Tag Archives: Virus

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Loa in Dreamland

Loa in Dreamland
A review of Nalo Hopkinson and Neil Gaiman’s House of Whispers Vol 1: The Power Divided (DC Vertigo, 2019) 

By Derek Newman-Stille

For those of you reading Speculating Canada over the past few years, you have probably noticed that I am a huge fan of Nalo Hopkinson’s work. I’m also a huge fan of Neil Gaiman and of comics, so I was extremely excited to find out that the two collaborated on the comic series “House of Whispers vol 1: The Power Divided”, set in the Sandman Universe and to see their voices mingle in an exploration of the potential of that imagined universe. 

Hopkinson and Gaiman have always demonstrated a continuing fascination with border crossing and the implications of the collision of the physical and spiritual world and “House of Whispers” happens at that point of contact when the spiritual realm of the Loa (Afro-Caribbean deities) is partially pulled into the world of dreams and the goddess Erzulie finds herself outside of her space of worship and cut off from the world she knows and her ability to help her worshippers.

At the same time, a spiritual virus is released amongst the human population, making the infected feel as though they are dead, yet alive. Medical practitioners can’t see anything wrong with the infected people, but they are left without feeling or joy or connection to the physical world. Their spirits are sent to the world of dreams and they are left empty, wandering meaninglessly across the world. This virus is spread by words, through a phrase, and this instantly reminds me of the Canadian film Pontypool where a zombie virus is coded in language. It makes me wonder if there is a trend occurring where people are both recognizing the power of language and also questioning what language can do. Hopkinson has always demonstrated a fascination with the power of language in her novels and short fiction, linking words to magic, exploring the way that language shapes us, and playing with the sounds and taste of language. 

The description of the living death that Hopkinson describes not only evokes the idea of the zombie, but also evokes depression. Most of our society looks at depression as a form of sadness, but for those of us who experience clinical depression, we often feel a sense of emptiness, a disconnect, and a hollowness that strongly differentiates depression from sadness. The feelings of the characters in House of Whispers evoked this sense of depression. This depiction is as powerful as it is painful to read. I could feel myself resonating with the sense of loss and pain that the characters were experiencing. Hopkinson’s creative energy wound itself throughout this powerful narrative, giving it life.

As always in her work, Hopkinson highlights diverse bodies and identities. The majority of her characters are BIPOC, which is a fantastic change from the normally excess of white characters in comics. Moreover, her narrative focuses on diverse body sizes and Erzulie, for example, is represented as fat, which is an exciting shift that allows for the recognition that fat is beautiful (especially since Erzulie is the Loa of love, desire, and beauty. Hopkinson also features disabled people and LGBTQ2IA relationships including lesbian couples and nonbinary characters. This is a comic that engages the multiplicity of human experience, and it is so much stronger for that reason. Her characters are highly developed, relatable, and carry so many waiting to be told stories in their every sentence. This is a rich comic that is filled with the potential of narratives yet to come. 

Like most comics, House of Whispers: The Power Divided is a collaborative work, both with other writers such as Gaiman and later with Dan Waters, but also with artist Dominike Stanton, whose artistic talent brings Hopkinson’s words to visual life and adds to the power of the story she tells, particularly by emphasizing bodily diversity and evoking the beauty of the human (and magical) form. Set partially in a dream world, this comic is a form of dreaming given physical form.

To read more about House of Whispers Vol !: The Power Divided, go to https://www.dccomics.com/comics/house-of-whispers-2018/house-of-whispers-1

To find out more about Nalo Hopkinson, go to https://nalohopkinson.com/index.html

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A Plague of Immortality

A review of Matt Moore’s “Innocence Prolonged, and Overcome” in Lazarus Risen (Bundoran, 2016)
By Derek Newman-Stille

Contagion narratives have been increasingly popular in our fiction, exploring the human fear of the microorganism, a tiny predator that can consume us without being seen. However, what happens when a virus gives us what we think we want? We are also a society who fears ageing, so what if a virus can end ageing? 

In Matt Moore’s “Innocence Prolonged, and Overcome”, a contagion named the Grail Virus has spread,, killing the vast majority of people that come into contact with it, but granting immortality to a select few people. Because the virus is deadly to most people, this select group of immortals, frozen at the age of infection, have been cut off from the rest of society, quarantined in a small town. 

