Though the current project started as a series of posts charting my grief journey after the death of my mother, I am no longer actively grieving. Now, the blog charts a conversation in living, mainly whatever I want it to be. This is an activity that goes well with the theme of this blog (updated 2018). The Sense of Doubt blog is dedicated to my motto: EMBRACE UNCERTAINTY. I promote questioning everything because just when I think I know something is concrete, I find out that it’s not.
Hey, Mom! The Explanation.
Here's the permanent dedicated link to my first Hey, Mom! post and the explanation of the feature it contains.
A Sense of Doubt blog post #3086 - "Thank You For Hearing Me" - Sinéad O'Connor RIP - Music Monday for July 31, 2023
I am not sure if this song really hit my radar until I saw it at the end of the Showtime documentary Nothing Compares, which I watched over the weekend as I continue to process the loss of this amazing artist, Sinéad O'Connor.
Following, I have wholesale copied the Wikipedia entry for the song along with a video and the lyrics.
It's not really a "happy" Music Monday when this artist has left from the world.
"Thank You For Hearing Me" is a song by Irish singer-songwriter Sinéad O'Connor, released in 1994 as the first single from her fourth album, Universal Mother (1994). Co-written by her with John Reynolds and based on her recent breakup with English art pop singer Peter Gabriel,[1] they also co-produced it with English musician, composer and record producer Tim Simenon. It received positive reviews from music critics and was a sizeable hit in Europe. In Iceland, the song peaked at number five, and was a top 10 hit also in Poland, while it peaked at number 13 in the UK and number 14 in Scotland.
J.D. Considine from The Baltimore Sun complimented the song as the "crowning glory" of Universal Mother, which with its "bone-simple melody and deep, hypnotic pulse, expresses a gratitude so heartfelt and self-effacing it seems more like a prayer than a song."[2]Larry Flick from Billboard declared it as an "ethereal hip-hop track", adding that "it should intrigue those who prefer their pop with vigilant melodies and a smart passion."[3] Steve Baltin from Cash Box called it one of "her best moments" on the album, and a "stunning conclusion".[4] Later, on the single review, he described it as "passionate, emotive, firey, beautiful. This single is a wonderful reminder of why audiences fell in love with O'Connor before all the controversy. It conveys emotion with the sincerity only she can give, using a rising crescendo before slipping into a hushed whisper near the end."[5] Michael R. Smith from The Daily Vault wrote that O'Connor "herself is left with a surprising feeling of appreciation, especially for those who had stood by her through it all, and she shows her gratitude with the inspiring closer".[6]
In his weekly UK chart commentary, James Masterton wrote that it "achieves almost hymn-like proportions with Sinead singing like the angel you always suspected she was. Exactly how commercial it will be remains to be seen, she has made spine-tingling records that have flopped in the past, but for the moment it is good to welcome her back to the heights."[7] Pan-European magazine Music & Media commented, "Gloria in excelsis deo, Sinead is singing a prayer on a dance rhythm."[8] Alan Jones from Music Week rated it four out of five, writing that "this is an odd track; it's very simple, extremely repetitive and almost hymnal in it quiet gentleness, apart from a sinewy bassline." He concluded with that "its success as a single is assured".[9] Joy Press from Spin deemed it "a post-suicide-attempt song that hums with lush gratitude for life's little favors."[10] David Yonke from Toledo Blade noted that the singer "offers an olive branch to those who have given her a chance."[11]
The song charted in both Europe and Australia. In Iceland, it was a top 5 hit, peaking at number five in February 1995. In Poland, it peaked at number ten, while in the UK, it reached number 13 in November 1994. It entered the UK Singles Chart at number 18, and the last entry was at number 72 on 1 January 1995. In Scotland, the single peaked at number 14 in its first week on the Scottish Top 100. The last position was at number 92 on 22 January. On the Eurochart Hot 100, it reached its highest position as number 51 in December 1994. In Australia, it only reached number 114.
A music video was produced to promote "Thank You for Hearing Me", directed by British film director Richard Heslop.[12] It was later published on YouTube in March 2012. The video had generated more than 1,6 million views as of July 2023.[13]
- Bloggery committed by chris tower - 2307.31 - 10:10
- Days ago = 2950 days ago
- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I plan to continue Hey Mom posts at least twice per week but will continue to post the days since ("Days Ago") count on my blog each day. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.
A Sense of Doubt blog post #3085 - The Nice House on the Lake
This post has been in the works for a couple of months because I didn't know what to say about The Nice House on the Lake. Not because I have nothing to say, but because I have so much to say.
There's spoilers here, so if you think you might read the novel, do not read this blog post unless you're okay having spoilers.
I knew NOTHING about this book when I bought the first volume, at which time the second volume was not yet out. Before I even finished the first volume, I had pre-ordered the second.
