Needing a down weekend, the spouse and I settled in to watch TV, and discovered that Starz' series, Counterpart - spoiler warning, is one of the better series we've seen in quite a while, let alone among science fiction stories. Though The Expanse wins for sheer SFX pyrotechnics and breadth of technical scope, it's wonderful to sit in for a deep, thoughtful drama like Counterpart. The series focuses on character, story, world-building, plausible plotting, and avoidance of the usual alternate universe cliches. Counterpart is a genuine Cold War Noir spy thriller which happens to occur in a science-fictional setting, and the writers have managed to avoid or refresh the tropes of both genres in ways that ask interesting philosophical questions. It's quiet, slow, and meticulous in a way that most current television writing seems to have abandoned. There's tense action, but no primary colored-supersuits, no scary aliens, no gaudy laser beams, just... a split of history that leaves two distorted mirrors, reflecting each other.

J.K. Simmons' performances in the roles of Howard (Prime) and Howard (Alpha) are mesmerizing in a way that outmatches Tatiana Mazlany's Orphan Black characters. There's a slow unveiling of the respective parallel worlds' history, with continuing evolution and interplay of characters and relationships, which brings to mind the best of series like The Wire or The Americans.

To the extent that Counterpart borrows from literary canon, the most significant underlying influences are John LeCarre's find-the-mole games in the Smiley series, China Mieville's The City and the City, and Philip K. Dick (particularly, The Adjustment Team).

The really guilty pleasure, and the lightweight pressure relief from the grimdark of Peaky Blinders or Counterpart, was a spit-and-giggles Canadian production called Letterkenny. I didn't have high hopes, but the 22-minute episodes are exactly what my brain needed to get over the daily doses of blah.

The opening credits of each episode refer to the fictional rural Ontario town of Letterkenny as follows:

There are 5,000 people in Letterkenny. These are their problems.

The plots are barely coat-hangers, with most of the comic tension spent on interactions among the Hicks (farm people), Skids (creative-but-disaffected Internet subculture wannabes), hockey players and Christians - a/k/a small-town tribes recognizable anywhere in North America. The portrayals are caricaturized enough to be both humorously offensive and humorously sympathetic simultaneously. [Could be some toxic racial/gender meta, but mostly, the treatment of women and minorities is in keeping with the setting.]

The banter, and the utter Spock-like deadpan of Wayne (the toughest guy in Letterkenny)'s Hick character are the stars of the show. Some people have complained that the rapid-fire use of heavy dialect in the dialogue is impenetrable; that actually helps with comic timing. When your brain catches up to what was actually said, it's like receiving a two-by-four between the eyes of funny. I've got a bit of home-team advantage in the midwestern North American dialects area, and usually get it on the first run, but it's good enough to re-watch happily if the spouse needs a do-over. Transcripts are available, but watch the show before looking.

We now have a new battery of in-jokes and gag lines to add to our secret spousal language - "Hard no.", "That's what I appreciates about ya", "...and he was never the same after that."

There's really nothing quite like Letterkenny, and it's exactly smart/dumb enough to make fantastic comedy. Two seven-episode seasons are currently available on Hulu.

I saw this movie last week, so I thought I'll share some thoughts on it.

First off, spoilers! Be warned.

I start of by saying, I'm not really a romcom fan in general, and wasn't specifically into watching this movie because it was an all Asian cast. I grew up watching Chinese dramas (HK, mainland and from Taiwan), and so many of them are romantic comedies. So, though I love the idea of Hollywood taking on more diverse stories, movies like "Crazy Rich Asians" already exist.

Having said all that, I honestly loved the movie! And I believe one of the major reasons why is the depiction of different Asians, specifically Asian-Americans (or as we're referred to in Chinese, foreign-Chinese or overseas-Chinese).

...unrelated to the movie itself, but a little background if anyone's interested...
I'm a Canadian-born Chinese and grew up when people thought all Chinese people lived in Chinatown. I literally had teachers confirm with my parents that the address I gave was correct and that it was in fact not in Chinatown. I was automatically placed in ESL classes, though English is my first language. So, little bit of an outsider in the country I was born in. When I visit family and friends in Hong Kong though, I'm the white girl. Literally everything I do is a novelty. I can write my own name in Chinese, I recognize famous Chinese songs (like Beatles level famous), or I can order my own breakfast (a bun with coffee).

