Exploring ‘All That We See or Seem’: A Must-Read Cyberpunk Thriller for AI Enthusiasts

All That We See or Seem is set in a near future filled with personal AI

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everything we see and feel
Ken Liu, Head of Zeus (UK); Saga Press (USA)

Ken Liu’s newest novel, everything we see and feel, explores the enigmatic disappearance of a professional dream weaver named Ellie in a near-future setting, framed as a cyberpunk thriller.

Full disclosure: I typically don’t seek out thrillers or cyberpunk, so I might not be in the book’s target demographic. However, I was drawn to this story since Liu is renowned not only for his writing but also for his exceptional translation of works such as memories of earth’s past Trilogy by Liu Cixin.

In Liu’s portrayal of the near future, where personal AI is omnipresent, Ellie thrives as she employs AI to craft collaborative dream experiences for a legion of enthusiasts. To her, this work constitutes art, and she’s immensely proud of it.

Then, without forewarning, Ellie awakens one night and leaves her beloved husband. She vanishes, only to be claimed by a gang that asserts they are holding her captive. Did Ellie uncover something perilous during a dream session that jeopardized her safety? Could it be that the gang is simply manipulating AI to fabricate a deepfake of her?


Ellie utilizes personal AI to orchestrate a communal dream experience for thousands of devoted followers.

Ellie’s husband Piers, a mild-mannered lawyer with hidden depths, is resolved to win her back. He seeks assistance from a once-renowned hacker known as Julia Z, convinced that Ellie wouldn’t have merely vanished without a word, unless it was to safeguard him.

Together they embark on a quest as Julia and Piers attempt to uncover the truth surrounding the missing Dreamweaver. Meanwhile, various antagonists threaten their safety. While the adventure unfolds, much of the action revolves around detailed portrayals of online activities. I must say, the sequence in which Julia and her AI helper decode the clues about Ellie’s fate is genuinely thrilling.

Julia’s intricate online operations are vividly envisioned, providing a realistic glimpse into how AI might be utilized in the not-so-distant future. I particularly enjoyed how she cleverly employs minor environmental details to solve puzzles or conceal her movements.

The biography accompanying my edition of the novel notes Liu as a consultant on futurism and technology, and his expertise clearly shines through in these sections. Anyone deeply invested in AI will likely appreciate this book.

However, personally, everything we see and feel didn’t resonate with me as I had hoped. The thriller elements lacked the expected excitement; the criminals often felt overly cartoonish. Furthermore, the offline portions of the plot came off as implausible, particularly in the lengthy conclusion.

There may also be an underlying challenge in setting a book so close to present events, making it difficult for general readers to discern what is feasible now. Constantly wondering, “Is this even possible?” can dim the enjoyment of speculative fiction. This might just be my perspective.

Nonetheless, regarding dandelion dynasty, let’s not overlook Liu’s considerable talent. I eagerly anticipate what he will produce next.

I also recommend Emily…

enemy of the state
Directed by Tony Scott

The connection may be tenuous, but reading Ken Liu’s book reminded me of this exceptional 1998 film featuring Gene Hackman and Will Smith. It was remarkably prescient in its portrayal of technology-driven surveillance methods, and I found it thoroughly enjoyable.

Emily H. Wilson is a former editor of New Scientist magazine and the author of the Sumerian trilogy set in ancient Mesopotamia. The latest entry in the series, Ninshubar, has been published. You can find her at emilywilson.com or follow her on X @emilyhwilson and Instagram @emilyhwilson1

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Source: www.newscientist.com

Basilisk Review: A Bold, Experimental Thriller That Thrills Puzzle Enthusiasts

Can Powerful Ideas Cause Physical Harm Through Exposure?

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Basilisk
Matt Wixey (Titan Books, July 1)

I’m manipulating your thoughts. Just by reading this, I have invaded your mind, as each word travels from my heart to yours. I can even conjure unexpected images in your mind—quickly, don’t think of a pink elephant! Whatever you do, don’t visualize it!

