Thinking Machine: A Review of This Golden Flame, by Emily Victoria

One common trope in science-fiction is the existence of technology so advanced it is indistinguishable from magic.  However, the reverse can also be found in fiction whenever a writer wants to create a fantasy world, but still include a technological element that would not otherwise be possible.  Enter magical technology, or magic indistinguishable from technology aside from being fueled by magic instead of electricity or another power source.  Maybe an author wants to include an airship in their high fantasy setting, but does not want technology to be too advanced.  Or they want a medieval-like setting to have access to something like a computer or search engine.  Whatever the apparatus, this allows authors to get inventive with the magic in their book, imagining how it can fuel a society.  However, this trend can run up against the rick of breaking immersion whenever readers start to wonder why the characters just do not use the actual technology instead of magic.

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Death of the Gods: A Review of The Witch’s Heart, by Genevieve Gornichec

Norse mythology may be more popular than ever at the moment, in no small part due to the influence of the Marvel Cinematic Universe, but the versions of Thor and Loki we see in the movies are far from their historic portrayals.  While we call it a mythology, on part with Greek or Japanese mythology, what we know of the religion of the Vikings was not written down until after Christianity had already converted the population.  As opposed to the Greeks, who recorded their tales in the forms of poems or plays, the Norse only left behind a few glyphs or runic art pieces in their wake.  But the two written sources we do have, the Prose Edda by Snorri Sturluson and the Poetic Edda by numerous anonymous authors, paint a picture of the gods unlike their modern counterparts.  Like the gods of ancient Greece, the gods of the Norse were fallible.  They were corrupt and vain and jealous, capable of great cruelty and constantly making mistakes.  These cultures worshiped gods very similar to mortals, with all of their flaws, and they were not heroes.

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Dark Heart of Sweden: A Review of Lazarus, by Lars Kepler

Ever since the series began in 2009 with The Hypnotist, the tales of Joona Linna, Saga Bauer, and the dark heart of Sweden, Lars Kepler has captivated their audience.  Swedish detective fiction is a very unique genre, one which often goes far and above the types of crimes and mysteries written about by American counterparts.  Beginning with The Girl with the Dragon Tattoo, the world found a taste for the darkness that only Nordic authors seem capable of capturing.  Since the completion of that trilogy, Lars Kepler has kept the tradition going.  Originally published in 2018, but only recently released in English, Lazarus is the seventh entry into the newly christened Killer Instinct series of detective novels.  I have followed this series since the beginning, and each entry never fails to draw me in while making me feel slightly ill.  The best combination for a detective novel.

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Second Life: A Review of Press Reset, by Jason Schreier

The video game industry is one of the largest in the world, but it can be hard to imagine just how much money these companies make.  In 2020 alone, the global market for video games generated over 150 billion dollars in revenue, with predictions for 2021 set to increase that number even more.  Despite a measure of success which cannot be denied, the video game industry remains one of the most volatile industries of the modern day.  Few other fields rely on creating products that also need to serve as a piece of art, from the gameplay to the design to the story being told.  Even films do not suffer from the same demands or risks as games do.  One flop is all it takes for an entire company to fold in itself, and even the most successful ones perform mass layoffs without warning.  For many gamers out there, working in the video industry seems like a dream come true.  Get paid to make games?  But the reality, as in many instances, is much harsher.

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Outlaw to Sheriff: A Review of Spellmaker, by Charlie N. Holmberg

Writing a sequel is always a unique problem for an author as it is usually a self-inflicted one.  It is easy to approach a story with the idea that the complete tale will be told in one book, and most authors do choose to go this route.  But there is something about the fantasy and science-fiction genres especially that draw writers towards creating more.  Usually, this is a net win for the audience, as we want to spend as much time as possible in an author’s imagination if the first book draws us in.  I have put down many books wishing that the story had not ended with the last page.  But, sometimes, the sequel does not quite live up to the expectations set by the first entry.  A sequel needs to both provide a continuation and a satisfying payoff to elements set up by the first book.  A mystery or conflict may be enjoyable while it is ongoing, but if the resolution is not satisfying, then the entire whole can suffer.