So back to the movie. In Crazy Rich Asians, in Rachel, I feel they captured this really well. If this movie was less Asian centric, I feel "Asia" would have been overly exotic, instead of gross wealth being exotic. If this movie were made in HK or China, I feel, Rachel would have been portrayed as far more foreign and her "Banana" qualities exaggerated.

I also really appreciated that a lot of jokes, and moments, especially the MaJong scene weren't explained. The jokes were so funny, especially the lucky red colour. I haven't laughed out loud in a theater for a while.

This post is already getting sort of long, so I might do another one on the strong women in the movie, which I believe they were really well done too. Rachel was amazing!

Who else has seen this? What are your thoughts?

Edit: I added a spoiler tag, but guess I really didn't. Still leaving it in, in case comments contain them.

Finished this last night. It's been so long since I read any Bradbury for the first time. His style shows some age, but he's a really poetic and visionary writer.

Published in 1953, this tale is a battle between visual media and books, but taking the form of the fleeting versus the permanent, the here and now versus history, pop culture versus capital C Culture.

In a way, its datedness is a strength, because of so much of Bradbury's prophetic vision and because of the way his 1950's idea of dystopia contrasts with the more numerous recent ideas.

If there was ever an object lesson about filter bubbles, Farenheit 451 is it: recent enough to be relatable and distant enough to be outside our current filters. Readers should take note of this when relating and evaluating fiction and any work that lies outside their personal space. A valuable lesson in itself.

So often we're totally unaware of the walls we create for ourselves, our comfort zone. It's precisely because they provide comfort that we tend to stay within them.

And of course, Bradbury's whole novel is both about this issue and again a reference object for it.

So this is something I've been thinking about doing for the last couple weeks, but I've been super busy working on a project and haven't had too much time, and I didn't want to start something if I couldn't commit to it. Now that my project is almost finished I've got more time to both watch movies and talk about them with random internet strangers, which is why I'm here now asking about a weekly movie review thread.

I watch maybe two or three films a week, but often struggle to find anything worth watching. And so for all of you out there with the same problem, I'd like to start a discussion thread where users post a movie review on one film they've watched recently and children comments are free to discuss the review, the movie, or just ask questions in general about the movie.

Here are some questions I have about how this would function, and I'd like your opinion on them.

Is this something that users here actually want?
Like I said earlier, I feel like this could be a helpful tool for people wanting to watch a few things but not knowing what to watch, but there are plenty of reviews and things like that out there, and this might not be something that users here want.

What should be included in the review?
To me what immediately comes to mind is a very imdb style review (with no spoilers) that comments on directing, acting, set, camera angles, etc. Maybe giving it a rating out of 10? How long should it be? I don't read a whole out of reviews though so I'm not 100% sure the best way to go about this.

How often should we have a discussion thread?
I'm thinking a weekly thread would be nice, probably on Monday for two reasons. First, it allows anybody who's busy over the week day but has some time off on the weekend for films and writing reviews to write one, and secondly, it means we can call it Movie Monday, which sounds better then Movie Tuesday :p

Any other questions or things that need to be discussed for this to work well?

I'm re-reading through some investment books right now and thought I'd throw one them out here with my thoughts and questions.

Investing and the Irrational Mind: Rethink Risk, Outwit Optimism, and Seize Opportunities Others Miss

by Robert Koppel

The title of this one intrigued me. Author Robert Koppel is a former investor/trader on the Chicago Mercantile Exchange. He covers a lot of research on what psychologists have discovered about biases and irrational thinking, particularly as it relates to investing and trading. He's also interviewed many other investors and offers his own observations from extensive experience.

He goes back and forth between having and investment plan and using intuition, which as it turns out are both tactics investors have used. I think the valuable part of this book is the way he ties in research by Nobel Prize winner Daniel Kahneman and others on biases to what happens when we make good and not so good decisions in finance. An example of one of those common pitfalls:

We also experience a reflection effect whereby individuals make irrational choices to enter or exit an investment based on a subjective reference point determined by whether they have already experienced a gain or a loss. An example of this would be someone waiting for a “breakeven” price before exiting from an investment that is performing poorly rather than looking at the market objectively, without reference to the purchase price.

