If you were hooked by how Gasazi claims to turn Fritz into a duck, the stolen hat, and the lingering question of whether any of it truly happened, you’ll love the quiet eeriness of The Widow’s Broom. A discarded witch’s broom starts behaving on its own in a rural town, and like Alan puzzling over Gasazi’s “No Dogs Allowed” garden and the duck with his hat, you’re left to weigh the evidence and decide where the magic begins and ends.

When Gasazi insists Fritz has become a duck and the story pivots on that sly reversal, it echoes the zing of The Magic Finger. Here, a girl’s temper triggers a spell that turns a hunting family into bird-people—just as startling, mischievous, and morally pointed as Alan’s topsy-turvy day chasing a duck that flies off with his hat.

Like Alan’s very normal town hiding an impossible garden where Fritz is not welcome and ducks may be more than ducks, Tuesday lets the uncanny drift right down suburban streets. One night, frogs on lily pads take to the sky, wordlessly gliding past kitchen windows—capturing the same hushed, uncanny wonder you felt crossing Gasazi’s hedges into the unknown.

If following Alan alone—losing Fritz, facing Gasazi, and puzzling through the duck’s theft of his hat—pulled you in, Flotsam offers that same intimate focus. A boy finds a camera washed ashore, develops the film, and uncovers a secret world under the waves and a chain of children before him, all without a word—just one kid, one mystery, and a quietly astonishing discovery.

Gasazi’s stern signs and Alan’s uneasy journey—where rules like “No Dogs Allowed” collide with a duck that shouldn’t exist—set up a fable about authority, attention, and responsibility. The Lost Thing follows a boy who notices a bizarre creature everyone else ignores and helps it find a home, layering whimsical oddity over a thoughtful meditation much like the way Alan’s day becomes more than a simple chase after Fritz.