What We Can All Learn From Virtual Cons and Events

The obvious difference between this pandemic and those of the past is how humanity has been spending their time throughout the outbreak. Yes, many public places and events are closed, cancelled and/or postponed; and, there have been several cases and deaths due to COVID-19 throughout the world. Yet, it seems a lot of people have forgotten that our modern technology has been a huge help in maintaining work, shopping and entertainment. Now, while the process to maintain safety and livelihoods haven’t been easy, it seems that few people are willing to use this time as an opportunity to pursue new activities and a chance to return to old ones.

            Please understand that I’m not bashing or criticizing people who lost their jobs, had their jobs suspended and/or moved online, parents, teachers/academics/scholars/educators, farmers, contractors, etc. I speak of people who hassle healthcare workers about when they’ll reopen their practices and scold essential workers when told they cannot enter the store or the supermarket without a face mask while trying to cut the line. These people ignore the guidelines for safety and go to locations that are closed because they are bored. Whatever happened to getting a new hobby or going back to a former pastime? Stories of people learning how to sew, how to cook, and stories of people learning how to draw using an app or creating “how to” content online have been circulating on the international news. Yes, many people have realized that creating content for YouTube, podcasts and blogs isn’t as easy as it looks, but that doesn’t mean you cannot offer your support by checking out the content. 

            While many Cons and events have been moved to online as virtual events, there have been a few creators who have made the decision to upping their game and putting together events as a means of entertainment and sharing new content with other creators and fans. QuaranCon 2020 was a virtual con put together by Virginia McClain and a few other fantasy authors (many of them from S.P.F.B.O.), and presented live panels over the course of 2 weeks. MayDayCon 2020 was a virtual con which was organized and moderated by 1 person—FanFiAddict! There were 7 panels and 7 live readings with over 30 authors all within 14 hours! And yes, I watched that entire con as it was going on live! Next, GeekCon1 will be taking place in July. This virtual con is aimed at all content creators with more information coming as we get closer to the date. GeekChat1 and his friends—other content creators—will be putting the event together.  

            As for “professional” cons that will be virtual, there will be plenty of those as well. Both BookExpo and BookCon will be streaming live on Facebook. Orbit Books has been hosting and announcing several live chats with their authors every week! Several authors have been chatting on their Instagram accounts as well, which is a great opportunity to interact with some of your favorite authors and other famous people. And, several literary award organizations have turned to YouTube to announce both the nominees and the winners of their awards such as the BSFA and the Hugos. Yes, not everyone will be able to stream these events live (I still have my job to attend to in person), but the best thing about streaming live events is that you can watch the playbacks when they become available. 

            This post is not meant to put anyone down. Instead, I wanted to remind everyone that people are working behind the scenes in order to present new content and events to everyone who is living in lockdown, which is everyone! Think about it, wouldn’t it be better for you in the future if you mentioned what you did during the pandemic isn’t of what you weren’t able to do? Yes, the pandemic sucks, but it’s a shared experience and you have the opportunity to find a way to stand out and do something you always wanted to do. What do you have to lose? 

My Shortlist Award Reading Challenge 2020

Yes, I am late with this post, but that doesn’t mean I haven’t been keeping up with the news surrounding the nominees for this year’s speculative fiction awards. The good news is that thanks to all of my reading throughout the previous year, I’ve read a lot of the books that have been nominated for these awards. The bad news is that all of the conventions have been cancelled due to the COVID-19 Pandemic. The silver lining is that many of these Cons and awards will be presented through livestream events. Yet, I feel sad for many of the nominees, especially the debut authors, because they will not be able to accept the award and give their acceptance speech in person. At the same time, I know some of these Cons are open to fans, and a lot of them had to cancel their plans as well. It does make the livestreams good enough substitutes and next year’s Cons will make up for it all, but it’s still a bummer. 

            Like I said, I read a lot of the nominees for almost all of this year’s speculative fiction awards. If you click on this Google Document that I’ve shared (https://docs.google.com/document/d/1G2uYVlAPclCA83KYOb3n5G-xLfW5xza5HT50dz5uX4Y/edit?usp=sharing), then you’ll find which books I’ve been able to review so far. However, I’ve read enough of the nominees—mostly novels and novellas—to know that it’ll be another close year in terms of the winner. I have my picks of who is going to win, but in most cases, I can’t determine who the winner(s) will be. Nevertheless, I’m excited for all of these speculative fiction awards. Fans and readers should not only pay attention to the Nebulas and the Hugos, but also to the British Science Fiction Association, or BSFA, the Aurealis Awards, and the Nommo Awards (to start). On a serious note, there’s a lot more going on in Australia, in Africa, and within their writing communities than those of us residing in the rest of the continents can comprehend. 

            As for the awards themselves (some of them), both the nominations and the dates of them have been delayed. For example, the BSFA Awards were supposed to be in April during Eastercon, but the event was postponed until May. Those awards will be livestreamed this weekend (check their website for the link). It seems that most of these awards will be streamed, but we’ll have to consult the Awards’ websites and social media pages for information and dates. This experience will be memorable, and we won’t miss them. 

            Just like last year, I’ll update my Google Doc as both the nominations and the winners are announced. I’ll share any information on whether or not the awards will be streamed and when they’ll occur on social media. I suggest you follow any information provided by the award organizations themselves on their websites, which are listed below. Read or watch the nominated works as well. And, look out for my post on the wrap up of my Reading Challenge, which will be posted towards the end of the award season (whenever that is). Please note: the S.P.F.B.O. 6 will be mentioned in separate posts! Let me know which of the nominees you’ve read! Enjoy this year’s awards and nominations! 

            If any of the information listed below is incorrect, then please let me know.

