Published: January 21, 2021 Narrated by: Nikki Massoud
Still, she insisted that obsequiousness was part of the role, and no amount of correction from either Ren or Alta Renata could stamp it out. Sighing, Renata put in her earrings—formerly Letilia’s—while Tess retrieved ribbon, brushes, needle, and thread, and set to work, (2: The Face of Gold: Isla Prišta, Westbridge: Suilun 4).
There is a young adult portal fantasy series titled Stravaganza by Mary Hoffman. Each book in the series follows an unhappy teen who stumbles upon a magic talisman, which transports them to a world that is similar to 11th century Italy. In that world these travelers find others like themselves, and they help them fight against a family which is similar to the infamous House Borgia. In that series, both magic and alchemy are studied and practiced by the characters in secret from their enemies. This series was a fun read and it had me wondering why a similar series didn’t exist (where I had access to it). While The Mask of Mirrors, the 1st book in the Rook & Rose trilogy—by M.A. Carrick is not a portal fantasy set in Renaissance Italy, I could not help but make comparisons throughout my reading of this book to the Stravaganza series.
There are 3 protagonists who mingle within their social circles consisting of other characters. The 1st protagonist is Arenza Lenskaya—a.k.a. “Ren”—who is a con artist and a thief. She has just returned to Nadežra with her sister, Tess, after being away for 5 years. Back then, Ren, Tess, and their brother, Sedge, were planning on leaving their knot—group of thieves bonded by blood and by magic—when their leader, Ondrakja, killed Sedge as punishment. Ren poisoned Ondrakja as payback, and then she and Tess fled the city. Now, the 2 young women have returned with a plan: infiltrate House Traementis—one of the noble houses—as the long-lost niece, Alta Renata Viraudax, in order to swindle away some of their fortune for themselves to live off from. Tess will play the role as Alta Renata’s handmaiden while Ren will play the role as a young noblewoman. Meanwhile, Era Donaia Traementis, the head of the House, is unsure what to make of the vagrant who may or may not be the daughter of her willful sister-in-law, Letilia Traementis. At the same time, her children, Leato—who is around Renata’s age—and Giuna, are excited to meet their “cousin,” especially since there are rumors that their House is cursed. Renata mingles with members of the other Houses so that she can claim her “position” faster. She befriends House Acrenix, she angers House Indestor, and meets up with Derossi Vargo—a known crime lord and businessman—who has a proposition for Renata and House Traementis.
The 2nd protagonist is Derossi Vargo—known simply as Vargo. It should be mentioned that Vargo’s dealings are as unknown as the crimes he has committed in the past. Thanks to his network of knots, Vargo knows what Renata seeks, and he is willing to assist her, for a price. One thing the denizens of Nadežra know about Vargo is his ability to perform numinatria—a form of magic based on geometry (and gods)—which he learned from an “unknown” individual. On the side, Vargo continues operating his “business.” However, after an attack at one of his locations, Vargo sends out his best men to investigate. This includes: Nikory, Pavlin Rainieri—who works in the Vigil, the police force—and, another who has ties to Renata and Tess. Strangely, Vargo cooperates with the Vigil with this case and “other” ones.
The 3rd protagonist is Captain Grey Serrado. He is one of the leaders of the Vigil, and he takes his job very seriously. He is willing to investigate the crimes on the streets of Nadežra so that trust can build up between the Vigil and the denizens, especially the poor. For example, when children start going missing only to return claiming they can’t sleep, Grey meets with Arkady Bones—the boss of the largest knot in Nadežra—and asks her for information about it. At the same time, he is investigating the explosion which cause his brother’s—Kolya’s—death; and, Era Traementis wants Grey to investigate Renata’s “identity.” Later on, when another attack occurs, Grey begins to wonder whether or not everything could be connected.
All three protagonists find themselves involved in a conspiracy of politics and magic. Together with their friends and their allies, Ren, Vargo and Grey use their talents and their abilities to work towards their goals, and to save the city of Nadežra from destruction. The question all 3 are asking is: who is behind all of these crimes and why?
