Tag Archives: horror

The Walking Dead: Lines We Cross

I find that Walking Dead graphic novels come out at the right pace. Twice a year, six issues each (which okay, that’s a pretty obvious rate if you pause to think about it), and whenever I get one in the mail it’s just about exactly the time that I think it’s been a little while since I read the last one. I wonder if I would itch for them more, if the show wasn’t also coming out on about that schedule (eight episodes instead of six, and closer to the turn of the year than an even split, but nonetheless) to fill in any extra itchings.

Sometimes I can tell what they were going for from the title, and other times (like now), not so much. I mean, Lines We Cross is a rich mine for the entire series, certainly, and most of the individual characters have a lot of story dedicated to that question. But this specific book? Nah, not seeing it.

That said, it is an introspective, quiet, rebuilding book, in which people have time to take stock of lines they have maybe already crossed, regrets they have, relationships lost and found. And I will never get tired of the parallel story arcs between two characters that would be very spoilery[1] to call out. But if introspection is not your thing, there’s a new hilarious character (right on the cover!) and the promise of a brand new storyline springing from the culmination of the radio conversations that built throughout the Whisperers arc. So, Kirkman’s definitely not out of ideas yet. And, at least for now, I’m not tired of hearing them yet.

[1] For a lot of reasons


Thanks, random invite to a sneak preview from Alamo Drafthouse! The last one of these I got was for Mother!, which I liked quite a lot. This time, Annihilation. Which, like the last one, is pretty hard to describe, but unlike the last one, doesn’t hold together quite as well on reflection. That’s not a big criticism, mind you. I really liked Mother! a lot. Just not in a rewatch it kind of way, whereas this one I think I could.

See, Natalie Portman, because reasons, is going on a mission into a weird area of land called the Shimmer, in which (per the sentence long description on IMDB) the laws of nature don’t apply; and also previous missions have not ever returned. From there, a movie length mind trip[1][2] ensues, in which Natalie is accompanied by Jennifer Jason Leigh, Jane the Virgin, and the Valkyrie on a quest to solve the mystery of the Shimmer.

That’s quite enough to say, I suppose. It’s nice to see a movie with very few men just a few days after seeing a movie with only one white person. It would be I guess nicer if it didn’t also have the feeling of being bread and circuses while I ignore the shitshow outside.

[1] As you can tell from the poster’s color palette alone
[2] One reason for a rewatch, besides that I’m not afflicted with underlying disturbed feelings from this movie, is that I know I missed a lot of things and would find the second time rewarding towards deciding if I think they stuck the landing or not.

Hush (2016)

I’m excited by the Olympics, because it apparently means nobody is airing any opposing television, which means I have time to watch movies! Hence Hush, the random horror movie on Netflix I picked to watch a few nights ago when Mary had already fallen asleep but it was very early.

Premise: deaf-mute lady author in the woods. Later, a guy in a creepy mask shows up and stalks her, because sometimes shitty dudes with crossbows gonna be shitty. Then, seventy minutes of ratcheting cat and mouse tension. Tiny cast, ironically great sound editing, and otherwise, either you like this kind of thing or you don’t, y’know? Obviously I do, and this was an excellent example of the genre with basically nothing to disrecommend it.


The Walking Dead: A Certain Doom

Remember that time when people were in danger from zombies instead of each other? I mean, you don’t, because that was like 15 books ago, and nobody but me has read anywhere near that far in the Walking Dead. The good news is, if you jumped back into the series with A Certain Doom, it would feel like you’d never left? A herd of like a million zombies will make them dangerous again, yeah.

I can’t say a lot, as usual, but I’ll say these two things. One, another point where the series probably should have ended has been reached. Two, I do appreciate the ongoing attempts to redeem a character who is entirely irredeemable. Like, sometimes you can do things so terrible that it doesn’t matter how hard you try for the rest of your life. Except, the fact that you never stop trying maybe counts for something towards your memory? I don’t know how this works, but I’m a big believer in redemption, so a situation like this is uncharted territory for me.

Sleeping Beauties

I have been reading the new Stephen King book for like two months, which is just strange. I mean, there were various reasons behind the delay. I’ve been really busy at work all the time, for one, and a shoulder injury made me loathe to carry it around, for another. (I mean, the injury was not entirely debilitating, and neither is this the biggest book ever printed, but the two factors did not play well together.) These are all true facts, but at the same time, I don’t think any of them was the real problem.

Sleeping Beauties tells the story of a world without women, more or less. They’re all here, but once they fall asleep, they get shrouded in a mysterious cocoon and don’t wake up. (Well, they do, for brief periods, if you are too insistent; but that’s a bad idea.) Half the story deals with the world’s, which is mostly to say men’s[1], reactions to this sudden new reality, mostly via the small Appalachian town that acts as the setting. The other half deals with the supernatural underpinnings of the event, and what this all means to the women who are cocooned away.

That first half, wrapped up in a hypothetical reality, no matter how potentially troubling, is where the book shines. There are heroes and villains, small petty vindictive bullies, understandable antagonists, helpless children, and everyone in between. Stephen King has always been a deft master of interweaving motivations, and nothing much has changed in this regard. The second half, in which spoilers abound, is… well, it’s two things.

I don’t know much about Owen King[2], but I do not assume that he is what of this book I didn’t like. At least, not specifically. Because, the first thing is, King’s biggest flaw in my estimation is that his explanations sometimes get too big for him[3], and end up unsatisfying. That’s less true here than in some cases[4], but still highly visible. Intertwined with this is the second thing which is: two men are not really qualified to write about how women would deal with the spoilers I’m not going into. This is not my feminism talking, although it could be; it’s more that the outcomes on the page simply didn’t feel true to life.

Anyway, I still liked it. But it is definitely flawed.

[1] There are definitely a lot of women striving to stay awake, and they matter to the plot. But not, thematically, to this half of the story. If you find that to be some measure of problematic, know that you are not alone.
[2] The default author’s son, and co-writer of this book, in case you didn’t use the mouseover text.
[3] This is not the proper phrase for what I mean, but I cannot figure out something better.
[4] For example, Under the Dome, which would have been better if no explanation had been offered. The only worse answer I can think of is the one the TV show came up with.

The End of the World: Zombie Apocalypse

Change of pace!

I think I want to run a game, but I haven’t figured out what yet, since nobody wants to play 1st Edition AD&D. A while back, I got the first in the End of the World series on a whim, knowing it would be a series, and that their hook (aside from multiple scenarios per book, each such book centered around a different theme) is a game system that allows you to play yourself, just as the world is beginning to end. In this case, due to one flavor or another of zombie apocalypse.

So, the system? Is a little overly complex, for my taste. And okay, a careful reading of the previous paragraph makes me sound like I’m high, but the fact is, familiarity and nostalgia forgive a lot of complexity. But much more importantly than that is whether your simple, elegant system is successful at being simple and elegant. This one might be, if I’m comparing it to a game from 35 years ago where every rule is an edge case, but I’m comparing it to a homebrew system I stole from Ken Kofman like 20 years ago, and by those standards, this one is pretty hacky. So, y’know. (Also, I’m a lot pickier about rulesets these days, when nostalgia isn’t a factor.)

The far more important part of the book, therefore, was the 75% that followed the rules, in which five apocalyptic scenarios were explored. Each section has the player POV description, a description of what’s really going on, multiple plothook ideas, NPC/monster stats, a timeline of the apocalypse from minute one to year three or four, and then a post apocalypse section for roleplaying into the world that exists beyond the end of our world.

These? Were mostly good. I think there was only one scenario whose genesis and result I liked both of, but that doesn’t mean it would be impossible, or even especially hard, to mix and match. For reasons of potential game spoilers, I won’t go into what their scenarios actually are, but there were definitely some pretty good ideas scattered throughout the thing. Enough to make me want to buy more books in the series, if I can ever find them used. I doubt I’d run another zombie game? My only really successful GM experience was from one, so it’s probably better to try something different.

But I do love me a good apocalypse, so.

It (2017)

I feel like maybe It should have had a name that will make its sequel in a year or so make more sense. Because, as is, it seems like it will appear to be a sequel, while in actuality it will be the second half of a coherent whole. I mean really, now, It 2? I hope not!

This is what you came here for, right?

But seriously, I think it may be broadly known among the readership here that It, by Stephen King, is my favorite book. I even, unjustifiably, like the ABC miniseries from lo these many years past. Sure, it’s under television guidelines, but it tried very hard to be a faithful adaptation. All the same, the idea of a multi-part cinematic version struck me as a pleasing idea, something I could maybe point to as “yeah, that’s why I like this book so much” without expecting someone to put in the time investment of a doorstop horror epic.

