I guess it’s me, Critical Lit Games!
So here’s a formal and informal profile about myself.
Like all people, I wear many hats – some of them collect dust on a shelf, to be used in a Mr Benn-esque way should it be needed. Two things, however, have stuck: writing and games.
As a gamer, I started at 6 with the Mega Drive/Genesis- playing Streets of Rage, Sonic 1/2/3 and Knuckles, Street Fighter etc. going to the N64 days where it took up a lot of my childhood – to the present day!
For writing – I studied it at BA, MA and PhD. I wanted to be a writer around 6 years old (it must have been a busy year). I’ve loved writing plays, short stories, poems and novellas!
As a programmer – it’s been on and off since I was teaching myself QBasic at 9.
I feel that Critical Lit Games combines these two loves in so many ways. VR and more recently AR has given me so many freedoms and constraints to hone different creative skills and opportunities – alongside my writing projects. Let’s see where it goes!
And now for the formal stuff:
Suzie Gray is a London based spoken word artist and playwright. She has performed poetry in London and Edinburgh and has had work published by Lunar Mission One, Visual Verse and Enigma Magazine. In 2016, she was nominated for the Long form Rhysling Award for her poem “Artist Signature” and published a collection of poetry called “Energy (or the Art of Keeping it Together).
In 2017, she received her PhD for Science Fiction and Theatre.
She is also currently working on a show called Real(ity) Test and a spoken word EP called Object Relations. She has recently taken part in a series of readings at the BSFA (British Science Fiction Association) and performed at the Bifrost Cabaret at Nineworlds Geekfest 2016.
Her produced plays include: A Christmas Gift (2012), Terra Firma (2014), SUM (2014), The Reality Test (2014) Buzz (2015) Cuckoos and Chrysalids (2015), The Other Roof (2015) and Blue Blood (2015).
“Susan’s work is a subtle blend of truth, intelligence, coupled with a deep love of both science and science fiction […] The first three major works in the book are absolutely cracking and the order in which they have been chosen is perfect to lead the reader into her world, down the time/space vortex and she is the wisp like white metal rabbit droid, a world where the now and the future are irrevocably linked through the existence of energy itself which is the books given theme.”
Poet of Beard on Energy (or the Art of Keeping it Together)
On my plays at Stars or Mars Theatre
“Sum feels in one sense like a modern re-evaluation of the core structures of theatre itself. Highly recommended.” Prof. Adam Roberts, SF critic and Writer (SUM at Bread and Roses Theatre, 2014)
“Gray’s play reflects an intense frustration with the current political system by transporting the audience forward into a future where this dissatisfaction has reached breaking point.” Georgia Rose, FemaleArts (Terra Firma at Camden Fringe, 2014)
“In Susan Gray’s new play Terra Firma, we see how people treat each other at the end of the world as we know it. Some are left to rot on a dying world and others escape to a more plentiful land. Just to make it even more damning, those lucky ones watch their dying former home as a type of entertainment.” View from the Gods (Terra Firma at Camden Fringe, 2014)
‘It’s great to finally see a play that’s not afraid of the SF genre label. Susan’s play proves you don’t have to run away from space ships and their attendant big ideas once you enter a theatre.’ Tajinder Hayer, Playwright, (on Terra Firma at Camden Fringe, 2014)