There are 3 plots in this novel—1 per protagonist. Ren is conning her way into House Traementis as a long-lost relative of theirs. When she learns that helping them with their financial troubles can give her what she wants, she agrees to meet with Vargo in order to keep up the con. When her plans begins to overwhelm her, Ren transforms into Arenza and uses her pattern deck—similar to tarot cards—to read people’s spirits and relationships while learning about the ongoings on the streets. Unfortunately, when Alta Renata Viraudax becomes sought out by several individuals, Ren begins to wonder whether or not she is in over her head. Vargo is trying to move beyond his criminal status so he can be recognized as the businessman he has worked hard to become. However, someone is using his reputation in order to blame him for the death of Captain Serrado’s brother. Not to mention, his “mentor” keeps directing him in the direction he wants Vargo to go in. Grey has a lot on his mind; and, the cause of his brother’s death is at the forefront. Then, children start dying in the streets and it isn’t from hunger or violence. And, of course, the noble houses are fighting amongst themselves, again. Grey wonders why no one is taking the deaths of the street children more seriously, until the reason presents itself to him.
Out of all of the subplots, 2 garner the most connections to the plots throughout the narrative. The first subplot is the magic used by the Vraszenians. Some have power to use numinatria, some use astrology, and some use a pattern deck. To non-Vraszenians, they believe much of the “magic” is based on superstition. However, too many unusual ailments—including a new drug—starts to affect everyone to the point where everyone begins to ask, who is powerful enough to stop it. The second subplot surrounds the figure of The Rook, the infamous outlaw from legend who offers “justice” to whoever needs it the most—usually the poor and the orphaned. Yet, The Rook finds himself in a bad situation. On the night Captain Serrado’s brother was killed, several witnesses reported seeing The Rook at the building. But, there is one thing which doesn’t add up: The Rook does NOT kill. So, what happened that night? There is a lot going on within the narrative, but the plots and the subplots develop at an appropriate rate so the readers can keep track of everything that is happening to all of the characters. The subplots are essential for the plot developments within this story.
The narrative is told in 3rd person limited from the points-of-view of Ren, Vargo and Grey. While each of the protagonists don’t know everything that is happening, the reader(s) know because they follow the events from their P.O.V.s and their streams-of-consciousness which are essential throughout the narrative. In addition, readers get a few passages from the P.O.V.s of some of the other characters, which allows for everyone’s thoughts and emotions to be known, which allows these characters to become more rounded. The sequence of the narrative can get confusing at times due to certain events being told and retold through someone else’s P.O.V., but this grants readers with the complete knowledge of everything that is happening at once. The memories, the flashbacks, and the visions are pivotal as well. The narratives are presented in a way that makes all of the characters reliable, and each one can be followed easily.
The style M.A. Carrick—the joint pen name of both Marie Brennan and Alyc Helms—use for The Mask of Mirrors resembles an urban fantasy mystery where both magic users and con artists and vigilantes are involved. All of the characters know something bad is about to happen, and the protagonists are doing everything they can to find out who is behind it and to stop it. Not to mention, someone is using magic to harm children; but, whose magic is powerful enough to do such a thing? Both the magic system and the world-building transports the reader(s) to a fantasy world which will remind them of something from 19th century Italy (and maybe France?). An argument can be made here that both Ren and The Rook are homages to the fictional character, Arsène Lupin (think Persona 5), the gentleman thief and master of disguise created by French writer, Maurice Leblanc. The allusion to Leblanc’s series is obvious to those fans. Will one protagonist solve the mystery before the others, or will all 3 protagonists find a way to work together? The mood in this novel is jeopardy. Every single character is risking themselves in order to survive and to continue to make their way in the world. The tone in this novel is executing actions in order to do what needs to be done. Each protagonist finds themselves in scenarios where they must ask themselves whether or not their desires mean more than those of (several) others.
The appeal for The Mask of Mirrors have been positive. A majority of the readers (so far) have given this book the highest praises. I would recommend this book to fans of the Hidden Legacy series by Ilona Andrews, the Chimera trilogy by Cate Glass, and any fantasy series with expansive world-building set within an urban fantasy world (i.e. City of Lies, Nevernight). I listened to the audiobook edition of this book, which was narrated by Nikki Massoud. Her performance, her voicing of all of the characters, and her pronunciation of all of the nouns made it easy to distinguish one from another. Thanks to her performance, I was able to keep track of everything that was happening throughout the narrative. Yes, this is a dense book, but it has a fast pace and the buildup to the events towards the end of this book will leave readers craving to read the next book in the series, The Liar’s Knot, when it is released at the end of 2021.
