Spoiler disclaimer: This post will discuss some spoilers from Season 12 of Supernatural, so if you haven’t watched the season finale yet or aren’t caught up, skip this post and come back when you’re caught up.
After I watched the final episode of Season 11 of Supernatural, I did the equivalent of throwing a book across the room in reaction to the set-up for yet another season of the long-running (and I mean long) CW drama. But I recently got around to watching Season 12 to see if it would pique my interest in the show again, and I can honestly say that I was surprised at how interested I was in each episode. Some fans have lamented that the series has gone on for this long, and cite Season 5 as the true ending of the show for them, and that’s fine, while others have stuck around to see what else the show has to offer. Although I was ready to throw in the towel after the somewhat uninspiring and lacklustre Season 11, I’m glad I gave Season 12 a chance because it’s the most interesting that the show has been for years.
This is the first season in a long time where I found myself actually genuinely interested in each episode and I think it was because even in the episodes where there was a “Monster of the Week,” it somehow related to the current drama that was going on with the Winchesters and their involvement with the dastardly British Men of Letters or with the Lucifer subplot.
To be frank, I was surprised that the show had never done a “Lucifer is going to have a baby, we have to stop that thing from being born” narrative before, but I think the writers and/or showrunners considered it would be a good angle to pursue since so, so many others shows and films and books have explored that territory before. Although it remains to be seen in the upcoming “lucky” Season 13 what the consequences will be of such an event, it’s safe to say that Castiel’s visions of sugarplums and rainbows probably won’t be it. I will say that the mother of this child, Kelly, annoyed me to no end, I did prefer it when Lucifer chose the vessel of the fictitious former Hair Metal Glam superstar, ably played by Rick Springfield, which was a very cool addition this time around.
I’m not going to spoil the ending of the season finale, but I will say that I’ll be interested to see whether the two (wait, make that three) characters who we are convinced are dead actually are in fact dead, because as we know on this show, the concept of death and being gone can be fluid and not exactly absolute. Lucifer’s schtick is starting to wear thin on my patience, and I wanted to see a deeper, more personal subplot with Crowley where they really get into the meet of the feud as opposed to just skimming the surface. Still, it provided for a good looming threat in addition to the mostly stuffy British Men of Letters. Speaking of which, most of them did a good job getting on my nerves, especially Lady Bevel (I preferred the actress’s turn as Valerie on Season 7 of The Vampire Diaries), but I thought Mr. Ketch deserved more characterization and more exploration as to why he became the way he did. And of course, with Mik (sp?), at least there was an interesting layer of knowing that the British Men of Letters were definitely up to no good but that there was some grey characterization mixed in so it wasn’t all black and white.
With the return of the boys’ mother, Mary Winchester, nee Campbell, who used to be a hunter in her own right, I know there have been some mixed reactions with some fans being not too keen on her involvement, but for a show that has been on as long as this one has, and that keeps on chugging along, the writers constantly need to be doing something new, and I think this was definitely interesting territory to explore at times. I was expecting the whole time for something to go horrifically wrong–she would be yanked away from Sam and Dean as quickly as she had come back, that it would be a demon in disguise playing a cruel joke, that it would be like a clone or not really her, that she would turn against them at one point. I don’t think she answered enough about her involvement with Azazel, but nonetheless, it’ll be interesting to see what happens to her in the next season.
The episode in which Dean is hit by a memory spell and as a result starts to forget everything about himself, including his name, could have gone a very schlocky route but I thought it was a nice turn that allowed Jensen Ackles to show more of his acting chops, and although the cause was supernatural, it turned from comedic to very serious as the affliction mimicked the effects of watching a loved one go through dementia or Alzheimer’s, and it was very painful.
Two other things I really liked about this season were the plotlines involving hunters all across America becoming the hunted thanks to the British Men of Letters, and the introduction of more Princes of Hell, including Dagon and Remiel. I’m not gonna lie–I was totally panicking at first and thinking, “Wait…but they killed Azazel! How can this be?” for a moment or two. The introduction of the cool lance as a weapon which had very real consequences made me wish it would stick around. Speaking of weapons, although I did like seeing the Colt in action again, I thought that with the Alpha vampire episode, it served a very good purpose and the tension was real, but in the following episode with the God Pan, it felt like overkill and like the weapon was getting kind of overused by that point.
