Review of The Freeze-Frame Revolution by Peter Watts

Since encountering Beyond the Rift, Peter Watts’ second collection of short stories, I have been wholly engaged.  Quality overtaking quantity, Watts’ day job seems quite good at forcing him to spend time with each story, writing, re-writing, and ultimately ensuring each rings like a bell.  (Ted Chiang’s writing has a similar vibe.)  That being said, I felt Watts’ latest novel, Echopraxia, was a bit forced—more a tour of ideas than story integrating said ideas, and for certain fell short of its predecessor, Blindsight.  I was thus happy to see that for his next project Watts was again taking his time (four years), and, striking out in a new direction.  2018’s The Freeze-Frame Revolution (Tachyon) the result, it’s a far-far-future locked room that highlights one of Watts’ favorite motifs: the limitations of the human condition.

Sunday is a worker aboard the space ship Eriphoria traveling vast distances across the universe, creating wormhole ends and tying them together.  Cryogenically frozen and thawed as the ship’s AI, an entity called Chimp, deems necessary, Sunday passes thousands upon thousands of year or just a few days between work.  Awoken one day for the completion of a wormhole, Sunday discovers that all may not be well with Chimp.  Architectural details in the ship awry and people missing, it’s up to Sunday and his fellow workers to get to the bottom of the mystery, and do something about it.  If possible...

Review of Sea of Rust by Robert Cargill

Sentient bots are one of the most common science fiction plot devices, and in some cases, motifs.  Readers can go to stories written in the 19th century and find steam-powered men, just as almost anything written by Charles Stross in the 21st is guaranteed to blur the line between biological and digital existence into unrecognizability.  What then, is there to add to the field?  Robert Cargill’s answer in 2017’s Sea of Rust is a tried and true storyline with a bit of digging into the “human” side of machine intelligence.

A former caregiver, Brittle now wanders post-human (literally) wastelands collecting leftover pieces of bots and androids to sell for scrap.  Keeping a vigilant eye on the store of parts she keeps for her own bot body as it breaks down, hers is a lonely, anxious life.  Things take a turn, however, when a fellow scavenger with the same body type outright attacks Brittle.  Where the two once had an unspoken agreement not to scavenge from each other, any mutual autonomy is thrown out the window, putting Brittle on the run.  Escaping to a nearby city, things go from bad to worse when one of the ruling AIs sends a troop of drone bots to “recruit” her into the horde.  Once again, Brittle must head out into the wastelands to survive, this time with seemingly the whole world on her heels.

Console Corner: Review of Limbo

My review of Limbo will be quite short as I had the (relatively) unfortunate situation of playing it after having played Inside.  They are not identical games, comparable 1:1.  But the similarities far outweigh the differences, and Inside is simply the better game.  Had I played Limbo first, I think the positives, which there is no shortage of, would have shone all the brighter. 

Both Limbo and Inside are 2D side-scrolling dystopias depicted in a black and white color palette.  Both feature a boy trying to navigate lethal, platform-based puzzles that test the player’s lateral thinking and hand/eye coordination (more the former than the latter).   But where Limbo’s puzzles are unique and challenging individually, the whole fails to achieve the same degree of cohesion as Inside.  Another way of putting this is: Limbo is a brain-bending parade of puzzles that are challenging, and are fun and satisfying when they’re solved.  Inside is the same, plus the added degree that the puzzles are synthesized into a semi-story that gives rise to intriguing meta-questions about the game, and to some degree, life itself. 

Review of Time Was by Ian McDonald

Contrary to popular opinion, I have enjoyed but not been a flag-waving fanatic of Ian McDonald’s recent novels.  The Dervish House, the Luna books thus far, and the Everness trilogy all received accolades and praise unlike any work from McDonald’s first three decades as a writer.  But there is the extremely strong impression it’s only because these books are the most mainstream of McDonald’s oeuvre—like he gave up trying to be original and just produced an abstraction of what the market wanted.  Gone is the gonzo imagination of Out on Blue Six.  Absent is the Walt Whitman approach to Hearts, Hands and Voices.  Nowhere is the magic realism and charm of Desolation Road.  Instead, the reader is given relatively familiar characters, setups, and straight-forward prose combined in very competent fashion—not a criticism, just an observation. Thus when learning McDonald had been commissioned to write a novella for Tor.com, my heart sank further: more standard, market stuff.  Having now read Time Was, I couldn’t have been more wrong.  It’s far too early to say McDonald is back, but damn did he surprise with what may be the most affecting, sweeping story of his career.