Mostly: this is that movie. It could have used another 45 minutes or so to breathe and allow the kids to be small town kids on their own for the summer, give an idea of what the oppressive horrific atmosphere was taking away from them. (And to allow some of the references to be built into the plot instead of just there to make sure ItFan117 was satisfied that their pet reference got made.) But all in all, it definitely did what I wanted, and I’m excited to see the second half. Hell, I may even watch this one again, but since I still haven’t seen The Dark Tower yet, that feels hard to justify.

That said, I do have some real complaints, and they are not the result of my pet fanboy moment being missed or misrepresented. Unfortunately, they are kind of all huge spoilers. So, I’ll put them in the comments.

Last thing: the acting / direction of those kids was seriously good.

EDIT: Having now posted my spoiler complaints in the comments section below: seriously, do not click through or read those unless you want third act plot destroying spoilers. YOU HAVE BEEN WARNED.

Last Shift

Mary was out of town for a couple days last week, so at one point I pulled a random movie off my Netflix watch list, which as will surprise nobody is like 90% horror. Last Watch was good as a mood piece, but very hard to make sense of if you find yourself paying the slightest bit of attention to the plot.

See, there’s a rookie cop, and it’s her first day (well, night) on the job, and she shows up at the precinct, only to find it empty of everything except office furniture and fluorescent light. Which, that was maybe cool when I was playing Resident Evil 2, but not for a movie? But it’s okay, soon someone else shows up to tell her she has to man the station overnight, until a hazmat team shows up to take away unsafe materials from the evidence room, after which the whole place will be shuttered and she’ll take up normal duties at the new station down the street built to replace this one.

So, fine, she starts her solo last shift at the station, and then… well, y’know, there’s a movie in there somewhere. And it’s appropriately creepy and jumpy and chock full of variously predictable and unexpected events. Y’know, a horror movie. The problem is, by the time I got to the end of the movie, I found that the premise retroactively made no amount of sense whatsoever. So if that would bother you, then don’t do it. If you could mostly get by on the mood part? They did a good job, other than the writing!

Hack/Slash: Son of Samhain

After Tim Seeley wrapped up his Hack/Slash series, some other folks decided to pick up the torch, I guess? I’m a bit disappointed that they were not more successful at it. Partly because it means this probably really is the last book, and partly because it’s nice to see Cassie Hack treated as a fully realized character, instead of as a fully realized character who is obliged to dress like a goth pin-up for no internal reason.

But mostly because Son of Samhain could have been a legitimate next chapter. The supernatural serial killers, the Black Lamp society, all of that really is over. But the literal monsters that we never knew until know were lurking behind the scenes? They’re tired of playing second fiddle, and the new war lurking over the horizon’s horizon promises to be bigger than anything Cassie has faced before. Basically, if Buffy the Vampire Slayer and Supernatural had a crossover in a world where nobody had ever heard of either of those things, this is what it would look like. And that’s not a bad space to be in!

Plus, the literal meaning behind the slightly metaphorical title promised to unlock even more never explored chapters of Cassie’s future life. Not to mention that the child himself was reasonably cool, too. Alas.


Alien: Covenant

Got around to seeing me an Alien movie, and my short answer is this: it fell short of what it should have done in exactly the same way that Prometheus did before it, but without the benefit of my belief that if only Prometheus were the first half of a longer story, everything would come to rights again.

Here’s the thing. Alien: Covenant is exactly the movie I was looking for, a sequel in which we find out What Happens Next. …at least, it should have been. It so easily could have been. Instead, that plotline is jettisoned in favor of something that is no longer sfnal at all and back to pure horror. Which, okay, that is where this series started, and there’s nothing wrong with it, and I kind of appreciate the specific details of this horror movie, none of which I will be telling you.

But then, after failing to deliver on the possibilities of the first movie, it simultaneously fails to deliver on a bridge to the original 1979 Alien, which is the only other job it had. In point of fact, timelines being what they are, I would say it is impossible to get from this story to that one. (And if I were to ignore timelines, which is at least semi-possible, it would mean that to get from here to there, I would need Ridley Scott to make exactly the movie I wanted him to make this time, which he is clearly unwilling to do.)

Long story short once again, my advice is stick with Alien/Aliens and assume Ripley got her happy ending, as that is the best way to deal with this series.