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Fears and Dragons and the Thoughts of a Disabled Writer

I write fiction; specifically, I write fantasy, and I have a disability. I love visiting other worlds full of magic and sorcery, populated with paladins and rogues, ghosts and princesses, and, of course, dragons. Never forget the dragons. But what I struggle with, and what I think many authors with identities that are “other” struggle with, is that we can never present characters like ourselves without worrying about how they will be perceived. And because of that, how we will be perceived. Not only do our characters carry the weight of societal prejudices, stereotypes, and a myriad of -isms (racism, sexism, ableism etc.), but so do we. These are our dragons.

For years there was no “me” in fantasy. No “me” as a fierce independent woman, no “me” as a person of color, and perhaps most importantly, no “me” as a person with a disability. I don’t want to get sidetracked into a discussion of representation. Many wonderful writers have already tackled that problem in this Uncanny issue. What I want to talk about is disabled writers and how we include ourselves in our writing life. It isn’t about one character or one book, but in a world where creators are increasingly engaging with our audience, there is a desire—no, a demand—for connection. We are selling ourselves as much as we are selling our work. Perhaps that is what makes this essay so painful. Because I didn’t. I purposefully hid a part of myself.

I didn’t want to be the “disabled author.” I just wanted to be the writer. I’ve been writing for almost ten years, but it is only in the last two years that I have openly included characters with disabilities. In fact, I only realized this week that other than the author photo that includes my guide dog, there is nothing in my bio or on my website that indicates I have a disability. The recent choice to include more of my truth in my fiction was intentional. The fact that I had elided disability from my entire online presence was evidence of a startling and much more insidious ableism. And I am not alone.

Over and over we hear the statistic that one in five Americans has a disability. When it comes to writers, that number is no different; it might be even higher. My visual impairment is very noticeable. So is the guide dog. I have a disability that is “out there” for all the world to see. My ADHD less so. I am always surprised and thrilled, and saddened, by the number of writers who will catch me privately and talk about their anxiety or ADHD or fibromyalgia or any number of chronic conditions and ailments. But they say it in hushed whispers, just to me, like we’re part of a secret club. I smile and try to be encouraging and say, “Hey, that’s a disability too.” And then they demur and blush and sidestep, claiming it isn’t the same. “No, it isn’t like folks with real disabilities.” Real disabilities. Like mine.

What makes these same people stutter and stumble and worry about claiming a disability identity? The problem isn’t just about equal representation within fiction. This is us erasing disability from ourselves in the real world.

Fantasy has a long history of scarred heroes and bitter, one-eyed villains. The genre’s disabled heroes, when they crop up, have tended to be inspirational and valiant, sometimes a little bit pitiable. Just enough that the reader can proudly proclaim, “They overcame their limitations,” or breathe a sigh of relief and murmur, “Thank goodness that’s not me.” And I wonder, are these reactions the dragons that chase disabled authors? Are we afraid that we will find our real-life selves reduced to these same tired stereotypes? Our disabled bodies shoved into boxes and labelled by our audience?

We are all a part of our society and our culture and as such, we absorb the perceptions and prejudices of that culture, including those that surround disability. Is there an internalized ableism that causes us to fear that if we claim this identity openly and freely, we will lose something, some status? What if the public acknowledgement of this identity skews how people not only see us, but how they see our fiction? People with disabilities are less capable; people with disabilities are less successful; people with disabilities don’t create, and therefore our creations must be lesser.

Let’s examine the issue of the disabled author identity from another angle. White cishet able-bodied men are free to represent characters like themselves without the influence of negative societal stereotypes or prejudices. They can write tall men or short men, heroes, anti-heroes; soldiers, accountants, ne’er-do-wells, and lovers. Those are all perceived as “normal,” valid choices. There is no expectation that the authors speak (and write) for all white cishet able-bodied men. For authors with an “other” identity—people of color, queer writers, disabled writers, and others, including multiply-marginalized individuals—there is always the low-key apprehension that we will be perceived as representing our entire race, or gender, or as representing all people with disabilities. A not unfounded apprehension.

Consider some of today’s identity-based expectations: You’re a disabled author, of course you must include disability in your writing! Isn’t it always in your characters and themes? Just like the expectation that women directors always promote more women-centric stories. And this then connects to some of the not-so-nice comments and remarks about #ownvoices. These expectations are found again in the ugly belief that if a disabled writer’s work is crafted around their identity then the only reason their work has value is because of “disability.” It erases the craft and skill of writers with disabilities. It creates an atmosphere of fear. Fear that one’s writing will never be judged on its merits, only on its ability to “educate.” Is this another dragon to slay?

Does the physical reality of our disabilities actually shape our prose styles, or influence the types of scenes authors with disabilities write? Do writers, like me, who cannot see, tend to write descriptive prose that utilizes other senses more effectively in the overly visual worlds of fantasy? Could limited or assisted mobility lead to more internally focused, emotionally complex action scenes in a genre that is focused on the run-and-hack-and-slash part of adventuring? Or is this also part of our idea of what a disabled writer is rather than the reality? I don’t know that there is an easy answer.

For some authors with disabilities, that disability is a part of their voice as writers. They center disabled characters within fantasy and they allow themes surrounding disability to live in their universe. It informs their writing but may not necessarily be what they write about. At its heart, disability in fantasy isn’t just about the craft of writing or the inclusion of disability in the content of the work, but an acknowledgement of ourselves. We can write about knights or knaves, princesses or monsters, but our disability, as a part of our identity, goes with us wherever we may journey on the page. And as for the dragons—the societal labels and stigma—to win, to slay them, is to be accountable to who we are wholly and completely.

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Space Unicorn Ranger Corps COMMANDERS
Rachel Caine, Scott Day, Alex E. T. Snyder, Bliss Ehrlich, Alex Eiser, Crystal Huff, Marzie Kaifer, justin livernois, Jayme Lundeen, Kevin Lyda, Alexander M Henderson, Kate O’Connor, Daniel Sales, Edmund Schweppe, Derek Smith, William T. McGeachin, Dain Unicorn

Space Unicorn Ranger Corps LIEUTENANTS
Brandi Blackburn, Matt Boothman, Brandon Buehring, Brad Bulger, Emily Capettini, Didi Chanoch, Gina Chen, John Chu, M. D., David Dagg-Murry, David Demers, David Fiander, Elena Gaillard, Max Gartman, Devin and Stephanie Ganger, Cait Greer, Sarah Hartman, George Hetrick, Todd Honeycutt, Adam Israel, Kristopher Jones, Morgana Kay, Lorelei Kelly, Elizabeth Koprucki, Donna L. Spielman, Adrian Lee, Michael Lee, Adam Leff, Deborah Levinson, Sarah Liberman, John M Gamble, Savannah Madley, Phil Margolies, R. Mark Jones, Tom Marks, Kaylan McCanna, Brian McNatt, Katherine Mead-Brewer, Jen melchert, Katharine Mills, Maria Morabe, Emma Osborne, heather payne, Felice Piserchia, Raphaelle Race, Ian Radford, Aaron Roberts, Clarissa Ryan, Daniel Ryan, michael smith, Sarah Storm, Jennifer Talley, Katherine Wagner, Paul Weimer, Rebecca

Space Unicorn Ranger Corps ENSIGNS
Sarah Beardsley, Kayleigh Bohemier, Albert Bowes, Melissa Brinks, Christopher M Brown, Kayti Burt, Tim Campbell, John Cetrone, Jeffrey Chapman, Rachel Coleman, Amanda Cook, Leanne Daniele, Erik DeBill, Michael Dettmer, Michael Dodson, Gordon Dymowski, Victor Eijkhout, Sarah Elkins, Renae Ensign, Becca Evans, Emily A Finke, Katia Fowler, Darren “ShadowCub” Hanson, Maria Haskins, Carlos Hernandez, Andrew Hickey, Emily Hogan, Mairin Holmes, Jonathon Howard, Jose Pablo Iriarte, Ms Sarah Jansen, Michael Jeffries, Harvey King, Laura Kinnaman, John Klima, Ling-Yi Kung, Emily Kvalheim, Kate Lechler, Carol Lovell, Ysabet MacFarlane, David O Mahony, Samantha Manaktola, Tiffany Marcheterre, Melissa Martensen, Nick Mazzuca, Beth McMillan, Glorimar Medina, Jon Moss, Cindy Murrell, Leslie Ordal, Sidsel Norgaard Pedersen, Linda Reynolds-Burkins, Jacqueline Rogoff, Anthony Rubin, Tamara Rutledge, Danica Schloss, Sadie Slater, Sylvia Sotomayor, James Steinberg, Julia Struthers-Jobin, Daniel Thackeray, Selim Ulug, Ondrej Urban, Lauren Vega, Paul Weymouth, Emma Whitney, Risa Wolf, Ellen Zemlin, Craig, Kel

Space Unicorn Ranger Corps RECRUITS
Liz Argall, Andrew and Kate Barton, Gene Breshears, Erin Bright, Lee S. Bruce, Gillian Daniels, Max Andrew Dubinsky, Anna Evans, Phoebe Gleeson, David Gowey, Robin Hill, Cathy Hindersinn, Elizabeth King, Larry Kinney, Ai Lake, Annaliese Lemmon, Jay Lofstead, Amanda J. McGee, Jason McGraw, Brooks Moses, Neil Ottenstein, S P, Ryan Pennington, james qualters, Penny Richards, Merc Rustad, Miranda Rydell, Ken Schneyer, Maria Schrater, Melissa Shumake, Dread Singles, Josh Smift, Tasha Turner, David Versace, Philip Woodley, CathiBeaStevenson, fadeaccompli, Leetmeister, Olivier, slategrey

capturing the mood

i captured the mood
that you let go

it flew up like a kite
breached the atmosphere
and dove into outer space

like it was trying to escape all bodies—
human and planetary

i was floating along
in my EVA suit, pressurized, detached, untethered
the frayed ends of my harness intimating the moment
i didn’t want to relive

that’s when i saw the mood you let out
so shimmery, so unearthly, so un-rocky
celestial in its own way

it traced around my suited contours
pressing against my folds
tickling against the back of my knees
gathered at the shredded leash

it created its own phantom fastening
between me and the world i left behind

(Editors’ Note: “capturing the mood” is read by Joy Piedmont on the Uncanny Magazine Podcast Episode 28A.)

Interview: Greg van Eekhout

Greg van Eekhout writes science fiction and fantasy for all ages. His novels for adults include Norse Code and California Bones. His novels for young readers include Voyage of the Dogs and the upcoming release, Cog. He’s a two-time Nebula Award finalist. “Big Box”—a darkly humorous look at discount-priced magic—is van Eekhout’s first appearance in Uncanny.

Uncanny Magazine: “Big Box” is an interesting examination of the price of magic combined with the experience of shopping at a big box store. What was your starting point or inspiration for the story?

van Eekhout: I’ve always liked the “Shop That Wasn’t There Yesterday” trope. And I like weird little shops in real life, too. I love the sense that you could turn a corner and come across something magical or at least weird. But when I lived in Phoenix, Arizona, I saw so much new development gobbling up the desert, and it was all chains and big box stores and none of it was charming. Edward Abbey called Phoenix the blob that ate Arizona, and I wondered what kind of magical shop could exist in that environment. It didn’t take much of an imaginative leap to come up with a big box store that wasn’t there yesterday.

Uncanny Magazine: The story begins with “I don’t know what I need, but I know I need a lot of it” and ends with “I need.” This structure—where the ending somewhat mirrors the beginning but also brings a deeper understanding—is particularly useful for flash fiction. Do you have other tips or tricks for people who want to write at this length?

van Eekhout: I like to think of flash as a good, catchy pop song. Open with a hook, get to the point, feel free to indulge in some flourishes equivalent to a guitar solo or have a turning point where things get a bit weird in the bridge section, and then maybe echo the hook or the chorus and get out.

Uncanny Magazine: I loved the brief mentions of the doll the narrator’s mother kept locked up in the basement. Cursed and creepy dolls show up frequently in horror stories and movies. Are you a fan of horror? Did you have any particular doll in mind as you were writing this story?

van Eekhout: I don’t read much horror these days, but Stephen King is part of my writer DNA, and when I first started writing I thought I’d be a splatterpunk. My adult stuff still has a bit of horror in it.

I didn’t have a specific creepy doll in mind for this story, because all dolls are creepy. Literally all of them. This is objective fact. All dolls are bad and should be incinerated. Tear down the doll factories and salt the earth. Dolls. Ugh.

Uncanny Magazine: You’ve written adult, YA, and middle grade novels, in addition to short fiction and the occasional comic. How hard do you find it to switch between different types of writing? Are you a multitasker working on several types of projects at once, or do you tend to focus on one thing at a time?

van Eekhout: I wish I were a multitasker so I could pay attention to both the adult and the middle grade sides of my career at the same time, but I tend to be mono-focused on a single project at a time. Switching back and forth between adult and middle grade isn’t too hard, but I remember starting one of my adult books, California Bones, after having written two middle grade novels, and the first draft of the first chapter was basically just pent-up F-bombs.

Uncanny Magazine: If you had to buy one magical item from this story, which one would it be and why?

van Eekhout: I’d take the chewing gum that prevents you from saying stupid things to people you know but forces you to say them to strangers. I’m the kind of person who goes home from a con and chews their intestines worrying about stupid things I might have said. At least with the gum I’d know I didn’t say them to anyone I’ll ever have to see again.

Uncanny Magazine: What’s next for you?

van Eekhout: I’ve got a new middle grade book, COG, coming from HarperCollins on October 1. It’s about robots on a road trip to rescue their creator from the corporation that owns them. The villain is toxic capitalism.

Uncanny Magazine: Thanks for sharing your thoughts with us!

 

The Uncanny Valley

Resilience.

Last February, the Thomas family took their first true vacation in nine years. We spent a lovely week at Disneyland and Universal Studios Hollywood with dear friends before attending the Gallifrey One Doctor Who/Babylon 5 convention as fans. (We started as fans, and it is always good to reconnect with that.) The last time we’d had a pure vacation was in 2010 when we went on Caitlin’s Make-a-Wish trip to Disney World and Universal Orlando. When we went on that Make-a-Wish trip, we had no way of knowing if we would ever be able to take Caitlin back to a theme park. Aicardi syndrome can be terrifying, and Caitlin qualified for a Make-a-Wish trip for a reason.

During that Make-a-Wish trip, one of the centerpieces was a private Olivander’s wand ceremony for Caitlin. (She was, and is, a huge Harry Potter fan.) The entire shop filled with lights, wind, and music as a wand chose her, bringing out the biggest smile. Her parents cried and cried. It was pure magic, as designed.

On this recent family vacation, we entered the Hollywood version of the same Olivander’s shop. A rainy day in Los Angeles meant that by luck we more or less had the place to ourselves. And as fate would have it, Lynne was chosen for the wand ceremony this time.

The wonderful lady Olivander led Lynne through the ceremony, and as the wand shop once again swelled with lights, wind, and music, she told Lynne that the wand had chosen her.

An ivy wood wand with a dragon heartstring core.

A wand that represented resilience.

When Olivander said that to Lynne, Lynne bawled.

And I cried.

And Caitlin smiled and laughed.

(Amusingly, the next day we ran into the Olivander cast member at Gallifrey One, and as it turns out she’s a Doctor Who fan. She very much remembered us.)

Resilience is very important to our family. We’ve had some significant challenges, and we’ve pushed through. We’ve kept moving forward, even when terrified. Even when it wasn’t easy.

We managed it because we love each other, but also because we have an amazing network of fabulous friends and colleagues.

The world is a scary place. We live under a corrupt fascist regime. Climate change worsens and worsens. Every day you can read hundreds of terrifying stories of cruelty and incompetence and evil. It’s easy to let go of hope.

And yet, we are here. YOU are here, friends. We persevere. We fight back. We build wondrous cathedrals of art, beauty, and love. Together.

We pool our resilience, and are stronger and better as a community.

When we opened Uncanny Magazine, we had many goals. We’ve accomplished many of them. The biggest has always been to create a sense of community around these gorgeous words and pictures. We think we did that. This is the last editorial of Year 5 written by the Thomases (the next issue is the Disabled People Destroy Fantasy special issue). We want to take this opportunity to thank everyone in the Space Unicorn community. You made this happen. You helped spread more art, kindness, hope, and beauty into the universe.

Many other magazines have left the field since we started in 2014. We want to stay. We feel that Uncanny is still doing important work. Thank you, Space Unicorns, for making this possible. Thank you for your financial support. Thank you for spreading the word about the things you loved. Thank you for building this community with us. And thank you for your resilience.

On that note, we want to thank everybody who purchased Weightless Books subscriptions during our subscription drive and sale. So many new and returning members of the Space Unicorn Ranger Corps! We only exist because of you and your support. That’s how we pay our staff and contributors. Thank you for also spreading the word on social media. We couldn’t do any of this without you.

Are you looking for another way to support Uncanny Magazine? Fear not, Space Unicorns! We will be running an Uncanny Magazine Year 6 Kickstarter around the usual time of mid-summer! Keep watching our Twitter and Facebook feeds for more information!

OR, if you don’t want to keep looking at social media, you can receive our Uncanny Magazine newsletter in your inbox once or twice a month. Thanks to our amazing Assistant Editor Chimedum Ohaegbu and Managing Editor Michi Trota, you can sign up for updates about new Uncanny issues, general magazine news, and even get some cool, unique surprises. Sign up right here!

We have some bittersweet news, and some wonderful news, Space Unicorns.

Uncanny Magazine Podcast reader Stephanie Malia Morris is moving on after podcast episode #28B. Stephanie has been with us since episode #18A and has done a spectacular job. We know she will continue to do brilliant things, and will be greatly missed.

And now for the wonderful news! Our new podcast reader joining reader Erika Ensign will be Joy Piedmont! We are thrilled to have Joy joining the Uncanny team, and know she is going to be fantastic!

Fabulous news, Space Unicorns! Uncanny Magazine is a Best Magazine Locus Award finalist, and Lynne M. Thomas & Michael Damian Thomas are a Best Editor Locus Award finalist! We are so honored! PLUS, Isabel Yap’s “How to Swallow the Moon” is a Best Novelette Locus Award finalist! Congratulations to Isabel! And congratulations to all of the phenomenal finalists!

The awards will have been given out by the time you read this, so congratulations to all of the winners! (Drawback of writing this in mid-June.)

Even more fabulous news, Space Unicorns! The 2019 Aurora Awards finalists have been announced, and three Uncanny Magazine pieces are on the final ballot! “Osiris” by Leah Bobet (Uncanny Magazine #25) is a Finalist for Best Poem/Song, “Constructing the Future” by Derek Newman-Stille (Uncanny Magazine #24) is a finalist for Best Fan Writing and Publications, and finally Disabled People Destroy Science Fiction, edited by Dominik Parisien and Elsa Sjunneson-Henry (Uncanny Magazine #24), is a finalist for Best Related Work! Congratulations to Leah, Derek, Dominik, and Elsa, and to all of the phenomenal finalists!

From File 770:

The 2019 Aurora Awards finalists have been announced. The awards are nominated by members of the Canadian Science Fiction and Fantasy Association, for Science Fiction / Fantasy works done in 2018 by Canadians. The top five nominated works were selected.  Additional works were included where there was a tie for fifth place. The awards ceremony will be held at Can-Con 2019, October 18-20, in Ottawa.

Lastly, speaking of reminders, voting for the Hugo Awards finalists closes July 31, 2019, and memberships for both attending and supporting levels are still open! The list of Uncanny finalists can be read on our website.

And now the contents of Uncanny Magazine Issue 29! The fabulous cover is Skyward Bound by Julie Dillon. Our new fiction includes Sarah Pinsker’s uncanny cabin tale “The Blur in the Corner of Your Eye,” Greg van Eekhout’s musings on magic and consumerism “Big Box,” Rachel Swirsky and P. H. Lee’s upsetting and powerful story of familial relationships “Compassionate Simulation,” Marie Brennan’s clever exegesis about faith and dragons “On the Impurity of Dragon-kind,” A.C. Wise’s bittersweet and weird tale of magic and prestidigitation “How the Trick Is Done,” and Maurice Broaddus’s winding and musical exploration of a family’s history and future “The Migration Suite: A Study in C Sharp Minor.” Our reprint is Tim Pratt’s “A Champion of Nigh-Space,” originally published on his Patreon.

Our essays this month include Aidan Moher delving into gaming nostalgia, Tansy Rayner Roberts revealing how the The Good Place teaches good writing, Karlyn Ruth Meyer exploring the deeper meanings of The Good Place, Marissa Lingen giving her thoughts about SF/F literatures evolving “hard choices” narratives, and Elsa Sjunneson-Henry discovering how her own journey has turned her into a Tamora Pierce character. Our gorgeous and evocative poetry includes D.A. Xiaolin Spires’ “capturing the mood,” Alexandra Seidel’s “Sing,” Cynthia So’s “If Love Is Real, So Are Fairies,” and Betsy Aoki’s “Buruburu.” Finally, Caroline M. Yoachim interviews Greg van Eekhout and Maurice Broaddus about their stories.

The Uncanny Magazine Podcast 29A features Sarah Pinsker’s “The Blur in the Corner of Your Eye,” as read by Erika Ensign, D.A. Xiaolin Spires’ “capturing the mood,” as read by Joy Piedmont, and Lynne M. Thomas interviewing Sarah Pinsker. The Uncanny Magazine Podcast 29B features A.C. Wise’s “How the Trick is Done,” as read by Erika Ensign, Cynthia So’s “If Love Is Real, So Are Fairies,” as read by Joy Piedmont, and Lynne M. Thomas interviewing A.C. Wise.

As always, we are deeply grateful for your support of Uncanny Magazine. Shine on, Space Unicorns!

Was Trials of Mana Worth Growing Up For?

Catching a 25-year-old white whale

Like a lot of gamers in the 90s, I could often be found in my dimly lit bedroom huddled in front of an SNES playing the latest Japanese Roleplaying Game (JRPG). Chrono Trigger. Final Fantasy VI. Secret of Mana. I played them all. Back then, games took months or years to make their way from Japan to North America, a veritable lifetime for a teen. I pored over magazines for Japanese language screenshots, speculated with friends, and counted down the days until I could get my hands on them.

Like Captain Ahab, my obsession grew.

Especially for the one that got away.

For almost 25 years, Seiken Densetsu 3, the sequel to SNES hit Secret of Mana, remained trapped in Japan, within sight but sorely out of reach of western gamers. Now, thanks to a surprise official translation (and a new name), Trials of Mana is available on the Nintendo Switch. To top it off, Square Enix also announced a from-the-ground-up 3D remake of Trials of Mana, slated for release early next year (also on Switch). It’s like Moby Dick invited himself onto my boat for dinner and brought dessert.

So, here I am, with the white whale at the table, and my inner 15-year-old is thrumming with excitement.

Trials of Mana! In English! Officially!

Was it worth the wait? In a nutshell: yes, absolutely.

But…

Beginnings

In high school, I’d regularly haul my console and Commodore 64 monitor to my friend’s house for a weekend of gaming. Side-by-side, we’d guzzle Pepsi, inhale chips, and play through our own copies of the JRPG du jour, racing through dungeons, comparing notes, or, if only one of us had had a chance to play throughout the week, facing our screens away from each other and play independently—but still together.

Secret of Mana (released on the SNES in 1993) was different than our usual fare. It wasn’t strictly a solo experience, but instead allowed us to play together on the same screen. Picking our favourite characters (I was a fan of the sprite, Popoi. So cute!), fighting over weapons (spear, please!), and thwacking mushbooms was a great way to while away the hours. I’ve never been a competitive gamer, so being able to team up with my friends rather than against them was a wonderful experience.

Secret of Mana proved hugely popular for its publisher/developer, Square, so it seemed like a no-brainer they’d bring its sequel to North American shores after its 1995 Japanese release. A sprawling, beautiful game that pushed the system to its limits, Trials of Mana was the perfect way to bid farewell to the aging SNES.

Life ain’t perfect, however. Storage space on SNES cartridges was limited, and Trials of Mana was a huge game even by Square’s standards. Written Japanese is more economical than written English when it comes to required memory, making it impossible to fit an English version of Trials of Mana on a SNES cartridge at a reasonable cost. Despite fervent fan wishes, Trials of Mana remained in Japan as the PlayStation ascended to RPG dominance thanks to games like Final Fantasy VII and Xenogears.

