Acknowledgement page taken from the unpublished manuscript of The Sol Stones by Sarai Mannolini-Winwood

I brought this story together after a four week research contract for the Galactic Council of Scientific Exploration gave me unprecedented access to their files, both personal and corporate.

Tensions between past and present: Exploring the gothic, the liminal and the mythical in the urban fantasy narratives of China Mieville and Charles de Lint.

Mannolini-Winwood, S. (2018) Wokół definicji fantastyki miejskiej. Transl. Krzysztof M. Maj. Creatio Fantastica, 1(58). doi: 10.5281/zenodo.1419521

Really, how urban is that urban fantasy?

Here is an easy 10 question quiz to determine whether what you are reading, or even what you are writing, can fit comfortably into the category of Urban Fantasy.

Mannolini-Winwood, S. (2018). Fear, anxiety and dread: Examining the influence of antecedent

A primary characteristic that separates urban fantasy (UF) from other fantasy subgenres is the protagonist. Perhaps more than any other genre, fantasy narratives are focused on the journey of the protagonist or, more commonly, the journey of the hero. UF can be categorised as fantasy literature, film, television, comic, etc.

The vampire is a creature of popular legend, and one that has fascinated countless cinema-goers for more than one hundred years. Vampires have been featured in folklore and fiction in various cultures.

Urban fantasy (UF) as a sub-genre arose in the 1980s and presented an alternative view of the heroic female protagonist. As UF has developed, a new archetype has emerged – the urban hunter. Defined by its situation in the urban environment this archetype draws on elements of gendered bodies, hybridization, the other and narrative purpose to create a unique character.

Fundamentally superhero costumes are vital for the industry because they establish iconography and create the brand.