Unlike those classic tales written to interrupt moral panic, writing from the panicked perspective is a terrible narrative strategy. It isolates the reader or viewer from the characters and doesn’t allow for emotional engagement with the story.
None of these allegations approach to the totality of what, after much therapy, I have learned to describe as my “natural freak gene.”
Underlying this technological angst is something deeper, more primal. It is the sense that some right, however virtualized, is being denied by the cartelization of the American telecom space.
From a trip to a comics shop, it would be easy to conclude that comic book characters are more important than the people crafting their adventures. Except they aren’t.
Where much of the horror genre frantically casts a flashlight around the area between the known and the unknown, Brian Evenson’s stories are more concerned with the knowable and the unknowable. They wonder why you’re even bothering with that flashlight.