Author: Michael Rawdon

Karl Schroeder: Lady of Mazes

Review of the novel Lady of Mazes, by Karl Schroeder.

Lady_of_Mazes.jpg
Lady of Mazes

I had suggested reading something by Schroeder for the Kepler’s book discussion group, and was happy that we’d be reading this one since it’s the one book by him I haven’t read (I read Sun of Suns when it was serialized in Analog). Unfortunately, I think this is the weakest of Schroeder’s four novels to date.

The novel is told in three parts. The first part takes place on Teven Coronal, a ring station whose populace is divided up into separate “manifolds”, virtual reality spaces with different technological levels and cultures. Peoples’ perceptions are carefully regulated based on their belief systems, and it’s difficult to move between the manifolds since it requires being able to consciously change your perceptions. Our heroine, Livia Kodaly, lives in the Westerhaven manifold, which has a veneer of upper-class Renaissance culture (where authority and reputation govern who’s willing to interact with and listen to you), but with a sophisticated technological level. But Livia and her friend Aaron were in an accident some years earlier in which they were stranded outside the manifolds, and this experience changed their perceptions of Teven, and Livia is able to move between the manifolds more easily than most of her peers.

In this part, Teven is invaded by representatives of something called 3340, who are subverting the manifolds by pushing the peoples’ perceptions to the edges of what their manifolds support, which causes the boundaries between them to collapse, resulting in war between the manifolds. Livia, Aaron, and their ally Qiingi – from a low-tech manifold – manage to escape the invaders and cast off into space in a makeshift craft, in seek of help.

This leads to the second part, in which they arrive in the Archipelago, a society of stations in the vicinity of Jupiter. There they learn that Teven is in a part of space which is kept off-limits to the rest of humanity through the authority of powerful posthumans known as the Anecliptics. One of Teven’s founders gained the right to the station through a bargain with the Anecliptics, but no one else is allowed in, making hope of allies to save Teven look bleak. The Archipelago is rather the opposite of Teven: Individuals freely interact, but each has their own computer-managed “narrative” which nourishes their lives to make them as comfortable and rewarding as possible. A handful of people choose to live without narratives, but they’re in the minority. Among these is Doran Morss, a rich man with his own ship who seeks to free humanity from the oversight of the Anecliptics and the narrative system, but his pleas mostly fall on deaf ears.

Livia and company find their way in the Archipelago, covertly trying to find someone to help them save Teven, until they learn what 3340 is and what its goals are. This leads into the third part, in which we learn about Teven’s history, the Anecliptics’ mistakes, and 3340’s plans and allies.

Once again, Schroeder delivers the goods in the form of some thought-provoking and challenging ideas, contrasting the homogeneous society of the Archipelago with the forcibly-separated ones on Teven, and driving the plot with the struggle to free oneself from societal constraints imposed by higher beings. But unfortunately the goods come along with some “bads”: The book’s themes and struggles feel so abstract, and its characters so one-dimensional, that it’s very difficult to figure out what the various sides are, never mind which ones to get behind.

The book is extremely slow to get moving, although others in our discussion appreciated the first part (of three) for its cultural anthropological examinations. I felt like I got the idea rather quickly, and I wish for character development and for the plot to get moving, but it wasn’t until the second part the either happened, and then it was only the latter; the characters never did develop very much. Doran Morss could have been the most interesting character in the book – experienced, thoughtful, passionate – but we only saw brief glimpses of his feelings, so he was only slightly more than a peripheral figure – not much more than a plot device to enable 3340’s ultimate goal, really.

The final third felt quite muddled to me; although Livia’s resolution to the basic problem of 3340 was pretty clever, the story tailed off after that, with a set of epilogues (of sorts) which just didn’t work for me.

There are a lot of crunchy ideas here, but I think Schroeder just didn’t organize them into a good story. The book actually bears a lot of resemblance to his first novel, Ventus, which I’d say was his weakest book before I read this one, but it feels more concrete and like it flows more smoothly, even if its ideas are more conservative. But story counts for a lot, and the story here was both thin and scattered. A disappointment.

Insanity Week

The latest semi-irregular round-up of my life since I haven’t been posting regularly lately.

For most of my co-workers, this is insanity week.1 For me, last week was insanity week, and it had nothing to do with work, which has actually been quite reasonable for me lately (read: I’m not actually presenting anything at WWDC).

