Hello! We have a few upcoming things we need to announce, let’s get right to it shall we?
General Submission Window
Diabolical Plots is opening for general submissions for the first two weeks of August 2021. Read the guidelines for more information!
First Reader Applications
Diabolical Plots is looking for new First Readers! You may also know them as “slushreaders”, they help read submissions of stories that come in to help us consider them for publication. We are taking applications from BIPOC applicants until June 30th, and after that from everyone until July 10th. For more detailed information and the actual application form please follow this link.
Themed Submission Window
Diabolical Plots is pleased to announce our first themed issue — stories of food, dining, and cookery, which we couldn’t resist titling “Diabolical Pots”! (Actual pots optional.)
We’ll be accepting submissions for this special issue from October 7th – 21st, 2021. In addition to being centered around food, stories must have a speculative element. Pay rate, format, and submission restrictions (no reprints, no resubmits, etc.) will follow our general submission guidelines.
So, how can food be integrated into your story? Any way you want! Maybe a crew of space pirates is about to score big on some outer-planet delicacies. Or a tense family dinner gets tenser when the youngest child insists they hear scratching sounds in the wall. Or two witches both reach for the last bundle of herbs and their eyes meet and…
For this themed issue, our assistant editor, Kel Coleman, will be taking the wheel and making final selections. Of course, your story should still be a good fit for Diabolical Plots—check out our general guidelines for an idea of what that means—but what might win you extra points with Kel?
Well, Kel would love to see:
Lush descriptions of food
Immersive worldbuilding—food is never just food. Food is love, food is culture, food is survival
Science fiction that’s high on emotional resonance, low on unexamined imperialism
Any kind of prose—it can be ornate, experimental in structure or tone, or punchy and simple, as long as it is intentional and serves the story
The news came out yesterday that, for the first time, a story first published by Diabolical Plots is a Hugo Award finalist: “Open House on Haunted Hill” by John Wiswell, about a haunted house that just wants a nice family to come live in it.
A lot of people really love this story, for it was also nominated for a Stabby Award, a Locus Award, and a Nebula Award: all which are the first times that John Wiswell has been nominated for those awards, as well as the first time that works published in Diabolical Plots have been nominated for those awards. Well done, John!
We look forward eagerly to results–though it will be a while for this one, the Hugo Award ceremony won’t be until December this year so they can attempt to have an in-person convention instead of entirely online.
About a year ago, we made the announcement of an assistant editor for the first time for Diabolical Plots when Ziv Wities joined the team. Don’t worry, Ziv Wities isn’t going anywhere! We are welcoming a a second assistant editor–Kel Coleman, who you might recognize from their story “A Study of Sage” that was published in Diabolical Plots this year.
Kel started as a first reader for the January submission window and has been helping out with line edits for the stories after the final selections, and we are looking forward with working with them more in the future!
Hello! This is one of those posts where I declare what is eligible for speculative fiction awards (such as the Hugo and Nebula and Locus) and in what category from Diabolical Plots offerings.
Diabolical Plots itself is eligible for the Hugo Award for Best Semiprozine.
Editor (Short Form)
David Steffen is eligible for the Hugo Award for Best Editor (Short Form), for both Diabolical Plots as well as The Long List Anthology Volume 6.
Locus Awards have a category for Publisher, which would be Diabolical Plots, L.L.C. for Diabolical Plots, Long List Anthology Volume 6, as well as being the entity responsible for The Submission Grinder.
Best Reprint Anthology
For the Locus Award!
Related Work and Fan Writer
Websites that relate somehow to science fiction and fantasy are eligible for related work. So I believe Diabolical Plots as a whole is eligible, and I am eligible as “Fan Writer” for my work here.
Individual works of nonfiction are definitely eligible so individual pieces on Diabolical Plots, whether reviews or otherwise, are eligible.
This year marked the start of a series of articles I’m quite fond of: Music Video Drilldown, in which I analyze a professional music video as though it were meant to be a regular film instead of a music video–trying to understand the plot. Many of these end up being quite speculative.
And very recently I started a new series on Universal Transitive Headcanon–a metafictional framework of my own devising. In a nutshell, it is based around the idea that every character played by a particular actor is all part of the same character continuity, and every actor who plays a particular character (i.e. often rebooted ones like James Bond or Batman) are also part of the same character continuity. The concept is explained in more detail in this foundational post, and the first of the actual articles was posted very recently: The Story of Gandalf and Magneto.
And The Submission Grinder may be eligible as well! People ask me every year what they can nominate it for. (I think it would be very unlikely to win since that is a tool for writers and Hugos are voted by broader group than just writers but it is probably eligible anyway.)