The book isn't so much an investment strategy but rather a good overview of what's involved in the process. As someone who has handled his own investments for years, I found that Koppel's book is realistic and practical, especially for those of us who've had to make those hard decisions on buying and selling, either for the long term or short term.

My own particular problem is watching things too closely and losing a sense of longer term movement. Investing And The Irrational Mind is a great tool for giving me pause and reflecting on the mistakes I've fallen into over the years.

Even as basic a rule as "cut your losses short" is hard to follow and really give me pause to think about issues I've held onto for too long as well as others that went on to go up and away. I've love to hear your thoughts.

write something cool this week?

want to freestyle into the comments and see what you make?

this is your place to share something you wrote that youre proud of.

doesnt have to be a specific style or length, its just gotta be yours.

Masala chai (commonly and somewhat falsley abbreviated to just “chai”) literally means “spice mix tea” – and this is what this review is about. I got myself a selection of Vahdam’s masala chais and kept notes of each one I tried. Some came in the Chai Tea Sampler and others I either already bought before or were a free sample that came with some other order.

Classical CTC BOP

CTC BOP is usually cheaper than more delicately processed whole leaves. Although the common perception is that it is of lower quality than e.g. FTGFOP or even just FOP or OP for that matter, the fact is that they simply a different method with a different outcome. You can get away with breaking cheaper leaves, though, than whole.

Also bare in mind that while BOP is the most common broken leaf grade, there are several more.

It makes for a stronger brew and a more robust flavour– ideal for breakfast teas. The down-side is that it can coat your tongue. But if you want to recycle it, the second steep will be much lighter.

Original Chai Spiced Black Tea Masala Chai

The quintessential masala chai – the strength of the CTC BOP, paired with the classic mix of spices. A great daily driver and a true classic, but for my personal taste a tiny bit too light on the spice.

Ingredients: CTC BOP black tea, cardamom, clove, cinnamon, black pepper

Double Spice Masala Chai Spiced Black Tea

Same as India’s Original Masala Chai above, but with a bigger amount of spice. Of the two I definitely prefer this one.

Ingredients: CTC BOP black tea, cardamom, clove, cinnamon, black pepper

Fennel Spice Masala Chai Spiced Black Tea

Due to the fennel, the overall taste reminds me a lot of Slovenian cinnamon-honey cookies[^medenjaki], which we traditionally bake for Christmas. The odd bit is the cookies do not include the fennel at all, but most of the other spices in a classic masala chai (minus pepper). I suppose the fennel sways it a bit to the sweet honey-like side.

In short, I really liked the fennel variation – could become firm winter favourite of mine.

Ingredients: CTC BOP black tea, fennel, cardamom, clove, cinnamon, black pepper

[^medenjaki]: The Slovenian name is “medenjaki” and the closest thing the English cuisine has to offer is probably gingerbread.

Saffron Premium Masala Chai Spiced Black Tea

When I saw the package I thought that saffron was more of a marketing gimmick and I would only find a strand or two in the whole 10g package. But no! The saffron’s pungence punches you in the face – in a good way. It felt somewhat weird to put sugar and milk into it, so strong is the aroma.

Personally, I really like it and it does present an interesting savoury twist. It is a taste that some might love and others might hate though.

Ingredients: CTC BOP black tea, cardamom, cinnamon, clove, saffron, almonds

Earl Grey Masala Chai Spiced Black Tea

I am (almost) always game for a nice spin on an Earl Grey. In this case, the standard masala complements the bergamot surprisingly well and in a way where none of the two particularly stand out too much.

The combination works so well that it would feel wrong to call it a spiced-up Earl Grey or a earl-grey’d masala chai. It is a pleasantly lightly spiced, somewhat citrusy and fresh blend that goes well with or without milk.

Ingredients: CTC BOP black tea, bergamot, cardamom, cinnamon, clove, black pepper

Cardamom Chai Masala Chai Spiced Black Tea

Now, this one is interesting because it only has two ingredients – black tea and cardamom. While not as complex in aroma as most others, it is interesting how much freshness and sweetness a quality cardamom pod can carry.

I found it equally enjoyable with milk and sugar or without any of the two.