Philip K. Dick: https://www.philipkdickaward.org

BSFA: https://bsfa.co.uk 

Nebula: https://nebulas.sfwa.org

Aurealis: https://aurealisawards.org

Brave New Words: https://www.starburstmagazine.com

Hugos: http://www.thehugoawards.org

Lambda Literary: https://www.lambdaliterary.org

Compton Crook: http://www.bsfs.org 

Otherwise (formerly the Tiptree Award): https://otherwiseaward.org 

The Kitschies: http://www.thekitschies.com

BFA: http://www.britishfantasysociety.org

Locus Awards: https://locusmag.com

Arthur C. Clarke Award: https://clarkeaward.com

Nommo Award: http://www.africansfs.com/home

Bram Stoker Awards: http://www.thebramstokerawards.com

World Fantasy Award: http://www.worldfantasy.org/

The Shortlist Award Reading Challenge 2019—The End

            As some of you may or may not know, I decided to partake of this crazy reading challenge in which, I would read as many of the nominees of the largest book awards for speculative fiction I could by the time the winners were announced. Obviously, this was easier said than done, but I did read a lot of amazing books, and many of them did NOT win the awards. In addition, I learned of more awards that were given to these authors in different regions throughout the world—if anyone knows of an award given in Asia, then please let me know—and I learned more about authors I’ve read or haven’t read before. 

            I suggest that you go to the websites for these awards and take a look at all of the finalists because you might recognize the authors, their works and their other interested. Some of these authors only receive the recognition from these awards. And, I wouldn’t have known who Lauren C. Teffeau and Nick Clark Windo were without doing this project. 

            I did read a lot of the winners and the nominees, but only the winners of each award and category will be listed here. I haven’t written all of the reviews for some of the winners, yet; but, I hope to do so in the near future. Please read my reviews I’ve linked to the books, and let me know what you thought of the winners of these awards. And yes, I’m doing this again for 2020!

Philip K. Dick Award

Winner: 84K by Claire North

Compton Crook/Stephen Tall Award

Honors the Best 1st Science Fiction/Fantasy/Horror Novel of the Year

Winner: The Poppy War by R.F. Kuang

British Science Fiction Association (BSFA) Award

Winners:

            Novel: Embers of War by Gareth L. Powell

            Shorter Fiction: Time Was by Ian McDonald

            Non-Fiction: “On motherhood and erasure: people-shaped holes, hollow characters and the illusion of impossible adventures” by Aliette de Bodard

            Artwork: Likhain’s “In the Vanishers’ Palace: Dragon I and II”

Nebula Awards

Winners:

            Novel: The Calculating Stars by Mary Robinette Kowal

            Novella: The Tea Master and the Detective by Aliette de Bodard

            Novelette: “The Only Harmless Great Thing” by Brooke Bolander

            Short Story: “The Secret Lives of the Nine Negro Teeth of George Washington” by Phenderson Djèlí Clark

            Game Writing: “Black Mirror: Bandersnatch,” Charlie Brooker

            The Ray Bradbury Award for Outstanding Dramatic Presentation: “Spider-Man: Into the Spider-Verse,” Screenplay by Phil Lord & Rodney Rothman

            The Andre Norton Award for Outstanding Young Adult Science Fiction or Fantasy Book: Children of Blood and Bone by Tomi Adeyemi

The Hugo Awards

Winners: 

            Novel: The Calculating Stars by Mary Robinette Kowal

            Novella: Artificial Condition by Martha Wells

            Novelette: “If at First You Don’t Succeed, Try, Try Again” by Zen Cho

            Short Story: “A Witch’s Guide to Escape: A Practical Compendium of Portal Fantasies” by Alix E. Harrow

            Series: Wayfarers by Becky Chambers

            Related Work: Archive of Our Own, a project of the Organization for Transformative Works

            Graphic Story: Monstress, Volume 3: Haven, written by Marjorie Liu, art by Sana Takeda

            Dramatic Presentation:

                                                Long Form: “Spider-Man: Into the Spider-Verse”

                                                Short Form: “The Good Place: Janet”

            Editor:

                        Short Form: Gardner Dozois

                        Long Form: Navah Wolfe

            Professional Artist: Charles Vess

            Semiprozine: “Uncanny Magazine”   

            Fanzine: “Lady Business”

            Fancast: “Our Opinions Are Correct”

            Fan Writer: Foz Meadows

            Fan Artist: Likhain (Mia Sereno)

            Art Book: The Books of Earthsea: The Complete Illustrated Edition, illustrated by Charles Vess, written by Ursula K. LeGuin   

            Lodestar Award for Best Young Adult Book: Children of Blood and Bone by Tomi Adeyemi

            John W. Campbell Award for Best New Writer: Jeannette Ng

Brave New Words Award

Given to an individual who produces break-out literature that is New and Bold.

Winner: Empire of Sand by Tasha Suri

The Arthur C. Clarke Award

Given for Science Fiction Literature

Winner: Rosewater by Tade Thompson

Locus Awards

Winners: 

            Science Fiction Novel: The Calculating Stars by Mary Robinette Kowal

            Fantasy Novel: Spinning Silver by Naomi Novik

            Horror Novel: The Cabin at the End of the World by Paul Tremblay

            Young Adult Book: Dread Nation by Justina Ireland

            First Novel: Trail of Lightning by Rebecca Roanhorse

            Novella: Artificial Condition by Martha Wells

            Novelette: “The Only Harmless Thing” by Brooke Bolander

            Short Story: “The Secret Lives of the Nine Negro Teeth of George Washington” by Phenderson Djèlí Clark

            Anthology: The Book of Magic edited by Gardner Dozois

            Collection: How Long ‘til Black Future Month? By N.K. Jemisin

            Magazine: Tor.com

            Publisher: Tor

            Editor: Gardner Dozois

            Artist: Charles Vess

            Non-Fiction: Ursula K. LeGuin: Conversations on Writing by Ursula K. LeGuin & David Naimon

