Award Eligibility 2016

written by David Steffen

The year is almost over, and here we are with the obligatory award eligibility post. I know some people get annoyed by these, but to me they’re kind of like those Christmas letters from family members–I like reading other people’s posts to see what they’ve been up to for the year if nothing else.

I’ll start with my own stories, then on to Diabolical Plots stuff (I thought about making separate posts, but for those who don’t care for award eligibility posts I thought that might just be twice as annoying).

Please note that I’m not asking anyone to vote for these things. There is a lot of amazing work out there and I hope you all read as much as you can and vote for what you think is the absolute best, no matter who publishes it. But I do like to put these posts together partly to look back at what happened this year for myself, and also to put some links together for others who might be interested in checking some of this out.

If you would like to share your own award eligibility posts, please feel free to leave links in the comments to those.

My Stories

Not too bad of a year, with 5 original stories by me published at various places (especially since I’ve written almost nothing new!)

These are eligible in the Short Story category for most awards.

“A Touch of Scarlet” at Orson Scott Card’s Intergalactic Medicine Show

This is one of my favorite stories of anything I have ever written. Described as briefly as possible, it is a YA coming-of-age science fiction story in a democratic dystopia. Our nameless protagonist has reached the age where they are no longer sheltered in the childrearing creche, and is beginning their year of transition between childhood and adulthood. Inside the creche, they were accustomed to constant contact with all of the other children. In the world of adults, that kind of contact is forbidden. For one year, they will have contact with their Mentor who is tasked with helping them acclimate, but apart from that temporary connection, no personal connection with other citizens is allowed, nor any expression of identity that would set them apart from anyone else. Violation of these laws (which are determined by instant voting across all the citizenship) is punishable by death for adults, though adolescents are allowed some latitude.

You can read the beginning of the story and see the wonderful illustration here. The rest of the story does require an IGMS subscription. But, the subscription is quite a good deal. $15 gives you access to not only the upcoming year’s stories, but also every issue in their back catalog. So, if you’ve a mind to catch up on some of those stories, the price is very affordable for a whole lot of fiction.

“Mall-Crossed Love” at Andromeda Spaceways Inflight Magazine

A star-crossed lovers story that takes place in a ubiquitous shopping mall. A boy from the tech shop and a girl from the stationery shop across the way falling for each other despite the hostilities between their families. It’s absurd, action packed, romantic, and fun.

You can pick up the copy of ASIM, or I can send a copy of the story on request.

“Divine Intervention” at Digital Fiction Publishing

A science fiction story of a man going into the drug slum known as Heaven to save his brother. His brother has joined a techno-drug cult that, among other things, installs metallic halos onto their members as part of their ritual, and no one has been broken away from the cult if more than 24 hours has passed since joining.

You can pick up a copy on Amazon for 99 cents.

“Morfi” at The Colored Lens

This is my attempt to write a story reminiscient of my childhood favorite author: Roald Dahl. The story begins as young Johnny arrives at class (late as usual) with a sample of the mythical and magical morfi fruit. Hijinx ensue.

The story is free to read, and it’s rather short, so I won’t talk about this one further.

“Subsumation” at Perihelion

Science fiction/horror story from a non-human point of view, as an alien crash lands. It’s very short, and free to read, so I’ll leave you to it. It’s probably not safe for work.

Diabolical Plots Fiction

This was the first full year of fiction at Diabolical Plots. Since the stories are all free to read, I’ll stick to very short teasers for each.

The first two stories I put on the top of the list because they have been ones that have gotten particularly strong traffic and feedback, so I think they might be of particular interest.

These are all eligible for Short Story categories.

“Further Arguments in Support of Yudah Cohen’s Proposal to Bluma Zilberman” by Rebecca Fraimow

“The Banshee Behind Beamon’s Bakery” by Khaalidah Muhammad-Ali

“The Osteomancer’s Husband” by Henry Szabranski

“May Dreams Shelter Us” by Kate O’Connor

“One’s Company” by Davian Aw

“The Blood Tree War” by Daniel Ausema

“The Weight of Kanzashi” by Joshua Gage

“Future Fragments, Six Seconds Long” by Alex Shvartsman

“Sustaining Memory” by Coral Moore

“Do Not Question the University” by PC Keeler

“October’s Wedding of the Month” by Emma McDonald

“The Schismatic Element Aboard Continental Drift” by Lee Budar-Danoff

Other Categories

Diabolical Plots itself is eligible for the Semiprozine category in the Hugos.

I (David Steffen) am eligible for Editor, Short Form in the Hugos, between my editing of Diabolical Plots and the Long List Anthology.

Laurie Tom and I are both eligible for Best Fan Writer category for our articles here, and individual articles could be for Best Related Work.

People ask me once in a while what the Submission Grinder is eligible for in the Hugos. The answer is: nothing. The Hugo Awards are focused on things of interest to science fiction fans, who aren’t as a whole going to be interested in online tools for writers, so there is (fittingly) no category that it would really fit into. Which is fine. Probably the closest way to send a nomination for that would be to nominate Diabolical Plots as a semiprozine, since the Submission Grinder is one of the features of that, even if your average SF reader isn’t going to care about the Grinder.

People also ask me once in a while what Hugo categories the Long List Anthology editions are eligible for. The answer again is: nothing. The Hugo Awards don’t have an anthology or collection category. For most anthologies, one could nominate the anthology indirectly by nominating your favorite stories in it, but because of the premise of these anthologies, all of the stories are from the previous year and so are ineligible for this year’s awards. The closest way would be to nominate for Editor, Short Form.

Anime Review: 91 Days

written by Laurie Tom

91 days

91 Days is an anime love letter to mafia films. Set in the 1930s when Prohibition is in full effect, its cast is filled with gangsters and bootleggers, led by a protagonist on a single-minded quest for revenge. The haunting opening credits perfectly encapsulate the violent world that Avilio has chosen to inhabit, while showing the psychological toll his charade is costing him.

When I first started the series, I was a little concerned about how much I would like Avilio, born Angelo Lagusa. His father belonged to the Vanetti mob family and was killed along with the rest of his immediate family during a change of power. As a child, Angelo escaped the slaughter and then disappeared for seven years from everyone he knew, only to return at the start of the show because he receives a mysterious letter giving him the names of the men who murdered his family.

Now going by Avilio Bruno, he begins integrating himself into the Vanetti family so he can kill the men responsible.

Avilio is a laconic character and nigh undeterred, but he’s not without personality, and part of the reason I love the opening credits is because they allow the audience to see the inner conflict that must be happening before we can actually see it play out on screen. The title card for 91 Days even forms the space between the 9 and 1 with a silhouette of Avilio holding a gun behind his back. His revenge relies on keeping up his masquerade, that he’s a trusted friend and ally, while plotting the deaths of those he’s befriending.