And of course, there’s the question of a certain beloved character who we saw again in the final episode when Castiel discovers that the impending birth of Lucifer’s son created a rift between earth and some sort of Bizarro world alternate dimension. It begs the question of how the two worlds will co-exist or function alongside one another, similarly to the sections we saw of Limbo when Dean was stuck there a few seasons ago.
This season’s big plot hole: So, since Castiel killed Billie, aka the Reaper, aka Death, who took her place as Death? Last time the Winchesters tangled with the first version of Death we saw on the show, there was a time when the dead weren’t going where they were supposed to go and it was creating huge problems. I expected the characters to address this plot hole in the following episode, but it wasn’t really mentioned in a big way since then. Theoretically, shouldn’t Castiel become the new Death? Or shouldn’t another Reaper pop up to take Billie’s place? I hope they’ll address that in Season 13, because it’s a pretty big plot hole.
For those who watched Season 12, what did you think? Overall thoughts? Ideas for what will happen in Season 13? What did you like or dislike the most about this season? Sound off below!
All That Withers
by John Palisano
December 2016 (paperback)
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*** Review disclaimer: I received a free copy of this book from the author in exchange for an honest review. ***
The first John Palisano novel I read was one released a few years ago, Nerves, which I reviewed for Hellnotes. Since then, he has had numerous subsequent releases and his latest is a short story collection called All That Withers.
We start things off with a story called Happy Joe’s Rest Stop. As the title suggests, the main character, Greg, is at a place called Happy Joe’s, which is indeed a rest stop where people that are in transit from place to place drop in to get some food and freshen up before the next leg of their journey. It seems to have more of a buffet atmosphere and more of a self service customer type of experience. Greg notes that they are in Nevada. Everything seems normal until the lights go out. Then there is an explosion. Instead of Stephen King’s man in black from the Dark Tower series, this time it seems we have of the Man in White who we see at the very beginning of the short story as a man wearing a white cowboy hat. At first Greg thinks that it’s possibly an earthquake or a series of earthquakes, but then quickly thinks it has to be terrorists. Greg starts calling for his father.
It was at this point that I started to guess that perhaps our friend Greg is not of the mortal earth and he’s in heaven or some version of heaven. As things turn black outside, the Man in White sort of shrugs and says that this is how it’s supposed to be, which kind of led me to think if he is maybe some sort of angelic character or if he is a deity of some kind. There are creatures. But it is not quite clear what they are. It doesn’t take long for some pretty icky descriptions of violence to follow, but the story maintains its breakneck speed in amping up the reader’s interest. Things end on an interesting note with the reader scratching his or her head and wondering what has just happened, which is appropriate for a story like this.
Splinterette switches gears to a snowy landscape. A character is caught in some kind of a storm and thinks that he is seeing a demonic version of his wife. He nicknames this creature Splinterette. This story ends on a note that is surprising and definitely not what the reader would expect, and it is one of the most poignant pieces of the collection.
What might be twins or if not twins but people separated at birth begins The Geminis, which revolves around characters who have a close bond, although we do not learn the name of the narrator at first. We do know that the name of the similar character is Lia. She is a designer while the main character is a filmmaker. They seem to be harmonies or balances to each other. The language in this piece is very immediate, which gives this story a very active sense of pacing.
The narrator seems to have some kind of an out of body experience or a hallucination that is very resonant. For readers who like their horror mixed with music or just prefer the short stories with musical elements, this story will satisfy those. This story speaks about the magical connections we sometimes have with the people with whom we fall into romantic relationships with and can’t explain–of how it is possible to have such a seemingly deep and unique connection, which as any reader knows who has had this before, can be ripped away at any moment and made to disappear, often without any explanation. It is a very existential piece that poses philosophical questions about life and what it all means to the reader.