Also, this may be a little bit odd of a suggestion, but the cross-stitch on the Diabolical Plots Twitter feed could be a related work. In 2020, in particular, I finished The Mighty Samurai, a project that took me FOUR YEARS to complete and which I chronicled step by step on the Twitter feed. There are also other cross-stitch projects completed in that time, including a Stormtrooper helmet, but The Mighty Samurai is certainly the most notable of this content.
Diabolical Plots commissioned one artwork this year, for the cover of The Long List Anthology Volume 6, which was produced by Jorge Jacinto. I believe his work would fall under the Professional Artist category by Hugo Award definitions. Check out his website.
This year only one of my own stories is eligible:
“Love From Goldie” by David Steffen, at Zooscape We used to be so close. What happened between us, Gloria? Is it because I died? I would never have thought our marriage was so superficial. For Christ’s sake, we’d been married for eighteen years! And now you won’t even talk to me, won’t even look at me. I’d never even believed in reincarnation, but here I am. I guess reincarnation believed in me.
All of the original fiction published by Diabolical Plots falls into the “Short Story” category as defined by both the Hugo and Nebula and Locus awards (meaning that each is under 7500 words apiece). The eligible stories are listed here with the announcement of Year Six fiction–but only those with 2020 dates, the ones with 2021 dates are eligible next year instead. Note that if you’ve been following along from previous years that this is a change from previous years–the last couple of years had had an anthology published early in the year that contained all of the story from April of the year to March of the next year–when that happened those stories were all first published in the anthology, and so the first 3 months of stories published on the site the year after were actually eligible the year before because of the anthology. These anthologies have been discontinued and so now “date on the site” is the only publication date to be considered. This means that even though Diabolical Plots has continued to publish two original stories every month, this year only 9 months of those stories are eligible (April through December). You can find all Diabolical Plots fiction here.
For the sake of convenience, here is a list of the eligible short stories with links and brief excerpts:
“A Promise of Dying Embers” by Jordan Kurella It is a long way down to the sea. A long way down, and treacherous. But I must make this journey today from my uncle’s castle, carrying his bones. I must make this journey, both for my uncle’s bargain, and for my own.
“On You and Your Husband’s Appointment at the Reverse-Crematorium” by Bill Ferris You place the urn carefully onto the examination table. The doctor opens the lid, takes a peek inside, sniffs a little. He nods, like he’s evaluating a new blend of coffee, then dumps half of your husband’s cremains into a big metal mixing bowl, the kind they had in the restaurant kitchen you used to work at. He uses a large copper whisk to mix in a bottle of purified water.
“Everything Important in One Cardboard Box” by Jason Kimble Max found the box that fit absolutely everything when he was clearing space for Roderick to move in. They had agreed he’d pare down to a single bookshelf, so he drove by the local rental place and bought a half dozen boxes.
“Synner and the Rise of the Rebel Queen” by Phoebe Wagner The Greyhood Gang created the boards to escape the guards. The Gallows Hand Gang modified the design with runes, potion washes, and badass art. The last gang, the Blacksmith Bitches, put the boards to their true purpose: rooftop raids on the rich.
“Open House on Haunted Hill” by John Wiswell 133 Poisonwood Avenue would be stronger if it was a killer house. There is an estate at 35 Silver Street that annihilated a family back in the 1800s and its roof has never sprung a leak since. In 2007 it still had the power to trap a bickering couple in an endless hedge maze that was physically only three hundred square feet. 35 Silver Street is a show-off.
“The Automatic Ballerina” by Michael Milne Cassia works leg-like appendages below its central chassis, tossing a frilly grey tutu out in a jellyfish whorl. It has a choice now: it could approximate anthropomorphic performance, occasionally wobbling, rotating its abdominal segment in concert with its lower half. It could fix its gaze on a sculpted sconce in the middle distance; it could mime fending off an impossible nausea. It chooses not to.
“Minutes Past Midnight” by Mark Rivett Ruth slammed through a metal security hatch. Solid steel met Ruth’s super strength and speed, and it shredded like tinfoil. From Ruth’s perspective, the world was frozen in time. Soldiers were posed in action – walking through halls, manning their posts, and otherwise going about the daily business of staffing a nuclear missile silo. None of them would be aware of the super hero in their midst. Only later – instantaneous in their perception, but many long seconds in Ruth’s – would they experience her intrusion: ruined passageways and an obliterated weapon.
“Bring the Bones That Sing” by Merc Fenn Wolfmoor The bird bones arrived on Grandma’s porch every day at dusk with no warning. There were all kinds of skeletons, each distinct: finches, crows, goldfinches, tiny barn owls, starlings, and once, a blue heron that had covered nearly the entire stoop.
