Was I in a mood that I didn't enjoy Revenant Gun or has something changed in Yoon Ha Lee's writing? I can blame it partially on the fact that I didn't remember anything from the previous books, but I do remember I enjoyed them!

  Reading my review of the previous book I see some similarities in feeling: I don't remember much of the story or characters from before and it feels a bit sluggish at the beginning and rushed at the end. But the difference is that I had trouble finishing Revenant Gun and, instead of fondly remembering the situation where the other two books left off and getting closure, I felt like I had difficulty empathizing with any of the characters or caring about the story.

  And it's not like it's a straightforward book. It has two different threads, in one there is a resurrected Jedao reluctantly serving Kujen, the other is another Jedao, inhabiting the body of Cheris. Then there are a zillion officers, hexarhs, servitors, moths, lots of gay love that is unrelated to the story, but may have a place in the culture of this military universe and so on. The writing was decent, but it didn't blow me away.

  Bottom line: Perhaps the lucky ones are those who will read the entire trilogy at once and get both the freshness of the concepts and the closure of the story in one go. As such, I got almost nothing from this.

  Money is the root of all evil is a saying that has proven itself time and time again. Trying to make money from something that was not meant to do that will always soil and corrupt it. It is the case of so called "superchats", chat entries that have money attached to them.

  Here is how it works. Some content creator is doing a live stream and people are discussing the subject in the chat. There have been donation systems that allow people to give money to the creator for a long time and even there you see there is a bit of an issue. The streamer is almost forced by politeness (and because it encourages viewers) to acknowledge every donation. So they punctuate their content with "X has given me Y. Thanks a lot, X". This diminishes, albeit in a small way, the quality of the streamed content. Superchats are this, times 100.

  You see, when a chat message comes with money attached, the streamers are again motivated to acknowledge it. However, this time they read aloud the content of the message as well and respond to it, even if it is just with a sentence. This leads to significantly more disruption, but also has secondary effects that are at the core of the system. People have now been tiered into the ones that write a message and are ignored and the ones that pay to not be ignored, regardless of how useless, stupid or aggressive their chat message is.

  The content creator has only a few options at their disposal:

• treat the superchats just like normal chat messages, in which case people won't be motivated to superchat, leading to less money for the stream
• acknowledge and reply to just some of the superchats, which is a form of gambling for the message sender, if you think about it
• acknowledge and reply to all superchats, which leads to a "super" tier of discussion that can only be accessed if you pay for it

Now, I understand how this system brings more money to the stream, but at what cost? People who crave attention are not the ones that you want to bring to the forefront of any discussion, but even so, many of them are immature teens. In order to have the system working, you need to stream, which motivates the creator to make interactive content and as long as possible to the detriment of short, concise, researched content.

The result is an explosion of low quality live streams, playing (preying!) on people's biases and social instincts, funded by the money of children and highlighting fragments of discussions based on how much they paid and not the quality of their content. Superchats are a disease of the Internet, akin to infomercials, television ads or paid news items. And unlike these, there are no tools to remove the streamer acknowledgements of superchats from the stream.

I am not an activist, but the only way to get rid of this toxic system is to actively fight it. I wonder if it could be seen as gambling, in a legal context. That should shut it down.

  It was very difficult to finish Bad Connections, as it is just a one sided view of the world from a very unsympathetic character. I understand the story was supposed to be a fuller portrait of women as a whole, but damn it makes them look dumb.

  So there is this woman who has to navigate through being the wife, the sexually unsatisfied, the adulteress, the divorcee, the single mother, the mistress, the woman on the side, the compulsive clinger and so on. I guess it was supposed to make the reader understand what it means to be female, yet Molly is emotional, compulsive, egotistic and ultimately weak. The scene at the end it written to provide some sort of feeling of emancipation, but in fact made me think she was even more of a coward than before.

  Bottom line: Joyce Johnson may be a big shot beatnik writer who hung out with Kerouac, but I did not like this book. It was short, yet unentertaining. It was full of meaning, of which I felt none was interesting or educational.

  About a year and a half ago I installed DuoLingo and started going through some of the languages there. The app was advertising itself as "The world's best way to learn a language" and "Learn languages by playing a game. It's 100% free, fun, and scientifically proven to work." And in the beginning it was. You could go through simple but increasingly complex lessons and advance in level, exactly as promised.