I suppose Time Was is technically a frame story, though it should be known that the boundaries between the frame and its content are often blurred, and the frame itself occupies the majority of space.  The novella opens in the very-near-future with rare book seller Emmet Leigh searching the contents of a London dumpster for potential literary gold.  Coming across a semi-anonymous book of poetry, he takes a chance and picks it up.  Opening the leather-bound volume, a love letter falls out.  Written by one Tom Chappell to a Ben Seligman, the pair opine separation even as the exigencies of WWII press close.  Intrigued, Leigh begins digging deeper into the history of the two men, and discovers more than he could ever have imagined.

Console Corner: Review of The Last of Us

I have been putting off writing this review for some time, primarily because I don’t feel that any words I put down can do the experience that is The Last of Us, justice.  In short, it’s the only game in my life I finished with jaw literally dropped—not because of an epic final showdown, but precisely for how emotionally powerful the simple yet well-escalated the story drives into the climactic scene, then lays the player’s emotions bare.  I made a moral decision that in most other circumstances would have gone the other way.  I cared about the characters and thus went against my standard philosophies, which is not something I can say about any other game.  And I feel strange saying that (it’s just a game after all), which is why I believe there really is something about The Last of Us that makes it as powerful as some of my best reading experiences.  Zombie cliche, this is not...

One of the few survivors of an epidemic that has wiped out most of humanity, at the start of The Last of Us the player controls Joel, a gun smuggler living in a quarantine zone in Boston.  Caught sideways in a deal with another gunrunner and an underground rebel group called the Fireflies, Joel and his business partner Tess have no choice but to smuggle a young girl named Ellie to a point outside the quarantine zone.  Fate intervening in a dramatic way, Joel and Ellie find themselves on the run, trying to stay one step ahead of infected people and government forces, while getting themselves to safety. That is, until Ellie reveals her secret.   From a road trip to Pittsburgh to the mountains of Colorado and beyond, the pair’s relationship and will to survive are put to the test at every step as they try to make good on Ellie’s secret.

Review of Tales of Old Earth by Michael Swanwick

Michael Swanwick is one of the most inventive, non-conforming writers on the market.  Though starting his career with a fairly straight-forward novel (In the Drift), he has slowly and steadily turned his imagination and spirit loose, culminating most recently in the idea-explosion that is the Darger and Surplus novels.  It is thus in short fiction that one finds Swanwick at his most focused and careful.  And the relative limitations are beneficial.  I’m on the fence, but I would listen to arguments that short stories are, in fact, Swanwick’s greatest asset.  Tales of the Old Earth, Swanwick’s 2000 collection, is nineteen potential reasons.

Opening the collection is “The Very Pulse of the Machine”.  An abstract riff (natch) on a Wordsworth poem, the story tells of the astronaut Martha and what happens after her vehicle has an accident on the surface of Jupiter’s moon, Io.  Her teammate dying in the crash, Martha elects to attempt to drag the body across the moon to their base.  Voices that are either the AI in the dead body’s vacsuit or in Martha’s head accompanying Martha every step of the way, things start to look dire no matter how much meth she huffs, the ground around her even seeming to come alive.  In perhaps the best written yet most Weird story in the collection, “Mother Grasshopper” tells of the strange happenings to a young man part of a colony on a space grasshopper (yes, space grasshopper).  Confronted by a magician/god one day, he is compelled to follow the man across the land, spreading pestilence and disease.  A fortuitous meeting one day changes his direction, but perhaps not his will.

Review of Senlin Ascends by Josiah Bancroft

Fully in its third wave (hopefully nearing its end), its fair to say steampunk has begun to exhaust itself.  We need a break for it to revitalize. Its components and devices have been deployed to the point of achieving stereotype status, and it has been combined in the majority of ways possible with other genres.  Gone are the days when steampunk was unaware it was steampunk, and originality along with it.  But every once in a while a book will poke its nose from the crowd and say: ‘Hey, novelty is still possible.  Steampunk is still viable.’  Welcome to Josiah Bancroft’s wonderful debut Senlin Ascends (2013).

Set in the Silk Age, Senlin Ascends tells of the adventures of Thomas Senlin, a school headmaster from the countryside.  Falling in love and marrying the energetic, intelligent but younger Marya, the newlywed couple decide to take their honeymoon in a place Senlin has long studied and taught his students about but never visited: the tower of Babel.  Not the tower of biblical fame, the Silk Age’s tower is of a different age, but remains a massive structure rising into the clouds like layers on a cake.  The first days of the honeymoon not going as planned, Senlin is separated from Marya almost directly after arrival, forcing him to set out in search of her.  Following clues and bits of information provided by people who saw her, Senlins slowly ascends the ringdoms of the tower looking for his lost wife.  Its convolutions threatening to derail his quest at every step, Senlin must dig deep within himself to find the fortitude necessary to meet its challenges.

