MOVIE REVIEW: Hotel Transylvania

written by David Steffen

Hotel Transylvania is a 2012 computer-animated children’s comedy by Columbia Pictures.  The legendary vampire Dracula (Adam Sandler), after the death of his wife at the hands of humans, raises his daughter Mavis (Selena Gomez) as a single parent. Frightened of violent and unpredictable humanity, he has made a life for them by founding a five-star hotel in Transylvania just for monsters, and telling Mavis constant horror stories about the human world so she won’t to go.  But it’s her 118th birthday now, which means she can make her own decisions and for some reason she still wants to go out into the world.  To make matters worse, a human named Jonathan (Andy Samberg) somehow finds his way to the hotel and is not scared away by the monsters, and Jonathan and Mavis hit it off.

It’s a fun idea, and since there’s been three movies to date and a cartoon TV show, clearly the kids especially like it. There are some funny bits, particular from Jonathan as he is an oddball human to have made it so far into Transylvania without being scared off.  The ensemble cast (Steve Buscemi, Molly Shannon, CeeLo Green, David Spade, Fran Drescher, among others)

Adam Sandler isn’t super Adam Sandler-ish in this one, so if you tend to hate Adam Sandler movies as much as I do (some notable exceptions exist), I didn’t get that vibe about it.  But the main plot of the movie is based around a fragile scaffolding of transparent lies that Dracula has been building for a century–it was pretty clear it was going to crumble at the slightest touch and then most of the basis for Dracula’s relationship with his daughter would be revealed to be completely fabricated and so the relationship between the two most important characters in the movie would be almost entirely built of lies while her father tries to intimidate and force Jonathan out of the hotel so that she can’t get to know him.  Especially since Mavis is an adult even by vampire reckoning at this point, this level of interference in her life was more annoying than endearing, and I thought she was remarkably chill about her dad being revealed to have been running a long-term con on his own daughter instead of trusting her.

 

DP FICTION #46A: “The Hammer’s Prayer” by Benjamin C. Kinney

I showed up early for work, as always. The airport’s underbelly was the ugliest place in Boston, but I would’ve spent every hour there if I could get away with it. Among the hurried machines and distant reek-sweet jet fuel, I had everything I needed. A purpose, a paycheck, a place to hide; and most of all, a land of function without beauty, where nothing would tempt me to invest it with holiness and life.

The other officers grunted hellos as they arrived, and we split up into pairs for our little contributions to the safety of mankind. My supervisor Darrell beckoned me to him once again, and I took my place by the conveyor belt, pleased for the company of his press-perfect uniform blues. I had never let him know me, as I could let no human know me, but he had come to appreciate me despite the dull mask of my restraint.

I brushed clay dust from my uniform, tugged on my gloves, and watched humanity’s obsessions trundle toward the scanner. The belt hummed with the comfort of purposeful movement, content with suitcases and backpacks and baby strollers. A hard-shelled bicycle box wedged against a chute, and a light blinked amber as the conveyor belt clunked to a halt.

I leaned over the belt, and hauled the box into my arms. I’d hoped for something truly heavy, but it weighed no more than it looked. I pretended to exert myself as I carried the box to the scuffed steel examination table, and set it down beneath fluorescent lights and Darell’s sampling wand.

He chatted in his rhythm-quick voice as he jiggled the latch and drew out his ring of master keys. On the third try, the lid swung open. He whistled. “Wow. Ever see something like that, Jakob?”

A glossy bronze shape lay nestled in a bird’s nest of packing paper. The sculpture had the shape of a stylized motorcycle, sleek and long and stubby-piped, like the dream from a Hell’s Angels Science Fiction Club. Its metal engine gleamed in the harsh white light, as if it had just emerged from the workshop of some loving hobbyist, awaiting my word to roar down the open road.

A word I could never permit myself to give, despite the longing that beat through my chest like blood.

Darrell tapped his wand against my wrist. “Slow down, big guy.” I yanked back my hand, and he said “Can’t imagine a bomb hidden under this much work, but we still gotta check.”

I laced my fingers together as Darrell swept his wand over its surface. I had spent so long avoiding anything built and beautiful. I’d almost forgotten the sensation of their call, the gravity of their appeal.

This was no airplane, vomiting exhaust into the atmosphere; no luggage cart on the journey of a materialistic ant. Nor was it a golden calf, stealing hearts from the Creator. The sculpture existed, and made the world a better place for it, like a brother you never knew was alive.

Darrell levered the sculpture upright, one wheel toward the ceiling. “Yeah? What do you think? You like it, big guy?”

“Yeah,” I said.

He laughed. “That’s why I like you on my crew. You’re a great conversationalist. But yeah, it’s nice. Wouldn’t mind one of these hanging over the TV or something. Hold it for a minute?”

I balanced the sculpture in one hand, and let it tilt a few degrees until its surface rippled with white bars of reflected light. Darrell probed the box’s packing-paper corners with his wand, and then turned away and inserted it into the reader.

I had spent most of my life avoiding this temptation. Months upon months of dull repetition, back and forth between empty apartment and empty work, shaping myself into a useful cog of civilization. I’d survived undiscovered for so long, surely I deserved a few moments of fulfillment. One risk today, averaged over three years, left me comfortably safe.

I lay my hand on the sculpture’s headlight, let my fingers sketch the shape of letters, and laid the motorcycle back into its nest.

Some legends said the mark should read truth, others spirit, or a full Adonai Elohim emet, the Lord God is truth. But for me, anything will work. My fingernail left no impression on the bronze, but the clear cool presence of my gift flowed from hand to metal, like the release of a long-held breath.

I slammed down the lid.

“Jakob? What was that?” Darrell’s voice had lost its rhythm. He studied me not with wide-eyed surprise, but the narrow gaze of skepticism.

I froze. What had he seen? What had I done, in my moment of temptation? I shifted position, my body between him and the box. “You said all clear, right?”

He cradled his radio. “Yeah. All clear, Jakob.”

I hauled the box onto the outgoing conveyor belt, toward the rubber-strip curtain between our screening area and the automated paths beyond. Maybe nothing would happen. Maybe my power had faded in the years since I last gave life. I might’ve imagined that flow of power. Maybe I’d always imagined it, in hallucinations bubbling up from the lack of some medicine or construction in my mind.

The motorcycle would vanish into a cargo hold, a simple sculpture, able only to move by the gift of an airplane’s engine and fuel.

The box swiveled, jostled by  a sudden motion within. Black plastic clipped the curtain’s steel frame, and the box passed through the curtain and vanished from sight.

Darrell’s gaze bored into my back. No, my imagination, my fear. Warranted, though. I’d stayed far too long, in the lure of a steady job and my self-control. My mistake.

“Taking a break,” I said, and hustled toward the exit.

***

The late-October wind cut through my uniform jacket as I knelt by the ocean’s rocky shore, a false coast constructed by bulldozer and dredge. A stone’s throw from the runways, and the only place where the airport would allow me a sliver of comfort.

My cellphone buzzed in my pocket, but I couldn’t bear a glimpse of modern design. I wanted to hurl it into the waves, to awaken it to life, anything. I focused on the salt-sodden chill of water in my socks, the splash of waves over my boots. Water full of jellyfish, barnacles, and seaweed. Every plant and animal already true in form and function, alive by the Creator’s breath.

