Culture vs Polity

The Hydrogen Sonata | Iain M Banks
Brass Man | Neal Asher
Hilldiggers | Neal Asher

It's kind of unfair to compare the Culture and the Polity, but perhaps it's also inevitable. In both, humans live in high-tech worlds, all over the galaxy, and AIs run the place, benignly, wisely, and almost omnipotently. So this review will read a bit like Alien vs Predator. (In more ways than one: fans of Alien movies didn't like AvP, fans of the Predator movies didn't like AvP, so I can assure you that both the Culture novels and the Polity novels are a sight better than this CvP review).

I've loved Iain M Banks' Culture since I first read Player of Games many decades ago. Since then, I've read most of the Culture books (there are still a couple more I haven't read, what a treat). My favourites in the Culture are Inversions, Against a Dark Background and the utterly awesome Matter.

A few years ago, I discovered Neal Asher's Polity, too, having read Gridlinked. Then a hiatus, after which I read The Technician. And then a really long gap before I devoured, one after the other, Brass Man (Ian Cormac is back! Yay!) and Hilldiggers (without Cormac or the Dragon).

First, The Hydrogen Sonata. In typical Banks style, we get to meet a protagonist, Vyr Cossont, who does truly weird things for definitely alien reasons (getting an extra pair of arms to play a hideously discordant and complex instrument created for a piece of music that is "definitively" reviewed as a "peerless challenge", but as a piece of music, "without merit"). She is part of a civilisation that is planning to Sublime (into matterless life in the great informational beyond), in less than a month. However, political and military shenanigans occur early in the book, and the whole process of Sublimation may or may not be derailed. Should it be derailed or not is a question that a motley group of ship AIs from the Culture grapple with.

So we have ship avatars, British humour, chases, a confused attack arbite (robot?) who sees the world as a cool simulation, the bewildered Cossont, an old human, people who are partying like crazy (Banks writes a great crazy party) and people willing to kill thousands to hide the guilty secret.

It's a great story, zipping along. But not as good as the other books I mentioned above. One of the lesser Banks' books. Which is still head and shoulders above most sci fi books. Of course, but naturally, it makes you think. And it makes you look up words like kakistocrat.

Brass Man brings back the broken golem, Mr Crane, last seen being vanquished by two Golems and its mind (in its crystal) being smashed to bits, after laying a path of blood and gore at the behest of that evil and obsessed terrorist Arian Pelter.

Except that Skellor, the even more evil human who used the scarily super high-tech alien Jain technology to try and take over Masada from both the Dragon and the Polity, is not, after all, dead. And he resurrects Mr Crane. Skellor is like a supervillain with almost no chinks in his capability. Even Jerusalem, a Polity AI as powerful as the super-potent Earth Central, is terrified of Jain tech. Mr Crane is as broken as ever. Both are going to Dragon (one of the four spheres, hiding undamaged on Cull, a world of pre-Polity humans) for more power, more evil, more mwahahaha. And against them we have Ian Cormac, a couple of golems, and a few humans who are now developing incurable cancers from the Jain tech, plus a ship AI called Jack Ketch. And a pre-Polity just-at-rifles-level human on a sandhog who is a Rondure Knight out to slay a dragon. All would be fine except for some traitors in the woodpile. The good guys have to really struggle, and frankly I wondered how they were going to win at all, even partially, till almost the last chapter.

Hilldigger is without Cormac, but has an Old Captain aka immortal from the planet Spatterjoy instead. He's the Polity envoy-cum-assessor to two colonised planets of pre-Polity humans who've been having a running space war for several centuries. One planet, the hotter one in the system, is home to the high-temperature-adapted Sudorians, who find 55C chilly, and bear an ancient grudge against the Brumallians, who live on the slower and cooler planet and have organic tech to save themselves from a chlorinated atmosphere. The war is won by the Sudorians, when they capture an alien/artifact called the Worm, imprison it, learn about U-space and other such. Immediately after this, the Polity comes offering tech and miracles, if only the Sudorians (and maybe the vanquished Brumallians, later) join up. Except that Fleet doesn't want peace. And four genius quad orphans are manipulating their way up into Sudorian society for reasons they themselves don't know. Our Envoy needs to ensure peace while being under constant attack from factions and also from a Spatterjoy pair of viruses fighting it out in his body, all while his invincible helping drone is half-destroyed.

Swashbuckling, breathless, wonderful space opera of the best quality. Inventive, full of tech and creatures from the highest and maddest level of creativity.

Except that asteroids are not so close that they keep banging into each other every few hours. I bet even Saturn's rings don't have that kind of hectic clashing of rocks, and they are a sight denser. Neal Asher, major fail, that.

And somehow, I always think of the vegetarian, non-violent and gentle Jains I know when I see the word Jain, and the cognitive dissonance is fierce.

Overall, I find Polity books more fun, perhaps because they are more human-centric while the Culture books are more AI-centric, though Matter will always be in my top 10 list. Culture books may be more authentic in their treatment of inscrutable AIs and regarding a post-scarcity future, but Polity books’ people are just more accessible and relatable.

Special effects get better as the Dragon hatches a cunning plot

Books | Neal Asher | The Technician

This is the second book by Neal Asher that I have read, and I am now a Fan. This book is somewhat spaced out in the series (I do hate missing intermediate books), and Dragon, the entity made up of four linked spheres each a kilometer across, has, somewhere in those missing books, managed to divide and fool. One of those spheres has crashlanded on the planet of action, and Dragon's creations, the dracomen, have set up home on the planet.

The Polity is likely to declare that the planet was previously occupied by a sentient species, making it off-limits to humans, so the humans there are understandably miffed and willing to create mayhem, separatism, and the like. Especially as they have only just come aboveground after being an Underground (as well as literally underground) opposed to the ruling theocracy. Which has been obliterated almost to a man. There is one man left of them, who has had his head eaten off (and spat back) by a giant creature known as The Technician. The Technician is an artist, who makes incomprehensible sculptures out of the bones of the gabbleducks, huge pyramidal animals that gabble nonsense that almost makes sense (but never does), and chase unwary humans. There is an amphidapt man (a frog man for us normal movie-watching humans) who hides from everyone, including, he hopes, the AIs in orbit, and whose life's mission is collecting every one of the Technician's sculptures, in order to make sense of them. When we are a few chapters in, we understand that if the Technician is really old, then humans have to clear out.

Or, wait, there is also an alien AI which has refused to communicate with humans or their AIs for decades upon decades. There are two human AIs, one of which is totally insane, and the other one probably is, for it has released the black (physically as well; perhaps Asher doesn't really care for metaphors) AI. Not really. The wicked part of it is sealed away (and leaks out somewhere in the second half of the book, ha ha).

Back up a bit. The reason Dragon crashed on the planet is that it sold its augments to the religious government, found them to be somewhat resistant, and in a tremendous set of double crosses, the theocracy used a Dragon supplied superweapon and Dragon destroyed them. Largely. The rest being taken care of by the Underground.

OK, at this point, I suggest you read the book for yourself. It is hugely complicated, there are giant wars run by AIs and fantastical future weapons. The Technician fulfils its destiny, as does the remaining theocrat, assorted Polity agents (not Ian Cormac, but good enough), dracomen, gabbleducks, and whole series of satisfyingly alien aliens. Yesss! Aliens more wacky than Larry Niven could come up with, and that is saying something.

Yes, there are truly villainous villains, and unlike, say George RR Martin stories, they do get their just desserts, and lots of people live happily ever after.

Fanlike drooling prevents me from typing further for fear of damaging my keyboard.

Ian and the Dragon

Science Fiction | Neal Asher | Gridlinked

Like I mentioned in the last post, this book had me helplessly glued to it, and this is when it was a re-read, and also I'd had no intentions of re-reading the whole thing when I innocently picked it off the shelf to read a few pages. And this is Neal Asher's first novel. Whuff.