Ingredients: CTC BOP Assam black tea, cardamom

Sweet Cinnamon Massala Chai Black Tea

Similar to their Cardamom Chai, it is a masala chai with very few ingredients. The cinnamon and cardamom get allong very well and while it lacks the complexity of a full masala/spice mix, it is a very enjoyable blend.

Recommended especially if you like your masala chai not too spicy, but sweet.

Ingredients: CTC BOP Assam black tea, cardamom, cinnamon

Ortodox black

What is described with “orthodox” usually means a whole leaf grade, starting with OP. These are much weaker than CTC, but therefore bring out the more delicate flavours. It is a bigger challenge therefore to make sure spices do not push the flavour of the tea too much into the back-seat.

Because the leaves are whole, as a rule you can get more steeps out of them than of broken leaves.

Assam Spice Masala Chai Spiced Black Tea

The more refined spin on the classic masala chai – with whole leaves of a quality Assam, it brings a smoothness and mellowness that the CTC cannot achieve. Because of that the spices are a bit more pronounced, which in my opinion is not bad at all. The quality of the leaf also results in a much better second steep compared to the CTC.

Most definitely a favourite for me.

Ingredients: FTGFOP1 Assam black tea, cardamom, cinnamon, clove, black pepper

Tulsi Basil Organic Masala Chai Spiced Black Tea

I have not had the pleasure of trying tulsi[^basil] and regarding masala chais, this is a very peculiar blend. The taste of the Assam is quite well hidden behind the huge bunch of herbs. In fact, for some reason it reminds me more of the Slovenian Mountain Tea than of of a masala chai.

In the end, the combination is quite pleasant and uplifting.

What I found fascinating is that it tastes very similar both with milk and sugar, and without any of the two.

Ingredients: organic Assam black tea, tulsi basil, cinnamon, ginger, clove, cardamom, black pepper, long pepper, bay leaves, nutmeg

[^basil]: For more about tulsi – or holy basil, as they call it in some places – see its Wikipedia entry.

Darjeeling Spice Masala Chai Spiced Black Tea

As expected, the Darjeeling version is much lighter and works well also without milk, or even sugar. Still, a tiny cloud of milk does give it that extra smoothness and mellowness. It is not over-spiced, and the balance is quite well. The taste of cloves (and perhaps pepper) are just slightly more pronounced, but as a change that is quite fun. It goes very well with the muscatel of the Darjeeling.

Ingredients: SFTGFOP1 Darjeeling black tea, cardamom, cinnamon, clove, black pepper

Oolong

Maharani Chai Spiced Oolong Tea

Despite the fancy abbreviation, IMHO the oolong tea itself in this blend is not one you would pay high prices as a stand-alone tea. Still, I found the combination interesting. If nothing else, it is interesting to have a masala chai that can be drank just as well without milk and sugar as with them.

Personally, I found the spice a bit to strong in this blend for the subtle tea it was combined with. I actually found the second steep much more enjoyable.

Ingredients: SFTGFOP1 Oolong tea, cardamom, cinnamon, clove, black pepper

Green

Kashmiri Kahwa Masala Chai Spiced Green Tea

A very enjoyable and refreshing blend, which I enjoyed without milk or sugar. The saffron is not as heavy as in the Saffron Premium Masala Chai, but goes really well with the almonds and the rest of the spices.

When I first heard of Kashmiri Kahwa, I saw a recipe that included rose buds, so in the future I might try adding a few.

Ingredients: FTGFOP1 green tea, cardamom, cinnamon, saffron, almonds

Green Tea Chai

As is to be expected, the green variety of the Darjeeling masala chai is even lighter than its black Darjeeling counterpart. The spice is well-balanced, with cinnamon and cloves perhaps being just a bit more accentuated. This effect is increased when adding milk.

It goes pretty well without milk or sugar and can be steeped multiple times. Adding either or both works fine as well though.

Quite an enjoyable tea, but personally, in this direction, I prefer either the Kashmiri Kahwa or the “normal” Darjeeling Spice masala chais.

Ingredients: FTGFOP1 darjeeling green tea, cardamom, cinnamon, clove, black pepper

Glossary:

• BOP]: Broken Orange Pekoe
• FOP: Flowery Orange Pekoe
• OP: Orange Pekoe
• CTC: Crush, Tear, Curl
• FTGFOP: Finest Tippy Golder Flowery Orange Pekoe
• FTGFOP1: Finest Tippy Golder Flowery Orange Pekoe (1st grade)
• SFTGFOP1: Superior Finest Tippy Golder Flowery Orange Pekoe (1st grade)

Irrational Exuberance is a seminal work on market valuations.