            Art Book: Charles Vess, The Books of Earthsea: The Complete Illustrated Edition, Ursula K. LeGuin

British Fantasy Awards

Winners:

            Fantasy Novel: The Bitter Twins by Jen Williams

            Horror Novel: Little Eve by Catriona Ward

            Newcomer: Tasha Suri for Empire of Sand

            Novella: The Tea Master and the Detective by Aliette de Bodard

            Short Fiction: “Down Where Sound Comes Blunt” by GV Anderson

            Anthology: Year’s Best Weird Fiction, Vol. 5, edited by Robert Shearman & Michael Kelly

            Collection: All the Fabulous Beasts by Priya Sharma

            Non-Fiction: Noise and Sparks by Ruth EJ Booth

            Independent Press: Unsung Stories 

            Magazine/Periodical: “Uncanny Magazine

            Audio: Breaking the Glass Slipper (www.breakingtheglassslipper.com)

            Comic/Graphic Novel: Widdershins, Vol. 7 by Kate Ashwin

            Artist: Vince Haig

            Film/Television Production: “Spider-Man: Into the Spider-Verse”

2019 World Fantasy Awards

Lifetime Achievement Awards: Hayao Miyazaki, Jack Zipes

Winners:

            Novel: Witchmark by C.L. Polk

            Novella: “The Privilege of the Happy Ending” by Kij Johnson

            Short Fiction (tie): “Ten Deals with the Indigo Sky” by Mel Kassel

                                           “Like a River Loves the Sky” by Emma Törzs

            Collection: The Tangled Lands by Paolo Bacigalupi & Tobias S. Buckell

            Artist: Rovina Cal

            Special Award:

                        Professional: Huw Lewis-Jones for The Writer’s Map: An Atlas of Imaginary Lands

                        Non-Professional: Scott H. Andrews for Beneath Ceaseless Skies: Literary Adventure Fantasy

            Anthology: Worlds Seen in Passing: Ten Years of Tor.com Short Fiction, edited by Irene Gallo

Bram Stoker Awards (2018)

Superior Achievement in a Novel: The Cabin at the End of the World by Paul Tremblay

Superior Achievement in a First Novel: The Rust Maidens by Gwendolyn Kiste

Superior Achievement in a Young Adult Novel: The Dark Descent of Elizabeth Frankenstein by Kiersten White

Superior Achievement in a Graphic Novel: Victor LaValle’s Destroyer by Victor LaValle

Superior Achievement in Long Fiction: The Devil’s Throat (Hellhole: An Anthology of Subterranean Terror)

Superior Achievement in Short Fiction: “Mutter” (Fantastic Tales of Terror) by Jess Landry

Superior Achievement in a Fiction Collection: That Which Grows Wild by Eric J. Guignard

Superior Achievement in a Screenplay: The Haunting Hill House: The Bent-Neck Lady, Episode 01:05 by Meredith Averill

Superior Achievement in an Anthology: The Devil and the Deep: Horror Stories of the Sea by Ellen Datlow

Superior Achievement in Non-Fiction: It’s Alive: Bringing Your Nightmares to Life by Joe Mynhardt and Eugene Johnson

Superior Achievement in a Poetry Collection: The Devil’s Dreamland by Sara Tantlinger

Aurealis Award (2018)

Recognizes the achievements of Australian science fiction, fantasy and horror writers. 

Winners:

            Young Adult Short Story: “The Sea-Maker of Darmid Bay” by Shauna O’Meara

            Young Adult Novel: Catching Teller Crow by Ambelin Kwaymullina & Ezekiel Kwaymullina

            Science Fiction Novel: Lifel1k3 by Jay Kristoff

            Fantasy Novel (tie): City of Lies by Sam Hawke

                                             The Witch Who Courted Death by Maria Lewis

            Horror Novel: Tides of Stone by Kaaron Warren

            Children’s Fiction: The Endsister by Penni Russon

            Graphic Novel/Illustrated Work: Tales from The Inner City by Shaun Tan

            Horror Novella: Crisis Apparition by Kaaron Warren

            Horror Short Story: “Sub-Urban” by Alfie Simpson

            Fantasy Novella: “The Staff in the Stone” by Garth Nix

            Fantasy Short Story: “The Further Shore” by J. Ashley Smith

            Science Fiction Novella: Icefall by Stephanie Gunn

            Science Fiction Short Story: “The Astronaut” by Jen White

            Collection: Tales from The Inner City, edited by Shaun Tan

            Anthology: The Best Science Fiction & Fantasy of the Year, edited by Jonathan Strahan

            The Sara Douglass Book Series Award: Blackthorn & Grim Trilogy by Juliet Mariller

            Convenors’ Award for Excellence (tie):

                        Cat Sparks, The 21st Century Catastrophe: Hyper-capitalism and Severe Climate Change in Science Fiction (PhD exegesis Curtin University)

                        Kim Wilkins, Lisa Fletcher and Beth Driscoll, Genre Worlds: Australian Popular Fiction in the 21st Century (http://www.genreworlds.com)

Nommo Award (2018)

Recognizes the works of speculative fiction by Africans, defined as “science fiction, fantasy, stories of magic and traditional belief, alternative histories, horror and strange stuff that might not fit anywhere else,” awarded by the African Speculative Fiction Society

Winners: 

            Novel (The Ilube Award): Freshwater by Akweake Emezi

            Novella: The Fire Bird by Nerine Dorman

            Short Story: “The Witching Hour” by Ekpeki Oghenechovwe Donald

            Comic or Graphic Novel: Shuri by Nnedi Okorafor

SPFBO (Self-Publishing Fantasy Blog-Off) 2018 (4th

Started by Mark Lawrence, yes THAT one, with the purpose to “shines a light on self-published fantasy. It exists to find excellent books that might otherwise have gone unnoticed.” The contest starts with 300 books and it gradually narrows down to 10 finalists! The judges are readers who are bloggers and vloggers. Note: some of these authors gain a following and some even earn a publishing contract, so don’t ignore these books!