Beautiful but quiet. Nature laid no demands on me. My one chance to touch grace without it begging for my aid.

My pocket buzzed again. I had thought the airport would shelter me behind its utility and ugliness, but temptation had found me nonetheless. Darrell had seen me. I imagined hurling my phone into the water, fleeing from my job. I could disappear into some wilderness, far from any man-made creation that could tempt power from my fingertips.

Behind me, something zipped along the runways. Too low for an airplane, too swift for a maintenance truck. Maybe it was the sculpture, broken free of its box, enjoying the animate life I had given it. The sound faded, and I could not tell how far it’d gone.

I drew my phone with a wet-fingered tug. The cracked and blocky device settled in my hand, its shabby exterior muting the whispers from within. The buzz had been my weekly reminder to make a deposit into Saba Haskel’s fund. Once, the money had paid for his nursing home. Now, half of it went for his burial plot, and the rest to his chosen charities.

My thumb hesitated over the screen. Saba Haskel’s commands had faded in the seventeen months since his passing. If I unyoked myself from his debts and generosity, I could make my escape, and discover the shape of a life molded around my own needs.

I huffed a quiet half-laugh. As if I doubted what I might do, despite all the free will breathed into my soul. Saba Haskel had built himself a dutiful son.

I tapped my way to a banking app, and transferred over my last few hundred dollars.

No job meant no paycheck. I might keep them both, if I could talk Darrell down, if I could just walk back into the inspection line. I would have to try. I dipped my fingers through a receding wave, and then turned back toward the terminal’s lights.

***

My badge opened door after door, back from tarmac to fluorescent lights and then the cavernous rumbling space of the inspection room. I reached the conveyor belt, snapped nitrile gloves over my hand, and then halted. One of the other inspectors waved me over, and pointed her thumb at a video camera watching from the corner. “Boss wants to talk to you.”

So much for a return to the inspection line. I peeled off my gloves, and cradled them in my hands as I stepped away from the belt’s welcoming hum. I eyed the poor nitrile, wasted before it could do its work, and then tossed the crumpled gloves into the trash.

I passed through the garage where rectangular luggage carts slept in their peeling orange paint, waiting for a tug to drag them onward to a luggage-laden airplane. I swiped into the back corridor, and then again to access the control room.

A wall of monitors blinked at me, filling the room with their grainy light. Darrell paced behind the desk, and his phone rested on the surface with a satisfied glow.

I put on a dull expression. “What’s this about?”

Darrell shook his head. “Two years ago, couple months after you started here, I was told to keep an eye on you. I started to think it was nothing, you know that? But now, Jakob. That statue. What the hell did you do?”

I sat down in front of the desk, slid my hands along the frail plastic of the chair’s armrests, and tried to imagine who might’ve asked Darrell for such a favor. “Don’t know what you’re talking about.”

He halted, crossed his arms. “Thirty million passengers come through here every year, counting on us. Don’t you bullshit me.”

His uniform clung to his body, armpits dampened by sweat. Whether he feared for our passengers, or himself, I had no idea how to protect him. Every word faltered in my throat, inadequate and profane.

Darrell tightened his lips. “You know the real Jakob Haskel died before his first birthday? I just learned. But I bet you always knew.”

I forced my head to shake as slowly as ever. “Don’t know what you’re–”

He tugged open the desk drawer, and heaved a tangle of bronze onto the desk. It had once held the shape of a motorcycle’s front end. Its wheel had gone flat, the struts accordion-crushed like hollow aluminum after a crash.

The axle spun once, then shuddered to a stop. It turned in the opposite direction, skipped once, and stuck.

He said, “I don’t know what’s up with this, so we’re even.” His phone chirped, and he glanced at the screen. “Sit tight, Jakob. If you don’t wanna come clean to me, maybe I don’t know you so well after all. But the lady from the NSA will get answers out of you, one way or another.”

Plastic buckled beneath my fingers. Even if the National Security Agency fought for a worthy cause, they were who they were. No weaponsmith ever made the world more peaceful.

I leapt to my feet, but Darrell was already past me. He opened the door, and admitted a woman wearing a black suit so rumpled and careworn it wanted to slide off on its own in search of a sewing machine.

She ignored Darrell. She stared at me, and her bittersweet smile gripped me with the certainty of prayer.

She said, “I’ve always wondered whether Doctor Haskel made you in his own image.”

“You knew Saba?”

“I was his last graduate student.” She drew out a pair of business cards, one for Darrell and one for me. “And I know exactly what he was working on before he retired. Praxis derived from 16th century Praguer variants of the Sefer Yetzirah.”

Darrell squinted at the card. “Hold on. Doctor Menkin? You said you were from the NSA.”

“No, sir. Dr. Rebecah Menkin. I was at the NSF, at least when we spoke a couple years ago. The National Science Foundation.” She circled the desk, a hawk untroubled by the errant gust of Darrell’s question. She rested one hand on the motorcycle’s cowl and met my eyes. “I’ve spent the last six years trying to track down Saba’s final project. I chased every link I could find. Including the name.”

Six years. Since long before Saba awoke me from clay. “What do you want from me?”

“Come with me. We’ll recreate Dr. Haskel’s work, and finally get it published. The world deserves to know he was right.”

In the depths of my bereavement I might’ve leapt into her hands. But Saba had returned to dust, and his pride with him. If his work spread, the world could see more creations like me. Half souls, cursed by the temptation of life and beauty.

I said, “No.”

“Let’s not make this adversarial, Jakob.” She smiled, but her eyes resisted, as sharp as a dream’s leading edge. “Your boss told me about your talent. Let me help you understand it.”

A wise man hears one word and understands two, Saba used to say. If I left with this doctor, I’d spend the rest of my days in a lab, under microscope or scalpel or drill. I’d become one more metal to smelt from its ore, in the humans’ endless hunger for new methods of creation.

I said, “Darrell. I’ll talk to you, but not this woman. Get her out of here.”

Darrell pushed past Dr. Menkin, jammed a key into a desk drawer, and yanked out a taser. He swung the black-and-yellow barrel back and forth, between the woman and me.

He said, “Doc, you need to leave. I may not understand what Jakob can do, but whatever it is, it needs to serve our country. Not some scientist’s career.” He unclipped his radio. “You both stay right here while I find a number for the real NSA.”

Menkin raised her hands, palms out, her voice calm through gritted teeth. “I understand your concern. But let me put you through to the NSF’s director instead. Appointed by the President.”

Darrell said, “You said you don’t work for them anymore.”

“It doesn’t matter where I get my paycheck. The Director knows my work, and how important it is.”

Darrell hesitated. Menkin drew out a phone with a glass-and-aluminum case, sleek and alluring. The taser faltered in his hand.

I could let Darrell make his phone call, or I could crush the weapon in his hand and leave with the doctor. Either outcome would mean the same. I’d spent all these years suppressing the temptation of life. I had never created for my own gain, and neither reason nor logic would make me kneel before a worldly master.

As they argued, I smashed the door out of its frame, and fled into the echoing airport.

***

I ran into the garage, and wove through double-decked luggage carts as shouts mixed and rose behind me. Two voices, man and woman both. My pursuers fell further behind with every stride, unable to match me with mere muscle and bone. I aimed for the fire exit’s red-lit words. A one-way door, impossible to lock, to the tarmac and the respite beyond. Darrell and all his brethren could not catch me.

