Thursday, July 29, 2010

Global Frequency, Volume 2: Detonation Radio by Warren Ellis et. al.

Rating - 3.5: worth reading, parts worth re-reading (borrow or buy it)

You're still on the Global Frequency. Miranda Zero leads 1,001 freaks, geeks, and security risks, a collection of experts that constitute a global rescue organization. They find threats and fix them. The twelve-issue limited series concludes.

Again, the series is entirely episodic, so we have six short stories. The feel is somewhat different because of stories with less dialogue and more visceral trauma. The Global Frequency team does not get away as cleanly; there are more noble sacrifices as part of the heroism.

This half is slightly less episodic because Miranda Zero and Aleph both get their own issues. They are central in their own stories, rather than supporting cast for the guest stars. Miranda is tough and sensible, while Aleph is enormously likable.

One issue is Japanese horror, with perfect tone. Not especially my thing, but crafted well. The big fight issue does not work as well in this half. Instead of a running firefight, it is just a drawn-out melee, without the supporting dialogue. The sci fi issue deals with orbital bombardment, which is a threat most of us don't know to worry about.

It's good. We have fewer fun guest stars than in the first half, but there are a few. We get to build a little with Miranda and Aleph.

I understand that there is a television series in the works again. That could be a fun show, with a big chance for being hit or miss. Unless they are vastly outnumbered, the hits are the important thing.

Amazon link

Wednesday, July 28, 2010

Remnant Population by Elizabeth Moon

Rating - 3: worth reading once (borrow it from a library)

I'm low on clever openers this week.

When Ofelia's colony is recalled from its planet, she hides and stays behind. They are not that interested in one old woman, and she is glad to see her demanding family and neighbors go. She has the planet to herself until, years later, another colonization attempt is made, one that disastrously finds intelligent native life. Now the natives are curious about where that original human colony might be.

Ofelia's story happens in four social contexts: with the colony and her family; after the colony, alone; after the second colonization attempt, with the natives; and once humans make third contact with the planet. It creates a sort of full circle.

She is a surprisingly spry septuagenarian. Fortunate too: of all the things that could go wrong when no one is there to help or save you, none of them do. No disease, no accidents, no predators.

Ofelia has a Heinlein-esque streak in her misanthropy. She just wants all these bothersome people and aliens to let her be. Or maybe "curmudgeonly old person" is a natural character archetype, just not usually the protagonist.

Ofelia is a rather unusual protagonist. You do not see many 70+ women starring in science fiction. She shares only strong self-reliance with those Heinlein heroes, instead succeeding through nurturing, care, and the home. We usually see heroes on a journey who will use violence to get the MacGuffin. She does share in that Heinlein anti-authoritarian streak, but at no point does a stand-in for the author have existentially unlikely sex.

Our first section of the story establishes Ofelia in relation to other characters, also showing why she will be happy to get away from them. We then spend the greater part of the story alone with her, watching her work past her self-imposed limitations to live in freedom with no one to judge or command her. The themes are personal, not political.

The writing is good, and Ofelia is an enjoyable character. We lack grand explanations and theories, instead focusing on pragmatics and details. It is a story about people, not ideas.

Her psyche and society are plagued with potentially problematic attitudes. If a science fiction story is not dystopian, it usually is past things like overt sexism, or perhaps it uses anti-alien prejudice as a metaphor. Ofelia's people seem to be from a Latin country where feminism never caught on over the centuries. The third contact group suggests that her culture is not atypical. While outer space has room for all kinds, it is hard to picture a space-faring culture with prejudices that seemed outdated a generation ago.

The science is also potentially problematic. While it is a colony, the technology level is rather low for space-farers, except for a convenient power source that never breaks down on an old woman who could not repair it. Some things exceed the speed of light, others not. Maybe that tech is just really expensive. It has a bit of that Firefly feel, and you wonder about the economics of the situation.

The economics are similar. Why would a corporation want a colony (with no manufacturing base or information science contributions)? What could anyone make that would be worth shipping between solar systems? After you read the ending, pause and think of the time frame, scale of operation, and costs involved in setting up that denouement. No.

The natives are likable, but I am concerned that they are too perfect. Is there any way in which they are not better than humans, either as a species or as individuals presented? The contrast is made explicitly at a few points. From intelligence to government structure to politeness, they seem to be biologically hard-wired to better fulfill every human ideal than humans do. Naivete seems to be their only flaw, and that is overcome in spades.

We have an enjoyable cast with Ofelia and the natives. The natives are only annoying to the extent that they resemble humans, and that is a fixable problem. We can enjoy Ofelia alone, especially in comparison to the departed humans. We do much the same with the quickly learning aliens, compared to humanity or their initial attempts to relate. The returning humans just look worse from every angle. You are not made uncomfortable for rooting against your species.

Ofelia gets to be a bit more nuanced, with problems and mistakes. She is strongly self-critical and points out those problems for the reader. This helps to create roundness of character in what might otherwise be a book of caricatures.

Characters drive the plot more than events do. The high points are character traits not crowning moments of awesome.

If seeing first contact between a female hermit and a race of inquisitive owlbears sounds good, this book is for you. If you need laser swords or an Asimovian theory of psychohistory, this will not fulfill your needs.

Amazon link

Excuse me, we ask one unarmed and unarmored character, did you just take an infant from its nesting mother, said mother being surrounded by its fellow large members of a predator species, and throttle it? That quite likely tops the stupidity of abusing prisoners at a supervillain prison (because those guys never escape nor are prone to vengeance, right).

Thursday, July 22, 2010

How We Decide by Jonah Lehrer

Rating - 3: worth reading once (borrow it from a library)

It is strange to realize that you are past pop science in an area where you have no formal expertise. I knew most of the examples cited in the book and have even read the publications behind some of them. I guess you pick up a fair amount of neuroscience as a regular reader of Less Wrong and Overcoming Bias.

Jonah Lehrer's pop neuroscience book looks at how the emotional and analytical parts of our brains succeed and fail.

Before this gets lost in discussion: it is an enjoyable read and good storytelling. It is good writing. It goes presents potentially difficult material clearly and simply through a frame of stories. The stories and interesting and compelling. Many of my comments relate to the limitations of the science being explained and the presentation thereof, but it is clearly an excellent read.

Here is the deal: you should not read this unless you read all of it. The chapters are potentially misleading in isolation. They neither build on each other linearly nor create stand-alone pieces. Each takes an argument as far as it can in one direction, and the next chapter moderates that by veering in another direction.

While this makes for compelling chapters, it may undermine the learning objectives. This is not a precisely calibrated work that makes sure you get the most accurate impression of the science, with all its limitations and disclaimers. For many readers, that is a plus. If you are interested in the neuroscience itself, rather than simply reading for entertainment, it creates worries about whether you should accept the argument of this chapter wholeheartedly.

You also do not get a neat package at the end. The human brain is not a solved problem, and you will not get a "do A in situation X, B in situation Y" decision tree that will solve all your problems. The end result looks neater than it is, but or author acknowledges the messiness explicitly; there is something that looks like "do A..." with the proviso "and there are a lot of judgment calls in here and no bright lines, good luck folks!"

For example, Mr. Lehrer recommends using your analytical mind for simple choices like which vegetable peeler to buy, where you can add up the most important factor or two. For more complex choices, like buying furniture or a car, you will tend to start adding weight to things that do not matter much and will end up making a worse choice, so be guided by your intuition. But buying strawberry jam is too complex a choice for the analytical mind, so be intuitive there. Unless you don't really care about strawberry jam, in which case analytically pick on the measure or two that matters to you. Or if it is a complex but novel choice, where your intuition has not had much experience, go analytical, although you may need emotional motivation.

It's messy, but it sounds clear-cut at the end of each chapter.

My big disclaimer down, this is very well written. It is an entertaining and engaging read. It tells stories and uses them to organize the narrative. Each chapter has one major story and illustrates the research with smaller examples. There are many good stories about brains that are not working properly, because we can see what makes things work by taking out a piece and seeing what stops working. There are brain injuries that lead to permanent indecision and brain tumors that lead to unbridled lust.

Willpower is a quantifiable mental resource. Brain damage can take it away. There is no separate "mind" that is independent. We can reproducibly change how people think, and it does not need to be as extreme as brain damage. Something as simple as asking someone to memorize seven numbers or think of his/her social security number has predictable effects. Be terrified of the meat-based computer on which you are a program.

Some of these cases dealing with the meat brain point out the limited applicability. One example looks at a shopping experiment and concludes that you can predict whether someone will pick an item or not based on mental activity in a pair of competing brain regions. The reasoning involved is more of rationalization for what your brain has decided pre-rationally. Well then, there is not much you can recommend for me if the thinking part comes after the deciding part. (This assumes that the science in question has been done properly, actually predictively rather than retrospectively creating a formula that "predicts" what already happened. Which also happens.)

Mr. Lehrer frequently contrasts neurology with economics, saying that we are not the rational homo economicus, although the case he makes is closer to economics than he knows. He says that the shopping experiment shows that we are not making a rational benefit-cost analysis, but what he describes the emotional brain doing is just that. The two areas competing are roughly "ooh, shiny, I want that" and "oh, expensive, I want to keep my dollars." If the benefit is greater than the cost, you buy the shiny.

He also frequently contrasts reality with a Platonic ideal of rational thought, which is an easier case to win. The strongest part of this case is arguing for the value of intuition as subconscious calculation. You cannot calculate three-dimensional curved vectors in a second, but you can catch a ball. The hard part is done in bits of your brain that have specialized and stored the results of practice, so you go with what feels obviously right. You do not think of driving as a series of actions like pulling levers and pushing pedals; you just drive to the store, and your higher functions are free to watch for problems like that guy pulling out in front of you, which you may have started reacting to before you consciously noticed it because something felt wrong about how the truck was moving. There are entire sections of your brain attuned to "this is not how it usually goes." Those are of value.

Being familiar with the research our author is citing, I am not the best person to tell you if he is explaining it well. I already know what he is talking about. If he left out something important, I will be less affected, and I might wonder if I am just being picky. For example, I worried that he was spending too much time on the destructive case, tearing down existing theories of mind while I was already on his side about the lack of pure, Platonic reasoning in the human brain.

One aspect missing that I rule "not picky" is how brain scans mislead us. One problem with human cognition is that we are more likely to accept anything if it is prefaced with "brain scans show." Something about the colorful graphics and assurance of science makes people think the argument is better. This book gives us words instead of pretty pictures, which reduces the effect, but basing arguments on brain imaging will create more agreement than the arguments merit, all things being equal. Beyond that, the meaning of the research itself may be overstated. See, for example, a paper that demonstrated statistically significant results from performing a standard psychological test with brain scanning on a dead fish. If your neurological research methods produce results with dead fish, you may need to refine your methods.

I feel odd having been harder on the scientific case here than in Mary Roach's pop science book. In that case, she spent more time telling stories, less making a positive case. Indeed, the problem there was the lack of a case being built at all. Here, I am more worried about the summative argument being compelling but misleading. It is because he has more to critique that I can dig in.

Amazon link

Monday, July 19, 2010

The Authority, Book 3: Earth Inferno and Other Stories by Mark Millar et. al.

Rating - 2: not worth reading (skip it)

This is not very good.

The third collection of The Authority includes the story arc "Earth Inferno" and three single-shot stories.

"Earth Inferno" is average at best. It has some good ideas but does not do much with them.

The political intervention is good, continuing to play out the notion that The Authority does things to change the world beyond fighting supervillains. It had a bit more flair in the Jenny Sparks days, but I cannot say if that is the author or the characters.

The Engineer continues to be good. Mark Millar is good with this character, and you love Angie. She is useful, getting involved and fixing things while demonstrating her new ability to be in more than one place at one time.

The villain is good. He has a look that could be Silver Age silly but instead comes across as dignified and slightly mystical. He exhibits and exults in power and cruelty. The unnecessarily coarse elements added to his background and characterization are appropriate to the comic, if a bit unfortunate in the sense of reveling in being a "mature" comic.

The Earth Inferno itself does not entirely work, and it takes up a lot of time. Maybe it is my own suspension of disbelief that is problematic, but I should not notice it while reading a comic book, and I kept thinking, "the planet does not work that way." If nothing else, trees do not spring from the ground like that. Oh well, it gives The Authority a sort of conflict other than punching people in the face.