But the masquerade is hard, and requires Avilio to be every bit as ruthless as the men he’s trying to bring down. Though Avilio doesn’t say much, and we aren’t privy to his inner thoughts, we can guess well enough that he doesn’t want to get to know his targets as people, and yet he has no choice but to do so if he’s to get close enough to the don himself.

He does this mostly through Nero, the son of the current don. After a quick dust up throws the two together, Avilio finds the opening he needs to become one of Nero’s most trusted subordinates. The two have a great chemistry together. Nero is boisterous and wears his heart on his sleeve, and Avilio is sulky and prone to doing rather than speaking. The biggest problem between them is that Nero is one of the men responsible for killing Avilio’s family.

In mafia media fashion, the gangsters are not all about shooting up other people, and have lives where they are also devoted family members, loyal friends, and religious even when they can’t stop sinning. The more Avilio sees during his time with Nero, the more the audience wonders if he’ll be willing to pull the trigger, knowing that he’ll destroy lives like they destroyed his own.

And yet, he stains his hands so early it becomes impossible for him to back out without consequences. It’s clear that Avilio is willing to accept some level of collateral damage if it gets him where he needs to be, and he lies and betrays as easily as breathing. Avilio never gets to the point of being completely unsympathetic, but many times the audience feels like Corteo, his friend and only confidante, watching Avilio slide deeper and deeper into a pit from which he might never return.

Though there are parts of the series that feel like they don’t belong in a period mafia show (the character Fango and the bounty hunter after Nero in the early episodes), every time 91 Days drops into a small town grocery store, or I look at how the characters dress, the detail grounds me in the setting again.

The biggest flaw in the series is probably its ending. After a pitch perfect lead-up to the finale, the final episode feels drawn out and ends ambiguously, which is disappointing for those who prefer something more concrete.

It’s thematically fitting, considering Avilio’s journey, but the result is an unsatisfying bump at the end of what has otherwise been an excellent series.

I would still recommend 91 Days though because it’s a fantastic mafia revenge story and it’s pleasantly self-contained since it’s not based on any other media. Avilio is a crafty protagonist who I never get tired of watching, and I like that we very rarely get inside his head. His actions speak in place of his words, and it’s a testament to the animation that we can feel for a protagonist who says so little.

Number of Episodes: 12

Pluses: perfectly captures the dissonance between a mafioso’s private and public life, Avilio is an extremely canny and interesting protagonist to watch, great sense of tension

Minuses: sometimes Avilio’s plans only work because other characters are too stupid, Corteo sometimes fades out of the story like the writers forgot him, ambiguous ending

91 Days is currently streaming at Crunchyroll and is available subtitled. Crunchyroll has licensed this for eventual retail distribution in the US.

laurietom
Laurie Tom is a fantasy and science fiction writer based in southern California. Since she was a kid she has considered books, video games, and anime in roughly equal portions to be her primary source of entertainment. Laurie is a previous grand prize winner of Writers of the Future and since then her work has been published in Galaxy’s Edge, Strange Horizons, and the Year’s Best YA Speculative Fiction.

DP Fiction #22: “The Schismatic Element Aboard Continental Drift” by Lee Budar-Danoff

“Captain, we have a situation. I’ve been investigating a potential religious sect.”

Captain Madeleine Salim of the generation ship Continental Drift set down her vitamin soup bottle. Instead of spending the start of her shift in contemplation of the new planet below, part of the anti-agoraphobia program mandated by the ship-to-shore landing process, she faced the lieutenant. Ronald Chin resembled the noble eagle from their histories, with short wavy hair, sharp nose and piercing eyes. Salim returned his salute.

“Why wasn’t this brought to my attention immediately?”

Chin stiffened. “I couldn’t report gossip. Rumors of religion crop up during every new generation. In the past, they turned out to be student groups prepping for exams, or thought experiments. I had to rule out those possibilities.” His proper military posture tired Salim, who waved him to a seat.

“The leader of this new sect is Orrin Himmelfarb—”

“The physicist?” Salim knew every adult on the Continental Drift by name and profession. Of the almost three hundred people now living aboard, Orrin was the last she would’ve considered spiritual in nature.

“He preached in private to individuals at first. Now he’s speaking to small groups in public. Tracie Aliyeva assists him.”

Aliyeva, their nanotechnologist, displayed no abnormal tendencies. Salim rubbed her forehead.

“Which religion is he using?”

Chin frowned. “That’s what I can’t explain. He preaches all of them.”

Ridiculous. She recalled the chapters on religions. All of Earth’s history was taught up to the point of the generation ship departures. The population for each ship had been selected based on religion to avoid future clashes and violence. The atheists assigned to the Continental Drift learned about religions as part of their cultural past but didn’t practice any.

Plans were underway for the transfer of supplies from the sister ship. At the end of her shift, their entire population would vote on a new name for their planet. Why, at this critical moment, had Himmelfarb made religion an issue?

“Could the loss of gravity cause mental stress or deviations?” As they’d approached their target star system, the ships decelerated and their rotation about their pivot point slowed. The centrifugal force that provided artificial gravity wound down. Once the ships de-tethered and settled into orbit, the future colonists had learned to function in low-g. Transition sickness continued to affect everyone. “Are people reacting adversely to the meds?”

Chin said, “No. The mild dose in our food will alleviate the effects of motion sickness–the disequilibrium and vertigo which started when we arrived. There are no biological or pharmacological sources causing people to seek a god.”

Was there a god? Salim never worried about such questions. Their ancestors and founders were Secular Humanists who relied on science, facts, and reasoning instead of myths, faith or superstition to understand questions of humanity and the universe. Now, as they embarked upon the final stage of their journey, a small group might disrupt the harmony designed thousands of years ago.

Chin saluted and left. Streamers from the arrival celebration party floated along her office walls but couldn’t relieve Salim of the weight of responsibility. Determined to learn the truth, Salim left to find Himmelfarb. Down one hall, she encountered Dr. Kendrickson vomiting near one of the viewports where the now motionless stars shone bright. Salim turned the sick dentist from the disturbing panorama, called for a medtech and cleaning crew, and continued on her search.

Cafeteria Three doubled as space for large group activities. Over the centuries, despite projects that maintained the ship’s interior, surfaces and furnishings displayed the ravages of age. Salim found the physicist at the head of a worn plastic table, Aliyeva beside him, drawing nods from the people seated nearby. She frowned. Charisma, a favorable trait among colonists, might be an obstacle to dissuading others from Himmelfarb’s words. After collecting a lunch tray, she headed for the table.