I glanced over my shoulder. He held his taser in one hand, radio in the other. Dr. Menkin unrolled a piece of parchment and shouted Hebrew syllables into the echoing air.

My joints stiffened. I lurched, almost tripped, my clay thickened and dried by the power of her words.

A roar of frustration escaped my throat. I grabbed a cart’s aluminum frame, and yanked myself around to face my pursuers. Menkin and Darrell converged on me, ready with taser and scroll, with lost faith and innocent greed.

Saba had taught me restraint, but if these two wanted so badly to know me, I’d show them my potential. I bent down by the luggage cart, dug my fingers into a tire’s stiff squeaking rubber, and exerted my full strength at last.

I lifted the luggage cart over my head. Dr. Menkin fumbled in her jacket, her face pale. Darrell stepped back, his taser leveled in shaking hands. “Jakob, calm down. You don’t want to do this.”

Those two poor creatures, merely trying to fulfill their purposes handed down by job and school and Creator.

My rage crumbled. I lowered the cart onto the ground, gripped one of its roof’s steel struts, and traced my finger against metal and dusty orange paint. My gift seeped into the metal like water into thirsty earth.

The engineless cart set its wheels against concrete, and whipped into a three-point-turn. It nosed back and forth, an animal uncaged and sniffing for something to carry. It aimed itself toward Darrell and Menkin, and its wheels spun with an acrid burnt-rubber spark.

Dr. Menkin fell, a yelp of pain as the cart bumped over her leg. Darrell leapt onto the cart’s onrushing edge, but it caught him on the upper corner. He clung, legs kicking, as it swiveled around its parked and waiting brethren. His taser clattered onto the cart.

My muscles loosened. Darrell tumbled to the floor and crawled away. The animated cart slowed, and then spun and braked, a skidding turn that slid the taser into a stable position at the center of its bed. Its first morsel of cargo, the first joy of its waking life.

I wiped the dust from my fingertip. What had I done? Brought something unbeautiful to life. Not for temptation, not for its own sake, but for the menial demands of my own utility.

And yet, the act of creation echoed through my body with the music of a psalm’s first notes.

The cart approached the garage door and nuzzled its metal slats, a newborn curious to learn the world. How much time had I wasted, levying judgment upon the ugly and functional? I had fled from temptation, as if my desires bent always toward evil. But I’d only ever wanted to continue the work of my father, and awaken the world to life.

I ran, not to the fire exit, but to the garage door. I struck my hand against the steel, fingers curled to add a new pattern of dents. The gate rolled upward, opening itself. The baggage cart zipped out beneath it, as if to share its bounty with all its still-sleeping kin.

Engine-roar struck me, a churning blast of air. Aircraft spread out all around me, sleek white hulks dotted with red and green running lights. The planes strained toward the wide-open heavens, but I had no need to flee. Soon I would feel the grasp of scroll or taser, or the sure and frightened hands of my coworkers. They could carry me to any prison they chose, and I would write life upon my chains.

I drew my phone from my pocket, traced a blessing against its weathered case, and nestled it against the airport wall. Its screen awoke, data and light, singing unto its makers a new song.

I strode out onto the tarmac, toward fuel pumps and skybridges and airplanes. Among the unbeautiful machineries of security and knowledge, of flight and creation. All of us yearning for, and deserving, our chance at holiness and life.

 


© 2018 by Benjamin C. Kinney

 

Author’s Note: The speculative fiction literature is full of golem stories, but they tend to touch on a limited range of themes. I wanted to use the golem to explore the relationship between work and life, purpose and self-determination, art and function. I had this story’s themes and final image rattling around in my head for many months before a writing group challenged me to write a story with two images: a baggage carousel, and jellyfish. The jellyfish mostly got cut in revision, but in Jakob’s quiet moment on the shore, he’s encountering the same bioluminescent jellyfish I once touched on a Martha’s Vineyard beach.

 

Benjamin C. Kinney is a SFF writer, neuroscientist, and Assistant Editor of the Hugo-nominated science fiction podcast magazine Escape Pod. His short stories have appeared in Strange Horizons, PodCastle, Beneath Ceaseless Skies, and many more fine magazines and anthologies. He lives in St. Louis with two cats and a spacefaring wife, but can be more easily found online at www.benjaminckinney.com or on Twitter as @BenCKinney.

 

 

 

 

 


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MOVIE REVIEW: Freaky Friday (Disney Channel, 2018)

written by David Steffen

I’d venture to guess that most people are at least familiar with the premise of Freaky Friday from one of its incarnations or another.  In each of the Freaky Friday movies, a mother and a daughter underestimate the challenge of the other’s life until they magically switch bodies for a day and have to deal with the other’s challenges firsthand.  The first Freaky Friday movie was released in 1976, starring Barbara Harris as the mother and Jodie Foster as the daughter.  The second Freaky Friday movie was released in 2003, starring Jamie Lee Curtis as the mother and Lindsay Lohan as the daughter.  A new Freaky Friday movie came out in 2018, starring Heidi Blickenstaff as the mother, and Cozi Zuehlsdorff as the daughter.  The movie are linked only by the premise and the title, having no other continuity between them.  Unlike the previous films, this one is a musical, and a premiere directly on the Disney Channel.

Katherine Blake (Heidi Blickenstaff) is a single mother of a 16-year old girl Ellie (Cozi Zuehlsdorff) and younger boy Fletcher (Jason Maybaum).  Katherine runs a professional catering company, and is looking forward to (but also anxious about) the boost in business in her upcoming featured story about her catering her own wedding, and she just doesn’t understand why Ellie can’t clean up her room, wear nicer clothes, do her hair nicer.  Ellie, conversely, just wants to be herself and thinks her mother is too uptight and domineering over everything she does.  She is determined to join her friends on “the hunt” a big scavenger hunt through the city that most of the high school participates in as a huge social event, but her mother forbids it because she thinks it’s too dangerous.  Before he died Ellie’s father left her a huge antique hourglass, and the two of them get in a heated argument over it, and some kind of magic occurs that makes them switch bodies on the day of the wedding (which is also the day of the hunt).  They both have to keep it together and try to get through the day without ruining the other’s life, and they gain new perspective from it.

I really enjoy all of the Freaky Friday movies, the 1976 version I watched over and over as a kid, and I’ve never gotten tired of the 2003 version, and this was as much fun to watch as the others.  It’s a fun premise, with a worthwhile (if heavy-handed) moral.  For me, what makes them so much fun is watching the acting range of the two main actors.  It’s really interesting to see how they can convey the body switch through not just wording and vocabulary, but subtle facial expressions, posture, and speech cadence, and each of the movies is a study just in that alone, to watch an actor play a character that has already been established onscreen by a different actor, and pulling it off.  Both of the leads here did an excellent job of that, and it’s enjoyable to see the uptight, always-in-control mom transform into an angsty teen persona and vice versa.

I could have done without the musical component.  I like musicals, but I don’t think everything has to be a musical, and I felt like it distracted from what I really wanted to see, the character moments in different bodies, and the nature of musical numbers is that they are by their nature overexaggerating the character moments.  This can work in a lot of stories, but for Freaky Friday I enjoy the subtler character moments the most.

All in all, it was a fun movie, but doesn’t have the originality of the 1976 version that started the set, and the 2003 version is by far my favorite of the three–I really like Jamie Lee Curtis’s and Lindsay Lohan’s acting.  But if you enjoy the previous movies as much as I do, it’s worth giving it a shot.

