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Slipstream Sci-Fi/Fantasy Author

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A Reason for Writing

15th of Jul 2012

When I first started writing, it was for reasons that I think most people who write share. I was going through tough times, and the emotional pressure was constantly at the point where I had to do something, even if it had no effect, to vent it. It was mostly poetry, and my first attempts were rather emo, but being the person I am, I quickly decided that if I were going to write poetry anyway, I might as well learn how to be good at it.

A Review of Abraham Lincoln: Vampire Hunter

11th of Jul 2012

I recently saw Abraham Lincoln: Vampire Hunter and I'm still not quite sure how I feel about it. It was fun to watch, but compared to The Avengers, the plot was a bit rushed and cartoony—not cartoony as in childish and bad, but cartoony as in simplified and distilled. Many of the plot turns were simplified almost to the point of cliche, but Wash from Firefly played Stephen Douglas, so that's automatic points there.

(Warning: Spoilers Follow)

The Eternity Artifact by L.E. Modesitt, Jr.

22nd of Jun 2012

I recently finished reading The Eternity Artifact by L.E. Modesitt, Jr. It revolves around the discovery of an alien planet with technology even more advanced than the spacefaring humans who discover it, and the cultural complications it causes (such as religious war). But what I was most intrigued by was the POV used: multiple first person.

Finding a Satirical Theme

9th of Jun 2012

I've been having trouble with the rough draft of Dick Richards: Planeswalker, the sequel to Dick Richards: Private Eye. The setting had to be pretty much built from scratch, and despite a few overarching jokes and reveals I knew I wanted to put in there, some of the world development feels a bit hazy. No matter how much thought I put into the cultural and organizational histories and relationships, it didn't seem to fit. Felt flat and uninspired.

The Masking Effect in Sci-Fi/Fantasy

2nd of Jun 2012

I started re-reading Scott McCloud's Understanding Comics: The Invisible Art, and in chapter two he mentions that cartoons, by virtue of their simplified forms, are easier for readers to identify with than more realistic drawings. Backgrounds, on the other hand, don't need as much reader identification, and so are often more detailed: