Emerging Genre Highlight: LitRPG

February 16, 2026February 10, 2026 / Adam / Leave a comment

LitRPG stands for “literary role-playing game.” These are fantasy or science fiction stories that incorporate elements from tabletop role-playing games (e.g., Dungeons & Dragons) and role-playing video games (e.g., The Elder Scrolls or Fallout series). For those unaware, role playing games (RPGs for short) involve players taking on roles in a fictional environment and developing their character in unique ways as the story progresses. This character development and its associated game mechanics are the common threads you will find in all LitRPG titles.

But haven’t RPG-influenced fantasy and science fiction been around for a while? What makes LitRPG unique? It can be difficult to parse genres because there are already novels that borrow quite a bit from RPGs. Dozens of authors have been writing authorized Dungeons & Dragons stories since the 80s—R. A. Salvatore and Margaret Weis among the most popular of this group. What differentiates LitRPG is that characters are aware of the game mechanics.

In traditional fantasy, a character might defeat an enemy and take their battle-axe. Perhaps the battle-axe emanates warmth and pulses with a red glow. In LitRPG on the other hand, a level 5 character might defeat a level 8 boss and take their Fire-Enchanted Dwarven Battle-Axe. A screen pops up in front of them, floating in mid-air, with text that reads: “This is a unique weapon. Wielder is granted +3 fire damage to melee attacks. When an enemy is slain with this weapon, they erupt in a fiery explosion that deals 5 fire damage to all creatures in a 3 meter radius.”

Ready Player One is a good touchstone when approaching this genre from a non-RPG background. Though some don’t consider it to be true LitRPG, it does feature a protagonist interacting in a video-game world and using game mechanics to become more powerful. There are passages like “This particular magic sword could only be used by an avatar who was tenth level or higher,” which is the kind of writing you would find in LitRPG.

Is this all sounding a little too video-gamey? Like Ready Player One, most LitRPG books can be read with no knowledge or interest in RPGs. I can attest that a number of my close friends are big fans and have never played an RPG in their life. As long as you find some thrill in cool loot, cool magic, and over-the-top action, there will be something for you in LitRPG.

“These books sound fun!” you say. “Where can I get my hands on one?” you ask. Well, LitRPG is still a relatively fledgling genre, and most books are self published. As such, you’ll only find a couple in our library system. More are sure to appear in the next year or two, but if you’re interested in diving into this genre now, you will find them online in eBook and eAudiobook formats. It’s also worth noting that, because of their emphasis on progression over time, many LitRPG series can be more than 10 books long. If you prefer short, self-contained stories, LitRPG is not for you.

So where is this genre headed? In May of this year, the author who brought LitRPG closer to the mainstream, Matt Dinniman, is releasing the next book in his Dungeon Crawler Carl series. It’s worth noting this will be the first new entry in the series published by a major publishing house (Ace, an imprint of Penguin Random House). This is a clear indication that there’s money to be found in LitRPG and I expect other publishing houses will follow suit.

Also important to note: In 2024, Universal International Studios announced they were developing a TV adaptation of Dungeon Crawler Carl. As far as I can tell, it’s too early to call this a done deal; projects like this fizzle into nothing all the time. But if the show comes to fruition, expect even more of a spotlight on LitRPG.

In the meantime, here are several books that serve as good introductions to the genre:

Dungeon Crawler Carl by Matt Dinniman

You know what’s worse than breaking up with your girlfriend? Being stuck with her prize-winning show cat. And you know what’s worse than that? An alien invasion, the destruction of all man-made structures on Earth, and the systematic exploitation of all the survivors for a sadistic intergalactic game show. That’s what.

Join Coast Guard vet Carl and his ex-girlfriend’s cat, Princess Donut, as they try to survive the end of the world—or just get to the next level—in a video game–like, trap-filled fantasy dungeon. A dungeon that’s actually the set of a reality television show with countless viewers across the galaxy. Exploding goblins. Magical potions. Deadly, drug-dealing llamas. This ain’t your ordinary game show.

Welcome, Crawler. Welcome to the Dungeon. Survival is optional. Keeping the viewers entertained is not.

Level: Unknown by David Dalglish

When an ancient alien artifact chooses research cadet Nick to explore the world stored within it—a place full of forgotten empires, heroes with strange powers, and monstrous creatures that he is automatically transported to when he sleeps—he finds he has no choice but to grow stronger within the realm of Yensere to uncover its mysteries.

But Yensere isn’t all fun exploration. In this land guided by statistics and levels, Nick is seen as a demonic threat by its diseased inhabitants and always killed on-sight. When he dies in Yensere, he awakens in his bed upon the research station, his body in a state of panic; when he sleeps again, Yensere drags him back for another life…and another death.