Last week was nuts for a lot of little reasons, and most of it revolved around gaming:

Last weekend I had wanted to host a Magic booster draft, but I wasn’t able to get enough interest, so it didn’t happen. That bummed me out. So I made plans to host again this past Saturday, since Debbi was going to be busy from late morning to mid-afternoon. Unfortunately, a couple of people couldn’t make it until mid-afternoon, which made the whole thing questionable.

Meanwhile, my new(ish) friend Lee wanted to host poker on Thursday, which I was also into, but for quite a while it looked like we might not have enough for that either. I eventually recruited my friend James for poker, and we jointly twisted my co-worker Daniel’s arm, so we had 7 people on Thursday, which was nice. We played a mini-tournament and I finished 4th (i.e. “just out of the money, again”), mainly because I took a couple of bad beats when I was the big stack which crippled me. (When I call an all-in bet with my A-9 and my short-stacked opponent turns over A-9 too, and then makes a flush on the river, I think that’s a bad beat.) But I mostly think I played very well, never going all-in until my final hand when I was forced to, and playing with the big stack for quite a while, which was fun. I certainly made some mistakes, but I managed to get away from them. No doubt a close assessment of my play would still make me appear as a newbie, but I was pretty happy.

And then on Saturday we played Magic, specifically the Mirrodin block, which is artifact-based, and which was new to all of us. Again, we had 7 people, and it was a lot of fun. A very interesting block to play. I ended up with a better-than-average deck, I think, with a couple of bombs, but a few weaknesses, too. I got very lucky a couple of times while playing, but then, that’s part of what makes it fun!

Unfortunately, Lee ended up getting sick and wasn’t able to make it, so he still hasn’t been over to see my house and meet the kitties. But we might get together with him and his wife sometime outside of gaming time to make that happen.

So all the gaming turned out well, but it took a lot of time and energy to organize it than it seemed like it ought to have taken. I guess that’s life sometimes. It reminds me why I’m less willing to take on ongoing organizational tasks like the fantasy baseball league these days, though.

Meanwhile, the first weekend we ended up going to a little party thrown by my friend Lucy, whom I haven’t seen in quite a while. It was a party with a Tiki theme and revolving around her writerly friends, but Debbi and I had a great time anyway (by which you can infer that my writing has not been going so well lately). I drank more alcohol at it than I have in quite a while, and was glad Debbi was willing to drive home when we packed it in late in the evening.

And then I had to read the book for last night’s book discussion, Karl Schroeder’s Lady of Mazes, which I kept putting off and then had to frantically finish up Sunday afternoon. Review forthcoming. Okay, this hole I dug myself. But still.

My weekend wrapped up with the discussion itself – which ran about 30 minutes long – and then packing up some stuff I sold on eBay so I could mail it today. And then, whew! My crazy week was over. Fun (mostly), but very tiring.

So anyway, yeah. Now it’s WWDC. I’ll be working in the labs a few days this week, answering questions for folks. Not as easy as it sounds: The questions can be difficult, and there’s a lot of working in-depth with folks to figure out how to do what they need to do. So it’s mentally pretty tiring. But it’s nice to see people out there using the code I’ve written. If you happen to be at the conference, feel free to stop by and say “hi”! (Which would be an interesting change of pace, since I’ve never experienced WWDC as a social event, as I know some people do. I’ve always assumed this is because Mac programming is my vocation, not my hobby, but I don’t really know why. Of course, it takes some effort for me to experience science fiction conventions as social events rather than geeking-out-in-my-own-headspace events, so it’s probably just me.)

(1 It’s not really insanity week, it’s just a very busy week, and many of them enjoy it very much. But it is a very different week from the other 51 weeks in the year.)

This Week’s Haul

Comic books I bought the week of 6 June 2007.

Once again, it’s last week’s haul this week. And once again, it’s a small one:

  • Countdown #47 of 52 (backwards), by Paul Dini, Sean McKeever, & Tom Derenick (DC)
  • Jack of Fables #11, by Bill Willingham, Matthew Sturges & Steve Leialoha (DC/Vertigo)
  • Welcome to Tranquility #7 by Gail Simone, Neil Googe & Stephen Molnar (DC/Wildstorm)
  • Ms. Marvel #16, by Brian Reed, Aaron Lopresti & Matt Ryan (Marvel)

The blogosphere has been abuzz about Countdown, and the trend doesn’t seem to be good. The Invincible Super-Blog hates it (my preciousssss…), while Living Between Wednesdays thinks it’s okay. Meanwhile, Comics Should Be Good quotes Jerry Ordway on the darkening of Mary Marvel; Ordway was the architect of SHAZAM!’s most recent successful revival, and he isn’t wild about what they’re doing (and I can certainly see his point). Lastly, Comix Experience observes that orders at their store for Countdown are plummeting quickly.