Winner: Orconomics by J. Zachary Pike

Finalists:

            The Gods of Men by Barbara Kloss

            The Purification Era Book One: Sowing by Angie Gricaliunas

            We Ride the Storm by Devin Madson

            Symphony of the Wind by Steven McKinnon

            The Anointed by Keith Ward

            Conspiracy of Magic Book One: Ruthless Magic by Megan Crewe

            Sworn to the Night by Craig Schaefer

            Iconoclasts Book 1: Aching God by Mike Shel

            Out of Nowhere by Patrick LeClerc

Speculative Fiction: A Label for the Growing Spectrum of the Genres: Fantasy, Science Fiction & Horror

*My 100th Blog Post!*

For the past year in which I have devoted more time to working on my blog, I have gained a larger audience—followers, readers and other supporters—than I thought possible. Remember, even the most successful bloggers and vloggers start out as “small channels” and are thankful for those who support them. I feel the same way. Knowing that you all have taken the time to read, to comment, to subscribe/follow, and to share my content is a great feeling. I’m extremely grateful for all of you, and it’s because of you all I know what I’m doing is being appreciated by the macrocosm. 

            One of several topics I’ve been discussing with other fans, readers, bloggers and vloggers is the concept of genre and the limitations its definition bestows upon it. The notion that genres can and should be placed within “fixed” classifications is similar to the concept that gender is binary—which, it isn’t! Over the last 100 years, the genres have become more ubiquitous and more successful due to books written by L. Frank Baum, J.R.R. Tolkien, C.S. Lewis, T.H. White, J.K. Rowling, Frank Herbert, Arthur C. Clarke, Octavia Butler, Samuel R. Delany, Ursula K. LeGuin, Shirley Jackson, Isabel Allende, Haruki Murakami, Alan Moore, Stephen King, Anne Rice, etc. And, due to movies such as: The Invasion of the Body Snatchers, E.T., the Extraterrestrial, Star Wars, Star Trek, Pan’s Labyrinth, Akira, etc. Toward the end of the 20th century, other formats of literature and visual entertainment such as comics, graphic novels, manga, video games and music were becoming more popular and expansive. Imports from around the world—i.e. Japan, India, Spain, etc.—have presented popular works of these genres to fans as well. 

            Before the 2000s—I want to say around the 1970s—an emergence of works were presented and released to the public. Besides the Harry Potter Phenomenon and The Lord of the Rings movies, there was Buffy, the Vampire Slayer, The Matrix, and the continued book releases by Stephen King, Anne Rice and Robert Jordan. In addition, video games were growing in popularity and in addition to Mario, Sonic and Zelda there were Final Fantasy, Resident Evil and Shin Megami Tensei. Even those who weren’t reading the books, watching the TV shows or movies, or playing the video games were exposed to fantasy, science fiction and horror. Yet, why did some people prefer Harry Potter over The Lord of the Rings? What was it about Laurell K. Hamilton’s books that had some readers prefer her books over Anne Rice’s? What is it about Shin Megami Tensei, which has several spinoffs—including Persona—that has more of a cult fan base that players find appealing? 

            What I’m getting at is: how would you describe a book like The Northern Lights/The Golden Compass, the Dragon Quest video game series (besides Japanese role-playing games, or JRPGs), or even the Batman comics? Yes, one is a Young Adult novel, one is a JRPG, and the last is a superhero comic book series; but, aren’t there other genres to classify these works besides their marketing ones? Philip Pullman’s His Dark Materials Trilogy is a blend of fantasy, science (fiction), religion and philosophy—what did you expect from an Oxford professor? Dragon Quest is a JRPG with elements from the fantasy and adventure genres. Batman—one of the oldest and greatest superhero series of all-time—is a gritty and dark story about a traumatized man who uses his wealth and his wits to go up against the most dangerous criminals in his city. Nowadays, we would consider Batman to be a psychological thriller superhero series with elements of grimdark. Then again, with the recent success of the TV shows Game of Thrones and The Walking Dead, there were many non-readers and fans who said things like, “I don’t like fantasy, but I love Game of Thrones,” or “I don’t like zombies, but The Walking Dead is a great show,” etc. Yes, those shows were media adaptations, which are examples of fantasy and dystopia books that “divert” from “traditional” or “familiar” tropes. However, there are fans of those tropes who are not interested in neither the TV show nor the books. So, why are those the exceptions? They are NOT!

            Speculative fiction is a term that is being used more and more in order to describe literature and media that fall under the “traditional” genres of science fiction, fantasy, horror and comics. According to Marek Oziewicz, speculative fiction, “includes fantasy, science fiction, and horror, but also their derivatives, hybrids, and cognate genres like the gothic, dystopia, weird fiction, post-apocalyptic fiction, ghost stories, superhero tales, alternate history, steampunk, slipstream, magic realism, fractured fairy tales and more,” (3). In other words, speculative fiction includes: urban fantasy, mythological fantasy, zombies, paranormal, space operas, metaphysical, silkpunk, occult, military, historical, romance, etc., etc. Any and all of the genres and subgenres makeup this term.