Fortunately, there are limits to the influence of mere words and ideas. But what if those limits could be transcended? Imagine a phrase so potent that it could guide your very thoughts toward your own demise. This is the premise explored in Basilisk, an experimental thriller by Matt Wixey, designed specifically for the minds of readers like those of New Scientist.

This novel features a complex narrative structure, reminiscent of House of Leaves by Mark Z. Danielewski. It follows ethical hacker Alex Webster, who works with a computer security firm, attempting to breach her client’s network while aiding in their defense, a professional endeavor shared by debut author Wixey.

However, it’s not merely straightforward. Webster narrates her experiences through two intertwined threads. First, we unravel how she and colleague Jay Morton stumbled into the puzzle leading to his death. Then, she reflects on that tragedy and processes its far-reaching consequences.

The narrative doesn’t end there. Webster’s accounts are supplemented with footnotes from both her and the detective investigating Morton’s death, interspersed with correspondence from a mysterious figure known as Helmsman, who sheds light on the puzzle they aim to solve.

This book feels tailor-made for my brain—that of a New Scientist reader.

If all this sounds overwhelming, Basilisk may not be for you. Personally, piecing together the multifaceted narratives exhilarated me, making my mind race with possibilities.

Helmsman’s correspondences themselves adopt various formats, from bureaucratic emails and scientific reports to conversational dialogues. They tackle numerous topics typically found in New Scientist, covering psychology to artificial intelligence, and I appreciated the precise references to scientific literature. Helmsman details attempts to cultivate a “basilisk,” a concept that can inflict harm merely through exposure, named after the mythical creature said to slay with a glance.

Matt Wixey’s Basilisk centers on “Ethical Hacker” Alex Webster

Basilisks are, as far as we know, fictional, yet the concepts they embody are increasingly compelling. Science fiction author David Langford has explored such ideas in his short stories. Basilisk presents the notion of images that may ‘crash’ the human mind akin to deceptive computer code.

A notable example is Roko’s basilisk—a baffling proposition suggesting that all-powerful future AI will punish those who fail to ensure its creation (a more thorough explanation isn’t wise). The latest series of the anthology Black Mirror also references this concept.

Basilisk represents a subset of broader cognitive hazards, which span topics from nuclear weapons to organized religions.

While reading Basilisk, sleepless nights drove me to read yet another chapter, prompting me to question if the book itself qualifies as a cognitive hazard. I found it difficult to stop thinking about even after finishing. Now that you’ve read this review, perhaps you’re at risk, too.

Please proceed. Dive into the book. Wouldn’t you want to discover what unfolds?

The Art and Science Behind Writing Science Fiction

Embark on a journey into the realm of science fiction writing this weekend, dedicated to creating new worlds and artistic marvels.

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Source: www.newscientist.com

Ministry Time Review: An Amazing Time Travel Novel Blending Thriller and Romance

John Franklin’s Fateful Ship Erebus: A 19th Century Painting, Confined to Ice

Pictorial Press Ltd/Alamy

Time Saving
Kaliane Bradley (scepter (UK); A Dedicated Leader Press (US)

Reading various novels for work can sometimes be challenging, especially when you want to find something captivating. However, Time Saving by Kaliane Bradley instantly drew me in with its engaging prologue. It was a brief glimpse into the life of a man sprinting through the snow, hearing his ship signal him. This offered plenty of intrigue for what was to come.

This month’s selection for the New Scientist Book Club has been a resounding success since its release last year. The narrative follows a young civil servant who unexpectedly applies for a mysterious position involving time travel, a concept kept under wraps, allowing individuals from the past to journey to the present.

These “visitors” require support, which is where our unnamed heroine comes in as a caretaker, dubbed a “bridge.” She is assigned to Commander Graham Gore, living with him and assisting him in adjusting to modern life.

New Scientist Book Club

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This is not solely a narrative about time travel; it meticulously explores whether the government would permit time travelers to integrate into society alongside civil servants. The novel confidently posits that, for this reader, it could have crafted Sally without delving into excessive particulars.