Next up, Available Light begins with a narrator who tells us that he or she became the neighborhood monstrosity by their 6th birthday. There has been some kind of early mishap with playing too much under the sun and as a result, this character is not meant to go out into the sun. To say this character’s family is unsupportive is an understatement. This individual’s mother also has issues, which is putting it mildly. Ultimately, the story is about how some forces are may be meant to return from where they came, and disturbances of the natural order.
Long Walk Home is great if you like military horror that’s also kind of existential while My Darkness Travels on Sunshine calls on the author’s experiences in the film world highlighted through the story of this budding filmmaker, Dana. To say that her professor is eccentric and difficult is an understatement. Despite the tremendous and very negative odds that Dana must overcome, she chooses to tackle them head-on rather than running away from them. She has a painful and scarring incident in her past but it’s not what the reader would assume. Healing takes on a different form here.
Switching gears, The Haven has shades of Clive Barker and is a more visceral story than the others, while To The Stars That Fooled You continues the Barker-esque themes and undertones with an almost biblical horror and Lilith feel but also has the author’s musical background and expertise thrown in.
Mother You Can Watch marks a sort of fusion of the forms of the short story with the format of poetry. It’s a very short piece and seems to be an homage to the film Psycho. For a story to get you into a Halloween state of mind, look no further than Outlaws of Hill County.
Returning to the filmmaking theme is Welcome to the Jungle, intentionally named for the monster Guns N’ Roses hit. This time, we venture behind the curtain of the actors’ world and Hollywood exposing just a few of the seedy underbelly activities that go on with some beastly terrors thrown in. For fans who want more gore, you’ll get it in spades with this tale.
Wings for Wheels is a fusion of music and motorcycles with a James Dean vibe while The Curious Banks of the Wabash River takes us all the way over to Salt Lake City and the confusion as to where it really is. Needless to say, the piece ends on a terrifying note.
The Tennatrick proves that some beasts don’t go away that easily while Vampiro is a very clever take on a vampire story. X is for XYX is definitely on the creepier and more unsettling end of the spectrum. I feel like I should preface it with a trigger warning and mention that if you’re sensitive to issues dealing with suicide, you may want to proceed with caution. The story is about a suicide that shouldn’t have failed but does. What happens is slightly more psychedelic than that and also creepy but good because the ending is unexpected.
Sunset Beach reminds me of an interesting episode of The X-Files while Forever seems to imagine what the afterlife is like, starting off with some good images, mentioning Valhalla, but it’s a very clever tale that pet owners will be struck by, and it’s written in second person present tense, which imbues this story with a striking sense of immediacy. Gaia Ungaia is a creative story that ends on a chilling note.
Another thing I appreciated about the collection was that John included explanations at the end of the book for what inspired or prompted him to write each tale. This is a collection that is difficult to sum up because the stories are of an excellent calibre (some of which are award-winning and/or nominated) and the themes all range from so many different topics that reflect the author’s own experiences, making this a fascinating quilt of some of the most unique and eclectic horror fiction out there. If you have not read and discovered the wonderful work of John Palisano, start with his short fiction in this collection. It’s a wonderful place to begin and will only increase your appetite to devour more of his work.
I hadn’t heard of Erik T. Johnson before reading Yes Trespassing, but after reading the glowing endorsement from horror writer John F.D. Taff, whose work I do respect and admire, it set up the short story collection for me in a good way. Rather than give a story-by-story breakdown, what I will say is that Johnson is a writer who knows how to play with the reader’s expectations. One story, “The Black Tree’s Box,” in particular, was well done. It used various elements, including a possibly unreliable narrator, to spin a pretty good yarn. It also plays with chronology of the characters and of events in a very interesting way.
Rather than suffering from the fate of some short story collections that have stories that are all too similar or thematically not very different or make the reader question whether they’ve just read something very similar recently, Johnson’s collection offers a wide variety of stories on different themes and keeps the reader guessing as they make their way through the collection. In addition, the use of hand-drawn illustrations made this book reminiscent of House of Leaves or other books that have creatively incorporated hand-drawn notes and marks to give the overall design a feel as though it has been written down on lined paper, similar to a student’s notebook.