“We need to talk,” she said to Himmelfarb. “Let’s go to my office.”

Himmelfarb asked, “Why not here?”

He wanted everybody to hear. Salim didn’t intend to give him an audience. She leaned down and lowered her voice.

“I’d prefer privacy. I’m sure you’d prefer to come of your own accord.” Salim tilted her head toward the door where Lieutenant Chin stood.

Himmelfarb grabbed his tray and stood. “Always an honor to dine with the Captain,” he said. Tracie Aliyeva rose but Himmelfarb waved her off. “See you later,” he said.

Salim wasted no time once her door was closed and they were seated.

“You’re preaching religion, beyond a course of study you’re not authorized to teach. Why?”

“I’m glad you asked.” He took a bite, and waited until Salim followed suit before explaining. “You have concerns but I promise I’m not creating dissension among the members of our new colony.

“There’s a truth, a secret, passed on since my ancestors first boarded the Continental Drift.” He leaned forward. “My people aren’t atheistic. We believed that faith in any god, not just the god of the Jews or Muslims or any group, would support us through the two millennia our people faced aboard this ship. When someone struggles and can find no solace in a friend, no relief in the words of a psychologist or counselor, we,” he pointed to himself, “offer a solution bigger than the survival of mankind. Faith in something so huge, so unfathomable, yet so caring, is the answer for troubled souls.”

Salim shoved her spoon into the vegetable paste which adhered to her tray. “You’re saying your ancestors boarded the wrong ship?”

Himmelfarb shook his head, lips pressed. “You misunderstand, Captain. My family feared for the people of this ship.”

“They lied on their applications? That’s a serious breach of contract. Our founding documents clearly state that those who joined this ship would never establish a religion.” Severe penalties were outlined for any who broke this rule.

Himmelfarb nodded. “We didn’t set out to establish any particular religion. Only when someone was in need did we offer a solution others here wouldn’t consider. There hasn’t been one incident caused by religion on this ship.”

He was right. No generation passed without spats or serious disagreements, but nothing in the historical logs suggested religion was at the root of a single issue. That didn’t change the facts.

“But now we’ve arrived.” Salim tapped her desk. “In less than a year, we’ll descend to the planet and build our new civilization. The ship-to-shore program is working within expected parameters. Why preach to people who are adjusting? Especially when you know the consequences.”

“Despite the wall engravings, the constant lessons, the structure and multiple redundancies built so we’d remember we’re on a ship, surviving as a race by spreading across the galaxy, some are disturbed and need spiritual guidance. Yes,” Himmelfarb held up a hand, “many will be ready, but not all. They wish to hear me.”

“Practical knowledge and rational thought should provide a sense of safety and comfort,” said Salim. “Our founding documents planned for contingencies including the emotional and psychological needs of individuals regardless of their futures on the ship or a planet. No purpose beyond survival was mentioned or needed. Our humanity depends on our ability to think critically.”

Salim sipped from her soup bottle and grimaced. The soup was cold. “Our community was designed to be bound by common beliefs, without myths. Our ancestors began their journey free of superstitions, and refused to offer false security to their progeny. Logical reasoning should relieve any fears. If your forebears lied to board this ship, and if your words cause dissent, you threaten our entire colony. And I can’t allow it.”

Himmelfarb said, “You’d make us martyrs when we aren’t breaking the letter of the law?” He raised his voice. “I’m a physicist, and I believe science and religion can coexist. My forebears insisted it didn’t matter to which god or religion you subscribed. Each is as valid as the next. Instead, the insight that you’re part of a grand design, that your existence in the vast depths of space and time mattered, was the key to thriving on a generation ship. Especially when your particular generation was not destined to become a colony.”

Martyrs? Himmelfarb threatened their entire future. Salim chose her words carefully. “Then what, exactly, are you preaching?”

“Choice,” said Himmelfarb. “I recommend that each person who comes to me review their religious studies. A particular incarnation of a god or gods will resonate with them. If you open your mind and heart, your personal truth will be revealed. No one can tell you what to believe in. We aren’t talking about science fact. Or even an explanation for the universe. I can’t prove ‘god’ any more than you could disprove ‘god’. For some, finding faith helps them have faith in themselves and in what they’re doing.”

“It sounds like you’re giving up responsibility for yourself. Have faith in some magic power and things will work out.”

Himmelfarb scooped up some food and took his time chewing and swallowing before offering his answer.

“For me, God is not an entity from whom I ask for answers. God helps me comprehend space and everything in it at an emotional level. When I first looked through a viewport, I felt small, insignificant. I sickened at the thought of leaving my only home.” He rubbed his temples. “But I see myself as part of the grander web of life, and my destiny lies below. I got over my transition sickness.”

“You can face the planet now?”

“Oh yes. I look often. Our new home is beautiful.”

Salim stood. “I can’t say I understand why people find comfort in something imaginary. I won’t deny anyone their personal choice. I cannot condone any organized religion, which is contrary to our founding documents.” She touched a button on the desk and Chin opened the door.

Himmelfarb got up but Salim raised her hand. “I want you to discuss your preaching with Dr. Ganz. I’m not convinced you aren’t offering a crutch that will cause weakness in our colonists. I suggest,” and Salim deepened her tone so Himmelfarb would take her words as a command, “that you refrain from preaching until the psychologist convinces me you’re doing no harm. If people insist belief in a god requires them to force others to believe the same way, we are dead before we set foot on that planet. In that case,” she pointed at Himmelfarb’s chest, “I will put you, your family, and any others with these beliefs in isolation, and the current generation will remain on board. A new generation, raised free of your preaching, will become colonists instead. Understand?”

Himmelfarb’s smile vanished. “I understand. But while knowledge of religion and God exists, you will never be able to eliminate a person’s choice to have faith. It’s not rational. It’s instinctual.” He followed Chin out.

Salim finished her medicated food and shoved the lunch tray aside to be recycled. Certain that Himmelfarb would share their conversation with his followers, she considered her options. Through her office viewport their new planet swam in space, a blue-green bauble clothed in swirling white clouds. There was no going back, not to their old world or the imperfect ways of their past. She reviewed the database devoted to Earth history, and stopped at the section on religions. Every aspect of their inherited culture, from art to music to stories was influenced by religion.

It wasn’t within her power to delete the material. File erasure required a unanimous vote. Even if she isolated Himmelfarb and his family, his followers would still have the right to vote. No other captain had ever suggested such a dire action. Once gone, that part of their past, their heritage, would be irretrievable. Was that wrong? Salim sighed. Even if she convinced her generation the material was unnecessary, religious ideas passed down orally might persist. Even if they were eradicated, new ones could arise.

Salim decided. The assembly to name the planet would have one additional agenda item.

Lee Budar-Danoff sails, plays guitar, and writes when she isn’t reading. Lee volunteers as Municipal Liaison for National Novel Writing Month and is an alum of the Viable Paradise Writer’s Workshop. A former history teacher, Lee spends that energy raising three children with her husband in Maryland.www.leebudar-danoff.com]

If you enjoyed the story you might also want to visit our Support Page, or read the other story offerings.

TV Review: True Blood Season 7

written by David Steffen

True Blood was an HBO horror/mystery/romance series based on the Sookie Stackhouse series of novels by Charlaine Harris.

The series as a whole follows Sookie Stackhouse starting shortly after the major world event of vampires “coming out of the coffin”. Where, after a Japanese company perfects the production of synthetic blood branded Tru Blood, vampires reveal themselves to be real and begin to integrate with mainstream society. Sookie has always had mind-reading abilities which has made it difficult to keep a human relationship, so she is immediately drawn to the vampires which she can’t mindread.

True Blood Season 6 ended with a world-changing event, the release of the bio-engineered Hepatitis V virus. Based on a mutation of the Hep-D virus, which only weakens a vampire for a time, Hep V is a much more contagious and much more deadly strain. Humans who contract the virus show no symptoms, but any vampire that drinks their blood will also catch the virus which causes extreme weakening and eventually the true death. It was originally spread using tainted Tru Blood so not only are vampires in danger from the virus, they also have lost their synthetic food source.

The season starts 6 months after the end of the last season. Sam Merlotte has become mayor, and Hep-V infected vampires are roaming the countryside in packs. The human and vampire residents of Bon Temps make a pact to try to get through this difficult time in the hopes of finding a Hep-V cure and untainted Tru Blood production begins again–healthy vampires will protect humans from the ever-hungry Hep-V infected vampires, and the humans will in turn provide their own blood as a food source for the vampires. This situation, predictably, comes with a lot of tension built into it as many humans and vampires are not satisfied with the arrangement. A band of H-vamps crashes a human-vampire gathering in Bon Temps as the season begins, and drags away some humans for food.

Meanwhile, Eric Northman has been run off and hasn’t been seen again since the events of last season, and his progeny Pam is looking for him.

This being the final season of True Blood, the show does not pull any punches. Major characters die, and not always when you’re anticipating or in a way you might guess. There’s no telling who might survive and who won’t. The stakes are high as the rampaging H-Vamps are killing humans en masse just to survive, and any of the main vampires in the show could become infected and with no cure available that’s a death sentence. So much happens in just 10 episodes, and generally I thought they did well giving satisfying conclusions to the characters that felt internally consistent with their history. I’m not going to lie–I did cry in the final episode, and I’m not much of a crier.

Anime Review: Orange

written by Laurie Tom

orange

Orange is a romance/high school drama with a speculative twist. Sixteen-year-old Naho Takamiya discovers a letter from herself from ten years into that future that tells her to watch for a new transfer student, Kakeru Naruse, who will become one of her friends. Though happiness has not eluded future Naho, she has many regrets over things that she wishes her younger self had done differently.

As predicted, Kakeru joins her class that same day, and he’s quickly absorbed into Naho’s circle of friends (both male and female). Though she knows from her letter that Kakeru will not live to see the end of the school year, teenage Naho can’t help falling in love with him.

Orange at its best can be an emotional watch, not because we know that Kakeru does not exist ten years from now, but because his death didn’t have to happen, and we get a front row seat to all the missed moments that future Naho hopes to change to make a better future.

The bulk of the series takes place during Naho’s high school years, but there are periodic flash forwards that show future Naho and her high school friends ten years later, and the events that lead up to why she decides to send the letter.

Each episode the story weaves in what is currently happening to teenage Naho with adult Naho’s regrets and advice, and the combination works extremely well even when events begin to diverge. We know that teenage Naho keeps a diary, so it is not out of the question that the highly detailed letter from her future self is possible (getting events down to the day) because she was probably cross-referencing her diary when she sent it.

Interestingly, knowledge of the future doesn’t mean that Naho has an easy ability to change the past. Though teenage Naho changes small things early on, such as getting the nerve to participate as a pinch hitter for her friends’ softball team, she is still herself, with all the insecurities that come with being an introverted high school girl. Even with the prodding of her future self, she can’t always break free of her innate personality, and it’s clear that she’s trying the best she can.

Having been a painfully shy teenage girl, I completely understand that, and we see the younger Naho make mistakes that would be easily solvable by someone with a more aggressive personality, but that’s not her. Future Naho can tell her younger self to do things all she wants, but everything is easier in hindsight.

As for Kakeru, whose life and death is what sets this whole thing in motion, he’s his own character and not an idealized love interest. His story is woven, bit by bit into each episode, and not in a necessarily getting to know a person sort of way. A fair bit of the information comes from the future and those who’ve gathered to celebrate his birthday ten years after his passing. (I have to wonder if this is a Japanese thing, because this is not the first anime I’ve seen where friends gather for the birthday of a lost friend.)

Kakeru isn’t perfect and like Naho, feels a lot like a person we could have been or could have known in high school. He integrates well with Naho and her friends, and makes dumb mistakes like dating a girl he’s not really into just because she has a cute face. Among his more blockhead moments is being surprised that Naho would stop calling him in the morning to wake him up after he gets a girlfriend.

But Kakeru remains highly sympathetic, as the series readily shows us that people make mistakes, even when they have the best of intentions, and Kakeru is carrying a difficult weight that we don’t discover until well into the series.

The future Naho knows she can’t change her own past, and it’s made clear that Orange subscribes to the multiverse form of time travel, where changes made in the past simply spin off a different timeline. I don’t think her adult self is entirely unhappy in her present either, having started a family with Suwa, one of her other high school friends, but knowing that she could have changed things for the better makes it worth sending the letter even if she will never see the results of her work.

I enjoyed having the older versions of the characters around, as it’s possible to see how they’ve changed over the years. No one is unrecognizable, but they really do feel like older, more mature versions of their high school selves.

It’s also worth addressing potential concerns about Naho’s friend Suwa, who becomes her husband in the future, since he’s a key character in the present. It is tempting to think that Naho would rather have married Kakeru if he had lived, and that’s why she sent the letter, but it’s made clear that she deeply cares for Suwa, as her letter takes pains to ask her younger self to notice what Suwa does for her, and to not take him for granted.