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Betwixt and Between: A Review of Within Without, by Jeff Noon

The crossing of a border is a sacred act, a transgression representing a metamorphosis from one state to another.  To most, borders represent the barriers between nations, or states, the crossing between one civilization and another.  But there are many more borders in our everyday lives.  The crossing of the threshold from within your home to without it.  The crossing from a street to inside an apartment building to inside a singular apartment, and in reverse.  But most borders are not physical objects, until we bring them into being.  Without a human mind, there are no borders anywhere.  One world stretches and encompasses everything.  It is us who gives borders their significance and power.  Borders are not just for people either, but ideas.  There are borders of the mind that welcome you across, and borders that bar your entry.  Thoughts come to us unbidden across closed borders, but so too much mental borders be crossed in order to grow and learn.

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Suneater: A Review of Black Sun, by Rebecca Roanhorse

Epics are a form of literature as old as storytelling itself and continues to be just as relevant today as it was thousands of years ago when The Epic of Gilgamesh was first told.  Every culture has its own tales, passed down from generation to generation, and literature has continued to keep this particular genre relevant.  Even today, modern authors still write epic fiction, even if the format has changed from poetry to prose.  No one could look at The Lord of the Rings trilogy or A Song of Ice and Fire as anything other than modern epic stories, but those are far from the only ones.  All epics share a few common characteristics.  An epic will feature multiple main characters, each on their own important journey.  Sometimes this journey will take them across several locales, other times the journey will not a physical one.  Magic may play a part, but it is usually rare and, when it does appear, can be exceedingly powerful.  Often, the stakes will threaten the world, but the characters growth is just as important to the story as the plot.

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Destroyer: A Review of The Burning God, by R. F. Kuang

Not every story requires a happy ending, the kind of ending where the main characters walk off into the sunset.  The type of ending where the plot has been neatly wrapped up with the villains defeated.  Peace reigns, and the book ends tidily, trying to leave readers with a sense of satisfaction.  However, entertainment is not limited to just that type of ending, and it can also be satisfying to see a book or series reach its most logical conclusion.  We want to complete a book and feel the overwhelming emotion that the author wishes to depart, even if that emotion is sadness, for sadness itself can be cathartic. 

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Courtly Manners: A Review of The Frozen Crown, by Greta Kelly

Not every novel needs to be a masterpiece.  Most books will not become the next great American novel, or spawn a never-ending franchise, or elicit well-reasoned think pieces and critical analysis.  Most are written, and read, for pure entertainment.  More often than not, these are the books that I prefer to read.  Books that do not require you to think about them too hard, but draw you in with well-told, interesting stories and entertaining characters.  The literary equivalent of a popcorn movie.  And it is perfectly acceptable to enjoy these stories for what they are.  No reader should ever be judged for choosing to read something for fun, or to escape from reality for a few days to weeks.  In the middle of a global pandemic, this sort of escapism can be more important than ever.  However, just because a book is meant for pure entertainment does not mean that the construction should always be overlooked.

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Practical Villainy: A Review of Hench, by Natalie Zina Walschots

This is no longer the Golden Age of Superheroes.  We are long passed the silver and bronze ages as well.  In the world of comic books, and superheroes in particular, we currently find ourselves the Modern Age.  A literary and creative time period where superheroes cannot be taken at face value anymore, where the implications of people with extraordinary powers must be considered and no longer ignored.  We have seen this trend in both comic books and film, where a certain practicality has been applied to thinking about superheroes and their effects on the world.  Readers and consumers of superhero fiction are not content with just watching Superman demolish buildings in order to stop the latest villain’s world-ending plot.  We need creators to consider the people in those buildings.  There are generations of people today—like millennials and gen Z—who have been raised on tragedy and destruction.  Terrorist attacks, never ending school shootings, and plagues were out childhood.  Like these disasters, literature cannot ignore the destruction and death caused just off-page when superheroes and supervillains clash.  Because, when you truly think about it, the idea of a superman in real life is horrifying.

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