Fast forward a couple of decades, and space concerns are no longer what they used to be. Still, despite the clamour for Trials of Mana never really going away, no one expected Square Enix to devote the resources to translating a 25-year-old game. With the enormous popularity of the NES and SNES Classics, however, gamers—especially those who grew up in the 80s and 90s—are showing a keen interest in retro-style games, and someone, somewhere, saw the potential for finally bringing Trials of Mana to English gamers.

But what’s it like to play a “new” SNES JRPG in 2019?

In a Yellow Wood

Early on in Secret of Mana, players find a branching path: Down one, you meet a healer; down the other is a mage. Eventually, you have to do both quests, and the remainder of the game is more linear, but this early portion gives players a taste of a design methodology greatly expanded upon in Trials of Mana.

Trials of Mana begins by asking the player to choose three characters (from a pool of six) to form their adventuring party. This encourages the player not only to build a party to suit their play style, but also provides a huge incentive to replay the game and discover new storylines, areas, bosses, and challenges.

The benefits of this system are immediately apparent, with each character beginning their story in a different part of the world, facing down a uniquely personal conflict. In my playthrough, I chose Riesz as my lead character; the game opened with the Kingdom of Laurent being invaded, and Riesz’s younger brother being kidnapped. Along the way, she joined forces with Hawkeye and Kevin, each of whom had their own personal challenges to overcome. Above and beyond that, Riesz crossed paths with the unchosen characters, providing the sense that these journeys are happening in parallel, and whole other stories are advancing in the background.

Adding to the replayability is the class system, which allows each character to change class twice at set points during the game. By mixing and matching characters and classes, each playthrough can be dramatically different. It’s complex and layered, and… completely undocumented in the game. FAQ in hand, you can create a balanced and overpowered three-person army, but going in unaware, your experience will be much different—and potentially frustrating.

The environments in Trials of Mana are, hands down, the most impressive of the 16-bit era. The world is rich and overflowing, and, more than any other game on the SNES, feels like it’s filled with real people with real lives. Each city and village feels unique—like a hand-crafted community. The layouts are varied, and though each village and city is comprised of a weapon/armour shop, an inn, an item shop, and a handful of residences, exploring them for the first time is a pleasure. Compared to other popular JRPGs of its era, including the lauded Final Fantasy games and Lufia 2, the towns, cities, and castles of Trials of Mana burst with charm and character.

This uniqueness extends to the visual design of the environments out-side the cities, too. JRPGs are no stranger to themed areas, and experienced gamers have trod hundreds of volcanoes, slid through dozens of ice caverns, and sweltered in many deserts, but Trials of Mana goes further than most in making these areas feel unique—not only in look and feel, but design as well. From flooded ancient ruins to canopied forests, ghost ships to windswept mountain fortresses, every new area in Trials of Mana provides an exciting opportunity to lose yourself in its vast world.

Like all of the Mana games (even the bad ones), Trials of Mana is blessed with a beautiful soundtrack that ranges from evocative and ethereal, to upbeat and melodic, to frenetic and adrenaline-filled. Composer Hiroki Kikuta, who was also responsible for Secret of Mana’s classic soundtrack, squeezed a tremendous amount of range from the SNES, and used percussive- and piano-heavy samples, giving the game a musical identity that is still unique 25 years later.

Trials of Mana is one of the most immersive audiovisual experiences on the SNES. The emphasis on audiovisual beauty comes at a cost, however, and provides perhaps the first glimpse at the costs of shifting design and development focus away from gameplay.

Rose-coloured glasses

As I get older, and spend more time revisiting my SNES favourites, I’m recognizing how important nostalgia is to my experience and enjoyment as I play them in 2018. Games I played to death as a kid are easy to return to, warts and all. I find it easy to overlook their flaws, whether they were obvious at the time, or have only appeared as time has passed and my understanding of game design has grown. I don’t care that Final Fantasy VI becomes a cakewalk after a certain point. I can lose myself in Suikoden 2, despite its all-time worst English localization. Super Mario RPG is short and linear (and a lot easier than I remember), but it doesn’t matter. I enjoy those games because the good bits are still good, and my nostalgia massages away my annoyance at the bad bits.

Chrono Trigger is still perfection.

The retro renaissance (and the wonders of emulation) has also given me the opportunity to play several games that were unavailable to me as a youth because they were trapped overseas like Trials of Mana. Unlike my favourites, however, my experience with these games is not protected by the warm, serotonin-producing blanket of nostalgia, so while their strengths are still obvious and bring joy and appreciation, their weaknesses can range from frustrating to catastrophic.

Trials of Mana falls somewhere in between.

On first glance, enemies appear on the field in the same way they did in Secret of Mana, but in practice the system acts more like a traditional JRPG battle system — when you enter a new screen, the battle starts, your characters draw their weapons, and you’re no longer able to access the main menu. Defeat all the enemies and you get a “Victory” jingle and maybe a treasure chest. This slows down exploration elements dramatically, which is doubly a shame because discovering the world’s nooks and crannies should be one of the major selling points for a game as beautiful and dense as Trials of Mana.

Compared to Secret of Mana’s already-mediocre combat system, battles in Trials of Mana feel slow, unresponsive, and unintuitive. Secret of Mana’s percentage bars are gone, but they’re replaced by an opaque timing system meant to keep you from spamming attacks—but instead makes the system feel random, non-interactive, and unsatisfying. It doesn’t help that even basic enemies are damage sponges, taking several hits from each of your characters before they fall. Adding the slow spell menu and casting times on top of it all means you’d better be prepared for a slog no matter what combination of characters you’re using. This was particularly painful during my playthrough, since for the majority of the game, Riesz and Hawk’s magic focuses on single-target buffs/debuffs, meaning each significant battle began by me loading up the spell ring multiple times and waiting for spells to cast, one at a time until I’d covered my entire party and all the enemies.

This becomes particularly egregious during the game’s second half, a backtrackathon that requires revisiting many familiar locations, most of which are filled with the same low-level enemies you pounded on hours prior. There’s no way to speed up your progress through these areas, and you can’t run from battles, so you’re stuck either one-shotting each enemy as you pass, or slowly trudging past them with your weapon drawn. Eventually you’ll reach a newly unlocked portion of the dungeon containing stronger enemies, but it becomes quickly apparent the game expects you to grind through levels to keep up with the progressively more difficult enemies and bosses. To rub salt in the wound, the final class change for each character, which gives you a significant power boost necessary (for most players) to defeat the final boss, requires you to obtain seeds randomly dropped by certain enemies. These seeds are planted at inns, and randomly spawn another item which may or may not allow you to upgrade your character to the desired class.

Time to grind

Only, it’s not that easy. Because enemies don’t respawn immediately when re-entering a screen, you’re often left wandering through multiple screens looking for enemies in the labyrinthine (and poorly designed) dungeons. This makes backtracking easier (since you’ll often get lost in the dungeons, which are full of dead ends and looping, criss-crossing paths), but slows down grinding dramatically.

The second half of the game was obviously designed to extend play-time, and provide another opportunity to reuse tilesets and environments. When I was younger, extended playtimes like this were fine, maybe even a selling point, because it felt like I was getting more value out of the game . Now, as an adult with several hobbies, children, a job, a social life, etc., it becomes an exercise in tedium. It’ll probably take most new players about 25–30 hours to complete Trials of Mana. About average for a JRPG from that era. However, I couldn’t deny the feeling that it would have been a much better game if the grinding had been eliminated and the total playtime had been cut back to 15–20 hours of tight gameplay and exploration, with a focus on new experiences in the world, rather than what we got.

It might be easy to dismiss these issues as being a product of their time—after all, game development mentalities have evolved a lot since the mid-90s. However, I also recently played through Terranigma, another long-lost SNES JRPG, for the first time. It had its own issues—notably an abysmal localization—but it was snappy and never overstayed its welcome, despite being similar in length to Trials of Mana. Sure, it also had necessary grinding (*shakes fist at Bloody Mary*), but the encounter design, blazing-fast combat, and dearth of quickly-dispatched enemies made grinding a breeze. I played these games back-to-back and doing so helped me recognize how nostalgia, or the lack thereof, affects the way we evaluate and review older games.

At the time of its release, Trials of Mana impressively built on the foundations laid by its predecessors—refining the party-of-three system, realizing an even more beautiful and varied world, allowing for more customization than ever, non-linear narrative, and quest design—but 25 years of hindsight makes the cost of that progress obvious. In its imperfections, you can begin to see the unravelling of the Mana franchise (clunky combat, over-reliance on poorly designed systems, emphasis on graphics over gameplay). There’s no perfect Mana game, and that includes Trials of Mana, which is buoyed in reputation by its former scarcity, placed on a pedestal by western gamers who revered its existence as some sort of gaming holy grail.

But at least now we have the chance to try it for ourselves.

There, in the Distance!

Moby’s dead. Carved up. Whale meat, blubber, oil.

Perhaps the most interesting thing about Trials of Mana isn’t just its official SNES release, but the upcoming remake. The Trials of Mana remake, coming in early 2020, for the Switch looks vibrant and fast. True to the original, but full of obvious care for modern game design philosophies. Suddenly, 25 years later, here I am, eagerly waiting for Trials of Mana.

Again.

Chasing a new white whale with a familiar name.

The official SNES version of Trials of Mana is available now as part of Collection of Mana on the Nintendo Switch.

The Better Place

The Good Place pilot aired in September 2016; two months later, any optimism about our nation’s advancement had to contend with the acknowledgement that our country, like so many of its predecessors and contemporaries, could experience a fall.

Though I’d hoped that we had done enough to prevent Trump’s potential presidency, it was never an idle threat. And once it became official, I moved through the world differently. Polite, neutral interactions rang hollow. No amount of speculation felt alarmist as each entry in the parade of horribles became distinctly feasible. I returned again and again to the words of Theodore Parker. “I do not pretend to understand the moral universe; the arc is a long one, my eye reaches but little ways; I cannot calculate the curve and complete the figure by the experience of sight; I can divine it by conscience. And from what I see I am sure it bends towards justice.” This had sounded like a promise when paraphrased by Dr. King, and then again by President Obama. But as checks, balances, and constitutional guarantees were eclipsed behind a dangerously chaotic leader who exalted violent bigotry, I began to question whether what I had taken as truth was simply a long-dead abolitionist’s uncertain but sincere hope.

Like many others, I also experienced a drastic shift in how I spent my time. Time I didn’t know I could spare was soon filled with advocacy, action items, petitions, and protests. I found friends and communities who were similarly taking stock in what aspects of our society we could salvage, pleading for the lives and humanity of the very many in peril, and bracing ourselves for a rising death toll. It was exhausting. It often seemed ineffective. And while our mental health was suffering, taking a break felt like fleeing the fight when the country needed us most.

I guiltily allowed myself to relax a few hours a week. The recommendations for how to fill that time rolled in: The Good Place was a gem and I should be watching it right now. It was a sitcom, ostensibly about the misadventures of an attractive white woman whose actions were harming the pious people of color whom she had erroneously joined in paradise. But friends encouraged me to stick with it, urging it as important viewing without specifying why. And so I watched, warily, protective of my downtime. Thankfully, the show’s setup was not what it delivered.

What The Good Place provided instead was something much more narratively rewarding, and also timely and relevant. The recommendations had been so furtive because The Good Place is difficult to discuss. Its first season revealed the entire premise was based in deception, leaving the characters victim to cruel misdirection and the viewers unable to elaborate without spoilers. Season 1 purports to show us someone dealing with a cosmic case of impostor syndrome but then flips the script: people who had hoped to inherit a paradise discovered that it was in fact the twisted construction of more powerful, ancient beings who cared nothing for their welfare.

Following this initial reveal, each season’s improbable and compelling ending has been upended by its successor. It is thrilling to see this unfold at every stage, but the significance of The Good Place goes far beyond its expert storytelling and subversion. It’s an incisive and deeply witty program that lets us work through our collective angst by creating a fantasy afterlife with absurdist criteria where we can nonetheless grapple with moral philosophy and real questions of redemption, ability to change, capacity to love, and motivations for growth.

This television universe is quick to distinguish itself from any actual belief system or faith and populates the farcical afterlife with a blessedly diverse lineup of multicultural strangers from different classes and upbringings, who are integral to each other’s salvation. As Season 2 teases out what it means to be redeemable, its central characters live out hundreds of scenarios, both supernatural and mundane. In all, the key is to persevere in learning from and listening to each other. Consistently, part of their redemption is in their ability to value those who are unlike themselves.