Orange sags a little in its second half. Part of this is because it becomes increasingly obvious that Naho cannot tackle the goal of saving Kakeru by herself, but also because the show starts to worry about just how the letter got back to the past when it was better left unsaid. Though a speculative series by nature, Orange tries too hard to explain how the time travel could have happened at a time when the audience is already invested and doesn’t care.

Despite those stumbles, the show pulls itself together for a tearjerker of an ending that feels satisfying for the efforts of both Nahos. Tissues recommended.

Number of Episodes: 13

Pluses: Realistic depiction of depression, characters that feel like people we were or knew in high school without being stereotypes, how present and future stories are woven together

Minuses: Second half’s plot revelations seem a little contrived, some questionable decision making by characters (though generally forgivable due to their ages), doesn’t really address what life will be like post-ending

Orange is currently streaming at Crunchyroll and is available subtitled. Crunchyroll has licensed this for eventual retail distribution in the US.

BOOK REVIEW: FIX by Ferrett Steinmetz

written by David Steffen

FIX is the third book in the ‘Mancy series by Ferrett Steinmetz. Before I go any further, if you haven’t read the previous two books, FLEX and THE FLUX, I would recommend stopping now and consider reading the earlier books (I reviewed them here and here respectively). There’s been enough backstory and worldbuilding in the first two books that I think starting with the 3rd book might not be the best way to read the series, and it will spoil a bunch of the major plot moments in the first books as well.

The world of the series involves private, individual magic systems based on obsessions. If someone believes something strongly enough, the universe will change to accomodate those beliefs. But there’s a catch–every change to the natural world comes with a rebound of equal magnitude that comes in the form of bad luck, the flux. Small change, maybe your flux will make you stub your toe. Big change, maybe someone you or someone you love will die in a freak accident. Because of the unpredictable and dangerous nature of both the ‘mancy and the flux blowback, ‘mancy is illegal everywhere in the world, enforced by government controlled SMASH teams, using teams of brainwashed hivemind ‘mancers.

At the end of THE FLUX, the bureaucromancer Paul Tsabo and his family started an underground pro-mancy advocacy group. Along with him are his friend who had trained him in ‘mancy, the videogamemancer Valentine DiGriz, his daughter Aliyah who is also a videogamemancer, his wife Imani a former corporate lawyer who handles much of the planning, and Robert Paulson (Valentine’s boyfriend and former Fight-Club-‘mancer).

Because ‘mancy is illegal, they are constantly on the run, holding secret rallies while dodging SMASH raids. Eight years have passed since the last book, and Aliyah is 16 years old and would be in high school if she weren’t a known ‘mancer on the run. As the book starts, Aliyah’s family is trying to carve out a bit of normalcy for her in the world, letting her join a soccer team in a small town in Kentucky. But what starts out as a pleasant if nervous day quickly goes south and they find themselves on the run again.

This book does get quite a bit darker than the previous two. The stakes are higher and the dark moments are darker. It all makes sense as an escalation of the series, since the last book had ended with the group of characters secretly having ‘mancy powers to being actively hunted by SMASH. But the stakes are raised in other ways that I don’t want to get too much into here because there are a lot of surprised in the plot.

As with the previous books, one of the big appeals for me is the videogamemancy–Valentine DiGriz is of an age where she grew up on many of the video games that I grew up on, and in these books she uses them very effectively for magic (most often offensive magic). But Paul’s bureaucromancy has an appeal of its own–subtle and whisper-quiet where Valentine’s is loud and flashy and explosive. And you never know what kind of ‘mancer you’re going to meet next, since each completely defines their own magic system with the only common element being the flux.

I love all three of these books. I cannot recommend them enough. This one is even more epic and heartbreaking and wonderful and amazing than the others. Ferrett is one of the few authors that I’ll just buy anything they write sight unseen without any blurb or recommendation because he’s just that damned good, and this book is no exception.

Fall 2016 Anime First Impressions

written by Laurie Tom

Fall is well under way and the new anime debuted in October. As usual I watched the first episode of each to decide which series I would like to follow this season.

Because of the new streaming partnership between Funimation and Crunchyroll, this fall is unusual in that everything I watch is now on Crunchyroll since I prefer subtitles. Those who prefer dubs can still find those streaming on Funimation, if a dubbed version exists, but neither site has an exclusive on a particular show anymore now that they’re sharing all new simulcast licenses acquired by either company.

I’m still amazed that such a thing as simulcast dubbing exists. Funimation’s schedule runs about 2-3 weeks behind the Japanese broadcast.

Bloodivores

bloodivores

Why I Watched It: Normally I would pass on yet another take on vampires (it seems the rest of the world is just as crazy about them as Americans), but this series is based on a Chinese web comic, and the Japanese rarely do a direct adaptation of work from another country, so I figured this is probably something special.

What I Thought: Bloodivores, dopey title aside, is a little rough around the edges. It does places its own spin on vampires by making their condition an unexpected (and apparently permanent) side effect of a medication intended to suppress a disease, but doesn’t really dig into the world building on how bloodivores and normal humans coexist. The main plot doesn’t show until about halfway through, when protagonist Mi Liu and his bloodivore friends are framed for the murder for fifteen people, by which time the plot gets busy, fitting in a lot of father-son angst over a missing mother, and setting up a cliffhanger.

Verdict: I’m probably going to pass. I’m still a little curious, and it’s possible to see the Chinese origin in subtle ways aside from character names, but the series doesn’t seem that interested in world building and the next episode looks it takes a (very random) hard left turn into Hunger Games territory, with monsters.

Where to find stream: Crunchyroll

Izetta: The Last Witch

izetta the last witch

Why I Watched It: I jumped back and forth on whether to watch this one because of the World War II setting. Though I like it, I feel burnt out on the time period. Then I found out the series is set in an WW2 analog rather than the real world, and I was afraid it would trivialize all the problems surrounding the war, especially with how bright and colorful the promo art was of the titular witch. But finally word of mouth convinced me to give it a shot.

What I Thought: Izetta doesn’t bother to hide that its fictional world is based on WW2, as the first episode even has a WW2-era map showing the Germania Empire’s blitzkreig into Livonia (Poland) and subsequent subduing of Thermidor (France) with Brittania remaining as its primary enemy. The story follows Princess Finé of the fictional Duchy of Eylstadt, located in the eastern third of what would be Austria and she’s one of the more capable heroines in anime as there isn’t a love interest in sight as she and her bodyguards evade enemy agents on a well choreographed train sequence. The bad guys are mostly stereotypical Nazi stand-ins, which is disappointing since I want the 1940s-style time period to be more than set dressing.