  And then whatever happened to mobile apps everywhere happened to DuoLingo as well: incessant ads, with garish colors and loud sounds, overtly lying about what they are advertising for. They changed the internal currency of DuoLingo, started to ask for more things just to get the normal stuff needed to learn a language, like the short stories that are the only part of the app that teaches the language in context. Lately they added speed games that no one can finish without spending the currency they've amassed, but increase the points one gets, so puts pressure on everyone to either play the games or spend a lot of effort to not fall behind.

  And for what? After getting to the third level in a language, I started to take every section and finish it (take it to level 5). There is basically no difference between the lessons as the level increases. You never get to complex sentences, learn new words or gain any new knowledge. You just go through the motions in order to get a golden badge or whatever, while filling in sentences about newspapers. Yes! I don't know if you remember them, they're very important in the universe of DuoLingo.

  Also, there is a huge difference between the way lessons work for different languages. You want Spanish of French, you get different games, a lot of stories and so on. You want something more obscure like Dutch, you don't even get stories!

  So continuing to bear with obnoxious commercials just in order to use the app "100% free" is too exhausting, while the benefits are now minimal to none.

  I also doubt this is any way to learn a language. I am not able to understand speech in the language that I've spent months working on, there are very few sentence composition lessons that cover reasonable scenarios likely to meet in real life and the vocabulary is extremely limited. And limited in a stupid way: instead of learning words that one would use in everyday sentences you learn things like newspaper and apple and rabbit.

  Let's be honest here: I only went with Duolingo because it was easy. It gave me the illusion that I am doing something with my time while playing with my smartphone. If I really wanted to learn a language I would have listened and read in that language, I would have found people speaking the language and chatted with them, whether directly or in writing, I would have taken the list of the top 100 words used in that language and I would have created and written down sentences using those words until I could do it in my sleep. That requires effort and commitment and it is obvious that I wasn't going to spend it. That's on me. However, the state of DuoLingo, particularly compared to how it started, is the fault of the company.

  Conclusion: not only has DuoLingo become a cautionary tale about applications that advertise how free they are and will ever be, but it wasn't a good app to begin with and they never invested much into improving it. All development efforts in the last year have been on how to get you to pay for the app, what clothes Duo the owl wears and stupid time consuming animations to "motivate" you. Gamification has become the goal, not the means to achieve something worthwhile. So, with a heavy heart because of losing all the gems I've gathered and my 550 daily streak, I will be stopping using DuoLingo.

  In this trilogy, the first two books were filler promising much for the last one, The Saints of Salvation. And I had to force myself to read it, just to get it over with. Most of the book is about these people pointlessly living their lives and daring you to remember all of their names. I couldn't feel a connection with any of them, so all that was left was to bask in the space technology and the battles and the cathartic ending. Which was something brief and unfulfilling.

  I don't want to spoil this, just in case you like it and want to read it, but Peter F. Hamilton's knack for ruining endings is present here as well. Obsessively trying to close all the loose ends (that no one cared about) and make them connect to each other (for no reason whatsoever) after the unsatisfying ending makes things worse.

  If I were to guess, Hamilton searches for a new universe, one that is kind of inspired by the Commonwealth universe, but it is not as technologically advanced so that it can provide new interesting opportunities for story telling. Salvation was an attempt at a new universe, inspired by British history during the Blitz yet set in the future, but it got really fast into portals and exotic wormholes and gravitonic weapons and quantum effects and ineffectual aliens. Meanwhile the storytelling was lacking! I really hope he moves on to something else.

  I finally pushed myself to finish this book and I feel that reviewing it would not do it justice. Jennifer R. Pournelle really thought this story through, from places and history to biological adaptations and imperial politics, from religion (complete with hymns lyrics and music) to fully fleshed out characters of both genders (so to speak). So when I say that Outies carries out the tradition started by Larry Niven and her father, that's high praise. But did I like the book? That's a no.

  Just like the two books before it, the main character is not really some person or group, but rather the universe of humans and moties taken as a whole. Just like them it is very cerebral, with many facts, discussions, negotiations and considerations. And just like them it is slow as hell and people just come and go and you never know what and who to connect to.

