For Now We See. You look right through me. I kind of like the way this mirrors the whole anthropogenic approach; we invest human emotions in inanimate objects in order to reflect on human behaviour from another angle. You could also have a whole run of window protagonists, like stories told from a ringside seat at the Prague Defenestrations.

Existence. This seems like the classic form of It narrative to me, pathos and sympathy for the tool of man in the tale of their life from beginning to end. This goes for the fate of the balloon in the end, which is one of the few happy endings ...

Dian Bling. A bit gimmicky, but has a few moments.

Objectively Speaking. Because of the genre, I spent the first half of the story paying very close attention, trying to work out what the protagonist was. When it finally became unambiguous personal, my perspective shifted slightly. I liked this trick but it only works because one author did it. Also seems to have some ana tells.

The 411. I found myself constantly distracted from the actual story, though it's readable enough.

People Have Their Uses. Montana Jim the talking bone screw. I never watched such films as a child but I feel I know them well through the Simpsons alone.

George F26082238B. How good does it have to be to be twenty-cents good? Don't know about the ending here, or rather it feels like an intro to CSI: Banknote. Which could be fun, admittedly.


_{The Political Science Department of the University of Woolloomooloo}