 

MOVIE REVIEW: Ant-Man and the Wasp

written by David Steffen

Ant-Man and the Wasp is a 2018 superhero movie based on the Marvel comics characters of the same names, and is a sequel to the 2015 movie Ant-Man, and also sort of a sequel to the 2016 movie Captain America: Civil War.  After the events of Captain America: Civil War Scott Lang aka Ant-Man (Paul Rudd) was put on house arrest for…something he did in that movie which this movie does not exactly make clear (and I haven’t seen Civil War, so, go look it up yourself if you want to know).  His daughter from his previous marriage can visit him there, so he spends most of his time making new games to play with her.

At the end of the Ant-Man movie, Scott Lang (Paul Rudd) as Ant-Man succeeded in shrinking down to the quantum realm and returning, which the inventor of the shrinking suit Hank Pym (Michael Douglas) had thought impossible.  Pym had spent decades trying, because his wife Janet (Michelle Pfeiffer) had shrunk down into the quantum realm thirty years ago and he had thought her lost until Scott succeeded.  For the last two years while Scott was on house arrest, Pym and his daughter Hope Van Dyne (Evangeline Lilly) have been researching this further, and they have invented a quantum tunnel that will let a person go to the quantum realm and back again.  The moment they open the tunnel for the first time Scott has a dream about Janet Van Dyne, and they see that as a sign that Scott has a connection with her from his trip into the quantum realm.  But before they can take advantage of that connection, a phase-shifting person in a mask steals Pym’s laboratory that has been shrunken to the size of a roller suitcase and disappears.  Hope dons her mother’s Wasp costume for the first time and joins Scott as Ant-Man in the fight.

This movie is, in the spirit of the first movie, a comedy as much as an action superhero movie.  I loved getting to see the Wasp, I felt like Hope’s character was underutilized in Ant-Man.  Paul Rudd’s comedy delivery makes much of the movie, and makes a great counterpoint to the on-screen gravity that Douglas provides.  It’s a great movie for kids , generally lighthearted and fun, and even when they’re facing up against bad guys the bad guys get arrested rather than dying.

One thing that felt like an off-note to me was the after-credits scene, which was very dark in tone if not explicit enough in meaning to be really bothersome for children.  Apparently it ties into another Marvel movie that I haven’t seen because it did not make much sense, and I felt like ending on that tone and without any explanation was a mistake for what was otherwise an enjoyable light movie.

MOVIE REVIEW: Ant-Man

written by David Steffen

Ant-Man is a 2015 superhero film based on the Marvel comics characters of the same name.  Hank Pym (Michael Douglas) is the inventor of a suit that allows the wearer to shrink and grow.  When the wearer is small, their punches land with the same force as when they’re full size, but concentrated onto the area of a pinhead.  Pym worked for S.H.I.E.L.D. using the suit until 1989 when he resigned when he learned that they were trying to replicate the suit technology for military applications, and started his own company: Pym Technologies.  In the present, Pym’s daughter Hope Van Dyne (Evangeline Lilly) is working with Pym’s former protege Darren Cross (Corey Stoll), to force Pym out of his own company.  Cross is determined to reverse-engineer Pym’s shrinking suit, and keeps on trying despite failure after failure.

Meanwhile, well-intentioned small-time thief Scott Lang (Paul Rudd) is released on parole, but has trouble finding legitimate work because of his ex-con status.  Pressured by his ex-wife Maggie (Judy Greer) to find a way to pay child support, he returns to a life of crime to try to break into a safe in the house of an older man who is supposed to be on vacation.  What he finds in the safe is the Ant-Man suit, planted there by Pym, and when he tries it on Pym puts him through a crash-course in its abilities (not only growing and shrinking, but being able to control ants using electrical signals).  Pym recruits Scott to help him thwart Cross’s plan to perfect the suit.

Ant-Man is as much a comedy as it is an action movie, unusual in the Marvel Cinematic Universe where action is usually most of the focus with humor as a sideline.  It’s friendly for kids, though a couple parts could be scary, bad guys are generally incapacitated instead of dying.  Paul Rudd has a knack for dry delivery, and he is perfect for this role, bringing much of the humor to the film, and Michael Douglas and Evangeline Lilly are great in their roles as well.  I watched this movie with my child and we enjoyed it a lot.  I’d recommend it for all ages.

GAME REVIEW: The Legend of Zelda: Breath of the Wild

written by David Steffen

I thought it was fun to discover the circumstances of the world and Link’s situation in-game with no foreknowledge, so I don’t want to talk too much about the plot so you can discover it for yourself.  Unsurprisingly it does fit into the series’ long-term trend of using incarnations of the same three characters and building new stories around them.

As you can tell from even that brief introduction, this game does verge more into the science fictional than past entries in the series.  Ancient Sheikah devices might be powered by magic but they are more like what we would call technology, and have a fun anachronistic design that mixes the feel of old temple relics with advanced tech.

You discover the main plot of the game as you finish the first several objectives, to save a world that’s already been devastated from a continuing threat.  There are a handful of major objectives you need to do to be able to do that, which are marked on your map early on.  If you wanted to just power through the game you could aim specifically for those right away, but there’s also a wide world out there for you to explore, varied landscapes from frozen tundra to burning hot volcano.  Exploring will help you find equipment and other enhancements that will make it easier to survive your various challenges, by increasing your hearts, or finding better weapons, or better protective clothing that has special effects such as being fireproof for exploring volcanic regions.

One of the main frustrations I had early on was that the weapons are very impermanent.  I’m used to Link finding a sword and then using it forever.  But the weapons you find in this game are not very durable–odds are if you get in a fight with a few enemies you’ll probably break at least one weapon in the middle of the fight.  Early on I always thought I was going to run out of weapons in the middle of a fight, but I managed to get just enough from scavenging fallen enemies to keep going.

Much of the challenge of the game happens early on between fragile weapons and extreme temperatures that Link doesn’t have the equipment to handle.  One piece of goods news is that you get the ability early on to teleport to travel points that you have visited, so if you do get in trouble you can poof to somewhere safe instead of being stuck to meet your doom.

One of the major ongoing tasks with the biggest payoff is to find Sheikah shrines.  Foremost because each one comes with one of these waypoints for teleporting and they are scattered all over the map.  To find each one you actually have to travel on foot, but once you find them you can then teleport to that specific location at will.  So you get a major payoff for each one you find, because your practical travel time to any given point on the map shrinks because every shrine is zero travel time from anywhere else you go.  Finding all of the shrines is also one of the major extra things you can do–you don’t have to find more than a few to finish the game, but the game would be a lot harder and take a lot longer if you didn’t have them.

Many of the interesting sidequests involve collecting resources, herbs or stones or small animals, for the use in crafting equipment or elixirs.  This encourages you to explore different regions more thoroughly where you may find these, and you can just keep an eye out for them while you’re looking for more major quest things too.

The exploration and sidequests are the best part of the game.  If I had any complaints at all it would be that the main quest is kind of disappointing in comparison.  I finished it and I was like “oh, that’s it?” but then I happily went back to find more sidequests.

I haven’t found everything there is in the game yet and I plan to go back and play more.  I also plan to pick up the downloadable content with some extra quests and equipment.