Nick can only keep this up for so long before he dies for real. But there’s a good chance Yensere holds the key to saving humanity from a terrible fate, and so he ventures on, getting stronger and stronger with each new enemy defeated. And there are a LOT of enemies to defeat…

He Who Fights With Monsters by Shirtaloon (a.k.a. Travis Deverell)

It’s not easy making the career jump from office-supplies-store middle manager to heroic interdimensional adventurer. At least, Jason tries to be heroic, but it’s hard to be good when all your powers are evil.

He’ll face off against cannibals, cultists, wizards, monsters…and that’s just on the first day. He’s going to need courage, he’s going to need wit, and he’s going to need some magic powers of his own. But first, he’s going to need pants.

The Wandering Inn by Pirateaba

It’s a bad day when Erin finds herself transported to a fantastical world and nearly gets eaten by a Dragon. She doesn’t belong in a place where monster attacks are a fact of life, and where Humans are one species among many. But she must adapt to her new life. Or die.

In a dangerous world where magic is real and people can level up and gain classes, Erin Solstice must battle somewhat evil Goblins, deadly Rock Crabs, and hungry [Necromancers]. She is no warrior, no mage. Erin Solstice runs an inn.

She’s an [Innkeeper].

The Path of Ascension by C. Mantis

Matt plans to delve the rifts responsible for the monsters that destroyed his city and murdered his parents. But his dreams are crushed when his Tier 1 Talent is rated as detrimental and no guild or group will take him.

Working at a nearby inn, he meets a mysterious and powerful couple who give him a chance to join the Path of Ascension, an empire-wide race to ascend the Tiers and become living legends.

With their recommendation and a stolen Skill, Matt begins his journey to the peak of power. Maybe then, he can get vengeance he seeks…

Get Your Kicks with Martial Arts Films

January 6, 2025January 3, 2025 / Susan O. / Leave a comment

Ever wonder how much of movie fight scenes are staged and faked, and how much is real? Today, so much is done on a green screen, even the locations are unconvincing. You can be sure, however, that martial arts films are very real.

Martial arts films have some of the best action and fight choreography you can find in film, and they often span multiple genres. Some are written specifically for comedy (most American Jackie Chan films, like Rush Hour), while others are mind-bending (The Matrix). Some are more realistic (Enter the Dragon), while others are not (John Wick 4. Thirteen consecutive hits by cars? I think not. Don’t get me wrong – the John Wick series is in my top 20 films, but this pushes credibility.) Foreign films tend to focus more on the art and less on a story line (sorry, subtitles or overdubbing, the dialogue in Jackie Chan’s Police Story is downright painful, even though the action and car chases are superb), while American films tend to have a story line that is stretched to make room for the action scenes (If John Wick can kill three men with a pencil, does that make the Joker, who kills one, also a martial artist?). Some movies are very good (Ip Man 2, which is a lot like Hong Kong Rocky) while others are cringeworthy and forced (American Kickboxer, for one).

Few martial arts movies are “pure” – there are few “karate” or “judo” or “jiu jitsu” films. Most martial arts films use mixed martial arts, as the actors are usually multiply trained. Bruce Lee, the granddaddy of martial arts stars, didn’t hold a black belt in anything, but invented his own school called Jeet Kune Do. Lee studied under the actual Ip Man, Yip Kai-Man, who invented the school of Wing Chun. The incredible Donnie Yen, whose greatest American films have been Star Wars: Rogue One and John Wick 4, has black belts in Wing Chun, Judo, a sixth-level black belt in Tae Kwon Do, and a purple belt in Jiu Jitsu. Keanu Reeves, of John Wick and Matrix fame, holds a black belt in Jiu Jitsu, as well as black belts in Judo and Karate.

What’s the difference between all the different martial arts forms? Generally, they’re very minor. Some use open hand, some used closed. Some are meant to deflect and defend, others to overpower (Krav Maga). Some emphasize hand work over kicks. Aikido deflects the energy of an attacker, rather than responding. Jiu Jitsu is about pinning and dominating an opponent. Wing Chun focuses on the center of the body and rapid-fire punching, similar to boxing. A second difference is the concept of “belts.” The “belt” level concept is Japanese in origin, while the Chinese systems don’t always use it. This is partly why some of the greatest martial artists of film – such as Bruce Lee – don’t have black belts in any denomination. Traditionally, the forms using belt levels are karate, tae kwon do, judo, and jiu jitsu.

