THE CALCULATING STARS, by Mary Robinette Kowal
A Short Review
I highly recommend reading or listening to this novel. Below are 4 reasons why I loved it…
- Lots of dynamic female characters, told in first person by a female pilot/mathematician
- Well-written prose, making it easy to read and enjoy
- The characters are well drawn and realistic, despite the fact that they’re intellectual superstars
- It portrays a healthy marital relationship (for once!). Sometimes, you just want the husband to not be a jerk, and in this novel, that is absolutely the case. *Elma and her husband also enjoy a dynamic sex life, which is why I give the book a PG-13 rating. Nothing terribly graphic, but there are a few heated encounters between husband and wife.
THE CALCULATING STARS is a part of the Lady Astronaut Series, by Kowal, which includes a short story, The Lady Astronaut of Mars and another novel, The Fated Sky.
These stories emerge in an alternative history of Earth, focusing on the US Space program after a meteor plunges into the ocean off the coast of Maryland. The disaster strikes on March 3, 1952 and kills nearly all of the inhabitants of the Eastern Seaboard, including DC and most US government officials.
Kowal quickly frames the narrative from here. A meteorite of this magnitude will change the climate of the Earth forever. It is a matter of time (5-10 years) before the Earth becomes uninhabitable. Nations must work together to relocate to another planet and on this front, women have to be trained alongside men, don’t they? That is the question around which the book pivots. This is the 1950s and not only does racism rear its head in the space program, so does sexism.
The main character, Elma York narrates the story in first person, and I liked her as narrator. She is ambitious and brilliant, but flawed enough to give the story tension.
Elma is not only a renowned mathematician, she is also an experienced pilot, having flown for the WASPs in WWII. Her husband becomes the lead engineer of the new space program. Elma is recruited as one of the computers, seemingly an acceptable “role” for women in the new space venture (think Hidden Figures), but her real hope is to convince the NACA bosses that women are just as able to fly into space as men.
The Calculating Stars won the 2019 Nebula for Best Novel, the 2019 Locus Award for Best Scifi Novel, the 2019 Hugo for Best Novel and the 2019 Sidewise Award for Alternate History.
- Meaningful story that unfolds with a tense, creepy vibe
- More family friendly than a lot of current scifi
- If you happen to be a Brad Pitt fan, he’s pretty much in every scene of this film with a lot of closeups. Has to be on your bucket list.
- The science fiction fan will enjoy a number of zero gravity fist fights, a vehicle chase/ambush on the moon, raging space baboons, and a more gritty portrayal of space travel and space tech for the science geeks.
- Nuanced performance by Pitt. His character is non emotional with flat affect, but this film is about his growth toward engaging his emotions. I thought Pitt pulled it off.
I recommend AD ASTRA for the whole family. It’s worthy of a watch party. AD ASTRA is rated PG-13, I’m guessing for its few gory scenes. I don’t think the gore will disturb most viewers. If you need warning, write to me via comments section and I can warn you when to walk out of the room.
There are no sexually explicit events in this film and very little offensive language. It’s a quiet film in portions, much of it narrated by Pitt in voice-over journal entries/reports…The vibe felt similar to Space Odyssey, monotone and spare. However, unlike Space Odyssey, AD ASTRA gives its audience a few exceptional action sequences.
AD ASTRA, directed by James Gray, written by Gray and Ethan Gross, follows one character’s odyssey into space to save the world. Major Roy McBride (Pitt) is contacted by SpaceComm, the military’s space command, for a special assignment.
Power surges are wreaking havoc on Earth. These surges seem to be coming from an old space station, the Lima Project, the station run by Roy’s father (Tommy Lee Jones). That station went as far as Neptune. In Roy’s youth, the station stopped communicating with SpaceComm and all its inhabitants were presumed dead. At least this has been the public’s assumption. Roy’s included.
Now, the military reveals they believe Roy’s father is still living on Lima. The want Roy to communicate with his father, but Roy can only do this from an underground Mars station. (For some reason it cannot take place on Earth). Thus begins his odyssey to Mars and beyond.
The audience knows Roy has more than a few daddy issues. He’s serious, non-emotional and disconnected from others. Roy describes himself as someone who compartmentalizes for the sake of survival. Roy does have a wife, Eve (Liv Tyler), but that relationship is failing. They have no children.
So, in saving the world, Roy McBride will journey to save himself and if possible, his father. The interior journey that parallels the exterior journey to salvation is not so subtle in the film, but it is still a fun ride.
The series, INTO THE DARK, is a Hulu concept, a horror anthology series in the vein of The Twilight Zone, though each production is as long as a feature film. In the show’s first season, Hulu released one episode per month, for a total of 12 episodes. All of the episodes were tied thematically to a holiday that falls within that month.
The 8th episode was released in May under the title: ALL THAT WE DESTROY. The story is inspired by Mother’s Day.
ALL THAT WE DESTROY is horror, but with a scifi twist. It is a tale in the vein of Ex Machina, the drama unfolding around a brilliant scientist who runs a lab in a remote location. It’s a story as old as Mary Shelley’s Frankenstein and a trope that will please both the science fiction nut and the horror fan. In other words, this HULU original does not disappoint in terms of revealing a monster or two…
I would rate this film R for violence and language. Trigger warning to those who might be disturbed by violence perpetrated against the vulnerable. This is a monster movie.
Short Review: Four Reasons To Watch INTO THE DARK
- Lots of edge-of-your-seat suspense and mystery.
- The characters surprise, yet for all their weirdness, they are relatable.
- Strong female leads, with themes around motherhood and life-creation.
- The story takes place in a desert hideaway where the sun shines brightly. I found it refreshing to see this setting for such a dark and troubling tale.
Point of View determines how a story like INTO THE DARK will unfold. In the case of this film, the POV primarily rests with the supposed monster, the creation. In the opening scene, the audience watches her wake up out of a tub of black sludge. The audience learns within the first 20 minutes of the film that this young woman is a clone. The clone is lovingly washed and dressed by the scientist, whose hands the audience sees, but does not meet until later. Instead, we meet the scientist’s son. His mother is the scientist and she is a woman fixated on solving the dilemma of her son. She’s doing this in the only way she knows how, by using her science in what is clearly an unethical way.
The twist in this story, as you might imagine, is that the clone may or may not be the true monster.
Ex Machina was on my mind during much of the viewing of INTO THE DARK
In the case of Ex Machina (which I loved, but still haven’t reviewed on this site), the point of view is mostly held by the visitor who enters the lab. Mystery about what the heck the scientist has created drives the plot, ramping up tension as the visitor discovers (therefore, we the audience discover) the horrors of the scientist’s experiments. This tension culminates as the visitor understands that in order to survive, he will need to escape from the lab before the monster overcomes him. This is where a story such as Ex Machina, science fiction in its vibe, follows the haunted house script. Think Poltergeist, Amityville Horror, The Shining. Survival equals escape. Will the hero make it out?
INTO THE DARK gives the audience a twist on this haunted house trope. The point of view starts with the clone, but moves to the scientist and to the son at various points in the film. The clone is innocent in her birth and clueless about the dangers that lurk. The audience understands those dangers and strongly empathizes with her, is rooting for her.
Part way into the film, a visitor enters the action. It’s a chance meeting, but reveals the vulnerability of the scientist, her son and the ghastly experiment she has been conducting. The finale brings all the characters together. I liked the ending. It was packed with symbolism, but not overdone. A true Mother’s Day tale.
So…I’m on an airplane and thinking it’s my chance to watch something new. Yay! I turn on my personal tele, flip through the film and television options. I see a TV series called ALMOST HUMAN. It looks scifi enough and I see JJ Abrams’ name attached to it. I decide to try an episode. I imagine I am watching something new, but apparently, I’m not.
ALMOST HUMAN aired in the late 2012 and early 2013s (in the media world. 7 years is a lifetime). JJ Abrams, Bryan Burk and JH Wyman produced this series.
The premise of ALMOST HUMAN is not so original. It’s basically a cop drama. The unique aspect to this story is his AI partner. Dorian is a humanoid AI, often referred to as a “synthetic” in the series. John Kennex, the main character, is a cop who frequently bends/breaks the rules. Typical cop drama trope. He also carries a lot of emotional baggage. Also typical. Some of that baggage is introduced in the first episode. What is unique about this cop drama is that his partner Dorian is an AI programmed to be empathetic and does not hesitate to tell Kennex when he sees him making poor choices. Those moments are both poignant and funny. Watching their unlikely friendship develop makes for an interesting story. In a way, both are helping the other to become better humans.