Moore explores the image that is often projected onto small towns – a timeless space where nothing changes – by introducing a town that is literally frozen in time, unageing… and yet this town is not one that is quant or traditional – this is a town that has systemic violence and a space where people fight against the isolation and agelessness that is often viewed by urban people as the idealized space of the small town. 

Moore’s tale examines the discomfort that comes with agelessness, and the reminder that small towns are places of memory where people can carry on feuds for generations… and in this town, where no one ages, no one needs to rely on stories about slights of family members – these townsfolk remember every slight that has happened to them because they have lived through it all. 

Moore uses the subject of immortality to explore ideas of change and to examine whether people are actually capable of change, interrogating that idea that an “old dog can’t learn new tricks” by giving them an eternity to try to learn new tricks. Moore invites the question of whether people are stuck unchanging because society casts them in that role, always assuming that they are the same person who everyone remembers them being. He asks whether it is possible for people to change if no one will let them and everyone refuses to remember them any other way.

To discover more about Matt Moore’s work, visit https://mattmoorewrites.com/

To find out more about Lazarus Risen, visit Bundoran Press at http://www.bundoranpress.com/product/1/Lazarus-Risen 

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Ageing “Usefully”

A Review of Teri Babcock’s “Prometheus on the Operating Table” in Lazarus Risen (Bundoran Press, 2016)
By Derek Newman-Stille

Frequently, the discourse around ageing is that elderly people are no longer useful in our society. Teri Babcock’s “Prometheus on the Operating Table” complicates these ideas of “usefulness” around ageing by creating an aged character who is the most useful person on the planet, indeed the story opens with “Old as I am, Im useful still, so they keep me alive”. After a viral outbreak damages the livers of Earth’s inhabitants, a 120 year old man discovers that he is the only person with immunity and his liver is repeatedly cut into smaller pieces to be disributed amongst the remaining population. 
The discourse of usefulness shapes his care and he receives extra care because of his perceived importance, pointing out that frequently care is constructed as something that should only be available to the few people who society deems are useful. Yet, his care is also related to constant monitoring and control. He lives out his extended life in a coffin-like pod with a zipper attached to his body for easy access to his liver. Quality of life isn’t a concern for his care-givers and instead they focus on providing him with bodily necessities which reflect their own necessities for the use of his body.
While in “care”, his body is treated as a useable commodity, controlled and without options, and simultaneously treated as a resource to be exploited both for his liver and also for his other bodily fluids since his sperm is also taken and used to impregnate people without his consent. 
Yet, Babcock brings attention to the way that care of aged people need to take into account psychological and social needs, portraying a decline in health coming from depression.
Babcock brings critical attention to the treatment of aged bodies and perceptions about identity and critical needs by portraying a future in which an aged body is constructed as extremely useful, resisting the social portrayal of ageing as a decline in use.
To discover more about Lazarus Risen, visit the Bundoran Press website at http://www.bundoranpress.com/product/1/Lazarus-Risen

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Growing Up Monstrous

A review of Nalo Hopkinson’s “The Easthound” in Falling in Love With Hominids (Tachyon Publications, 2015)

By Derek Newman-Stille

Nalo Hopkinson’s “The Easthound” takes the reader onto the streets with a group of street children who have been displaced from their homes. There is a long history of street kids creating their own myths and legends about survival as a means to be able to deal with life on the streets, which, in the case of most of these kids, was safer than life in their original homes with abusive parents. But in “The Easthound” the monsters of those street tales is true. There is something lurking in the dark and it is something that often threatens children on the streets – adults and adulthood.

Hopkinson explores the spectre that haunts most kids on the streets – the violence of their parents and other adults in their lives. But, instead of these adults being regular abusers, they become actual monsters, transformed at the age of adulthood into werewolf-like beasts that prey on anyone who remains human. The street kids in “The Easthound” have gathered together in small groups to keep themselves safe from the spread of the monstrous virus that sets in at puberty and they try to resist adulthood, starving themselves to prevent their bodies from maturing. Many of the children were already abused by adults who were turned into beasts by the spreading virus, some losing limbs. 

Although Hopkinson deals with the spectre of violence as an actual viral spread of monstrosity, she points to the overall issue of violence against youths and the fact that many young people have to take to the streets to escape the violence of adults in their lives and then live in fear on the streets as well. 