I was pretty big fan of James Tynion IV from his work at DC (Batman) and The Department of Truth and an even bigger fan once I finally started reading Something is Killing the Children.
I figured this was a horror book because of being published through DC's Black Label imprint. The title suggested a "house in the woods" type story, some entity, a killer, stalking the visitors one-by-one.
Tynion quickly up-ended those expectations in a way that should make all of us readers question the pre-conceived notions into which we enter a reading experience and where those come from.
The first page of the story offers what is clearly a survival story ultimately, a glimpse of the future, set in the blazing ruins of the "Nice House on the Lake."
Intrigued?
Then go buy it and read my comments and collected reviews of others later.
This story is too good to spoil.
Tynion loves the cinematic credits reveal, which he uses a lot in Something is Killing the Children, so there's a two-page credits spread after the opening gambit of five pages, the first of which is above.
All of what's in those five pages, even the first page above, should have prepared me for the reveal of the actual story, but it didn't. I was still in the mindset of traditional horror as the characters gather for their vacation and are introduced to the reader. There's a character graphic far below near the end of the post.
After all the characters are introduced, they learn that the world back home is being destroyed. It's the end of the world, and for now, they are safe, and they are safe by design because of their longtime friend Walter, who is one of the aliens who are destroying the planet and humanity and was tasked with saving just ten people (no more, no fewer, though there is an 11th as we learn later that gets saved in a kind of loophole to the rules).
Walter appears to verify the apocalypse back home and how they cannot leave and the first issue ends with everyone aghast, unsure of what to do.
The story launches from this point in an accelerated fashion as the characters try to figure out what to do while there are flashbacks to fill in their histories and relationships as well as the flash forwards to the survival-mode future that started off the first issue.
There are mysteries to unravel and a new life to forge, as they discover that they can ask for nearly anything they want and it will be delivered to them in "morning mail." Anything except the means to kill themselves as one character has decided to do and keeps being denied.
The mysterious eleventh character is revealed by the end of first volume and more of the mysteries and back story is revealed in the second volume, which teases at the end of additional future volumes, though none have been announced, despite the series being optioned by HBO. An option for TV or movies is no longer a certainty given the high number of stories from comics being in some stage of production for adaptation.
I adored this series, and I eagerly await another installment if that comes to exist.
There is nothing worse than feeling like you’re not in control of your own life. Hell, there’s an entire pop psychology industry dedicated to teaching us how to retake our agency when we feel ourselves at the whim of external forces. We make plans, we self-analyze, we set routines for ourselves, all in an effort to feel like we have a say in the paths our lives take.
These attempts at control can of course come in many forms, impacting our lives in big or small ways. Take me and my comics consumption, for instance. One way I like to exert a modicum of control on this small sector of my life is to wait until a series has been fully published before I start reading it. This is not to say I don’t enjoy dropping into a good ongoing book, but even then, I like to hold off until a creator’s run or a major arc is done. I tend to be a completionist, which means I find it a little overwhelming to start something when there’s no resolution in sight. For me, it’s more manageable to commit to a book once I know its entire story has been told. It’s not always the most fun approach – I deal with a lot of FOMO while a highly-regarded work is still ongoing, which leads to delayed gratification while I wait for said series or run to wrap up – but I find myself doing it again and again.
But I broke my “rule” last year when I reviewed the first collected volume of James Tynion IV, Álvaro Martinez Bueno, and Jordie Bellaire’s masterful horror series The Nice House on the Lake for this very website. But knowing Tynion and company were set to wrap the whole thing up after twelve issues, I told myself I’d read the first half, then wait for the conclusion to come out before reading the rest. Well, I tore through the first six issues in about an hour, and have thought about the series frequently ever since.
And now The Nice House on the Lake #12 is finally out, and despite my best efforts, I’ve come to see that I haven’t been in control of this experience for a second. Much like the group of hand-picked survivors at the center of this story, I have only been a party to selectively revealed information and half-truths. But unlike them, I could not be more thrilled by the structure the architect of this story has created and where it leaves us at the end. Some spoilers to follow!
are full of major discoveries about the situation the central group of friends/acquaintances find themselves in and their friend turned other-dimensional captor Walter. The fate of the rest of humanity and the rules of the titular house are revealed in often shocking fashion, with the tension continuing to rise as these survivors learn more of the truth and that they may in fact be able to fight back. But as the group is about to unite against Walter, issue six ends with a stunning reset that demonstrates just how little power they actually have. Walter takes complete control, wiping his friends’ memories of the apocalypse and his role in it and inserting himself into the group as just another innocent captive.