Gridlinked is the story of the fabulous Ian Cormac, described at one point in the book as 'the invention of fabulists', an agent for Earth Security in a universe where people travel from planet to planet via runcibles (Asher's name for the instant-elsewhere device variously called a gate, portal, etc in other fiction of the ilk). People live lives of luxury, mostly, and the tech is way up in the realms of magic. The only thing you cannot carry through a runcible is a proscribed weapon. And yet, there are those who want to leave the Polity, and drag their planet away from it. Separatists, particularly nasty multiple murderers get Cormac's goat, and he's awfully good at getting them to justice.

Early in the story, Cormac blows his cover by being too cyborg-like as a result of 30 years of being fully gridlinked with the AIs that run the cities, the runcibles, and Earth Security. Horace Blegg, the near-mythical head of ES, a 400 year old survivor of Hiroshima, suggests that he should get off the grid and take on a new assignment, to find out what caused one of the runcibles to fail, converting an incoming human into a 30 megaton bomb.

In this book, you meet the villainous separatist, Arian Pelter, who is as vicious a psychopath as you will ever meet in fiction; his sidekick, John Stanton, a boosted mercenary who prides himself on leaving separatist cells before they go fully bad, and misses the signs this time; Mr Crane, the broken Golem run by Pelter, and other assorted human villains. You also meet the dracomen, who may be alive, or not, probably created by Dragon, a series of four kilometer-diameter spheres with a touchy personality and an inexhaustible supply of lies and indirection. On Cormac's side, there are a team of four Sparkind, two of which are Golems, another Golem, a runcible expert, and assorted AIs and soldiers. Not to forget, the not-paranoid-enough smuggler captain, catadapt women and ophiadapt men. The augmentations that people do are satisfyingly futuristic, the different planets reminiscent of science fiction book covers down the ages. The spacecraft are marvels, the cars fly on anti-gravity, weird killer bugs and robotic spiders populate the shade under strange trees, and the weaponry is enough to start a movie series in itself.

All this and evocative writing too. Neal Asher actually makes you like the James Bond-ish Ian Cormac, and some of the lines are real gems. Sample:

He stretched himself out and was wondering if he would get any sleep, when sleep crept up and got him instead.

A whodunit with plenty of twists and turns, and a surprise ending.

And now, I wonder if a writer has to be ruthless with the characters, not just in setting up challenges for them, but even unto knocking them off when least expected, to get that extra 'grittiness' into fiction. You cannot be empathetic with your characters and create dyed-in-the-wool villains unless you are either psychopathic or have a ruthless grip on your imagination. At one extreme is I-will-gross-you-out-if-I-can't-horrify-you Stephen King and George RR Martin, who is inventively torturous with his characters. Certainly, these writers understand their characters, but they don't care for them, or they would not kill them so gruesomely. The taste has bitter notes all along, and sometimes strongly in the aftertaste, too. Even the chocolate in these is bitter choc. On the other end, you have Anne McCaffery, Catrina Taylor and Gord McLeod, who care deeply for their characters, and shy away from the real gore. There are tragedies and triumphs, but the overall taste is sweet. The villains are misguided and can be brought around, the aliens are understandable, and all problems can be solved if we all pull together. I know which world I'd prefer to live in, all right! And who doesn't like cake?

Yet, once in a while, your reading will go for the stronger and less expected tastes. Gridlinked is salty, pungent, with a hint of sour and an early overlay of bitter. More like eating a large burger with chilli than a bowl of chips. Satisfying.

OK, now I need to get back to Children of the Sky. Only, I'm taking a short story diversion through Aberrations, edited by Jeremy Shipp. I'm three short stories in already, which is blazing fast for a book I only downloaded today. (Oh, did I mention it's free on Amazon today?) Read it yourself, so that you can take issue with me in a few days when I comment on it. Please. :)

Whatever happened to Sherkaner Underhill?