Hopkinson’s “The Easthound” mirrors the classic Star Trek episode “Miri” (Season 1, Episode 8) where a virus has spread on an Earth-like planet that turns people monstrously violent when they hit puberty. But, she takes thing further. Whereas the writers of “Miri” try to resolve these issues with a cure (followed by sending educators to the planet), “The Easthound” expresses the idea that there generally aren’t simple solutions to the violence that street children experience and adults are generally part of the problem rather than part of the solution. Hopkinson explores the complexity of street life and the complex ways that “growing up” has a different set of meanings for kids on the street. 

To discover more about the work of Nalo Hopkinson, visit her website at http://nalohopkinson.com

To find out more about Falling in Love with Hominids and other books by Tachyon Press, visit their website at https://tachyonpublications.com/product/falling-love-hominids/

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Nursing Home Zombies

A review of Matthew Johnson’s “The Afflicted” in Irregular Verbs and Other Stories (ChiZine Publications, 2014).

By Derek Newman-Stille

Matthew Johnson’s “The Afflicted” levels a critique at older adult care facilities and the general social desire to make the elderly invisible. Johnson highlights the way that we tend to hide older adults away in care facilities that are largely there so that we can hide from the spectre of age. Yet, his elderly population refuse to submit to erasure. Instead, they act boldly, making the threat of age literal by turning them into zombie-like cannibalistic figures. 

The first signs of The Affliction are whitening of the hair, memory loss, and some disorientation. The Affliction then proceeds to make the afflicted violent, inspiring them to hunt other human beings and bite their flesh. 

The Afflicted have all been taken out of nursing homes and placed in locked, gated facilities deep in the woods where no one can see them or visit their elderly family members or friends there. These facilities are believed to be better for those who are likely to eventually become End Stagers – the final stage of The Affliction when the person loses all identity and becomes a ravenous feeding machine. 

It is revealed in the story that The Affliction came from out of the nursing homes, that it originated in these facilities, which allows Johnson to comment on the type of care that is received by the elderly in older adult care facilities. These facilities (before the outbreak) were largely run by machines, limiting human contact between residents and the outside world. Each facility only had one nurse on staff. This lack of contact relates to The Affliction since Kate, the nurse at the facility that The Afflicted takes place in, notes that generally older adults who have regular contact with family and friends don’t go End Stage as early and are able to resist some of the dehumanizing effects of The Affliction. Johnson emphasizes the need for human contact for the elderly and the health benefits of regular contact with family members.

Johnson’s “The Afflicted” brings attention to the way we, as a society, dehumanize the elderly. We turn them into our social fears of death and aging and erase them by placing them in facilities where we don’t have to see them. Johnson powerfully challenges our preconceptions about aging and forces readers to confront the spectre of age and invites readers to question their own assumptions about aging. “The Afflicted” is a powerful reminder of what is forgotten – the people left behind.
  

To find out more about Irregular Verbs and Other Stories, visit ChZine Publications’ website at http://chizinepub.com/books/irregular-verbs

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Resistant Strain 

A review of Kelly Robson’s “The Three Resurrections of Jessica Churchill” in Clarkesworld Magazine (February, 2015). Accessible online at http://clarkesworldmagazine.com/robson_02_15/

By Derek Newman-Stille

Jessica’s life had been haunted by the faces of missing and murdered women that dotted the walls of the gas station where she worked, evoking the idea that when one lived on the Highway of Tears, one’s life as a woman was shaped by persistent loss. Jessica learned early on that the system wasn’t made to help, protect, or support her. She had already found that she couldn’t count on the police, medical, or education system for any form of protection, safety, or health. She has learned that her life was shaped by the controls of others and that the only way to be independent was to reject those controls. But, Jessica’s life becomes marked by the omni-presence of health and the threat of death. Her rape and murder are only the first of her body’s violations and infiltrations as her body is resurrected by alien bacteria who claim to want to help her but have invaded her body and modified it. 

Kelly Robson’s “The Three Resurrections of Jessica Churchill” explores the societal violence done against aboriginal women and its multiple manifestations – whether through the prevalence of missing and murdered aboriginal women or the denial of basic services like quality health, protection, and education to women. Robson explores the idea that the violence against women extends beyond sexual assault and murder to the various institutions that divorce women from their own bodies, that deny them access to health, understanding of their bodies, and means of protecting themselves. Robson’s bacterial aliens are only another manifestation of the types of bodily infiltrations and controls that women’s bodies are subjected to. 

