I've stumbled upon the Latvian Gambit and wanted to test it immediately against my colleagues. As you will see in the video, it seems a wonderfully aggressive opening, something akin to Shock and Awe, riddled with traps against your opponent. The truth is that it is an unprincipled opening, abandoning material advantage in the hope that your adversary will slip up and expecting you to have the skills to attack and defend accurately as the game progresses. I did manage to capture the queen once, but only after pointing out to my opponent that he could have forked my king and rook, so that the trap would work - he hadn't noticed. In the rest of the games, none of them running the course of the video you will see, the lack of skill on both sides of the table forced me to abandon this gambit for now, instead looking for something more principled and more appropriate for my playing level.

So here is the game from TheChessWebsite:

[youtube:2flPdsk9uz4]

I've experimented with chess engines and watched other videos about the gambit and constructed a rather complex PGN file. You can play with it here. Don't forget to click on the variations to see how the game could progress. There is even a full game there, from a video that has the link in the comment.
[Event "The Latvian Gambit"]
[Site "Siderite's Blog"]
[Date "2012.04.18"]
[Round "?"]
[White "Siderite"]
[Black "Siderite"]
[Result "0-1"]
[BlackElo "2400"]
[ECO "C63"]
[Opening "Spanish"]
[Time "13:45:38"]
[Variation "Schliemann, 4.Nc3 fxe4 5.Nxe4 Nf6"]
[WhiteElo "2400"]
[TimeControl "0+60"]
[Termination "normal"]
[PlyCount "11"]
[WhiteType "human"]
[BlackType "human"]

1. e4 e5 2. Nf3 f5 3. Nxe5 (3. Bc4 3. .. fxe4 4. Nxe5 Nf6 (4. .. Qg5 5. d4
Qxg2 6. Qh5+ g6 7. Bf7+ Kd8 8. Bxg6 Qxh1+ 9. Ke2 c6) (4. .. d5 5. Qh5+ g6
6. Nxg6 hxg6 7. Qxg6+ (7. Qxh8 Kf7 8. Qd4 Be6 9. Bb3 Nc6 10. Qe3 Bh6 11. f4
Nge7) 7. .. Kd7 8. Bxd5 Nf6 9. Nc3 Qe7) 5. Nf7 Qe7 6. Nxh8 d5 7. Be2 (7.
Bb3 Bg4 {White loses the queen, one way or another} 8. f3 exf3+ 9. Kf2 Ne4+
10. Kf1 (10. Kg1 f2+ 11. Kf1 Bxd1) 10. .. fxg2+ 11. Kxg2 Bxd1)) (3. Nc3 3.
.. Nf6 {Continue as for the king gambit (reversed)}) (3. exf5 3. .. e4 4.
Ne5 Nf6 5. Be2 d6 6. Bh5+ Ke7 7. Nf7 Qe8 8. Nxh8 Qxh5 9. Qxh5 Nxh5) (3. d4
fxe4 4. Nxe5 Nf6 5. Bg5 d6 6. Nc3 dxe5 7. dxe5 Qxd1+ 8. Rxd1 h6 9. Bxf6
gxf6) 3. .. Qf6 (3. .. Nc6 4. Qh5+
{https://www.youtube.com/watch?v=lZHGgEGM6SQ} (4. Nxc6 bxc6 5. exf5 Nf6 6.
d4 d5 7. Bd3 Bd6 8. Be3 O-O 9. Nd2 Rb8 10. Rb1 Qe7 11. O-O h5 12. Nf3 Ne4
13. Bxe4 dxe4 14. Ng5 Bxf5 15. Qxh5 Rf6 16. Nh3 Qd7 17. Bg5 g6 18. Qh4 Rf7
19. Nf4 Rh7 20. Qg3 Kg7 21. Qc3 Rbh8 22. d5+ Kg8 23. h3 {correct move dxc6}
Bxh3 24. Qxc6 (24. Nxh3 Rxh3 25. gxh3 Rxh3) 24. .. Bf5 25. Nh3 Bxh3 26. Bf6
Bxg2 {Bh2+ would have been mate in 4} (26. .. Bh2+ 27. Kxh2 Bxg2+ 28. Kg3
Rh3+ 29. Kxg2 Qg4#) 27. f4 Qxc6 28. dxc6 Bf3 29. b4 Bxf4 30. Rbe1 Rh1+ 31.
Kf2 R8h2#) 4. .. g6 5. Nxg6 (5. Nxc6 dxc6) 5. .. Nf6 6. Qh4 Rg8 7. Nxf8 Rg4
8. Qh6 Rxe4+ 9. Kd1 (9. Be2 Nd4 10. Nc3 Nxe2 11. Nxe2 Qe7) 9. .. Ng4) (3.
.. Bc5 4. exf5 Bxf2+ 5. Kxf2 Qh4+ 6. Kf3 (6. Kg1 6. .. Qd4#) (6. Ke2 6. ..
Qe4+) (6. g3 Qd4+ 7. Kg2 Qxe5 8. Nc3 Qxf5 9. Bd3 Qf7 10. b3 Nf6 11. Re1+
Kd8 12. Qf3 Nc6 13. Ne4 Qe7 14. Nxf6 Qxf6 15. Qxf6+ gxf6 16. Bb2) 6. .. Nf6
(6. .. Ne7 7. Nc3 d6 8. g3 Qh5+ 9. g4 Qh4 10. Qe1 Qxe1 11. Bb5+ Nbc6 (11.
.. c6 12. Rxe1 cxb5 13. Nd3 Nc6 14. Nxb5) 12. Rxe1 dxe5 13. Rxe5 O-O 14.
Re4 h5 15. h3 Nxf5 16. Bc4+ Kh7 17. gxf5 Bxf5 18. Kg2 Bxe4+ 19. Nxe4 Rae8)
(6. .. b5)) (3. .. fxe4 4. Qh5+ g6 5. Nxg6 Nf6 6. Qe5+) (3. .. d6 4. Qh5+
g6 5. Nxg6 Nf6 6. Qh4) 4. Nc4 (4. d4 d6 5. Nc4 fxe4 6. Nc3 Qg6 7. f3 exf3
8. Qxf3 Nc6 9. Bd3 Qg4) 4. .. fxe4 5. Nc3 Qf7 (5. .. Qg6 6. d3 exd3 7. Bxd3
Qxg2 8. Be4 Qh3 {At this point black has not developed and is lost}) 6. d4
(6. Nxe4 d5) 0-1



