Hexenjäger is a pretty sweet title. I know just enough snippets of German that I can make sense of it, and it fits the story!
I'm totally starting a death metal band called that.
EDIT: Critiques plus votes. Some repeats on my guesses because this is where I cribbed them from and I'm to lazy to edit.
Man, I have no idea who wrote what. Apologies in advance that I'm not able to pick everyone out by their writing styles.
Baby Shoes: I knew exactly where this was going, having gone through that same experience myself : / There was just so much layering of all the ways the main character was happy with his life that it seemed inevitable that we were building to something horrible that would contrast it. Looked like there were a couple missing/misplaced punctuation marks, but nothing super egregious. Dialogue was natural, and we got a feel for the characters, though I was a little put out at the way the main character seemed to imply that he wouldn't find his wife as attractive as the pregnancy progressed. Kind of a dick attitude, but also entirely possible I was just reading too much into the wanting to "enjoy her body as much as I could."
The City You Once Loved: Oooh, there's probably a term for this, but I don't know what it is. Probably something something reader agency something something. Second person narrative is a difficult thing to write and to read, but the second you presume to write the dialogue of what the reader is supposed to be saying, I think something vital is broken. Would have worked far better in third or first person. And while I "get" the story and all, it kind of requires a ridiculous suspension of disbelief that any sort of society can exist at all with a language that has no nouns.
Divine Protection: I like the idea of a loophole in biblical prophecy that if Satan knows and believes that he is going to lose that he just would never start trouble to begin with. Honestly it's a strong enough idea to be the focus of a story all on it's own, it deserves more than a passing mention. Outside of that, there were some things I thought were genuinely clever, but overall kind of brought down overall by the "afterlife as a bureaucracy" take. Just taking into account the Creative Writing Challenges for the past year, I'm pretty sure we've had no fewer than half a dozen such entries, to say nothing else of every other medium of fiction out there. I mostly liked the twist at the end, despite a nagging suspicion that it probably would have worked better if there were *some* sort of explanation of how it took 24 hours to reach the ground.
Fakir and the Prince: Shorten your sentences, dude(tte). You wouldn't even have to cut practically anything, just cut them down into more manageable pieces. And commas. Don't forget your commas. This has the potential to being an interesting premise, but I think the construction of it didn't quite work. We've got the prince coming *back* after everything has already happened, and then we cut to a flashback*before* everything happened. You cut out the middle where anything interesting would have occurred, and it wasn't even in order : /
For the Want of a Dream: Some of the sentences struck me as odd. "His hand was still clutching his pistol, trying to quiet his ragged breathing"? His hand was trying to quiet his ragged breathing by clutching his pistol? "Ford resumed his plight"? When had his plight stopped? Surprised that the third named member was "Dodge" rather than "Mercury," but that would have been a little too on-the-nose in referencing The Postman : ) I was kind of confused as to what the ultimate goal was supposed to be for Ford. Yeah, he was building a toy space ship, but what were the lenses for? I guess they could be the portholes for some golden-age sci-fi depiction of a space rocket, but then what's he going to do with the entire plate of glass from a copy machine?
God Forsaken: Interesting blend of Norse mythology with the conventions of Grimm Brothers fairy tales. Or, you know, maybe the Grimms just had a lot of nordic influences in the stories they collected. I'm not super familiar with fairy tales outside of their efforts, so what do I know? I guess what I'm left wondering is just *why* the main character had to do all these things, as it was never all that clear what her ultimate goal was. I guess to get people to worship Odin again, but I'm not sure how assassinating what I guess are the royal children would accomplish that since everything else seems to imply that no one else worships Odin anyway. Guessing Cyan.
Hexenjäger: I Googled this word. Judging that the first link is to Wikipedia's German entry for that Hansel and Gretel movie and the context, it seems to be German for witch hunter. Huh, two witch stories in a row. I couldn't help but feel that the Unnamed Man (overused that term, BTW, and at least one instance where you just called him "the Unnamed.") was supposed to be British? Maybe it was the mention of high tea or something, I don't know. Honestly kind of surprised that the fight went as long as it did, I was genuinely expecting it to be like the finale of Kill Bill Vol. 2 where there's a whole lot of talking between two people who are about to fight to the death only to just skip to the death without a fight. Not sure how much of this stuff is classic folklore stuff and how much is just made up. I recognized stuff about magic and true names and bezoars, but iron nails through the heart and seer stones are a new one for me.