  This sometimes works for me. I adored the Malazan Book of the Fallen series, which was kind of the same in terms of avoiding focusing on any one characters for too long, but those books had a rhythm that you could fall into. Outies, on the other hand, feels written more recently, but its pace is all over the place. And it was a very stressful period for me, too, so again, maybe I am not the best person to review this book right now.

  Bottom line: if you liked the other two books in the Moties series, this is a good continuation. Personally I had to really really push myself to finish it and I almost abandoned reading it a few times.

  The Moties series is a strange one. Written in collaboration by Larry Niven and Jerry Pournelle, the first book, The Mote in God's Eye, was released in 1975. The second book in the series, The Gripping Hand, was published in 1993, also a collaboration. The third one, Outies, was published in 2010 and it written by Pournelle's daughter. The action in the books is also happening decades apart.

  As I was saying some days ago, I liked the first book quite a lot. It was cerebral and carefully crafted. In a sense, The Gripping Hand is more than the first book, it's more cerebral and grips (heh!) the reader in even more details. But at the same time, they get to the Moties' star system only after two thirds of the book, a part of the story that is only about people discussing things and planning things and arguing things, then the last part is a prolonged space battle between so many parties that nothing is clear. Meanwhile, detailed negotiations and planning take place, so you don't get out of that for the entire length of the story.

  So, yeah, it brings some new ideas, but at the same time it's really boring and hard to follow. And it becomes especially jarring when you realize that the details in which the story is bogged are just a small subset of what could have been: the Motie culture, the way they spend their lives, the way they actually feel as individuals is completely missing. And, spoiler alert, Outies seems to be going in the same direction, although it does appear to want to address the lives of Moties outside the negotiations with the Human Empire. 

  Bottom line: I liked it, but much less than the first book. That doesn't mean it's not well written and that it doesn't add value to the universe created, but it needs significant investment from multiple writers to bring it to a critical mass so that people pay attention to it.

  Many people, including myself, automatically think of "the client is always right" when talking capitalism, but that's not correct. In fact, capitalism is defined as "an economic and political system in which a country's trade and industry are controlled by private owners for profit, rather than by the state"; profit is the only goal or driver of the system, even for different systems, which might be controlled by the state, for example. Every social or legislative characteristic of a particular political system is just a patch that tries to fix from outside what is obviously a ridiculously simplistic concept.

  Even so, we still cling to the idea that we are "served" by companies, like we are some sort of aristocrats being catered for by legions of servants. There is a logic to that, as when a company stops catering to their clientele, they are supposed to lose it. But that's just an illusion. In fact, this only happens if some very specific conditions are met:

1. the client is aware of the bad service, meaning:
   • they know what they're supposed to get
   • they know what they are getting
2. there is an alternative to the service, meaning:
   • there is at least another company able to meet the requirements
   • the company is accessible to the client
     • the cost of access is reasonable
     • the client is allowed to access the competitor
   • the client knows the competitor exists
3. the client wants to get better service, meaning:
   • there isn't too small of a difference between various services (subjective perception that all companies are the same)
   • the effort of changing the service is not too large (subjective perception of effort)
   • the emotions of the client do not bind them to the company (subjective perception of the company)

  Now, all of the points above require not only effort, but persistent effort. One needs to get the necessary knowledge and then keeping up to date, avoiding misdirection and obfuscation, then make decisions and then take action. But even so...

  A company is usually a client of other companies. In my job I am usually hired by companies who do management of people for other companies that need software, with any number of intermediaries and internal chains of command inside each. One might think that because the end client is paying for the entire chain, we should all care about what they want. But we do not! And here are a few of the reasons:

1. the client does NOT know what they want, therefore they will never be aware of what they're supposed to get
2. the client has spent considerable effort in creating a relationship between them and the company that provides them with the software, therefore the effort of changing to another provider is quite forbidding
3. the client has spent considerable effort in creating a relationship with just one company, because they don't want to handle ANY of the responsibilities that company is supposed to handle, therefore they are not in contact with competitors
4. the chain of command inside the client is made up of people who have personal connections with the company in question, so changing to another provider would be in their detriment, therefore the client is not allowed to change to another provider
5. the company itself is not providing a better service because it doesn't have to, for the same profit; their competitors think alike, so there is absolutely no reason to change
6. there is an intermediary system to measure productivity: instead of getting paid for value, the company gets paid for hours worked, for example
7. a smaller nimbler company might rise to provide the same service for less money or a better service for the same amount, but there is point 4. as well as the perception that smaller companies are riskier
8. a company might want to change, but be unable to because it depends on other companies or it lacks the necessary competency
9. one might be competent inside of a company, but if the company is big enough, they get promoted to other posts until they reach a position were they are not competent enough to be promoted
10. clients themselves prefer to cut costs than get better service

  This happens at every level from the top - where you feel you might be, to the bottom - where you actually are. And guess what? When you realize the same effort and care that you expect from others should be coming from you, you quickly find reasons not to provide any of them:

1. my job is boring, why should I do better?
2. my boss is an ass, why should I do better?
3. my clients are idiots, why should I do better?
4. I never meet my clients, that someone else's job, why should I do better?
5. whenever I tried to change something, someone shut me down because they are better positioned than me, why should I do better?
6. I am getting paid by the hour, so working faster means less money, why should I do better?
7. most of the money from the client remains with the entire chain of people over me and I get the scraps, why should I do better?
8. my job is not important for me, it's just a means to support my actual life, why should I do better?

  This may appear as a pyramid of interests where you are just a cog in the machine or whatever, but it is not, it's a full circle. You get what you give. The client and the company and the least competent employee is always you. There are no other species of creatures that fill any of these positions. Your boss is human, your employee is human, your client is human. In Romania there is the saying that you're stealing your own hat.

  But it's OK. You can't do any better, so why should you do better? You are only human, so why be more human? You are a tiny cog in the machine so why grow larger? Do whatever you want, I don't care.

  Shorefall continues the story of Foundryside, but the careful plans of the characters are completely upended by the arrival of a terrible villain. And when I say upended, I mean almost nothing except the characters in the first book in the Founders trilogy remains relevant and by the end, which I don't want to spoil, even less is left. This is a cataclysmic book in regards to the story and therefore it feels like a rollercoaster ride. I just couldn't put the book down. It's fun and terrifying, it's smart and compelling.

  I was complaining in my review of Foundryside that the story and characters have turned formulaic and that the information given to the reader was too revealing. I guess in Shorefall these concerns are no longer relevant, since the characters have been already defined and knowledge is no longer imparted to the reader except when it is about to be used. Which is worse! Time and again the story seems to judder and change direction because of something a character suddenly remembers or reveals or gets a glimpse of in a vision related to some magical scriving. Scrivings don't work like that, they are code, they are careful imprintings of arguments designed to do a very very specific thing. There is no reason for them to contain personal memories. This is the equivalent of hacker films where the protagonist is using a graphical interface to break into a computer system and then gets a self playing video from the administrator on the screen.

  Bottom line: I liked the book, it entertained me tremendously and I will no doubt read the third book in the trilogy, probably due in 2022 if the same rate of writing is applied. However there is a vagueness in the scriving of the book that makes it vulnerable to argumentation. The next trilogy (one can only hope it would be a stand alone book) from Robert Jackson Bennett will probably prove what direction he is willing to take in his writing.

  I don't remember where I got the idea of reading Prosper's Demon, but I am glad I did! Having listened to it on my headphones I got to that part where they list other works by the same author and so I've learned that K. J. Parker is a nom de plume for Tom Holt. I hadn't heard of him until then, but the list of works went on and on and on. Probably I will have to read some other books from him now, but which one should I start with?

  Prosper's Demon is a novella about an exorcist that wanders the land in order to excise demons from living people, often leaving those people hurt, dead or insane. You get little glimpses of what this means as the story progresses, making it more and more clear that you have to be a certain kind of person to do a job like this. I don't want to spoil the ending, but I have to say that the writing was so good that I really wouldn't have cared much how the story ended. I had fun just seeing this anti hero's character unfold in front of me. The world building was also exquisite, considering the short length of the work.

  Bottom line: really good fun, mixing together logic, science, art and philosophy with pure unapologetic mischief and good writing.