Visuals
Lovely, especially large scale scenery shots which this game does extroardinarily well, giving a sense of huge scale even though in-game you can traverse it much faster than in real life.  It’s a lot of fun to explore Hyrule on a larger scale than ever.

Audio
Great music in a series known for it.

Challenge
Highly variable depending on exactly what you’re trying to do and how quickly you want to make it through the main quest.  I found the first part of the game the most challenging because I had only a few hearts to work with and subpar weapons and armor didn’t have the materials or know-how to properly make food or potions to compensate for my handicaps and was still figuring out how to survive cold temperatures and that sort of thing.  The rest of the gameplay was challenging enough to be fun, but that very early part was where it was the hardest, probably because I hadn’t caught up to the learning curve yet.

Story
Plenty of story, much of it told in the form of legends about yourself.  As with most/all of Zelda games it works on a repeating cycle of incarnations of Zelda and Link and Ganon facing off against each other, always interesting to see how the timeline works, particularly since Ocarina of Time branched it.

Session Time
The nicest thing about the Nintendo Switch is that all games have a short session time, because you can put the console to sleep or wake it at any point, even during cut scenes.  So blissfully short because of excellent console design.

Playability
Reasonably simple controls, much of them similar to the control scheme that’s been used since Ocarina of Time, with the Z button used to focus on enemies so you can pivot around them easily.  There are probably less things to keep track of because Link doesn’t have the big inventory of usable tools he unlocks as in other games, though there are plenty of functionality between various weaponry and especially in being able to climb almost anything and to paraglide.  There are multiple ways to reach many goals, which makes it fun to find one that fits your playing style.

Replayability
Plenty of replayability, whether you just want to explore, or if you’re a completionist who wants to find all of the shrines.  Many of them you’ll just stumble across, but to find every single one is quite a challenge (which I haven’t managed yet, I’ve still got about 15 of 120 to go).  There are also some unique armor sets that you need to complete specific missions to find to get their special powers.

There is also downloadable content to expand the game with extra quests, extra items, for another $20.  I have enjoyed the main game so much I am definitely going to download that at some point.

Originality
Of course it’s part of a long and beloved series of games, so in a lot of ways it’s familiar, but this does mark a very new direction for a Zelda game in the wide-open gameplay.  It keeps a lot of the same feel with the different fantastical races and familiar regions, but with much more emphasis on wide open exploration.  The addition of the ability to climb almost anything and to paraglide make exploring particularly fun because those open up new ways of thinking about moving around a huge map.

Playtime
I finished the main quest of the game in over 100 hours (mostly in 15 minute increments).  If I had been determined to finish the main quest as fast as possible, I could certainly have done so in less time, probably half of that at most, and if someone has an idea where they’re going could probably finish it in significantly less than even that.  But the biggest strength of the game is wide world exploration, so if you’re rushing to finish it I think you’ll be disappointed.

Overall
Excellent new addition to a new longstanding popular game series that has already set a high bar.  This game is very familiar to fans of the series, but also very new in that it’s much more like an “Elder Scrolls, but in Hyrule” game (albeit without the complicated character leveling system etc).  If you’re looking for a game that will take a lot of time to fully explore for your buck, this is a great choice.  Lots of action, lots of side quests and crafting stuff, and just the fun of setting out across a completely unknown landscape to find whatever you can find.

Highly recommended, my favorite game in years. $60 for digital download from Nintendo or physical cartridge from various retailers.

 

DP FICTION #45B: “The Coal Remembers What It Was” by Paul R. Hardy

Oh, I remember my mam. She’s been gone nigh on forty years, but I still think of the mornings when I were little and she’d show me the demons. She’d be up at the crack of dawn, kneeling down afore the stove to shove kindling in the firebox with one hand because she were cradling my baby brother in the other. And then I’d come along and pick a bit of coal out of the scuttle and ask: is there a demon in this one? And she’d say no, and I’d put it back and pick up another and ask: is there a demon in this one? And she’d say no again and I’d take another and like as not she’d clip me round the ear before I said owt else. “It’s not demons, Elsie,” she’d say. “The coal remembers what it was, that’s all. But it’s still only a lump of coal and I need to get the fire lit for your dad’s bath so get away with you and stop bothering me with your nonsense!”

Dad were on the night shift, you see. I hardly ever saw him with the hours he worked. He’d get home in the morning so covered in coal dust I thought he were a piece of coal himself. And then he’d have his bath and go straight to bed, and he were out again before I were back from school. People are always asking me about him. I get sick of all the questions. They’re only asking because he died in the disaster, but that were seventy years ago and it’s not like I were down there in the mine with him when it happened. I were back home, with Mam. Course I was. I were only little. I were up early to look at the demons.

Mam knew how much I liked to see them, so she’d call me back in once she’d got the kindling lit. She’d throw a few coals on top and have me stare into the firebox until they were glowing bright red. And then, if you were lucky, one of them would come to life. It’d crack, like there were a chick inside breaking out of an egg. Only it were never a chick–it were always something else, like a scorpion or a millipede, or a little newt sometimes. It were coal through and through, but it looked just like the real thing. I liked the beetles best. They’d be shining bright orange with blue flames across their backs, crawling through the fire to the edge of the grate where Mam had closed the door so they couldn’t get out and burn the house down. They’d flutter their wings, but they’d be too heavy to take off and go up the flue. Poor things.

Mam would throw the rest of the scuttle in, then she’d put the kettle on and braid my hair while she waited for the water to boil. And she’d say: “It’s not demons, Elsie. People used to think that, but the coal remembers, that’s all. Set it alight and the coal remembers what it used to be when the world was young.” She were right. I’ve heard all those clever folk try and explain it with their long words, but they don’t know any more than she did. ‘Pyrozoic’, that’s what they call them. Pyrozoic fossils from the Carboniferous Period, millions of years ago when it were only insects and salamanders and the like. Well, Mam knew that much but she didn’t care. Far as she were concerned, seeing beetles and all else come out of the coal just meant the fire were hot enough to put the rest of the scuttle in.

She taught me this one thing about them, though. If you looked close, if you looked right into their eyes, you could see what they remembered. All of a sudden you’d be chasing centipedes in leaf litter, or laying a hundred sticky eggs on a fern leaf, or standing stock still on a dead branch and hoping a horrible great salamander wouldn’t gobble you up. That’s what she’d show me, those mornings when she were getting the bath ready. I suppose it kept me quiet. Didn’t have telly then, you see. Nothing else to watch, like the little ones have nowadays. I showed my granddaughter a bit of burning coal once and she were bored of it after five minutes. No one’s interested in coal these days.

No one’s interested in my mam, neither. But I get questions about my dad all the bloody time. That silly woman from the mining museum were on the phone again last week, going “Ooh, Elsie, tell us about how your father died down the pit, all them years ago in the Heatherley disaster, let me come over and we’ll do an interview for the new memorial.” But it were a lifetime ago. I don’t remember my dad at all. She only wants to know because he were in the union and spoke up about the conditions down the mine, the long hours and shoddy gear—he said there’d be an accident one day, and he were right. But he didn’t talk to me about it. Why would he? I were only a little girl. I never saw him, except those mornings when he came home from the pit. He were never there to say good night, never there when I came home from school, and then on his days off he were at a meeting or down the pub most times. I don’t have any memories, not of him I don’t.

