LibriVox Short Science Fiction

Tons of audiobook readings of mid-20th-century short SF. Ran across #11 on archive.org, and "Accidental Death" by Peter Baily amused me. "Control Group" by Roger Dee is very talky but amusing, too.

Very much in need of downloading and playing back at higher speed, though, the readers are painfully, deliberately sssslllloooowwww, tolerable at 1.5x to 2x.

What I'm Watching: 12 Monkeys (1995)

Haven't seen this since the theatre when it came out.

So, 1995. Bruce Willis was familiar from Moonlighting, and Die Hard, and his mediocre blues album The Return of Bruno, but hadn't become quite the caricature and one-note joke he is now. Brad Pitt had just come off True Romance and Se7en, whining and crying "What's in the box? What's in the box?!" Madeleine Stowe was the A-list femme fatale from China Moon, Revenge, and The Two Jakes. Plenty of smaller familiar actors, like Chris Meloni (most punchable face in the world) as the asshole cop, years before Law & Order: Formulaic Rape Is Bad Unit.

This film's a massively extended (too much so) Hollywoodization of the French experimental… it's not quite a movie, except in the way Ken Burns' documentaries are… sequence of moving pictures, La Jetée. Which in some ways is very effective, but it's dry as hell, lacks any characterization, it's an idea without implementation. Hollywooding it up was inevitable.

The style of the future, the police station, the mental institution, the shitty New York corner they keep going back to, just every set except the outdoors and the mansion, are basically Terry Gilliam going crazy with his brutalism and industrial post-war England anti-aesthetic. Visually impressive sometimes, but good grief, Terry, not everyplace looks like the concrete cell you were apparently raised and beaten in. The man needs a psychiatrist, not a director of photography.

The closed time loop of James Cole's life is pretty obvious from the first flashback, if you have any science fiction background; I'd well forgotten the details, and immediately realized it. The people of the future can't find anyone honest and sane who's tough enough to survive time travel, so they send a stir-crazy prisoner; but everyone seems to be a prisoner or a guard, there's no indication of normal life in the future. Cole's inability to calm down, act normal, like he remembers people being from childhood, is what causes all of his own problems.

The Army of the 12 Monkeys are well-cast, I've known a few people in extreme environmental causes and they're… not well-adjusted. When you're "the only people who know the truth!!!", you can either work sanely to raise awareness; or wait for it to be a giant mess so finally people act at the last minute, which is what normally happens, see global warming; or scream like a maniac and discredit everything you stand for, which is how these groups usually work. Pitt's a convincing lunatic, he's always had that twitchy look and when he gets screaming & whining & making weird hand gestures, nobody can stop him. Is there a film where Pitt doesn't flip out?

There's a nice tight 60-90 minute story trapped in a flabby, repetitive 2 hours 10 minutes of film. There's no reason for the second or third trips back, or the side-jaunt to the more distant past. A tighter version: Cole goes back, gets nabbed, stays in the asylum a few years, escapes, goes on a road trip with the shrink, the finale happens. Nobody else from the future ever needs to show up, the shrink picks up the last clue in the airport.

I so want this to be better than it is. The premise is great. It's better to watch than La Jetée. Madeleine Stowe is very nice. But I had to take a few breaks and got out my phone during the long repeat acts. The slo-mo death scene with swelling music at the end should've been cut, it shits on the tone of the rest of it.

★★★½☆

Science Fiction on the Archive.org

In light of asshole publishers attacking archive.org: Hachette Book Group, Inc., Harpercollins Publishers LLC, John Wiley & Sons, Inc., and Penguin Random House LLC.

Libraries are important, and we need to do everything to protect the biggest one in the world.

So here's some SF, mostly cyberpunk, mostly POC or marginalized protagonists, mostly collapsing urban environments. Plus Zeitgeist, which is an optimistic view from 1999-2000, remember when that was possible?