The villain is wasted. When you have some explicitly that powerful, making him completely ineffectual is a problem. The book lampshades this by discussing how he lost last time, but he does not need to be at full power to write The Authority out of history. The ending is good, classic with a series-appropriate tie-off, but I expect more from the villain who is literally more powerful than God, whose threat demands the evacuation of a dimension. Introducing red shirts to sacrifice does not make up for anything, and having one of them be more powerful than Apollo/Superman makes one wonder how anyone else survived.

This relates to the continuing problem of power fluctuation. The Doctor can make his enemies out of existence, turning them into ravens or stone or music. He can destroy entire continents. And he can utterly fail at very basic things. And someone with the same power set and more experience can be similarly useless. Oh, and Apollo gets eyebeams to complete the Superman set.

I initially found it problematic that The Doctor is using heroin. If he can do anything he can imagine, he can just alter his mental state directly or cause whatever state he likes to actively exist. But if he really is in-touch with the planet as much as implied, maybe he actively wants to dull his senses and ability to access his abilities. Still, overdosing?

The single stories are just poor. The first is explicitly a big-lipped alligator issue, fighting zombies for no purpose and with no explanation. Bad guys show up, they fight, done. Generic comic book story. The second is weak characterization of The Engineer, yet another version of the difficulties of not being normal. You have seen this better elsewhere, with superheroes or not.

The third is good but a retread. It is Jack Hawksmoor's characterization, touring him through The Authority's first arc as he ruminates. It covers no new ground, but it gives time to reflect, which does not usually appear in The Authority's cinematic style. And, surprise, it was written by Warren Ellis. Well, that explains the quality. It is too short to make the book a 2.5.

With respect to the art: I don't like it. The Doctors work well under this art style, but the rest did not. My main recurring question was, "What happened to Apollo's face?" And it is not even an issue of a differing art style. His face looks differently mutated in many different places. He ranges from Superman noble to clunky brute, and putting one of the worst as a cover picture does not help. Maybe he takes a lot of punches to the face and needs a while to heal.

Amazon link

Monday, July 05, 2010

Global Frequency, Volume 1: Planet Ablaze by Warren Ellis et. al.

Rating - 3.5: worth reading, parts worth re-reading (borrow or buy it)

This series is entirely episodic, so I will not have much to say.

You're on the global frequency. Miranda Zero has a network of 1,001 specialists around the world. If your phone rings, you are the right person for this job because of your skills and/or location. The fate of the world might be decided in the next hour. Go. This volume collects the first six issues of the twelve-issue series.

Each issue is a different story. The only two recurring characters are Miranda Zero, the leader, and Aleph, the communications hub. We get a new cast, a new problem, and maybe even a new type of story each issue. We have memetic alien invasions, a rampaging cyborg, and a parkour run across London. One issue is a running shoot-out while another has no action at all. This might be hit-or-miss for you, except that Warren Ellis is very good.

The character sketches, to the extent that they exist, are rather good. We have one issue to develop and resolve the story in addition to introducing the entire cast, often while including a briefing on the sci fi element of the month that motivates the story, so there is not a lot of time. Within that, characters manage to become distinctive and interesting. Given the length, we do not have time for characters to become terribly deep. They can be enigmatic in a way meant to suggest hidden depths, but the best characters come across as snarky fun. There might be other kinds of fun possible, but Warren Ellis's writing seems to tend that way.

Artists vary along with the issue, so there is no one thing to comment on there. I cannot tell to what extent the tone of the stories are set by their art, since I have no contrasting version. Perhaps some artists were chosen for particular stories. The styles seem strongly supportive, contributing well. The cyborg story has intensely detailed skin and faces, while the one in Scandinavian snow has thicker lines and a far less action-packed feel than the shoot-out. The art could be allowed to carry a bit more of the weight; even when it is doing the job, it is supported by text, although the shoot-out issue does a great job of advancing the story on two tracks, with the pictures working one and the text another.

Very worth reading. Also bite-sized for your occasional reading convenience.

Amazon link