Update: Here is another analysis of the Latvian Gambit, by Abby Marshall.
Roman Dzindzichashvili considers the Latvian gambit a sign of mental illness.
Chessexplained also has a video about it.

It was long overdue for me to read a technical book and I've decided to go for a classic from 1999 about refactoring, written by software development icons as Martin Fowler and Kent Beck. As such, it is not a surprise that Refactoring: Improving the Design of Existing Code feels a little dated. However, not as much as I had expected. You see, the book is trying to familiarize the user with the idea of refactoring, something programmers of these days don't need. In 1999, though, that was a breakthrough concept and it needed not only explained, but lobbied. At the same time, the issues they describe regarding the process of refactoring, starting from the mechanics to the obstacles, feel as recent as today. Who didn't try to convince their managers to allow them a bit of refactoring time in order to improve the quality and readability of code, only to be met with the always pleasant "And what improvement would the client see?" or "are there ANY risks involved?" ?

The refactoring book starts by explaining what refactoring means, from the noun, which means the individual move, like Extract Method, to the verb, which represents the process of improving the readability and quality of the code base without changing functionality. To the defense of the managerial point of view, somewhere at the end of the book, authors submit that big refactoring cycles are usually a recipe for disaster, instead preaching for small, testable refactorings on the areas you are working on: clean the code before you add functionality. Refactoring is also promoting software testing. One cannot be confident they did not introduce bugs when they refactor if the functionality is not covered by automated or at least manual tests. One of the most important tenets of the book is that you write code for other programmers (or for yourself), not for the computer. Development speed comes from quickly grasping the intention and implementation when reading, maintaining and changing a bit of code. Refactoring is the process that improves the readability of code. Machines go faster no matter how you write the code, as long as it works.