Science fiction | Vernor Vinge | A Fire Upon the Deep


I must confess, I was greatly excited to find that Vinge had written not one, but two, sequels to A Deepness in the Sky. I really wanted to know what happened to Sherkaner Underhill and the rest of the supersmart aliens who found humans cute.


Well, I never did. The sequel, A Fire Upon the Deep, takes on the iconic Pham Nuwen part 2. You know, I know, everyone who read the first book knows, that Pham Nuwen was a legend. A solver of impossible problems (not really, but it will be a spoiler for Deepness if I tell you more). He's back, after several thousand years of being left for dead.

But let's back up a bit. Fire begins with humans well settled in the outer reaches of the galaxy. For unspecified reasons, Vinge decided that going to the centre of the galaxy to find higher technical civilisations wouldn't work. As you get deeper in the gravity well, therefore, tech slows down, sapients become stupider, things go bad. As you move out, though, things speed up, magic becomes possible: antigravity, FTL travel, transcendent intelligences, the works. Every species' goal, then, is to investigate every possibility of becoming transcendent itself. With help and shortcuts from older transcendent Powers, if possible.

However, they know from the gww (galaxy wide web, ha ha, not that Vinge calls it anything but the Net of a Million Lies), that the process of waking up old archives is fraught with danger, and carefully locate High Lab far away from civilisation. Except they make the mistake of bringing their kids along.

Anyhow, low bandwidth communication between species (I suppose in the early days of the Net, a speed of several kbps was considered to be really cutting edge futuristic) tracks the progress of the new transcendent, which turns out to be an ancient evil that ensnares all the humans on High Lab, except the kids, which the Countermeasure helps two adults to save in coldsleep boxes, and transport at great risk to a world in the Slow Zone, where they hope to set up a signal and call for help.

But there are native intelligences on the planet, some things which are a bit like large, dog-sized long-necked ratlike creatures, which, we slowly realise, are made up of packs. Individuals have no intelligence; only a pack of several individuals is intelligent, but too many together, and the 'mind-noise' destroys intelligence again. Vinge is good at inventing aliens.

These critters are at a medieval history level, and some of them attack the ship, kill the adults and several children. 8 year old Jefri and his 13 year old sister Johanna, who dubs them Tines, become the surviving pawns in the low-level power play.

In the meantime, in the high-level power play, Ravna Bergnsdot, the lone human in the internet hub called Relay, is approached for help in understanding a human found in a really ancient dead ship, who is found to be revivable after all, and like no modern human. Pham Nuwen is back. Or is he? You know, I know, that Pham is real. But does Ravna, and more to the point, does Pham?

How the super evil, the Blight, then attacks, and how Pham and Ravna race to save the children as well as the galaxy, is the rest of the book. There are a few more aliens to meet on the way, don't worry.

Vinge specialises in the known evil plot and the unknown villain. You see this first in Grimm's World, the first part of which I read way back soon after it was first published (Eeee, I just dated myself!) and then again in Deepness, which was one suspenseful book, and you see it again in the maneouvering of the tines.

Now, I shall proceed with the third book in the series, which, as you already know, I made the mistake of reading 11 chapters of, before realising I was building up spoilers and reading out of sequence. Sigh.

No, actually, I will finish rereading Neal Asher's Gridlinked, which I stretched out a hand and picked up to read a couple of pages of, in a free moment, and which I then compulsively started from the beginning and am reading through to the end in a helpless fashion. Then I will get back to The Children of the Deep, which I left at another unexpected-villains-start-winning point, always a depressing stage in any book, and particularly with a master like Vinge. When I review Gridlinked, I will muse about ruthlessness in writers, and whether it is a good thing or not, with side comments on George RR Martin.

On the minus side, I never did get to know what happened to the inimitable Sherkaner Underhill and his lovely family. Wail.