You might be surprised to know there are a number of western action actors who are more than proficient at various martial arts, including Iron Man actor Robert Downey Jr. (Wing Chun), Wesley Snipes (5^th level black belt in karate, 2^nd level black belt in Hapkido, plus jiujitsu, kickboxing, kung fu, and capoeira), and Steven Seagal, a 7th-level black belt in Aikido. Chuck Norris has a tenth-degree blackbelt in Tang Su Do. Jean-Claude Van Damme has black belts in karate and kickboxing. Sean Connery, the first James Bond, had a black belt in karate. Jason Statham has a brown belt in jiu jitsu. Even Willie Nelson is a fifth-degree black belt in Korean Gongkwon Yusul, which he has studied for more than twenty years.

On the other hand, Michelle Yeoh, who stars in many martial arts-action films, has no formal training at all, but chalks up her moves to dance training. On film, no one can tell.

Don’t skip a movie just because it’s in a foreign language. Movies like Ip Man 2 and Seven Samurai are well-worth reading captions. Whether you like your action cheesy and fun, or serious and deadly, check out these films that feature martial arts or martial artists, and be careful what you kick or punch!

8 Movie Action Pack

Art of Self Defense

As Good as Dead

Big Trouble in Little China

Blade

From Russia With Love

Embattled

Everything Everywhere All At Once

Hero

Keeper

Mulan

Sakra

XXX Return of Xander Cage

Shifting Dunes

December 7, 2021November 3, 2021 / Susan O. / 1 Comment

When it comes to epic book series impossible to film, first came Lord of the Rings, (which was done marvelously at last but needed more than 10 hours of screen time).

Then came Dune.

Dune, by Frank Herbert, is considered the best-selling Science-Fiction novel of all time (though it’s far more Game of Thrones than space ships), with more than 12 million copies sold in 14 languages. It tied for the 1966 Hugo Award. And like Lord of the Rings, getting it to film is a Holy Grail of filmmakers.

Dune tells the far-distant-future story of Duke Leto Atreides, who is given the stewardship of the desert planet Arrakis, also known as Dune. Dune is the only place in the universe where the spice Melange exists – a spice that not only can alter your mind, in some species it lets them fold time and space, creating almost instant space travel. “He who controls the spice, controls the universe.” Thus, Dune is a hotbed of politics and backstabbing. When the Duke is murdered, his son Paul, deemed an abomination by a powerful religious group, is seen as a prophesied savior by the natives of Dune. So begins the battle for control of Dune. The book is an immersive, detailed, visionary epic of grand scope (there’s a dictionary in the back). When you read the book, you are on Dune. This is a book that sticks with you for years to come.

Herbert wrote five books to the series; his son Brian added another twelve after his death. Dune – even just the first installment – is a novel of such grand scope (like GOT and LOTR) that putting it to film has been almost laughable – think of Rankin Bass’s 90-minute adaption of The Hobbit. Game of Thrones took 8 years and more than 73 hours to tell – can you imagine it as a three-hour theater film and have it make sense? It was tried in the 70’s, but after 3 years of attempts, the budget just couldn’t be managed. In 1984, David Lynch did make it, condensing much of the book to ethereal voiceovers, changing major points to condense action, and adding some now-cheesy early computer effects (the blue contacts of the Fremen didn’t work, and every frame of the film had to be colored by hand). It’s a film you either love or hate, with musician Sting as Feyd Rautha famously flexing in a winged bikini.

In 2000, SyFy channel did two Dune mini-series, which were much better received, won several awards, yet seemed to fade into obscurity faster than Lynch’s version, with the chief complaint it stuck too close to the source material, and dragged. Now, thanks to Warner Bros and HBO, we have a $165 million dollar spectacle by Denis Villeneuve that covers – only half the book, with a sequel (hopefully the second half) due in 2023.

While the film has been viewed favorably, the scenery and cinematography spectacular, Villeneuve took many liberties with the material that once again changes the focus and depth of the story. To modernize it, he gender-swapped characters (which goes against the society Herbert wrote) and changed the roles of other women (no, the Bene Gesserit. He left out much of the religious aspect, the mysticism, even avoided the word jihad, used by the Fremen. It gives a sanitized, whitewashed view of the story, afraid of offending anyone. Herbert believed that modern societies will always decay back to a feudalistic society, and that the desert cultures, especially those of the Middle East, were more prone to messianic complexes and religious wars (remember, he’s writing in 1964 or so, when the Middle East was still rather bland politically. Think Star Wars and Tatooine, or The Great Humongous in Road Warrior, etc. There’s a lot to be said for that theory). To remove the root of the story – is it still the same story? Can anyone ever make a decent, book-abiding video version of Dune?

