#the problems of being really into hard sci-fi specifically

[actingwithportals]

You mean to tell me that for some people the enjoyment of writing sci-fi ISN'T figuring out the fundamentals of physics/chemistry/biology and making their speculative shenanigans work under the constraints of what we currently theorize to be true about the universe around us and instead get enjoyment out of...just saying "the thing works because I say so and it fucks" ????? Wild

[the-descolada]

Spoiler-Free Advance Review:

Exordia by Seth Dickinson

I could not put this book down, my god. Staying up super late multiple nights because I couldn’t stop reading is such a great problem to have, and Exordia gave me that problem more than any book I’ve read in a few years.

This is a very different book than Baru, but Seth’s evocative prose and dark humor is familiar from page one, and the laser focus on defamiliarizing real world injustices is again the core of the work. Despite being far more immediate (Exordia is set during the Obama administration in our world, with an alternate history beginning from the moment the book starts), the heaviness of the topics never gets overwhelming. There’s some incredible (and extremely fitting) tonal dissonance here, with every perspective character having their own sense of disaffected humor about the apocalyptic situation they’ve been thrown into.

I described this to my friend after just starting as “if the Books of Sorrow were written with Gideon the Ninth’s tone and just straight up in our world,” and I think that remains true throughout. There’s a huge amount of references peppered in, and it helps maintain that lighter tone to balance the despair of what is essentially a doomsday clock ticking down throughout the book - and it helps keep things grounded, honestly. I never felt it took away from the gravity of things, or was unnatural - after all, if I, an early 21st century sci fi nerd, was thrown into some fucked up alien bioweapon mystery, it’s hard to say my first thought wouldn’t be “oh shit, this is just like the Andromeda Strain!”

Having seven (eight?) different protagonist (or deuteragonist, I don’t know which they qualify as) PoVs is pretty wild but works perfectly here. Every character has such a unique outlook that you can instantly figure out whose head you’ve popped into even before any identifying names or things are mentioned - Seth’s mastery of the tonally cohesive PoV shifts was something I had loved in Tyrant, especially, and they’re equally impressive here. The characters are lovable, hatable, and everything in between - and each as mentioned is so distinct and compelling that I can’t say there was a single character who I was unhappy to get into their head. And that’s saying something, given who some of these characters are, but I’ll leave the specifics a surprise. Predictably, my favorites were the dysfunctional autistic butch-femme lesbians, but I really loved all of them in the end.

The base premise is almost comical in how small it starts to how much it escalates - a cynical, disillusioned Kurdish genocide survivor, Anna Sinjari, meets a terrifying (and yes…very hot. I’m a simple woman) alien in Central Park, and this seemingly chance encounter sees her roped into a small group of scientists, soldiers, and her own mother in a desperate countdown to solve an otherworldly mystery and save their world. The twists and turns of the plot are intense, so engaging that I was bouncing up and down at times (there’s plenty of sci-fi insanity that I absolutely eat up), and tightly paced.

Seth seems to really enjoy writing ethical dilemmas to great effect, and Exordia is ruthless in that area, taking the base concept of the trolley problem and the moral justification for what someone would sacrifice for the greater good and carving it apart for narrative weight. What greater good does the sacrifice serve? Is it actually good? Who gets to make the choice, and do they have a choice but to make it? There’s a lot to dig into here, and Exordia is a four course meal.

One aspect of this simply taking place in our world, rather than being an alternate universe like Baru, is that the defamiliarized commentary is even more on the nose. Whereas Baru is a commentary on empire and homophobia as a whole, transparently pulling from primarily American history of genocide and imperialism to shape a culture unlike our own in many ways to defamiliarize this moral exploration, Exordia is just literally about real world American imperialism and enabling of genocide in the MENA region, primarily the ramifications of the military industrial complex’s usage of drone warfare and the extremist regimes armed and encouraged by “counterterrorism.”

All this sets the stage for the question of what happens when a bigger fish arrives, one just as hell bent on empire building and justifying its own atrocities. The sci-fi intervention into this banal evil is at the same time a reflection of that evil, and asking if the world has the capacity for resistance to both. Exordia’s answer is profound, and far from easy, but entirely fitting for the ethical dilemma that runs throughout the book, creeping up on you slowly as you start to recognize what shape it takes in this story.

The central material conflict of the book, a locked box mystery of sorts that you piece together with the characters, is fucked up and fun and scary, a reality shifting threat that treads the line between body horror, meta-narrative, and lovecraftian math. It’s extremely cool, and I think it’ll be right up the alley of fans of The Andromeda Strain, The Locked Tomb, The Books of Sorrow and other parts of Destiny lore, and a lot of other SFF stories where ethics, horror, and mystery mix together.

I don’t want to say too much about the climax and the ending - going into this book without knowing too much was an incredible experience that had me on the edge of my proverbial seat - but the ending left me asking myself some very similar questions as I had at the end of Traitor, and I cannot wait for a reread when the physical book is in my hands to see what little foreshadowed things I can pick up on.

I don’t think people are going to be quite as completely emotionally Destroyed at the ending of this one as Traitor, but…it is very much a Seth Dickinson book, and they have quite the talent for making every thread tie together at the end to make the reader feel every emotion at once and realize that this could never have gone any other way. I cried, I laughed, sometimes simultaneously, and a book that can do that to me is entirely worth the experience - and what an experience this was.

Absolutely fucking incredible, I want more of these characters and everything they’re wrapped up in, 10/10.

I received an ARC of this novel from NetGalley in exchange for an honest review.

[rubykgrant]

Concept: AI copy of Felix that Hargrove made as a backup plan cuz he knew Felix was gonna die but didn't want to lose such a valuable weapon.

HAHAHA THIS IS VERY CLOSE TO A PLAN I HAVE IN MY BID STORY-LINE!

Felix wanted that Meta armor. When he heard more info about the AI Fragments and the Meta, it intrigued him. Hargrove didn't especially care about keeping Felix around (he was obnoxious and too much of a wild-card; if he could have picked a soldier to duplicate into his ow mini-army, he would have chosen Locus)... however, Felix REALLY liked the idea of there being "more of himself", and potentially avoiding death. He starts asking Price more questions about the AI process, and Price answers him... but leaves a few details out (like, the Fragments weren't exactly "made" to be used for the purposes of Project Freelancer, but once they existed that's what they were taken for. Although Alpha could be recognized as the Director because of whatever sci-fi brain-patterns, they were NOT identical, and it is a different process to make a "hard copy" of a brain, there will be less room for "change", and more of a chance for a form Rampancy). Hargrove doesn't have the original equipment used for the brain-scans anyway; what he's got is more of a boot-leg device.

Felix still wanted to use it, and he wanted to get that armor. When everybody else was busy, before they set out for the big final confrontation, Felix fiddled with the machines a little; he synchs the brain-scanning device to his own armor, so if he has a near-death-experience, he can have some insurance... when he had that last big fall, he hastily activated the program, but it lagged a bit. It scanned his brain alright; as he was dying. Hargrove beat a hasty retreat, and Tucker was using the Meta armor, so there wasn't anywhere for this newly scanned data to GO. Wherever Hargeove ran off to, he didn't even realize he basically had a little Felix-virus trapped in a computer file... until somebody tried to download all the data from the Chorus incident.

So. "Felix" wakes back up, a few years later (this would take place in the "original time-line" of seasons 15-17). He's a little a-hole AI now, and not exactly "stable" by coding standards. He can't stop focusing on the things that he was especially UPSET about as he died; losing on Chorus, being betrayed by Locus, not getting to kill the Reds and Blues. He jumps into some empty robots and armor, and tries to use his charming people skills to get people to help him, but the littlest thing that reminds him of what he hates sets him off on a temper-tantrum. This is already an obsession with him, moving between irrational jealousy and anger constantly. He's not the smooth-talker he used to be, which also pisses him off. He gets back to Chorus, and starts causing some PROBLEMS again. He's literally incapable of going anywhere else, this is where he HAS to be.

There was some other problems on Chorus already, so the Reds, Blues, a few Freelancers, and Locus have come back to help. OH LOOK, THE PRODIGAL JACK-ASS HAS RETURNED, and he's stabbier than ever! Felix makes digital back-ups of himself, so every time he "dies", another AI wakes up (he's not good at moving between different devices; he always hard-wires himself in there, so unlike Church or Tex, he doesn't become a "ghost"; if his robot body dies, that specific AI copy of Felix dies. this means it is VERY hard to get rid of him... on the plus side, everybody gets a chance to take a shot at him. Kimball, Locus, Tucker, etc- time to work through some Felix related issues). Felix also wants his sword back from Locus, but even when he gets his hands on it, the thing won't work (Locus isn't dead). Felix finds a temple on Chorus that is supposed to "reawaken emotional echoes", which Felix assumes means it will treat "ghosts" like they are alive. He manages to activate it, so he can use the sword... then he hears a voice say- "It was mine before it was yours". Felix gets to be haunted by the ghost of Doyle, have fun with that.

Felix finally tracks down where Kimball stored the Meta armor (nobody wanted it to fall into the wrong hands, but destroying it seemed like a waste). He also makes multiple copies of himself at once, so he has his own group of Felix-AI to run the equipment in the suit; a Meta of One, a great big Felix fuster-cluck (somebody suggests maybe having so many Felixes together will cause them to fight, like- "I'm the real Felix, no I am, I should be in control" etc... Locus explains- "That isn't going to happen with Felix. You know all the different potential responses to the question- would you sleep with a clone of yourself? Felix would have an orgy with himself"). Because I brought back Church, Tex, and the Fragments- they get to help Tucker have a big showdown with Felix. The jerk yet again activated the big genocide temple, so everybody is off to fix THAT problem. Tucker doesn't have his own Meta suit or anything this time, but he has some up-graded equipment, and a VERY good team to help him (not only has he had some experience with the memories of the Fragments, he's got Church AND Tex this time! The Fragments all give little boosts to his equipment and assist with make quick plans/strategy, but Tex also gives him a big boost of pure POWER. I just think it would be extremely cool to see Tucker pull off some Tex fighting moves, but with a dash of his own style showing in there). Tucker and Felix have a big laser sword fight, and through it parts of the Meta armor get damaged. Because each Felix AI hardwired themselves into the equipment, once it is busted, they're gone. Finally, it is just one Felix alone, and he pushes himself so hard to keep running the suit, to keep trying to kill Tucker... he burns up his own code. Tucker doesn't have to deal a finishing blow, Felix destroys himself. When Tucker returns the sword to Locus, Doyle says good-bye before his echo fades, to Locus AND to Kimball

[mister-e-muss]

Backlog Report. Another month has come and gone. Surprisingly, I only have one singular game to talk about this time around.

Harvestella

This game had the unfortunate start of being announced when the Switch was already being flooded with farming simulators, so a fair amount of people wrote it off by virtue of over saturation. Those that were more interested in it mostly looked forward to it as “Final Fantasy Meets Stardew Valley.” However that comparison is mostly because people don’t play RPGs or Farm Sims, so it’s really just the first example they can list off the top of their heads. I feel like “Rune Factory x NieR x Etrian Odyssey” is a much more accurate comparison.

I’ve played a fair amount of Rune Factory, but it’s never really been an obsession for me. I’m not too deeply motivated to keep farming and greeting villagers daily for their own sake. I prefer more meat and density to my games than wide sandboxes. To that end, Harvestella fit my tastes to a tee, as it places a much higher focus on narrative compared to RF. It has a very unique take on fantasy/sci-fi fusion, and doesn’t take too long to set up its mysteries and hooks. I’m a sucker for ‘Seemingly medieval world swerves hard into science fiction’ type of stories.

As for presentation, it’s absolutely gorgeous. The environments are varied, appropriately themed, and bursting with color and personality. (Except for the places where they don’t, but that’s no purpose.)

Here are a few screenshots to illustrate:

However, there is one problem with the presentation: No Voice Acted Dialogue. Not every game needs voice acting, mind you. It’s just as much a consideration as a capped frame rate, or a pixelated art style, or cel shading. Not every game will run at 120FPS at 2160p resolution, or use Star-studded industry legends in its cast. However Harvestella is odd in that the playable characters do have voice acting, but only in battles. It hampers the cutscenes a bit because the models rely on reusable animations a lot, and without any kind of snappy voices, cutscenes can feel stiff. There’s also the shock of taking a character into battle and Wow Brakka sounds exactly Nothing like what I was reading him. It’s just odd to me because more than enough games at least use a ‘character is [blank] emotion’ type of sound bytes as extra character-specific punctuation marks. They had enough budget to give all their characters battle lines, but couldn’t extend that to include an ‘AriaShockedGasp.mp4”?

The gameplay is a little bit basic. It’s not particularly innovative in its farm sim or job-changi action rpg halves, but it is very solid, with a sizable amount of customization and a satisfying loop of rewards. Hell, there were moments where I shunted story progress entirely just to do all the sidequests I could. The bosses in particular are some highlights to me, as the unique Break system makes each and every one of them a puzzle in how to maximize damage, and when to press your advantages.

In summary, Harvestella by no means reinvents the wheel. It does, however, provide a smooth and fun ride while it lasts. It has a demo on the eShop, I highly recommend you play that and see if it hooks you.

EDIT: Oh yeah, I forgot to mention: the music kicks ass so hard.

[batmanisagatewaydrug]

reading update: DECEMBER 2023

what's up gamers!!!! 2023 is over, and before I can make a post reflecting on every book I read I need to talk specifically about what I was reading in December. I was lucky enough to end the year coming out of a pretty dire depressive fug, and I celebrated by going buckwild reading as much as possible and placing so many holds at the local library that I will, probably, come to regret any day now. such is the price of being in love with life again, I guess!

let's talk about it!!!

what I read:

Buffalo is the New Buffalo (Chelsea Vowel, 2022) - a collection of Métis speculative fiction short stories. Vowel's stories didn't always quite land for me, feeling as if they would benefit from another round or two of revisions and a bit of elaboration, but even when they fell a little flat the concepts were promising. I especially adored the story "Michif Man," in which a mid-twentieth century Métis man is gored by a radioactive buffalo and develops strange powers that he uses to defend his community, told through the fascinating framing device of a 21st century scholar's speech making a case for Michif Man's existence. I also really liked the closing story, "Unsettled," which felt like really cool old school sci-fi: five clashing characters alone burdened with the responsibility of tending to the rest of humanity frozen in stasis, with each character serving as a mouthpiece for a vastly different perspective and set of values about their Indigenous identity. hit or miss collection for me, but the hits hit much harder than the misses missed.

The Bandit Queens (Parini Schroff, 2023) - this book was genuinely so so hard to put down!!! the story follows a group of women in a small Indian village as they decide to start solving problems by murdering their husbands, turning to Geeta - whose widely believed to have killed her own husband years ago - for advice. the only problem is that Geeta didn't kill him, he just walked out on her. and now she's caught in a RAPIDLY tangling web of murder, blackmail, and hidden motives among women she's never let herself get close to. it's a dark comedy, to be sure, but also surprisingly heartfelt, exploring the countless factors - gender, class, caste, religion, motherhood, beauty - that keep Geeta and the other women apart as well as the forces powerful enough to pull them together. it's a book about the power of friendship and also the power of going ape shit.

Small Game (Blair Braverman, 2022) - a VERY different book from Bandit Queens on every level, but equally hard to put down! Braverman is something of a professional wilderness survivor, and decided to write a story about a similarly experienced young woman, Mara, signing up for a survival-themed reality show where everything goes wrong. one day the camera crew simply fails to show up, and everything shifts when the contestants are forced to shift from surviving for show to actually fighting for their lives. a book that's gross and tender in equal amounts; Braverman is a very good storyteller and I'm strongly looking forward to anything else she puts out.

Are You My Mother? (Alison Bechdel, 2012) - a gorgeously drawn and terrifyingly vulnerable graphic memoir. a spectacularly brave endeavor; while I would never discount the tremendous artistry of Bechdel's more well-known Fun Home, I cannot imagine the terror of writing something like this about my mother when she's still alive to read it. absolutely ruinous if you yourself have any remotely complicated feelings about your mother, I will tell you that much!!!!

The Heart Principle (Helen Hoang, 2021) - Helen Hoang is so good that I didn't even count this as my romance novel of the month; this was just a book that I sincerely wanted to read. apparently quite a few reviewers on goodreads whined about how this shouldn't qualify as a romance novel because it's too sad, to which I say those people are fucking wieners. Heart Principle gets heavy, sure, with protagonist Anna navigating the sudden illness and death of her elderly father, but at the same time she's finding happiness and new ways to be herself and having the best sex of her life with resident hottie Quan, who's been a gem of a supporting character in this series since Kiss Quotient. it gets sad as hell, for sure, but it's also a mature, touching, and sexy story of two people developing a bond that encourages them both to embrace life and grow together. also, hi, Anna finding out she's autistic is SUCH a source of joy and eventual self confidence for her and it's SO nice to read.

Out There Screaming: An Anthology of New Black Horror (ed. Jordan Peele, 2023) - listen. it's a very good short story collection, filled to the bursting with some of the best writers in the game. there are very few stinkers in the bunch, which is really impressive for a collection with so many stories. but. it very seldom felt properly... scary? spooky, creepy, mysterious, supernatural, sure. but I want to be scared!!!! fuck me up!!! Us got under my skin and scared me in a way that I still think about years later, and I was expecting something similar from an anthology edited by Jordan Peele. so on that note I would actually really strongly recommend this is you like being a little spooked but not terrified!

Kiss Her Once for Me (Alison Cochrun, 2022) - this one was the romance novel of the month, voted on by my patrons, and incidentally my patrons should go to prison. listen. this book sucks shit. god, this protagonist sucks. I know the point of this kind of story is for characters to start in a place where they're flawed and you want to see them improve as people, but Ellie is just so endlessly whiny that I don't want to see her improve, I want her to shut the fuck up and stop using her anxiety as an excuse to be wildly unpleasant to everyone else. the chemistry between the main characters was what I call the "because I said so" variety, by which I mean there was no chemistry despite the narrative insisting repeatedly that there definitely was. (incidentally, Ellie had way better chemistry with the man she was fake engaged to, meaning I was actually really rooting for the hetero option for once.) also Cochrun is apparently a huge swiftie and referenced Taylor Swift a truly unwell amount of times in this book. dismal all around.

Mammoths at the Gates (Nghi Vo, 2023) - Nghi Vo can do absolutely no wrong and is one of the authors whose new releases I will ALWAYS be showing up for. Mammoths at the Gates is the latest in the Singing Hills Cycle of novellas, and sees the cleric Chih leaving their quest for stories in order to return home to Singing Hills Abbey after years on the road. they're excited to be home, but nothing is as peaceful as they'd have hoped: an old friend has been promoted, straining their relationship, and a beloved mentor has died, creating a complication when their family come to lay claim to the body. it's a book about death in the best way, by which I mean it's very much a book about life, and I read it all in one delightful morning racing to the gentle shock of the ending.

what am I reading now?

God: A Biography (Jack Miles, 1995) - this is a book rec I scooped from Oh No Ross and Carrie and it is. such a weird reading experience, but I'm enjoying it! this God dude is nuts!

Masters of Death (Olivie Blake, 2018) - I'm not very far into this book yet, and I can't decide if the prose is fun or annoying. maybe both!

what's next: a list of books I have on hold

Patternmaster (Octavia Butler)

Laziness Does Not Exist (Devon Price)

Piñata (Leopoldo Gout)

[deltaengineering]

Winter Anime 2024: Payday

Metallic Rouge

Metallic Rouge hasn't ended yet, but I am quite certain that at this point it's unsalvageable. I can give it one thing: it's going for a specific ~vibe~, and nails it. Why anyone would want to evoke the ~vibe~ of "deservedly forgotten 2000s sci-fi seasonal" is beyond me (I won't provide an example, because if I could remember it it wasn't forgettable enough), but there you go. Truly, Bones have outdone themselves with this celebration of their 25 year legacy.

It's hard to even start, but the one thing everyone is certain about is as good as any: The plotting and structure of this show is a complete mess. Some consider this "ambitious", but I don't think an ambition of "let's throw in every half baked thing we can think of and try to glue it together with proper nouns" is worth celebrating. We've got insipid and illogical worldbuilding that ultimately goes nowhere, brave political statements on the level of "slavery sure is bad but don't be rude about it", metaphor bombshells like a character who schemes behind the scenes and styles themselves the "puppetmaster" and constant plot twists that explain things long after I've given up on even trying to make sense of anything. That's where the ~vibe~ comes from: everything that has ever vaguely annoyed you in a mid anime is somehow in this one all at once.

This wouldn't be so bad if it had characters that are entertaining on their own, but here we meet the most bizarre creative decision: the one thing it has going for it is the Diet Dirty Pair banter between Rouge and Naomi, which elevates a few episodes to "decent", but of course they spend half the show seperated. And by themselves, Rouge likes chocolate and is as dumb as a brick with charisma to match, while Naomi is sassy and mysterious and that's it. The rest of the characters (and naturally, there are far too many of them) are either irritating or at best just bland.

So if this is Bones pulling out all the stops, at least you should expect the production values to be high, but even that is a mixed bag. Metallic Rouge looks quite mediocre for the most part until it's time for a dedicated Sakuga Cut™, which might be a fight or alternatively just a random one of the dozens of boring hallway conversations (that Crunchyroll of all things is treating this as a joke really says it all). And even the fights aren't all that great, because this show somehow manages to have bad sound mixing and music beds that I'd call interesting in theory but don't work well as a score. At least it has a stellar OP, but even that seemed a lot better before the show actually came out.

I might bump up the score a point if it ends exceptionally well (which it won't), but even in that case... it's still bad. Please go back to sourcing your deep plots from Weekly Shounen Jump, Bones. ~3/10

Bucchigiri...

Bucchigiri..., on the other hand, has the exact opposite problem: While Metallic Rouge is a convoluted tangle of inconsequential plot, this show is just happy to phone it in. It almost feels like a rerun of fall 2021, where Metallic Rouge is the new Fena and Bucchigiri... is the new Takt:Op. It leaves an agreeable first impression, with a bold, colorful look, unusual setting, expressive direction and kinetic animation – but everything not entirely superficial is an excuse, and a "dog ate my homework" level of excuse at that. If all you want is bromantic burly brettyboys going through the motions, get your fanfic pen ready, but don't expect the show itself to provide significantly more than character designs. It doesn't help that the main character is particularly bad, with his gimmick being "annoying disinterested horndog". These non-characters keep going in circles slapping each other's asses and being not very funny for two thirds of the show, until a very generic "sensitive best friend is tempted by evil" drama plot appears because even yaoi shippers realize that eventually something has to happen, which boils down to Matakara going around slapping everyone's asses again, but now it's supposed to be sad. And then that doesn't work at all, because for character drama you need characters. Who knew.

Of course the funny bit is that this is pretty much what I asked for. I gave SKOO shit for only being good at the wacky parts while the heartfelt drama and more fleshed out characters fell flat. Well, now the director's followup work is just the wacky bits and feels completely hollow for it, and then the exaggerated drama lacks anything to back it up. Maybe just do better, I suppose. Oh yeah, and this also hasn't ended yet but with how completely predictable it is I feel like I've already seen the final episode. ~4/10

Undead Unluck

You can take the Shounen out of the Jump but you can't take the Jump out of the Shounen. I don't usually touch the Weekly Shounen Jump brand for good reasons, but Undead Unluck definitely had one of the strongest first impressions for one in a long time, if only because it has leads that aren't Goku and Vegeta again. But it also had a flashy, devil-may-care attitude with absurd nonsense happening left and right, a bonkers setting that is actually interesting in its own right and production value to back it up. In short, it was Fire Force with arguably better characters. When it's firing on all cylinders, Undead Unluck is a very fun time.

The problem is that Undead Unluck is firing on all cylinders about as often as a Cadillac V8-6-4 with a flaky ignition distributor. Primarily it has a massive padding problem: The amount of recapping and flashbacks to things that just happened is patently ridiculous and I say that as someone who has watched two seasons of My Hero Academia. If you include things like OP and ED, I feel like calling roughly a third of this show's runtime literally repeated content is not a wild exaggeration. And that's only literally repeated content – since this is Weekly Shounen Jump, there is also a lot of restating of facts and tedious explanations. I can't even blame this just on Jump Editorial, because a lot of the time it seems to be in service of hitting the right cliffhangers – but if both source and adaptation have severe pacing issues, it all compounds to the worst pacing in any show I've seen a considerable amount of.

And then, even in the coinflip of time when it's actually doing anything, it's obviously not always at its best either. This is honestly acceptable from a show that goes wild – with these you have to take the bad with the good. I didn't care much for the lazily metafictional final arc for example, but it would be perfectly fine if it didn't (quite expectedly at this point) do its core statement twice in as many episodes in a row, only with more screaming the second time. It's good when it's good, sure, but it would have to be outstandingly brilliant to make the whole thing worth it – which it isn't, so it's not. 5/10

Mahou Shoujo ni Akogarete (Gushing over Magical Girls)

My standard line regarding any extra spicy fanservice anime show has always been "you know you can find real porn on the internet easily, right". Gushing over Magical Girls (which is, aint gonna lie, a genius title translation) is a pretty good example why: Even though it is pretty damn explicit, it still isn't on the level of actual porn, and then the extended moaning and wriggling sequences just take up so much of the time that it gets tedious pretty fast. And a lot of the "other" content of the show is just blatantly an excuse to make the porn happen. There's some edgy comedy too, but I think characters like Kiwi are more annoying than anything, so that didn't do much for me either. Then the middle section of the show is an excursion where our protagonist villains go sex up a couple of more villainous villains, which feels like it's missing the point even by its own standards. Also, be aware that with hentai content come hentai production values, and this one is definitely below average. None of this is particularly unusual.

However, I kept watching this one, and the reason is pretty simple: I don't actually object to spiciness in principle, and in the beginning the show did a pretty good job of portraying Utena's awakening to a bunch of fetishes. That she then started an awkward on-and-off anonymous BDSM relationship with an actual magical girl was even better. I honestly have to say that this is a brilliant concept, even if it wasn't executed to a level where I was certain it was intentional. Also, while it's arguably the "main plot", it's a fairly small part of the show and when it didn't show up much in the middle I was sure the show had lost me. I do have to admit though that against all odds, Gushing does stick the landing, with a final episode that really pays off that plotline in the best way you could reasonably (see above) expect. It's a bit of a rough ride, but this show delivers.

So I'm two minds about Gushing over Magical Girls. If you just consider it a hentai OVA that somehow escaped to television (which is not an unreasonable standpoint), it feels surprisingly ambitious and well thought out. But as a regular TV show, it just has too many weaknesses to ignore. Still, even though I can't call it good, I still think it's a more interesting curio than the score might make it sound. 5/10

Hime-sama "Goumon" no Jikan desu ('Tis Time For "Torture", Princess)

Oh no, this has "torture" in the title, what could it mean? Yeah, I think at this point everyone knows that it's a joke (one might even say... The Joke) and let's leave it at that. It feels like every season there's some fluffy and cute comedy that I quite enjoy for no profound reason. The Alleged Torture here simply doesn't do anything wrong, manages to find just about enough angles to its one joke to not get boring, and features nice designs and enough production value to deliver a smooth ride all the way to the end. It occasionally does something beyond its one joke, and that tends to turn out cute and chill as well, like Tortura's modest OL home life. Really the only thing I don't like about this is the manzai reaction antics of the sword – explaining the joke is always questionable, but it's especially so when there is exactly one punchline that never changes. In any case, this one is hardly essential and there are many others like it, but sometimes you just want something sweet and inoffensive that still puts the effort in. And this is definitely one of those. 6/10

Kusuriya no Hitorigoto (Apothecary Diaries)

I feel like I should like this show a lot more than I actually do. This is because it is made of great ingredients: Very nice looks, a setting with tons of potential, mostly interesting characters and in particular an amazing main character. Maomao is just great, she has tons of personality and a funny oddball charm that is tempered by a smart and stoic attitude. The beginning of the show, where Maomao plays the streetwise intruder into the stilted world of court intrigue and manages to cut through the bullshit like nobody else could, is pretty excellent.

However, as the show went on, it became clear that I just don't agree with the direction the plot takes. Of course it turns out that Maomao is actually deeply involved into the court drama in half a dozen ways (without ever telling the audience about it, which smells of retcon). Of course the focus shifts to other characters like Jinshi or later on Lakan, who are far less interesting. Of course there is a romance with Jinshi on the horizon. I don't want to be that guy that is mad that a show doesn't turn out to be what they had wished it to be, but it's still a letdown.

And that's not mentioning that the daily business of the show, various levels of detective work, is hardly solid gold either. It's just bad at mystery writing – most "cases" turn out to be massively contrived and then Maomao walks in and just guesses the solution out of nowhere. The large-scale mystery (who is Jinshi, really?) is not much of a mystery at all but Maomao can't figure it out because apparently she has to solve these complicated and tiny problems before she can realize the simple and obvious large one. And then there's the drama, which is effective enough in the moment but seems to be mostly built on a foundation of allegedly smart people acting much more stupid than they should.

So overall, I think this is still a good show simply because Maomao is fun to watch no matter what, but I just don't think the writing can quite hold up its part of the bargain, and that is kind of a bummer. 7/10

Yuuki Bakuhatsu Bang Bravern

Bang Bravern arrived with a simple, but quite amusing thesis statement: What if you had a tacticool, Armored Core-like mecha setting but then everything changed when a super robot show invaded. That's pretty funny. It also just so happens that Masami Oobari knows that the likes of Top Gun tend to have a certain undertone, and also made Bang Bravern explicitly homoerotic. That's even funnier. Add to this the fact that the epic super robot action genre is inherently hilariously over the top, and you have the makings of a very amusing show. Now, I could just leave it at that, because that's what Bravern is. An over the top and self-aware love letter to the super robot shows of old, with a couple of additional comedic angles.

In other words, it's like all super robot shows that have been made in the last two decades. Yeah, Bravern is undeniably quite entertaining, but I also don't think it's anywhere as unique as people seem to think it is. The "super in a world of reals" joke in particular doesn't really come into play that often, apart from when that side of the show keeps introducing dozens of characters that then proceed to not do anything apart from standing on the sidelines. The gay love affair does matter more often, but seems to run into diminishing returns because once you've done "come inside me" (which it does in like episode 3), you really have nowhere to go. And besides those two, well... it's charmingly exuberant and features all the goofy tropes, but it lacks the absurd hugeness of a TTGL or the meaningful subtext of a Gridman – and that's only shows that I have actually seen as a non-fan of the genre. I suppose fans will gladly take it anyway, because the genre is somewhat rare nowadays, but Bravern doesn't exactly blow me away. Still, you can't deny the fun. 7/10

Sousou no Frieren (Frieren: Beyond Journey's End)

So here we come to the big dog. The show that's pulling Doraemon numbers on Japanese TV, has been riding a comfortable #1 spot on MAL for months, and has inspired an unfathomable amount of porn. And the real surprising thing is that it's the first show in a very long time that I think comes even close to deserving that level of hype, especially early in its run when it absolutely isn't the kind of show you'd expect to do this – apart from the production values being about as good as TV anime gets, naturally.

Frieren starts out as an uniquely focused narrative that explores as many angles as it can out of a complicated mess of legacy, memory and regret through the lens of a pretty simple and generic RPG trope. It achieves this almost entirely through one of the best casts I've seen in a long time – Frieren may not be quite as charming a protagonist as Maomao, but she has much more depth and more importantly, every character that matters in her show is almost as good, and their relationships are even better. In its first-cours adventure mode, when we're just wandering around having more or less episodic encounters and plot points that drift in and out of focus with a wistful tone but splashes of goofy comedy, Frieren is quite excellent and would have been my show of last year if I had considered it eligible.

But then it slams in a new gear with the elegance of a tractor driver who thinks clutches are for pussies. Suddenly we're doing a proper Shounen Exam Arc and we're getting a lot less of this and a lot more of this. Now to be fair, this is a long running manga and it probably could not have kept doing flashbacks to Frieren being too dense to realize that Himmel was hitting on her 80 years ago forever. But still, the mage examination arc just really isn't Frieren at its best. It's not even that the content is particularly bad (maybe apart from the really quite rough beginning), and I do understand the long-term benefits of introducing a bigger cast of characters for future use, especially when they turn out to be quite good eventually... but it all just takes way too long. There's still great moments here, but that's usually a small segment of the established good stuff or, failing that, Frieren dropping a sick ass spell. Yeah, I won't even blame this on the action, because said action is incredibly well done and still quite brief, but you really didn't need a full season of theorycrafting and skill discussions to get those explosions. In short. Frieren temporarily turns into Full Metal Alchemist with better leads, and while this would be high praise for almost any shounen manga, it isn't for the one that has demonstrated it can do far better.

There is one real upside to this distraction arc though: Unlike, say, the plot problems of Apothecary Diaries that are here to stay, none of this irreversible, which Frieren immediately makes clear by snapping back to its best behaviour the second they leave the designated raid zones. The ending is as good as any part of the show, with the skillful writing and great tone we have come to wish for. Frieren may not be as consistently excellent as it first appeared, but it is still pretty damn good – and not on a purely superficial level either, because it obviously can have outstanding writing when it wants to and the fundamentals are rock solid too. 8/10

Yubisaki to Renren (A Sign of Affection)

And the top spot of the season goes to... a show that may not be the most ambitious, but does absolutely nothing wrong. Yubisaki to Renren is a fluffy romance where a very cute girl meets a very nice boy, and then no drama happens because not everyone in the world is a fucking idiot. I think my delight with this says more about the absolute state of romance anime than it does about the show itself, but I also have to say that while the plot of this show might be simplistic, it takes great care to set everything up in such a way to get away with said simplistic plot.

Obviously the core of the setup is that Yuki is deaf. But, quite smartly, the author doesn't make the story about Yuki's problems with not being able to hear, but rather about how her world is just... limited. And Itsuomi is a dude with an uncommonly wide worldview and experience. Opposites attract, and there you go. The show basically gets all the grounding it needs from that simple setup for free, then throws in a bit of complicated history among the larger cast. Then just make Yuki incredbly cute and Itsuomi an uncommonly levelheaded adult who will take measures to prevent any pointless drama before it gets out of hand, and you have a show that's just 100% a good time all the way through. So the leads (i.e., the thing that matters way above all else in a romance) are great, and the rest of the cast is more than fine too, even those who would instigate such drama – it can't get annoying, because they never succeed.

Really if I had to say something negative about this show it would be that it's still superficial compared to a show at its skill level that does go hard. I mean, it's about two nice people falling in love and nothing goes wrong, which isn't exactly a lot. There is maybe also the idea that Itsuomi may be a bit too perfect, but I'm just more than happy to see a male lead in a shoujo romance that is neither an abusive jerk nor a bland cardboard cutout. In a perfect world, something like Yubisaki to Renren should feel a bit bland and generic, but in the real one, there just isn't much like it. 9/10

[a-treatise-on-velociraptors]

A lot of really shallow bad YA seems perfectly formed in a lab to cater to what young teenagers think the world is like specifically, validating their problems and perspectives by making the entire world revolve around said problems, which is why we enjoyed those books in middle school then immediately realized they were dogshit as soon as our frontal lobes developed more.

I mean this with all the love in the world to middle schoolers, life is hard for them in ways that seem silly but its their first time experiencing the world like they are so it really is that big a deal to them. They're young, and publishers know that when they market empty schlock to them.

Like. When you're in 7th grade going to the average middle school you don't know what actual politics is like, you just know that you're forced to follow a dress code and listen to authority even on the most seemingly-arbitrary issues and be stuck in a building 5 days a week with hundreds-to-thousands of other teenagers (a lot of whom will, by virtue of being teens also stuck in a building with hundreds-to-thousands of other teens, end up with socially-enforced cliques of personality.) Maybe you have a bit of a not-like-other-girls complex--maybe you're different, socially awkward, and you're not quite aware of the concept of masking or that even your bullies who you see as 'perfect' and cruel also have complex inner worlds, so you start to think that you're Special because you have a personality, and problems, and the world hates you for it.

So when you read a book where everyone in this Post-Apocalypse Dystopia is forced to follow a dress code and follow authority, for actually arbitrary reasons, and those who are accepted into Society are the sheep who only know how to follow its arbitrary standards, you go yeah! That's how the world works! Then the main character has personality, she has problems, she's divergent, and because of that she's special enough to save the world and mold it into one in which she can thrive--so you go hey, that's like me!

It's juvenile ('juvenile' not being necessarily derogatory) wish-fulfillment, with just enough of a sci-fi world slapped together around it that it's justifiable to the mind of a young teenager.

And sometimes books are able to fulfill that for their target audience while actually building a complex world around maturely-handled themes (hunger games comes to mind. As a middle schooler, katniss is saving the world, but as an adult, she's a kid forced to fight for her life for entertainment multiple times and act in propaganda for a war she accidentally hastened while trying to protect her loved ones.)

But other times publishers know their audience is young, and they know their main goal isn't to create art but to sell merchandise to 8th graders. So that's how you end up with Divergent, and Uglies, and Matched, and the entire genre collapses under its own weight.

[multitrackdrifting]

Well I didn't write my thoughts on the last ep cause I was playing FF16 but I'll explain why I didn't like the ending (despite loving a lot of the episode) under the cut

There's a lot of ways you can end a political sci-fi story (which Mobile Suit Gundam tends to be) and some of the worst ways it can end is a bleak "and nothing got better" and that often is the resolution for a lot of them, but it's not that bad when it's clear that the isolated conflict would just be covered up and whatever amidst the conclusion of that story. The very grounded and "realistic" stories in UC might fall into this kind of area.

I am of the opinion that more often than not it's bad practice to criticise what isn't there, that is unless you have a legitimate reason to feel that way. In this case, I feel that they brought up the earth subplots and kind of just used to thrust the story forward without actually having anything meaningful to say about Earthian emancipation or even validate that the companies in the story made that place a fucking hell hole in any meaningful fashion. You hear about a lot of the going-ons from people from Earth for sure, but you barely have it in your periphery for the majority of the season except for about 3-ish episodes.

My greatest fear as I've expressed to many friends and other people I talk to about G-Witch is that they would hand-wave all the problems away with a time skip and sadly we got literally this exact thing.

The spectacle and wonder of the family conflict tying up nicely & the canon lesbian relationship is pretty heavily overshadowed for me by the complete dismissal of the very subplot threads they opened in order to describe just how bonkers the Benerit group is/was.

OF course, I am labouring under the assumption that there is no season 3, and IBO didn't even announce theirs till like 4 months after Season 1 ended on a massive cliffhanger but this story did not end on one.

There's no seething and spiteful earth orphan in the epilogue, or any inclination that the story will in-fact continue and that leaves me feeling all the way wrong about how they handled this especially since I have to wait half a year potentially to find out if they plan to make more (which I imagine they will if not specifically to sell more Gunpla).

Of course, you might say that "oh this is a more personal Gundam story" and I don't even really feel like that's a good explanation of why the ending almost feels antithetical to the story itself like, yeah Benerit got dissolved and all was well and eveyrone became friends which is acceptable in your average shounen story but this pretty much felt like an ass-pull in some ways especially when you take in that they neglected to do anything with Earth except => guel gets kidnapped and goes to earth and briefly helps orphans and guerillas => miorine accidentally helps stage a false flag attack and pretty much nothing else?

Like that kind of irks me in the same way that playing FF14 Stormblood and there being almost nothing about Ala Mhigo irks me.

Of course, I am happy that SuleMio is a happy family not just with Prospera, but all of her daughers including Eri.

It's just... way too neat? I seldom call something an ass-pull but hand-waving that Earth is still in strife and barely any consequences were faced by the broader corporations outside of the dissolution of Benerit would be a compelling point if, like Hathaway, it had something to stand on top of (which is that in UC, fucking nothing ever changes, Unicorn happens and Hathaway's Mafty Uprising still happens in spite of Banagher's wager on possibility lmao)

I dunno, I feel happy that they're happy but really upset that they really just dumpstered everything to do with Earth and it just swept so many of the real questions that the very story we watched each week implied it would even try to answer.

I'm really hard to annoy, I love meathead shounen, I love serious and nuanced political writing in anime (e.g. MSG UC & Eighty-Six) but it's not the space magic that annoys me, I'd be a hypocrite to love Gundam Unicorn and hate it here - it's how they just time-skipped everything to a neat and tidy conclusion.

Of course, maybe a S3 announcement (which I have firmly held is probably coming) would change my mind, but yeah this was a great episode but a terrible finale.

Honestly, I even felt irked by the fact that Suletta accepts her mothers choice so plainly and I get it - the parental bonds thing is somehting I don't take for granted, anyone who has had complicated feelings about their own parents understands how a person can come to be like "you've hurt me and the people around me, and yet I still care for you" - I get it! But I really do not like how inconsistent it feels to be cleaning up the bodies of her classmates one episode and kinda shrugging everything she did off in a time-skip but this critique specifically is down to the jarring pacing that others had been complaining to this point - I suppose I am guilty of getting caught up in the spectacle but I almost snapped my neck at how hard this ending veered off

Of course, the natural commentary for this will be "selling off Benerit's assets and aiding Earth is a functional and practical way to help Earth" except that it almost feels like it comes out of nowhere due to the lightspeed pacing of this finale.

They really fumbled writing Earth in this story - yeah, there are nice subtleties in the ending but it still feels way too rushed and jarring for me to like actually find it enjoyable. Bodies don't make a good gundam ending (see: Gundam Unicorn), and space magic doesn't make it bad either (also Gundam UC lol), they just brushed off way too much.

The "incremental change" argument holds decent weight if there was any explicit inclination to continue the story from the time-skip (which I would like to see, preferrably with an Earthian protagonist at the centre of their emancipation struggles).

It was indeed nice to see the Earth girls integrated into Miorine's company, and Sabina does comment that they're not sure if it will amount to what they want - and Mio, far more mature than her younger self, steps towards that future bravely and that's cool.

I like the characterisation of the ending - but yeah, how they kinda just blitz the Earth stuff does not sit right with me.

I did like seeing all the kids being friends & being together after all they've been through, and that is a nice way to tie-up the story, but the way they kinda just use that to justify why they barely explain the rest is wild.

Course, I know I'm probably in the minority here - but pacing doomposters were right - this was a pretty abysmal ending because of how little time they had to work with.

I loved every single episode of this season, except the ending. Loved the first half of the episode, but the latter half is just way too neat and that's not because it needs bodies or something - it really does just feel like "and then it got marginally better".

I know the ending itself explicitly acknowledges that nothing may change, but as I said previously, that only works if you have something to lean on which this story does not since it's unclear if it's even going to get another season.

Systemic change, in reality, is quite incrimental and often feels infinitismally small - and that notion might be more compelling in this bittersweet epilogue if the story had taken more pains to actually explore the earthian-spacian conflict.

Yes, they discuss conflict-sharing/war-partitioning on the different segments of Earth, but they do nothing with it at all other than laud it around as a talking point without making the viewer ever face it except when Prospera attacks Earth. I feel like so much of the Earth-side of the story is left in the abstract, and do not argue to me that it's in the subtleties of Earth house and the things that they say.

I felt like the fella in Plato's cave hearing about something and the only time I actually felt the human side of that story from the people that live on Earth was when Guel was a prisoner of war for an episode and when Miorine has to face the disappointed people who realise they're being attacked.

I had faith the ending would not go "and then it got better", and I know many people will hate that I choose to take that interpretation, but that is pretty much the summation of my feelings about how rapidly they pushed this aside. I love this series, I ahve been gassing this series every single week since like episode 3 - but this ending was unsatisfying - it's not enough to make me hate the series but yeah, I wish we had something more substantive to look toward with future stories or more time spent stressing the "other side" of this conflict.

Yeah, the Benerit group at large is on trial on TV, and there's signs that the world will change & we see future generations of kids on Earth, but I don't think it hit quite right for me. It's not a lack of grit, it's just like, you're enjoying the payoff without the adequate build-up and I feel like I'm possibly not alone in thinking this.

Earth was just a bargaining chip and an elusive idea in this season, and I really do not like that so much was left in the abstract. You can "subtext" anything into existence, but no amount of referential dialogue is going to make up for the lack of a grounded and meaningful representation of their struggle since Sophie and Norea got axed (I did not mind this at the time), and they portrayed every other Earth character outside of Gund-arm as a villain.

I really feel like this aspect of how the story was structured was ultimately quite disappointing and thus, I am annoyed at the resulting payoff.

The romance side of things was cute, and I thoroughly enjoy how thing were tied up with them - especially that Suletta loved her family despite everything (this does not boggle my mind).

But yeah my gripes with the lack of idk time to talk about Earth actually boggles my mind beyond belief.

It's incredibly difficult to feel the actual weight of "yeah Benerit was dissolved and assets redistributed lol" while being presented with next to zero context for what that means and what it could mean. Way too much is left to the imagination and while that's fine in certain kinds of stories, in one wherey ou barely even grapple with the Earth context that you've described to this point it's kind of bonkers.

Yes, I get a lot of people will feel catharsis with this ending because what they're watching for and what I am watching for may be different - that's perfectly okay, but I'm not gonna act like ti didn't disappoint me that we got the most explicit form of a hand-wave (a time skip) to end out an otherwise fantastically written series.

I do not like that one bit and I do not apologise for believing that either.

Here's another scorching take: the next season should focus on Earth, not how the Samayas heal as a family - there might be room for both, but with how neglected Earth felt maybe it's time for a POV change in this world bc they really did FA with that.

In conclusion, I sitll like the show, but this ending was really unfulfilling. I know that winning a battle is not winning the war, but the story took pretty much no pains to eloquently depict the struggles of Earth properly this season despite me thinking that the vast majority of episodes were absolutely fantastic in spite of that.

I think Suletta, Mio and Guel were quite well-written and most of the supporting cast too, but this flaw in the narrative structure is insanely glaring for me and call that pretentious if you want but I genuinely believe what I said here

Edit: I guess, the ending just doesn't say anything super daring that that's pretty disappointing.

Edit 2: I completely forgot to go on a rant but, that the use of a WMD (space laser) was not even a point of intrigue for a future conflict is also wild.

[runawaymun]

If no one else has asked yet - I need to know about "MGME except it’s my OC from my sci fi novel."

This is just a really intriguing concept!

AHHHHHH yes I was really hoping someone would ask about this. While I love all my OCs obvi this one is my big blorbo from this particular project.

Ask me about my not-yet-written-fics from this list

MGME except it's my OC from my sci fi novel

so, this OC is very much Elrian coded. Or rather, she's a very similar character, I guess? That was actually one of my concerns while writing Stars -- to make them two distinctly different characters.

she comes from a very similar background to Elrian actually, just in a sci fi context and from a very different cultural set.

The other important thing to note here is that my sci fi has fantasy elements, and the OC's main culture is polytheistic. Her specific house worships a deity that's meant to grant immortality and prophetic dreams -- at great cost.

This OC has a lot of prophetic dreams.

Unlike Elrian, she does not have an Elrond figure to help her get out of her shithole of a life. She has to do that all by herself.

But of course I got to thinking haha what if she had Elrond.

And then I was like--- hold on, wait a second.....wait.... what if...

The main isekai force here are her dreams. I'm thinking like, her actual physical self is retained in her world but she gets transported into Middle Earth

Language barrier obvs because I'm a sucker for language barriers.

Elladan and Elrohir find her and are like "???? random???? woman/young girl (I have not decided at what point in her life she gets transported. The book series follows her life from about the age of fourteen up until her late thirties. My one stipulation is that she probably needs to have zero of her kids that she has yet). Anyway Elladan and Elrohir don't speak her language obvs and she's just like "well this is a werd af dream what the fuck."

They figure if anyone will know what she's speaking or at least what language root it is, their dad will.

So off to Rivendell they go.

(There is an alternate version of this actually because I can't decide between the two of her getting transported to the second age and having a much younger Elrond -- and this being set in Lindon and Gil-Galad's court, which I think would play off of this OC's backstory in very interesting ways....)

let's go with that because it's more interesting. The only further fun part of the Rivendell branch is just more of SOL and the weird dream back-and-forth.

But there are several cultural misunderstandings that can actually come from her being in Lindon around Gil-Galad because she comes from a god-king culture (and is, in fact, a crucial member of her particular god-king's household who is, you guessed it, striving for immortality and has so far succeeded. This is like.... a numenor situation? basically? I think that's the closest comparable situation).

I do love the idea of younger Elrond trying so very hard to learn her language and connect with her and figure out where tf she belongs.

And basically, when she goes to sleep in her world she's transported to middle earth, and when she goes to sleep in middle earth she wakes up in her world

And there's just this awful back and forth and it's very jarring and hard on her because her life in her world fucking sucks

And honestly I would love for her to find a way to stay in Middle Earth.

But basically it's an excuse for some magic, and my good ol fav trope of 'healing from trauma and learning to trust' -- and also I feel like once she and Elrond get to a point where they're able to speak in a broken mish-mosh of each other's languages there's potential for her to absolutely spill her guts because she still thinks this is a dreamscape.

which is great for her because this character is INCREDIBLY angry and INCREDIBLY traumatized and she bottles up all of her emotions.

I have not worked out how I get her to stay in middle earth though. That's the problem. Unless she makes some kind of deal with the Valar or something idk?

I am probably not explaining this well this one is soooo vague. It mostly consists of conversations between this OC and Elrond and a heck of a lot of cultural miscommunication and assumptions about things.

but she would hate Gil-Galad she would hate him sooooo much haha

poor Elrond trying to explain that Gil-Galad is actually really cool and not a god-king wtf

also there's that fun aspect of like. The house she works for is attempting to achieve immortality at any cost (and murdering a fuck ton of people to do it) and THESE people are immortal???????? Who did YOU guys murder to do it?????? hello?????

I'm rambling.

Thank you for coming to my incredibly nebulous "there's no plot here" tedtalk.

In conclusion

[syrupspinner]

i just completed Hypnospace Outlaw

i sincerely love how much the sci-fi genre is just explaining how much sci-fi stuff would suck if it was real

the reason you play hypnospace outlaw is the aesthetic and presentation, just so were all on the same page. the reason this game got your attention is because its a passionate parody of web 1.0, and it does an excellent job of that. i can tell this game was made with a deep nostalgia for what made the past special without being blinded from its flaws (like the viruses and general difficulty to navigate).

the only problem is that im 24

well i shouldnt say thats a problem. just because i dont have nostalgia for what theyre throwing back to doesnt mean the game doesnt stand on its own. i didnt grow up with a ps1 or n64 but i still enjoy that specific form of lowpoly modeling, for example. its just unfortunate that i cant have the same hit of nostalgia that people slightly older than me can, yknow? i wish i could enjoy this game as much as them

again, the game was still very enjoyable. the puzzles start out very grounded, introducing you the the world and how it functions very effectively, before ramping it up with more abstract mechanics and compounding techniques needed to find more results. the only problem i found myself stuck on in an unfun way was figuring out how to decrypt sandwich files. its one of those puzzles that make you feel silly for not getting it earlier, but in my defence... who the hell would program something that esoteric

as an aside, i saw people discussing what genre games like this would be. by "games like this" i mean hypnospace outlaw, outer wilds, rain world, animal well, that kinda thing. i dont think applying one genre is effective, but instead its about how they combine the genres of exploration and puzzle. instead of having all the tools to solve a puzzle when youre presented with it, you have to leave and seek out the solution elsewhere. notably, if the game isnt build to accommodate/encourage this, itd be pretty unfun. these games and their open-ended design manage to skillfully mesh both genres together: the exploration is the puzzle

so yeah, i really enjoyed the game! there arent a lot of games where its just fun to explore the world as its presented, and HO does a fantastic job of that even without considering the puzzle design. i love just reading about the characters and their lives in hypnospace. this games greatest strength is just how charming it is, theres really nothing that matches it in that regard

i also found it really inspiring. i love how much personality all the characters fit into their webpages. maybe someday ill move this blog to neocities just so i can evoke something half as impact

oh no this was all a secret advertisement for neocities wasnt it! well, it worked, im not even mad (yes i know about the page builder)

anyway! the game is worth it for the vibes alone, and the puzzles are a really solid foundation that everything is built on. totally worth buying! the only thing is if youre going for completion, please use a guide to find all the pages, some are hidden way too well. totally worth it, though. if you know what the "thanked" achievement is named after, you know it makes it worth it. also, buzz was hilarious, i love pranks on the player

now im going to spoil the ending, stop reading this is you want to not be spoiled about the ending, because im about to spoil it now. after sasuke

oh my GOD dylan merchant is such a schmuck. maybe ive just lost too much sympathy for venture capitalist techbros, but i cannot spare any positive regard for this guy. like, okay, i get hes the bad guy, but outlaw 1.0 tries sooo hard to make you feel bad for him it wraps back around to being infuriating. the thing is that i have no idea if this is intentional? like, was a guy who let a teenager go to jail and think about how his prank killed 5 innocent people plus his crush apologizing decades later (*after* being caught) with an unfinished video game supposed to be a sincere tug of the heartstrings? "sorry i killed zane before he could stop being an annoying twerp" "sorry i killed rodney, his family smelled like walmart" "sorry i killed mavis, i think that was her name. i got nothing else to say about her" "anyway thanks for playing the 'final' version of the game that killed everyone. you have successfully absolved me of my sins and sent me to heaven. remember to subscribe and hit that bell icon" DUDE how emotionally shallow and self aggrandizing do you have to be you are a child murderer my guy

[mandatory-blog-stop-asking]

Star Trek Is A Failing Theme Park

Much like many others I used to be a bonafide Star Trek Discovery hater, and even though I thoroughly enjoy it now, I honestly don't regret that time in my life.

I think Discovery season 1 and most of season 2 were a little ashamed of having to be an old sci-fi show, so they kept trying to be a show about violent, impulsive, very special unique people that happened to go to space every once in a while. Which Star Trek has been, on occasion, but never in a way I personally find better than what it usually is -- philosophizing and talking about real world or allegorical drama for 40-50 minutes until a solution arises that doesn't really make anyone super happy and not everyone comes out unscathed, but the compromise means there's hope for a better solution tomorrow, and the day after that, until it works.

The personal dramas usually related to their reactions to storylines, but were ultimately secondary to the bigger pictures, and acted as bows you tie the narrative with at the end. If Kirk did not make it through the episode unscathed, that's cool, but the episode was rarely only about his demons. It could heavily relate to his demons but that wasn't the whole source of the spectacle. The Naked Time works as a way to examine characters in crisis, not necessarily as a Kirk episode where it's all about him.

Because of that, I was basically the audience for seasons 3 and 4. While Season 3's ultimate plot wasn't the most interesting thing in the world, the idea that they were now dealing with their "own version" of the galaxy, writing their own plots that didn't have to come before everything else and figuring out their own threats that didn't have to eventually connect back to Star Trek canon was a massive improvement.

The decision to interweave character drama into storylines as opposed to making the storylines about the character drama also greatly expanded upon people's roles in the ship, and you finally got to see people like Detmer or Owosekun doing shit and being useful, instead of just being on the bridge nearly unnamed. I genuinely think Season 4 of Discovery is one of the best seasons in modern Star Trek; even if it trips and falls sometimes, I think it's well worth the creative risk and I was left very satisfied after watching it.

So when Discovery season 5 turns around and tells me it's about an episode of TNG I watched once, and then they start going to a planet from an episode of TNG I watched once, and then here comes another episode where they go to an episode of DS9 I watched once, and there's more 24th century-specific stuff that's gonna happen, it's...

It's very hard to feel like we're not regressing? I realize at this point the show is very, very cancelled -- they weren't even told it was happening until they were filming the finale, but at the same time, is this really what the plan was? To not boldly go into something original, instead picking up threads from episodic shows released decades ago? What are we, Star Trek: Picard?

Now for the sake of transparency, I feel like this is might be more of a personality problem than a media consumption problem for me, because I am genuinely allergic to nostalgia. I have no respect or attachment for media whose only mission is to remind me of things that existed, and franchises that have made that their entire MO have basically died for me. Like, I can't watch Star Wars anymore. It stopped mattering how good or bad it is for me because all I see in stuff like Mandalorian season 2 is pilots for shows I'm not gonna watch, and cameos from characters I don't want to see right now. The stories are no longer the point, the point is the brand and how easily recognizable it is.

So when Discovery tells me that their last hurrah is going through the Star Trek theme park, pointing at rides I've already gone to and saying "Isn't it cool we get to say these words again? That we get to see this thing again?" I'm left cold. I don't want to see the Progenitors again. I don't want to see the Promellians again. I like seeing the Trills again, it's one of my favorite species in the franchise, but we have seen so much of the Trills between DS9 and DIS, I really feel like this is... not the way forward. This theme park is not the reason why I think about Star Trek.

It reminds me of why I stopped caring about Star Trek Online. The practical reason was me not liking the minibuys and the combat, and the game's only mode of operation being to attack -- it's a fine ship combat game and a mediocre but working third person shooter, I just don't care enough to play it forever. But the secondary reason, and the reason I think about the most, is because every single storyline is less a story and more a Star Trek reference.

It's always someone coming back, or an alt universe version of a character being introduced, or picking up on a random episode that I already watched, making the action figures fight instead of anything else. Instead of using fanservice to broaden the appeal, the only appeal is the fanservice; there is very little to Star Trek Online that isn't just the equivalent of going to Star Trek Land and looking at the Harry Kim bust again.

I keep looking at Burnham, a character I have come to like in spite of her place in the franchise, in spite of the fact that her entire conception was made to connect her to Spock, and to Sarek, and to Pike, and to all these characters I already know, in spite of the shortcomings of her original character arc -- I look at her and I see a character who has built her own path after being allowed to exist separate from the others, after being given the same chance everyone else was to be more than a Star Trek reference, and then she just knows to go to the planet of the Booby Trap aliens because that's Star Trek, we're going on the ride.

I'm so sick of going on the same rides. Specifically, I'm sick of going on rides after they just proved that they can do something different, that doesn't need Star Trek references to exist. Please I am begging you stop showing me Picard's face, I get it, I like TNG too. But I tuned in to watch Discovery. I am not into this brand because I am into the brand, I am into this brand because it's fucking good, stop acting like I'm here for nostalgia's sake.