The book is first describing and advocating refactoring, then presenting the various refactoring moves, in a sort of structured way, akin to the software patterns that Martin Fowler also attempted to catalog, then having a few chapter written by the other authors, with their own view of things. It can be used as a reference, I guess, even if Fowler's site does a better job at that. Also, it is an interesting read, even if, overall, it felt to me like a rehearsal of my own ideas on the subject. Many of the refactorings in the catalog are now automated in IDEs, but the more complex ones have not only the mechanics explained, but the reasons for why they should be used and where. That structured way of describing them might feel like repeating the obvious, but I bet if asked you couldn't come up with a conscious description of the place a specific refactoring should be used. Also, while reading those specific bits, I kept fantasizing about an automated tool that could suggest refactorings, maybe using FxCop or something like that.

Things I've marked down from the book, in the order I wrote them down in:

• Refactoring versus Optimization - Optimizing the performance or improving some functionality should not be mixed up with the refactoring of code, which aims to improve readability of code while preserving the initial functionality. Mixing them up is pitting the two essential stages of development one against the other.
• Methods should use their data of their own object - one of the telltales of need to refactor is when methods from an object use data from another object. It smells like the method should be moved in the responsibility of that other object.
• When it is easy to refactor, choose a simple design - Of course the opposite is true, as well: when you know it will be hard to refactor a piece of code, try to design it first. If not, it is better to not add unnecessary complexity. This is in line with the KISS concept.
• Split your application into self encapsulated parts - One of the ways to simplify refactoring is to separate your application into bits that you can manage separately. If you didn't design your application like that, try to first split it, then refactor.
• Whenever you need to write a comment, consider extracting a method with a meaningful name - or renaming methods to be more expressive.
• Consider polymorphism when seeing a switch statement - Now that is an interesting topic in itself. Why would polymorphism help here? How could it be simpler to understand than a switch/case statement? The idea behind this is that if you have a switch somewhere, you might have it somewhere else as well. Instead of taking decisions inside each method, it is better to split that behaviour in separate classes, each describing the particular value that the switch would have operated on.
• Test before refactoring - this would have been drilled in your head already, but if not, the book will do that to you. In order to not add faults to the program with the refactoring, make sure you have tests for the existing functionality, tests that should pass after the refactoring process, as well.
• The Quantity pattern - Review the Quantity pattern in order to improve readability and encapsulate simple common actions performed on specific types of units.
• Split conditionals into methods - in other words try to simplify your conditional blocks to if conditionMethod() then ifMethod() else elseMethod(). It might seem a sure way to get to a fragmented code base, with small methods everywhere, but the idea is sound. A condition, after all, is an intention. Encapsulate it into a well named method and it will be very clear what the programmer intended. Maybe the same method will be used in other places as well, and then, using polymorphism, one can get rid of the conditional altogether.
• Use Null objects - an interesting concept that I haven't even considered before. It is easy to recognize the need for a Null object when there are a lot of checks for null. if x==null then something() else x.somethingElse() would be turned into a simple x.something() if instead of null, x would be an object that represents empty, but still has attached behavior. An interesting side effect of this is that often the Null object can be made an immutable singleton.
• Code inside Assertions always executes - This is a gotcha I found interesting. Imagine the following code: Assert.IsTrue(SomeCondition()) Even if the Assert object is designed to not execute anything in Release mode, only compiled in Debug, the method SomeCondition() will execute all the time. One option is to use an extra condition: Assert.IsTrue(Assert.On&&SomeCondition()) or, in C#, try to send an expression: Assert.IsTrue(()=>SomeCondition())
• Careful when replacing method parameters with parameter object in parallel processing scenarios - Which nowadays means always. Anyways, the idea is that old libraries designed for parallel processing used large value parameter lists. One might be inclined to Introduce Parameter Object, but that introduces a reference object that might lead to locking issues. Just another gotcha.
• Separate Modifier from Query - This is a useful convention to remember. A method should either get some information (query) or change some data (modifier), not both. It makes the intention clear.

That's about it. I have wet dreams of cleaning up the code base I am working on right now, maybe in a pair programming way (also a suggestion in the book and a situation when pair programming really seems a great opportunity), but I don't have the time. Maybe this summary of the book will inspire others who have it.

This is the second book by William Golding that I am reading. Unbeknownst to me, it is part of a trilogy! Even Nobel prize winners for Literature seem to can't help but write the damn things. How is one to finish reading all they want to read?! Anyway, the guy wrote Lord of the Flies, reason for the Nobel and a story I enjoyed both as book and movie. Rites of Passage has many similarities with that book. It happens at sea, on a ship, not on an island, but just as removed from the normal rules of civilised society. It reveals dark depths of human morality. It exposes hypocrisy and narrow mindedness. Golding also won an award for it, the Booker prize this time.

So, what is it about? There is this nobleman, godson of an unidentified but very important man, travelling on a ship from England to "the Antipodes" where he is to take an important state office. The guy is the highest socially elevated person on the ship, giving him some sort of equal footing with the captain himself, who is normally king and church on his ship. Now, the book appears as the journal of said guy, of the name of Talbot, written to his godfather, as a means to thank and humour the man, restricted in his own life by the gout disease. That is where the book is at its most difficult: the language is that of an Englishman noble from the 19^th century, with antiquated words and funny ways of turning them into sentences. I pride myself on having understood and finished it, but now, that I know it is part of a trilogy, I am a bit disconcerted.

Anyway, the journal of Talbot presents us with the marvellous world of a ship at sea, forcing the reader to both empathise with the man, but also share some of his opinions of the lower castes and of the social system. We get to share his view of the current events as well. He thinks of himself as noble, intellectually and morally superior to other people on the ship, while exercising a benevolent and understanding indulgence at the actions of others. He truly seems to be the most intellectual person on board, as educated in comparison with others as a college graduate is to a four grade drop out. However, he is a bit of a dick, full of condescension and of the weaknesses of all men.

The main moral of the story is that his arrogant views on the world of the ship are reasonable, if taking as true the presuppositions he makes as member of his social class and having his position on the ship. However, they are completely wrong as related to what really happened. We understand this in the second half of the book, where he relates the contents of another man's journal, who's perspectives on the situations turn our perceptions on their head. Also, the finale is quite grotesque, revealing that his blindness to the world around him is, more or less, voluntary and part of the social system he represents.

This is a difficult book to read, but one that opens eyes, so to speak. Not only we get to see how English was meant to be used (bah, Americans! :) ) but also the author is taking us through the recesses of the human mind and society and the experience of the read is a visceral and personal one. If you can handle the language and the slow pace, I recommend reading this book.

There is also a quicker option for the ones who want to see what happens without having to read the books. The To the Ends of the Earth trilogy has been adapted to a miniseries, by the BBC, of course, starring Benedict Cumberbatch.

It's been a long time since I've posted a music entry. Here is one from Hanzel und Gretyl, an Industrial Rock band with Nazi overtones singing mostly in German. Actually, I couldn't say what ideology they have, since the band contains two people from New York who are not even German! But I like their music, this one in particular (I've listened to it on repeat for a day or so). Enjoy!

Towers of Midnight, the 13th book in the Wheel of Time series and the book before last in the saga, was a great read. As the second volume written by Brandon Sanderson after Robert Jordan's death, it benefited a lot from Sanderson's fluid writing style and the fact that all the stories are coming to their end.

The plot was interesting, too, with all three ta'veren characters doing their part, all the girls (except Nynaeve!) being involved and quite a few Forsaken as well, with interesting gimmicks the Darkfriend previously known as Luc and even a gholam!. The entire Trakand clan is represented and there are blessedly few Aiel. In this book Moiraine is found, there is some news of lovely and terrible Lanfear and someone dies (although, of course, nobody important and they die quite uselessly) while battling Aelfinn and Eelfinn, while The Final Battle approaches, with the revelation of red veilled dark Aiel?

My feeling of the book was one of discovery. Brandon Sanderson is writing this book with the enthusiasm of someone that just started work on a story (because he did!), yet with all the legacy material from Robert Jordan to build upon. No wonder the last part of the series was supposed to be just one book and resulted in three at the end. That means the story feels fresh, even if I have been reading it for the last four months. Also, it is no surprise that Sanderson could not maintain the fearful and deferential view of women that Jordan cultivated in the previous books. Oh, don't worry, they continue to meddle in all the affairs of others and their behaviour is just as erratic and irrational as before, it's just that men don't act like cowed idiots anymore and actually have a backbone. I don't know if this was supposed to happen in the original author's view, but I am willing to bet that it was not. Actually, this is one of the worse points of the story, when Elayne (the queen of Andor), Egwene (the Amyrlin seat) and Faille (Perrin's wife and princess of Saldaea) are plotting and acting like they own the world, while at the same time putting themselves in all sorts of dangers where they have to be saved by others. Of course, the others more often end up dead, but there is always some handy rationalization for behaving like an idiot. Amazingly enough, though, Cadsuane and even Moiraine are behaving quite well. The End must really be coming!

The bottom line is that I have finished reading the series. The last book won't be published until 2013, so now I am free to read other books. Yatta! I've gathered a technical book about refactoring, The Rites of Passage, by William Golding, and The Checklist Manifesto, which I hear is both instructive and interesting to read (not to mention short). So, I guess the wheel won't be turning as the wheel wants until next year. Meanwhile, you're stuck with me!

The Gathering Storm is the 12th book in the fantasy series Wheel of Time and the last in the saga to be written (partially) by Robert Jordan. The guy died while writing it and the book was continued by Brandon Sanderson. The result? A better book! I firmly believe that Sanderson is writing better than Robert Jordan, while at the same time retaining enough of his style to not feel too much of a disconnect. I wish I was a literary critic right now, so that I could tell you what was better, but I am not; as a reader I can only tell you that I felt less like crawling through thick fluid and more like swimming. There is proof: I've finished reading this book almost a week ago and, while not having time to write this post, I did get two thirds in the thirteenth book of the series.

Ok, I must admit that being a series finale, it was bound to be more interesting, however more focus on the action and less on Nynaeve's braid pulling helped a lot. The plot revolves more about Rand and Egwene and less on the others. Rand is getting more and more erratic do to his obsession for eliminating his emotions. Instead, he buries them within, causing more and more insanity. Luckily, he gets over it, and not by psychotherapy, either. Egwene, instead, having been captured by the White Tower, has been demoted to Accepted and forced to do chores and beatings in order to stop calling herself Amyrlin. She uses her enormous ego and Aiel teachings to overcome the hurdles and reunite the Tower with the unexpected help of Verin, as we finally learn who she was.

The story of this book is interesting in itself. It was supposed to be the last book of Wheel of Time, but then it grew too much and it was decided a split into no less than three other books. The initial target was 200000 words, but the final estimation reached 750000. That means most of the book was written by Sanderson. The reception for the book was positive, since many of the threads left unended in the previous books were clarified.

Right now I am almost at the end of the final published book in the series, Towers of Midnight. The fourteenth book is supposedly ending the saga and will be published sometime at the beginning of 2013. So in about 9 months it will all be over :-)

Knife of Dreams is the last book in the series written by Robert Jordan. He died after finishing it. It was one of the nicer books in the series, mostly because it prominently featured Mat, who is one of the few characters in the Wheel of Time series I can empathise with.

The obvious and unnecessary story arch with Perrin's wife abduction by the Shaido Aiel finally ends, Elayne, Egwene and Nynaeve are all acting like they know everything and some get abducted by the Black Ajah and the White Tower, only to deny any wrongdoing or link to the cause of their predicaments. Cadsuane continues to be a pain in the butt, without actually providing a good return of investment and Min is either worrying without cause or acting stupidly and precipitating harm to Rand. Aviendha is not much better, but she rarely appears in this one. In other words, all the women are pompous idiots in Knife of Dreams, while Rand and Perrin act like buffoons. So the only satisfying story arch remains that of Mat.