If you can’t wait for the new film to come out on DVD (or, rather, the first half of the book), check out the book series itself. Few things are better than the source material.

I can give up Sting in his bikini (though I thought he was a perfect Feyd), but there is no better Gurney Halleck than pre-Captain Picard Patrick Stewart. That’s my opinion, and I’m sticking to it!

Dune: House Harkonnen

Dune: House Corrino

Dune: The Machine Crusade

Dune: The Lady of Caladan

The Winds of Dune

The Sist erhood of Dune

Paul of Dune

Mentats of Dune

Navigators of Dune

My Favorite Android: The Murderbot Diaries

September 21, 2021September 16, 2021 / Susan O. / Leave a comment

The first use of the word “robot” dates back to the 1920’s (robotnik or similar being a term for factory worker in many slavic languages), but the word “android,” meaning a miniature human-like automaton, is older, as far as 1863. A robot – a disembodied piece of machinery – does work for you – like a Roomba, or the useless rolling pest in the grocery store that spies on people who might steal things (at least Roomba can clean up a mess it finds, and doesn’t cost $35,000). An android looks like a human, moves like a human, interacts like a human (more or less), but inside is a machine.

That fact has led to a huge amount of introspection – how do we define Human? Is a self-aware, English-communicating Gorilla a person? What about our AI creations? When a computer becomes self-aware, does it have a soul? Is it “human”? At that point, is the use and ownership of an android slavery? That question was battled in the Star Trek: The Next Generation episode “Measure of a Man,” where Starfleet claimed to own Data the android and control him like equipment, while the case was made he was sentient and free. The movie(s) Blade Runner also focused on that question.

I’m not a techie. Computers are great if they do what I need, but I couldn’t care less about future tech, AI interfaces, androids, or streaming. Anyone who knows any science fiction knows you never trust AI or give it too much power. I like Data, I don’t love Data. C3PO is annoying. I hated Marvin the Paranoid Android. No matter how many times I watch Blade Runner, I think it’s one of the most boring movies ever (I still love The Six Million Dollar Man, but he was a bionic human, not android). So I was really, really surprised that I even picked up the book All Systems Red by Martha Wells, also known as The Murderbot Diaries #1. Not my kind of book. But from the first page, I could not put the book down. I read it while cooking. I read it while my kids were in the tub. I read it while walking. I had to finish it in one day. Thankfully, it’s a short novella, and that’s entirely possible.

Murderbot, as it calls itself (it has no gender. Murderbots are not built for sex; that’s a sexbot), is a Security Unit (SecUnit), a partly organic robot/android construct built to provide security detail for whoever rents or buys it. Of course, mostly what security entails is killing whatever might harm the persons it’s hired to protect, hence the term Murderbot. Murderbot, however, manages to hack its own governor module, releasing itself from control by the company who owns it.

This starts Murderbot on a soul-searching (or soul-developing?) quest to find out exactly who or what it is now, all while working hard not to let anyone realize it’s free, because an uncontrolled killing machine is a very, very dangerous thing (to quote Kyle Reese from Terminator, “That terminator is out there, it can’t be bargained with, it can’t be reasoned with, it doesn’t feel pity or remorse or fear, and it absolutely will not stop… EVER, until you are dead!”). But Murderbot isn’t fond of killing. He’s fond of soap operas and TV serials (like The Rise and Fall of Sanctuary Moon). All he wants is to be left undisturbed to watch his shows while he tries to figure out the human race. Life never lets him, and he feels obligated (like the heroes in the soaps he watches) to help while trying to solve the mystery of who is trying to kill the people he was hired to protect.

Murderbot is sarcastic, droll, funny, depressed, almost autistic in his stilted approach to emotion and interaction with people. He’s a fast thinker and an opportunist. He says s**t a lot more than Data. He doesn’t want to be human, yet is fascinated by them and can’t stop studying them. And he makes mistakes, just like a human. The innovative – and logical – adaption/hijacking of computer systems has opened my eyes to issues I’ve never given a thought to, such as the power of drones. With all the issues currently happening via ransomware, spying, and breaches, and the mass-market and miniaturization of drones, maybe we should be thinking more along the lines of Murderbot, as our military is also controlled by computers, and nothing but nothing is hack-proof. People mistrusted the NYPD robodog so much they had to send it back.