I’m pretty much with Rachelle at LBW: It’s entertaining, it’s not as good as 52. But then, we’re only 5 weeks in, and I don’t reall the first 5 weeks of 52 being any great shakes, either. (BTW, I’ve heard rumors that Countdown will lead into something called Final Crisis, which is alluded to in the current JLA/JSA team-up. But if you think I believe the word “Final” will actually play true, then I’ve got an abandoned satellite headquarters to sell you…)

This issue of Jack of Fables is my last. It hasn’t found the balance of characters and storylines that Fables did, and this issue shows just how thoroughly unlikeable Jack is as a character, and why he therefore can’t really carry the series. Which is unfortunate, since it’s his series. I gave it a good try, but it doesn’t work for me.

It’s slowly sinking in that Welcome to Tranquility reminds me of nothing so much as Alan Moore’s enjoyable run on Supreme from a decade or so back: The old super-heroes in the present day, the new generation, the occasional old-style flashbacks to previous adventures, and the hint of kitsch in the characters’ catch-phrases. A deliberate homage? Hard to say, since Moore’s approach to superheroes and their legacies is pervasive in modern comics, between Watchmen, Supreme and Tom Strong. Tranquility is a little weird since its characters are so mostly pretty far afield of the archetypes we’re used to (well, that I’m used to), so there’s no real sense of nostalgia but there’s a strong sense that there should be.

I’m not really sure what to make of the total package: There are things I like, and things I don’t, and the whole is strange and off-beat, but doesn’t feel fresh or entirely satisfying. Is Simone just nutty in a different way from your typical comics writer (and since your typical comics writer is a man, the answer is probably “yes, and that’s a good thing”), or is Tranquility just an experiment that doesn’t quite gel? Maybe both.

PokerWiki

PokerWiki is – you guessed it – a wiki for all things poker. It’s actually an impressive resource. For instance, it has a map of casinos in the Bay Area. Also, it appears that local casinos don’t spread No Limit Hold ‘Em because it’s illegal in Santa Clara County (according to the Bay 101 entry), and maybe in the state (according to the Lucky Chances entry).

I’ll have to dig into this site more deeply.

This Week’s Haul

Comic books I bought the week of 31 May 2007.

Comics were a day late this week, due to Memorial Day.

  • Countdown #48 of 52 (backwards), by Paul Dini, Adam Beechen, David Lopez & Don Hillsman (DC)
  • Justice Society of America #6, by Geoff Johns, Dale Eaglesham & Ruy José (DC)
  • The Incredible Hulk #108, by Greg Pak, Gary Frank & Jon Sibal (Marvel)
  • Hellboy: Darkness Calls #2 of 6, by Mike Mignola & Duncan Fegredo (Dark Horse)
  • Girls: Extinction TPB vol 4, by Joshua Luna & Jonathan Luna (Image)
  • Pacesettiner: The George Pérez Magazine #8 (Tony Lorenz Productions)

The problem with “The Lightning Saga” currently running through JLA/JSA, I think, is that it’s got too many characters, and hence, essentially no characterization. With only one chapter to go, either this whole thing has just been a set-up for some other story (possible, since Karate Kid has also been appearing in Countdown), or else it’s just going to fizzle. The unfortunate thing is that it feels like it’s undercutting the ongoing story of Starman, who is semi-amnesiac and not all right in the head, but it’s hard to envision him not heading back to the 30th century following this story, and that would be a big disappointment.

Girls wraps up with this fourth collection. This was a moderately interesting story showing how we an turn against each other in times of stress and danger: A group of girls appears in a small town, which is also cut off from the outside world by a force field. The girls reproduce by seducing the men of the town, and also attack and kill any of the women that they encounter. It feels like a good old horror flick, but takes its psychological drama more seriously, and doesn’t just kill everyone off.