            So why do some people—authors, writers, readers, critics, academics, fans—use this term? It’s because there are times when a medium either has more than two genres associated within it or displays aspects of speculative fiction that doesn’t fall under any of the “fixed” genres. For example, the Super Mario Bros. franchise is a video game series classified under both “action/adventure” and “platformer,” but could it be categorized in the fantasy genre due to the levels being in an imaginary world, or could it fall under horror or paranormal due to the ghosts and the skeletons, or even science fiction, especially in the context of the Super Mario Galaxy games? In this case, the term speculative fiction would fit best for this gaming franchise. I should mention that I’m not the one who should be recategorizing video games. Then again, this is proof that the term speculative fiction is becoming both recognizable and interchangeable. 

            Speculative fiction seems to become the more acceptable them to use when explaining works and forms of non-mimetic fiction without listing all of the many subgenres associated with it. Recent examples include The Broken Earth Trilogy by N.K. Jemisin and Gods of Jade and Shadow by Silvia Moreno-Garcia. The first has been categorized under fantasy, science fiction, dystopian literature and magic realism (the last one was on Amazon); and, the second has been categorized under fantasy, mythology, magic realism and historical fiction. Which is easier: listing all of those genres and subgenres in a description, or saying speculative fiction containing elements of certain genres and subgenres such as: a story about the end of the world and Mayan Gods during the Jazz Age? While speculative fiction is an umbrella term, many of us have been using it as a shortcut to explain a collection of books, films and video games. 

            Another factor surrounding speculative fiction concerns education and academia. How many of you remember reading Edgar Allan Poe and/or Turn of the Screw by Henry James in school and in college? How many of you remember reading The House of the Spirits, One Hundred Years of Solitude, or Haroun and the Sea of Stories in school or in college? And, how many of you remember reading one of the many dystopian books: Lord of the Flies, A Handmaiden’s Tale, 1984, Fahrenheit 451, The Giver, Brave New World, etc., in school and in college? Now, how many fantasy, fairy tales, and myths and legends were assigned to you after primary/elementary school? Keep in mind, there are courses and electives about these genres in college, but not everyone gets to take those classes (I was lucky enough to do so). Without going into too much detail, I’ve had disputes about fantasy literature with a few academic professors. Some of them believe that fantasy has no place in higher education except for in Children’s and Adolescent Literature (i.e. teaching, library science). However, scholars are responsible for some of the most recognized works in fantasy. Lewis Carroll, J.R.R. Tolkien, C.S. Lewis and Philip Pullman were Oxford professors. In addition, there are academic scholars who study and write books and articles about fantasy, science fiction and horror such as: Edward James, Farah Mendlesohn, John Grant, Nnedi Okorafor, John Clute, Jack Zipes and Tzvetan Todorov. This history and the study of these genres are just as essential as reading the fiction. I hate to say it, but speculative fiction seems to be the “safer” and the “more acceptable” term to use when it comes to discussing these genres. 

            So, why do I use the term speculative fiction? My simplest answer is because it signifies all of the genres I enjoy to read, to watch, to write and to game the most. Saying speculative fiction instead of the longlist of genres and subgenres is the easiest and the quickest way to describe certain works of media. If a book can be categorized in more than one genre or subgenre, then why not save the breakdown for a discussion with others in a fandom, or with authors and publishers? Most important, using the term speculative fiction does not limit the story of any medium to one genre. It allows a fan of a metaphysical book to say that “there’s elements of fantasy in this story,” or “the religion in this book is based on the myths and the history of this ancient civilization.” Speculative fiction is a term that allows an audience to observe the broader spectrum of a medium with similar beginnings and interconnecting styles of storytelling. However, there will continue to be moments where a book is categorized as “hard sci-fi,” a video game is of the “horror” genre, and Disney continues to fracture fairy tales. This is the new Golden Age of Speculative Fiction so we might as well enjoy everything that is presented to us while opening the doors for an open interpretation. 

            Thank you for reading my post(s), following my blog and my social media pages! Here’s to many more posts in the future and to several open discussions! Please like and comment here or on my other posts; and, be sure to check out the following references about our favorite genre(s). 

                                                                        References

James, Edward and Farah Mendlesohn, editors. The Cambridge Companion to Fantasy. Cambridge University Press, 2012.  

James, Edward and Farah Mendlesohn, editors. The Cambridge Companion to Science Fiction. Cambridge University Press, 2003. 

Martin, Philip. A Guide to Fantasy Literature: Thoughts on Stories of Wonder & Enchantment. Crickhollow Books, 2009.

Oziewicz, Marek. “Speculative Fiction.” Oxford Research Encyclopedia of Literature, March 2017, p.1-22. doi: 10.1093/acrefore/9780190201098.013.78

Stableford, Brian. The A to Z of Fantasy Literature. The Scarecrow Press, Inc., 2009.  

Review of Season One of “His Dark Materials”

Season one of His Dark Materials, based on The Northern Lights/The Golden Compass by Philip Pullman has completed its run on the BBC and on HBO, and they didn’t alter the ending! Overall, season one was a great adaptation to the books and some of the “fillers” worked well for the narrative that was presented to the audience. Readers got to enjoy scenes that were denied to them from the 2007 movie and viewers were able to grasp the demeanor of all of the characters thanks to both the actors’ portrayals of the characters and the “fillers” which were added for additional context. 

            It should be mentioned that the TV mini-series was a better adaptation than the movie, but this is due to the fact that neither the studios, nor the test audience (these are based on rumors, which have circulated over and over again) interfered with the editing of the series. The order of the events presented matched the way they occurred in the books, the “true” ending of season one ended the way it does in the books, and the revelations of what was happening to the missing children weren’t glossed over. Yes, the movie did get a lot of things right, and those were repeated in the series, but the TV series is more in tandem with the books.

