What I'm Watching: The Expanse S3

So, I read these when they came out, some years ago. They ("James S.A. Corey" is a pen name for Daniel Abraham and Ty Franck; I don't know why they didn't just use both their names) wrote a good hard SF STL setting, then there's an unfortunate "space zombies" episode, and then they kind of blow that up for a more traditional space opera thing.

The first season was great, but took a lot from the 1st & 2nd books; the second season was the rest of the first two books. Minor improvement in not having space zombies, but so much of the books are skipped for more standing around talking time.

So finally S3 is free with 'Zon Prime. Well.

The space battles and gunfights are generally very good, when you can see them; about half the time you can't see anything happen except on a tactical scanner, which is "realistic" in that there's no camera handy, but dull storytelling. The "Prax tries to rescue his daughter, but he's a botanist which isn't very useful" story works well.

Unfortunately, this is a politics-heavy season, and Earth politics are incredibly dull and preachy, and have maybe the most annoying character ever introduced since Jar-Jar Binks, Preacher Anna Volovodov (also, shitty translation, it should be Volovodova), blonde bimbo savior. Every scene she's in is a Boomer ex-hippie preaching about love and peace and ideals, or how scared everyone is but it's OK because "god" is with them. Ugh. She contributes nothing, has no real useful skills (supposedly she's a nurse but in the two times that matters, she doesn't do anything but "comfort" people; no medical skills exhibited) but fills about 30% of the screen time of the season. All her Earth scenes are created for the show, they have nothing to do with the books.

Once the politics are resolved, maybe we'll get rid of Preacher Anna? No, she shows up at the Big Dumb Object for no reason (which is where she comes in in the books), and preaches about how "There are things in the Universe much bigger than we are", but none of them are her god, so it's utterly pointless. The military characters try to ship her off with the other civilians, and she finds a way to stay just to annoy me.

I'm impressed that there's two full-on mutinies and lunatic captains shooting their own people rather than the "enemy". In real navies you don't get that kind of action too often, because nobody that insane is ever given control of a multi-billion-dollar vessel. Actual military people at upper ranks tend to be selected for calmness and sucking up to hierarchy, any rebellion is beaten out of them when they're cadets, but here we get a traitor and an actual space pirate deciding who walks the plank.

Bobby Draper is still very cute, and keeps showing what dicks the Martians are. Earth people are assholes with no redeeming traits, Belters are piratical but generally fun, but the Martians are like the Mitchell & Webb Nazi sketch, but none of them realize they're the baddies.

Finally a dumbass Belter, a girl hopped up on drugs screaming for "vengeance", two annoying paparazzi, James "What the Fuck Have You Done Now" Holden, and a hallucination of Joe Miller's Stupid Hat turn on the Big Dumb Object and go have the magic space opera part of this season. Most of this doesn't make a whole lot of sense, physics-wise or in Human psychology. But it turns on the Plot Device so they can go explore 1300 star systems next season.

★★★☆☆ but I fast-forwarded over a lot of Preacher Anna's preachin', I'd probably give it ★☆☆☆☆ if I had to sit thru all of it.

What I'm Watching: Dark

(Needed a little break from EVA which brings up both happy and terribly sad memories for me… So something "dark" instead)

Dark is a German Twin Peaks/12 Monkeys/La Jetée/Stranger Things/The Caves of Time CYOA mashup.

Kids go missing in the woods around a nuclear power plant.

Terrible English dubbing, often gravelly old people for the kids. But I find German harder to tolerate for long periods than most languages, even Dutch or Finnish, so I'm doing both dub and subtitles; the two are often hilariously unalike.

Is everyone in Germany supposed to be terminally depressed, or just this town? It's shot bleaker than any Scandinavian drama, everyone just stands around crying or staring blankly, with bursts of aggressive activity.

Guy leaves an office with, "Do you ever wonder where we took a wrong turn?" Dramatic non-sequiters abound.

Also wow these are some unattractive people. They've never seen the Sun, most are lined or lumpy before their apparent age, nasty looking hair. Cinéma Vérité is one thing, but this is going too far.

Senile old physicist doing the Log Lady routine. Drug dealing kid like Bobby in Twin Peaks. But there's nobody with any charisma or good looks.

Music ranges from '80s pop to some sorta dark atmospheric, both of which I love, to very gloomy, whiny incidental music which I could do without.

The actual plot so far—non-spoiler, this is all in the first couple episodes—seems to be someone using kids as guinea pigs for a time machine. But they do this in the most hamfisted way possible, creepy dude grabbing local kids instead of, say, taking strays in Berlin back to the Secret Underground Lab.

There's enough good parts, and more enough downbeat but interesting parts, that I'm still going in it, but I wouldn't call any of this compelling.


Project UFO

Which one is correct? Let's think about this from the other direction. Could we buzz another planet, today, in a way that makes "UFO sightings are ALIENS!" make any kind of sense?

Premise 1: It is incredibly unlikely that any "intelligent" species, having recently developed from hunter-gatherers to agriculture to technology in the span of a few thousand years, is smart enough to reach that technological stage without making their planet uninhabitable as we have, or discovering nuclear weapons and waging primitive tribal warfare with them. Even if anyone survives this century, or we colonize Mars, it may be centuries before we have this amount of available energy and economy again.

Therefore 1: Any "UFO" is probably from someone like us, just barely capable of doing it before going extinct. A last fireworks show before the Long Night.

This is going to take a while to work out. Get a coffee.

The nearest star is Proxima Centauri, 4.3 Light Years (272K AU, or 40.7 trillion km) away, and there is a potentially habitable planet.

If we stopped having wars (as if!), we'd have a few trillion dollar surplus; but I'll just suppose we redirect no more than half our military budget. You could easily recruit volunteers for a life-long mission.

A spaceship capable of keeping people alive to get there would be, as a minimum, the size and complexity of a nuclear submarine, 6800 tons displacement, 128 crew, and maybe 100x the cost: $150 billion. Let's handwave away with hydroponics and recycling that a real sub has to surface for supplies every 3 months, and the reactor lasts 30 years before it needs a refuel from recently-processed uranium. Neither are insurmountable engineering, the ship's going to be unpleasant to live in but it's about the best we can do.

SpaceX Falcon Heavy can lift 22.2 tons to orbit, displacement isn't exactly dry weight but close enough for an estimate so that's 300 launches at $100M+ each ($30 billion!) and then somehow assemble it in orbit.

Assembly would be easier if we had a space colony, with a giant machine shop, or even could still run the Space Shuttle (the space truck finally useful for something!), but that'll cost even more money and time to set up. At least another $1 billion on moving enough workers through ISS to finish the thing.

Now we need a space drive. Here we're kinda screwed.

As reference, see Atomic Rockets, menu at the bottom of the front page is where all the interesting stuff is, and in particular Slower Than Light. And a lot of the systems given there don't work in reality, or we don't have yet.

The "ALIENS!" enthusiasts are gonna say magic spacedrive, or fusion torch, or whatever, but we can't make any of those, and fuel's still not adequate for constant burn. You can't magic up extra fuel. There is no such thing as faster than light travel. And see premise 2 later.

Bussard Ramjets would be perfect, even with the 0.12 C speed limit they would actually have… but we aren't within decades of making one.

The nuclear reactor could power an ion drive, which we know how to make and fuel, very very low thrust but constant acceleration, scratch pad shows decades to reach halfway and start decelerating, except we can't carry enough reaction mass and there's none in deep space. Great for in-system maneuvering if you're patient, useless for interstellar travel.

Orion drive, firing nuclear bombs at a heavy plate under your ass, is an act of war in our own Solar System, and a giant whiplash and cancer machine for the crew. 100% buildable, but nobody's that stupid.

Charles Pellegrino's Flying to Valhalla has a reasonable proposal for a sorta clean antimatter drive that'd get there in about 5 years, we just need to plate Mercury in solar cells to power particle colliders to make the shit. Avatar is a stupid, terrible, stupid movie, but Pellegrino designed the starship in it, which is perfectly reasonable. So, that's a century or two off. No good.

Solar sails and laser launchers should work, and we can make these. We'll know for sure in a couple weeks. Making them big enough for a huge ship (1000 km across!) is a challenge, but this is a matter of engineering, not fundamental science. This would take 20 years to reach halfway and 20 years to slow down, but some original crew and their kids could get there.

The lasers are the infinitely expensive part, where you can just sink all money forever into and not be done, but good news is A) they stay put in the Solar System, B) you can build and launch them one at a time over years as a satellite array zapping a lens which projects onto the sail, and C) they're useful anti-asteroid tools (not by burning, but put another sail on an asteroid, and you can push it out of harmful orbits). The bad news is D) the people back home may be dead/forget about you/not be able/be unwilling to continue running them in 20+ years, and E) lasers in orbit can be turned against ground targets, almost literally a lightning bolt from "god" striking down your enemies. Quis custodiet…

Worst case is the lasers go quiet, and the laser sail ship becomes a much slower solar sail ship, which has to make a couple of slowdown passes at AC. If our recycling is good enough, maybe that works, maybe we die alone in the cold of space.

Now we're cruising slowly thru the system, find a habitable planet. We can't land the ship, but have a complement of drones that can fly into atmosphere. An unmanned drone could maneuver faster than any aircraft, and would even be hard for primitive radar to spot, just like our UFO stories.

But is there anyone there? Humans have existed for ~1 million years, about 5,000 of that civilized enough to be worth talking to, 100 years capable of radio, before probable nuclear or environmental extinction. Out of 3.5 billion years of Earth being a life-bearing planet so far, and maybe 6.6 billion years ahead where life can exist, that's a 1 in 2 million chance of there being anyone to talk to.

The ship would be very visible, with sails out decelerating in, it'd be the brightest object in the sky. If the autochthons have radio, they can be called; but we'd have already heard their broadcasts here on Earth. Maybe blinking lights to talk to a more primitive culture? Land a drone and talk over a radio speaker?

There's no easy way to land, abduct redneck autochthons, probe their cloaca-like entries, and return. Even if there was space for a couple Falcons as landers (strapped to the sides as maneuvering thrusters?), they'd need fuel to get back up. It may be possible to do a one-time water landing of the spaceship without killing everyone.

The only reason we would ever have gone there is to meet them and share information, tell them about our home and what we're like. Show them Pulp Fiction and The Ramones and Heinlein's The Green Hills of Earth. We wouldn't be trying to keep it a secret, even aside from the physical impossibility of hiding the spaceship. Nor would the aliens cover it up; no matter what they are, we'd be the most important new source of science, technology, and entertainment.

But landing presents political problems even with public disclosure, they might go to war over who "gets the Earthers", and possession is 9/10ths of interstellar law. Hopefully there's some competent diplomats. There's a lot more ways first contact can go wrong than anything in the flight. Really think very carefully before landing.

Colonization is difficult anyway, the atmosphere's not likely to be the mix we need, the native life may be digestible into basic materials (most life is probably CHON ) but will lack any vitamins; we'll need to keep eating hydroponics. We'd be immune to local viruses but might have no immune reaction to local bacteria & fungi equivalents, nor would any native life to ours. Staying in orbit or colonizing a barren rock is safer.

There will be no alien hybrids, no half-Vulcan Mr Spocks, and the aliens won't look anything like a Human with a latex mask. First, do you consider mating with chimps, crocodiles, squids, tulips, or…? No, stop, I don't wanna know! Baka! Ecchi!! But those are genetically related to us and yet no offspring is possible because we don't have enough compatible genes. If panspermia is real, actual aliens would be more distantly related than fungi, and if not then it would be like screwing a rubber toy.

Conclusion 1: Any plausible alien spaceship scenario is going to look almost nothing like the UFO contact stories. We'd see them coming. They'd have to talk to us on the radio. No secret bases. No abductions. They'd be weird alien pop stars with agoraphobia and unused to gravity, constantly on PR tours and eating alien food because ours is useless.

Premise 2: So Pellegrino's matter-antimatter drive? The point of Flying to Valhalla was that a near-C space drive is a one-shot planet-killing weapon. You'd briefly see an X-ray burst, then the ship's front shield would shatter like a shotgun shell so you can't just redirect it, then the planet would explode, in the space of hours or minutes as the ship chases up behind its light. And you could set one up with a deadman switch to kill whoever killed your planet.

Therefore 2: We're not dead yet, and nobody's contacted us to say "listen up, these are the rules!" Mutual assured destruction means they have to assume we'll do it to them. They don't have to fire first, just make sure we know the threat exists.

Conclusion 2: Nobody within 50 light years of us has advanced technology and has heard our radio signals (50 years there, 50 years for the weapon to come kill us).

Any other scenario isn't science, isn't even science fiction, it's just fantasy. I like fantasy as much as the next guy who isn't wearing a My Little Pony shirt, but it's not real.

What I'm Watching: I Am Mother

13,000 days since extinction event, a single robot Mother raises a young girl (Clara Rugaard) in an advanced complex, the first to repopulate the Earth. Everyone outside is presumed dead from plague. Until a stranger shows up.

Most of the plot is based on who is lying or just deluded, and it turns out everyone, all the time.

The sets are great, sterile industrial Terminator vibe to everything.

I was going to complain about the origin of the stranger, and then it's resolved. I was going to complain about various robot cliches, and then the film does the right thing instead.

Just a perfect actual science fiction film.


What I'm Reading: Lord of the Fantastic: Stories in Honor of Roger Zelazny

"I took it with equanimity, however: I've long known that fortune's a whore and life itself a kind of stupid muddle. I am not a religious man. Far from it. I hold, if anything, a belief which I believe was once ascribed to the Gnostic: that Satan won out over God, not the other way around, and the Dark Prince runs things in the dismal and disastrous way that suits his nature. I knew that everything was just chance and bad luck, in a universe in which things were stacked against us and even our ruling deity hated us."
—Robert Sheckley, "The Eryx"

Great little anthology, Walter Jon Williams' "Lethe" in particular hits a Zelazny note (not the first time; his Ace Double "Elegy for Angels and Dogs" sequel to Zelazny's "The Graveyard Heart" is fantastic), "The Eryx" is the kind of wiseass story Sheckley told in all his work, with a little Zelazny mysticism. Some of these are more poetic fantasy than I'm really into, but that was also Zelazny's thing.

  • Lethe, by Walter Jon Williams
  • The Story Roger Never Told, by Jack Williamson
  • The Somehow Not Yet Dead, by Nina Kiriki Hoffman
  • Calling Pittsburgh, by Steven Brust
  • If I Take the Wings of Morning, by Katharine Eliska Kimbriel
  • Ki'rin and the Blue and White Tiger, by Jane M. Lindskold
  • The Eryx, by Robert Sheckley
  • Southern Discomfort, by Jack C. Haldeman II
  • Suicide Kings, by John J. Miller
  • Changing of the Guard, by Robert Wayne McCoy and Thomas F. Monteleone
  • The Flying Dutchman, by John Varley
  • Ninekiller and the Neterw, by William Sanders
  • Call Me Titan, by Robert Silverberg
  • The Outling, by Andre Norton
  • Arroyo De Oro, by Pati Nagle
  • Back in "The Real World", by Bradley H. Sinor
  • Mad Jack, by Jennifer Roberson
  • Movers and Shakers, by Paul Dellinger
  • The Halfway House at the Heart of Darkness, by William Browning Spencer
  • Only the End of the World Again, by Neil Gaiman
  • Slow Symphonies of Mass and Time, by Gregory Benford
  • Asgard Unlimited, by Michael A. Stackpole
  • Wherefore the Rest Is Silence, by Gerald Hausman

What I'm Reading: Perihelion Summer by Greg Egan

Here's your light summer reading!

Cosmic catastrophe, in this case a close fly-by of a black hole Taraxippus, has long-term consequences for Earth's climate, and people on a rickety fish-farming ship try to survive and make the best use of it.

It's hard not to directly compare this to Neal Stephenson's SevenEves, which was terrible: That had ludicrously bad physics (hint: planets in collisions don't work like concrete hit by bullets, but more like water balloons), then ludicrously bad planning, then ludicrously bad genetics leading into full-on magical fairy tales. But what it also reminds me of is Neal Stephenson's Zodiac, an excellent book from back when he could write a tight story about science and then let an editor edit the manuscript.

Perihelion Summer, on the other hand, is written by someone who can do math and science. So the means of tracking the black hole makes sense, the physics of the catastrophe make sense.

It's also mercifully short, though that sometimes comes at a cost. The initial crew of the Mandjet (one of the ancient Egyptian names for the ship of the Sun) is small, but poorly described; and having both Arun and Aaron in the crew is a little confusing. Egan's never been strong at dialogue, does his characterization through actions and scientific discovery, which needs more page count. The action moves forward in time rapidly, letting us deal with the consequences now rather than in hundreds of pages.

Matt said, “Let me start by saying that if we end up in prison, I promise to install ceiling insulation and double glazing in all of your cells.”

The coming apocalypse and the migrations necessary to survive, are what this is all about. Part of this is Egan's perspective in the Southern hemisphere, which already has a terrible temperature gradient and Australia's genocidal immigration policies; if that gets worse, billions die. And not entirely off-page like so many other catastrophe books.

“But however vast the fleet, however crowded the decks and holds of every fleeing vessel, they would always be outnumbered by the ones they’d left behind.”

The American solution to some of the problems isn't the Southern solution, which changes the tone quite a few times.

The ending's a bit abrupt. I'm still very pleased with it.


The Best SF Author of All Time

So, I can't actually pick one, or even rank ten, but by decade (when they made the works most important to me) it's down to a short list:

  • 1830s: Edgar Allen Poe
  • … long empty stretch …
  • 1890s: H.G. Wells
  • … shorter empty stretch …
  • 1930s: H.P. Lovecraft
  • 1940s: A.E. Van Vogt
  • 1950s: H. Beam Piper, Clifford Simak
  • 1960s: Brian Aldiss, Robert A. Heinlein, Zenna Henderson, Frank Herbert, Andre Norton
  • 1970s: Marion Zimmer Bradley, Katherine Kurtz, Fritz Leiber, Anne McCaffrey, Michael Moorcock, "James Tiptree, Jr", Roger Zelazny
  • 1980s: Mary Gentle, William Gibson, Elizabeth Moon, Rudy Rucker, John Shirley, Bruce Sterling, Walter Jon Williams
  • 1990s: Pat Cadigan, Greg Egan, Neal Stephenson
  • 2000s: Neal Asher, Peter F. Hamilton, Alastair Reynolds
  • 2010s: Mira Grant (aka Seanan McGuire), Martha Wells

I can make an argument for almost any of them to be "my favorite" depending on mood, but Piper might be the winner in a bracket contest. I suspect I'd get down to something like Piper vs. Egan and my head would explode trying to compare Space Viking with Diaspora.

My first pass at this, there were only 3 female authors (Pat Cadigan, Mira Grant, and Martha Wells). Several were only fantasy: Which I think less of, but I do read—and Leiber and Moorcock's science fiction are not their best works.

Many only had a few great books or short stories surrounded by a giant midlist of dullness, but that's also why Niven, Pournelle, Steven Barnes, Iain M. Banks, Dan Simmons, and Poul Anderson never made it. Several I do list produced dullness after their peak, like Gibson objectively only wrote one short story collection & 2 thin novels worth reading, one should not read McCaffrey's post-trilogy extended sequels, and anything Stephenson wrote after The Diamond Age needed an aggressive editor to cut out about 2/3 of his text. And yet many continue to write exactly what I like, decades later.

The '60s-'80s really produced a LOT of SF I liked. Was it objectively better? Or was it just "the golden age of SF is 12" which was 1982, so I read what was still in print?

What I'm Watching: More of Love Death Robots

Apparently Netflix is doing 4 different ep orders, they say it's completely at random, though some people think it's based on gender, sexuality, age, etc. What horoscope does my robot show order reveal? Humans are idiots.

The Dump: Joe Lansdale story of a weird dump thing, videogamey CGI of of slime & trash, quick and obvious, but amusing. Not shown: Fuel-air bombing of the dump after missing persons are tracked there. ★★★½☆

Shape-Shifters: Military werewolves, realistic CGI, clearly the next Call of Duty game. Too much werewolf dick. The transformed state isn't as convincing as the Human. But not bad at the personalities and how shitty the military is. Author's Marko Kloos, a military fanfic writer. ★★★☆☆

Helping Hand: This is perfectly designed to piss me off (or any educated person). As anyone who's ever seen a spacewalk knows, astronauts don't work without a tether and a tight grip on their ship or station. It just does not happen. That was bullshit in Gravity, with idiots flying around on 5-minutes-of-fuel maneuvering packs that haven't been used since the '80s, and it's bullshit here, too. Dumb astronaut—again like Gravity a woman, which is so insulting to Peggy Whitson and other skilled woman astronauts—is knocked off station by space junk. I don't buy a cheap company sending out a lone astronaut, either: Launch cost for an extra body isn't much compared to a whole ship. And then her first solution is dumb, maybe 1kg of reaction mass thrown half-assed overhand won't move a 50kg body anywhere. Her second solution is even dumber—in reality, heat radiates away from a body very poorly in a vacuum. THAT'S HOW A THERMOS WORKS! YOU INCOMPETENT FUCK WRITER! Vacuum of space will chill you eventually, especially if you touch cold metal or regolith, but a floating body won't freeze solid for days. ☆☆☆☆☆ Claudine Griggs, hack "sexual politics" writer, I hate you and want you to get an education and then die of shame at your stupidity.

Fish Night: Interesting look, motion-captured CGI but so cel-shaded it looks hand-drawn. Probably took 10x as much time and money as simple rotoscoping and hand-drawing would've. Alas, I care nothing for the characters or the situation. Stop talking and start doing. Hunter & Dr Gonzo had "The drugs took hold around Barstow, on the edge of the desert", too, but then they did shit. Supposedly another Joe Lansdale story, but it's just nothing but a screensaver. ★★☆☆☆

Lucky 13: More Call of Duty, now in a space dropship but carrying Marines to terraforming stations on some planet. And the writer keeps calling the Marines "Soldiers" which at least modern ones don't like much. Love affair of a pilot and her dropship (AI? Maybe. It never speaks, but gets a camera POV.) is nice, and the dogfight videogame sequences are fine. It's not clear who the enemy are supposed to be, they're just as well-equipped, so are they a rival nation of Humans? Why would anyone bother shipping military to space to fight over an uninhabitable rock? Stupid premise, unexamined. Author's Marko Kloos again. ★★★☆☆

Zima Blue: Another Alastair Reynolds adaptation! Perfectly animated and told. The joke of Zima the beverage is a little weird against a serious story. The theme of transforming and abandoning unneeded complications is done several times in Reynolds (Diamond Dogs is another), but here is the best of those. ★★★★★

Blindspot: Mad Max/Jayce and the Wheeled Warriors/GI Joe do a train job with no planning, and get hosed down amusingly for it. All the nonsensical robot-on-robot violence we grew up with, but more swearing. Fuck yeah! Vitaly Shushko makes more of these ridiculous animations, too. ★★★★☆

Ice Age: A very light microscopic civilization take by Michael Swanwick (Vacuum Flowers!). Almost too silly to publish, the characters are utterly passive, but cute graphics for the micros. ★★★☆☆

Alternate Histories: Multiple ways for Hitler to die and consequences. Trivial, and I hate the stick-figure art, but amusing. Surprisingly by John Scalzi, who managed to make several actual jokes in a row! Maybe he wrote this before the brain injury that made him a humorless Internet troll. But it's about Nazis, so it gets no score according to Godwin's Law. He should have done the Lincoln one instead.

The Secret War: More Call of Duty with Soviets in fur coats in the snow during WWII, hunting monsters. And a story of making monsters, and the futility of being right in the Soviet Union. The monsters look like crap, almost literally, like the Xen in Half-Life. Written by David W. Amendola, another military fiction/horror writer. ★★★☆☆

Fin and Philosophy

And that's it for this season! More dumb combat and horror than robots in this half, and I do not appreciate that.

When I say "Call of Duty", that's not a compliment, I think the lowest form of Human slime make and play these mass murder simulators, and stories which are just "then I shoot everything wooo!" are by and for morons.

I have no objection to monster-killing if it illuminates something in a story, or in games if it's a drain on strategic resources (tactical RPGs with HP, MP, and gear to keep an eye on, and that's why my games are bright and happy AND bone-crushingly hard), but otherwise you leave those monsters alone, it's their world and you're just a morsel in it. Compare especially Beyond the Aquila Rift, where there are no "monsters" but these Call of Duty fuckheads would see one.

Total ratings are not bad, Scalzi and that incompetent Hand ep are all that's really bringing it down, but that glut of mediocre military content is hard to wade thru.

☆☆☆☆☆ 2
★☆☆☆☆ 1
★★☆☆☆ 1
★★★☆☆ 7
★★★★☆ 5
★★★★★ 2

What I'm Watching: Love Death Robots

Anthology series of adult SF cartoons, produced by David Fincher and Tim Miller (Deadpool director). Which is like Netflix said "hey, Mark, we made a thing exactly for you!" I <3 you too, Netflix!

18 episodes, I watched 8 so far, will see the rest next binge.

Sonnie's Edge: I instantly recognized this, but couldn't place it—how could I have seen it already? Impossible! Turns out it's adapted from a short story in Peter F. Hamilton's A Second Chance at Eden. What's weird is I remember it visually, where most of my SF reading I remember as text/lore with a few mental illustrations. Nicely animated 3D, a little bit videogamey and exaggerated. I already knew the twist but I don't think it's hard to figure out. ★★★★★

Three Robots: Walker, tiny walker, and weird pyramid robot explore a ruined city and talk too much. Despite withering contempt for Humans (which is entirely deserved), they don't have enough intelligence to avoid a trap. Meh, I don't like cats much, but people infected with Toxoplasma gondii will find this hilarious. CGI is adequate. Ah, it's a short story by John Scalzi, "Three Robots Experience Objects Left Behind from the Era of Humans for the First Time", which is why it feels like obvious jokes driven into the ground by a humorless boot. ★★★☆☆

The Witness: Rear Window/Run Lola Run with a stripper. Characters look like painted dolls, unfocused "camera" like an Italian giallo flick. Striptease could be erotic if they weren't so toy-like. Neatly tied up plot, nonsense surrealism but I like it. Alberto Mielgo has a number of other good animations and paintings. ★★★★½

Suits: Farmers in mecha fighting bugs. Weird 3D with cel-shading to look like a cartoon or plastic toys. This is pretty much daily life in Rifts, they even call the bugs "DeeBees" (dimensional beings in Rifts, no definition given here but maybe Damn Bugs?). Decent combat story, a little personality for the farmers, but not deep. ★★★½☆

Sucker of Souls: Archaeology/adventurer team explore a tomb and are not alone. Hand-animated mostly, I think they had to have traced over 3D in several places. Very aesthetically similar to Castlevania. Not much plot, and no chance of further adventures, but I like the team. Written by Kirsten Cross, who writes hack military-horror shovelware books; short form clearly suits her "talents" better. ★★★★☆

When the Yogurt[sic] Took Over: John Scalzi's shitty parody knockoff of Greg Bear's superb Blood Music, adapted into weird stick-figure and frizzy-hair CGI blobs, narrated ("tell, don't show") by The Brain^W Maurice LaMarche. Sadly no relation to The Stuff, which had a better plot, actors, and special effects. Fucking awful, everyone involved should be drowned in yoghurt. ★☆☆☆☆

Beyond the Aquila Rift: Short story from Alastair Reynolds! Spaceship has a bad wormhole jump/technobabble, ends up somewhere wrong, greeted by a person who shouldn't be there. Music is excessively on-the-nose. CGI is detailed but videogamey, and the space scenes look right out of some space shooter. ★★★★☆

Good Hunting: An evil man and his stupid son hunt a beautiful Hulijing (Chinese Kitsune), tragedy ensues. Then becomes a weird steampunk thing in Hong Kong. Then a superhero origin story? Hand-animated, good fighting motion, but very flat, I don't like the style. Based on a short story by Ken Liu ★★★☆☆