After my self-imposed hiatus from the book, I expected the second half of the series to be a steady escalation, an ever-intensifying ramp up to the inevitable apocalyptic conclusion. But instead, Tynion slows things way, way down and takes the time to really explore the new group dynamic created by Walter’s actions. During these issues, we get a much deeper understanding of Walter and his motivations, both through his interactions with his friends (which we’re seeing for pretty much the first time in the present day since the first issue) and a Silence of the Lambs-style dialogue between him and high school friend Norah, who Walter has hidden from the rest of the survivors and isolated in what is effectively a pocket dimension where she can still observe the goings-on but have no impact.
Centering Walter in these various ways adds a depth to the story that I didn’t even realize had been missing. This renewed focus on Walter means we get more of his perspective, both psychologically and visually. Martinez Bueno gets moments to really let loose, deftly depicting the grotesque distortion of Walter’s true form and the manifestation of his power in explosions of motion that punctuate the stillness of the surrounding panels. But even as we’re given these examples of Walter’s otherworldly power, we also come to see that he sincerely cares about his friends. He is desperate to keep them safe, as we learn that if this “cell” of survivors does not adapt and thrive as a microcosm of human culture that can be studied, Walter’s people will simply wipe them out like the rest of humanity. He tries repeatedly for a soft touch, subtly attempting to steer the group towards acceptance of their circumstances. But when that doesn’t work, he’s quick to force the issue with his vast power, rewriting reality in large and small ways – a new structure on the grounds to occupy the group’s attention, a quick memory wipe to reset a conversation if someone asks one too many questions.
But Walter’s friends continue to resist, because there might be a world to get back to; there might be a way out. But as Norah points out, the group will never move on if they think there’s a world out there to return to, and if Walter restores everyone’s memories, they will hate him for what his people have done, and further, they will never accept being pawns under his control. Norah, naturally, understands human nature better than Walter ever could. In conversation after conversation – revealed gradually over the course of the back half of the series – Norah reminds Walter that if his friends are ever going to survive in this place, they are going to have to believe they have made the choice to do so. And as long as Walter continues to either edit the group’s memories or insist that they just play along while he is pulling the strings behind the scenes, they will continue to push against the limits of the system he has created. The only way to guarantee his plan’s success, Norah tells him, is if Walter is no longer a factor.
At a certain point towards the end of the series, the group’s memories are fully restored. They all recall the horrors that have befallen the outside world, and critically, Norah remembers that she has been helping Walter with his plan for years. When Norah’s memories flood back to her, she is faced with a choice: tell the group everything she knows and risk infighting or other destabilization that could lead to all of their destruction or guide them towards the solution she and Walter have secretly agreed upon – kill Walter and take control of the environment themselves. As only Walter and Norah know, however, Walter won’t actually be dead. The group will only think they’ve killed him while he fades into the background. To Norah, the decision is easy – give the group the illusion of control so they have a chance to survive, even if it means deceiving them. And so the survivors take Walter off the board and are granted complete control over their fates.
Álvaro Martinez Bueno does some of his most impressive character work during these late moments of tribulation. His ability to depict intricate, layered facial expressions remains, in my opinion, unmatched. Shock, anguish, anger, and confusion are all somehow indelibly present on a characters’ faces all at once, richly supplementing what is at times a minimal script in these pivotal moments. The conflicting emotions are palpable, the relief, sadness, and resignation front and center as the group realizes the gravity of the decision that will ensure their survival.
As the series progressed to its forecast conclusion, though, I began to get antsy. The pacing, I thought, was all wrong. Sure, OK, I’m glad Tynion took the time to really live with the new status quo, and the revelations about Norah and her role in this “rebellion” are crucial. But there’s so much left to cover, isn’t there? At the beginning of every issue is a reminder that the survivors’ world is destined for disaster in some as-yet-unseen conflict, but by the final issue, the story was nowhere near reaching that future state. So as I kept reading and counting down the issues I had left until the series’ conclusion, it became harder for me to see how even James Tynion IV would be able to bring things to a satisfying conclusion. There just wasn’t enough time!
Or so we’ve been led to believe. Because as it turns out, and despite everything we think we know, the architect remains firmly in control. And in this, we the reader of The Nice House on the Lake have something very much in common with Norah and the other residents of the nice house on the lake.
The final pages of issue #12 pull back from the action and we see Walter in his other-dimensional liminal space, speaking to us about his plan as he observes the house and his friends from a distance. And here, Walter reveals that he has not, in fact, told Norah everything. The group accepting their circumstances was never the end of their journey at the house on the lake; these were only, as Walter admits, “the early…easy days.”
And then the final panel suggests that we are just getting started.
“end of CYCLE ONE.”
My hand slapped my forehead. That’s right – apparently, Walter’s friends are not the only ones who have been deceived by the hand pulling the strings. It seems we may not have reached the end after all, and that my best laid plans to binge the rest of this story to its climax and wrap this wonderful experience up in a bow may have all been for naught. These first twelve issues have themselves been just the early days of The Nice House on the Lake, a limited series recounting the first cycle of this apocalypse with more to come.