First published in March 2000, it compared the US stock market valuations to historical market valuations using both the tradition price earnings (PE) metric as well as a cyclically adjusted price earnings (CAPE) measure. The conclusion was the US stock market was overvalued compared to earnings.

A few months later, the dot com market crashed.

Revised in 2005, it compared US housing prices to historical prices using Shillers' own inflation adjustments as well as by comparing housing prices to housing rents. The conclusion was the US housing market was overvalued compared to historical inflation adjusted prices and compared to current rents.

A few years later, the US housing market crashed.

Revised a third time in 2015, it concluded that bond yields were globally unattractive, the stock market was overheated, the global housing market was frothy, and only the US housing market seemed reasonably priced.

The penny has not yet dropped, but that doesn't stop the media trotting out Shiller whenever the market drops a few percentage points.

This book has created the Case-Shiller housing index, and has generated substantial debate about the usefulness of CAPE vs PE.

write something cool this week?

want to freestyle into the comments and see what you make?

this is your place to share something you wrote that youre proud of.

doesnt have to be a specific style or length, its just gotta be yours.

Boy howdy. This movie.

I like dinosaurs. A lot. Jurassic Park is probably my favorite movie of all time. So whenever a movie that focuses on dinosaurs comes around, I'll give it a look. I was stocked that the Jurassic franchise was coming back in 2015, and I went on my first date with my girlfriend to see it. So while it wasn't the best movie of all time, it holds a special place in my heart.

That being said, this movie kinda sucks. I managed to find a copy online to check it out, because I was worried about the quality and I don't have money to spend willy nilly, so I figured if I liked what I saw I'd just pay money to see it in a theater later. However, after watching it I can say that unless my girlfriend really wants to see this movie, I don't think I'll fork over the cash to watch it in a theater.

There are good bits to this movie, so I'll start there.

• The dinosaurs look fucking fantastic. Even though I was watching a shitty cam of the movie, I could see the quality, time, and love that went into each creature in this movie and the CGI meshed nearly perfectly with the animatronics that at times it was difficult to tell when one ended and the other began. They are the best they've ever looked.

• The Indoraptor, despite it's stupid name, is fucking cool. It was intimidating and scary, with a solid visual design. It stalked through the third act of the movie with malice and menace.

• Christ Pratt Christ Pratt's his way through this movie. Tons of charm as usual, though even he can't save this train wreck.

• There were a few beautiful shots and fun set pieces, with one shot in particular actually making me a little emotional. You'll know it when you see it.

• Several fun homages to the first film. Nothing special, but the way some parts were shot and framed had me going, "Oh, it was just like that in the first one!"

Now on to the bad:

• This movie has no sense of what it wants to be. Each of the three acts seem to come from entirely different movie ideas. It goes from serious to lighthearted to shockingly dark at the drop of a hat, and there's no real sense of coherence to the plot.

• The villains are cartoon characters and weak and pointless at best, and literally the stupidest mother fuckers on the planet at the worst. You'll know who I'm talking about when you see it.

• The side characters are all pointless and serve more as diversity ticks on some corporate stooges "Focus Group" checklist than as actual characters. Are you ready to see the same "Not Richard Ayoade from the IT crowd" black nerd "hack the mainframe" bit you've seen a hundred times before? How about "tough opinionated alt-chick"? who doesn't take shit and is totally capable? The actors are fine for their parts and I mean no disrespect to them, but their characters feel like such cookie-cutter "side characters" that I just finished the movie and have already forgotten their names.

• Speaking of side characters, the little girl in this movie is actually fine. She's a good actress and much less annoying than the kids in the last movie (and most of the kids in Jurassic Park movies for that matter), but they do something with her that is so baffling and out of nowhere that it just screams, "WE WANTED A TWIST BECAUSE THE KIDS LOVE TWISTS". It has no bearing on the plot at all aside from "justifying" a characters horrible and frankly nearly psychotic decision towards the end of the movie. Again, the young actress does a great job with what little she was given and I feel given a better script she can definitely shine.