  I wish I would have read Women when I was a teenager. I would have learned then that there is no shame in being a man and wanting women and not caring about their neuroses. They might complain about it, but that's their point of view. And in a way, that's the only good thing this book has to teach: how to live unapologetically, accepting who you are. Other than that, the main character, an alter ego of Charles Bukowski, is an old writer who drinks all day, fucks whatever he finds and gambles at the horse race track. By his own admission he only writes so he can do these three things.

  The prose is almost without introspection, just what people did and what they said, but when the character delves into analysing the situations, there are some brilliant passages, some hilariously funny. Imagine someone going through life like in a third person game. They see themselves do things, things that they just feels like doing, and feel little to no shame or responsibility. The entire book is dedicated to the women in his life which are, although very different from one another, easy, sexual, desperate and sometimes downright crazy. He never judges them, except for their sexual technique or pussy size and shape, but he never gets stuck with any of them, even the ones he is in love with.

  What I liked about the character is that he is never violent. Like a Big Lebowski kind of guy, he sails through life like a goose in water; nothing sticks. He loves and leaves, he cares but up to a point, he tries to be good to the people around him, but only after he takes care of his own needs. I had a friend like that once. He was caring and amazingly charismatic, but never right or reliable. Another similar character was Hank Moody, from Californication, which I really loved in the first two seasons.

  Did I love the book? I can't say that I did, but I did like it a lot. It was different from other things I've read and what I feel is probably gratefulness for having such a raw depiction of everything the character/the writer lived and felt. So many books are trying too hard to be smart and fail to pass that first bar of characters laid bare so the reader can fully understand them. There is absolutely no story in this other than the life of Henry Chinaski.

  Something else that I have to say is that the book is something that should be read in this period. It goes back to the basic essence of man and woman, without caring one iota about politics or correctness or trying to absolve the main character in any way. Just like the guy lives in the book, the writing is take it or leave it.

  I wanted to read something by Larry Niven, so I've decided to go with The Mote in God's Eye, written in collaboration with Jerry Pournelle. I may have read it a long time ago, decades past, because I remembered one particular line from it, but just that. And it is a wonderful book. I guess I appreciate it now more than I would have ever appreciated it in my childhood because now I know what kind of crap can be sold as science fiction and also how ridiculous most science predictions from 1975 turned out to be.

  This book stands the test of time and the test of writing and the test for science fiction. The first one, for me, it's the more extraordinary, but it is helped a lot by the second. It takes a certain amount of maturity to decide to write something respectful to the reader and only include the minimal technical and scientific descriptions required to fully describe the situation. As for the third, I think the genre is defined by asking "What if?" and taking it to a plausible technological extreme. And this book does it brilliantly.

  Imagine, if you will, what would happen when the Empire of Man will meet a race of aliens that are stuck in their solar system, but other than that older, smarter, faster and more advanced than we are. The slight anachronism of the book allows for people to discuss what should be done before anything is decided, that both military, political and civilian agencies get to have a say. To get the scientists be actual caring people who argue their cause and viewpoint, the soldiers actual caring people who think about what their best choice should be in concordance with their beliefs, thoughts as well as their orders and to have nobles that care about their empire and their people and listen before they decide. Imagine that in a recent fiction book.

  I don't want to spoil it. The species of the "moties" is defined and explored very well, as are the humans and their society. It was interesting to me that the less plausible things were not technological, but biological and medical. We've come a long way since fifty years ago in that area and I am glad to see it. The ending of the book had a much slower pace than the rest. I felt like it was going to end, but it just kept going. It is important to reach the end, but that's just about the only problem I have with the book: the pacing problems at the end.

  Bottom line: I forced myself to start reading another book because I wanted to immediately read the entire series, which contains an immediate sequel, a prequel and a 2010 sequel written by Jennifer R. Pournelle, the original author's daughter. I highly recommend it. 

  I found out Neil Gaiman when I read American Gods, which I enjoyed much more than the TV series based on it. Also a book about a parallel magical world that most people are not aware of, it was still something I felt was very American, very Western, even if it was telling the stories of a multitude of gods from all over.

  Neverwhere feels more like Spirited Away than a Western story, though. And it is funny, because the mythology used as its base is British and everything happens in a parallel underground London. The lead character is an anonymous successful dolt working in the financial system who is suddenly thrust into this magical world by a simple act of kindness.