Even as episodes swing toward the bizarre, The Good Place centers around a need to define and live out morality and personal responsibility. And in the age of Trump, we viewers are doing the same. Because something else happened after election night 2016. I saw many who had positioned themselves as relative authorities on morality, discernment, and logic easily taken by the Trump administration’s self-evident grift. As the months and seasons progressed, they embraced his deception, greed, and bigotry, leaving two possibilities: that they had at last been given license to express their long-simmering hate, or that they wholly lacked the wisdom they had claimed.

This became a depressing commonality among my peer group—we all could identify lost leaders. Teachers, clergy, family, friends, and/or mentors who had taught us to stand up for what’s right even when it’s unpopular, who warned us about the perils of falling in with those who lack wisdom and common sense, and who were wary of what we might stumble upon in the city or in college or on the internet. They helped us define our moral code and influenced who we are today; and then we watched them excuse abuses and champion cruelty. Parents ridiculed principles they had raised their children to uphold. Preachers twisted their theology to fit their company, now praising presidential behavior they had long identified as sinful.

But another effect of this administration’s gross misconduct has been to catalyze a larger conversation—and more importantly, action—regarding stewardship, truth, and justice. As I mourned these fractured relationships and fallen role models, I also joined my friends in reflecting on what our leaders and elders taught us, and what we learned from their examples. Comparing this with the current, cartoonishly stark illustration of immorality being passed off as normalcy, we know that it falls to those of us who care to make things right. This leaves us grappling with an important question: how do we define morality for ourselves? What principles have not been sullied or co-opted? Was everything they told us a lie, or were they simply poor stewards of the principles they espoused?

We have had to become deliberate and contemplative about how we form a moral code and put good into the world. And so we find ourselves watching a TV show about moral philosophy and a battle to save souls from a comical depiction of eternal torment and damnation, for escapism and catharsis.

We watch this show about people learning to be honest about who they are and striving to be good, as we do the same. The Good Place is about learning how to care, making others care, and how it feels when those who don’t care are exponentially more powerful than you and implicated in a system beyond your comprehension or control. This journey follows four humans who live and relive varied lives in which we see ourselves. Some of us start as Eleanor, realizing the ways that we have had to protect and defend ourselves have left us apathetic, self-absorbed, and petty. Some of us came into this situation as Chidi, having been well aware of the world’s problems and deeply invested in justice, yet seemingly damned and ineffective in the face of it. Others may be Tahani, swaddled by our own privilege and disheartened as our strides toward selflessness only clarify how out of touch we have been at every turn. And some of us are Jason: earnest and eager but suspecting that we lack the skills or knowledge we need to make a difference in critical times. Throughout the series, all have dramatic moments of enlightenment and healing, just as all of us have the capacity for growth.

Noting the relatability of the central four, I also think of those who got swept up in the toxic zeal of the administration or other acts of injustice along the way. Far too many doubled down on this allegiance, letting it become their identity and siphoning it for belonging and legitimacy. But some who were swindled realized as much and did the right thing—they began working to mitigate this harm.

Their arc might be reflected in the architect. Getting Michael to care is a process that starts only with his fear of personal consequences. But true change begins when he comes to know and listen to those who would be harmed by the forces he once supported. He learns about their lives and does what he can to adopt their perspective. He believes them. And then he becomes their advocate and ally. Michael can see the system working and the vulnerable souls being moved through it. As he grows to care, understand, and accept his own complicity in it, he also discovers that this alone is not enough to correct the system and resolve the problem. Importantly, he learns that redemption is collective—not about merely saving his soul or himself from torment, but about building a more just system, in which others can be saved as well.

In Season 3, Michael puts everything on the line in the name of justice. He tries to pursue it through the expected channels, even when this risks his reputation and future. But what’s more, he uses his access to knowledge, tools, and spaces, working both within the system and outside of it, to elevate those who cannot so engage. And each time this fails, he interrogates why, and refuses to accept the narrative being sold: that those unlike him are simply unworthy. Michael exhibits tremendous growth and persistence in his move from antipathy to empathy, from complicity to rectification.

A different kind of evolution is seen in Janet, the most knowledgeable and powerful being in the central cast. But what makes Janet unique, critical, and beloved is her self-improvement. While we know in canon that our Janet is one of many Good Janets, all of whom are faultless beings, she becomes something far greater. Her curiosity, caring, and feelings grow, bringing with them vulnerability, embarrassment, and heartbreak—but also a desire and resolve to do the right thing even when there is no blueprint for what that would be.

And The Good Place provides us with a comparison of what she might be otherwise. In Season 1 we meet a Good Janet’s antithesis—an uncouth, unhelpful, and antagonistic Bad Janet. But Season 3 also gives us a glimpse of Neutral Janet. That is, Janet’s extraordinary potential squandered, literally neutral in the face of injustice, and languishing as a tool of the establishment.

The Good Place is overt in showing those who have benefitted from an unjust system being called to do more in the fight for justice. Both Michael and Janet have—and are aware that they have—more power and privileges than do their human counterparts. And making this even more plain, Michael and Janet (while they are not technically people) present as and are described as white. When they discover the deep, troubling problems with the points system and those who oversee it, Michael must resist the instinct to simply bemoan the process and disengage. Janet, an accountability partner among many other things, observes that a change is vital and that Michael is the one who has to make it. And so instead they fight to fix the system because they believe in what it was intended to do, and because they now know vulnerable people hanging in the balance. They have done the work of understanding the stakes and empathizing. And they serve as a reminder that sometimes the solution is indeed beyond our control—but sometimes it is only beyond our comfort.

And often, even comfort is elusive, and the struggle not to despair and disengage is relentless. I daily hover between disappointment and disgust, fighting not to become numb to repeated breaches of trust. I see others belittled, bullied, and disregarded by those who once purported to love and protect them. Calls for civility claim that our nation is being torn apart, without acknowledging that centuries of bigotry and selfishness put these perforations in place. We can plainly track the greed, inhospitality, and hate that led us here. We can plainly observe how the same is being glorified today.

And now, as we work to move forward, I see leaders use seemingly inexhaustible resources to ensure that the rich stay rich regardless of how their consumption affects those who come after them, that those who came to live in this country during an arbitrarily defined period of time are treated as its true citizens, and that white men remain at the top of the power structure. They may intend Christian men specifically, though they redefine Christianity daily, reshaping it in their mouths and spitting out whatever fits the current conversation, and never letting it take the form of the actual relevant teachings of Jesus.

I have lost faith in these leaders, and in those who continue to embrace them. But I have not lost faith overall. And I am not alone. Those currently in power attempt to gaslight us, forgetting that we can access our own light. We can see through the hypocrisy.

Author Rachel Held Evans brilliantly demonstrated maintaining conviction in the face of sober disillusionment. In her book Inspired: Slaying Giants, Walking on Water, and Loving the Bible Again, she said:

I’ve watched people get so entangled in this snare they contort into shapes unrecognizable. When you can’t trust your own God-given conscience to tell you what’s right, or your own God-given mind to tell you what’s true, you lose the capacity to engage the world in any meaningful, authentic way, and you become an easy target for authoritarian movements eager to exploit that vacuity for their gain.

As we continue to fight on every front, our leaders plainly demonstrate how critical it is to have a basic moral foundation—and not merely to claim one in order to deceive its adherents. The importance of this is beautifully reflected in a speech by civil rights attorney and The New Jim Crow author Michelle Alexander. One week before The Good Place aired in 2016, she commented on her move from legal faculty to seminary:

[T]here are times I worry that I have completely lost my mind. Who am I to teach or study at a seminary? I was not raised in a church. And I have generally found more questions than answers in my own religious or spiritual pursuits. But I also know there is something much greater at stake in justice work than we often acknowledge. Solving the crises we face isn’t simply a matter of having the right facts, graphs, policy analyses, or funding. And I no longer believe we can “win” justice simply by filing lawsuits, flexing our political muscles or boosting voter turnout. Yes, we absolutely must do that work, but none of it—not even working for some form of political revolution—will ever be enough on its own. Without a moral or spiritual awakening, we will remain forever trapped in political games fueled by fear, greed and the hunger for power.”

Those who wish to benefit from injustice will always seek to normalize it, changing the narrative to present theirs as the moral path. But morality is something that we can reclaim from institutions which have been weaponized against the most vulnerable. We can interrogate these systems, which have been created by those more powerful than us, and determine what can be decolonized and what must be dismantled. Like Michael, we can question what may have worked for previous generations, and perhaps was forged in good faith, while acknowledging the harm it currently causes.

And The Good Place, at its most painfully literal, also reminds us that sometimes even our most exhaustive and exhausting attempts to work within a system will not yield the results we need. I felt this deeply when watching the six travel through time and space just to get stonewalled by a committee whose empathy is exceeded only by its ineffectiveness. Fantasy mixes with bureaucracy, injecting jarring bouts of realism into the journey.

The series most recently revealed that the points system in The Good Place—first hilariously arbitrary in its articulation of social wrongs such as taking off your socks on an airplane—is actually broken. It’s antiquated, out of touch, and doing violence in the name of justice. It is maintained and defended by those who have no idea what it means to live in the real world—to try and strive and want to improve society, help others, and be at peace.

The error, we learn, is that the once-perfect placement system has not evolved with the increasing complexity of human life. It becomes clear that the system is penalizing those who try to be good, and that in the exponentially connected modern world, even the most judicious, selfless actions have unforeseen consequences, making getting in to the Good Place functionally impossible. We don’t yet know where the continued trials of The Good Place will take our protagonists, but only that the fight for justice and salvation continues. (Editors’ Note: Shortly after the completion of this essay, it was announced that The Good Place will conclude with the upcoming Season 4.)

From our side of the screen, we strive to make the real world a better place, constantly defending our policies and our politics. We muscle through insincere debates as human suffering is reduced to talking points and statistics to be argued or dismissed by pundits and politicians. We work to find concrete ways to better the world, and to find the will to effectuate change. And as we move forward, we strive not to be like those we are working to unseat.

Chicago activist and pastor Jamie Frazier has said the one thing the church can offer better than the secular world is reconciliation. Concepts of redemption, grace, and wholly undeserved mercy are near foolishness when removed from a spiritual context. The advantages of finding a moral or spiritual center are greater than simply the fact that we can do better—can be better than others who slid into power. Unless we can tether ourselves to something greater and better than ourselves, we will be tossed around, as selfish as those we work to disarm.

What matters is that we do not lose faith in having faith. That we keep striving and imparting an ethos of redemption, compassion, justice, honesty, and love to all those we can influence. We must continue to seek out a moral or spiritual awakening. Only then may we have a chance to mend what those driven by greed and bigotry have broken.

In Season 3, the four humans learn that their knowledge of the Good Place has irrevocably tainted their motives and prevented their ability to ever enter it. They eventually come to terms with this and resolve to try “just a little bit to put good into the world.” Good, a concept so elusive and indefinable that it had spawned three seasons of lessons in moral philosophy, became suddenly much simpler. And Eleanor, the frequent pupil who throughout the series must fight numbness and a deeply ingrained instinct to sabotage or disengage, notes that “We aren’t getting into the Good Place, but there are still people in the world that we care about; so why not try? It’s better than not trying.” In this moment, they know they won’t make it to sitcom TV heaven, but they aren’t looking for a reward. They just want to bring heaven here.

 

The Gang’s All Here: Writing Lessons from The Good Place

The producers of The Good Place recently announced that the show will end after Season 4. While it’s excellent to know they will get a whole season to bring their story of death, the afterlife and moral philosophy to a proper conclusion, it’s also bittersweet to lose one of the all time great comedy ensembles.

Casting a TV show is a weird kind of magic. Some shows don’t get the perfect balance right away, reshaping the character combinations and tone until it finally gels. Some shows present as if the ensemble is important, but ultimately only care about one or two of the central characters or relationships, with the rest used as set dressing and background noise. Some shows start off brilliantly but struggle to adjust to the loss of prominent cast members as they fall like flies, creating increasingly desperate Watsonian (in story) excuses for Doyleist (real life behind the scenes) concerns.

The dream, surely, is the perfect cast and character balance, maintained from the pilot episode and continuing throughout the run of the show. So few TV shows manage to achieve that dream.

And then, there’s The Good Place. Its six key players are not only excellent character actors with great comic timing and effective chemistry with each other, but every one of them is a distinct, very different performer. The contrast between the characters, through performance as well as the voice that comes through in the writing, contributes overall to a truly engaging group dynamic.

There are two kinds of character ensembles in film and television that spark strong reactions from fans: the cavalcade, and the family.