Lonely Planet: I'm of two minds about this one. I liked the depictions of the alien forest and how it turned on Mino, but I kept waiting for someone to say that these things were only the analogs for what we would consider trees or water since they exhibited characteristics that would not be ascribed to them. Water, for instance, would not be purple and levitate just because it's on another planet. Or maybe the truth is that the forest just releases spores or pheromones or something and that everything was one big acid trip (which would make a lot more sense to me, honestly, but if that was the intent it was pretty ambiguous)
Nameless: I have this mental image of all the furry woodland creatures gathered together and speaking at the same time with some sort of hivemind. Heh. Lots of fairy tale type stuff going on in this week's selections, apparently. This one hews so close to fairy tale rules and structures that the parts that don't line up kind of stick out to me, most notably the carp during the self-imposed three trials before attempting to penetrate the heart of the forest again. In the previous two, the falcon and the wolf told him to GTFO, but he pressed on. The carp, in contrast, is not a very threatening animal, and indeed he just kinda... advised. Not sure I understood what happened at the end. He was wandering the forest with amnesia, regained his memory (which were apparently only of bad things), but then found his way back to a happy family home? What were all the bad things he was remembering then?
No One: Yep. It's a poem.
One Last Mission: What is this, second person narrative week? Heh heh. As with The City You Once Loved, I think it would have been better to stick this one as a first or third person narrative. I don't think 2nd person really works in any other capacity except to paint the broadest possible strokes about the reader's involvement in the story, as it allows them to fill in the gaps on their own since it's supposed to be them. The second you start to get detailed about the history and relationships like this, there's no more room for the reader to insert their own experiences and expectations, and instead you get them saying "that's not what I would do." Also, waaaaay too many paragraphs start with "You" on that first page.
Still Creek: Got the distinct impression that this was supposed to be taking place somewhere in the states, but it utilizes the British spelling of "civilisation" and "torch" instead of "flashlight," so I don't know. But it's got hints of the existence of Christian fundamentalism, and I don't think I've ever heard anyone from the UK utilize the word "ain't," so I'm proper baffled. Questions of locale aside, this didn't quite gel for me, and I thought the encounter with the vagrant was entirely superfluous to requirements as it was already readily apparent that the town had been abandoned for years. Ghost stories are a very hard thing to get right, and I didn't feel like there were any rules established that the story was playing by. Main character goes to Still Creek and is in the past. Takes a ride back to his car, only Amanda's missing. Amanda reappears, but Pete disappears. When Amanda disappears again, the expectation has been built that the MC will encounter someone from the past again, only it's the gun-toting vagrant. And somehow Amanda went back in time or something. I have no idea who this was either.
Swashbuckled: Neckbeard the Great? Oh lordy. At first I thought it was kind of light hearted and punny and was thinking it was Nezumi, but then we got to the watersports and talking to his penis. That seemed... decidedly un-Nezumi like. I think my biggest issue with this is that there needed to be a reason that all those ships that had gone through the Misty Veil had never returned. They found and island, aaaaand...? From what we got to see of it, it just seemed like any other pirate town, there wasn't anything compelling about it that would keep people from ever wanting to leave and return home,
especially when such a big deal was made about how no one ever returned. Why wouldn't anyone cross the veil, see that there's nothing particularly great on the other side, then turn around and go home and bask in the glory of being the first ship to return? There needed to be something to tie that end off. Gonna guess.. GRW810.
Things that make my heart beat faster but not in a horror kind of way.: That... did not end how I thought it was going to end at all. At first I was thinking Chainsawkitten for this one, but to pull punches like that at the end is decidedly un-Chainsawkitten. Or maybe that was precisely the sort of thing we should expect from someone trying to be anonymous about it?
Ties that Bind: Mr. Smith's dialogue didn't come across as having a natural cadence to me, but concerns about sensical character behaviors and actions were quickly thrown out the door as the story descended into a sort of dreamworld logic. Mr. Smith is described as a successful prophet, but all we see of him is his failed prophecy about the end of the world. That left me wondering if he really was in fact a successful prophet prior to this story, or if he was just a garden variety crazy man. Maybe a few examples of successful prophecy or something? Idunno. I'll guess Bootaaay just because I'm running out of possible names.
Where's the fun in that?: Oh, I think everyone here there's a lot more to making a lot of money off writing stuff down than just having a great story to tell : P Not sure how I feel about this one... It seems like it's all setup for the actual story about how they try and prevent (and probably ultimately fail) Donald's cycle, or how Steven discovers that Donald is stark raving mad, or whatever. I'm just left wanting more because you've set this up with a situation where no matter what he does, he ends up in the middle of the street at that exact time and gets hit by a car every time and nothing he does can prevent it, and that is just so strikingly counter-intuitive that I want to get in the story and argue with him. I mean, what happens if he even so much as just waits until the next crossing signal or something? What stops him from doing that?
Why is it that nothing can forestall the inevitable?
White Light: I'm not entirely sure what's going on here. Some sort of book of Revelation end times rapture thing?
Votes:
1.) God Forsaken
2.) Swashbuckled
3.) Nameless