  The book is rather short and the story, while extremely enjoyable and very well written, is not that important. I mean, it's a classic hero journey (I am a sucker for those) but the beauty is in the characters and the details. I still would have wanted the main character to do something about Anastaesia and the reasons why Door was alive, then people trying to kill her, then back again are quite dodgy when you think about it. Also, the Warrior? Seriously?

  Bottom line: if you feel like immersing yourself into a magical world that feels close and real, but also incredible and impossible, then that's the book for you.

  Finna is a novella of only 144 pages, of course the beginning of a series, one that I have absolutely no intention to read. To be blunt, the only reason why I didn't rate this booklet the lowest is that Nino Cipri is actually queer/trans/nonbinary and so I can't complain about the characters being that way with absolutely no relevance to the story. I probably fell (again) for one of those agenda driven fake reviews that recommended it.

  Speaking of the story, it's a rather refreshing concept but that can be explored in a single page. It's a variation on the "doors to other universes" trope. However, most of the short span of the book doesn't focus on the idea or on what happens or even on character development. Instead, it goes on and on about how offensive it is for people to not use the correct pronouns, how tough it is to be queer or mentally afflicted, which is the all the depth the two main characters ever reach. The writing style is telegraphic, almost report like, lacking anything to make me feel anything (good).

  It is a really annoying book because the leads are totally unlikeable. They work at an Ikea clone for minimum wage, they complain all the time, they couldn't care less about people around them except for the awkward romantic relationship they have and even then not much, they go through parallel universes without paying attention, they act and emote without considering the consequences of their actions then blame it on how their brain is wired and so on. It's a story seen through the eyes of teens who would rather spend time with their phone than wonder about the world. I wouldn't be surprised to hear this was one of those books written in tweets or whatever. Still better than 50 Shades of Grey, but that's not saying much.

  And yes, I sound like a grumpy old man because this is what this book makes me feel like: totally disconnected from the entire generation of the characters in the story. They don't even sound like real people to me. It's a story about exploring strange new worlds which pauses every time something could be interesting to focus on how the characters felt in the world they left behind and how their relationship should have, could have, will have...

  Bottom line: Minimum effort and maximum annoyance.

  I have heard about Kurt Vonnegut a few times, like someone I just had to read. So I started with Slaughterhouse Five, first published in 1969 and widely acclaimed as his best work. I guess for 1969 it was great. It is subtle, it is poignant, it is ingenious, it is satirical, it is anti-war. It is not entertaining, though. It's just really sad and bleak.

  Imagine if Forrest Gump would not have been a kind country boy with a slightly slow mind, but a guy heavily affected by PTSD after witnessing the horrific firebombing of Dresden, with illusions of alien abduction. Dresden was bombed in WWII into oblivion by British forces, some say as retaliation for the German rocket bombings of London, even if it was mostly a civilian city filled with refugees.

  But that part of the book, which is drawn from Vonnegut's own experience, even if it is the event that caused everything, is placed at the end of it. The rest of it is the story of the fictional main character who becomes (or believes he does) unstuck in time, which allows him to randomly travel back and forth into his life. He is also abducted by aliens who live in four dimensions, time being the fourth one, and to which time, cause, effect, action and consequences are nonsense. Every moment is unchangeable and set and they can just visit any of them. It is worth mentioning that one of the symptoms of PTSD is this very realistic recollection of past events. It also makes sense for a person afflicted by this to build a narrative in which everything that happens, no matter how atrocious, is not preventable. Anyway, this way of telling events adds an interesting way of understanding them, allows for comedy and satire, makes it all very personal, which is good, but that's about the only thing I liked about the book.

  Now, being studied in school, there are way too many commentaries and reviews trying to explain what the book was about and how brilliant it was. I can only say if I liked it or not. And the answer is that I understand why it is a highly regarded piece of literature, but I did not enjoy reading it. And not because it is terribly depressing, which it is, but because the main character is only interesting because he went through some horrific events, otherwise he is boring and worthless. This makes things even sadder, because this means a big part of the author felt that way about himself.

  Bottom line: It may be poignant, as the cover says, but it is not hilarious. Instead it is depressing and gets so more as one understands more of it. It is a personal expression of deep trauma, so if you enjoy that kind of thing, this is the book for you.