The cavalcade ensemble is exciting because of so many faces, so many characters, some of them never crossing each other’s path because the story is so sprawling. A big part of the excitement ahead of the recent TV mini-series Good Omens was the massive list of beloved characters matched with an equally massive list of casting announcements.

Apart from Crowley and Aziraphale, played brilliantly by tentpole actors David Tennant and Michael Sheen, the majority of roles in that epic production were fairly small, each with a great deal of weighty significance to be packed into only a few screen minutes per episode.

Something similar was at work with the recently completed Game of Thrones, where a huge number of character arcs were filmed discretely, with overlapping but often separate narrative threads. Many of the co-stars didn’t even film in the same country for years, only meeting on press junkets.

There’s a majestic glory in pulling off a successful cavalcade ensemble, whether it’s packed to the gills with high profile celebrities, new pretty faces, slightly familiar character actors or, most often, some combination of the three.

Achieving a family style ensemble is much harder, because in a small, emotionally charged group, the chemistry must be faultless. Look at Community, a show that overtly explores group dynamics by assembling a found family of intensely different people (points of difference including race, age, experience, personal philosophy and reasons for attending a community college) and watching them challenge and break each other on a regular basis.

Part of what makes the Community ensemble work so well was that the show’s own meta-narrative allows and even encourages the writers to point out every instance in which the group dynamic is vulnerable, fractured or failing.

Like Community, The Good Place ensemble works so well because each of the characters have independent relationships with each other rather than merely occupying a role in the group. Some of these relationships may be more thoroughly realised than others—the pairings of Michael and Janet, Tahani and Jason, Eleanor and Chidi, for example, though also Michael and Eleanor, Eleanor and Tahani, and Janet and Jason. Unusually for a comedy, there is rarely a time where the group divides along gender lines, probably because the characters of the same gender (or in the case of Michael and Janet, appearance of gender) have the least in common with each other.

It’s all the more impressive that this group dynamic has survived so thoroughly given that most of the characters have had multiple time-lines, experiences and memories wiped from them, and only recovered part of what has been lost.

What can I learn from this as a writer? (This is always my first question when I admire a piece of good media)

The first and most obvious answer comes back to my previous statement that diversity makes stories more interesting.

The different backgrounds of the characters in The Good Place are expressed gradually, and become more and more significant as the story progresses. Characters are shaped by their families, their experience during life, and their views of the world. The fact that the four human characters are from different cultures, family and racial backgrounds is not just wallpaper, but significant to their choices. (Though the show is not perfect in this regard—in particular, Chidi’s background has been oddly handled and needs a lot more fleshing out. In Season 4, maybe?)

Another writing lesson I would take from The Good Place is the importance of character consistency. For a show that relies so much on narrative surprise, and is constantly revising its own premise, it is notable that the characters are consistent to the point that their speech patterns and reactions feel deeply familiar. This is true even when someone else is playing those characters, as with the episode Janet(s).

This is worth noting because the story also allows the characters to grow and change while remaining authentic to the version of them we met in Season 1, something that many serial TV shows (especially comedies) often get wrong.

One often cited example of getting it wrong is Barney Stinson (Neil Patrick Harris) from How I Met Your Mother, a charming but amoral seducer who is never allowed to grow up, because whenever the charac-ter starts to develop or mature in interesting ways, a metaphorical reset button is hit, forcing him to awkwardly return to his initial character setting.

The central question of The Good Place is whether deeply flawed people can overcome those flaws and improve as people after death. Still, the characters are allowed to grow and change and learn new things even as a literal reset button is often imposed on them, and they have many important memories removed from them. Consistency does not have to mean stagnation.

When it comes to a small scale family ensemble, rather than a cavalcade of faces, the last writing lesson I would take from The Good Place is about liking.

Likeability is one of those terrible terms so often used to dismiss a piece of writing, especially when female characters dare to be flawed. Kristen Bell’s Eleanor is amazingly unlikeable a lot of the time, as are her companions in the afterlife. And yet they are not just likeable but lovable, because of the warmth with which the actors play the parts, the cleverness of their banter, and especially because of the compelling way that the characters enjoy each other’s company.

They like each other, even when they don’t like themselves. Their loyalty to each other—to their “family” gives them heart even when they are saying and doing the most hilariously awful things.

I would watch this team in a heist, or a spaceship, or Shakespeare. I would follow this ensemble to the ends of the earth, because the thought of them not being on this show any more is emotionally wrenching.

After this final season, when the credits finally roll on The Good Place, I choose to believe that the actors will all get a charming little house together on the beach and live there forever, as eternal BFFs.

It’s a sign of great writing, and a great character ensemble, that the fans aren’t ready to let them go.

 

Big Box

I don’t know what I need, but I need a lot of it. And this is an opportunity. The store wasn’t here yesterday. There was a complex of car dealerships abutting one of those sprawling Phoenix strip malls where spray mist over the pathways so shoppers don’t get heatstroke. But now, somehow, inserted between the two of them is a new big box.

Inside, the murmur of the crowd combines with the hum of air handlers into soothing white noise. Fluorescents bathe the store in shadowless bright light.

An old man in a blue vest greets me just inside the entrance.

“Welcome to—” The rest is garbled. Maybe it’s him. Maybe it’s me. I’ve been so tired lately.

I glance at the ceiling. Dark shapes flitter among the rafters. Before I start shopping, I want to make sure I know what I’m dealing with. “Birds?” I ask the old man, pointing up.

“Spirits. Customers who expired in the store. Some from old age or illness. A couple of heart attacks. A few from door-buster sales.”

“I fully understand.”

I push my cart toward the back of the store and commence shopping.

In Electronics they’ve got some laptops with runic keyboards, some with hieroglyphs, some with figures that seem to change every time I blink.

Do I need my devices to be even harder to use? I just upgraded my computer at home and the operating system is a riddle. No thanks. But a display case of timepieces attracts my eye. There’s a watch you can stop to freeze a perfect moment in your life forever. I pass it up because I don’t trust my judgment to know when that moment would be. I’d miss preserving the best instant of my life thinking that a better one would come along. Also, I’m just not really a watch guy.

I come upon an aisle congested with shoppers and carts. Must be a good deal. Squeezing in, I take a look at shriveled hands grasping inside cardboard boxes with cellophane windows. Mummified monkeys’ paws. “Comes with Free Wish,” it says on the boxes.

I know about these things. My mom grew up in a country with banyan trees and ghosts, and she became an adult in an America when mom-and-pops lined Main Streets, weird little shops tucked between a bakery and a shoe store that stocked the exact item you needed, but when you came back because your magical thingamajig turned out to be cursed, the shop would be gone, no gap between the bakery and the shoe store, as if it never were.

Mom kept a doll locked in a safe in a dark corner of her basement. She wrapped the safe with chains and locks. I’m a careful shopper.

An employee with dark circles under her eyes struggles to maneuver around shoppers to restock the shelves.

“Busy day, huh?” I worked retail in college, so I have sympathy.

“Yeah.”

“Must be nice, though, working around all this magic?”

She doesn’t even pause to look at me. “I make minimum wage. I work through most of my breaks. They cheat me on overtime.”

Ah, yes, I remember that. “But you get a good employee discount?”

Now she gives me a stare that could burn my cheeks with frostbite. She forces out a “Yeah.”

“So, what’s the price on these monkey paws?”

“The price is a world without monkeys.”

I think about it for a minute while another shopper uses their forearm to sweep boxes of monkey paws into their cart. It occurs to me that, if I’m going to pay the price of a monkeyless world whether or not I buy a paw for myself, I might as well stock up on a few. I could wish for health insurance. I could wish my kid gets into a good college and somehow pays for it and is happy and not crushed in a vise of debt. I could wish the same thing for myself.

They’ve got love potions in Cosmetics and Personal Care. The price is the memory of your first kiss. That’s not a bad deal, because, honestly, my first kiss wasn’t very special. It was on the middle-school quad between classes, being egged on by my friends and hers, and our mouths didn’t quite connect so it was more jaw than lips. Less a first kiss than a first miss.

My third kiss is the one I remember. Her name was Lilac. We were at the top of the Ferris wheel on the pier, and the view was endless blue sea, deep and roiling, and her lips tasted of cotton candy.

Losing the memory of my third kiss would be a steep price. But since it’s just the first kiss I grab a family-sized gallon bottle. I’m kind of done with relationships, but you never know.

In Housewares I find a mirror that shows you at your most flattering. My hair looks fuller. My jaw, strong. My cheekbones, well-defined. I see a mouth that’s never lied and eyes that have never betrayed. The cost is that, one out of every thirty days, it shows you your most brutal truths without the distortions of time and memory and self-delusion. It comes wrapped in plastic with cardboard corner protectors for safe transport. Into my cart it goes.

You can’t turn a corner without finding another good deal:

A pillow that prevents you from dreaming but still gives you REM sleep so you don’t crack up. I have bad dreams, so the pillow is mine.

Shoes that free you from back pain except for thirty seconds a day when you feel a day’s back pain all at once.

Chewing gum that stops you from saying stupid things out loud to people you know but makes you say them to strangers you’ll never see again.

Pants that shave six inches from your waistline and every time you wear them shave four hours off your life.

These prices! They’re so great!

And then I find fitted bed sheets that magically fold flat and square without effort. But for every hundred sheets they sell, one prisoner somewhere in the world will hang themselves with a sheet in their cell.

That seems a little steep. Reluctantly, I push my cart away.

Magic is always unpredictable. It’s always dangerous. It’s never cornflakes and toilet paper. But what’s wrong with magic people can afford? I try to put monkey extinction out of my mind. I try not to think about employees getting their overtime pay stolen to stock the shelves. I try not to think, and I get in line.

The line isn’t long, but it somehow stretches back into places that may not be in the store. That may not be in the world. Maybe it’s an optical effect. Reflections in a freshly buffed tile floor.

In any case, I’m going to be here a while. I glance up at the spirits flitting near the ceiling.

“You know, you can order everything in the store online.” It’s the greeter in the blue vest. “Just go to—” I think he’s giving me a web address, but what comes out of his mouth aren’t words that I recognize, or even sounds. He sees my lack of comprehension and tells me to hand him my phone. I surrender it and he touches the screen a few times, returns it. My icons are gone, replaced by a deep, howling vortex.

The phone goes back in my pocket.

I should just return everything in my cart to the shelves. Just walk away, out into the sunshine. But I won’t.

I don’t know why my mom kept her doll locked away in her basement, or why she needed it in the first place. We need things. We all do.

I need to fill the hollows.

I need relief.

I need a job that doesn’t make me feel like someone else’s machine.

I need my kid to be okay.

I need nourishment.

I need to survive.

I need another third kiss.

I need fitted sheets, even if they’re expensive.

I need.

(Editors’ Note: Greg van Eekhout is interviewed by Caroline M. Yoachim in this issue.)

 

The Blur in the Corner of Your Eye

It was a nice enough cabin, if Zanna ignored the dead wasps. Their bodies were in the bedroom, all over the quilt and the floor, so she’d sleep in the living room until they ascertained whether there was a live wasp problem as well as a dead one. If she ignored the wasps, it was lovely.

She’d have to ignore the tiny dead mouse in the ominously large trap in the kitchen, too. If they swept mouse and trap into one of the black trash bags she found under the sink, and ignored the bulk package of rat traps, and ignored the bulk rat poison, and celebrated the wasp spray, everything was good.

The bucket in the main room’s corner held a few inches of brackish water. The discolored spot above it was shaped like a long-tailed comet, and probably wouldn’t present a problem unless it rained. An astringent lemon-scented cleaner just about covered the delicate undertones of mildew that permeated the walls.

“This place sucks,” said Shar.

Shar, her childhood friend, her assistant of who knew how many years, who had always been impervious to magical thinking. Shar, who was right.

“Um, you booked it,” Zanna pointed out.

“These aren’t usually the things they list under ‘amenities.’ You said to find someplace cheap and remote, with no Wi-Fi.”

True enough. Cheap, because Zanna was between royalty checks. Remote, because she couldn’t have any distractions if she was going to finish this book on deadline. No Wi-Fi, ditto. All she needed was power, since her laptop battery no longer held a charge.

She smiled. “It’s perfect. I’ll push that little table under the window. The view is what counts, anyway.”

Shar returned her smile. “Whew. Okay. You get settled, and I’ll see what I can do about the wildlife.”