“The Three Resurrections of Jessica Churchill” is a chilling tale about the relationship between violence, the body, and the idea that one often falls into trust by necessity because there aren’t other options… but this trust generally comes with an openness to vulnerability as well.

To discover more about Kelly Robson, visit her website at http://kellyrobson.com 

To read this story, visit Clarkesworld at http://clarkesworldmagazine.com/robson_02_15/

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Interview with James Marshall

An Interview with James Marshall
By Derek Newman-Stille

Author photo courtesy of James Marshall

Author photo courtesy of James Marshall

After reading Zombie Versus Fairy Featuring Albinos, I was fascinated with James Marshall’s different take on the figure of the zombie and his use of the zombie medium to question the zombie-like state of uncritical thought in our society. I appreciate that he was willing to have a conversation about his zombies and about his writing overall to provide some insights into the world he has observed and reflected in a dark, distorted mirror.

James Marshall is the author of Ninja Versus Pirate Featuring Zombies and Zombie Versus Fairy Featuring Albinos (both available from ChiZine publications), and known for his darkly satirical look at society.

Spec Can: To begin our interview, could you tell readers a little bit about yourself?

James Marshall: I was born and raised in Alberta. I moved to BC after high school. Writing is my passion. I play guitar for fun.

Spec Can: Two of your novels that are out from ChiZine currently feature zombies. What is the appeal of the zombie for you?

James Marshall: I like the zombie because I feel sorry for it at the same time that I fear it.

Spec Can: Why do you think zombies are so popular right now? What is their appeal to our society?

James Marshall: I think there are a number of reasons. People are terrified of dying so the idea of living on, even in a severely diminished capacity, is fascinating. In the age of air travel, the fear of a contagion spreading rapidly seems very real. And a lot of people want to bash out some brains.

Spec Can: In Zombie Versus Fairy Featuring Albinos, your zombie characters seem to offer a distorted window of our world. In what ways can literature about the zombie offer a critique of society?

James Marshall: The zombie does two things: it consumes and reproduces. It does those things unthinkingly and unfeelingly. That’s a pretty damning indictment of society. The zombie reproduces via infection rather than sex but it’s the same thing.

Spec Can: In Ninja Versus Pirate Featuring Zombies and Zombie Versus Fairy Featuring Albinos, the zombies have created an education system that essentially creates the preconditions for kids to become zombies – rote learning, behaviour control, suppression of creativity. What inspired you to look at the education system from this perspective and what would you like to see change?

James Marshall: I’d like to see everything change. I think the whole system needs to be fundamentally rethought. But I don’t think it will be because we’re dealing with such huge numbers.

Spec Can: How can Weird or Dark fiction challenge the status quo and get readers to think outside the box?

James Marshall: I think that by satirizing, we can expose the absurdity of certain ways of thinking.

Spec Can: What can Weird or Dark fiction offer readers that realist fiction can’t?

James Marshall: Zombies. 🙂

Spec Can: Your character Guy Boy Man (from Zombie Versus Fairy Featuring Albinos and Ninja Versus Pirate Featuring Zombies) advocates for a religion that focuses on ending human suffering. What inspired your exploration of religion?

Cover photo courtesy of ChiZine Publications

Cover photo courtesy of ChiZine Publications

James Marshall: Reason. I hope that reason will be popularized someday.

Spec Can: What impact do you hope your novels will have on readers?

James Marshall: I’d be really happy if they just make people laugh and think a little.

Spec Can: Is there anything further you would like to add to this interview?

James Marshall: To learn more about my books, please visit my website www.howtoendhumansuffering.com and to connect with me, please follow me on Twitter @james_marshall or friend me on Facebook http://www.facebook.com/authorjamesmarshall

I want to thank  Mr. Marshall for taking the time to answer questions and share his insights with readers. I know many readers are fascinated with Canadian dark fiction and the figure of the zombie in particular, so I am happy that Mr. Marshall was able to provide thought-provoking responses.

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Patient Zero and the Post-Human

A review of Nina Munteanu’s Darwin’s Paradox (Dragon Moon Press, 2007)
By Derek Newman-Stille

Author photo courtesy of Nina Munteanu.