“Finding the Center” by Andrew K Hoe I brought Annie to my math-racist’s because I’d stolen a laptop from the Syndicate. I’d stirred the vipers’ nest. Their reach was long, and I didn’t have anywhere to take her. Last year, they’d killed Annie’s mother—a trained policewoman—using crooked cops from our own precinct. So Annie went where I went—even to Sanger’s beat-down porch.
“For Want of Human Parts” by Casey Lucas The woman cuts down the street in her high-heeled shoes and descends to St. Patrick Station with her blood-red lipstick and victory rolls. The flare of her skirts and the streak of her eyeliner remind Bone Pile of a bygone era, not that it knows what a bygone era is. But something about her feels like home. Like a place Bone Pile can still remember.
“The Last Great Rumpus” by Brian Winfrey Except for me, he goes unseen and untouched by the world. But animals can still sense him somehow. So, as he drifts among them, dogs tense and huff and growl. Finally, the boldest of them, a pug, lets out a high-pitched squeal of a war-cry and charges.
“That Good Old Country Living” by Vanessa Montalban 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.
“A Complete Transcript of [REDACTED]’s Video Channel, In Order of Upload” by Rhiannon Rasmussen 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.
“Are You Being Severed?” by Rhys Hughes 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.
“Many-Faced Monsters in the Backlands” by Lee Chamney 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.
“Mama’s Hand of Glory” by Douglas Ford 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.
“‘My Legs Can Fell Trees’ and Other Songs For a Hungry Raptor” by Matthew Schickele The junction of tunnels here had a rich sound, and the soft buzz of her bagpipes echoed in every direction. Just like yesterday, and the day before, she relaxed on a pile of stones, lost in the music, sifting her memory for favorite tunes from the timeworn canon. The bellows for the pipes was a ballooned mammal-skin bag on the floor, massaged by her large clawed feet; her small front claws tickled melodies on the chanter. Leathered intestines connected all the parts, snaking along her feathers from the bag up to her massive jaw.
“Tony Roomba’s Last Day On Earth” by Maria Haskins It’s Tony Roomba’s last day on Earth. After two years of working undercover as a vacuum cleaner bot on this boondock planet, he is finally heading home to the Gamma Sector, but his final day is full of challenges. He has to get out of the apartment undetected; has to reach the extraction point in time for teleportation; and he has to submit his intel-report to the Galactic Robotic Alliance (not that they’ll like it much). However, his most immediate and hairiest problem, is that he can’t get Hortense off his back.
This article is based in the idea of UTH (Universal Transitive Headcanon); if you are not familiar with the concept you can read more detail about it here.
From our perspective, most people in our world and time view Gandalf the Grey (and his second persona as Gandalf the White) as one of the greatest heroes of Middle Earth (i.e. The Fellowship of the Ring, The Two Towers, etc), in part because of the incredible portrayal of the legendary character by Sir Ian McKellen. Time and again Gandalf learns of a great threat to peace and life as people know it and he races ahead to forewarn those in danger to give them time to prepare a defense. Yet, Gandalf is known by another name by many people of that time and place that gives us a sense of the skewed perspective of those very same people he has saved: Storm Crow. Because, wherever Gandalf visits, a wave of chaos and death is surely following closely behind. And, while this is certainly true, many people confuse Gandalf’s role in the proceedings; Gandalf is not the cause of the chaos and death. With no Gandalf, entire kingdoms and their residents would have been wiped off the map in quick succession without forewarning to defend themselves. Gandalf has certainly saved many thousands of lives many times over, yet he is often blamed for those who didn’t survive despite his best efforts.
It is no wonder, then, that even after saving most of the then-known world from the evil power of Sauron yet again, that Gandalf would become embittered and, not only take on an entirely new persona of Eric Lensherr/Magneto (X-Men, X2: X-Men United, etc), but turn his back on his prior methods and many of the people he had fought to protect. No longer would he spend his efforts protecting a populace that as a whole despises and blames him. He may have been emboldened to change tactics by the modern rise of more people like him–in the times of The Lord of the Rings he was a rarity, only a handful of superpowered people like him, but by the time of the X-Men timeline there are multiple organized teams with their own agendas and with more superpowered people revealing themselves every day. As we saw in X2: X-Men United when Professor X uses Cerebro to target all mutants on the planet, there are multitudes more that are hidden in the population who perhaps do not even know that they have powers, or perhaps have just managed to keep it a secret from most. Perhaps in the time of The Lord of the Rings, a similar number of people have powers, but have not had the opportunity to develop it, or they manifest in ways that are taken for granted by those around them, but in any case the number of evident superpowered people has greatly increased from one film to the next.
Where Gandalf once depended on the support of the Fellowship of the Ring, Magneto now depends on the support of the Brotherhood of Mutants. Having revived from death at the hands of the Balrog and saving the entire population of the world from the evils of Sauron, and finding the world just as unwelcoming to him and to people like him as ever, he is back and is determined to establish a world where people like him can thrive without the blame and persecution of those who view them as different: “We are the future, Charles. They no longer matter”.