Verdict: I might watch this one, time permitting. I do like Finé and, with the titular Izetta showing up at the end of the episode, I like the idea of two girls against an empire, but this time period has been so done to death that I need more complexity from both sides of the conflict.

Where to find stream: Crunchyroll (subtitled) and Funimation (dubbed, subscription required)

March Comes in Like a Lion

march comes in like a lion

Why I Watched It: I don’t know how to play shogi, but one of the fun things about anime is that they can make a series about anything and people will watch if it’s interesting. March Comes in Like a Lion was one of the highest anticipated titles coming into the season due to its manga pedigree.

What I Thought: I’m really not certain why it’s so well regarded, at least from the opening episode. There’s some interesting imagery where Rei’s thoughts seem to be mirrored through the use of water, but there’s a lot of mood whiplash which makes me wonder what kind of story it’s supposed to be. The opening nine minutes are so tense that Rei doesn’t even speak. Then the atmosphere takes a comical turn when we meet a bunch of girls who appear to be family friends, only for the mood to reverse again when he hears about someone getting beaten to death on the news. It’s implied he knows the person, but much like his relationship to the girls, how he knows them isn’t spelled out. The episode finally ends with someone who looks like a wannabe rival showing up and taunting him like he came out of a kid’s show.

Verdict: I’m going to pass. I have no idea where it’s going, and while the opening nine minutes were a great exercise showing Rei’s isolation and ability to play shogi, rest of the episode just doesn’t hold up.

Where to find stream: Crunchyroll and Daisuki

Natsume Yujin-cho 5

natsume yujin-cho go

Why I Watched It: I’d previously reviewed the first four seasons of Natsume’s Book of Friends (the translated title used for the home video release) and expected that would be the end of the series. But four years later the series about a good-natured teenage boy who can see spirits has been revived for a fifth go around. It’s being animated by a different studio, but all the original cast is back as well as some of the production team.

What I Thought: Despite the studio change, Natsume Yujin-Cho slips almost flawlessly back into the saddle. Once again Natsume is confronted with a problematic yokai whose issue with him is rooted in the history it has with his grandmother Reiko. It’s not going to convert anyone who doesn’t already like the series, but being episodic, it’s very easy for new viewers to slip into as the first few minutes quickly bring everyone up to speed on his ability to see yokai and his isolation from other humans because of it.

Verdict: I’ll be watching. It’s not really a binging type of series, but with the previous series each episode was a great little pick-me-up whenever I wanted something low key and sweet.

Where to find stream: Crunchyroll

Poco’s Udon World

poco's udon world

Why I Watched It: A lot of Japanese storytelling has no issue mixing the spirit world with the mundane. It’s one of the fun things that I don’t get with a lot of western material. Poco’s Udon World follows that tradition with a story about a 30-year-old man who discovers a childlike fox spirit when he goes home to inherit the family business.

What I Thought: Better than I thought! When Souta Tawara goes home to rural Kagawa Prefecture it’s to clean out the family home so it can be sold after the proper mourning period. His father’s udon restaurant is closed, but people keep wanting him to open it up again and we get to see snippets of his childhood from when he wanted to be just his like dad to a young adult where he says the last thing he wants is to take over the restaurant. The tanuki (not a fox!) keeps things from staying too melancholy, but it feels like this is very much Souta’s story about finding what he really wants, and I hope it stays that way.

Verdict: I’ll be watching. I find Souta easily relatable and the tanuki (presumably to be named Poco later) is surprisingly cute without being annoying. This is important because the tanuki spends most of its screen time with the appearance as a human toddler with a limited vocabulary.

Where to find stream: Crunchyroll

Trickster

trickster

Why I Watched It: After the mixed result that was Rampo Kitan, I continued to see mystery writer Rampo Edogawa’s name cropping up in various places. He’s had a huge effect on the Japanese mystery genre. Unfortunately little of his work is available in English, so when I saw a new project based on his Kogoro Akechi stories was launched I figured I’d give it a shot.

What I Thought: Trickster feels like an odd throwback to the 90s, with its sort of near future science fiction setting and especially with its confident and relentlessly upbeat protagonist, Hanasaki. He’s probably not going to be a deep character, but that’s okay since he has an ensemble cast with him. Worth mentioning, though not in a positive way, is Kobayashi, a immortal boy who does have powers and wants to die (badly). The most grating part of the first episode is listening to Kobayashi whine about how he wants to die but can’t. It might have meaning later, but his half-hearted attempts to kill himself come off as rather pathetic than character building.

Verdict: I might watch this one. It depends on how much Kobayashi ends up annoying me and how much Hanasaki can make up for it. (There might be something about the original Kobayashi from Edogawa’s fiction, since I disliked the Rampo Kitan version too.)

Where to find stream: Crunchyroll

Yuri on Ice

yuri on ice

Why I Watched It: I was completely sold by the trailer. I’d seen some nicely animated ice skating in Death Parade, but Yuri on Ice‘s animation is just gorgeous. The movement is fluid and realistic, and I think it’s telling that they hired an Olympic choreographer to work on the routines for the different skaters.

What I Thought: You can really see the homework the animation team did on the skating sequences, and fortunately Yuri on Ice isn’t just about its looks. The story follows figure skater Yuri Katsuki who at 23 is already fading from the international stage. He’s a relatable protagonist, having feelings of inadequacy, inability to focus, and even dealing with weight issues (which is incredibly rare for a male character). Of course all that is set to change when a friend’s kid uploads a video of him beat-for-beat copying the reigning world champion’s routine in a private skate, and the world champion himself shows up at Yuri’s door to be his new coach.

Verdict: I’ll be watching. I’m a fan of figure skating in general and Yuri so easy to root for that I want to see his journey.

Where to find stream: Crunchyroll (subtitled) and Funimation (dubbed, subscription required)

Conspicuously missing:

The Great Passage – Based on a bestselling novel about a salesman who gets recruited into his company’s dictionary editing project. Since The Great Passage is a Noitamina production it should be covered by the exclusivity agreement it has with Amazon, but it’s only streaming in Amazon UK, and not in the United States. Dictionary editing probably sounds like a very boring premise for a series, which I suspect is the reason Amazon is not simulcasting this, which is a shame since early impressions from outside the US are good.

GAME REVIEW: Shovel Knight

written by David Steffen

Shovel Knight is an 8-bit styled platformer action game published by Yacht Club Games in 2014.

