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Setting on the Road to the 2016 Hugo Awards

2016-01-31 Trisha Lynn

As with almost everything genre-related in my life, the reason I became interested this year in reading as many Hugo Award-eligible works as I can before March 28 this year is all thanks to my former college professor Dr. Atara Stein (may you rest in peace).

As a young undergrad at Cal State Fullerton, I had taken her Science Fiction literature class because I’d become interested in learning how other people have written science fiction in the hopes that I would be able to write my own. One of the first things she told us on the first day was that because even the science fiction genre encompassed a wide breadth of topics and themes, we would be focusing on what to her embodied what science fiction was as its very heart: What does it mean to be an intelligent “human”?

Through the clarifying lens of the “artificial intelligence” theme, a partial list of everything I read that school year is as follows: Neuromancer, Frankenstein, “I Have No Mouth and I Must Scream,” Do Androids Dream of Electric Sheep?, The Moon is a Harsh Mistress, and He, She and It. We also watched the director’s cut versions of Blade Runner and Terminator 2 as well as the Star Trek: The Next Generation episode “The Measure of a Man” (because she was also a secret Trek fanfic writer on the side).

It’s because of her college course that my philosophy about what makes “good” science fiction has to flow from satisfying at least two of these three criteria:

Does the work examine what it means to be “human” in some extensive way?
Is a very important part of how the plot and/or setting works tied to the use of technology created by sentient beings?
It is very improbable that the events in the setting of the book will happen during my lifetime?

This is a rubric which I’ve been following both consciously and sub-consciously my entire life, and it’s the rubric by which I plan to read and critique as many science fiction comics, short stories, novellas, and novels as are eligible for the 2016 Hugo Awards as I can before the nomination deadline of March 31.

Because this year, I have a Supporting Membership to the 74th WorldCon, and I’m not afraid to use it.

Trisha’s Take: The “Big Bang” problem

2013-05-17 Trisha Lynn

The beginning of this blog post and this review has been very difficult for me to write, so I’m just going to come out and say it:

I think that Wil Wheaton is wrong about “The Big Bang Theory,” aka TBBT.

As people who admire Wil Wheaton’s work know, he’s had several very fun guest appearances on the show as “Evil Wil Wheaton,” the alternate universe version of himself who for several years was main character Sheldon’s nemesis, helped further along the initial break-up between Penny and Leonard, used his fame to line-jump during a midnight screening of Raiders of the Lost Ark that had 21 extra seconds of footage, and then finally get off the “shit-list” by giving to Sheldon a mint-in-box Wesley Crusher action figure, and that’s just the first iteration of the guest character’s story arc.

When he threw open the comments on a blog entry about the show to people who had questions about his first guest appearance, the following exchange took place:

Q: I think TBBT has really made geek chic in some respects, which I’m all for! Do you think the show’s had an impact making geeks more mainstream and funny?

Wheaton: I think it’s part of the general uncloseting of geeks, if that makes sense.

It’s no secret that I originally thought BBT was making fun of us, and I couldn’t get into it. It wasn’t until late in the first season that I gave it a real chance and ended up seeing that it was laughing *with* us and not *at* us. I love that the show embraces its geekiness, refuses to dumb down its humor, and manages to find a balance between mainstream and nerd humor. That’s a lot harder than it seems, and is sort of like playing Comedy Operation. If you touch the sides, the audience’s red nose lights up and instead of laughing, there’s a loud buzzing noise. It isn’t pretty.

Based on those words alone, I put “The Big Bang Theory” on my list of shows that were kind to geeks and science; however, some opinion pieces I saw earlier this year had me questioning his words. Continue reading “Trisha’s Take: The “Big Bang” problem” →

Trisha’s Take: When feminism and male webcomics artists collide

2013-05-07 Trisha Lynn

When it comes to reading webcomics, I have a set list of nine “dailies” I read and a few that I read which update less frequently. And while I’ve definitely settled on these few, that doesn’t mean that I haven’t read other webcomics or aren’t familiar with their work. Also, my love of comics and comics strips isn’t exactly a casual one; hell, my high school Extended Essay was about the role of women in comic books from the 1940s to the 1990s.

So when I saw a friend’s Facebook update decrying how Sinfest has become a den of “ludicrous feminist mediocrity,” I had to check out today’s strip:

Continue reading “Trisha’s Take: When feminism and male webcomics artists collide” →

Trisha’s Take: How Hollywood may still be “doing it wrong” in the world of web entertainment

2010-08-02 Trisha Lynn1 Comment

When it comes to being a writer or actor, we currently live in interesting times—and by “interesting” I’m using the “Chinese curse” definition of the word.

Computers and the Internet have not only opened up a new distribution method for people to see their work and give them money for it, but also a way for people to view their work and keep from giving them money for it. The main point of contention during the Writers Guild Strike of 2007-2008 and the threatened Screen Actors Guild Strike of 2008 was over residuals from “new media,” and how much a production studio would pay them for re-broadcasts of the material over time beyond its initial broadcast.

To briefly summarize, rather than use the old mathematical formula created in the 1980s when home video became a concern or wait a few years to see exactly how profitable distribution on “new media” is and create a new formula, the WGA wanted the producers’ guild (the AMPTP) to create a new formula right now which would potentially address any and all concerns about how writers would get paid for work that has the potential to be seen and consumed in innumerable ways that aren’t easily tabulated thanks to things like click rates and online piracy.

Because that formula hasn’t been perfected yet and online piracy is still a problem, anyone who wants to start releasing their content on the ‘net is trying to figure out who their loyal paying audience (aka their True Fans) is and how to best get a hold of that person’s entertainment dollar.

About a month ago, Indie Wire.com blogger Cameron Carlson went to the “Producing Web Entertainment” seminar at the American Cinematheque in California, and came away with eight things he learned about how to best reach an Internet-based audience. However, the people on that panel and the series they were talking about were people I’d never heard of personally, which made me wonder: Exactly who are these guys and why would I want to believe their words on this topic?

After doing lots of clicking and a bit of research, I present to you my own list of five things I think these particular content creators are doing correctly and incorrectly when it comes to reaching out to a ‘net-savvy audience: Continue reading “Trisha’s Take: How Hollywood may still be “doing it wrong” in the world of web entertainment” →