Snow Crash-Neal Stephenson

Synners-Pat Cadigan

Streetlethal-Steven Barnes-cover

Eclipse-John-Shirley

Cornelius Chronicles-Michael Moorcock

Zeitgeist-Bruce Sterling

True Names-Vernor Vinge

Hacker and the Ants-Rudy Rucker

Schismatrix Plus-Bruce Sterling

What I'm Reading: Network Effect, by Martha Wells

Finally the novel length treatment I've been asking for. Murderbot, calling itself just "SecUnit" in the company of friendly non-corporate Humans, does a perfectly adequate job protecting them from their poor decision-making, and becomes somewhat… not exactly social, but what passes for it.

“She grimaced. “Right, sorry.” Then she looked away and rubbed her eyes.

And I’d made her cry. Good job, Murderbot.

I knew I’d been an asshole and I owed Amena an apology. I’d attribute it
to the performance reliability drop, and the emotional breakdown which I
am provisionally conceding as ongoing rather than an isolated event that
I am totally over now, and being involuntarily shutdown and restarted,
but I can also be kind of an asshole. (“Kind of” = in the 70 percent–80
percent range.) I didn’t know what to say but I didn’t have time to do a
search for relevant apology examples. (And it’s not like I ever find any
relevant examples that I actually want to use.) I said, “I’m sorry for …
being an asshole.”
—Martha Wells, "Network Effect"

Then a rather familiar transport/gunboat shoots them up, and abducts them to another solar system, with some odd, hostile inhabitants, or "Targets" as Murderbot calls them.

Finally we get a little explanation of the wormhole transit system, much better detail on drone and network systems, and Corporation Rim colony setup. There's even a planetary surface described in… not great detail, but any detail? So that's different. Since reading this book I'm going back to reread the novellas with more background information.

There's as much internal chatter of Murderbot as ever, which is the thing that draws us weirdos to this, but also a lot of feed and voice chatter with others forcing some character development the novellas can't achieve.

It's organized almost along episodic A- B- plot beats, Murderbot kills everyone, there's a social/investigation sequence, backstory piece, repeat (four times? More or less).

The Targets and what's driving them takes a long time to be revealed, and how some of their software attacks are possible isn't clear until very late in the book.

And it's left set up for more stories, which is all Murderbot's after, too.

★★★★★ — inhaled it in a couple sittings.

Also, there was a prequel short story in Wired a couple years ago, which I just learned of:

What I'm Watching: Man From Earth

This is up on 'zon prime, and written by Jerome Bixby, who (very relevantly) wrote the Star Trek TOS episode Requiem for Methuselah.

An apparently 30-something history professor (David Lee Smith) is leaving his job and town, and a few colleagues and friends (hey, the asshole biker professor is William Katt! He looks like shit 30 years since I last saw him, but he's still alive!) show up for a going-away party. They notice some oddities in his furnishings, and he tells them a story, that he's a 14,000 year old caveman, and the things he's seen, people he's met. They react with incredulity, get a shrink in…

The entire thing is shot in and just outside a little cabin, with a fireplace. Mostly one-camera, calm, long shots, actors mostly in character and reacting appropriately. I could wish for them to all speak a little more Howard Hawks, New Yorker speed instead of slow and laconic, I don't buy that some of these people are professors, but you work with what you can get on indie flicks.

The writing's not fantastic; he does question & answer, with often terse answers, not technical or detailed, and often interrupted by snarky people. There's one or two, where he's recalling scenery or people, that get something like actual SF writing. What I would like is long monologues about his people, about life in Sumeria, or Rome, or Paris. There's a Poul Anderson book, The Boat of a Million Years which covers a similar character, which has much longer expositions of the nature of living forever.

He has a story of meeting another unnamed immortal, which he puts in the 17th Century. It might possibly be a reference to Le Comte de Saint Germain, a reputed immortal and courtier, though he did eventually die. This is the kind of detail that would've improved the story.

And then there's a religious argument, with a devout true believer, because apparently one random decade in the Mideast 2000 years ago is more important than the other 14,000 years. I think this argument scene is defective in a few ways. First, the believer thinks the King James Version is a "recent" and "accurate" Bible, when in reality it's 400 years out of date and a known shitty translation, most modern Protestants (the theist here is openly anti-Catholic, which is hilarious if you're screaming "blasphemy!" at someone; a "religion" that splits into reformations every couple years is obviously not divinely inspired) use the New International Version, New Living Translation, or New American Standard Bible (for hardcore Hebrew, Aramaic, Greek literalists). I mostly quote KJV because it's poetic and used in so much English literature of the last 400 years, but I'm absolutely not trying to receive "truth" from it.

And while the voices of reason in the room explain the places where Christianity is copied from prior less-shitty religions, the theist is only capable of denying and crying, can't make any rational arguments. SIGH. Look, I'm an aggressive, mocking atheist, but we should be better about presenting the opposition argument than the Christian God's Not Dead idiots.

But I do like his 100-word New New Testament better than anything Christians have ever written in the last 2000 years. They would all be massively improved by switching to this belief.

★★★½☆

There is a sequel, Man From Earth: Holocene, written by the director of the first with no input from Jerome Bixby who was by this time dead, and the comments are harsh: "I've just finished watching Man From Earth: Holocene and this is less a review than a warning." Well. Maybe if I'm angry at myself I'll watch that for punishment.

There's also a movie on Netflix, He Never Died, starring Henry Rollins(!!!), about another immortal, though it's more religious/magical, if played for… not comedy, but funny horror? ★★★★☆ for that.

What I'm Reading: Instantiation, by Greg Egan

Egan's always been best at short story length, writing an idea that cuts away your Human delusions of self-importance and self-awareness, and then terminates. His characters have maybe more depth now than they did 30 years ago, but it's focused on the task at hand. A number of these skip forward in time rapidly, sketching out a scene and then a # section break and it's months or years later; generally obvious from context, but I'd prefer timestamps.

I'll try to be vague but it's impossible to say even how a story worked for me, without some hint of what it is; you might want to read these cold. If so, you can probably skip Uncanny Valley or Break My Fall.

 

  • The Discrete Charm of the Turing Machine: The soft AI apocalypse, as they take our jobs but nobody can figure out how to stop it. Borderline positive view of Human adaptability, which we also got in Perihelion Summer, which is always a little surprising from Egan.
  • Zero For Conduct: Afghan girl in Iranian school cultural piece, see also Egan's novel Zendegi, with a bit of SF on the side; I don't believe the SF widget is plausibly that easy, or it would be found by someone other than the protagonist, but it's a cute enough story.
  • Uncanny Valley: Legal wrangling around a kind of immortality. I've previously read this online, and was bored out of my skull by it then; the character development/backstory would be interesting if the setup wasn't all for accountants and lawyers.
  • Seventh Sight: Not quite a Reasons to be Cheerful but improved sight doesn't make everything better. OK, sure. I would expect this to be commonly available as glasses or a shitty phone app long before it became available as implants, bicycles before rockets and all that. Feels like a Vernor Vinge short story, in the good idea/half-assed delivery way.
  • The Nearest: Excellent story about alienation and how fallible Human meat brains are. Almost exactly what I read Egan for (although there's no technical cause or solution, which he'd normally provide).
  • Shadow Flock: How do you defend against insect-sized drones? Almost every kind of security is just nonexistent. Egan barely touches on this; it's kind of a straightforward heist story with the inevitable twist (see also Rick & Morty S4E03 "One Crew"). I think I have some technical arguments against the sight & sound suite these things have, real insects don't have great senses because physics makes it difficult, but maybe it's solveable with enough software post-processing?
  • Bit Players: A woman calling herself Sagreda awakes in a world that makes no sense, immediately tests the physics and deduce the nature of the world, and exploits that, as life always does. So, this is 100% in my wheelhouse. But I question the peaceful nature of this world. Maybe it's just lucky that there's not psychotic adventurers running thru here, and the next world over is blood-soaked? James P. Hogan's Realtime Interrupt and Terry Bisson's In the Upper Room deal with this at length, and I'd like to see Egan address it beyond contempt for barrel-bottom shovelware and misuse of AI. Also the setting reminds me strongly of one of my favorite joke D&D adventures, There's No Place Like Up by Paul Jaquays, in WG7 Castle Greyhawk: "If the PCs wish, they can fall forever".
  • Break My Fall: I assume this is a fragment from a book in progress, or perhaps a fragment that didn't gel into a book; it seems of a similar setting to The Four Thousand, the Eight Hundred. An interesting if unlikely low-powered spaceflight solution, a disaster, and people doing their best to fix it… but it goes nowhere and the finale has no closure at all.
  • 3-adica: Sequel to Bit Players, Sagreda and Mathis move on to new worlds and try to find the way out. The world most of it is in, is the kind of shithole I would expect adventurers to like. The titular world is a bizarre mathematical premise, like Rudy Rucker's White Light, and I don't know how to visualize it; I get the trick of movement, but not how you'd even exist particle-by-particle within it. Very much the middle third of a novella.
  • The Slipway: A cosmic disaster story, the like of which Egan hasn't done since Distress or Diaspora. The Pane's an interesting Big Dumb Object, and reminds me of the Artifacts in Charles Sheffield's Summertide series, but I think either people would panic to the point of global disaster, or not care in the least, and the middle ground here is unstable. I'm not clear on how you get the long-distance view until old light has passed and new light reaches the Earth, a few years out. On the one hand, this is the safest possible place for Earth, on the other hand it's not great for long-term exploration, and on the gripping hand I would be surprised if there were any more Panes in their new location.
  • Instantiation: The finale of Bit Players and 3-adica, Sagreda spends much of this one following someone playing Kurt Gödel in a Vienna intellectuals killing Nazis game. I understand Gödel's Incompleteness Theorem (mostly?), but every explanation of it in plainer English/German sound more insane than the last. A moderately clever heist/con game, and finally a conclusion to a story. Yes, for once Egan mostly wrapped up a story without an apocalypse or "well what do I do now?"

★★★★★ despite a couple clunkers

What I'm Maybe Watching: Omniscient

Brazilian show about pervasive personal drone (annoying little robot bees that don't need to recharge?) surveillance and a murder that somehow isn't recorded, but the premises are so stupid it Black Mirrors itself:

  1. Surveillance footage is impossible for humans to watch and held by a trustworthy AI. What government would let that happen?
  2. AI is still somehow Human-programmed by 2 whole programmers & a couple interns. As opposed to the hundreds or thousands on less complex project teams IRL. That's convenient for the plot which has to obviously point at one of these programmers.

Girl protagonist (Carla Salle) is super cute, tho. Gidget/Amelie/Audrey Hepburn type.

So I may watch another to see if it sinks further into Black Mirror/The Scary Door territory.

What I'm Watching: Nightflyers

I'm much more a fan of George R.R. Martin's SF than his fantasy/"English history for C-average history students" aka "A Song of Ice and Fire". "Nightflyers" is a good novella, but it has maybe an hour or two of content, so the show at 10 hours is ridiculously expanded and bears only the slightest resemblance to the story.

Royd Eris in the book is enfeebled, a pasty white slug in an acceleration couch, has no immune system, has never touched a living Human, has no crew, and runs the ship by advanced automation. In the show, he becomes Roy, big black dude, and while he hides in his deck for a while, he's fit and strong and can totally come out and fuck the passengers when he wants. I had a theory about how they reconciled this, which was later revealed to be (mostly?) correct. I would have preferred the original cameras & holograms version.

In the show there's an angry mob of crew and a bald Picardian asshole XO so you can get reactions, and as victims.

The big reveal of the book was the force on the captain's side of the ship, and the horrible logic of how you survive it. In the show, that's introduced early and it doesn't have any of the original powers, personality, or origin. It's the least of your problems.

Telepathy and telekinesis are big drivers of the book, and while there's a telepath on the show, he's irrelevant, a walkie-talkie would be just as useful but they don't seem to have any. The second teep was changed in the show, probably so they could film more psychic sex scenes. Later they talk about "teke" as some kind of magical psychic powerup energy, not "telekinesis".

In the book, Humans have FTL and know (and have warred with) many alien races, thousands of years after leaving Earth, the volcryn are a legend of a slow-moving STL fleet in the void between the stars, where no FTL race goes; a mystery but not Humanity's one big chance. In the show, Humans have only recently reached space and have STL, and the volcryn are the only hope of getting FTL before using up the Solar System or some such nonsense.

So, as opposite as you can get.

First few episodes are setup and world-building, and here it's pretty good. It's Actual Science Fiction (that is, fiction about science, and not contradicting reality) in most parts. The ship looks pretty good, a big spinning ring with habitat pods on the ends, and the "ship" in the middle. Gravity is never really addressed; they have artificial gravity in the book, so I don't know why there's a ring here. We rarely see any pod interior except the "terraform" pod with a forest and bees, and a cargo pod full of crates and the telepath's shipping container.

Halfway thru, something goes very wrong with the writers.

S1E6, the show introduces a derelict ship, and this suddenly becomes a terrible episode of Space:1999. I'll just say this: Human cloning requires a food source. You can't make food from nothing by jerking guys off and cloning people; it's so fucking stupid. At least in Rick & Morty's Froopyland (S3E9, "The ABC's of Beth") there's an entire world of biological matter, and breeding hybrid babies just makes edible food out of them.

S1E7, the telepath wanders around being a plaything for the crew, who again shouldn't exist. The cyberneticist has her fantasy world of a 1950s diner shattered by a little black girl being there. Karl goes more crazy about his dead daughter.

S1E8 is the terrible Michael Crichton bio-horror ep with bad mushrooms. The show's really coming apart, no semblance of main story arc, just disconnected events.

S1E9 finally remembers the mission exists, the telepath makes contact with the volcryn in a way that greatly contradicts the book, the annoying xenobiologist goes crazy and there are deaths, but not the ones of the book.

S1E10 has everyone else go crazy, "Mom"/cyberneticist gets dumbass Picard to sabotage the drives which we know only genetic superwoman can fix, Karl goes out to meet the volcryn/hallucination of his dead daughter. Show comes to a confusing, incomplete end.

Happily this mess has been cancelled.

If they'd kept the tone of E1-E5 and just finished up the original volcryn story, "Mom" killing almost everyone, and genetic superwoman and what's left of Royd flying off forever, this could've been salvaged. I don't know what happened to the writers at S1E6, but that should never have happened.

★★★☆☆ at the start, ★☆☆☆☆ by the end.

What I'm Reading: Stargate (1976), by Stephen Robinett

The "Gate" could open the way to distant galaxies—
or destroy the whole Universe…!

Saw the cover in a tumblr SF feed, and the title and summary caught my eye.

Despite the year, it's a pretty current story of corporate engineering management. The engineer, Robert Collins (a newbie in way over his skill level), and the company "lawyer"/gun thug/investigator Scarlyn Smith (basically Mike from Breaking Bad), try to figure out why the former chief engineer Norton was vanished from his funeral and turns up in pieces throughout LA. Collins manages to spare time from playing detective to do his job and build the Gate…

Spoiler discussion hereafter.

So the "one fictional science idea" of this book is a matter transporter. Originally somewhat short-ranged, but it allows you to build: Instant teleports across the world, or up to orbit (how conservation of motion is handled is not addressed; jumping to a space station moving 100x faster than the surface should plaster your bits on the wall), or to make a drone ship move FTL by transporting itself forward over and over (apparently biology can't handle the slight deviations in many ports, but electrically-driven starships can).

The Gate is just a giant transporter, with a reach measured in thousands of light years. In its first operational test it targets Tau Ceti, 12 light years away, and rips an asteroid-sized chunk of matter from a planet, including plant life. There's a few sentences about Collins having moral qualms about this. The villain's plan is rather more ambitious, but insane.

Even with just the "normal" application, this is a horrific device. Interstellar war? Just tear the enemy's planet apart from the comfort of your own orbit. You can use it to instantly travel across the Galaxy, or… the plot has another application for it.

There's an adage from Larry Niven's Known Space series, the efficiency of a star drive is directly proportional to its value as a weapon; there meaning that fusion drives, laser sail launchers, and interstellar laser comms make weapons as good as any main cannon. But this is far beyond that. Instant travel means you can kill a planet or a solar system instantly.

Not a particularly well-written or interesting book as literature, but piecing together the dangers of this thing, especially from the crazy scientist who shouts about "the crab!", gives it more value.

★★★½☆

What I'm Watching: Ad Vitam

A French 6-episode series on the 'flix.

Very brief warning at the start of the episode, that there's suicide themes and discretion etc., which vastly understates it: This is a meditation on death.

On the 137th birthday of the oldest person alive, long after emortality/regeneration is developed, a number of suicides/murders wash up on a beach, and a cop and a girl, a former suicidal cultist, investigate.

The show is French, and as I've previously noted they seem to be more casual about casting normal, even ugly people in their shows. The girl especially has the ugliest skull and bad hair I've ever seen in a character not meant to be a freak. The cop has a broken (or just naturally ugly?) nose and is a little worn down and sad looking for an emortal, but he has reasons to get less regeneration than he needs.

The blue jellyfish, which presumably (later in the show confirmed) provided the drug or gene which gave them regeneration, is all over as mascots, pets, color theming.

Oh, color theming. Like every damned thing from Hollywood, half the show is cyan/orange duochrome. They have other gels or color filters and use them in a few scenes, but don't use them for anything else. If you're not in Hollywood, you're free to use actual colors! You don't have to imitate their worst feature! But it does, often making it very hard to see people and details because it's all a muddy blue blur.

There's minimal effort made on sets and props. They filmed in industrial, brutalist, or Scandinavian spartan architecture, but the cars, shitty cell phones, and iPhones, iPads, & MacBooks are unmodified other than black tape on the Apple logo. Other than some people in tracksuits, who may just be Slavic, fashion is modern. Magazines are in print, instead of just being on their shitty phones. Dance scenes at parties with bad modern house music are spazzy fishstick wobbling, exactly like the present. You'd forget it's set in the future, until a wall-sized screen advertises at you, or some other visual prop like the "source gas" (stolen directly from Transmetropolitan) which is a nanotech camera/sound wire, or a "true mirror" which shows an actual-age image of everyone in the mirror, useful when surrounded by centuries-old people.

The oddest parts are when they try to be futuristic, with the grief counsellor and his glowing ball ("they used to use puppies"), or the half-wit intern who rides around on a beeping wheeled hoverboard, or the dumbest "weapon" in the history of dumb BDSM-inspired weapons.

"It must be comfortable. Having that attitude. Thinking everything is absurd and pointless." —Cop Darius
"So what we're doing has a point?" —Young punk Christa

Of course, everything is absurd and pointless. Darius is wrong but is so ingrained in his rut of life, 99 years as le flic, he can only see things as crimes or victims, not as transformations which may be necessary.

The scientist who invented regeneration says children are no longer necessary, and there's a breeding control bill supporting him. Christa isn't quite aware enough to be a nihilist yet, but she rides along passively thru most events, only taking initiative when her hallucinations push her forward.

The suicides turn out to be something more interesting. I'd been hoping for a Charles Sheffield's Proteus inspired plot, something really changing the way mortality and form shaped Humanity, but they half-assed the plot in the end, turns into a very pedestrian conspiracy, rich old people getting their kicks. All the hints of a new world, or of protecting youth to get new blood, totally dumped in E6.

★★★★☆ for initial premise and being actual Science Fiction, ★★☆☆☆ for execution and ending.