In Darwin’s Paradox Nina Munteanu displays her awareness of scientific discourse: focussing on areas like chaos theory, biological theories of co-evolution, symbiosis and virology, and ecological theories. Her protagonist, Julie, is patient zero in a spreading epidemic that has infected most of modern civilisation. Munteanu creates a civilisation where human society is centred around a few urban locales, leaving large parts of the world unoccupied by human beings, and allowing for ecological development uninterrupted by human interference. Technology in this future world has fused with the viral epidemic, questioning the barriers of the human and the nature of human existence. The nature of humanity has changed with this introduction of other elements into the human biosystem, creating a post-human world in which the possibilities of the future of human existence are called into question, and in which several powers are vying for control of the next stage of humanity and the future of the human race.

Munteanu’s Darwin’s Paradox illustrates a collision of past and future as Julie is haunted by her past and ideas of home, while simultaneously representing a next stage in human evolution. The city Icaria 5 itself is a representation of past and present intersecting: buried under the city of Toronto and rising from the structures of the past. Munteanu’s plot is full of family secrets, the hidden past, and the resurfacing of guilt (particularly Julie’s guilt about being patient zero in the spreading viral apocalypse). She explores the draw of the past and home and the continual pull the past has upon one’s existence. Munteanu explores Julie’s simultaneous desire to return home and her realisation that home has forever changed – becoming a foreign place.

Munteanu explores society’s fear of epidemic and the role of medical technology

Cover photo courtesy of Nina Munteanu

as a mechanism for solving all of the world’s problems. She illustrates that medical technology has its limits and complicates the nature of technological methods of solving problems by allowing virus and technology to meld.  Simultaneously Munteanu explores the continuation of society’s obsession with beauty and perfection by creating a society where one can restore one’s beauty through instant medical treatments: Nuyu and Nuergery, using nanites to restore one’s youth and change undesirable aspects of one’s form. Political groups fearing the over-use of technology and the complications to the idea of the human that these surgeries may cause begin using scarring to assert their difference and reluctance to submit to social controls.

Media plays an important role in Munteanu’s vision of the future, illustrating the continuance of the media hegemony for defining the nature of “truth” as media messages replace facts and political leaders manipulate the media system to enforce their own controls over society and further embed their interests into the developing social system. She illustrates the danger of the current system of using the politics of fear as a mechanism for controlling voters (particularly focussing on the use of fear by political groups to shift cultural ideas, sympathies, and ultimately gain control of the developing social system).  In Munteanu’s vision of the future, it is impossible to trust anyone completely and layers within layers of plot are illustrated, leaving the reader distrusting of every message he or she receives.

Munteanu raises questions and challenges the development of society’s current systems, asking her readers to think critically about messages they are given and to question everything. She illustrates that the truth is socially constructed and that ideas of the truth serve social purposes and can be used to support hidden agendas.

You can discover more about Nina Munteanu’s work at http://www.ninamunteanu.com/ , and can read more about Darwin’s Paradox at http://www.darwinsparadox.com/

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Vamping Things Up – An Author Commentary by Ian Rogers

I would like to quickly (re)introduce you to Ian Rogers. Ian is the author of the Felix Renn series of supernoirturals, and has had his work published in various collections (including Imaginarium 2012 and Strange World) and markets such as Cemetery Dance, On Spec, Broken Pencil, and Supernatural Tales. His collection of Felix Renn stories titled SuperNOIRtural Tales will be published in November, 2012 and his collection of short stories Every House is Haunted is currently available for pre-order. You can read more about Ian Rogers at www.ian-rogers.com and more about the Black Lands at www.theblacklands.com .

If you have not yet done so, please feel free to check out my Interview with Ian Rogers on Speculating Canada at https://speculatingcanada.wordpress.com/2012/08/23/interview-with-ian-rogers/ and my reviews of his books by  clicking on Ian Rogers in the tags section to your left. I want to thank Mr. Rogers for this exciting revelation into the Black Lands Vampire.

Vamping Things Up

by Ian Rogers

 When I started writing stories set in the milieu of the Black Lands — a dark dimension filled with supernatural entities that lies next door to our own — I knew that at some point I’d have to write one about vampires.

So I decided to write it first.

Temporary Monsters is, ostensibly, a story about a designer drug that turns people into monsters. It introduces Felix Renn, a Toronto-based private investigator, his ex-wife/assistant Sandra, and the alternate reality in which they live where the supernatural exists as a matter of course.