Now I’ll admit, I could be getting ahead of myself, as furious Googling has not revealed any confirmation whatsoever of plans for Cycle Two. But the prospect of more stories in this series is very exciting. Tynion and his collaborators have created something truly special that has really resonated with me thanks to a fascinating mystery populated with complicated, recognizable characters who may as well have been plucked straight out of contemporary 21st-century life. So while I’m now a little stressed by the impending wait for the next cycle of this impeccably constructed comic, I could not be happier to find myself at the whims of this particular creator.
Toussaint Egan is an associate curation editor, out to highlight the best movies, TV, anime, comics, and games. He has been writing professionally for over 8 years.
ImagineImagine your childhood best friend. A bit awkward, a little weird and intense; well-liked by all, but only a few can claim to truly know well. A confidant; the best man at your wedding, a sympathetic ear and ever-eager helping hand who’s never farther than a phone call away.
Now, imagine that friend was in fact a ghoulish alien “flesh-tornado” masquerading as a human being in a bid to exterminate humanity, and they’ve chosen you as one of a handful to survive. For the protagonists of The Nice House on the Lake, writer James Tynion IV and artist Alvario Martinez Bueno’s horror series at DC Comics, this hypothetical is an all-too-terrifying reality.
To sum it up through comparison: The Nice House on the Lake is basically Lawrence Kasdan’s The Big Chill by way of Michael Schur’s The Good Place and Stephen King’s It; an apocalyptic mystery thriller that reads like a better version of Lost as told through the medium of comics. The focal point of these disparate influences is Walter, the series’ antagonist and one of the most intriguing comic book villains in recent memory.
The Nice House on the Lake Vol. 1, which collects the first six issues of the 12-issue limited series and is out this week, opens on the image of a woman wrapping a bandage around her head, the background ablaze in a glow of orange and red. She tells the story of how she first met Walter, a friend of a friend, who invited her and a small group of other close-ish acquaintances to vacation at a beautiful lake house in Wisconsin for a week during the precarious upturn of summer 2021.
After they arrive, however, they soon realize the horrible truth: Walter is not human; this trip was the culmination of a decades-spanning plot to eradicate the human race; and everyone they have ever known and loved – save for each other – is dead. Confronted with such an enormous and intimate act of betrayal, each of the ten guests are faced with a defining question: Will they lash out against their benevolent alien jailer in a bid to escape, or make peace with the unforgivable?
The series answers this question, and several more, through a new flashback every issue, each narrated by a new house guest as they reflect on their own relationship to Walter prior to the apocalypse. The tone of these stories feel not unlike eulogies; mourning the death of the world as they know it, as well as the idea of a “person” who once meant so much to each of them.
Pieced together over the six issues, these stories paint a complicated portrait of Walter; a being of immense power conflicted with his own role in the imminent culling of humanity. He admits at one point that he did not think that he would come to like, let alone love, so many of the people he crossed paths with during his time on Earth. Beneath his cool and aloof exterior, there appears to be a war raging inside of Walter; a growing sympathy and compassion for humanity pitted against the ruthless machinations of his unseen superiors.
Sympathizing an inscrutable alien “flesh-tornado” is no easy feat; that The Nice House on the Lake accomplishes this is no small credit to the deftness of Tynion’s writing. But the most remarkable visual design seen in The Nice House on the Lake — already populated with a cast of characters unique in form and dress, and a beautiful mid-century modernist home perched atop a hill whose lush grounds are decorated with ominous glyph-like statues rendered with meticulous attention to detail — is none other than Walter himself.
The human-seeming alien’s eerily calm and bespectacled appearance regularly erupts into a writhing, phantasmagorical mass of gnashing teeth, bone, and flesh. It’s as disturbing as it is visually inspired, made all the more so for the fact that Walter’s eyes, if he even has any, are never seen throughout the series, perpetually obscured behind the eerie reflection of his glasses.
To Walter, saving as many of his close friends as possible is a twisted form of harm reduction. To the guests, it’s unconscionable. What is “harm reduction” in the face of the apocalypse? How can you forgive anyone not only for their role in such an act, but selfishly forcing their loved ones to live with the weight of those deaths on their shoulders? It’s this tension between love and cruelty, friendship and betrayal that drives so much of the drama, mystery, and appeal of The Nice House on the Lake and secures it as one of the most remarkable comic series of 2022.
- Bloggery committed by chris tower - 2307.30 - 10:10
- Days ago = 2949 days ago
- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I plan to continue Hey Mom posts at least twice per week but will continue to post the days since ("Days Ago") count on my blog each day. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.
