ECO24: The Year’s Best Speculative Ecofiction
By Magdalena Nitchi
As someone passionate about the environment and strange stories, I knew right away that I wanted to read ECO24: The Year’s Best Speculative Ecofiction. Edited by Marissa Von Uden, this anthology launched on November 18th and contains 23 short stories all focusing on nature and on the relationships of humans and other sentient creatures with the natural environment.
I greatly appreciate the diversity of the narratives in this collection. While several stories deal with the current climate crisis at various points set in the near or distant future with touches of both science fiction and fantasy, plenty of stories don’t mention it at all. For example, Nika Murphy’s “The Ghost Tenders of Chornobyl” follows the angry ghost of a Ukrainian soldier killed in the current Russia-Ukraine war who now supervises mushrooms that are slowly cleaning up certain radioactive isotopes. His journey of accepting his death and the slow healing of the environment are powerfully paralleled, and Murphy’s vivid descriptions of the setting grant the reader welcome access to places typically unseen.
One of the most striking stories in this collection is far removed from humanity entirely. In Katharine Tyndall’s “Parasite’s Grief”, the protagonist is a member of a species that enters into a consensual parasitic relationship with its host. Unfortunately, the host, Leucal, is dying, leaving the parasite protagonist to cope with suddenly being alone; a single mind left behind in a body they’ve shared for its entire life. Tyndall’s portrayal of grief and loss is fascinating, so touching and yet so completely alien. I never thought I would get teary-eyed over a parasite, but that is the true beauty of ecofiction: authors can reach out and completely recontextualize our view of the natural world through their inventive explorations.
ECO24: The Year’s Best Speculative Ecofiction is a strong collection with no misses that will leave you spellbound by the beautiful and terrible forces of nature. Von Uden expertly balances stories that deal with the grief of our current climate crisis and others that are simply adventures into the unknown, with a bit of weird fiction and horror for good measure. If you haven’t read any ecofiction before, this anthology is the perfect way to dive into this broad genre.
No, I’m Not a Human
Par Mounia Tiendrebeogo
No, I’m Not a Human est un jeu d’horreur et de survie indépendant que j’attendais impatiemment depuis juin dernier. Sorti le 15 septembre sur Steam, il a été développé par Trioskaz et publié par Critical Reflex. L’intrigue nous plonge dans une crise climatique où les températures rendent impossible toute sortie à l’extérieur durant la journée. Et comme si cela ne suffisait pas, des « visiteurs » aux intentions obscures se mettent à émerger des tréfonds de la terre et se cachent parmi les humains.
On incarne un homme anonyme qu’on devine asocial et reclus ; dommage pour lui, une entité rôde dans les parages, et la seule manière de la garder hors de chez soi est d’héberger des gens. Durant la nuit, nous recevons la visite de personnages tout aussi atypiques demandant refuge. Notre rôle est de distinguer les humains des visiteurs en ouvrant notre porte aux premiers et en éliminant les seconds.
L’histoire se passe dans une Russie post-soviétique — Trioskaz est d’origine russe. Le climat apocalyptique se ressent dans la misère sociale. Les personnages que l’on rencontre sont hideux ; leurs malheurs se reflètent sur leur physique. Il y a quelque chose de viscéral, une étrangeté malaisante qui laisse le joueur dans le doute constant quant à savoir qui est humain ou non.
Le design très russe, les couleurs verdâtres et les dessins que je ne peux que qualifier de grossier, nous plongent immédiatement dans une angoisse sourde, renforcée par la musique de fond. On lutte dans cette dichotomie entre l’aspect suffocant et la froideur nauséeuse des couleurs. Cela donne une qualité maladive au jeu, comme une sale grippe estivale dont on aurait du mal à se débarrasser.
Ce que j’aime le plus dans ce jeu, c’est l’aspect psychologique. Même si quelques personnages spécifiques gardent le même statut peu importe la partie, le reste demeure assez aléatoire. Et qui dit que les visiteurs sont les seuls dangers dont on doit se méfier ? Les humains ne sont pas plus rassurants. Le gouvernement, les nouvelles, nos invités et même notre personnage — il n’y a aucun moyen d’être sûr qui est digne de confiance ou non.
Je ne peux pas recommander ce jeu assez, particulièrement si vous aimez les ambiances sombres et étranges. No, I’m Not a Human sait maintenir son audience sous angoisse et raviver les effrois les plus subtils de notre psyché.
Predator: Badlands
By Magdalena Nitchi
After director Dan Trachtenberg’s rousing success with the movie Prey back in 2022, it is no surprise to see him tackle the franchise of warrior aliens again. While Predator: Badlands is not connected to its predecessors, I knew I would still be back in the theatre to watch it.
The film follows Dek (Dimitrius Schuster-Koloamatangi), a young Yajuta who has yet to complete his first hunt after a brutal exile from his clan for being too weak. After watching the only brother who cared for him perish at the hands of their father, Dek is jettisoned across the galaxy and lands determined to complete his hunt in his brother’s honour. He’s chosen to bring back the head of the Kalisk, the apex predator of the planet Genna, where pretty much everything can and will kill you. While many Yajuta have already failed this mission, Dek has one advantage in the form of Thia (Elle Fanning), a Weyland-Yutani corporate android (because when has Weyland-Yutani ever learned to leave a dangerous creature alone?). Thia offers to help Dek if he will carry her, as her torso was torn from her legs in a previous encounter with the Kalisk.
This film features several common tropes: a young hero trying to prove themselves by taking on a seemingly impossible quest, a very talkative and somewhat naïve secondary character, and a cute animal companion that joins the quest to bring much-needed levity. However, they are no less well-executed or unwelcome for their familiarity. Watching these three try to communicate garnered quite a few laughs from the audience, but also a few “aww”s at heartwarming moments. Dek was brought to life exquisitely; even when he stops talking, his emotions play out on his face, and you can’t help but root for him.
Unsurprisingly, the fight scenes in this movie are absolutely spectacular. Everything from the jungle of Genna coming alive with branch-like creatures that try to eat Dek when he first arrives to his attempts to chase down a rhinoceros-like species for food was perfectly choreographed and full of unexpected thrills.
If you’re looking for an action movie with a strong emotional core to live vicariously through as it gets colder, Predator: Badlands is the perfect thing to watch.