The Mask of Mirrors is one of the most underrated fantasy books of the year. M.A. Carrick presents a blend of fantasy and mystery within a world complete with nobles, vigilantes, magic users and characters who are trying to learn about themselves as they survive the madness within their city. Do not be intimidated by the size and the narrative style of the book. I promise you will fall under its spell.
For this post, which marks a new milestone for me, I decided to discuss one of the most enjoyable—and the most dreadful—topics: favorites. We all know why favorites is a fun topic, but it can be daunting for opposing reasons: others have them as their favorites, they are ubiquitous, they are different from yours, etc.
Why am I using the term “narrative” instead of story? What is a narrative? MasterClass has a great definition of the word (no, I am NOT a member). “A narrative is a way of presenting connected events in order to tell a ‘good’ story. A narrative unites distinct events by concept, idea, or plot.” Narratives have existed since the start of humanity, and they range from folktales to poetry to visual media, etc.
So, why am I using narrative for this post? It is because it is tied to the topic of my 100th post. In that post, I mentioned how speculative fiction genres and subgenres can be used for films and video games. Personally, I believe speculative fiction should include both visual art mediums more often because many films and video games are presenting narratives. Yes, many films (and TV shows) are based on text narratives (a.k.a. books)—and, some video games are based on books and films; yet, there are many films and video games that standout because they are excellent narratives that are NOT based on books.
Think about it, which films and video games are considered to be the best based on their narratives? And yes, not everyone has seen the same films, and not everyone plays the same video games, but you’ve heard of the “popular” ones and the “excellent” ones. Most of the these are critically acclaimed within their own academy, but their narratives are what capture our attention the most as we progress through them. These narratives are so captivating, we appreciate them regardless of the medium they are being presented to the audience.
So, for this post, I will be discussing my favorite speculative fiction narratives. My (current) favorites span across speculative fiction genres and narratives formats. Expect not only books, but also films and video games as well. Many of my favorites shouldn’t surprise you, but I hope you understand why I continue to gush over these narratives. This is a Top 10 List, but the order is based on when I experienced each one.
His Dark Materials Trilogy (1995-2000) by Philip Pullman
Known as both “the most dangerous man in the U.K.” and “J.K. Rowling’s contemporary” this (now retired) Oxford professor has been enjoying the latest adaptation of this dark fantasy—with blended elements of science fiction and religion—trilogy which have been more faithful to the books. This trilogy was published right before the Harry Potter Phenomenon, which were released in tandem (to the first half of the Harry Potter series). And, while this series might not have the same amount of fans as Hogwarts, readers of this series became devoted fans who waited years for the same level of media adaptation as its counterpart.
I’ll say it right now, this is my favorite book series from my childhood. That’s over Harry Potter, Animorphs, and other series (from the same decade). Why? Because this series had a narrative that presented various conflicts within a coming-of-age story with realistic elements—which we take for granted—told through a lens that is speculative fiction. In addition to the protagonist being a less than ideal heroine (she has flaws), she takes matters into her own hands in order to do what she believes is the right thing to do, regardless of what the authority figures tell her to do.
Not only was this series my introduction to portal fantasy—I read C.S. Lewis’ and L. Frank Baum’s series in college and in grad school respectively—and genre blending. This trilogy is fantasy that contains several elements of science, religion and folklore—dæmons are a belief from Ancient Greece and the shamanism dates back to the Pre-Socratic Era—which tie into the plot, the character development, and the world-building. You can recognize the series based on keywords mentioned from the beginning to the ending.
This narrative is one of my favorites because it takes the familiar tropes of a fantasy story (i.e. family) with real life elements (i.e. science) and scenarios (i.e. identity) and allows it to be presented between science fantasy and reality. And, the idea that a single action can lead to the same ramifications in all worlds is extremely thought provoking as well. The series’ ending—given the circumstances—is satisfying. This narrative has you saying, “what is” instead of “what if.”
