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The Nebula Awards annually recognize the best works of science fiction or fantasy published in the United States. The awards are organized and awarded by the Science Fiction and Fantasy Writers of America (SFWA), a nonprofit association of professional science fiction and fantasy writers.[1]
(Some might argue the Hugo Awards are the more prestigious awards in science fiction, as they are international awards. But, voting for a Hugo only requires membership in the World Science Fiction Society, which anyone can join. The 2017 Hugos will be presented at the 75th Worldcon, Worldcon 75, in Helsinki, Finland, on August 12, 2017.)
The SFWA just announced this year's Nebula awards, honoring works published in 2016. This year's winners are:
Best Novel: All the Birds in the Sky, by Charlie Jane Anders
Best Novella: Every Heart a Doorway, by Seanan McGuire
Best Novelette: "The Long Fall Up", by William Ledbetter
Best Short Story: "Seasons of Glass and Iron", by Amal El-Mohtar
Ray Bradbury Award for Outstanding Dramatic Presentation: Arrival, Directed by Denis Villeneuve, Screenplay by Eric Heisserer
Andre Norton Award for Young Adult Science Fiction and Fantasy: Arabella of Mars, by David D. Levine
The nominees for these awards are listed at the above SFWA link.
[1] Wikipedia.
(Score: 0) by Anonymous Coward on Friday May 26 2017, @08:30AM
It is entirely because funding requires a massive ROI to be considered successful, which means catering to the lowest common denominator. That is why pretty much every successful game has turned into a neverending grind where just as you get ahead there is something new to attain.
I say this in contrast to 'somewhere new to explore', because quite a few games could have (and some smaller ones do!) get by not on the new skill/experience levels you can obtain from a new release (often with a mediocre storyline) but by opening up new paths through the world, placing story elements that tie together into them, then leaving it for the players to work out the rest. This is similiar to how the best novels leave the important bits to the mind of the reader rather than spelling it out in no uncertain terms. Also why some authors are so hated if people actually know their politics/religious/sexual leanings, in comparison to people's mistaken assumptions based on the inferences they themselves made off the well crafted fiction of the author. (Earlier Scott Card Works, C.S. Lewis, Heinlen, etc.)
The problem is, as is often the case, when financial considerations outweigh creativity, doing something new, or exploring a hotly contested topic that normal people have been emotionally rather than objectively exploring.