I had to read the second book Artificial Condition (possibly my favorite, because of ART, Murderbot’s name for the “A*****e Research Transport” ship computer), whipped through the third, Rogue Protocol , flew through the fourth Exit Strategy, (also possibly my favorite), and am now reading the fifth, Network Effect. The sixth and current volume is Fugitive Telemetry, with three more commissioned by the publisher, and a TV version is in the works (please, please don’t mess it up!). All Systems Red has won the Nebula Award, the Hugo Award, the Alex Award, and the Locus Award. Yes, the stories are simple (good guy must take down bad guy) but the humanity and humanism throughout the series will keep you emotionally invested to the very end.

Pure enjoyment, with no other agenda. Murderbot is my favorite android ever.

That Wild Wild West

November 6, 2018October 31, 2018 / Susan O. / 3 Comments

Westerns are not my bag. They cover a very short piece of history (usually post-Civil War to the early 1900’s), they’re often trite, and too many of them bore me. You can run down a checklist for almost every one: Horse? Check. Damsel? Check. Angry Indian? Check. Sheriff? Check. Big shootout? Check.

Clichéd

No doubt, much of my boredom has to do with Hollywood Westerns. Though I’ve never seen the entire Terror of Tiny Town, I’ve suffered a few westerns. I did like Tombstone, and the remake of True Grit, Young Guns, Maverick, and yes, I admit, I did enjoy The Lone Ranger – three times. Maybe I’m un-American, but I can’t stand John Wayne or his films, and while I was excited to watch High Noon (it was mentioned in the TV show M*A*S*H*, and actor Harry Morgan appeared in both), it was a terribly disappointing, tragically dull film to someone used to modern Hollywood. It turned me off from ever attempting My Darling Clementine or Shootout at the OK Corral. So while I can handle modern westerns, those old classic hallmarks aren’t found on my shelves.

Nor had I ever read a real “Western,” although a couple of Best-Western Literature lists include children’s books like the Little House on the Prairie series, as well as Old Yeller (you could probably throw in Young Pioneers, Caddie Woodlawn, Seven Alone, and the sequel to Old Yeller, Savage Sam), and those I loved just fine. If you read through twenty different lists of what’s considered the best of Old West literature, you’ll find ten books are on every list, so let’s call them the Best Westerns of Literature (not to be confused with Best Western, the hotel, or Western Lit as opposed to Asian):

The Virginian – Owen Wister
Hondo – Louis L’Amour
Lonesome Dove – Larry McMurtry
True Grit – Charles Portis
All the Pretty Horses – Cormac McCarthy
The Shootist – Glendon Swarthout
Riders of the Purple Sage – Zane Grey
The Time it Never Rained – Elmer Kelton
The Ox-Bow Incident – Walter Van Tildenberg Clark
Shane – Jack Schaefer

Fresh and Award-Winning

I could have lived the rest of my life just fine without Westerns, except for one thing: someone I knew was writing one. I’ve seen Howard Weinstein for many years at various conventions, attended some of his writing workshops, and we know each other at least in passing. Howard’s written more than 18 books, from science fiction to dog training to Mickey Mantle, and some 65 comic books. To make sure he got it right, he visited several of the places he wrote about, making sure he got the details, and over a year or more I listened to him talk about his work and read excerpts from it. It was interesting, but… It was a western.

Galloway’s Gamble was published last September, and now it’s won an award: The Western Fictioneers Peacemaker Award for Best First Western Novel. So I had a quandary: support a fellow writer in his award-winning endeavor, or ignore his success on a project he loved dearly. I thought I’d done my duty by having the library order a copy, but I buckled down and opened my first western.

photo courtesy of Howard Weinstein

Galloway’s Gamble is the story of Jake and Jamey Galloway, two brothers who shift about aimlessly looking to find their purpose and not doing well at it. They join the Civil War too late, they miss marrying the girls they had their eyes on, they get taken by a cheating card shark, and horse-shy Jake just can’t manage to hang onto a hat. Yet, little by little, they take steps and missteps to change their fortune, and wind up trying to save their little Texas hometown from the villainous cattle baron Wilhelm Krieg and the corrupt banker Silas Atwood.

As a western, I can’t judge Galloway’s Gamble, since I’ve read nothing to compare it to, but winning an award is pretty good sign. As a novel, you certainly don’t have to like westerns to enjoy it. The story of the Galloway brothers is a timeless tale of the little man against the powerful, with a cast of characters that never lets you walk away for long – you have to pick it back up and find out what happens. While the influence of films like Maverick is evident (which is not a bad thing), there isn’t an overwhelming number of bullets, horses, swaggering men in hats, and no cliché’d slang that could be a turn-off to the casual reader. Instead, you get a solid, interesting story that just happens to take place in the late 1800’s.

Give it a try. If you like it (and I’m sure you will), you might find some of the classic westerns to your liking, too. I think I’m going to go watch Maverick again.