Honestly, there's a ton of other little things I could nitpick at this movie for, but those above are definitely the biggest flaws I feel this movie has. You can tell that there as a solid idea behind this movie, but that idea got buried under a mountain of other ideas that were all meshed together into a weird goulash of a movie. This things reeks of "directed by comity".

Overall, there are so many eye-rolling moments in this film, coupled with a weak plot, dialogue, and side characters that even the always charming Chris Pratt and some killer dinosaur effects can't save it.

5/10. If you like dinosaurs and wanna see the best ones you're likely to get for a while, feel free to check your brain out at the door and enjoy at a matinee. Otherwise, don't expect to enjoy this movie if you're hoping for something more than Transformers without the sexism, racism, and dinosaurs instead of robots.

If ya'll have any questions, ask away. I'll try to avoid overt spoilers though, so I'll do my best to answer as vaguely as possible.

So I picked up Jurassic World: Evolution recently because I loved Jurassic Park: Operation Genesis as a kid and have a "dinosaur park sim"-shaped hole in my heart. I'm enjoying it for what it's worth. I think 60 bucks is a little steep for what it's offering, so I can't recommend you pick it up right now unless you REALLY want a Jurassic Park sim game with potential for future growth.

Anyways, that being said, I am 99% convinced this game is just a reskin of the old one. Everything from the dinosaur animations, to the mission types, to the vehicle controls, to how the general flow of gameplay goes feels almost identical to Operation Genesis. I get that there's only so much you can do when you're making what is essentially the same game with from the same property, but take this from a man who put an ungodly amount of time into OG as a child: it feels 100% the same. Like I think all they did was take OG and give the dinosaurs a very nice new paint job and then give everything else a half-hearted coat of paint.

I don't mind all that much since I can't play OG anymore, but I still found it odd how shockingly similar this games feels to OG. Anyone else notice this? Or am I just crazy/supplanting my memories of the old game onto the new one?

For those unaware, the Bloons TD series consists of tower defense games where you place monkeys along a track to pop balloons. It's called TD and not Tower Defense because a scumbag company decided to trademark the name of an entire genre, but that's beside the point.

Since the series's debut as a flash game over a decade ago, the games have evolved to contain a wealth of strategic complexity. Aside from the towers having different attack rates and ranges, there are different types of damage (e.g. popping, fire, explosion) that make each tower unique. Additionally, the balloons occasionally have resistances to certain types of damage. This forces you to be creative with your tower placement, and opens each game up to an incredible depth and variation. This helps keep the game fresh and exciting, as you try out different strategies.

...Or at least, it would do that if it weren't for the arbitrary roadblocks the game puts in place. Presumably in order to ease new players into the mechanics, you're forced to unlock everything through gameplay. This doesn't just include new towers, tracks, and game modes -- you're forced to unlock every single upgrade for every single tower. You unlock these by using the towers to earn them XP.

In theory this wouldn't be so bad. You could argue that it makes you learn the strengths and weaknesses of the towers before you can upgrade them. But why is that learning forced on me by the game? Why can't I learn at my own pace? I care so much because the game's pace is hellishly slow. You will certainly have to spend time grinding in order to unlock everything.

If that sounds ridiculous, it's because it is. I should not have to grind in my mobile tower defense game. I've been playing for two days now, and I'm still incredibly far from being able to play without restrictions. I'm mentally preparing myself for the long haul on this, but I can easily see this alienating new players, or those who just want to experience all the game has to offer.

It really is ridiculous when my own attempts to win the rounds are foiled because the game won't let me have the upgrade I need.

The other major problem I have with the game are its in-app purchases. Ninja Kiwi, the developer, seems to adhere to the despicable model of charging $5 up-front and also charging for things in-game. The game tempts me every time I look at the menu of which upgrades I've unlocked. "Don't you want to use this tower now, instead of many hours from now? Why not pay $5 to unlock all of its upgrades instantly?"

There are in-app purchases for different amounts of Monkey Money (which let you continue to play a failed game) that range from $2 to $55. Double Cash mode, which in previous games was unlocked through playing, now costs $19.

There are good points to this game. The graphics are 3D, which is quite different than the older games, and they look good. They're not an outstanding visual pleasure, but they also aren't irritating or ugly. The word I'd use is serviceable. I preferred the cartoony graphics of Bloons TD 5, but I can see myself getting used to these.