That worked. Zanna went out to the car for her bag. It didn’t roll well in the dirt, and she let it bang on the three steps to the porch, rather than bothering to lift it. She paused to appreciate the view: below her, the mountainside spread in a dappled blanket of red and gold. There were other houses along the road—they’d stopped at the owner’s on the way past to get the keys—but none were visible from here. Perfect.

She parked her bag inside the door. No point in moving it further until she knew which room she’d be sleeping in. The couch was more of a daybed, so she’d be fine with that option. The small writing table—she already thought of it as a writing table—looked solid, old. She felt the years in it. The chair looked a little hard for her taste, but she’d brought a cushion and a lumbar support for that contingency. This wasn’t her first rodeo or her first cabin, and these weren’t her first wasps or her first mice. If she’d wanted something less rustic, she would have said so, and Shar would have booked Posh Retreat rather than Wasp Hotel. This was what she needed: no distractions, no comforts, just a desk and a chair and a window.

Out and back again for the milkcrate of research books. Shar had found a broom to sweep away the dead wasps; she’d already disappeared the mouse. Zanna didn’t know what she’d done to deserve an assistant who disposed of dead things for her.

The fridge smelled okay, a small blessing. There was nothing in it but an open box of baking soda.

“Make me a list and I’ll go shopping for you while you write this afternoon.” Shar stood in the doorway, tying off a trash bag.

“Is there a microwave?”

“I saw one somewhere. Hang on.”

Zanna stood aside and let Shar rummage in the cabinets. She pulled out a drip coffee maker from a drawer, and a pack of filters. “Hmm…”

Shar left the kitchen and returned a minute later with a small microwave. “It was in the broom closet.”

They both had to stand sideways for Shar to put the microwave on the counter. She smelled like cumin, never Zanna’s favorite scent. Zanna rummaged in the drawers until she found a torn envelope. She wrote a list on the back, all the easy meals she could make without taking too much time away from her writing. Microwave dinners, mac n cheese, salad kits, eggs, cereal.

“Back in a few hours,” Shar said.

They could have stopped at the grocery store on the way in, but Zanna knew this was Shar’s way of giving her a head start on her work.

There was nothing for her to do here but write. Okay, or hike, or read, but those were reward activities. More importantly, there was no cell service, no internet, no television. The rental car spit gravel as it backed onto the road. She was alone.

She turned the milkcrate of books on its side on the table, so the spines faced outward. Birds of West Virginia, Trees of West Virginia, West Virginia Wildlife, Railroad Towns, Coal Country. She’d done all her research at home in New York, all her character-building, all her outlining, but when Shar suggested that she actually come here to do the drafting, it had felt perfect, like something she should have thought of her herself. She plugged her computer in and sat down to write.

Shar returned with four grocery bags just as Zanna started to get hungry. “You didn’t put coffee or tea on the list, but I figured they were both givens.”

“Bless you,” said Zanna, standing to stretch and help with the bags. The kitchen wasn’t big enough for them both to be in there, but if Zanna didn’t unpack, she wouldn’t know what had been purchased or where to find it. Shar still smelled like cumin, overwhelming in the tight quarters. Inspiration to put everything away quickly.

“How’s it going?” Shar knew her well enough to never ask in terms of word count. Instead, a generic “how’s it going” that Zanna could answer specifically if she’d written or vaguely if she’d gotten stuck.

“Got through the first chapter,” Zanna said. No need to hide behind euphemisms today. Chapter one was always easiest anyway. Reintroduce Jean Diener, reluctant detective. Find an excuse to get her to where she needed to be.

“Nice! Do you want me to make you some dinner before I leave you alone?”

“Nah. I’m going to have a snack now and write a little more. I’ll probably just graze tonight.” Zanna held up a pre-mixed chef salad in a plastic clamshell. “You can go check in to wherever you’re staying. Where are you staying?”

“Motel at the foot of the mountain. It’s dirt cheap this late in the fall, and this isn’t exactly a tourist town.”

“Are you sure you don’t want to stay here? You can have the bedroom, I’ll take the couch.”

“Like you were going to sleep in a bedroom full of wasps. Nah, I’m good. I don’t want to disturb you.”

“Fine, then. How can I reach you? I don’t have a single bar of reception up here.”

“I’ll check on you first thing in the morning. Or I can check if there’s a landline phone hidden here somewhere?”

“Nah. It’ll be okay. Maybe not first thing, though? If I get on a roll tonight I’m sleeping late tomorrow.”

“Check. How’s ten?”

“Perfect.”

“Anything else I can do for you? Or should I get out so you and Jean can get reacquainted?”

Zanna grinned in appreciation.

The cabin had a good writing feel. She actually made it halfway through chapter two before stopping to eat the salad. After that, she put her sheets on the couch and pulled a moth-eaten blanket from the bedroom closet, and curled up to read Railroad Towns. It was full of useful information, but the combination of long drive and writing had exhausted her, and she fell asleep before ten. She woke once for no reason at all, and then again to a scuttling sound that probably meant the dead mouse had friends.

She woke at 6 a.m. without an alarm. The electric baseboard heater under the window had kept the couch warm enough, but she could tell that outside her blanket, the mountain morning held a chill. She’d make coffee and breakfast, then get working. She flicked on the lamp.

Her throat felt scratchy, her chest sore like she’d been coughing, and the floorboards shot cold through her socks as she padded into the kitchen. Shar had left the coffee and filters next to the coffee machine, so she didn’t have to search for anything before she’d had coffee.

She didn’t know what she’d done to deserve Shar. She hadn’t even known she’d needed an assistant until her childhood friend had suggested it, and now she couldn’t imagine life without her. It wasn’t that she was unable to do the stuff Shar did, other than driving, just that having someone else shop and correspond and plan travel freed her to concentrate on her books. Shar had always been there for her, but formalizing the relationship had actually helped it.

She’d written forty-something novels now and they’d all been dreams to write, almost literally. Research was still a present-brain puzzle, outlining a necessary torture, but the books themselves had gotten so much easier over the years. A quiet cabin, a desk in front of a window, no distractions.

She plugged in the coffeemaker. While it gurgled, she dumped an instant oatmeal packet into a bowl from the cabinet, added some water, and stuck it in the microwave. When she hit start, there was a pop, and the power went out. The fridge still hummed, but the cabin had otherwise gone dark and quiet. Was the whole place wired on one circuit except the fridge? That meant no power for her computer, either, and no power for the baseboard heater.

Why did this kind of thing always happen before coffee? She checked all the closets and cabinets for a breaker box, but couldn’t find one, which meant it was outside. Two shoes and a jacket later, she stood behind the cabin, swearing to herself. Crawlspace. She didn’t quite remember what had freaked her out in a crawlspace when she was a kid, but she still hated them. Anything might be in there.

A baseball bat stood propped against the wall beside the tiny door. It had “Snake Stick” written on it in blue Sharpie. Whoever had labelled it had also drawn a crude cartoon demonstrating its utility. Swing them away, don’t kill them. No bloodstains on the bat.

She could wait for Shar, but she’d lose hours, and her head was already complaining about the lack of caffeine. Better to do it herself.

The half-sized door creaked when she squeezed the latch and swung it open. She waved the Snake Stick in front of her to clear cobwebs and wake any snakes snoozing inside. When nothing moved, she dug in her jacket pocket and pulled out her phone. It was useless for calls out here, but the flashlight still came in handy. She swept it around the space, which looked mostly empty. No use delaying.

She crouched and stepped in. The ceiling was a little higher than she expected, the floor a little lower; she could stand if she stooped. Something crunched like paper under her foot, and she swung the light down to find a snakeskin, at least three feet long. She shuddered.

The electrical box was beside the door, but it turned out to use fuses, not breakers. Another pan of the space showed a pile of two-by-fours, but nothing else useful. Mystery writer brain declared it a good enough place to hide bodies, but a little obvious. You’d want to dig up the dirt floor and bury them, or the odor would rise through the floorboards. Pile the lumber back over the spot you’d disturbed.

Back to the cabin, wishing she’d worn a hat, dusting cobwebs from her hair. She went through all the drawers and closets, this time looking for a fuse. A hammer and a box of nails, more rat traps, mouse poison cubes, wasp spray, garbage bags, dish soap, sponges. No fuses. Also no matches or candles, which would also have been useful. In the top kitchen drawer, a yellowed paper brochure for “RusticMountainCabins.biz,” complete with grainy picture and phone number. Not that the phone number did any good here.

How far had the owner’s house been? Maybe a mile or two. She could hike down and knock on his door. It would still be early, but not unreasonable, given the inconvenience of no power. There should have been a warning not to use multiple appliances at once. Or maybe that explained the microwave stashed in the broom closet. Shit.

She stuffed her hair under a hat, wrote a note explaining where she’d gone in case Shar arrived before Zanna got back, put her computer in her backpack since she didn’t trust the flimsy lock on the door, and headed down the mountain. Down was steep, made trickier by the loose gravel, which skittered out from under her feet. She fell once, windmilling all her limbs to prevent the inevitable, twisting to keep from landing on her computer or her tailbone. She wound up on her left hip and elbow. The elbow got the worst of it, skinned and begraveled.

After that, she took it even slower, picking pebbles from her arm as she went. If she walked with small steps, the slope from one foot to the other was negligible. If she put her full weight on each foot, penguin-style, she exerted sideways motion instead of downward. Jean Diener would appreciate it; the character was a retired physics professor, living in an RV which she parked in any given town just long enough to help solve whatever murder transpired, through physics and common sense.

When Zanna reached the first driveway, she realized she didn’t know the house number. What had she noticed about the house, waiting for Shar to collect the keys? She closed her eyes. The owner’s house was larger than her cabin, larger than this one. A steep driveway featuring a rock Shar had been afraid to drive over with a rental car. Navy blue SUV with West Virginia plates and one of those WV stickers that looked like the Wonder Woman logo. A windchime with wooden—what did you call them? Wooden knocker things. She’d have to look up the word.

Not this driveway, nor the next, but the third one had the right look. Blue SUV, windchime. Less rental-cabin-like, more home-like. Where did the difference lie? Something to do with the decor. Baskets of orange mums hanging from hooks on either side of the porch steps. The porch ran the entire front of the house, with dormant rose beds below it, trimmed low for winter. The soil was weeded and neat except for some animal tracks.

She glanced at her phone for the time: 7:33. Probably still too early to knock on a door under normal circumstances, but she wouldn’t have thought twice about phoning a rental office to make this complaint. No coffee, no heat, no electricity. Possibly no shower, depending on the type of water heater. A landlord should expect tenants to come knocking under those conditions.

The front door stood open, as did the screen, which hopefully meant the owner was awake. Zanna stepped onto the porch and knocked on the doorframe. The mat was turquoise with a picture of a llama on it.

“Hello?” She realized she didn’t know the owner’s name.

“Hello!” she called again when nobody answered.

She stuck her head in the door. There was a grid of keyrings on hooks to the right, all neatly labelled with the cabin addresses, which mystery-writer brain pointed out was an invitation to robbery. Below the grid, a mat with two muddy boots. Beside it, four coat hooks, all holding jackets in hunter’s camo; the owner had been wearing one of those when Shar had knocked the day before. That was the only glimpse of him she’d had from the car.

She yelled one more time, then turned to look where someone might have wandered to with their door open. This was far enough off the beaten path that people might leave their doors unlocked, but for someone with such a fastidious entrance to leave the screen open too struck her as odd.

It was only when she walked a few steps left along the porch that she saw the foot. A bare foot, toes up, just visible on the SUV’s far side.

“Hello?” she said again, walking around the vehicle’s massive front grill.

He wasn’t going to hello back. A middle-aged white guy lay face up, one knee crooked, like he had tripped backing away from someone or something. His head rested on a rock, though rested was an odd word; the rock was drenched in blood. His expression was the worst part: he looked terrified. Eyes and mouth open, corners of his mouth cracked.

She stooped to press two fingers to his wrist. No pulse. His skin was cooler than hers. There was gravel on his right hand, but no blood; he’d never even touched the back of his head, so he must have died instantly.

He wore sweatpants with a bloody tear at the crooked knee and another smaller hole in the seam by the crotch. No shirt, no socks, no shoes. The tattoo above his right nipple said “BREATHE” in reverse, mirror-script; a tattoo for his benefit, not others’. The knee exposed by the rip was pitted with driveway gravel, as were the soles of his feet; they were soft-looking feet for what she imagined was an outdoorsy guy. That detail made her own elbow sting, which reminded her this was real. Not a book.