One of the intriguing aspects of the story is that Gore is rooted in reality, having been a genuine figure that many remain unaware of. He was the first officer of John Franklin’s ill-fated expedition to the Arctic and met his demise around 1847 or 1848. While the specifics of his final hours remain uncertain, the novel takes a creative approach by transporting him to contemporary London just before his death.

Modern London is full of men from the lost world. But Gore is a resilient and capable officer.

Bradley’s depiction of Gore exemplifies the art of storytelling. She brings him to life with such precision that he appears as a tangible, charismatic individual—rarely do we encounter characters so vividly portrayed in literature.

The vibrant interaction between our young bureaucrat and this spirited officer of the Colonial Royal Navy unfolds within the context of a future version of London, where many individuals from the past now inhabit. Once again, Gore’s resilience shines, highlighting that he is adaptable, making for the most enjoyable segments of the narrative where they learn from one another.

The plot transitions from romance to thriller, composing about 40% sci-fi, 40% romantic comedy, and 20% thriller. I found the initial segment significantly more engaging, though I questioned whether the thriller conclusion would hold up. However, this does not overshadow the fact that the book offers a delightful reading experience, perfect for those looking for fun.

At the conclusion of the novel, Bradley includes a photograph of Gore. Having grown fond of his fictional counterpart, it was a poignant moment to connect with the real historical figure. According to Bradley’s PostScript, he was regarded as “a remarkably fine officer with a kind temperament.”

This beloved, memorable officer represents a captivating twist in history that deserves a place in a bestselling novel nearly two centuries later. Bradley has undoubtedly fashioned a most endearing hero.

New Scientist Book Club
Time Saving is our latest selection. Sign up here: NewsCientist.com/bookclub

I recommend Emily as well…

The Persian Boy
Maryle Noh (Virago Modern Classics)

While this is not science fiction, it resurrects another historical character—Alexander the Great—through the perspective of Bagoa, a young Persian boy in bondage. For me, this book, along with its precursor, provides all I need to know about Alexander.

Emily H. Wilson is the former editor of New Scientist and the author of the Sumerian trilogy set in ancient Mesopotamia. The series’ final installment, Ninshuval, will be released in August. Connect with her at emilyhwilson.com or follow her on X @emilyhwilson and Instagram @emilyhwilson1

The Arts and Science of Writing Science Fiction

Dive into the realm of science fiction and learn how to craft your own captivating stories in this immersive weekend getaway.

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Source: www.newscientist.com

Review: Lost Records: Bloom & Rage (Tape One) Takes Us Back to the Summer of Riot Grrl in a Clever Teen Thriller

tYears ago, Parisian studios did not effectively create a new subgenre of narrative adventures, with teenage mystery life is strange. Part thriller, some relationship drama, it created an emotional Paean with unwavering friendship, using music, art and friendly characters. After a series of sequels, Nod's Montreal Studios created a new story about teenage relationships, split into two episodes or tapes.

In 1995, the introverted teen Swan faces his last quiet summer in a rural Velvet, Michigan town before his family moved to Vancouver. However, in the parking lot of a local video store, she meets fellow 16-year-old Nora, Autumn, and Kat, and the four girls bond about boredom and frustration with small town life. Soon they are inseparable, hiking in the nearby forest, setting camp fire, and confessing their secrets. Here they form the Bloom & Rage of the riot grrrl band, leading their dreams, desires and fear into fantasies of fame and revenge against silly boys and oppressive parents. However, when their swirling emotions seem to awaken a supernatural being in the forest, something terrible happens and the girls swear each other to the secrets of their lives.




A quiet summer, and… Lost record: Bloom & Rage. Photo: Don't nod

Twenty-seven years later, the group meets again in a rough bar on the outskirts of the town, which holds a special connection to their stories. Fall received an ominous package addressed to their band. Anything in the box could be the horrifying result of that tumultuous summer.

In the typical style of Not Nod, the game captivates interactive scenes and cinematic sequences, controlling the conversation that subtly shapes your relationships and story direction. The story interacts between two timelines that remind you of 2022 and two pivotal summers together in 1995. Sometimes the decision you make at the bar as 43-year-old Swann is renovated into her youthful experience, creating a fascinating ambiguity of causality and memory.