I've started to read the last three books, which the new author (working on the basis of very detailed notes left by Robert Jordan and big fan of his) points out are three pieces of the same story, only one larger than a single volume could have contained. After that, I am free of the Dark One and the taint will be gone!

Ultima Underworld was and continues to be an inspiration as to how and why to make video games. I've played this as a kid, on a 386 PC computer, and was blown away. It featured simulated 3D with angles that were not straight and rooms of different heights. You could jump, use weapons in multiple ways (like jabbing or cutting with swords), there was discoverable magic, NPCs, interaction that went as far as having to learn a new language or play an instrument, numerous puzzles and an amazing story.

But that is not what made it great. You see, I am telling everyone I know that this was one of the games that defined my childhood and today I've read the Wikipedia article for the game and remembered all the history related to it and I realized that I needed to blog about it, too. What made this game great was that there was no need to make the game as good. Released in 1992, it only had to compete with Wolfenstein 3D which was released a few months after, anyway. At the time Civilisation and Dune II, Mortal Kombat and Street Fighter II were also amazing games, but none in the genre of Ultima Underworld. They could have worked less, released sooner and gained more money. But that's not what they did, they did something to be proud of and that is why the game was great.

At the bottom of this post I will place a YouTube video of gameplay. The synthesised sounds (no recorded sounds were used in the game) and music as well as the graphics will probably make you cringe now, but at the time, it was state of the art. Just hearing that music fills me with strong emotion that I can hardly realize from where it comes, but it is deep. Ultima Underworld has left its mark on me, but not only. Look at the litany of games their authors attributed influence to Stygian Abyss: BioShock, Gears of War, Elder Scrolls, Deus Ex, Vampire the Masquerade Bloodlines, Tomb Raider, Morrowind, World of Warcraft.

Amazingly enough, there was only a sequel to the game, Ultima Underworld II. The publishers refused to sponsor a third franchise and the developers ultimately decided to create a "spiritual successor", which was Arx Fatalis, also a great game. Younger people might only know Dark Messiah of Might and Magic, which has nothing to do with Might and Magic except financially, and is actually Arx Fatalis II. You can see even there that storyline and gameplay have suffered when a big corporate game company took the reigns, despite the high budget graphics and sounds.

I have voluntarily removed myself from the gaming scene. I've refused to upgrade my computer to a state where it can play any modern game and the only things I play are web games to pass the time between tasks at work. I am certain that even now there are exceptional people creating exceptional games that push the frontiers of technology, but more than that, the frontiers of imagination. I've heard of some of them: The Witcher, for example, a game made after a successful fantasy book series that features free play and allowing the character to be as bad, good or rotten as he wants, while the game shapes itself after his decisions. Look out for games like these. Even if you don't realize it, they will open your mind and your heart and will influence you to be better than you would otherwise be. They are not only games, but teachers. Love them!

There is a sentence hidden there inside the Ultima Underworld wiki page: the game is non-linear and allows for emergent gameplay. In other words, it let's you guide the story, change the game play, play multiple times with different outcomes. Embrace choice, it will only get better.

[youtube:TpuTbxkaZ94]

The tenth book of the Wheel of Time series was by far the least interesting. The action is taking place simultaneously or a bit after the events in Winter's Heart. I had waited to see what is going to happen next only to get a "parallel" book that only showed how everybody is taking their sweet time before doing anything. Of course, we know by now that Rand has finally done what needed done a few books ago, but what about all the not interesting characters? Well, we will get to know that in Crossroads of Twilight.

Having finished it, I embark on reading the last few books and see how the hell it is all going to end. That is the problem with stories based on prophecies. By the time the book gets anywhere, you know how it is going to end.

My blog becomes boring as I fly through the Wheel of Time series and it seems this is all I write about. The truth is that the feeling that started creeping in from books four or five, the "let's get it over with" feeling, has become stronger and undeniable. I don't want to stop reading the series, but I want to finish it soon, so I get to something that is truly interesting.