It is fitting that Michael Bailey and his press, Written Backwards, is the publisher of this superb collection. Johnson’s work has appeared in other Bailey anthologies, including Qualia Nous and the recently launched You, Human as well as Chiral Mad 2. From a print culture perspective, this collection makes an interesting use of marginalia or readers’ commentary and annotations as part of the text, not necessarily on the main pages of the stories, but in the front matter and the end matter as well as for the story and chapter titles, which uniquely uses typographical elements and creates a dynamic overall aesthetic element that runs as an undercurrent throughout the book.
If you prefer the type of slipstream or Weird horror, you will thoroughly enjoy Johnson’s short story collection. If you’re looking for a horror collection that features the standard tropes of vampires, werewolves, zombies, ghosts and so on, then you should likely look elsewhere because you’re not going to find anything cliched or overdone, or “been there done that” about these stories. Instead, you will find originality, good storytelling, and a compelling collection of tales.
“The Chamber” is the first story in this collection and is about Karl, someone who has done bad things but he’s trying to make amends. He was a Nazi in a concentration camp and says he was just following orders, but what he did continues to sicken him. There are corpses who come back to life, but the larger threat seems to be the fact that Karl’s post-traumatic stress disorder makes him unable to tell the past from the present, which has dire consequences for his family.
“Valerie’s Window” starts off with a girl, Valerie, who is scared of a nearby monster, trying not to be seen by it. Someone called Jasper has kept her as a sort of prisoner for some time under the guise of ‘protecting’ her and still has the nightmares that remind her of how she ended up here, abducted, in the first place–sadly, she’s not the only one who this has happened to. To say that this piece is full of despair and misery would be an understatement.
“A Window to Dream by” involves a guy, Seth, who finds himself attracted to a possibly Cthulu-inspired squid-woman of some kind in spite of the fact that he’s married and ends up being a tale of sexual obsession while “Each New Day Unknown” follows a scientific experiment mixed with some black magic gone haywire. Next up, “Under a Drift of Snows Lies Another World” revolves around a widowed man coming to grips with the loss of his wife, Claire, and recounting their far-from-perfect marriage with a twist.
“Blackbird’s Breath” has echoes of the previous story, also dealing with couples and loss of a wife, with a splash of Edgar Allan Poe’s Tell Tale Heart thrown in for good measure. Anne loved birds but Henry doesn’t share her sentiments. At one point, he has to tend to an injured bird and all I will say is that for readers who have difficulties with animal cruelty, it’s going to be a hard one to take for them so they may wish to pass it over in favour of another tale.
“Desolate” continues the theme of discordant family relations and has shades of Shirley Jackson’s We Have Always lived in the Castle. Next up, “Lost in the Woods,” as the title suggests, follows a protagonist, Allie, who is on a particular wooded path that we know from the outset is not going to lead to anywhere particularly good. The theme of familial loss is also a strong undercurrent in this piece, and explores the age-old notion of what if we could bring our loved ones back from the dead.
And if you thought that was dark, “Final Breaths” makes things even darker, this time dealing with the mother’s pain at the loss of a child. If that topic is a trigger warning for you, as well, this story is not going to be an easy one to get through. Needless to say, it’s one of the more disturbing pieces of the collection.
“Closer” is about a guy named Travis who is out hunting even though it has never particularly appealed to him in contrast to his father, who pretty much lives for the thrill of the hunt. The story, however, focuses more on their strained relationship and how despite the fact that Travis’s father has been less than kind to him, Travis is still desperate for the old man’s affection and approval.
The impact of the ending had resonance, but what followed immediately after was a little bit on the confusing side as there seemed to be a logistical issue. Still, like most of the stories in this collection, “Closer” is short, punchy, to the point, and delivers a sharp impact in a big way.
Along with frayed family relationships as one of the dominant themes in this collection, birds are another big one. This is something that continues in the story “Flocking Birds,” which is about Chad, who is at the dinner table with his wife, Jane, and daughter, Angie. Jane is quite keen on taking issue with everything Angie does, so this seems to set up a tale of mother-daughter conflict. It turns out that Angie has had a past issue with posting nude photos online, the cause of which seems to stem from her insecurities about her physical appearance and wondering if she’s pretty.