A body. A real body, until recently a real person. A real person wearing pants nobody would want to die in. What did you do when you found a real body? What did Jean Diener and the people around her do when murder came calling?

She dug her phone from her pocket and was relieved to see one bar of reception. It disappeared when she lifted phone to ear, then reappeared when she peeked to see why the call wasn’t going through. She walked a few feet onto the driveway rock and was rewarded with a more stable signal.

The woman who answered had clearly been sleeping; a yawn came through before her “911—is this a medical, fire, or police emergency?”

“I found a dead body.”

The woman swore and the line faded. Zanna shifted to the left, and the voice came back. “—Sorry, that was unprofessional. Are you sure they’re dead?”

“Yes. No pulse. I checked.”

“And are you safe yourself?”

“I think so? I have no idea, actually.” She looked around. What could have scared him badly enough to send him running from his house without putting on shoes? She hadn’t even considered that she might be in danger. She felt oddly calm.

“He looks like he hit his head.”

The woman on the line said something unintelligible, and Zanna moved closer to the SUV trying to find the signal. There were animal tracks across the hood. She stared at them as she triangulated reception.

The operator returned. “Ma’am, I asked what your name is?”

“Susan Ke—ah, Suzanna Gregory.” Calm, but flustered enough to have almost given her pen name.

“And where are you?”

That one was tricky, too. “Ah, I hate to say it, but I have no idea what road this is, and there’s no house number. I’m staying at a cabin, and I just arrived yesterday, and my assistant drove and made the arrangements… can you use my cell phone location if I turn it on?”

“That’ll take a few minutes, and it’ll only tell me which cell tower your call is routed through. Is the body at your cabin?”

“No, I took a walk. I think it’s the guy who rents the cabins, if that helps. Outside his house.”

“RusticMountainCabins.Biz, by any chance?”

“Yes!”

“Does the deceased have grey-brown hair, wavy, longish?”

She leaned over to look at him again. “Yeah.”

“Gary Carpenter. You’re on McKearney Road. Do you feel safe staying there until I send someone?”

“Yeah.”

“Great. Don’t touch anything and somebody’ll be up there in thirty or forty minutes. Can I get your phone number?”

Zanna recited her number and promised to call back if the situation changed. While she still had one bar, she rang Shar. Unlike the 911 lady, Shar was instantly awake.

“I thought you didn’t have reception!”

“I didn’t. Or power. The whole cabin shorted out this morning when I tried to make coffee, so I tried flipping the breaker, only it was a blown fuse, and there were no spares, so I walked down the mountain.”

“You didn’t.”

“I did. I can be resourceful, you know. I didn’t always have you in my life. But listen, that’s not why I’m calling. I’m calling because I got to the guy’s house where you got the keys, and he’s, uh, here, but he’s dead. I didn’t want you to get nervous if you got to the cabin and I wasn’t there. I left a note, but…”

“Dead?”

Zanna probably should have stopped at ‘dead’ longer. “Yeah.”

“Dead how?”

“It looks like he hit his head. There’s a lot of blood.”

“An accident?”

“It looks like.”

“Good. Well, not good, but you know what I mean. Better than some of the other options. Listen, I’m going to come get you.”

“911 lady said for me to wait here.”

“That’s fine. I’ll come wait with you. No need for you to walk all the way back up.”

She really was a great assistant. Zanna thanked her and disconnected.

In her books, Jean Diener would start investigating further. Walk into the foyer, poke around the house now, while emergency services were still far away. In real life, that seemed stupid. She didn’t want her footprints added to whatever was in the house. No sense making it harder for the real detectives.

She sat on the porch and leaned her head against the railing. She would have said she’d slept well, but tiredness overtook her. Still too early; no caffeine in her system. She closed her eyes. Opened them again when she heard a vehicle on the road. The rental pulled in far to the left to skirt the driveway rock, and Shar emerged with a paper bag and a coffee.

“Bless you,” Zanna said.

“I don’t need blessings. Give me your backpack to toss in the car, so they don’t start thinking it’s evidence. Eat the muffin over the bag so you don’t get crumbs on their crime scene. It’s blueberry—they didn’t have chocolate chip. Also, I need you to stay put when you say you’re going to stay put.”

“There was no power. Or coffee. You wanted me to sit there for four hours doing nothing?”

Shar sighed. “No… I… it’s just now you’re going to get stuck giving a statement, and maybe be considered a suspect, and you don’t need things distracting from your deadline.”

“A suspect?”

Shar nodded in the direction of the body. “You found him. You write detective books. Isn’t the person who found a dead body usually one of the people who has to be ruled out? You had opportunity.”

“But no motive. Well, except lack of coffee, but that hardly seems worth killing someone over.”

“You’re not going to joke about it when they ask you questions, right?”

“Right.”

“And you haven’t gone poking around by the body? Or inside that open door?”

“I’d never!” Zanna said, like the thought hadn’t occurred to her. “Okay, maybe not ‘I’d never,’ but I swear I didn’t. I went to the door, that’s all.”

Shar raised one eyebrow. “I believe you, just… when you watch them do their job, try not to make your interest look too prurient, alright?”

They sat on the porch steps, Zanna sipping a coffee made the way she liked it, two sugars, one cream. A little cool, maybe, from the twenty minute drive up the mountain, but still welcome and drinkable.

A blue-and-gold Taurus with an enormous antenna pulled into the drive, blocking Shar’s rental car in. Two cops got out, both white men, young. The tall blonde one had stubble dusting his cheeks, and his uniform looked slept in. The dark-haired one’s uniform was impeccably pressed, his shave straight-razor close.

“I’m Officer Dixon, and this is Officer Fischer. And you are?”

Zanna gave her name without stumbling over it this time, and let Shar introduce herself.

“And which of you found the body?”

“I did, Officer. Shar just arrived a couple of minutes ago to give me a ride back up the mountain when we’re done talking.” Zanna pointed in the direction of the vehicle. The two policemen—state, they must be beyond the bounds of the town at the bottom of the mountain—walked over to take a look, taking the long way around the SUV before disappearing behind it, to her annoyance.

She thought about the SUV. It faced the cabin, and he was on the passenger side. She hadn’t seen any keys in his hands, and his pants didn’t have pockets, so he hadn’t been trying to drive away. Maybe to get something from the car? She looked over to see it was unlocked, or the driver’s side was, anyway. This might be country enough that people didn’t bother to lock, but if that was the case, why not go in through the near side?

She was back to him being frightened of something and trying to put the car between himself and—who or what? An animal? Whatever ran across the hood? A nightmare? Maybe he was a sleepwalker, or a vivid dreamer. Maybe some medication had messed him up. Or a less legal drug, like meth or some hallucinogen.

One of the policemen—Dixon—went back to the car, where she could see him on the radio, but frustratingly couldn’t hear the call. Fischer had a camera out and was taking pictures of the body. Zanna sipped her coffee and tried not to look too interested, as ordered. What was the proper amount of interest? Concern with a dash of ‘when can I get back to my work’ seemed about right.

Dixon walked back over to the house. “Okay, obviously you were right that he’s dead, so I called it in. We’ll have to wait for the examiner to make it official, but I can get your statement and send you on your way. How did you come to find the body?”

Zanna explained about the coffee and the microwave and the fuse, and walking down the mountain.

“That’s what, two miles?”

“I think so.”

Shar interrupted. “The directions he gave me said 1.8 miles past his house, if that helps.”

“Thank you,” said Officer Dixon. “And what time did you arrive here?”

“7:33. I remember looking at my phone and debating if it was too early.”

“And then?”

“Then I walked to the door, and it was open, door and screen, and I knocked on the frame and called inside, but nobody answered.”

“—And you didn’t go inside?”

“No, I didn’t.” Zanna gave Shar a pointed look.

“Did you touch anything?”

“Only the body, to feel for a pulse.”

“Oh, sorry. Let me get this in order again. You knocked and called inside, and nobody answered, and…?”

“And I turned around and then I saw his foot sticking out beside the car.”

“And you walked directly over?”

“Yes. Do you need my shoe print?”

He laughed. “I don’t think so. That loose gravel isn’t going to tell much.”

“What about to prove I wasn’t in the house?”

“Which you weren’t?”

“No.”

“Nah. You can tell me your shoe size or something if you want, but I don’t think footprints are going to tell us much. He slipped in the dark. Nothing else to tell.”

“Other than the one spot, right?” She couldn’t resist. Shar glared at her.

“What spot?”

She pointed a few feet in front of the body. “There’s a spot where the gravel’s dug away, like he was running and slipped, which makes sense with the torn knee, but then the more, uh, chaotic patch is where he fell, like he spun around and his feet slipped out from under him, but he fell backward when he died, not forward. He had to have fallen twice.”

“Uh, right. Other than that. I guess you had time to look around a little while you waited for us.”

“I guess.” She bit her tongue to keep from making any other observations.

“Anything else you noticed, then?”

Shar shifted on the stair, a slight movement that allowed her to dig an elbow into Zanna’s arm. “Nothing else, Officer.”

“Okay, then. I’ll take your phone number and the address where you’re staying, and you can be on your way.”

“Why don’t you take my number instead?” Shar said. “You won’t be able to reach her up the road, and I can always go find her.”

Dixon took both numbers, then walked them to their car.

“’Other than the one spot, right?’” Shar mimicked as they waited for the officer to move his car out of their way. “You couldn’t resist.”

“He wasn’t doing his job. He thinks the guy slipped and hit his head.”

“Firstly, he’s highway patrol, not a detective. Secondly, he doesn’t need to tell you, random lady who found the body, everything that he’s noticed. Thirdly, the guy slipped and hit his head. There are no other footprints. Case closed.”

“Case closed? How can the case be closed before somebody looks inside to see whether there’s any hint of what scared him?”

Shar started to reverse, then slammed on the brakes. “Shit. I forgot about that giant rock. If I back over it, we’ll leave the tailpipe behind.”

“Pull forward. You can’t turn around here.”

“How would you know? You can’t drive.”

“I’m familiar with the spatial laws of the universe. You’re going to have to do a ninety-point turn if you do it here. Just pull into the clearing so you have more space.” Zanna licked a drop of coffee off her hand.

“…spatial laws of the universe…” Shar muttered, commencing a ninety-point turn.

“…And why are you so sure he was scared, anyhow?” she continued as if there hadn’t been a pause in the conversation. “Maybe he needed something from his car, but he slipped?”

Zanna considered. “Still kind of weird to need something in such a hurry you don’t bother to put shoes on. Or a shirt, on a night that chilly. And to leave the screen swinging open. He looked like a fastidious guy.”

“A nightmare, then. Or some personal demon. A guy with a backward ‘BREATHE’ tattoo has something dark he’s getting past.”

“Sure. A nightmare. Except…” Zanna turned her coffee cup in her hands.

“Except what?”

“I don’t think they noticed the other print either.”

“What other print?”

“On the hood, the one you elbowed me before I could say. He must’ve just washed his car, because it was otherwise spotless—which is impressive given these roads—but there were tracks across the hood.”

“Tracks? Like footprints?”

“Animal tracks. Something ran through the flower beds and then across the hood of the car.”

She dug a marker from her backpack and drew on her coffee cup. “Like two lines of feet with a tail dragging between them. Across the hood, driver’s side near the headlight, to the passenger-side mirror.”

Shar glanced over. “Okay, so a lizard or a raccoon or something ran over the car. Big deal.”

“And trampled grass on his other side.”

“Zanna, you didn’t know this guy, you are not a real detective, you have a very real deadline, and you’ve lost hours of your day already. Let the police do their job.”

“Hours—Shar, turn around. We still need to get a fucking fuse.”

Shar reached into her purse and fished out a plastic bag without looking down. “Voila. Stopped at the hardware store on my way to you.”

“How did you know which size to get?”

“I didn’t. I got a whole bunch of different ones, and I can return the ones that are wrong.”

“Huh.”

“‘Thank you, Best Assistant Ever. You think of everything. You deserve a bonus.’”

“Thank you, Best Assistant Ever. You think of everything. If I actually finish this book and I get paid, you’re totally getting a bonus.”

They arrived back at the cabin. Shar, the Best Assistant Ever, unplugged the coffeemaker and the microwave, brandished a small flashlight with a price tag still on the base, and headed into the bowels of the cabin to replace the fuse.