The music is also adequate. Different tracks may have different music, but the repetition may have you cringing as you grind, grind, grind away for hours at unlocking everything. At 20 tracks, there is certainly enough variety to help alleviate some of the drag, but you also have to remember that the more difficult tracks are likely impossible to beat if you still don't have access to every tower's upgrades.

So there you have it. I give Bloons TD 6 three rubbery balloon-husks out of five while shedding a single disappointed tear, because all the fun is locked away behind hours of grinding.

Or you could pay real money to skip all that and actually have fun. Ninja Kiwi, you've broken my heart.

I know I am VERY late to the game on this one, but so far this game has eaten up 20+ hours in 3 days. For anyone who doesn't know, it's an open world action adventure (?) game set in the 31st century. Robotic animals roam the world, and you play an 18 year old girl that hunts them, utilizing bows, spears, slings, ans traps. It has a very primitive feel to it, so you can only assume this is either an alternate universe or a post apocalyptic earth.

While I've already had most of the plot spoiled for me, I'm enjoying all the little bits of lore I'm finding. I csnt wait to see how the plot plays out (as I said, it was spoiled, but only broad strokes, like knowing Vader is Luke's dad.) It's HARD sci-fi in a VIDEO GAME, not something shallow that's been done to death or that's too predictable.

I am severely overleveled, but combat is still fresh and challenging (playing on hard for my first play through.). There are so many different ways to approach situations, I can always change things around and try a different Tactic. I've had so much fun just going around farming and questing that I've ignored the main story for the most part.

The way the game handles its lore is phenomenal. I can't go into details without spoilers (just go read the wiki if you want to I suppose) but I'll save everything happens for a reason,and beautifully so.

Its not without its cons, however. As great as the combat is, a lot of the more difficult parts (so far) can be avoided by going out of bounds where enemies can't reach you (say a cliff or up a rock face, which if you can't climb, some careful jumping will take care of for you.)

It feels like some other games. I'm a big fan of open world, so its in the same family of MGSV, Farcry, and Shadow of Mordor, down to the map markers, collectibles, and inventory wheel. But hey, if it ain't broke don't fix it.

Dune was not well-reviewed when it premiered, with Roger Ebert calling it the worst movie of the year, though it has since become a cult classic. I recently read the book and had never seen the movie, so I decided to check it out.

I understand the criticism; parts of it feel rushed, and there are many little things from the book that are incorporated into the movie but aren't fleshed out very well. However, having read the book, and therefore being able to piece together the things that were glossed over in the movie, I thought it was pretty great.

The costume design, spaceships, sets, and sand worms were all executed well, though they are obviously dated by today's standards. Those things all contribute to the overall mood of the movie, which I thought matched the book nicely.

They took some liberties with the villain, the Baron Harkonnen, who they gave a skin condition and the ability to float around, which aren't present in the book (or at least were a small enough part that I don't remember them), and I thought were a little too over-the-top.

Overall, I rate the movie 8/10, but I don't expect it would hold up that well if you haven't read the book.

                                                              Book Plot: Spoilers

The book opens by introducing the gunslinger, Roland Deschain, who is on a journey to find the Man in Black. As he ventures across the desert with his mule, he meets a farmer who goes by the name of Brown with his crow, Zoltan. The gunslinger begins to tell of the time he spent in the town of Tull. When Roland first comes to Tull, he missed the Man in Black possibly by a week. It is later revealed to Roland by the barmaid, Alice, that during his stay the Man in Black brought a dead weed eater by the name of Nort back to life. Roland makes Sylvia reveal to him that she is pregnant with the Man in Black's child (more importantly the child of the Crimson King). Roland uses his gun and rips the unborn monstrosity out of Sylvia. Outraged, Sylvia convinces the entire town of Tull that Roland is the spawn of the devil. Roland guns down the entire town of Tull: men, women, children, and even his lover, Alice. The story refocuses on Roland at the dwelling of Brown. Roland goes to sleep and wakes up to Brown telling him that his mule died of heat exhaustion and wonders if he can eat it. Roland leaves on foot to continue his pursuit of the Man in Black.