            The issues I have with the series so far should be mentioned as well. First, is the aging up of some of the younger characters. Lyra, Roger, and Billy were all close to the age of the characters they portrayed (between 10 and 12 years-old), but Will Parry was aged up to 15 years-old (he’s around 12-13 years-old when readers first meet him). I want to say this was because of the age of the actor who is portraying Will, but it’s difficult to determine whether or not this is the case. Yes, there have been some cases in which the age of the character(s) have been altered due to the actors that play them, but there have been even more examples of when it’s happened because the studio(s) believe it’ll make the narrative “more believable.” If it’s the former, then I have no complaint; but if it’s the latter, then they should stop making it so obvious. 

            Next, were the ways the proximity of daemons were presented to the viewers. While in the books, it is unclear what the actual distance a human can be “away” from their daemon, it is clear that the proximity has to be very close in order for human and daemon to maintain their bond and their lives. However, there are moments when the proximity is unclear and that is due to the way some of daemons are presented. Sometimes they are far enough for the individual not to experience pain, and then they are so far away that you wonder whether or not they could be similar to a witch’s daemon. I hope the network and the studio corrects this misconception for season two because it became very confusing between each episode. 

            Last, was the way Dust is presented throughout the season. The mystery of Dust was portrayed better than the knowledge of it. The explanation provided in the season finale is straight from the books, but the “danger” of someone outside of Jordan College and the Magisterium having knowledge of what Dust is—which, was presented better in the movie—wasn’t demonstrated in the series the way it should have been, in my opinion. Then again, Dust is supposed to be remain a mystery throughout the series until the end. 

            Besides the casting and the special effects, there were several things that I enjoyed about season one from the titles of the episodes—based on chapters in the books—to the way the parental figures were portrayed in the series. Presenting both Mrs. Coulter and Mrs. Parry as “damaged” individuals who try to balance their demeanor with their desire to be mothers to their children was presented extremely well. The issue of succession and power amongst the panserbjørne and the Magisterium—which, are both essential to the plot of the story—were presented (with the details given throughout the books) with the hypocrisy immensely. And, the motives of Lord Asriel and his reasons for doing everything he does comes back full circle. Lord Asriel is what keeps the narrative moving along and the series makes sure that the viewers do not forget it. Yet, it was Ruth Wilson’s portrayal of Mrs. Coulter that grasped the viewers’ attention the most. 

            Overall, season one of His Dark Materials was the adaptation fans of the books waited for patiently, and the wait was worth it. All of the details that were omitted from the 2007 movie were included, the pacing matched the books and were appropriate for a TV mini-series, and the inclusion of source material from other books in the Philip Pullman’s universe—both The Book of Dust and The Subtle Knife—enriched the narrative more than expected and it worked well for the audience, both readers and viewers. Season two was announced by the BBC (with HBO promising to continue showing the series in the U.S.), which is great because this news is what book fans have been waiting for the most! The adaptation of The Subtle Knife will not only continue Lyra’s story, but also continue the narrative from the multiple cliffhangers this time around. Yes, the books should be read, but knowing that the mini-series will continue makes book fans as excited as the viewers more than anyone else can imagine! 

If you want the reviews of each episode, then you can click on each of the episode titles below:

S1, Ep.1: Lyra’s Jordan

S1, Ep. 2: The Idea of North

S1, Ep. 3: The Spies

S1, Ep. 4: Armour

S1, Ep. 5: The Lost Boy

S1, Ep. 6: The Daemon-Cages

S1, Ep. 7: The Fight to the Death

S1, Ep. 8: Betrayal

My Rating: 8.5 out of 10! 

TV Episode Review: “His Dark Materials: Betrayal”

The season finale of Season One begins with both Mrs. Coulter and Lord Asriel—Lyra’s parents—preparing for what they’ve been planning for since the first episode. The former is planning to kill Lord Asriel under the orders of the Magisterium, and the latter is planning something that involves the aurora—a.k.a. the northern lights—and this involves his strange interest in Roger. 

            Lyra’s reunion and confrontation with her father does not go the way she wants it to go. Lord Asriel admits that he is Lyra’s father, but he’s not going to be the sort of father she wants him to be. Meanwhile, Mrs. Coulter admits that her abandoning Lyra was a mistake and she’s been trying to rectify it. Lyra goes from being an orphan to knowing she’s an abandoned child, and she doesn’t know how to deal with either the knowledge or the rejection of it. It is Roger who comforts her when she doesn’t know how to deal with her feelings. Roger tells Lyra that they can “pretend to be orphans” again, knowing life for them has changed and things won’t ever be the same. 

            Lord Asriel makes the decision to explain to Lyra the purpose of his research and his reason for him being absent. The discussion of Dust and its origins comes from the novel. The Magisterium believes that Dust is Original Sin and that it begins to affect humans once they start puberty. Lyra begins to understand why the Magisterium conducted the experiments on the missing children, and Lord Asriel explains his beliefs on Dust and his discovery about the aurora and Dust—it can build a bridge between worlds. He asks Lyra if she wants to go with him, but Lyra has already decided to return to Jordan College with Roger. 

            Meanwhile, Lord Carlo Boreal continues his search for the Parrys and the letters. Will is hiding in town knowing that the police are looking for him because of the man he killed. What Will doesn’t know is that the reason he’s being tracked is because Lord Carlo Boreal is using the police to find him. It’s interesting how far the power of the Magisterium stretches across the worlds. Will manages to stay hidden, but he knows that it’s only a matter of time before he’s found, and he needs to hide somewhere where no one can find him. 

            Lyra wakes up when the Magisterium has arrived to arrest her father, but her father has already left taking Roger with him to the peak of the mountain. Lyra realizes that her father didn’t need the alethiometer, but Roger. Lord Asriel needed a child whose daemon hasn’t settled yet in order to use the energy from the bond to create a bridge. Similar to how Mrs. Coulter wouldn’t sacrifice Lyra to the intercision, Lord Asriel refused to sacrifice Lyra. This could be viewed as a twisted type of love parents have for their child.  