Spirited Away, Sen to Chihiro no kamikakushi (2001)
I remember when this movie was released in the U.S., but I didn’t get to see it in theaters. When I did sit down to watch this movie, I was mesmerized by both the animation and the narrative. And, while I understand the comparisons between this narrative and Alice’s Adventures in Wonderland—and even The Wonderful Wizard of Oz—this story, fused with Japanese folklore, stands out on its own.
Chihiro isn’t a curious young girl who wanders into a magical world. She is a whiny child who is saddened with moving to a new home with her parents who are more optimistic about the move than her. When they get lost, it is her parents whose curiosity leads them all into the spirit world, where they are trapped inside. Chihiro is forced to complete the “Hero’s Quest” by completing 3 tasks. However, Chihiro is a 10-year-old girl, and she behaves like one throughout the narrative. It won’t be easy.
I love the narrative within this movie because it explores the balance between fantasy and folklore. Some tales from a region’s religion, culture and/or superstitions are often dismissed as being “false” or “fantasy.” However, the fantastic often presents what is real in its own way; and, this movie presents a spirit world with more than one location within it, which demonstrates that world is as vast as ours. There is one unanswered question: how long were Chihiro and her parents in the spirit world for?
Final Fantasy X (2001)
I’ve discussed my love for video games before, but I haven’t talked about them as much as I wanted to beforehand. Some readers of speculative fiction do enjoy video games of the same genres, but role-playing games—a.k.a. R.P.G.s and Japanese R.P.G.s—are visual narratives in which you play your way through the story until you reach its end. And, some of the games in this genre are both popular and laudable enough for all gamers to play at least once.
Everyone has their favorite Final Fantasy game; and, each game in the main series has its own superlative. For example, in my opinion, Final Fantasy VII is the “Most Popular” game in the series. Final Fantasy X has my favorite narratives in this series. In addition to this game having an excellent story—which the other games in the (main) series all have in common—this game presents a narrative in which all of the main characters develop and grow over the course of the game.
You play as Tidus, a famous athlete who takes after his father (who he hates and has been missing for 10 years). During a game, the city is attacked by an entity, and Tidus is transported 1,000 years into the future. From this point in the game, Tidus (and the player) learn about the world they find themselves in, what happened to their world since the initial attack there, and how the two are tied together. Conflicts and themes surrounding power, identity, religion, beliefs, love and choice are presented in each of the main characters throughout the gameplay. Each conflict and its relation to each character is presented early within the narrative. However, as each “truth” is revealed to the party, they must decide on how they want to carry on knowing the consequences of their actions. While the ending is bittersweet, you finish the game’s narrative aware that the world will be able to start anew; which is something we can all learn from this game.
Final Fantasy X is one of the games in this main series with a direct sequel. Final Fantasy X-2 (2003) takes place a few years after the events of its predecessor. This presents a unique, yet believable, look into how the world has changed, and how the main characters have changed with it.
The Twelve Kingdoms (1992-Present, Japan; 2007-10, U.S.A.) by Fuyumi Ono
Personally, I believe we take narratives for granted. Yes, we learn how stories were told orally and passed down from generation through posterity, then collected and written down, and then translated into other languages so more can enjoy them. The 1990s saw the demand for Asian content to be presented to a Western audience, and not just action movies. TV shows, anime, manga, etc., were in high demand; some works of literature were translated as well. Battle Royale: The Novel and the movie have a strong cult following, but some light novels (Japanese YA novels) were being translated as well.
Sea of Shadow is the first book in The Twelve Kingdoms, and the narrative focuses on the trope of the outcast and presents it in a way that is both heartbreaking and inspiring. Yoko Nakajima has lived her entire life as an outcast. She is a high-schooler with red hair living in Japan with her traditional parents. Although she is an only child, she receives little love from her parents; she gets good grades in school, but she is ostracized due to her hair color. All Yoko knows is how to get through life by trying to please everyone around her. One day, a man with golden hair appears at her school—which is an all-girls school—abducts her from her classroom, and spirits her away to a world where Asian folklore and fantasy are authentic. After arriving, Yoko is separated from the man and now must survive in a world where she is even more of an outcast than in our world.