As a study of human nature, it’s not bad. As a story with a plot, it’s pretty weak, and the ending feels like J. Michael Straczynski’s Rising Stars series (which is not a flattering comparison). The ending feels empty and a little pointless. I suspect the Luna brothers thought that the human tensions could carry the story, but since there’s been a big “what’s going on?” question hanging over the series since the beginning, the lack of a satisfying answer to that question just means that they were wrong. So it ended up being an interesting read, but ultimately it was lacking.

I’ve been a fan of George Pérez’s artwork for decades, so I decided to give Pacesetter a try. This issue is a hodgepodge of material not often seen in the past, and despite some nice drawings, there’s not much meat here. Ultimately, no matter how pretty Pérez’s pictures are, without a decent narrative – either fiction, or about Pérez himself, as in the Modern Masters volume – I don’t think it’s worth it. I’ll wait until he draws some more comics and buy those instead.

Pirates of the Caribbean: At World’s End

Review of the film Pirates of the Caribbean: At World’s End.

Pirates_of_the_Caribbean_At_World__s_End.jpg

We went to see the third Pirates of the Caribbean film, At World’s End, last night. As longtime readers may recall, I loved the first one, but was disappointed in the second one. The third one completes the story begun in the second one.

In that film, Captain Jack Sparrow (Johnny Depp) had been betrayed by Elizabeth Swann (Keira Knightly) and was killed by the kraken controlled by Davy Jones (a CGI construct viced by Bill Nighy). Jack’s crew, as well as Elizabeth and Will Turner (Orlando Bloom) go to a witch friend of Jack’s, Tia Dalma (Naomie Harris), to find out how to get him back, and she hooks them up with Captain Barbossa (Geoffrey Rush), apparently back from the dead.

In this film, Barbossa and crew try to persuade the other pirate lords (other than himself and Jack) to band together to defeat Davy Jones, who is now under the control of the British Lord Beckett (Tom Hollander), who is set on wiping out the pirates. Barbossa gains control of a ship, and he and his crew sail over the edge of the world to bring Jack back from the wasteland of Davy Jones’ Locker. On their return, the principals all have different agendas: Jack is under the allure of killing Jones to take his place as an immortal captain; Barbossa simply wants to stop Jones and Beckett, and remain alive. Will wants to rescue his father, Bill (Stellan SkarsgÃ¥rd), who is a servent aboard the Flying Dutchman. And Elizabeth, well, it’s never entirely clear what her motivations are, since she remains torn between Jack and Will, has some other curve balls lobbed her way, and remains something of a muddled character.

Like the second film, At World’s End is rather muddled. I agree with Peter David that it’s not a hard film to follow, but that doesn’t mean it’s altogether clear. Jack ends up talking to hallucinations of himself, but once he’s out of Davy Jones’ Locker, it’s not clear why. Will and Elizabeth are working out the broad strokes of their relationship during the film, and don’t seem to trust each other on a fundamental level, but none of it rings true; it feels contrived for dramatic effect, which just makes it hard to get invested in either of their characters. And far from lending needed gravity to the film, Geoffrey Rush’s Barbossa is mostly played for comedic effect, often as a foil for Depp, but since he’s not a true adversary, he ends up seeming like a fifth wheel.

The film is full of sumptuous special effects. The effects of Davy Jones, the Dutchman, and his crew all feel a little old by now, but the climactic battle between the Dutchman and the Black Pearl is pretty impressive. The surrealistic land Jack finds in the Locker is cleverly portrayed, but not at such length that it gets boring. But the CGI does get in the way sometimes, often seeming to cry out, “Look at me! Look at how clever I am!” The final confrontation with Lord Beckett is very much in this vein: It’s a very impressive scene, but its sheer technical audacity takes away from the drama of the scene itself.

The characters and acting are uneven. To be fair, even the best writers would have had a hard time pulling off Captain Jack’s character through three films, making him basically likeable, and yet an almost-completely self-interested rogue. Hell, that they pulled it off for the first film was an accomplishment all by itself. Depp’s gotten a little criticism for mincing his way through the role a little too gleefully, and I think the charges have some warrant. He’s still a lot of fun to watch, though.

At the other end, Elizabeth went from being overmatched in the first film to rather unlikeable in this one, and Knightly not nearly a good enough actress to pull off this sort of challange. In the middle, Bloom does a decent heroic job with a decently heroic role, while Rush does about as well as one could hope with a poorly-written one. On the other hand, the cast of the Black Pearl’s crew fill their partly-dramatic, partly-comic roles quite well; I particularly enjoy Kevin McNally as Jack’s right-hand-man Gibbs.

The film takes an interesting turn at the end, completely dispensing with one major plot element, while sending one of our main characters in an unexpected direction. It actually works, but it all feels a little too messy, and a little too dragged-out, to be a really satisfying story.

The net result is that the film is much like the second: Enjoyable, but haphazard and too long. I wish it took itself a little more seriously, and a little less flamboyantly. But, sequels often feel the need to top their predecessors, and often try to their detriment. The first one is far better than either of the other two.

The Lingering Yuckness

I’ve had this low-grade illness or something for a few weeks now. When it started I had a sore throat and clearly had some sort of illness because I would get wiped out by mid-afternoon and have to go crash. It lasted for about three days and then went away.

Except that it left me with this peculiar post-nasal-drip type of symptom: I constantly feel like I have a little bit of phlegm in the back of my throat, and like I have to swallow a lot. I’m not congested, though. Sometimes it’s better, sometimes it’s worse, but it hasn’t been going away. Drinking tea helps, but only temporarily.

It would just be a little frustration except that I think it’s been causing me to snore a lot when I’m asleep, and needless to say this doesn’t work so well for Debbi.

So I’m at something of a loss. I’ve been rather stressed out lately, and I wonder if I just haven’t been resting enough to knock the last of some bug out of my system. Or if I got through one thing and am now coming down with something else. Or if I need to just go see a doctor.

Blick.

Garden Progress

Some pictures of my garden this spring.

Here’s what my garden looked like a month ago:

Garden_Apr30.jpg
(click for larger image)

And here’s what it looks like now:

Garden_May30.jpg

The snapdragons have finished their first blooms and a couple are getting ready for their second go-round. The marigolds are in full bloom. The three tomato plants are doing great (and two are fruiting already), and the cucumber plant (middle cage) is starting to take off. Only the pepper plant (far left cage) is taking its sweet time.

All the herbs in the pots are doing well, too. The rosemary and thyme are held over from last year, but we picked up some new Italian parsley and sweet basil.

Here’s what my yard around the patio looked like a month ago, too:

Yard.jpg

The stream, incidentally, starts in the little pool on the right, runs behind the red cowbells, and falls into the pond whose edge is on the left. The plants surrounding the head pool on the right got clobbered by our cold winter weather, but they’ve completely recovered by now – rather to my surprise, because they didn’t look good.

I need to clean up the patio, and then we can start having weekend breakfast out there, and I might start doing some writing outside in the evening when it gets a little warmer.

This Week’s Haul

Comic books I bought the week of 23 May 2007.

  • Countdown #49 of 52 (backwards), by Paul Dini, Tony Bedard, Carlos Magno & Jay Leisten (DC)
  • Wonder Woman #9, by Jodi Picoult, Terry Dodson & Rachel Dodson (DC)
  • newuniversal #6, by Warren Ellis & Salvador Larroca (Marvel)
  • Satan’s Sodomy Baby, by Eric Powell (Dark Horse)

Eric Powell writes and draws the comic book series The Goon, which is played partly for horror and partly for off-color laughs. The Goon is the leader/enforcer of a local mob, dispatching evil while running rotection rackets. Sort of like Hellboy through the crack’d mirror. No doubt about it: Powell is a terrific artist, with a top-notch sense of layout, form, motion, and execution. His writing, though, is very iffy: Sometimes he captures some real pathos, and other times he’s quite funny, usually when he’s being just plain silly. But his scripts are often pointlessly crude and/or gross, and the long-term stories seem not to be going anywhere, and I find a steady diet of the lightweight silliness gets tiring after a while.

So now we come to Satan’s Sodomy Baby, which is really just an especially gross issue of The Goon, with extreme violence, nudity, and a devil-child with a really big shlong. All of which, as you might guess, is… neither very funny nor very dramatic. And certainly not very clever. Why bother? (I wish I hadn’t bothered picking it up.)

Brian Hibbs is a little kinder to it than I am, but he’s not too fond of it, either.

A small week, otherwise. I am still enjoying newuniversal, perhaps more than I ought to, but every so often Ellis grooves a book right in my strike zone. I wish he’d get the last issue of Planetary out, though!