"Hey, what about Lower Decks? You love that show!" eh Lower Decks can do it, don't worry about it.

[glaucophane]

I'll be up front. I don't like the kind of fan speculation that tries to tease out some deeper, hidden meaning to throwaway lines. Sometimes a cigar is just a cigar, so to speak, and not necessarily an indicator of some hidden truth.

What I do like is when that kind of speculation takes a more comedic turn, which is why I spent a good 45 minutes retrieving screencaps from a 17-year-old game this evening.

I want to take a sec to emphasize the throwaway nature of these two lines from the first dungeon in Tales of the Abyss. They have absolutely no relevance to the broader plot, they don't provide much insight into the nature of the animalistic monsters of Auldrant (they have a more persistent problem with monstrous humans making monstrous decisions), and mostly come off as very clunky exposition in a scene that already has some problems with maintaining a good story pace. You, the player, can safely forget about them the moment that the boss fight that they precede starts.

I can't. These lines have hooked into some part of my brain that I can't shut off, and I think I know why now. Abyss spends so much time on explaining its world in a no-nonsense, almost scientific manner that it feels less like a fantasy story and more like a sci-fi story that's dressed up to look like a fantasy story. The world has had any mysticism stripped out and replaced by cold, and oftentimes harsh, scientific realities. Magic adheres to strict and unforgiving rules. There are no angels, no elves, no extranormal beings that can swoop in and instantly fix a broken world. The story wants to be treated with the same seriousness in its worldbuilding as the hardest of hard sci-fi. So I really don't have a reason to not treat all of its worldbuilding with the same level of seriousness.

Which brings us back to egg-laying monsters. More specifically, to fur-bearing, warm-blooded monsters that lay eggs. I'm sure you can see where I'm going with this.

In real life, we call animals that fit these traits - with a few more, but these are the big two - monotremes. There are currently only four living species of monotremes, though they have a fossil record going back at least 100 million years and estimates put their origins as far back as the Triassic. You may be familiar with the platypus and the echidna, the living descendants of this weird, basal group of animals.

A couple of throwaway lines in a clunky scene that don't matter to the plot could be interpreted to mean that Bamco accidentally made a world that's populated by animals so weird and basal that we still don't have a complete picture of their evolutionary history. Is it a stretch? Sure. But it's a stretch that I find hilarious. The idea of this soaring drama about self-determination and free will being set against a backdrop that accidentally includes monotremes delights me in a way that I'm not sure I can properly articulate.

And if it was, we'd be able to call Mieu by the cutest name for a baby animal there is - a puggle. :)

[kyliafanfiction]

What's the gripe with the Templin people? I tried watching their videos once but they seemed very boring so I don't really know anything about their content

(Full disclosure, it's been years since I watched any of their videos, so while I remember generally what they've said that pissed me off, I don't remember the specifics and I don't care to. Unlike say, Craptain America Steve "I am Drone Strikes In Human Form" Rogers, the Templin Institute does not live rent free in my head all the time, they just sublet some space every few months for a day or two) Well, My gripe is that their opinions on worldbuilding in sci-fi are very, very wrong. There's a lot of little things I didn't like or didn't agree with, like opposing the idea of a single government governing an entire world even if that world is part of (or even the capital of) a multistellar state, or saying that monarchies couldn't possibly ever function in the future because western democracies are so much more effective and efficient (*points to the United States* Not to say Monarchies are *good*, but monarchies are as capable of being effective at governing as democracies, because a monarchy is just a dictatorship where you call the dictator King, and we have a lot of functioning, for varying values of the word, dictatorships right now on earth), to saying that an Empire shouldn't call itself an Empire because it's too 'on the nose' or something to that effect, etc

But the thing that was the 'fuck this shit I'm out' for ever watching their videos again and soured me anytime anyone else links their videos and calls them "great worldbuilding advice" (seeing someone do that on a forum thread is what prompted my bitchpost) was one about sci-fi ships, and basically asserting all sorts of nonsense about what kinds of ships did and did not work/make sense (Dreadnoughts apparently are Bad™ and no serious writer should have them), ignoring that

1.) In most sci-fi settings that serve as settings for stories, games, TTRPGs, etc the classes/kinds of ships are there for narrative reasons first (in general, Templin's narrative-neutral approach to worldbuilding, while in theory sound, creates a lot of problems very quickly)

2.) The author is responsible for the space physics/etc of the universe. It's not hard to construct a universe where Dreadnoughts are the only viable form of warship for some reason. Or one where carriers rule the day, or one where carriers are actually a terrible, terrible idea, etc, etc, etc. Templin has this tendency, in their worldbuilding advice videos, to ignore that writers are gods of their own universes. Or so is my impression. They also speak authoritatively without basis, but that's kind of a me hangup, because ultimately it should be obvious it's all their opinion (I just think their opinions are bad) So I don't like them, get annoyed when I see people rec their worldbuilding stuff and can't believe I'm the only person who thinks their worldbuilding 'advice' is barely above useless half the time.

As for why right-wing neckbeard basement dwelling pissbaby shitheel fuckface morons hate them, it's that Templin Institute has "Gone Woke". The primary source of complaint for them seems to be that the Templin Institute asserted, accurately (if pointlessly, IMO) that Female Space Marines are entirely possible, if Games Workshop (the people who own Warhammer 40k) really wanted them, they could just change the lore. Under the cut for more details and context on that hot mess.

For those of you not familiar with this bit of interminable nonsense, in the Wargame (and associated setting that contains books, video games, TTRPGs and I believe at least one board game) Warhammer 40k, there exists a class of unit called a "Space Marine" which are genetically enhanced supersoldiers that are the flagship characters of the 40k universe. They get the most models made for them, the most narrative focus, etc.

Space Marines are, generally, made by taking candidates who pass a pretty grueling battery of tests, and grafting all sorts of extra organs into them that, if they survive, turns them into transhuman superpeople that are like ten feet tall, super strong/fast/etc and then gives them a pretty long lifespan. Space Marines are very, very. very, very skilled warriors and often deploy in 100-man companies that are often capable of turning the tide of planetary wars all on their own.

In-universe, the reason that Space Marines are all dudes isn't that the Imperium doesn't think women can't fight (the Imperium, as a whole, just cares if you hate the alien, the mutant and the heretic and can hold a lasgun when they conscript you into the Imperial Guard, and yes I'm oversimplifying) but that the process to create the Space Marines was made by the God-Emperor thousands of years ago using his own genes (or something like that) so they didn't work on women at the time - and the big E is on life support and has been for most of those thousands of years, and science and technology don't really advance much in-universe because it's a crapsack world setting (40k's fandom invented the word Grimdark, for reference), so even if someone was inclined to try and improve on the God Emperor's work, it would be hard to.

All of this is of course, arbitrary, because Games Workshop writes the lore. They've retconned things before, and these days their official position on 'canon' is that all published materials are from nominally in-universe sources and thus potentially biased or inaccurate. And they have had a guy named Cawl create an improved 'Primaris Space Marine' after thousands of years of work (though to be fair, in some quarters, the Primaris Space Marines went over like a lead balloon), so Templin Institute's point was that Games Workshop could say 'actually female space marines are possible because no one realized it before' or 'someone invented a way to make them possible' which is true.

This comment pissed off a bunch of idiots, most of whom are the sort of crypto/quasi/open (it does vary) fascists (or their technically apolitical buddies that give them cover) that give the rest of 40k's player base a bad name. And so they whined that Templin Institute 'went woke'.

Personally, I agree with Templin on this, but I also think this is a stupid argument and people who really want female space marines should just stop engaging with 40k and find a better game/setting to be into, because the Warhammer 40k game and setting is a horrible, terrible, noxious steaming pile of incoherent trash that should have been left on the ash heap of gaming decades ago to be replaced by better stuff.

And I say this as someone who has bought several Warhammer 40k video games, would like to buy at least one more, played some 40k-set TTRPGs a few times, reads some of the 40k novels and spends more time than she'd like to admit (that is, any) reading the 40k Lexicanum (a fan wiki). I will fully concede that the 40k game/setting is a compelling pile of trash, but it still is a pile of trash.

[cognitosclowns]

I'm not sure how it would happen, but how do you think Alphabeta would deal with getting his consciousness moved over to a human body? What would he like? What would he hate? (No pressure to respond of course!)

OHOHOHOHOHOHOOOOOO THIS IS GONNA BE SO FUN.

all sfw!! references to eating + nausea

Miscellaneous sci-fi fuckery? Miscellaneous sci-fi fuckery

Accidentally transferred into the body of a clone? Some last ditch effort to save his life? The Specifics aren't really important, what matters is he hates it.

He's absolutely gonna have a Last Unicorn Amalthea 'I-Can-Feel-This-Body-Dying-All-Around-Me' moment that isn't gonna be good for anyone involved. Bone-deep nausea when he realises just how fragile he is.

It's probably the most distressed anyone's ever seen him? Lots of pure fight-or-flight reactions, if anyone tries to touch him they're getting decked (sorry Brett). It takes a solid couple hours to get him calm enough to Process Information And Start Working Out A Plan With Them.

There's definitely some stuff he deals with. better than others.

Breathing is surprisingly easy? I mean the process is automated, but also he was already able to breath before.

Granted this all feels a bit more Fleshy and Loose, but it's one of the very few things he actually finds. kinda comforting about having a body?

Eating is,, weird?? but also he doesn't hate it?? Entirely?? He definitely hates elements of it, but the actual process of eating is kinda. Soothing? He definitely likes that slight dopamine kick. He likes that his body provides Little Rewards For Taking Care Of It.

It takes a while, again, to get used to how eating feels as a human versus as a machine.

Sleep! Sleep is perhaps the only thing that feels the same. That soft feeling of slipping into unconsciousness is really comforting.

Dreaming however is weird as FUCK and nothing like it was as an AI. usually his 'dreams' were just vague colours and sensations, maybe some memories, as his servers filtered through the events of the day.

BUT ACTUAL HUMAN DREAMING?? OH THAT'S SO DIFFERENT THAN WHAT HE WAS EXPECTING. he didn't expect it all to feel so. Real.

Not,, necessarily bad, but definitely weird?

he hates having a heartbeat he hates having a heartbeat he hates having a heartbeat he hates

A solid 2 hrs post-humanification is just spent rubbing his chest with the hard part of his palm, as if he's trying to rub the heart right outta his chest alskdflsdakrlds.

It's incomparable to anything else he's experienced. There's something thumping in his chest. He can feel the blood rushing from the tips of his fingers back to his hear, and down again. He can hear it, like water rushing past his ears.

Ofc the Extreme Awareness does go away after a few days of acclimating, but whenever his heart-rate spikes up. Expect Him To Be Unwell.

Another thing he can't stand is how,, limited he is. Dear God this man is so under-stimulated he's gonna rip his teeth out KAJFKSJDAS

usually he's seeing through several wavelength of light, hearing things humans couldn't hope to hear, layering sounds and images within his own mind to keep himself stimulated.

now everything's,, quiet. really quiet. eerily quiet. He hates that he isn't as aware of his surroundings as he used to be.

He definitely has A Bit Of A Moment (tm) when he puts on several different shows at once, and realises that This Body Can't Process All That. he can't listen to music and watch a show and read a book all at once his Fleshy Human Brain can't make all those make sense.

Also the limits of his strength?? He used to be able to like,, lift tables with ease. Now he gets tired when he walks up too many flights of stairs. Experiencing Being An Old Man.

The limits of his memory ohhhh that freaks him out like nothing else

The fact that he's able to forget things is so eerie. He's never had that problem before. Reagan asks him how his day was, and when he realises he can't remember what he had for breakfast, or what colour his slippers were? Oh Boy.

He does need a. well I don't wanna say babysitter. Chaperone?

After Reagan realises that this man is 100% gonna forget to fulfil most bodily functions necessary to keep him alive along enough to transfer him back into his body,,,, yeah she makes sure there's ppl keeping track of him.

not up his ass or anything, he's allowed to go about his day as normal,, just,, around. to make sure he doesn't accidentally give himself a kidney infection or starve to death.

He won't admit it, but it's kinda?? nice?? having somebody around?? who understands what the fuck is going on??

'Why do my joints hurt?'

'You're old.'

'Mm. Don't like that.'

Generally? Worst experience of his life never make him do that again

Alright, there were some upsides - hindsight is 20/20, and once he's actually back in His Body,, he has,,, maybe,, just a slight,, appreciation for human resilience?

Because Dear Fuck he had to experience it for a month and barely came out of it with his sanity intact he has no idea how these freaks exist day to day managing all of that. How does anyone manage to get anything done.

The robot went through a Bad Experience and gained a little more empathy. Look At Him Go.

ABWBABW THIS WAS SO EXTREMELY FUN <3 lmk if you had something else in mind, and as always feel free to add your own ideas, I love hearing other ppls thoughts <3

[yandere-monoma]

Im reading kill your ego right now and ill admit im a bit biased because John and Roxy are my favorites of all the human kids but I just have to know your thoughts on John Lalonde!!

HEHEHE don't tell the others but john lalonde might be my favorite of the kye kids hehehe

my DARLING little dark academia boyo. it's especially fun thinking about him at the moment because i'm in the middle of a homestuck reread with some friends and it's really reminding me of all the similarities between john and rose in the early acts. the way they both misrepresent and resent their parents for the interests they share (or don't share) and the way they try and avoid their dumb lame parents and all their lovey dovey shit

so it's fun taking john and giving something really to complain about and avoid. we take away the self-loathing and (psychotic) depression/chucklevoodoo influence that the egberts are cursed with and we replace it with a superiority complex and a whole lot of pretentiousness. john lalonde is an incredibly proud academic and scholar and you WILL know that he's an intellectual if it's the LAST THING HE DOES!!!

now, john's main problem with mom, as we'll see later in the fic, isn't that he thinks she's being passive aggressive with him, because i think that is honestly a very rose-specific result of her capacity to overthink. he's just honestly disappointed with her. as with all of the lalondes, john goes through the parentification that mom lowkey pushes all of her kids through by neglecting them emotionally, and he takes it pretty hard. he's overwhelmed by the endless attention, he's walking on tiptoes because he never knows when some new ridiculous thing is going to happen, and he can't even get space because who KNOWS what will happen to her and the house if he tries to stay away for an entire week???? and because he's so combative, he's incredibly loud and open about how it's affecting him. he is ready to trauma dump within a moment's notice about his mom's alcoholism, his mom's love bombing, his mom's flaws in general

though of course, he doesnt have any, no, he's perfect 🥰 HE does everything right its just everyone else thats wrong!!! and that's another point of conflict between him and everyone. his mom is into science and fantasy and literature, sure, but not the RIGHT kinds, because john's into the right kind and everyone should be into sci fi like he is, duh. both he and rose actually dabble in different types of reading and writing in this verse, but clearly HE'S the literary genius since HE reads all the good smart books while she reads a whole lot of dumb books that only horny nerd girls like 🙄 and he clearly sees jade and dave as on a lower level to him and takes every chance he can to try and 'assist' them because they're too dumb and naive to take care of themselves. lucky them, though, because they actually get to be kids, and he wants to protect their innocence just as much as he wants to protect his own status and reputation

so! at the end of the day, he's pretty much a rich boy who had to grow up too fast and is incredibly bitter of that fact, but he won't let that bitterness get in the way of all the interests and people he's so incredibly passionate about. i think john egbert is kinda aimless in a lot of ways (like we don't even really know what he wants to do when he grows up) and while i don't think john lalonde has decided a career just yet, he's someone who is constantly working on some sort of creative project for himself and can easily imagine himself in quite a few different paths for life. i think he's full of love and the capacity for empathy but struggles to access it as he drowns in his frustration over the life he feels trapped in. he's incredibly sensitive which is why we see him flying off the handle so often because he's got such a delicate little ego that feels threatened so often (god does johnny have npd i think he does rip)

and i think he dearly dearly dearly loves his mother as every lalonde child does (not that he openly shows it, which of course he's going to regret with EVERYTHING he has) and he will utterly be in PIECES when she dies. he's a mama's boy through and through but he doesn't want to come across as one, he wants people to see him as a respectable and independent bachelor but he doesn't want to show weakness either. he wants to be a leader (because his mom is a leader!!) but honestly he's still the pushover we know and love and he's constantly at the whims of his mother, especially physically, because he's such a cute lil proper boy haha i always imagine him with like cute styled hair and stiff lil preppy outfits and thin wiry glasses (if he even wears glasses, i love the thought of him getting pushed into either wearing contacts or fully just already having some bonkers corrective surgery done on him already)

and hes SUCH A CUTIEEEEEEEE I CANT WAIT TO SHOW HIM OFF MORE WHEEEEEEE

[theseventhoffrostfall]

Read all of the 3 body problem books so you don't have to.

TL;DR its very cold and sterile and no real stakes as a result, making it take place over thousands of years and devoid of enough human connection it has a very "why should I care" feeling. I am not sure if this is a Chinese cultural way of viewing things but it reads like the outline of a better story that'd be filled in later. Closest comparison I can make is Warhammer except everyone has human length lifespans and you look at things from a galactic level scale and after 10,000 years it's hard to care about anyone. I also largely hate all things being equal pessimists at this point. It felt more like a weird acid-trip deep dive into a thought experiment that you pull out of and think "huh, that was fucked up" than any great sweeping narrative and no, i dont care how groundbreaking or deconstructive your story is, it needs to have a plot that makes you invested and the lack thereof isn't the accomplishment you think it is.

But it also irks me that it once again falls into the "this isnt your dumb made up science fiction, this is REAL science fiction" trap. It feels like these authors have 1 specific thing they are maybe more interested in, in this case mathematics, and use that as a crutch of superiority while the rest is as made up as everything else. I'll give GRRM a mild pass since he was writing in the aftermath of Dragonlance, but spec fiction has an issue of defining what it ISNT instead of what it IS. Hell, Tolkien could come out today and market LOTR as "the most realistic fantasy because it charts linguistics and genealogy and cultural evolution in a much more realistic way" vs the others that don't. Which is both ironic given that Tolkien is usually the example used to contrast [insert current trendy author]'s works and the primogenitor of many many things, and also proving the point really that no one writes "better" or "smarter" sci fi/fantasy, and that most authors have 1-3 things they really hone in on accuracy wise and fudge the rest.

(NOTE: yes, there are lots of dumb fantasy/sci-fi that dont even try, Dragonlance doesn't even try to make the 3rd book any good which is why you should stop with Gigachad Sturm Brightblade's better-than-it-has-any-right-to-be character arc)

On the "Probably accurate in one respect but inaccurate in others", I know it's partially a product of the times and understanding of the math involved in both has changed, but the premise of the alien invasion is predicated on the notion that FTL travel is utterly impossible--rather than mathematically possible to the point of the drive being one of the least difficult things to build in a starship--while quantum entanglement-based FTL communication is trivial to manage rather than actually impossible.

It's very much a story where you could find and replace "Aliens" with "wizards" and "Technology" with "Spells" and not change all that much, but in perfect fairness I know very little about the author and if he ever claimed to be Ultra Realism Man personally or if that title was thrust upon him.

The bits of attempted human connection I was seeing in the early stages of the 2nd book are literally why I dropped the series, so I'm not gonna complain about that going away moving forward.

Also, yeah, Sturm is the best part of that series bar none. Elf chick's character development dovetailing off of his arc was also surprisingly interesting, even though they (naturally) faceplanted in handling it at the end of the original trilogy.