ALMOST HUMAN was cancelled at the end of the first season. Thirteen episodes is all that is available to the viewing audience. However the four episodes I watched were entertaining and would interest most scifi fans, especially if your second love after scifi is cop shows. In case that doesn’t sound gripping enough, here are three more reasons you might want to check it out…
- The series puts forward a robocop-type world. In this well-drawn urban landscape of Earth’s future, human cops team up with Artificial Intelligence cops. That’s a nice twist on the typical cop drama.
- The series explores a lot of possible future tech for law enforcement like instantaneous DNA identification. Some of how the cops do their work and the ways the criminals try to outsmart or subvert the new tech is fascinating.
- There is a satisfying “solving of the crime” in each episode, like many typical cop dramas.
While I do recommend this series, it will cost you money. Amazon Prime and YouTube dangle the fruit of the one season in front of us…for $20. Each episode is $1.99, so if you’re doubtful, rent one or two episodes and see if you like it…or fly Delta sometime in the next few months. I liked episodes 2 and 3 more than the first, so try to watch more than the pilot.
I rewatched BLADE RUNNER last night in a friend’s home-theater with a group of folks in their 20s and 30s. For some, it was their first time viewing the film.
I consider myself one of the lucky ones to have seen the original BLADE RUNNER on the big screen during its first weekend release. I was a young highschooler at the time, a huge sci-fi fan and living in Burbank, California. I remember my older brother and I driving west over the Hollywood Hills, as we did often in that era, to make sure we were getting the biggest bang for our buck. Our theater of choice that night was The Egyptian Theater on Hollywood Boulevard.
It’s not easy to describe to a new generation of filmgoers how important this film was at that time. Most folks in the film industry, especially directors point to BLADE RUNNER as ground-breaking. Ridley Scott made BLADE RUNNER after finishing the film, ALIEN. He also made it after his brother had died of cancer. The dark setting of BLADE RUNNER reflects a dark state of mind. Don’t expect cheerfulness here.
YET…you don’t have to be a filmmaker to appreciate BLADE RUNNER.
Here are 10 Reasons Every Sci-Fi Fan Ought to Watch BLADE RUNNER
Oh, and watch the FINAL CUT. 2007 version. There are seven versions of this film. Kind of crazy, I know.
- Cult classics happen for a reason. Following its meh release in 1982, a slow-building respect, awe and cult following emerged.
- BLADE RUNNER influenced the next generation of filmmakers, especially dystopian and sci-fi writers/directors.
- This is a brilliant screenplay (especially once R.Scott took out the clunky voice-over narration), though there are many fans of that version of the film.
- Take pleasure in watching a young Harrison Ford perfectly embody the main character, Richard Deckard.
- You like The Man in the High Castle? Philip K. Dick wrote that novel. BLADE RUNNER is an adaptation of his weird classic, Do Androids Dream of Electric Sheep?
- You’re a Battlestar Galactica fan? Here is a chance to see Edward James Olmos (Captain Adama) in a role you would not expect.
- Complicated villain. Rutger Hauer…what a performance!
- The sequel is excellent and makes a lot more sense if you watch the original first.
- This is not a movie for the weak, nor is it for the mindless. You will have to think and process the experience after viewing.
- Because of number 9, it’s a great film to see with a group of friends. At the very least, the post-film discussion won’t be boring.
If you want to totally nerd out on BLADE RUNNER, I recommend this very long and thorough article in Cinephilia & Beyond
BINTI, by Nnedi Okorafor, is a novella about a young woman from a desert tribe on Earth. Her people are called the Himba people and they make a vital piece of technology on Earth called an astrolabe. Binti is the name of the main character. The story, told in first person, begins with Binti climbing aboard a transporter that is taking her to a launch port, then onward to Oomza Uni. Oomza Uni is a university on a distant planet where Binti will have the opportunity to study mathematics with the best and brightest from all over the universe. She is the first of her people to be admitted, so there is the sense of her achieving a great honor. However, she and we (the reader) clearly understand how high the cost is as she leaves her tribe and family behind, potentially forever.
Binti is a 16-year-old, but this book is not a YA book according to the author. However, the back cover of the paperback calls it a “coming of age story”, which might put it in that genre for some. I believe it will appeal most to the middle grade and YA audience, with some degree of PG-13 gore (one incident).
The Novella, BINTI, won the Hugo award in 2016 and the Nebula in 2015 for best novella.
To order BINTI, click here.
What I enjoyed about BINTI.
- Sometimes, a novella is just right. There aren’t many around, but novellas can be a satisfying reading experience. To get through a story in one long sitting or two or three short sittings is a lovely thing. Also…light-weight, perfect for a 2-hour plane ride.
- The main character is unique and different than a typical caucasian protagonist. Her culture will feel different to many readers. Okorafor has ties to Nigeria and I am guessing that her place of origin impacts the writing of this world. That world is powerful in many respects in how it anchors the character’s identity. For the sci-fi reader who loves to enter into new cultures and worlds, this story will scratch an itch.
- Decent tension to keep the reader going.
- A satisfying introduction to an author’s burgeoning world. (two novellas follow this one)
It’s a bargain to order the complete trilogy. To do so, click here.
What annoyed me about BINTI and makes me hesitant to give it the highest review…
- Somewhat shallow character development. This is the negative of the novella format…it’s a challenge to develop the characters deeply.
- The conflict is resolved too easily.
- There are wonderful characters here, but I found the writing a bit underwhelming. My exposure to literary fiction makes me a snob sometimes…the writing won’t be a problem for most readers.
- The tech is more like magic in this story than science…or might as well be. I’m wondering if it will be explained in the next novella in a sciency way or not?
Caution: A few spoilers in this post…
Non-humanoid aliens are a challenge for writers…hopefully, established in my previous post on writing dynamic non-humanoid aliens
- If the alien doesn’t look or act like a human, it will be difficult for the audience to comprehend its character and motivation
- If it doesn’t speak in plain human lingo, along with not looking like a human being…it will be near impossible to draw in the typical audience. The alien will remain “the other” and may never transcend its designation of foreigner/alien.
The honest sci-fi writer knows that if a first contact event were ever to take place in the real world, the likelihood of an alien looking like a human being and/or speaking or thinking like a human being is slim to none.
Therefore, the imagination must soar and novels like Embassytown (China Miéville) and short stories like Arrival (Ted Chiang) come into the canon. These are stories that give the audience an alien we might never have imagined. It’s worth looking at both examples. In this post, I will focus on ARRIVAL, the short story and the film. Both were excellent and if you haven’t already consumed these stories, do so and do so before you read on. Here is my non-spoiler review of the film, ARRIVAL Otherwise, I forge ahead with analysis and spoilers. You’ve been warned.
How did Ted Chiang and Eric Heisserer (screenplay writer) pull off portraying an alien that was both non-humanoid, with no human language and still give it/them so much character that went beyond “the monster” designation?
- They reveal the alien through the eyes of Louise Banks, the main character and the linguist who is trying to communicate with the creatures/entities. The story is told from Louise’s point of view. That makes a big difference in how the audience sees all that transpires in the narrative because Louise comes to the aliens as a learner, as curious and though the creatures are powerful and instill fear in most of the humans who encounter them, Louise is not overcome by fear. (Note: Louise is a fantastic hero, but she is no Ripley, of the Alien franchise. It’s likely she would have been an early snack for the buggers on that vessel. Louise is fierce in her dedication to her academic discipline, but unlike Ripley, my guess is she would not be as ready to use a gun to blow their brains out if they had revealed themselves to be monsters).
- The writers give the aliens agency, first by showing their power. These entities that have arrived on Earth are powerful, there’s no doubt about that and showing their power is not a difficult writing task. It is accomplished in a variety of well thought-out details. For starters, the vessels they have traveled in are massive. Also, these entities have traveled through space to find another sentient species, which reveals how their technology is superior to human tech. In addition, the mystery of where they have come from, their beautiful language, their form…all create an aura of their power, and I would add, their dignity. The fact that humanity is freaking out (especially the military) is another clue about these aliens and their power. We learn about them by watching how others react to them. This is a classic writing tool, especially when a mysterious character presents itself. The audience takes its cues from the group surrounding the mystery.
- The writers reveal alien character by showing us how those aliens use their power. They show us by showing us the alien actions As ARRIVAL progresses, the audience begins to form an opinion about the motives of these characters. They are characters with personality. First, the audience recognizes what the aliens have not done. They have not blasted the planet to shreds, started a war or abducted any humans. In terms of what they have done, the aliens are trying (trying hard) to communicate. They readily engage when Louise begins to learn their language. The most important scene in the narrative that reveals their goodness is the moment the entities warn Louise about danger, then save the lives of Louise and her counterpart when a bomb, planted by one of the freaked-out military men, explodes in the cave-like room where they have been making slow progress on communicating. The contrast becomes clear. We see humans who are fearful and violent. We see aliens who are steadily revealing themselves and using their power to save lives.
To close this second of four posts, I’ll nerd out a little on words.
The Etymology of Our Other-Worldly Friends/Enemies
In English, the word alien is derived from the Latin, alius, meaning other, and alienus, meaning belonging to another. The al in these words comes from the Proto-European root (it precedes Sanskrit), meaning beyond. Its root is different from the English word, foreigner, whose Proto-European root is the word dhwer, meaning door. The senses of the two words are different based on the roots. The foreigner lives outside one’s door, the alien is from somewhere beyond. I key into the fact that the word precedes Sanskrit. The labeling of the other is incredibly old. Human psychology is fundamentally tribal. Those outside our door or from beyond are automatically suspect. The film ARRIVAL is about this tribal fear and our inability…not just to communicate with strangers/aliens, but to communicate with one another. In the film, this becomes a large issue and almost leads to disaster.
One other term for the sci-fi consumer…E.T.
The term extra-terrestrial was coined in the modern era. It was first documented in 1953 or 1956 depending on who you believe. The initials, E.T., was made famous by Spielberg’s 1982 film.
SNOW CRASH, by Neal Stephenson was put before me by a member of my sci-fi book group. It’s my second exposure to cyber punk (novels) and I enjoyed the ride (in part). This novel, if turned into film, would likely be rated R. I recommend SNOW CRASH with reservations.
My Review in Two Parts
Why read SNOW CRASH?… 4 Reasons for YES!
- The world-building is remarkable and for many sci-fi fans Neal Stephenson is a must-read author in the cyberpunk sub-genre. I absolutely loved the beginning. The entry into this world felt fresh and dynamic. The first 50 pages (at least) will have you riveted.
- The action scenes are numerous and mostly well-timed and well-written. The action begins on page one and sets the tone for the rest of the story.
- The intersection of virtual reality (Stephenson calls VR the Metaverse…he claims to be the originator of this term) and physical reality feels fluid and actually not that weird now (though it was a genuinely futuristic concept when he published the novel in 1992).
- Stephenson unearths some original and fantastical ideas. Some folks will love the philosophical bent of the story, having to do with ancient and current religions, computer coding, language as code and viruses that cross from virtual reality into the physical world.
Why avoid SNOW CRASH?…4 Reasons for No!
- Shallow characters inhabit this book. The world-building went deep, but the emotional depth and intelligence of the characters bored me.
- (related to reservation 1) The characters, especially the main characters, did not have any real physical or mental weaknesses, sort of like superheroes. In fact, the protagonist is called Hiro Protagonist. By naming his main character Hiro, Stephenson is channeling the comic book/superhero genre. I read about the development of the novel. Stephenson began this book hoping to make it a graphic novel, it did not evolve in that form. However, even superheroes will have angst or some kind of existential danger. Every Superman must have his longing (Lois), his vulnerability (kryptonite) and face a villain who understands how to use these vulnerabilities to press the hero to the point of making a moral choice about his/her power. Though Stephenson’s characters get banged up here and there, I never felt they might actually be in danger or that they feared for their own lives. They took their beatings in stride. Moreover, I never felt there were emotional stakes for either of them (the secondary character is called YT…she is a skateboard delivery person). Hiro’s and YT’s motivations for putting everything on the line to save the world did not seem to connect to any ounce of characterization that I understood.
- Stephenson’s bad/shallow theology was disappointing for me. I will assume that Stephenson did his homework in regard to Sumerian religion and philosophy. (I deduce this from reading his acknowledgments). However, I hang out with a number of Christian thinkers because I’m married to one, and Stephenson’s characterization of Biblical theology is weak and ill informed. I don’t mind critiques of my religion…I even enjoy them if they are well thought out. Stephenson’s were not.
- The info-dump sections were enormous, boring and preachy. A cyber librarian is the character in the Metaverse who does the explaining to Hiro Protagonist, therefore to us. It’s a clever idea to use the librarian, but his information still comes in large swaths and awkwardly disrupts the drama. The info-dump is a huge temptation for sci-fi writers. I struggle with it myself. It’s difficult to build the world, explain the conflict, the problem that will drive the narrative and incorporate all your own ideas/themes without taking up scores of pages explaining stuff to your audience, but great writers tell us that the info dump method is lazy writing. There are other ways to do it! See an earlier post on allscifi that discusses Jemisin’s chosen method for handling backstory in the narrative. Good friend and fellow sci-fi writer, Lit Prof Liam Corley is a Jemisin fan and wrote the post a couple of weeks ago.