Winter's Heart is somewhat fractured. It continues where Path of Daggers left it and again it ends without a definite book boundary, just like a simple episode from a series. There is a rather important situation right at the end of the book, but it is underwritten, leaking important knowledge matter-of-factly and barely describing what should have been glorious fights with the One Power.

My impressions: Mat's storyline becomes intriguing, after a bit of utter boredom. Perin's story becomes ridiculous, with choices no sane man would make, not to mention women, and the obnoxious Aiel again getting a foothold in the plot. It has reached a point for me where any mention of Aiel just rubs me the wrong way. Rand is trying to make his enemies unsure of his plans, therefore he acts erratically, but that means he doesn't really do anything, until the end of the book. The girls are all doing whatever they feel like it, without coordinating with the boys, but still assuming they don't need to. The worst are the "evil ones" which seem to have fallen asleep. Fain tries to kill Rand, but not when he has him alone somewhere, only when he can "lure" him into a trap, together with all his friends.

Some ideas do come up. One is that Shai'tan is nothing more than a force of evil, not unlike Sauron, nothing corporeal or even conscious. All the evil in the book is done by people "doing the Great Lord's work" and their minions. The idea that the Dark One is imprisoned and that is why his actions make no sense is moot. Also, it seems that the Chosen are being reincarnated almost as soon as they die, only in other bodies. They call themselves differently, for some reason, but they possess the power and knowledge they had before death. They fear death, also, which make no sense at all. Robert Jordan's talent here is to make the evil side act stupidly, but without letting the reader feel so, and he manages it pretty well. Too bad I am more of a rational person.

I really like the idea that the One Power (which was always two, one male, one female) has an evil equivalent (the True Power - who comes up with these names?). Being of a Western origin, it is likely Robert Jordan will feel the need to unite all of these powers under "one God", so interesting interactions and hybrids might appear later. A tantalizing hint that Moiraine might be alive is also presented, when a reincarnation of Lanfear appears. Now that more annoying characters have popped up, I almost miss her, not to mention Lanfear herself, which is my favourite evil insane female character in the book :)

The one word that comes into mind when I think of the book is "frustrating". Having abandoned any semblance of independence between the books, Robert Jordan continues in The Path of Daggers many of the story arches began in A Crown of Swords and I don't know if he ends any. All the characters are acting like proud chickens, lacking any thought. They are emotional, weak, playing games when important issues are at stakes, taking serious offence from irrelevant words. I am sick of people "educating" others via beating, switching, shaming, pompous posturing, power plays and torture. The fate of the world is at stake and each and every one of the heroes of the story act like they still have other options. And while they are disgusted by people doing that very thing, but not seeing it in themselves.

At this point I am left with no other choice than to "watch" the story unfolding like on TV, because I feel no connection with it whatsoever. My wife asked me which of the characters in the book I most identify with. And I couldn't think of any. Even Shai'Tan doesn't make any sense at all. I've already started Winter's Heart and it continues in the same way.

The seventh book of the Wheel of Time series is a direct continuation of the sixth. I was saying in a previous post that book six, Lord of Chaos, was long and it doesn't even have a complete ending; A Crown of Swords overlaps Lord of Chaos a little, then opens up some other doors and doesn't close them either. Either this is the pattern (pun not intended) of the next books, or this is actually a weave (ok, now I was doing it on purpose :) ) of at least three books that are strongly coupled to each other.

A Crown of Swords is back to a size closer to the average of the other books, but since it is so connected to the books before and after, it doesn't really matter. There is a lot happening and some of it is captivating. I can't really empathize with most of the characters, though, except maybe Mat, and he is very present in this book. A new evil type of darkspawn appears, along with an advanced type of Myrddraal. The girls are hunting ter'angreal, the Seanchan are stirring again and a new battle against Forsaken is close. Also an Aes Sedai hero is approaching Rand and completely dissing him. Fun stuff!

Lord of Chaos was a long book to read. In size, it was as long as Shadow Rising, the longest book in the series so far, but it felt more packed. After all, Rand and Egwene can use portals and they go where the action goes, the Tower is divided, the Aiel are divided, a force of channelling men is created, Cairhien and Tear soldiers fight along Rand, there is action in Ebou Dar, Tear, Cairhien, Salidar, Andor, Two Rivers, Amadicia, The Forsaken are executing a plan of the Dark Lord and so on and so on.

There is a problem with consistency again, at least as I see it. If this was a strategy game, imagine more players playing in the same team, but each of them doing whatever they feel like. They are all friends, they even have one central character they can rally with, but they continue to do things their way. If the other team would have even a modicum of coordination, they would easily win. Also, the series has succumbed to levelitis, the disease that causes all main characters in a story to level up continuously, until it becomes unmaintainable. Rand and Eqwene can Travel or enter Tel'aran'rhiod in the flesh, Elayne can make ter'angreal, Nynaeve can heal stilling and gentling, Mat has the memories of countless heroes and has a talisman against saidar, Perrin is a lord, Loial can fight, Min can read auras and fight with knives, etc. It is getting so grand, that I fear for the books to come.

Even so, I've enjoyed the book and at the end I could barely stop reading to see where all the tension accumulated in the last hundred pages would explode, and how. The grandness and action packing of the book also led to a kind of split, where the stories started now have not ended yet and I must continue to read the series to see what is going to happen. The name of the book is also strange, as the Lord of Chaos is somehow related to the Dark One, but we don't really learn who he is; only hints are left here and there. Finally, Shai'tan seems to be more than just the cardboard evil destroyer of life and gains some complexity.

Sigh! There are 14 books in the series, I have just started the 7th and they seem to be growing in size as I go along... this is going to take a while.

I am already inside the story and it is getting harder and harder to analyse individual books. All I can say is that, again, there are a lot of incredibly condescending and arrogant people, mostly women, which are presented as indomitable based on looks or appearance or prestige, yet with not a shred of usefulness. I was reading this book and I was finding myself daydreaming of what I would say to such an annoying individual. What I find even more disturbing is that a lot of times the superiority of one's opinion was demonstrated via violence. Educational violence, mind you, switching, bottom beatings or pinches, meaningless and hard chores, but still violence and hardly acceptable to me.

Rand and Mat go together in The Fires of Heaven, but their contact is almost not existent and Mat is always trying to get away. What happened to their long time friendship? It evaporated in Jordan's writings. Perrin has saved the Two Rivers, but then married and stayed there, as if the world was saved and there was nothing to be done about it. Eqwene is with Rand as well, but more Aes Sedai and more arrogant by the minute, her relationship with Rand abandoned since subjected to the conscriptionary methods of both Aes Sedai and Wise Ones. A horrid character, if you ask me. Morraine is even more mysterious and useless as in the previous books, except for the end, where she does something heroic, but kind of dumb. Rand is getting "hard", but still suffers the people around him as he could do nothing about them. A prisoner of his own small village upbringing, he seems a sad sorry character, as remote from heroism as a dung beetle is from a professional dancer.

Interestingly enough, I found the Elayne and Nynaeve story arch a lot more satisfying. Complex, reasonable and thrilling. That until they voluntarily return to the Aes Sedai, where they have to again suffer all the humiliations an Accepted is supposed to suffer to gain "character". A new female Forsaken appears, Moghedien, but not nearly as interesting as Lanfear, who is present in this book, but terribly inconsistent. The ending of the book also annoyed the hell out of me, since I believe her outburst was completely out of character.

All and all, as interesting and captivating as the others in the Wheel of Time series, but suffering from a kind of character sublimation, in which the story is being carried by people that don't act like themselves. Book 6 is on the way.

All this opposition to these new American laws that are being discussed SOPA and PIPA has become a kind of spam that covers the real issue of what these laws are all about. Certainly there is nothing in the title that says anything remotely useful. Here is a TED talk lasting only 13 minutes that explains what is what:

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Also, you might be interested in one of our own Romanian comics, Pidjin, who are explaining it nicely in graphical form. They are very funny and inspired in general, but the SOPA bit was brilliant.