The playable character of the game is the eponymous Shovel Knight who is as you might expect, a knight who uses a shovel as his weapon instead of a sword or other more typical period weapon. Until very recently he has always worked as a team with the also-appropriately named Shield Knight. Their partnership came to an end on an excursion into the Tower of Fate, wherein a cursed amulet wrought a terrible (but only vaguely mentioned) fate–when Shovel Knight awakes he finds that he has been expelled from the now-sealed tower, and Shield Knight is nowhere to be found. His spirit broken by this loss, Shovel Knight retires and becomes a hermit, only returning to combat when the defenseless land is seized by the Evil Enchantress and her Order of No Quarter, a league of evil knights. Shovel Knight returns to battle to combat these new villains.

The game has an 8-bit aesthetic that would’ve fit in perfectly well on an NES. Some of the game design elements have definite nods toward games of that era. The overworld map has some similarities to Super Mario Bros 3, but the closest analog is that the individual levels and boss characters are in a style that seems to be directly inspired by the original Mega Man series–8 villains with themed powers that live in levels that fit that theme, and from those levels the hero can gain some theme-appropriate power. The main difference in the style is that there is no equivalent of the arm cannon–Shovel Knight can learn some long-range special abilities that use MP as fuel, but his MP-less attack is only his short-range shovel attack.

2015-12-23_00003 The levels are longish and progress is lost if you quite the game while you’re in the middle of one, so it’s best to have a little longer stretch if you want to sit down and play the game. But the levels do have checkpoints that help make the levels easier to progress through if you need them. Each level is very different in style and contains very different enemies, which nicely keeps the game fresh throughout the playtime. Each boss requires you to learn his patterns to be able to avoid and find opportunities to attack. The game is reasonably challenging and if you want to make it more challenging there are ways to ramp it up, such as avoiding collecting the magic weapon items, breaking checkpoints to make extra money instead of using them as checkpoints, avoiding health meter enhancing items, etc.

This game is a lot of fun if you enjoy this kind of action platformer game. I highly recommend it.

Visuals
Fun graphics appropriate for the Mega Man era of games it is in a style of.

Audio
Some fun audio bits, but nothing necessary for gameplay (handy if you want to play quietly).

Challenge
A good level of platformer challenge, not easy but not insurmountable. If you want to escalate the difficulty significantly you can do so by avoiding purchasing health meter boosts and weapons (which will also get you achievement badges)

Story
Lightish on story, just enough to justify a straightforward action quest, but plenty for this kind of game.

Session Time
Longish, because you can’t save and quite mid-level without losing your progress within the level. If you can’t leave your computer running you might want to aim for 30 minutes or so of playtime.

Playability
Easy to get the controls down, challenging to master the game. The level of challenge escalates well as the game progresses.

Replayability
There is some potential for replaying in that you might want to go back and collect all the collectibles. Or you might want to avoid collecting collectibles (which include all ranged weapons) to increase your challenge.

Originality
Felt original. It had a familiar format/style, and familiar elements, but something can feel new if it’s a mix of familiar but disparate things.

Playtime
About 8 hours to finish according to Steam, though I was spending extra time exploring and trying to unlock things, and since I couldn’t save mid-level I left the game running from time to time so I’m not sure how accurate it is.

Overall
Fun look, fun game, challenging gameplay. Especially appealing for those who like the style and challenge of games like the original Mega Man series. Each level’s design and enemies and boss were varied enough that the gameplay never felt repetitive and there are plenty of ways large and small to increase the difficulty level for those who want to challenge themselves. $15 on Steam.

TV REVIEW: Wayward Pines Season 2

written by David Steffen

Wayward Pines was a weird speculative mystery/thriller show that aired as ten episodes in the summer of 2015–see my review of that season here. At the time that it aired it was unclear whether it was going to be a standalone miniseries or whether there would be a second season–the ending wrapped up a lot of things but left a route to continue the story if it were desired. And, (obviously, given the title of the article) it did return for a second season in the summer of 2016.

Season 1 of the show was based fairly closely on the Wayward Pines trilogy by Blake Crouch (spoilers for the books and for season 1 here). In that segment of the story, Secret Service agent Ethan Burke travels to Wayward Pines, Idaho to investigate the disappearance of two other agents. But the town seems to have no escape–everyone there is living under obscure rules under penalty of death and the road leading into town doesn’t lead back out again, and there are monsters at the gate. Throughout the course of the season (or the three books) he discovers that he did not just travel to Idaho–he was abducted and put into cryogenic sleep for almost two thousand years. David Pilcher, scientist and genius, had discovered that the human genome was becoming corrupted by pollutants and human beings were mutating into something entirely different–he had started a secret project to put a thousand people into cryogenic storage to wait through the consequences and come out on the other side. But in the future the creatures that had been humanity were still out there in the form of mutated violent monsters he named aberrations (aka abbies). He rebuilt Wayward Pines from the ground up as a stronghold against the abbies, waking people up from their cryogenic sleep to populate the town under the pretense that it is still the 20th century. Eventually Ethan learns of all of this and reveals the truth to the town–Pilcher lets the abbies into town as punishment for this betrayal and the first season ends shortly after Ethan sacrifices his life to save the town from the abbies. But history repeats itself and the First Generation raised in the town seizes control of the town and starts a new regime.

Though Season 1 was mostly based pretty closely on the books, the ending of season 1 leaves no room to stick to the same story and so, unsurprisingly, it diverges wildly. The protagonist of this season is a new character who has just been woken from cryo for the first time–a surgeon named Theo Yedlin who was abducted without his knowledge as most of the residents of the town has been. Shortly after he reunites with his wife, who is behaving oddly for reasons he doesn’t understand. The Wayward Pines that he wakes to is one controlled by the First Generation who have forced a much firmer and overt control than had been visible in season 1, even with uniforms reminiscient of Nazi Germany military uniforms. Jason Higgins is leader of this group, a young man raised in Wayward Pines, trying to enforce control in the town as best he can.

Ethan Burke’s son Ben is alive and the leader of a pocket of resistance against the First Generation leadership. He is offered some protection form the fact that he too is considered part of the First Generation and they are all forbidden to harm one another by the rules of the town.

Adam Hassler returns from the wilderness where he has been on a years’ long mission to explore deep into abby territory.

The abbies are shower greater signs of organization, assaulting the electric fence that protects the town systematically and strategically. Most townspeople don’t believe the evidence, but others are very nervous about where this is going.

The ground inside the town limits has gone sour, and won’t take crops anymore. They have started growing some crops outside the town limits, and must protect them from abby attacks.

And they find an abby in town, a female who seems to be some kind of leader. What should they do with her?

As you might be able to tell from this quite scattered synopsis, a big issue I had with this season of the show is that it is kind of all over the place. Season two has only 10 episodes, and there are so many big ideas being explored simultaneously that it just feels unfocused and scattered.

Season 1 was pretty solid, and was based largely around the mystery of the town, and we started that season as ignorant of the current events of the fictional world so much of the show was trying to figure it out along with them. In season 2, we start with a new character awoken from cryo who has no idea what’s going on. But.. why? We follow a character in season 1 ignorant of the situation so that we can discover it along with him, understand the strangeness and the danger piece by piece. But… here we already know what Wayward Pines is. And, while it makes sense for the character to have go through this gaining of knowledge, that part of the story felt like it was just going through the motions telling us the same story over again as if we hadn’t been paying attention the first time. Not only that, but Theo in a lot of ways has an easier setup for understanding and affecting change in the town than Ethan had, because of Theo’s important role as surgeon. His skills are rare and valuable in a town where medical experts are both irreplacable and in short supply, so he kind of ends up doing a lot of things that no one else in town can get away with–he tries to use it to make some good change, but still, it felt like he started with similar problems as Ethan had in season 1 but with a lot more immediate advantages. I didn’t understand why they’d make that narrative choice when it would be more natural to escalate the challenges rather than escalate the protagonist’s advantages.

There were a few recurring characters, and some new ones. There is some excuse for new characters to show up, despite the relatively closed system of Wayward Pines, because we know there are a whole bunch of people still in cryo who haven’t been woken up yet–so if they want to add a new character they just need to have a new person wake from cryo. But, they also introduced a new character, CJ, who had been responsible for waking up periodically throughout the centuries that everyone was under and checking on the progress of the world to decide when to wake everyone up. He was, at every stage, the first person to wake up and to start waking other people up, and because he had such an important role, in season 2 he is important enough to have major input into decision-making. So… where had he been in season 1? The real answer is that no one had made up his character yet, but his character as established should have been visible in season 1. That kind of thing felt lazy and cheap–they could have found characters who all fit with the story as told in season 1, but sometimes they didn’t bother. It reminded me of season 2 of Under the Dome, which likewise operated with a very closed system and yet they kept adding new characters who couldn’t possibly have gone unnoticed in the first season, because of lazy writing.

Besides that familiar throughline of the plot about discovering what the town is about, there are quite a few plotlines that are very potentially interesting, but there are just so many and they’re so poorly threaded together that major plot focus for an episode or two suddenly trails off without ever really resolving anything, and as the end of the short 10-episode run approaches there are only more plots all tangled together. When the end of the season comes, it’s like… wait, was that actually the end of the season? Nothing wrapped up, there is no satisfaction at completion of story arcs. Did the writers know when the season was ending or did the makers of the show tell them to write and then abruptly ended the season 4 episodes early? Or did the writers just have no idea how to make a satisfying season arc?

Some of the ideas here were interesting, but it feels more like a rushed publication of a truncated rough draft than like a finished final work.

DP Fiction #21: “The Banshee Behind Beamon’s Bakery” by Khaalidah Muhammad-Ali

Most nights the alley behind Beamon’s Bakery is just an alley.

The street lamp bleeds piss yellow light, casting jagged shadows around the overflowing dumpster and discarded boxes. The walls are tagged with gang signs, claiming territory that was never theirs, yardage, bodies, souls, rights.

Some nights a transient clears away the broken glass, the random detritus, to squat for the night. Setting up camp here has its own rewards. The warmth that seeps through the bakery walls and through brick facing chases away the chill, but not the ghosts. This is the drawback, you see. The alley is never as vacant as it may seem at first, never as lonely as one may wish. The price of physical warmth is the chilling of your soul.

On the ninth night of November, the banshee chases away the transients, the curious, the ignorant, and claims the alley as her own. She returns in disbelief of the injustice, to recover her beloved.

If you pay attention you can see the faded outline of a body in front of the dumpster. As the hour draws closer, the details grow clearer, and the body all but materializes. A sharp sound cracks open the silence. The bud of blood on his white apron blossoms and spreads across his chest. He gasps for breath and you can even see the steam rise in a clotted cloud about his head. His lips are stained red by death’s kiss.

They say it was her son, Mikaheel, who worked at Beamon’s. Mistaken for a burglar, for reasons no one can comprehend, he was shot by an officer while emptying the trash.

She relives the day, that hour, when her entire world was remade, when she wished to no longer be a part of that world.

“He is just a baby,” she sobs into her hands as she kneels next to him. “My baby. Only seventeen. He hasn’t even lived yet.” She doesn’t feel the cold hard pavement against her knees, the hands on her shoulders, the arms that lift and carry her away.

There are many stories about her. Some say she died from grief. Others believe that she took her own life, that she might join her son in death. But the truth is something much different.

Her fury would not allow her to die, nor live. It consumed her flesh but not her horror. This is what you see on this night in the alley. This is who you feel when you come too close.

The banshee kneels before her dead son. Her flashing energy glows blood red. The air grows hotter than the ovens in Beamon’s. Then comes the palpable sound…the thunderous rending of her heart. It is the sound of the sky ripping and the Earth crumbling away. She keens like a broken dog, ropey braids whipping around her head like bird’s wings.

Her grief permeates the hood. All mothers within hearing distance share the same nightmare, her horror. Her voice, like daggers, cleaves the night. Those caught within her looping nightmare claw their way back into the waking world. Hungry for their next breath, hearts pounding, they cry out the name of her son, “Mikaheel!”

On this night, the alley is an archive of injustice and the banshee is the chronicler.

Author’s Note: The unjust violent death of Michael Brown at the hands of a police officer was the specific impetus for this story. I tried to imagine what his mother must’ve been feeling upon learning about her son’s death. This wasn’t difficult because I have a son as well. I tried to impart the feeling of rage and horror I, any mother, would feel upon learning that her son was taken away in such a violent horrific way.

Khaalidah Muhammad-Ali lives in Houston, Texas with her husband and three children. By day she works as a breast oncology nurse. At all other times she juggles, none too successfully, writing, reading, gaming and gardening. She has been published at Escape Pod, An Alphabet of Embers, and People of Color Destroy Science Fiction. She’s also penned a novel entitled An Unproductive Woman which can be found on Amazon. Khaalidah is also a narrator and you may have heard her narrations at Strange Horizons, and all four of the Escape Artists podcasts. Khaalidah is guest editor for Artemis Rising 3 over at PodCastle and is also guest editing Truancy Magazine‘s fourth issue. Khaalidah is on a mission to encourage more women and POC to write and publish science fiction stories. Of her alter ego, “K” from the planet Vega, it is rumored that she owns a time machine and knows the secret to immorality. You can catch up to her posts at her website, www.khaalidah.com, and you can follow her on twitter, @khaalidah.

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