Review of South of the Pumphouse by Les Claypool

Primus was one of the first bands I picked up as a young teenager looking to find music beyond the radio.  And I’ve stuck with them since.  To say the band are ‘unique’ is only to scratch the surface.  A cross of Frank Zappa, Pink Floyd, The Meters, and something only Primus brings to the table, bizarro funkonautics hits a little closer to home—but still does not quantify.  While Larry Lelonde and Tim Alexander (and the various other talents which have been with the group over time) are singular in their own right, few would argue Les Claypool is not the driving force behind the band.  Leading the trio, working on solo projects, and collaborating with a number of other musicians, the man has a creativity at work which seems unstoppable.  In 2006 Claypool looked to extend his ripe imagination into the land of fiction, South of the Pumphouse the result.

One of the ongoing motifs in Primus’ music is fishing.  From “John the Fisherman” to “Fish On”, “The Ol’ Diamond Back Sturgeon” to “The Last Salmon Man”, Les and crew have regularly sung about their hobby.  Naturally, South of the Pumphouse is a tale about a couple guys plying the waters of San Francisco’s San Pablo Bay for the grand daddy of all sturgeons.  Two brothers, Earl from back woods California and Ed the younger brother who moved from the countryside to be in the big city, decide to go on a day-long fishing trip in the wake of their father’s death.  The reunion going well as the brothers drive to the Bay, buy bait, and prepare to launch the boat, things change when Earl’s friend Donny shows up to join them.  Donny a fun-loving, redneck extraordinaire, the fishing trip initially goes smoothly with joking and laughter, each party indulging in their drug of choice.  But as the day stretches long and the personalities begin to clash in the tight confines of the boat, things take a turn.

Review of Vacuum Flowers by Michael Swanwick

Looking at Michael Swanwick’s oeuvre, one sees an interesting arc.  Opening in territory of a relatively realist nature (In the Drift), wandering for a time through science fantasy (almost magic realist) land (Stations of the Tide, The Iron Dragon’s Daughter, and The Dragons of Babel), before arriving in decidedly, fantastically non-realist territory (anything related to Darger and Surplus), the rocket of Swanwick’s imagination counting down, taking off and exploding is visible.  Vacuum Flowers, Swanwick’s second novel published in 1987, should be considered ignition.

Vacuum Flowers opens on a tense chapter drawn straight from Cyberpunk 101.  Rebel Mercedes Mudlark (yes, her real name) awakens in an unfamiliar body, tied down in a hospital bed.  Escaping with some neural-transmitter slight of hand, she meets a mysterious man disguised in wetware, who takes her to the home of a mysterious woman who informs Rebel she is sharing the strange body with its original owner, Eucrasia Walsh, and that the corporation funding the hospital Deutsche Nakasone wants both of them back, and badly.  Rebel going on the run, she tries to sort out her and Eucrasia’s situation while evading capture.  Is there anywhere in the solar system she can get help, however?

Console Corner: Review of Assassin's Creed: Black Flag

Though not the most common, pirates are certainly one of the more easily recognized motifs applied in books, films, and games.  From cartoony fun to treasure-seeking adventure, the success of these offerings depends on a lot of elements—approach, style, storyline, etc. among them.  There is a world of difference between Disney’s Pirates of the Caribbean films and Robert Louis Stevenson’s Treasure Island.  Ubisoft’s 2013 entry into the world of video game pirating, Assassin’s Creed: Black Flag, is one of the best incarnations of the motif I’ve ever experienced, but is not without missed opportunities.

If the video gamer wants to go out pirating, there is nothing like Black Flag.  An open world (perhaps better phrased “open sea and archipelago”) game, it delivers pirating in spades.  You want a large number of places to travel and explore and sea to navigate, the game feels positively huge.  (It feels like the biggest game I’ve ever played, even though it may not be in reality.) You want ships blasting cannons at one another on the high seas, cutlass fights on deck, and swinging through the rigging on ropes, Black Flag delivers this, as well.  You want colonial Caribbean, from coconut palms to stone churches, shanty shacks to flintlock rifles, Black Flag offers oodles.  You want treasure hunts, plundering, and raiding for gold, Black Flag has numerous side missions and quests that have the player doing a lot of fun, interesting stuff that either contributes directly to the rpg elements (e.g. crafting for both the main character and his ship) or simply getting rich.  In short, in Black Flag Ubisoft have captured the overwhelming majority of the aspects that make pirating, pirating.