As with how we edit memories, just as it actually happens… Lost Records: Bloom & Rage. Photo: Don't nod

Certainly, this game is about how we create and edit memories, just as we do what actually happens to girls. Swann is an avid filmmaker, and 1990s video cameras are with you throughout the game. You can always press the appropriate trigger and see the world through the camcorder lens. In the main story, we use it to shoot a band's music video, but you can record it at any time. This feature is incentivized by a bunch of theme checklists. Record 10 different birds, or 5 ruined playground rides, or graffiti snatches. But you can also capture your own scenes from and around town, record friends casually, and build sequences of themes that can be stored and edited. The interface recalls games like No Man's Sky and Marvel's Spider-Man, where shooting objects are practical gameplay components, but here the camcorder is also a factor of recollection and nostalgia. At the same time, we ask an interesting question about how the role of a player, both as a gamer and a cinematographer, relates to the protagonist, which we embodies in the game.

It's not the only clever trick the game plays in formats and conventions. For example, the dialogue system is specially designed to capture the dynamic energy and chaos of excitatory groups. Options and responses vary depending on who you are watching while you are speaking, characters screaming at each other and comments are lost in the noise. Sometimes you can time out the options in the dialog and choose not to say anything. In some great moments, this mechanic captures the desperate improvisational nature of a teen relationship, moments of wobbling or fleeting eye contact with one comment all day long.

You may find the dialogue to be robust and overly listened, and the sense of authenticity is increased. Those who have played Life Is Strange also see many similarities with the game, especially between Swann and Max Caulfield.

But like its predecessor, Lost Records stunningly captures the way in which seemingly insignificant moments are billed in meaning in younger adults. There's a picnic by the lake, then there's a game of truth or a crackle with absolute strength. The 90s setting is well supported with support with spot-on-contemporary references, from grunge band mixtapes to video players and trawldolls.

In the background, there is subtly a hint of the mystery at the heart of the game, and there is much to expect from the second part. Mainly, it's the character and its vulnerable relationship that sticks to you. Three days after finishing the game, I'm still thinking about them. Unless you simply refuse to indulge in emotional young adult drama, you will be there too.

Lost Records: Bloom & Rage (Tape 1), now out. £59.99

Source: www.theguardian.com

Review: Grunn – A Unique Blend of Gardening Sim and Survival Horror Thriller Game

ILooks like it’s going to be a fun vacation. A week spent tending to the absentee landlord’s garden in a remote village in the Netherlands. Birds chirping in the trees, a picturesque church just across the path. But there’s something wrong with designer Tom van den Boogaart’s surreal and quietly creepy puzzle game. All the tools are missing and the villagers are strange and have been warned not to go out at night. Additionally, the sky is a hallucinogenic red and orange haze, and you can sometimes see someone watching you from behind a door or through a window. What the heck is going on?

Grunn is somehow part gardening sim, part point-and-click adventure, and part survival horror thriller. Once you’ve found your scissors and trowel, you can spend your time sorting hedges and digging up molehills, but you can also explore small hamlets and their lonely haunted places. You can often find discarded Polaroid photos that provide photo clues as to where the next tool is. You may find tools and puzzle items. There is a day/night cycle in the background, and as you venture out into the darkness, strange glitches and ghostly beings can be glimpsed at the edge of your vision. As you explore, you will have to fight against dangers that can cost you your life. Then I start all over again, relying only on my memories and photos.

As a result, you feel like you’re trapped inside an Alejandro Jodorowsky movie. Ominous and strange, yet beautiful and compelling. Everywhere you look, there are eerie images, from skeletons lying on riverbanks to strange children sitting alone in bus stops and ferry cafeterias. The puzzles are clever and challenging, and the blocky, discordant visuals make the entire environment feel like the uncanny valley of the mind. If you’re looking for a completely different kind of challenge in a decidedly unnatural open world, Grunn offers more than the gentle rural idyll it was initially promised.

Grunn is available now on PC (priced at £12)

Source: www.theguardian.com