            Lyra rushes to save Roger. She dodges the Magisterium’s attacks thanks to Iorek Byrinison and the other panserbjørnes; however, not even Iorek can travel across the thin bands of ice. Lyra Silvertongue says goodbye to Iorek not knowing what will happen once she reaches the top. Pantalaimon tells Lyra that Roger is in a cage similar to the one at The Station and Lyra knows what her father plans to do. Unfortunately, she’s too late. Lord Asriel creates the bridge at the cost of the life of his daughter’s best friend. 

            Mrs. Coulter arrives too late as well, but she resists her orders to kill her former lover. Lord Asriel tells her of his plans to end the Magisterium and asks her to join him. It’s a brief, yet strange, reconciliation between Lyra’s parents (in which, Lyra witnesses firsthand in the book). However, Mrs. Coulter rejects Lord Asriel in order to stay with Lyra. Lyra regains consciousness in time to avoid her mother and she goes to say goodbye to Roger. Lyra decides that she needs to find Dust before her father and the Magisterium. At the same time, Will goes to the park, the same one where Lord Carlo Boreal travels from, where he finds a cat that disappears into thin air. Lyra and Will go through the bridges at the same time not knowing where they’ll end up. 

            Betrayal is an appropriate season finale because it wraps up all of the plots throughout the season going back to the events of the first episode. All of the questions asked from that first episode are answered. The deviation from the books works for this episode as well because it fits with the adaptation presented to us by the BBC and HBO. The only question left is “what happens next?” There will be a season two, which will be based on The Subtle Knife. Hopefully, the next season will continue to follow the darker tones left by season one.

My Rating: 9.0 out of 10. 

TV Episode Review: “His Dark Materials: The Fight to the Death”

This episode picks up where the last episode, and the books, left us. Lyra survives her fall from Lee Scoresby’s balloon, only to be captured by the panserbjørne—the name the Ice Bears call themselves in the books (and in the movie)—and brought before King Iofur Raknison. Lyra learns her father is alive, her friends survived the attack on the balloon, and Iorek Byrinison is on his way to rescue her. 

            However, Iorek is in exile and he was the previous king. Lyra uses her cunning, her ability to lie, and the alethiometer in order to trick Iofur Raknison into fighting Iorek Byrinison. This scene is interesting for two reasons. The first is we learn more about Lyra’s character and how she resembles both of her parents—as she is told constantly by other characters—especially, in her drive to succeed. The second is that Iofur Raknison is duped by Lyra—and Mrs. Coulter—because of his desire to behave like a human (this is explored more in the film, and in the books). 

            With the exception of Mrs. Coulter’s role and relationship with Iofur Raknison, everything follows the books from how Lyra tricks Iofur Raknison (which Iorek now calls her Lyra Silvertongue), to the fight between the two panserbjørnes, to the use of bloodmoss (read the books). Iofur Rakinson has been defeated and Iorek Byrinison has reclaimed the throne. Now, Lyra has to travel further North in order to rescue her father before the Magisterium kills him. She leaves with Roger and Iorek. 

            Meanwhile, the plot involving Will Parry catches up to the books—The Subtle Knife—in this episode. Will’s mother is visited again by the man from the Magisterium (his name is Lord Carlo Boreal). She is driven to the edge of a breakdown, and when she refuses to give the man any answers, he allows his daemon to scare her. She meets Will at his school, and he manages to calm his mother down. However, when they return home, they find it’s been broken into and searched. They flee to the home of one of Will’s teachers, but Will returns to the house to retrieve his father’s letters—which is what the Magisterium has been searching for. Will finds the letters as the thieves enter the house. He is able to defend himself, but he kills one of the men. Not knowing what to do, he packs some of his belongings and leaves town, with his father’s letters. 

            The Fight to the Death ends with Lyra arriving where her father is staying. Lord Asriel is NOT pleased to see her and tells her to leave. However, he changes his mind once he sees that she brought her friend, Roger, with her. Lyra is trying to process what just happened. Meanwhile, Mrs. Coulter barters again with the Magisterium to allow her to speak to Lord Asriel instead of killing him. And, both Lee Scoresby and King Iorek Byrinison prepare to face off against the Magisterium as they make their way North. What is Lord Asriel up to that has everyone scared? There’s one episode left in Season One and we’ll see how this adaptation decides to end.

My Rating: 8.5 out of 10. 

TV Episode Review: “His Dark Materials: Armour”

This is the episode everyone has been waiting for! Armour is the episode in which, the audience is introduced to Lee Scoresby—played by Lin-Manuel Miranda—and Iorek Byrnison—voiced by Joe Tandberg. These characters are not only essential to the story because of the roles they’ll play in the future, but also because they explain more about the existence of daemons for more clarity. Viewers of the 2007 movie will see these characters portrayed differently; and, readers will rejoice at this faithfulness to the books. 

            Lyra Belaqua and the Gyptians arrive North at a port in order to stock up on supplies for the journey and to contact the Witches—including one named Serafina Pekkala—to ask for their alliance in getting the children back from the Gobblers. These are the scenes in which the other characters, and the audience, witness how Lyra uses and reads the alethiometer. Lyra’s abilities to read the alethiometer and the truth of her parentage has started to catch the attention of Mrs. Coulter, the Gyptians, the Witches’ Council, and the Magisterium. The audience will recall that the Master of Jordan College discovered something about Lyra, and he was trying his best to keep her safe to the extent (and the extremes) of his status. 

            Meanwhile, Mrs. Coulter continues to demonstrate her cunningness and her abilities as a power player within the Magisterium. She knows her previous actions went against their instructions and the law, but Mrs. Coulter manages to evade them because she’s already a few steps ahead of the Magisterium. She has made an alliance with the King of the Armoured Bears—yes, I’m using the British English spelling for this review—and they have someone both she, and the Magisterium, want.   

            Once again, these scenes are straight from the books with the exception of the bar fights. That scene was meant to present the demeanor and the skills Lee Scoresby has and what that means for the Gyptians as they continue their journey further North. Iorek Byrnison is presented to us as Armoured Bears are supposed to be; he’s a strong and fearless fighter, and he isn’t afraid to let everyone know. The Gyptians have the alliance of the Witches and Lyra manages to gain the alliance of both of these fighters for the rescue mission. The rescue party has assembled, and they are off to save the missing children. 

            Just like other media adaptations in recent years, we’ve seen actors transcend from one popular media series to another. So far, we’ve seen Narnia, X-Men, and Game of Thrones. This episode has a character from the Harry Potter movies. Do you know who it is? Did you recognize that individual in the role they were playing?  

My Rating: 10 out of 10

TV Episode Review: “His Dark Materials: The Spies”

The episode starts with a reminder that “The Gobblers” are kidnapping children—and keeping them in nets, cages and locked rooms—and have been discreet, until the Gyptians started to track their movements. Meanwhile, Mrs. Coulter abuses her connections with the Magisterium in order to find Lyra. And, it’s obvious that while Mrs. Coulter wants Lyra back, she’s doing it in a way which presents her in a way everyone can see why Lyra ran away from her in the first place. 

            Lyra Belaqua is rescued and taken into the care by the Gyptians. They have connections to Lord Asriel and are planning to rescue the missing children—as soon as they discover where they are being kept. It is during her stay with them that Lyra learns more about her origins and the alethiometer. Her reaction to the truth about her parents is believable and appropriate. Mrs. Coulter’s reaction to Lyra running away from her is not. Even the Magisterium is horrified by what Mrs. Coulter does in order to find her. It seems that it’s not only the alethiometer that the Magisterium has aversions against. 

            The Gyptians are willing to do more to figure out what’s going on with the missing children than the authorities. They have a plan—and allies—waiting to be carried out. Two of the Gyptians decide that having concrete evidence is better than traveling on gossip, so they continue their investigation against orders. At this point, it’s clear that the Magisterium is involved, but as to the how and the why, viewers will have to wait and see. 

            In our world, Lord Carlo Boreal—the man who works with the Magisterium—continues his search into the identity and the mystery of Dr. Stanislaus Grumman and whether or not he managed to “crossover” from one world to another, a theory Lord Asriel insists is the truth. The results his informer uncovers is interesting and shocking. This scene is essential to the plot of the story because it delves more into the idea of “other worlds” and why it remains a mystery to everyone. Book readers will know exactly what I’m getting at, but that’s all I’ll say, for now.  

            The Spies is the episode in which the plots in London wrap up and the story and the characters travel to the North to rescue the children and to learn why they were taken in the first place. This is the shift in the story in which the audience—both readers and viewers—have been waiting for since the cast was announced. This episode reiterates the dangers Lyra has been shielded from her entire life, but with her recently acquired knowledge, she knows she cannot return to Jordan College without Roger. 

TV Episode Review: “His Dark Materials: The Idea of North”

The episode wastes no time resuming where it left off. Lyra Belaqua arrives in London with Mrs. Coulter, and Roger arrives in London to where the other kidnapped children are being held, including Billy Costa. Both children have no idea why there are wanted, but they have no choice but to go along with their circumstances. But, it’s clear that Mrs. Coulter is NOT to be trusted. 

            Mrs. Coulter is a villain whose motivations remain unknown, for now. Yet, this adaptation presents her in a way that wasn’t seen before in the movie or in the books. It’s obvious Mrs. Coulter is struggling with both the actions and the position she’s found herself in, but she is hard to read by everyone, so she remains a mystery. As of right now, Mrs. Coulter is breaking because for all of her composure, she has moments of rage. Something Lyra experiences firsthand, and it scares her. 

            Meanwhile, the Magisterium is investigating Lord Asriel’s “discovery” and the true purpose of his research. The crypts at Jordan College seem to be a very popular place because everyone finds themselves there eventually. I would use the terms heresy and hypocrisy to describe the Magisterium. While it is obvious the scholars at Oxford wonder about Lord Asriel’s theory about Dust and other worlds, it appears that the Magisterium has some knowledge about it already, and they use it to their advantage. 

            Billy and Roger are minor characters whose roles are emerging into the plot. The Gyptians are searching for the children in London, but they always arrive just too late to rescue them. After they are moved, Mrs. Coulter arrives and a scene from the books is presented for the readers; then again, the viewers see more of Mrs. Coulter’s character in the scene as well. 

            Lyra is known for being an explorer, like her uncle(?), and she knows something is going on with Mrs. Coulter. However, everything is kept under lock-and-key, so Lyra finds another way to get the information she seeks. What she finds leaves more questions than answers, but she knows that she’s not safe, especially with the Magisterium hanging around Mrs. Coulter. 

            The Idea of North is an episode that focuses on world-building and character development. A lot of it comes from the books, but there are several additional scenes that embellish the adaptation further. The episode moves towards the darker side of the story, the same dark side that Lyra was shielded from at Jordan College. We get a look into what is happening in London, in Oxford, and in Oxford (not a typo). Lyra, Mrs. Coulter, Billy and Roger, the Gyptians and the Magisterium are participating in something bigger than they believed originally. And, there is more to come. The plot develops too, but this is the chance to learn how the characters fit into the plot as it continues to develop.

My Rating: 9.5 out of 10.