The metaphor here appears to be that while Chad constantly refers to worrying about birds outside, he is referring to his wife and daughter. The imagery that shows Angie’s bony body and implications that she might be anorexic are also bird-like to drive home the theme. While this story had a good build and an inevitable ending that seemed projected, it ended too soon and felt like there needed to be more build-up to the eventual conclusion.
“Pirouette” is another tale of domestic abuse, this time from the point of view of young Maddie, who does ballet as a coping mechanism for the awful arguments her parents have while “Of Both Worlds” seems to follow a mythological creature like the Minotaur or Grendel who can’t go out into the sun anymore. We learn through them that once upon a time there was a boy called Rylak who was a ‘malformed freak’ according to one of the humans who has invaded his lair. He has no choice but to reveal himself to them, and as you might guess, it doesn’t end well. It’s a fair attempt at trying to establish sympathy for why the monster becomes a monster.
“Breathing Cave” seems to explore some of the same territory as the previous story with a different group of teenagers in a cave. Soon, the main girl in the story is alone in the dark cave, her friends having disappeared, and the question becomes if she will survive, but of course, tales like this one never end well.
“Soul Tapped” follows an older protagonist, Henry, who reminisces about a son he has never met while he is being pursued by unruly teenagers. He’s something of an unreliable narrator, and when he finds his way back to the retirement home where he lives, there’s some trouble with another one of the residents. When the nurse comes by to check on him, Henry tells her that he thinks he has witnesses a ghost stealing the soul of one of the more overweight residents, but in the moment, it seems as though Henry may have been the one attacking this guy. I knew there was an elaborate setup for some twist and when it came at it at the end, it struck me as a tad underwhelming. Still, the story elements were interesting.
“The Water People” is about Chandler, whose wife has just left him. He speaks of having dedicated much of his life to research about ‘the water people’ near Chesapeake Bay and how he saw one when he was five years old. His wife finds out the hard way that she should have trusted him more.
“Water Snake” follows Sawyer, who is fishing, but he’s faced with several water snakes hurrying towards him. It’s a struggle for survival and how just when you think an experience is over, it can come back for you despite your best efforts.
“Buried Beneath the Old Chicago Swamps” continues the other dominant theme in this collection, which is that of creature features–stories about squid-like or reptilian creatures and monsters. This time around we follow the mishaps of a group of children who seem to have stumbled upon a witch’s house, but they also speak of “not having seen the Earth’s surface until last year, so their memories and knowledge may not be so reliable. It seems to be a post-apocalyptic tale set after some great calamity has beset the Earth and turns into a creature feature with the children’s survival becoming the question mark and follows an interesting path.
One of the other things I noticed about the collection is that it has been organized in such a way that stories with similar elements are grouped together. Thus, “The Bad Men” is another tale of post-apocalyptic suggestions, this time about a guy, Roger, who left Earth when in his early twenties, and is more of a sci-fi horror fusion.
“Parasite” is about Aiden, whose brother Neil has a habit of crying wolf, but when Aiden’s ex-fiancee, Jasmine (who, incidentally, appears to have been unfaithful to Aiden) gets involved, they have to make sure he’s okay, but of course, it’s far from okay. He’s been infected with some kind of alien life force and they need to get as far away from him as possible, but it’s a very complicated situation. There’s also lots of Cthulhu-inspired material in the monsters featured in this collection, and this particular story is one example of that.
“Strip Poker, Crabs, and Blue Women” is slightly more comical in its horror as Jesse and his friends need to fight alien-esque crab creatures with some, ahem, interesting tools while “The Benefit of Being Weighty” starts off with the protagonist chastising himself for ignoring the fact that bad things happen when the skin under his wedding ring throbs. The consequences of one such occasion ensue.
Overall, Embers is a well-constructed and put together collection of horror stories from Kenneth W. Cain that marks another quality release from Crystal Lake Publishing.