One of the highlights of this category, for me, was the indie game Masquerada, a cross between Transistor and perhaps The Banner Saga. It’s one part visual novel, one part squad-based RPG, presented with fine visual style and fabulous music, and easily the best writing—and among the best voice acting—I’ve ever seen in any game. I very much hope to see more like it, and more from Witching Hours (whether a sequel or otherwise), who IMO could easily stand poised as the next Supergiant.
XCOM 2 was really good, wasn’t it? I’ll probably replay it at some point (if I can just make myself reinstall the billion or so mods to make the game a bit more… more), and hopefully by now most of the performance issues have been patched out. You don’t play this stuff for the story or the writing, but what’s there served it fine. Playing for the first time always has the thrill of discovery you just can’t replicate on the second go; facing new aliens was genuinely exciting and often dangerous.
In terms of books, this was the year I started getting into Chimamanda Adichie in a big way. Americanah, obviously, and currently (and slowly, to savor) reading Half of a Yellow Sun. She’s a bloody tremendous writer. Obviously, neither of those books was published in 2016, but better late than never.
Hammers on Bone by Cassandra Khaw was another highlight. It’s usually very hard to get me to read a book with a male protagonist (well, not necessarily is Persons male, as such). But this is an interesting, unique noir; what I like best is that Cassandra’s style is never static and it’s been evolving constantly since I first read her short fiction. She does something new every time, and I have the pleasure of seeing a little bit of what she’s got forthcoming next, which will be different yet again.
I binged on a bunch of magical girl anime in search of something that’d be interesting the way Puella Magi was. The result was exceedingly poor. I’ll give Flip Flappers another try, though. Not magical girl: Psycho-Pass was fucking amazing. Looks like the next year I mostly just have second seasons or remakes to look forward to. Oh well.
There’s a line in Terry Pratchett’s wonderful book Going Postal right at the start where Moist is asked if he has any last words before he is hanged and he says, “I wasn’t actually expecting to die.” That’s how I felt on election night. As polls came in showing me that I had been betrayed by my fellow white women, that they were the ones with the knife all along, I felt sick and sad and broken.
I was introduced to J. Moufawad-Paul’s philosophy writing, which is actually really, really accessible without sacrificing incisiveness; Continuity and Rupture is available now, but I’m also looking forward to his Austerity Apparatus forthcoming next year.
So I had a lot (to me) of stories out in 2016, but of them all I was especially proud of ‘The Prince Who Gave Up Her Empire’, an epic desert fantasy of deconstructing gendered language, playing with myth and prophecy and predestination. People found it sexy. I’m satisfied.
Capping off 2016 is ‘We Are All Wasteland On the Inside’ (illustration above by Eric Asaris, which I really like), one of my rare forays into dark fantasy. I described it on twitter as ‘Lesbian noir meet tragic Spirited Away, in a decaying magic realist world’, more specifically the world is Bangkok and the magic is from Himmapan Forest (do look it up; don’t appropriate it). It’s one of those stories that I write with an intent of cathartic bleakness, which I should think aloud on at some point.
What I’m looking forward to in 2017 the most is, of course, my epic fantasy Winterglass. It’s loosely a lesbian retelling of ‘The Snow Queen’, very loosely. Mostly I’m especially looking forward to writing the acknowledgments, there being a lot of people to whom I owe thanks.