Just like the previous issue of Filler, this issue has a preponderance of poetry, but is unlike many other poetry and poetry-themed zines in the sense that the poetry does not fit in the same genre or literary style. While the vast majority of pieces in this issue of Filler are fiction, one of the pieces (Keeping Balloons in the Closet) is a very emotionally-charged piece that describes a lesbianic relationship that is looked down upon by parental units. The writing is down in such a realistic style that one actually can imagine when â€œKatâ€™s lip quiveredâ€; when â€œKiaraâ€™s mother say â€œI donâ€™t want you going to the concert if sheâ€™s goingâ€â€. The odd-sized pages are as usual compelling; not too many zines choose this page size, and many donâ€™t have this same personable while still professional feel. The style in which â€œProgressionâ€ is written is a little off-setting, Kevinâ€™s style is detached and somewhat cold, as if ey was a spectator to eirâ€™s own life. Rather, it is more like a recollection than anything, characterized by â€œI spent a year in Athensâ€, more like early twentieth century prose than anything. To end off this issue, the drawing by Meg Follo, a face, has all the soul an artist can infuse into the modelâ€™s eyes, striking and charged up with the emotional fury that the rest of the issue has. Filler might be a magazine that collects random pieces, but Faith is masterful in putting out a collective vibe to each issue.