When I decided to include vampires in my Black Lands bestiary, I knew I wanted to keep things simple. I wasn’t going to introduce a bunch of wacky new features to make my vampires stand out among the rest. Black Lands vampires are vulnerable to… Lucite! Yeah! And they don’t mind sunlight, but they real hate… uh, fog! Yeah, that’s it! A certain young-adult author has already done that, and her vampires are so different from the norm that some readers don’t even consider them to be real vampires.

Despite that, I knew that I had to be consistent. I wasn’t just writing stories here, I was building a world, and if I said vampires could be killed by a wooden stake to the heart, then I had to be sure to stick to that from then on.

My vampires, which is to say the ones that come from the Black Lands, are fairly standard. I tossed out most of the “magical” properties and tried to make them as real as possible. I tried to look at vampires, as I do all of the entities from the Black Lands, and think, What would it be like if they actually existed? What would a bunch of scientists and doctors make of them?

Black Lands vampires start with a virus. It has a long technical name, but most people in my world refer to it simply as the vampire virus, or VV. And if you think that sounds a bit like HIV, well, that’s not a coincidence. VV operates a bit like HIV, and in my world people are as afraid of getting one as they are of the other.

VV is passed through the blood and is highly contagious. It attacks the immune system, then everywhere else, until it induces a coma-like state. Then it really gets down to business. After a period of gestation, usually between 24-48 hours, the virus reawakens its host as a vampire.

Vampirism as a virus is not a new concept, but it was the one that felt like the best choice for my stories. The science I use is probably a bit wonky, but then I’m not Robin Cook writing medical thrillers over here. I want to make things seem real. I want readers to think, Well, I’m no medical doctor, but that sounds like it could happen. It’s Michael Crichton and frog DNA in Jurassic Park. Yes, a roomful of scientists could probably tell you why it wouldn’t work, but that’s not the point. It’s about plausibility combining with creativity to make fantasy.

Going with a few simple rules allows me to tell the stories I want to tell. I’m not as interested in bloody shoot-‘em-ups as I am about the characters. I like exploring how people live in a world where the supernatural exists. They don’t really understand it, which makes them afraid of it, unwilling to deal with it, but they can’t deny it.

In a story I have coming out this fall, “Midnight Blonde,” Felix Renn meets a woman who has been bitten by a vampire. She comes to him because she knows if she goes to the emergency room and tells them what happened, she’ll be put into federal quarantine.

Again, I tried to think what would happen in a world where the vampire virus exists. What would the authorities do to protect society against someone who was infected? I could see this poor woman locked in a room for observation — a room with a very large window to let in the sunlight, which would be the truest test to determine if she was infected. And if she wasn’t, if she turned out to be one of the lucky few who managed to avoid catching the virus? Well, she’d probably still be detained by the feds, being poked and prodded for years to come, maybe for the rest of her life.

This was the story I wanted to tell in “Midnight Blonde.” What would you do if you had a death sentence hovering over your head? Who would you go to for help? What hopes would you cling to?

Of course, Black Lands vampires aren’t just undead. That would make them closer to zombies (and yes, there are zombies in the Black Lands, but that’s a subject for another time). They have fangs, they crave blood, and they have above-average strength and reflexes. They’re not so strong and fast that I would call them “superhuman,” but you still wouldn’t want to meet one in a dark alley.

Their strongest feature is their regenerative ability. Black Lands vampires can be injured by physical trauma, and they do feel pain, but their bodies can repair themselves almost immediately. Shooting a vamp or stabbing one with a knife may slow it down, but it won’t kill it.

When it comes to killing Black Lands vampires, I again decided to stick to the common folklore. One way is sunlight. The other is a stake to the heart, cut off the head, and burn them in separate piles. Black Lands vamps don’t melt into goo or disappear in a puff of flame. Just like they don’t turn into bats or mist or summon wolves or sparkle.

For the most part, I’ve tried to keep my vampires rooted in the physical world, while leaving a few things about them in the dark (so to speak). Why are they vulnerable to wood? Why must the heart be pierced if they’re already dead? Why do they need to be decapitated?

Some of these things I know, and will reveal in future stories, while the rest… well, it’s the supernatural. It’s part of the fear. And that’s also part of the fun.