This narrative is part coming-of-age and part survival story. Yoko is in a place where she is considered to be a criminal because she is an immigrant. After a few close calls, she is left on her own to survive in the wilderness. From there, Yoko grows into the individual she was forced to suppress due to her familial and societal notions. After accepting that there is nothing left for her in our world (she can never go home anyway), Yoko mush find a reason to keep living throughout all of the adversities she faces. Her goal matches a shocking revelation about herself.
The rest of the series introduce new characters and reintroduces fan favorites as the timeline of the 12 Kingdoms’ history is covered throughout each book. The same issues of immigration, regional biases and political conspiracies are covered in the narratives of each book. In addition, without too many spoilers, each of the protagonists in each book represent one of 3 types of societal outcasts within that world.
Print copies of this series is limited; not to mention just 4 books in the series were translated to English. There is an anime series based on the first 4 books which you can stream online. Hopefully, one day we’ll get the rest of the series translated and released.
Pan’s Labyrinth, El labriento del fauno (2006)
I’ve discussed fairy tale retellings and fractured fairy tales, but I haven’t mentioned fairy tales and folktales as often as I should in my posts. In short, fairy tales are a genre of folktales in which there is a strong storyline and plot, emphasis upon magic and fantasy, repeated motifs and tropes, with a “happy ending.” Characters are represented as good or evil, and there are beings with magical powers or objects which serve a purpose for the characters. Director Guillermo del Toro wrote and directed his own fairy tale, Pan’s Labyrinth, in which he blends fantasy, magic realism and folklore into this poignant, yet dark film.
The setting of the narrative grabs your attention immediately. It is the end of the Spanish Civil War (1936-9)—which occurred in tandem with the Second Sino-Japanese War (1937-45) and World War II (1939-45)—and a young girl, Ofelia, and her pregnant mother are traveling to her (new) stepfather’s residence. The protagonist’s stepfather is a captain in Franco’s army, which holds dominance over Spain. Ofelia does her best to cope with the changes by retreating into fairy tales, her favorite literary genre, which the adults all comment that “she is too old for them.” Amidst the violence that happens outside of the home, Ofelia comes across a magical faun who tells her her true identity and the 3 tasks she must complete in order to prove that she is “the lost princess.”
The narrative is haunting and beautiful as it explores the reasons why anyone would read fantasy and fairy tales; besides escapism, they offer a semblance of hope during difficult times. Not to mention, this is one of the few “fairy tales” where there is a villainous step-father instead of a step-mother (and he’s not a child molester). Each of the 3 tasks correlate to the themes of war and violence—not to mention one of the scariest evil creatures in recent narratives to date—and whether or not magic does exist.
This new fairy tale resembles the older variants which were collected by the Grimm Brothers, and written by Perrault, Andersen, and Baum. In other words, it is for adults not children; that being said, anyone who is a fan of fairy tales will appreciate how new tales can emerge through the appreciation of previous ones. And yes, you can read the literary variant of this narrative—released in 2019—but the film presents how the audience, and the general public, continue to take these narratives for granted instead of seeing them for what they are: a much needed and a wonderful fairy tale.
Shin Megami Tensei: Persona 5 (2016)
I’ve played both Persona 3 and Persona 4—which you should as well—and, while those entries in the series have great narratives, characters and gameplay, it does not have the same down-to-Earth element Persona 5 maintains throughout the entire game. The series is an urban fantasy JRPG with elements of folklore, science, horror and paranormal in it. Persona 3 delves into themes of depression. Persona 4 is a murder mystery which focuses on the effects of media coverage and urban legends. Persona 5 investigates how societal norms and conformity has a negative effect on individuals.
The narrative focuses on a group of misfit students who are victims of misconceptions placed upon them by the adults in their lives and the rest of society. Anyone who remembers feeling like an outcast—even in adulthood—can relate to these emotions. And yet, the game explores how it is not only adults and power figures who mistreat other individuals, but also other children and adolescents. In addition, players realize how each of the antagonists ended up as they are because of societal expectations. Are the Phantom Thieves heroes, or “a group of meddling kids”?
The narrative within this game is the reality within the fiction. The unfortunate truth is that we all know more than 1 person in our life and “social circle” who is similar to the characters in the game. Another factor to consider is that the narrative forces us to look at ourselves and to determine whether or not we are mistreating anyone for our own gain. The game’s narrative serves as one part fable and one part entertainment.