Alastair Reynolds: The Prefect

Review of the novel The Prefect, by Alastair Reynolds.

  • The Prefect

    • by Alastair Reynolds
    • HC, © 2007, 412 pp, Gollancz (U.K.), ISBN 0-575-07716-6
The_Prefect.jpg
The Prefect

I realized while reading this book something that sets Reynolds apart from his high-tech brethren in the SF field: Reynolds’ stories are essentially grim suspense/horror tales, and their basic pattern is one of setting up a milieu and hinting at a variety of outre people, places, events, or other horrors which populate it, and then setting the story in motion. Consequently, the reader spends much of his time waiting for another shoe to drop, and in true Charles Addams fashion, Reynolds’ stories are full of more shoes than you expect. And since he tends to “play fair” with the reader, not pulling out some unlikely surprise at the last minute for sheer shock value, you know that the characters have a chance of getting through the novel, but they’re probably going to have to walk through hell to get there.

The Prefect is a prequel to the Revelation Space cycle of stories, occurring decades (maybe a couple of centuries) before the events which turned the planet of Yellowstone into the peculiar hell it was in those novels. Here, the Glitter Band is a ring of ten thousand space habitats orbiting Yellowstone, and Panoply is its law-enforcement branch, primarily tasked with guarding it from external threats to its existence (due to its uneasy symbiosis with the starfaring Ultras), and internal threats to its stability (people trying to subvert its democratic electoral system).

Tom Dreyfus is Panoply’s top Field Prefect, an exacting but fair and honest man who works some of the toughest jobs in the system. Eleven years ago, an AI named the Clockmaker threatened the survival of the Glitter Band. It was defeated, but Dreyfus’ wife died in the encounter, and he’s now fully committed to his job. His two partners have similar obstacles: Thalia Ng is the daughter of a man who was convicted of treason, while Sparver is a genetically-engineered pig, and thus the subject of much discrimination.

The book opens with Dreyfus’ team locking down a station which had illegally exploited a hole in the polling software, which Thalia is assigned to fix. While she is working on the fix, space station Ruskin-Sartorius is destroyed, and Dreyfus’ investigation suggests that an Ultra ship is to blame. The Ultras provide little insight into what happened, and Dreyfus’ only witnesses are three simulations of three members of the family from the station. With a little legwork, they track down communications with Ruskin-Sartorius to a remote asteroid and Dreyfus and Sparver go to check it out while Thalia goes to test her software fix on a few of the older stations.

All of this is the initial dance leading up to a powerful entity making a bid to take over the Glitter Band, and this is where Reynolds really exercises his suspense skills: Thalia gives us a short tour of the diversity of the stations in the Glitter Band while Dreyfus and Sparver engage in some forensic investigation. There’s no question that something big is around the corner, but the story still keeps moving forward even as the tension builds. The story is a series of puzzles for Dreyfus and the other characters, as they need to figure out the goals and motivations of their adversary, as well as how to stop it as it makes its move on the stations in the Glitter Band.

The characters in The Prefect aren’t the strongest in Reynolds’ arsenal, and they definitely take a back seat to the plot. While Dreyfus and Thalia each have some painful history behind them, it’s only an influence on their behavior, not a strong underlying motivation. Dreyfus, as the title character, embodies the best of Panoply, its efficiency and compassion, and is forced to weather the storm of his less-incorruptible peers and superiors, but he never feels truly flawed, and so he fills the role of a fairly traditional detective. Still, the main characters are all entirely likeable and that helps make the book enjoyable.

For those who have read Reynolds’ earlier books, there’s irony in that we know that Dreyfus’ efforts to save the Glitter Band will eventually be undone by the Melding Plague, but we still root for him to save this jewel of human civilization. The story comes to a surprisingly rapid – yet satisfying – conclusion, and I wouldn’t mind reading more about the era of the Glitter Band, but ultimately I think I enjoy the more downbeat era after the Melding Plague more. Perhaps there’s a story which can bridge the two periods.

The Prefect falls somewhere in the middle of quality among Reynolds’ books, being a solid detective story with a variety of interesting ideas backing it, but it doesn’t excel in either concepts or characters like Chasm City or Pushing Ice do. But if you’re just looking for an exciting high-tech tale, then look no further.

More about The Prefect: