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Author: S.M. Carrière

When S.M. Carrière isn't brutally killing your favourite characters, she spends her time teaching martial arts, live streaming video games, and cuddling her cats. In other words, she spends her time teaching others to kill, streaming her digital kills, and cuddling furry murderers. Her most recent titles include 'Daughters of Britain' and 'Skylark.' https://www.smcarriere.com/
The Thing With Video Games

The Thing With Video Games

Xbox

Any fellow gamers remember the red ring of death?

Good afternoon, Readers!

I am of a generation. The one that grew up just as video games were getting good. We weren’t the first to have video games, that belongs to the generation before me. We were, however, the first in which gaming consoles came into the home in the number that they have, becoming fairly ubiquitous. Most of my generation grew up playing video games. Like computers, most of my generation can remember the introduction of games into the house.

For myself, it was my baby brother, who had his fingers on the pulse far more than the rest of us. He was forever loading game demos on the family computer (there was one computer in the house). It was he who was given an Xbox, introducing console gaming. My brother, incidentally, now works in the video gaming industry.

When it comes to gaming, I’d say that mine is the first generation to “get” it. Which is to say, we’re not prone to the mass hysteria that seems to follow the gaming industry, labeling it as the cause of all society’s ills. We know it’s not, any more than Dungeons and Dragons was in the years prior, or novels were following the advent of the printing press.

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A Tale of Tropes

A Tale of Tropes

Merlin poster

All the goofy best somehow heartfelt drama one could ever ask for

Good afternoon, Readers!

I’m ill today (currently accepting all the pity), and blogging from the couch, where I’m sitting with a hot cup of tea and binging Netflix. In fact, I’m binging an old show that is the equivalent of comfort food.

Look, this show is absolutely the goofiest thing you’ll ever watch. It’s also genuinely funny, dramatic, tear-jerking, and eye-rolling. In short, it’s that peculiar mix of drama and whimsy that the BBC excels at producing. It’s very much part of the British sensibility, I think, this mix of whimsy and drama… and terrible CGI. There’s just something about that mix, and the peculiarly Britishnes of the whole thing that is somehow a killing combination.

Since I’m watching it anyway, I figured I chat about the show, and how it both adheres to and breaks some of my favourite fantasy tropes.

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Level 16 Movie Review

Level 16 Movie Review

Good afternoon, Readers!

Level 16 Poster

Last week, I headed out to the Mayfair Theatre in Ottawa (Canada) for a screening of the film Level 16.  An aside, the Mayfair is a quaint little theater that has been in operation since 1932. The interior doesn’t seem to have been changed since it’s early days, and the in-house film graphics haven’t changed since the 70’s, I’m certain. Anyway, I figured I could turn the visit into a film review. For true transparency’s sake, I have to state that my flatmate and good friend worked on this film. I guarantee you, though, that I’m being as impartial as I can about it.

Level 16 is a sci-fi thriller (stronger on the thriller than science fiction, though there is enough of the latter to qualify, even if it’s mentioned only briefly) set in a “post-apocalyptic” world (there are reasons for those quotation marks, I promise you). From IMDB:

Sixteen-year-old Vivien is trapped in The Vestalis Academy, a prison-like boarding school, keeping to herself and sticking her neck out for no one. Until she is reunited with Sophia — the former friend who betrayed her. Together the girls embark on a dangerous search to uncover the horrifying truth behind their imprisonment. Soon running for their lives, the girls must save themselves or die trying.

This is a female-led production; a female writer and director (Danishka Esterhazy) with female leads, Vivien and Sophia, brilliantly portrayed by Katie Douglas and Celina Martin respectively.

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That Horrid Question

That Horrid Question

INT. SMALL CONVENTION ROOM – EARLY EVENING

A young AUTHOR, new to pitching, steps cautiously into the room clutching a binder full of papers to their chest. An EDITOR for a well-regarded publisher sits at a table with an empty chair opposite. The EDITOR smiles at the AUTHOR and beckons them to the chair. So nervous they’re shaking, the AUTHOR sits down.

AUTHOR

Thanks so much for seeing me. I really appreciate it.

EDITOR

My pleasure.  So what have you got for me today.

AUTHOR

Well, it’s a [insert genre of choice].  The audience is quite adult.  I think.  I’m not sure.  The young adult/adult distinction is not something I’m all that familiar with.

EDITOR

All right.  So, what’s it about?

AUTHOR

Well, uh, it follows [character] and their team of [insert any kind of unit you like, knights? Rangers? Robot Space Marines?] and they —

EDITOR
(interrupting)

No, that’s what happens.  That’s the plot.  I want to know what the book is about.  What is the theme?

AUTHOR

Internal Screaming

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In Defense of Escapism

In Defense of Escapism

In defense of Escapism

One of the many attractions of genre fiction is the ability to have deep, meaningful conversations with the world around us; where we’re headed and what it might mean, where we’ve been and how that affects us today, where we are and the struggles we face in the moment. It gives us a lens, via the imagination, through which we can tackle some of humanity’s greatest challenges and, perhaps, offer solutions.

Crucially, however, it is entertaining, delivering important messages or asking important questions along with epic battles, political intrigue, inter-personal drama, more battles and a touch of romance. With all the potential in genre fiction for tackling the difficulties of the human condition, it doesn’t come as a surprise that some in the field turn their noses up at stories that do not do so, the stories that are still horror, fantasy or science fiction but skirt the big issues in favor of something else: fun, entertainment, escapism.

We tend to devalue escapism for its own sake as being somehow lesser, or entirely unworthy.

This, I feel, is a mistake. Escapism has value in and of itself. That value might be different from the big-issue type, but it is not lesser by any means.

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