I’ll mention the narrative within Royal as well. Without getting into too many spoilers, the narrative in this part of the narrative focuses on how manifested desires allows us to achieve a life that is too good to be true, and the causes and the consequences of living such a life. Living this life can lead us to being “out of touch” from reality, especially to those who might be suffering because life isn’t as good for them. Persona 5 (Royal) examines the lives we choose to live while fighting beings from folklore around the world.
From the first page to the final sentence of this trilogy you are transported to a world where science, fantasy, history, magic and reality enmesh into one of the most engrossing narratives of all time. What if the seasons lasted for several centuries? What if Earth was unstable due to tectonic activity? What if there were individuals who could control seismic activity? What if life on Earth was dead for centuries? Would you be able to survive?
In the far future, Earth has become an unstable planet where earthquakes kill life for centuries at a time. In a twist of fate, some humans gained abilities to sense and to control the Earth’s tectonic activity; so what does the majority of humanity do? Resort to the old methods of societal oppression by practicing fear, control and slavery of these individuals for millennia, which leads to the beginning of the series where a woman arrives at her home to find her toddler son has been murdered, her daughter abducted by her father, and her secret exposed to her community. On top of that, the “fifth season” has begun, so she must hurry and find her daughter (and kill her now ex-husband) before the surface becomes too uninhabitable to survive.
This series not only takes genre blending to a new level, but also reminds the readers of the dangers of repeating negative social norms instead of solving the bigger problem. Not to mention how such negative treatment and hostility affects posterity for the worse; and, how far will any mother go to protect her child(ren)? And, what will a child do to ensure their own survival? The world-building explains the current predicament the characters find themselves in and how the planet ended up the way it did. In addition, this is one of the few series in which the beginning chapters play a huge role in the narrative. Even the 2nd person P.O.V. chapters are well-written. You finish reading this series knowing it was an amazing narrative. There is a reason why every book in this trilogy won the Hugo Award for Best Novel, and in consecutive years.
How do I describe Murderbot to someone who hasn’t read this series? Murderbot is a brilliant A.I. who is smart enough to gain control over itself, hates stupidity, has a bleak outlook on life to the point where it borders on nihilism, watches soap operas so that it can understand humans better, and is very good at its job at providing security and killing threats to those under its protection. On a serious note, I haven’t laughed so much regarding robots since watching the Star Wars movies.
The series follows Murderbot—which is what it calls itself—on its latest assignment, protecting a group of scientists as they explore a planet. After a close call, it wonders if something else was happening on that planet, not that it cares what happens to the humans. Basing its knowledge about humans on the T.V. show it watches (i.e. Sanctuary Moon), Murderbot concludes that some of the other humans are up to no good. So, it abandons its post to go on a mission to determine whether or not Murderbot is right; but, not because it cares about the humans who were nice to it. And, from there the narrative takes off.
With 5 novellas and 1 novel (with more books expected in the future) readers get to look into how the future could look—and without any intergalactic wars, just corporate greed. Through Murderbot’s P.O.V., readers learn how various types of robots are created and are treated throughout the galaxy, and how they interact with each other when they have the opportunity to do so. Murderbot is a “Security Unit, or Sec Unit,” whose purpose is to follow orders and to protect those within its “contract.” But, Murderbot is smart enough to play dumb when it has to survive and to remain incognito from other bots, A.I.s, and humans.
Each narrative is a “report” of events Murderbot has to submit. And, given its personality, expect a lot of laughs because you will get its inner thoughts as well; and they are on point! Anyone who wants to read a sci-fi action-adventure series with a funny and a unique narrative will enjoy this one as much as I do.
After reading so many fantasy stories (and playing them), you ask yourself 2 questions. One, if I ended up in a fantasy world, then what would it be like? Two, if I found myself in another world I started to call, “Home,” then why would I consider returning to the world I came from? Seanan McGuire isn’t the first author to think about these things (read the Oz books by L. Frank Baum), but she is one of many to consider such worlds existing parallel to ours.