No, wait, there’s one thing. I asked Mam once if he were a piece of coal, because he always came home so filthy from the pit. And then if he’d crack open like the coal did if he were set on fire, and what he’d remember if he did. She gave me such a look! And then she laughed. She told me he’d never go like coal, I mean remembering what he was. He were too busy with the union to remember anything. Never remembered to wipe his feet, or to bring back milk from the dairy, or anything she ever told him. And that’s all I know about him, really. Why should I bother trying to remember him? That’s all they ask about. That and the disaster. But they never ask about Mam, and what she did.

She were the one got us out of Heatherley, me and my little brother Bill. Got us on the road to the next village. Pouring with rain, it was. We stopped at the church hall with all the others what made it. We’d lost everything except the clothes on our backs. Then we went on to Leeds and stayed with my aunt. Them was hard times. Mam never said owt about what happened back at Heatherley. She was like one of them soldiers come back from the war with all the stuffing knocked out of them. She carried on, though. Had to. Compensation didn’t come for years and it were a pittance when it did. She couldn’t wait for that. She had two little ones to look after, so she went to work in a mill, and then I did the same once I were old enough to get out of school.

And now they want to put up a memorial for the ones what died, that’s what the woman from the museum keeps saying. Some bloody great block of stone with their names on it. Supposed to last forever. They had one of them back in Heatherley for the Great War, what they call the First World War these days. Well, that’s one block of stone didn’t last forever. It were lost with the village. Don’t suppose the others will last, neither. Bill’s on the one in Leeds, the one with the angel on top. He were in the navy, got torpedoed out in the Atlantic, so they put him on the side of the stone with all the others what died in the second war. You know, the part they weren’t supposed to use because there weren’t supposed to be another war. Not that anyone cares. There were spray paint all over it, last I looked, and the council haven’t bothered cleaning it off, not for two years they haven’t.

And anyway, they’d never put my mam’s name on the bloody memorial, would they? She didn’t die in Heatherley. She lived. And after that she worked like a dog to keep me and my brother out of the orphanage, and when she did die, it were cancer what took her. They don’t carve your name in stone for that, do they? No, they bloody don’t. Nobody remembers my mother, except me. They don’t even ask her name. It was Maureen. Maureen Machin. Put that on your block of stone, go on. But you won’t, and you know why? Because she knew when to run. She got us out of Heatherley and then she told me to get out of Leeds before the blitz started in the war and I should have listened—I were almost killed when the house two doors down were hit. Then she told Bill not to join the navy, and he didn’t listen so now he’s at the bottom of the ocean. Told Dad he should get out of the pit as well and do you think he listened? Did he heck! We could have gone to Leeds, but he wanted to stay and fight. It were only a year after the big strike, the General Strike, and the bosses were punishing us for it. They were cutting everything back, wages and safety and everything. All the folk in Heatherley knew there was going to be an accident sooner or later, but Dad wouldn’t go. So Mam kept her eye out. Kept plates on the dresser right close to each other, so they’d go clink if the ground shook. Old trick, that were.

Clink, they went. Just a little noise. I was still yawning and I hardly noticed. And then they went clink again. And that time I did notice because Mam jumped back from the stove! I asked her if she’d burned her hand on a hot coal, but she told me to shush and listen. I couldn’t hear a thing. Except then the plates went clink again, and that were enough for Mam. She bundled up my brother in one arm, grabbed my hand with the other and pulled me out the front door and into the middle of the road. We were the only ones out there. I expect she were wondering if she’d gone mad.

And then the ground really shook.

It were like hearing a noise with your feet to begin with, and then the cobbles were shaking and slates were coming down off the roof. That got people out their front doors. All of them coming out in their nightshirts and dressing gowns. Some went down the hill toward the mine to see what were happening. Our neighbour did that. She were worried about her son what was down there and ran off to get him. Never saw her again. It were already too late.

The ground shook harder then, and a shower of slate came down off the tops of all the houses. I saw one poor man hit on the shoulder, right in front of me. Everyone ran for the middle of the road.

But it were worse down the pit. We was halfway up the hill with the colliery below us and we could see the pit-head winding gear and it were falling down, great big wheels crashing into the offices and flames coming up from the mine itself.

Then there were this bloody great groaning noise, like the earth were waking up and stretching, until this massive crack broke open across the village. I never saw the like, not even in the war when they were bombing Leeds. A dozen houses fell into the crack and billows of smoke and fire came back up. Then a leg—this huge great insect leg—came reaching up out of the hole, feeling around, smashing more houses as it went. It were thirty yards long or more, that leg. And it were on fire.

It were the coal seam, what ran under the village. Sparks from the machines had set fire to it and woke the damn thing up and made it remember what it were like to walk above ground. And the fire had spread so fast it hadn’t had time to break up into little coals, so it all came up as one great big creature, the one with the strongest memory. It dragged itself out of the ground until the head came clear and I could see it were a dragonfly, huge eyes burning bright yellow with blue flame all over. Oh, those eyes. You couldn’t look into those eyes and not see it. Hot swamps and fern-trees rising up in forests full of steam. Snapping jaws of ten foot salamanders coming up at you from under the water. Dancing in the air with your love and laying eggs in a pond, and then… then a shaking, and fire in the sky, and ash drifting down from above, weighing on your wings as you tried to get clear but the ashfall went on further than anything could fly and then you fell from the sky, tumbling through fern leaves as the cinders buried you alive along with all the world you ever knew…

The whole village saw it. They couldn’t see nothing else. They were all staring up at the thing, gaping like fools when they should have run. A few walked toward it, to see better. I was one of them.

But Mam were stronger than me. Or maybe she felt me pulling on her hand, and that woke her up to it. Either way, she wouldn’t let me go. She clamped her eyes shut and stepped back past all the others while I pulled against her and made her fight for every step. So she stopped, hauled me close and tried to scoop me up, and still I squirmed against her, turning so I could see the beast. It were flapping its wings and trying to jump in the air like it did when it were alive, as though it didn’t know its wings were coal and not the gossamer they once were. I felt a hot wind blow on my face as it flapped its wings and struck the church steeple. It smashed into pieces, ringing the bell and sending it clanging to the ground. The wing broke too, shattered and fell in a shower of burning coal. There were people down there, just stick figures in the distance but I saw them crushed where they stood and some of them burst into flames among the coals…

And then I didn’t want to look any more. I stopped fighting my mam and she hefted me onto her shoulder with my face buried in her hair. She headed up the hill past all the ones that couldn’t stop staring, the ones what were caught up in all those memories, no matter that they were memories of a world that were dead and gone.

Just like they are now. All of them back in Heatherley, dead where they stood or dead where they fell. The whole village, dead.

But not us. Mam got us on the road and over the hill and out of sight of the thing and we never went back. Mam would never talk of it. But some of the other survivors did. Years later, when they thought I were old enough. Or when they were drunk. They’d say the whole village were knocked down. The mine and the church and the school as well. All gone. And the dragonfly, that died too. The rain came and doused the fires above ground and froze it where it was, until it collapsed under its own weight.

But the fire was still burning underground. Things was still moving down there. You couldn’t go back. It were hot enough that the coal kept on waking up in little bits and pieces, and things crawled up out of the earth for years after. Still do, last I heard. They’ve tried to put it out but it never worked. I expect it’ll go on as long as there’s coal left to burn.