Gandalf/Magneto, among his more flashy talents, has a keen eye for new recruits, as we see in X2: X-Men United as he snipes Pyro from the X-Men team using Pyro’s insecurities and animosity toward Ice Man as a wedge. We see the start of his yearning for brotherhood with others of his kind with his befriending of Bilbo in The Hobbit, and then Frodo in The Fellowship of the Ring. At the beginning of each of their stories, Bilbo and Frodo seem fairly quiet and unspectacular people among a local population full of quiet and unspectacular people. But, especially in Frodo his skill at recruiting is never stronger. Without the Hobbits in general, and perhaps Frodo specifically, the battle against Sauron would surely have been lost. Frodo’s pleasant and calm demeanor is but an aspect of his supernatural resilience and resistance to the forces of outside corruption. Gandalf himself is susceptible to the mind control of Sauron: “Do not tempt me! For I do not wish to become like the Dark Lord himself.” But Frodo carries the One Ring to the brink of its destruction, farther than any other individual may have carried it, even if in those final moments his resolve finally crumbled (though thankfully the deed was still carried out!). Of course, Boromir’s betrayal shows that Gandalf is not infallible in his recruiting skill–his recruiting is a high-stakes gamble–the world would have been lost if he had not found a mutant with an appropriate power to counteract the Dark Lord Sauron’s powers, but the flip side is that when this gamble went wrong it tore apart the Fellowship of Nine.
Before we see Gandalf in the guise of Magneto rising to notoriety at the head of The Brotherhood of Evil Mutants, he has found a way to use technology to conquer his greatest fear: the fear of mind control, using a specially crafted helmet that shields him from telepathic influence. If he were to face Sauron again, he would be more prepared. He has also focused on some of his abilities to the loss of many others–can you imagine how much simpler most of the battles of Middle Earth could have been with the powers that Magneto has developed over metal? Every orc’s blade turned against them, a battle could be over in seconds with no survivors to tell of it! It’s no wonder that he focused so much of his power in more recent years on honing that skill to perfection.
As we see the resurrection of Gandalf the Grey into Gandalf the White, it is explicit that Gandalf is not bound by the same laws of mortality as the rest of us. One component of this great character’s life that is a matter of fierce debate is the debate of the other chapter of his life involving a quest for resurrection as Asparagus, aka Gus the Theater Cat (Cats) who joins with the others at the Jellicle Ball to determine which one of them will be reborn.
My personal interpretation of the Gus/Gandalf ordering is that his time as Gus the Theater Cat tells of the later years of his long and storied life. It’s only natural for him to take on a role in the theater, considering how skilled he had shown himself to be by then to take on different roles. And in his role of Gus we finally see spelled out how his earlier resurrection may have worked, although it seems that significant details must have been left out in the telling in both the books and the movies.
Although strong rules dictates certain parameters around a Jellicle Ball, it turns out that these rules are more customs than laws. Gandalf defeated the Balrog and earned his own resurrection by calling an impromptu Jellicle Ball as they fell from the Bridge of Khazad-dûm. Gandalf the Grey and the Balrog took their turns pleading their case for why each of them deserved resurrection in musical form. Of course with only the two of them, they could not fairly judge themselves in this case, so a higher power had to step in to make the choice. It turns out that Gandalf wishing to return to the surface and save everyone from the Dark Lord was more convincing an argument than whatever the Balrog could come up with in the heat of the moment when it had been expecting this confrontation to be a literal song and dance. Or perhaps it was Gandalf’s performance that made the difference rather than the contents of the argument itself, and thus inspired his later life in theater, as theater had saved his life and allowed him to finish his greatest work. One can imagine that the Balrog’s performance probably had a great deal of shaky rhymes and trailed-off sentences and circular logic, and the Balrog died for its failure.
It’s unclear why Tolkien skipped the musical nature of this sequence, considering The Lord of The Rings books are basically musicals anyway (count the number of songs in their pages and tell me I’m wrong). But why skip the most striking musical number? Perhaps Peter Jackson also skipped this musical sequence as a nod of deference to Tolkien, but the continued lack of a musical adaptation of the Gandalf/Balrog Jellicle Ball sequence is simply a travesty that I hope will some day be rectified! (preferably soon enough that Sir Ian McKellen may reprise his role!)
Gandalf’s breaking of custom may also have something to do with why Gus failed to secure resurrection at the later Jellicle Ball. He had already earned his chance at another life, and under a Jellicle Ball whose legitimacy could be called into question, and here he is at another one making the case for yet another life? So, this last chapter of his life was a quieter one, where others elsewhere wee fighting the battles that save the world.
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.