Zanna sat at her writing table. She heard the crawlspace door creak, then the shudder of the fridge when the main power cut off. She went to the kitchen and rummaged through the knife drawer until she found one that looked sharper than the others, then returned with it to her workspace, not for any reason she could fully express, even to herself.

She looked out the window, the up-mountain window, with its Prismacolor trees. She pulled West Virginia Wildlife from her research crate, its cheesy 70s cover portraying a cougar, a bear, a coyote, a buck, and something that might have been an otter in the same riverside tableaux, and opened to the reptile chapter.

“Aha!” came from under the floorboards. A minute later, the lamp came back on, and the fridge gurgled. “Did that work?”

“Yeah,” Zanna called down.

Shar returned a moment later, running a hand through her hair for invisible cobwebs. “Maybe stick to coffee or microwave tomorrow. Do you want me to make you lunch?”

“Nah, I want to get some writing done first. Only…”

“Only what?”

“Only there are four skinks and two lizards native to this area, and none of their tracks match the tracks I saw.”

Shar looked over at Zanna’s reading material. “Maybe they’ve discovered another since 1975.”

“Maybe.”

“Any other mysteries I can solve so you can get back to writing yours?”

Zanna hesitated. She wasn’t sure if she really wanted the answer to this one. “You—you mentioned the guy’s tattoo.”

“Uh huh?”

“When did you see it? You got out of the car, came straight over to me with coffee. You couldn’t ever have seen more than his foot from where we were.”

“The day before, when we stopped for the keys.”

“He was wearing a zipped jacket when he opened the door.”

Shar crossed the room and settled on the couch. “So, what? You think I’m a suspect? Or your lizard is?”

“I have no idea what to think. These are things I noticed. They don’t make sense.”

“That’s the problem with real life. It’s too messy for fiction. Too weird. All those mysteries solved by a single hair found in a drain in fiction, or a single tire track. You’d go out of your mind trying to solve a real mystery. Not that there’s a mystery here. Just drop it. Unless there’s something else?”

“You never asked,” whispered Zanna.

“What did you say?”

“You never asked where the body was. You came and sat next to me. It would have made sense for you to assume the body was inside the house, but you never asked and you nodded in his direction even though he wasn’t visible from that side.”

“You must’ve said it on the phone.”

“I didn’t. I know I didn’t. You had to have been there earlier, seen the body or something. What the fuck, Shar?”

They stared at each other. How long had Shar been her assistant now? She couldn’t even remember, which was weird in itself, actually. “Maybe I should take a walk down the mountain again. I’ll bet those cops are still there. I can tell them what I’ve found…”

“A lizard that doesn’t exist?”

“An assistant who is lying to me.” Zanna stood. She held the kitchen knife by her side, not knowing what to do with it.

“What if I told you that you really, truly, don’t want to know the answers to your questions? That I’ve taken care of everything you’ve needed for twenty-two years, and I think I’ve earned the right to ask you to trust me.”

Twenty-two years. Zanna chewed on her lip, thinking. “I’d say I trust you if you flat-out say you didn’t murder him, but either way, you know what happened, and you’re lying to me. You’ve earned the right to ask me to trust you, but I don’t know if I can when I can see you’re not being completely honest.”

Shar lay back on the couch and put the pillow over her head. “Just once, in all these years, I’d like you to say ‘I trust you completely.’”

“What are you talking about? I’ve always trusted you. You know my bank accounts, you have my credit card, you…”

The pillow lifted. “You say that every time too, but when it comes to it, if I say ‘don’t poke at the body’ you always do. And can we skip the knife thing? You aren’t going to use it.”

Zanna looked down. The knife looked oddly familiar in her hand, like she had written this scene. She had a thousand questions and didn’t even know which one to ask.

She tried to keep the panic out of her voice. “How are ‘always’ and ‘don’t poke at the body’ in the same sentence? When has this ever happened before?”

Shar propped herself on her elbow. “Tell me about writing your last book.”

The Mosquitoland Murders? We flew into Minneapolis and rented an old house in the woods a few hours away.”

“The actual writing. Do you remember anything of the time we spent there?”

Zanna considered, then shook her head. “No. I never remember the big drafting binges. It’s a shame. We pick these beautiful places, and then it all passes by in a blur.”

“Okay. How about your first book? Do you remember your first book?”

“Of course. Campsite 49.”

“Not the first book you sold—the first book you wrote.”

“It was horror, I guess. Dark fantasy, something like that. The Blur in the Corner of Your Eye. There was a creature.”

“Do you remember anything else?”

“God, I was only a teen. The creature laid eggs in people.”

“And why did it get rejected?”

“They said it didn’t ring true as fiction. Too messy and weird. Derivative. I never figured out how to fix it, and then I wrote Campsite 49, and now I’m a mystery writer instead of a horror writer. What are all these questions?”

“One more: what did you eat for dinner last night?”

“I ate—um… I don’t know. I guess I was caught up in writing, but I’m pretty sure I ate something.”

“Salad. You had a salad. How far did you get on the book yesterday?”

That seemed to Zanna like something she should remember, but she didn’t. “Fine. Shar, what’s the point of all this?”

“I’m going to tell you something, and you’re not going to believe me.”

“I thought we did that already at the start of this conversation.”

“We did, but this is something else.” Shar paused, sighed. “There’s this… thing. Like in The Blur in the Corner of Your Eye, okay?”

“A thing?”

“A creature. Let’s say those prints you found belong to something, only it isn’t in your book because it isn’t native to this area. It hitches a ride.”

“Hitches a ride?”

“Yeah. Can you stop repeating me for a sec? You’ll get it, I promise. So there’s this thing, and like you said, it lays eggs. It does it while the person is asleep, and then the eggs incubate, and the first one that hatches eats the other eggs.”

“And then it eats through the person and runs away into the world. I know. I wrote this book, remember?”

“No! You wrote it wrong. It doesn’t eat through the person. It hides in their body, dormant, until it has to lay its own eggs.”

“How could I write my own book wrong?”

“I don’t know. You forgot. You always forget.”

“I still don’t get what you want me to do with this story. I don’t write horror anymore. Why don’t you write it?”

“It’s not a story, Zanna. That’s what I’m trying to tell you. Did you wake up with a sore throat this morning? Your lungs sore, though you don’t remember coughing?”

Zanna shrugged. It had only been a few hours, but it felt like ages ago.

“I hate when you make me do this the hard way,” Shar muttered. “You always make me do it the hard way.”

She reached into her bag and pulled out a baggie of brown powder. “Here, put a pinch of this on your tongue.”

Zanna turned her head away.

“Come on, smell it. It’s cumin.”

“I hate cumin.”

“You two have that in common. Come on, I need you to do this. A small pinch.”

Zanna didn’t see a way out of it, since she was stuck in a room with someone whose reasonable tone belied the deeply weird things she was saying. She swallowed a pinch of cumin, then coughed. A second later, the coughing grew deeper, like the powder had gotten into her lungs. Then something stranger, like claws inside her chest. She gagged, and heaved something up. It helped itself along the way, tearing at her teeth and gums even as she opened her mouth.

The thing that skittered out of her was not a lizard or a skink. It had too many legs, and the middle track hadn’t been a tail, it was a long face with a proboscis that touched the ground and it had no eyes and too much skin, slimy, black, loose, and it was so fast, just a blur. It skittered under the couch, and Zanna remembered the sound from the middle of the night. Her mind started to lose both that memory and the memory of what the thing looked like even as it disappeared from her view.

“What. The. Fuck.” The words hurt.

“You never believe me until I show you.”

She held the knife out to Shar. “Kill it!”

Shar waved her off. “Oh, trust me, we’ve both tried. Burning, shooting, stabbing, drowning. It has a very strong will to live.”

“What was it doing inside me?”

“It lives there. You’re its host. I don’t think it actually does you any harm.”

Zanna ran her tongue around her sore mouth, and Shar amended, “Well, it doesn’t normally do you any harm. I think it anesthetizes you when it’s not in a hurry. When you don’t swallow a mouthful of cumin.”

“Anesthetizes?”

“Yeah, so you relax, and you don’t remember it leaving or coming back. You never remember these trips at all. When you read your drafts back home you always say ‘I must have been in the zone. I don’t remember writing any of this.’”

Zanna nodded. She knew she had to ask the hard question, too. “So what’s your part in this?”

“I do what I’ve always done, since we were kids and we got stuck in the crawlspace under my dad’s house and it chose you. It got way easier when I convinced you to hire me. Find someplace remote for you to write a couple of times a year when you start showing signs. Powder myself with cumin. Try to make the closest person someone who won’t be too missed if something goes wrong, like this time. Try to keep you away from the body, which is sometimes easy and sometimes a disaster, like today.”

Zanna again had more questions than she could possibly voice. It was true, she did have lapses, but only when she was writing. Her process had always been weird like that, and two books a year had never felt difficult. She remembered everything in between books, or at least she thought she did. She again fixated on Shar’s language instead of the harder questions. “What do you mean by ‘if something goes wrong’?”

“That same secretion… they’re dozy when I get to them. I can usually scrape the eggs out of their mouths, and they never even know anything happened. Only, sometimes, something goes wrong. It gives some of them nightmares, or maybe they see it, I don’t know, and they fall down the stairs, or they attack it, or they attack someone else, or like this guy, they run out of the house and hit their head, and I still have to scrape the eggs out so the medical examiner doesn’t find anything.”

“Why don’t you just let them discover the eggs? Or tell someone—a doctor, a biologist?”

Shar looked horrified. “They’d never let you go. They’d have to lock you up to keep it from getting to anyone, and they’d figure out the same thing I have about it surviving everything we try to do to it. You’ve got contracts. Books to write. Or they’d keep me for having covered it up, and you wouldn’t have me to protect you anymore.”

That all made a certain amount of sense, even if it was horrible. Shar could be wrong, of course, but she was usually right. “How often does it go wrong?”

“Maybe one in five? They never connect you. Or me.”

“But that’s why we never go back to the same place twice?”

“Yeah. Somebody would get suspicious sooner or later. But—you believe me now?”

“Yes, I believe you. Are you sure you shouldn’t kill me?”

Shar looked horrified. “I wouldn’t!”

“But you’ve let all those other people die. One in five?”

“The eggs have never once survived. The one in you is the only one, as far as I know. Well, and whichever one laid an egg in you to begin with; I guess there must be others. I didn’t mean to let anyone die, but it’s better than the alternative.”

“The alternative?”

“Letting any of the eggs live, or letting you kill yourself. You’ve suggested that a few times, but what if it survived? How would I find it again to try to keep people safe? You can’t do it.”

The thought had crossed Zanna’s mind. “Then what happens now? I’m not going to let that thing claw its way back down my throat.”

“You will. You’ll fall asleep tonight and it’ll find its way back. It always does. Then you’ll wake up in the morning, and you won’t remember any of this, and you’ll draft your book, and we’ll go back to the city, and you’ll read your draft and tell me you must’ve been in the zone, and then when you come up with your next book, the plot’ll hinge on a guy who ran out of his house with no shoes, and you’ll research it and I’ll find someplace remote for you to write it. Rinse and repeat.”

They were both silent a moment.

Zanna had a question she didn’t want to ask, but asked anyway. “Does it help me somehow? Is this a deal like I can’t write without it? That it helps my creativity?”

“Not as far as I know,” Shar said. “It might inspire some of your plots—okay, most of them—but I can’t see any reason for the rest. Your work ethic and prose are all yours, I’m sure.”

“That’s something at least,” Zanna said. “That would be one ugly muse.”

They were silent again. After a minute, Zanna spoke again, the only thing left to say. “Fuck.”

“Yeah.”

“Shar?”

“Yeah?”

“You really are the best assistant. You deserve a raise.”

“You say that every time, too.”

“What if I write it down? ‘Note to self: give Shar a raise’?”

Shar cocked her head. “Y’know, I don’t think you’ve ever done that before. It’s worth a shot, if you mean it.”

“I really and sincerely mean it.” Zanna opened her computer and created a reminder for herself. A reminder that would chime at her in one month’s time, and which she’d open and look at in total surprise and have no memory of writing. Then she’d nod in agreement, even if she couldn’t remember what exactly had prompted her to set the alert (or why the second line said “believe her”) and she’d make it happen, because she would hate to lose an assistant as good as Shar.

(Editors’ Note: “The Blur in the Corner of Your Eye” is read by Erika Ensign and Sarah Pinsker is interviewed by Lynne M. Thomas on the Uncanny Magazine Podcast, Episode 29A.)

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