And somewhere down there is my dad. He never had his bath so he died all covered in coal dust, like he were a piece of coal himself. And maybe Mam was wrong about him turning to coal for real. All it’ll take is a few million years under the ground. And then perhaps he’ll be dug up and burnt for someone else’s bath, and he’ll wake and remember what he was, and someone’ll look in his eyes and see us, me and my mam and my brother.

But I doubt it. He hardly ever noticed us when he were alive. I never knew him. I don’t know why people keep asking me about him. It weren’t him that saved my life that day. It weren’t him that brought me and my brother up. Mam did that. People want to remember my dad because of how he died. But I remember my mam instead, and I leave the remembering of my dad to the coal. That’s all there is to it.

 


© 2018 by Paul R. Hardy

 

Author’s Note: This tale comes out of one of those legendary Codex story contests you keep hearing about. The prompt was the following three words: “Melancholy Anthracite Arthropod”.  I had to rewrite them a bit.

 

Paul R. Hardy lives in the UK with a coffee habit, a laptop and various health problems. He also fulfils a minor administrative function in an NHS hospital, which is handy for the health problems. In a former life, he was a penniless filmmaker who won a BBC drama award and wrote a book on how to make short films; in this current incarnation, he writes speculative fiction that has appeared (or will appear) in venues such as Unidentified Funny Objects, Escape Pod and Deep Magic.

 


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MOVIE REVIEW: Ferdinand

written by David Steffen

Ferdinand is a computer-animated children’s comedy/adventure distributed by 20th Century Fox.  The title character Ferdinand (John Cena) grew up on a Mexican ranch that breeds bulls for bullfighting in the arena.  The bulls compete with each other for the honor of being chosen for a bullfight, with the idea that they will defeat the matador and win eternal glory.  But young Ferdinand doesn’t want to fight, and one day he runs away and is adopted by Nina (Julia Saldanha) and her family where he is raised as a beloved pet, and he lives happily there for a time.  His favorite time of year is the flower festival, because he loves nothing more than smelling flowers.  But when he is fully grown, they tell him he can’t come along because he is too scary at his full-grown size.  He sneaks into town anyway, but is considered a threat to the populace and is sent back to the ranch where he meets the other bulls he knew as calves.  The other bulls treat him poorly, but a nanny goat named Lupe (Kate McKinnon) decides to take him in and train him to be a fighter, but he’s no more interested in fighting than he was before, and the only way he might be able to avoid fighting is if he can escape.

I liked Ferdinand.  He’s a sweet creature, and given the casual violence in a lot of cartoons and superhero shows and etc it was refreshing to have a pacifist protagonist who isn’t a coward, he just doesn’t want to fight.  Although I liked Ferdinand himself, Lupe really stole the show–she had most of the best lines and Kate McKinnon’s delivery made them all the better.  But, my goodness did I find this movie depressing.  The characters were all fine, but the situation they’re in, where they’re all competing for the right to be in a bullfight where they will be baited and wounded for no better reason than to force them to be violent to fight harder in a fight that they cannot possibly win, and will be killed at the end of.  The alternative is showing that they can’t fight at all and getting sent to the butcher to get turned into meat.  The movie’s fine, though it’s nothing spectacular like  Pixar film would be.  But the background scenario is just so bleak, I had trouble getting over it when I was expecting this to be a light kid’s film.

 

BOOK REVIEW: End of Watch by Stephen King

written by David Steffen

End of Watch is a speculative mystery book by Stephen King, the third in a series of mystery books about retired detective Bill “Kermit” Hodges.  The first book in the series is Mr. Mercedes, the second book is Finders Keepers.  The nature of the series means that I can’t really describe the contents of this book without major spoilers for the other books, especially Mr. Mercedes.  So, if you don’t want those spoiled, stop right here.

In Mr. Mercedes a dozen people were killed lining up early in the morning for a local job fair by a stolen car plowing through the line, and police are baffled.  But when the killer tries to goad depressed retired detective Bill Hodges into committing suicide, Hodges finds a new reason to live as he sets out to catching him.  With the help of his neighbor Jerome Robinson and newly-made friend Holly Hodges, they catch the killer–Brady Hartsfield just before he sets off a suicide bomb in the middle of a pop concert filled with teenage girls.  Holly clocks him over the head with a sock full of ball bearings and puts Hartsfield in a coma.

In End of Watch, Brady is waking, and there’s something different about him.  The nurses complain that things move around his room when no one is touching them.

Meanwhile, Hodges’s old police partner Pete brings him and Holly (who run detective agency Finders Keepers) to the scene of an apparent suicide.  There’s something fishy about the suicide doesn’t seem right to Pete.

As you might guess, suicide is a prevalent and recurring element of this book, so if that’s a topic you have trouble reading about, you should just skip this book entirely.

It’s hard to talk too much more about it, because a lot of the book is discovering all the details about it.  It’s a solid character story and the sections following the villain are straight-up horrific.

This is a solid finish to the story started in Mr. Mercedes (after a not-bad but extremely tangential second book), the book as a whole is a decent Stephen King books.  The ending I found a little bit weak but the rest of the book more than makes up for it.

DP FICTION #45A: “The Memory Cookbook” by Aaron Fox-Lerner

The first thing to remember is that your memories are no longer your own. You’re worth something now that you’ve been implanted, but only so long as you can remember something worthwhile.

You need to think about your memories in terms of who will consume them. What kind of mood will it give them? What do they want to feel? What food or drinks will be paired with the memory? Will they be remembering it alone?

Remember that while your memories may be yours, they are being recalled in the service of paying customers. You should never remind them of this fact, but always be aware that they are the ones with money and you are not.

This guide will tell you how to make your memories consumable. This being the introduction, I’ll keep it brief and suggest some basic types and their pairings as a primer.

You need to understand that you create your memories by framing them. Without that frame, without the start and end point, all you have is the aimlessness of thought. You’ve doubtless already been given your code. Say it and the memory starts being recorded, say it again and it stops. Wait for at least 10 minutes, then you’ll need an assistant to take the chip out of your head. You won’t be responsible for inserting the chip into clients’ implants, but you will be responsible for pairing the harvested memory with a meal that matches its feelings and sentiments well.

A note about the food: don’t feel that it must match your memory in terms of place. Remember that feeling is the most important thing. More detailed recipes are available later in the guide, but you have authority (up to a point) in what you prepare.

The following are the basic types of memories you’ll be serving, along with accompaniments that tend to work particularly well. For more details on these, please check the corresponding sections later in the guide.

 

1. Light Starters (Invigorating)

A principle selling point of our memories is the idea of being able to see the world. If you have been hired for this service, then you’re probably from another country. The goal here is not to give the customer an in-depth understanding of your home culture. The goal is to give them something quick that they can appreciate without the awkwardness of being an outsider. Think of the most recognizable aspects of your culture. Festivals, holidays, and weddings are all perfect opportunities to showcase these.

While this memory should be true to your own culture, avoid any traces of nationalism, xenophobia, or racism. Holidays or celebrations involving your home country’s government are best left avoided. There are appropriate dishes involving senses of melancholy or even tragedy. This is probably not one of those.

Suitable accompaniments: Mixed drinks, olives, vegetables and dip.

 

2. Light Starters (Calming)

The other option for a starter is to make this something that’s relaxing rather than exuberant. Childhood memories work well, especially everyday moments that aren’t dull.