Wayward Children takes the trope of “lost/wandering” children—they ended up in a different world with a different set of rules and time span—and transforms it into a new narrative with a twist. The ones who “return” are “changed” by their time in the other world, which they called Home. Their families don’t know what to do with them, so they send them to “Eleanor West’s Home for Wayward Children” (or, its sister school in Maine) so they can become “reacclimated” into society again. In truth, these students are searching for ways to return Home by looking for their Doors.
The series is divided into 2 narrative sequences. The first one follows the ongoings at the school, which is more like a school than the characters want to admit. There are disagreements about clothes, cliques are formed based on the sort of worlds they traveled to, and what their plans are for the future—in our world or in their Homes. Not to mention, when they do go on quests, they have to be quick about it, so Miss West doesn’t tell their parents. The second one focuses on each adventure each character, or characters, has in the world they traveled to, from how they found themselves there to the reason(s) why they had to leave it. The one thing these characters all have in common is that they’ll do anything to return Home.
Worlds such as Fairyland, the Moors, the Goblin Market, Hooflands, and several more where beings such as mermaids, talking skeletons, resurrected individuals, centaurs, etc., exist in worlds next to ours. In fact, some of those worlds are connected to each other as well. How many other worlds exist? Which one would you find yourself in and why? Would you want to stay there or return to our world?
The narrative of this novel begins with a familiar trope before twisting into something else. The protagonist, Sasha, is on vacation with her mother when she notices a strange man watching and following her. When she confronts him, he gives her strange tasks to complete. The catch is if she doesn’t complete them, then a loved one will suffer the consequences. After the first failure, she accomplishes all of the tasks given to her (which causes her to vomit gold coins). Afterward, Sasha is coerced into attending a university in order to “enhance” her knowledge.
Before you start comparing this book to Harry Potter, Percy Jackson, etc., remember, Sasha was coerced into attending this university (which is in the isolated and rural parts of Russia). In fact, all of the students are in the same situation as Sasha, but why are they there? What makes them different from their former high school classmates? What are they supposed to be learning?
This narrative blends the college experience within a speculative fiction setting. Sasha and her college peers have to deal with roommates, classes, changing family relationships, and the changes that go with being away from home; but, they don’t have the option to flunk out of the university. If a student fails their classes or reveals the ongoings at the university, then their families will pay the price. This is done to ensure the secrecy of the university and the success of their students. As for what they are studying, well none of the students know until halfway through their second year. And then, they have to study for a test so that they can “attend” the graduate program.
Without giving away anything else, the narrative does an amazing job balancing college life with the unexpected. And, similar to the narrative, the college experience becomes an addiction you don’t want to give up. In fact, some of the students decide to stay at the university during the holidays, instead of returning home. No one is forcing them to stay there during that time, so why won’t they leave? And, what happens to the students—including Sasha—when they begin to comprehend their “schoolwork”?
Those are my (current) favorite speculative fiction narratives. Yes, they are on my lists of favorites by medium as well, but I won’t be mentioning that topic anytime soon. I hope you all consider reading, watching and/or playing what I listed here. If anything, then I hope you enjoy the stories being told as much as I did, and still do.
Coincidentally, I started my blog site 9 years ago, and it started as a simple hobby. It’s amazing what any individual can achieve when given the opportunity to do so. Thank you to everyone who encouraged me to keep my blog going from when I was just posting theories about A Song of Ice and Fire and pop culture essays. I wasn’t sure whether or not anyone would read the posts on this blog; then again, I didn’t believe I had so much to say about literature, social issues, pop culture, etc. I’ve been able to branch out and work on projects for other websites (i.e. Fantasy-Faction, SWFA). So, thank you for reading, liking, commenting, and sharing my work; especially when I was attending grad school and I had to limit the content in my posts. And, a huge thank you to the publishers, the authors (and their literary agents), and other bookbloggers for sending me ARCs and galleys of so many books so I am able to keep up with the industry; and, as I make my way through my never-ending TBR pile.
Obviously, I’ll still be posting on my blog while working on all of my many projects and any new ones that come my way. A few of you have asked me about one potential project (more like a revival). My answer: I’ll decide after the New Year because there are other things that require my immediate attention. So you’ll have to wait and see.
Here’s to 9 years and to 200 blog posts with hopes that I make it to the next milestone.