analytical engine was never built, she never saw her language go into use, and it was a very long time before a calculating machine that was built and the language to go with it.
Lovelace died at the age of 36, and Babbage never finished building the engine that he considered to be his life’s main work, but they are such fascinating figures with ideas well beyond their time that it’s fun to imagine what might’ve been if things had gone differently.
This is a book that’s maybe half non-fiction and half fiction. The first section of the book is all non-fiction, albeit told in comic style, telling of the backgrounds and real-life pursuits of Lovelace and Babbage, though told in a narrative style much of it is based directly in quotes from correspondences and publications of various and in the nature of their personalities revealed therin.
The second section of the book is a fictional steampunkish tale making up fun stories about what might have happened if Lovelace had lived longer and if Babbage had created his machine.
It’s a fun romp, both educational and just plain fun. I learned a lot about both Lovelace and Babbage who are both very interesting people that I would love to read more about, and the second fictional part of the book was an exciting and fun comic in its own right, and even more so for being based on the real people.