In short. If you’re a sci-fi nut/nerd, YES…read SNOW CRASH, but if you’re a literary person wandering around in sci-fi…read Octavia Butler, Jemisin, Le Guin, Vandermeer, Scalzi…almost anyone, but Stephenson.
To buy SNOW CRASH…click here.
My husband and I are watching Battle Star Galactica (BSG) for the second time in our married lives. The first time we watched, our kids were always in bed. It was just-for-parents entertainment…Our daughter was a middle schooler, our son, a couple of years behind her. They’re both out of college now. So it was a while ago.
BSG was created for the SyFy channel by Glen A. Larson and Ronald D. Moore.
There is much pleasure in the re-watching for me. Last night, we viewed The Hand of God, episode 10, one of many amazing episodes in that first season. Our re-watch has me reflecting on what makes BSG so good?
- The writing is absolutely spot on. No-nonsense story-telling that provides the audience with a solid long-term arc of purpose and meaning: humanity, betrayed by A.I. known as Cylons, must leave their home and find another habitable planet. An epic journey in a space ship. Grafted onto the journey narrative are countless subplots that will draw in scifi and non scifi fans. How do the writers do this? That leads me to my second point…
- This story is inhabited by heroic, but flawed characters most of us can relate to.
- The production value is superb. Even in the 2019s, the set, special effects and costumes create a believable fictional world.
- The actors embody their characters well, extra dramatic heft carried by the Commander of the fleet, William Adama and President of the survivors, Laura Roslin (played by Edward James Olmos and Mary McDonnel respectively).
- The themes around protecting a way of life, more specifically, a democratic society in the midst of battle, are extremely poignant in our current political environment.
- Ethnically diverse cast of characters and women in key leadership roles.
If this will be your first time viewing the series, or if you’re re-watching like me, consider this podcast aptly named Galacticast to augment the full depth of each episode. It’s a fun and easy way to be extra nerdy about BSG. Click below for the link up.
As an aside, I find myself wishing The Expanse would produce an episode by episode podcast…Sometimes, I feel like I’m not quite getting it. Maybe in the re-watch, I will.
To watch the entire series, click here.
The 6th and final post of a 6-day reading fest. I’m excited to recommend this series…all 6 volumes. I would rate DESCENDER as PG-13. This comic series is pretty mild compared to some of the stuff your kids are exposed to. Parents might want to view volume 4 to get a sense (regarding the one sex scene). Overall, the language was extremely tame. The violence was not graphic…not as graphic as many other comic series.
Also…FYI…don’t piss off you machines, those very helpful robots that make your life easier.
Today, I want to acknowledge my dishwasher, for all the hard work and quality service it does every other day or so…also, my robot vacuum machine. Also…the electric toothbrush, and much much more. Thanks to you, machines…I have more time to read amazing comics/stories like DESCENDER, THE MACHINE WAR.
Really, though, I have continued praise for the story. You can view my previous reviews on allscifi I’ve written a review for each volume. As a novel-writer, I am intrigued by the strengths and weaknesses of the comics genre. The visuals in this epic are so gorgeous and add so much to the understanding and the feeling the story. However, I did find myself missing lovely passages of linguistic poetry and the interior monologue that takes place in some novels and short stories.
THE MACHINE WAR does close with a longer interior monologue. A character the reader has not yet met, but one who makes sense in the story overall, she begins to narrate the post-story of DESCENDER, the pre-story of the coming series. This is the bridge character who will take center stage in the sequel to DESCENDER. The next series will be called ASCENDER.
Final word on the review. If you love comics…you will absolutely LOVE this series. The art and the writing are top notch. Furthermore, if you’re a scifi fan…you ought to read this tome. The narrative adds so much to our morality around how we understand ourselves, our machines, our planet and those who work in the shadows to make our lives easier. Let us no forget that real work has to be done by someone. More and more of that is done by machines…but much of it is still done by humans, people who we can easily marginalize and treat as less than human. This is important for all of us to remember. The best scifi stories teach us to be better humans. DESCENDER does exactly that.
Click here to buy this final in the series: DESCENDER, Volume 6 The Machine War
Click here to buy the first installment of the sequel to the DESCENCER, series ASCENDER, Vol. 1, The Haunted Galaxy