I often used a brief memory from my own childhood, when I was around nine, just a memory of playing in my father’s study. I built miniature cities from the books he had lining the walls, sitting in their streets, erecting towers and homes, making them so extensive I could wander among these towns of my own making.

That kind of thing is the only bit you need. Make sure to keep any associated bitterness these memories might arouse out of the frame. I would have to make sure not to think about the fate of those books in my father’s study, my miniature towns burning up like the real city around them. I needed to avoid thinking of my father’s uselessness as our home got drawn into civil war, all his respect and learning amounting to nothing in the face of guns, bombs, and fanaticism. Dwell on it as much as you need when you’re not recording the memories, but you must ensure this doesn’t seep into the harvested memory itself. Keep this recollection pure: a select moment frozen in time.

Suitable accompaniments: Warm drinks, garlic bread, any heated hors d’oeuvres.

 

3. Appetizers

Now it’s more appropriate to bring in complications, things that might lend your memories a slight touch of melancholy, which is a necessary ingredient of nostalgia, after all.

Romance works well, usually the younger the better. Unless the relationship ended truly acrimoniously, you don’t need to block out any awareness of its end.

I’ve personally had my best recollections from my late teenage years, my first entry into university. I recalled the giddy sensations of texting a girl and getting messages back, suddenly aware that she was reciprocating my interest. Or the first time I entered a new lover’s apartment, walking through her rooms, over her rugs, into her kitchen, stopping by the bookshelves and walls to see what was on each, marveling at how she had created a better space to live in than I ever had, a space where I now wanted to spend all my time.

The knowledge of how these affairs will end gives them a nice sort of piquancy, but might not be necessary. I can only create memories from my own experience, and I’ve never had a romance that lasted. If you have a relationship that still survives, feel free to use it.

Suitable accompaniments: Wine, soup, salad.

 

4. Mains

This will change depending on what the customers want. If you’re known for a certain kind of experience, you’re likely to be selected based on that.

I liked to draw from my early twenties, years of being young and pretentious, let loose upon the city and thinking of it much in the way that colonialists approached the New World, “discovering” and conquering every other bookstore, coffee shop, movie theater, and ad hoc art space, years spent in a tangle of limbs, light night conversations, mid-afternoon hangovers, pieces for zines and webpages and small unread journals, various minor jobs and internships never paying enough, long stretches spent alternating between tiny walk-ups and my family’s spacious, well-appointed home.

And with it comes the flood of memories from later, now bleeding into every one of these that I recall, the lovers married and moved, the friends drifted away, the art spaces long closed for lack of funds, the bookstores now shuttered or torched, the pretentious young men first denouncing political inequities in escalating shows of conspicuous intellectual bravery before later disappearing, one by one, just as they’d stood up. The journals no one even thinks to publish now. The family home charred and demolished, ruined by an errant shell and structural collapse, the handsome age of its structure finally proving a liability. The acquaintances and lovers and friends and bitter enemies scattered across the globe, finding succor and shelter wherever they could, just like I did, none of us having ever imagined that what we thought of as other place problems could happen to us.

The customers will actually want to remember this with you. It’s a chance to be there at the Jewish neighborhoods of Warsaw before Hitler, Aleppo’s old alleyways before Assad, Alexandria before the library was burned.

Just make sure to keep the bitterness out of it. Keep the feeling of loss, but watch out for that bitterness, and never implicate the customers. You’ll hate them for their position, for making you remember, for being privy to your personal memories, but don’t let that seep into the memories themselves.

They’ve paid a lot of money to relive the exact same things that you did, to live your memories over a nice meal and come out of the experience feeling enriched, educated, and aware. They will not forgive you if you spoil that feeling for them. If you have taken this job, you cannot afford to spoil that feeling for them.

Suitable accompaniment: Any food relating to your memories. Don’t worry about authenticity.

 

5. Desserts

This is your chance to ease them back down. People generally don’t pay to be depressed. Let them end with self-satisfaction. Give them another high, circle back to an earlier memory, something that should give the impression of added depth now that they’ve lived more of your personal experience.

I often remembered another childhood day, a soothing, wondrous early childhood memory back in my home, both my grandparents and parents there, the customer now knowing that eventually this home would be destroyed.

Alternately, go with another memory of lovers, girlfriends, husbands. A memory of the kind of day that only becomes The Perfect Day in retrospect, the one where your relationship was at a high point and the world seemed to align perfectly with it for one brief, single period of time. Keep it focused once more on that day, and context will do the rest.

Suitable accompaniment: Sweets, fruit, baked goods, tea, coffee. Avoid hard liquor.

 

6. Other Requests

Customers will have other types of memories they’ll request. You have the power to fulfill these or not. Often these will be related to their own problems, and it’s best to stay discreet about that. Fathers will want childhood memories in search of worse parenting than their own. Divorcees will seek out memories of love to contrast with their failed marriages. Spoiled heirs will request memories of hardship for a false sense of authenticity.

Sex, of course, is always a prominent factor. Don’t be afraid to turn this down. If you choose to remember sex, it’s likely to dominate your career in unsavory ways. It’s where I drew my line, as if keeping out memories of bedrooms and backseats somehow meant that I’d maintained private dignity with people who had paid to literally pry into my head, turning my whole life into their product.

Then there are the requests for misery. Customers will want to “understand.” It’s best to give them what they think they want. Let them have memories from your home country of war, disease, rape, starvation, poverty. They’ll pretend it’s made them into a better person. Never remember your hardships over here, that’s considered controversial.

Don’t give them what you really want to. Don’t open those gates and remember how bitter you are, how much you hate the customer no matter how well-meaning he or she is. Never let them know how they’ll never truly understand you despite reliving your memories, and how you’ll never be able to truly respect them.

Don’t let them know about coming here, about your basic struggles to make a living, about being a middle-aged man who’d always depended on his education and was suddenly worthless when thrust into a country whose language he couldn’t speak well. Of being prodded and scanned and analyzed just to get into the country, treated with constant mistrust, hating it more here than your devastated home. Of the literal walled cities, gated to separate people like the customer from people like you. Of how place of birth alone was enough to mean that they’ve been isolated from the rising seas and drying fields, the military coups and privatized drone strikes and food riots that shake the rest of the planet. Of how their world keeps turning after your own has fallen apart.

Don’t remember these things. Don’t remember your resentments. Don’t remember your discomfort. Don’t remember your self-hatred. Don’t remember your humiliation. Don’t remember being implanted so you can share more than you ever hoped to.

Don’t remember these things and you’ll be fine. Don’t remember these things and you should have a full career, just like I once did.

Those bitter memories were the most satisfying thing I ever remembered, but they killed my career. The expensive implants are gone. The only work I could find is writing this guide for new employees like you. The only small rebellion that remains for me is typing and then deleting the same few subversive sentences into my drafts of this guide, too afraid to even send them on to my editors for fear of losing the scant salary I’m left depending on. Still, deleting these sentences is the only thing I now regret. My memories may be worthless once more, but at least they belong to me alone.

Now, please turn to the next page for a guide to proper implant procedure. I hope you enjoy your time working here.

 


© 2018 by Aaron Fox-Lerner

 

Aaron Fox-Lerner was born in Los Angeles and currently lives in Beijing. His fiction has previously appeared in Pseudopod, Grimdark, Pinball, the Puritan, and other publications.

 

 

 

 

 

 

 

 

 

 

 

 


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