As his journey continues, Roland happens upon a way station and sees someone there in the distance. Roland believes this to be the Man in Black, but finds out it is a young boy by the name of Jake Chambers. Roland is near death when he arrives at the way station and Jake brings him jerky and water from an atomic slug water pump. Jake tells Roland that the Man in Black passed by a few days before. The way Jake talks reveals that he is not from Roland's world. Roland asks Jake about where he came from, but Jake cannot remember anything. Roland proceeds to hypnotize Jake and learn about where he came from.

Jake reveals to Roland that he is from New York and was on his way to school when a man dressed like a priest snuck up on him and pushed him into the street. Roland believes this man to be the Man in Black. Jake is then hit by a car and dies, but not before the priest approaches him and blesses him.

As they prepare to leave, Roland goes down to the cellar and encounters a demon speaking to him from a hole in the wall. After their palaver, Roland reaches into the hole and pulls out a jawbone. They then depart from the way station, and eventually make their way out of the desert into somewhat more welcoming lands. Roland awakes in the middle of the night to find Jake gone. Roland tracks down Jake and finds him about to be taken by the Oracle of the mountains. Roland uses the jawbone to lure the Oracle away from Jake. He then gives Jake the jawbone to concentrate on while he is gone and couples with the oracle himself in order to learn of his fate and path to the Dark Tower. Once Roland returns, Jake discards the jawbone. Come morning, they continue their trek to the mountains.

Along the trek Roland tells Jake a bit about his past. He tells of Hax, the cook, who was hanged for being an aid to the enemy. Hax was to poison the town of Farson/Taunton. Roland and his friend Cuthbert overhear the plot and alert their fathers of the traitor. Hax is hanged and the boys are allowed to watch with permission from their fathers.

Roland also reveals how he became a gunslinger at the age of 14. As he is walking home, his father's advisor Marten Broadcloak calls Roland to see his mother, Gabrielle, in Marten's bed covering her shame. Angry, Roland charges off to challenge Cort so he may receive his guns. He defeats Cort with the use of his hawk, David.

Roland and Jake soon come to the mountains and enter a series of tunnels under the mountains riding on a mine cart. On their journey, they are attacked by a group of Slow Mutants. Roland battles the Slow Mutants and they move along without the mine cart. They eventually come upon the exit from the tunnels. Jake trips and is left dangling from the tracks. As Roland tries to help him, the Man in Black appears and tells Roland that if he saves the boy then he will never catch him. Roland decides to let Jake fall; Jake knows this and spouts, "Go then. There are other worlds than these." Jake then falls to his death as Roland goes to talk with the Man in Black.

They meet in a golgotha and palaver. The Man in Black reads Roland's fate from Tarot cards. Roland's fate includes The Sailor, The Prisoner, The Lady of Shadows, death, life (which the Man in Black burns), and the Tower at the center of everything. The Man in Black tells Roland he is only a pawn for Roland's true enemy who now controls the Tower itself. The Man in Black tries to convince Roland to give up on his quest by creating a representation of the universe and showing him how insignificant he is. Roland refuses and is forced into sleep. When he awakens, ten years have passed and there is a skeleton next to him, which he believes to be the Man in Black. Roland departs from the Golgotha and sits at the edge of the Western Sea contemplating the next step in his quest for the Dark Tower.

At some unspecified date in the near future, an unknown agent causes the Moon to shatter into seven pieces. As the remnants of the Moon begin to collide with one another, astronomer and science popularizer "Doc" Dubois Harris calculates that the number of collisions will increase exponentially. A large number of moon fragments will begin entering Earth's atmosphere, forming a "white sky" and blanketing the earth within two years with what he calls a "Hard Rain" of bolides; this will cause the atmosphere to heat to incandescence and oceans to boil away, destroying the biosphere and rendering Earth uninhabitable for thousands of years. It is decided to evacuate as many people and resources as possible to a "Cloud Ark" in orbit, including a "swarm" of "arklet" habitats that will be able to avoid the debris from the moon—both to attempt to preserve the human race and to give the remaining doomed inhabitants of Earth something to hope for, to prevent civil disorder from breaking out on Earth before its surface is destroyed. Each nation on Earth is invited to choose by lot a small number of young people to become eligible to join the Cloud Ark.

The Cloud Ark is to be based around the International Space Station (ISS), currently commanded by American astronaut Ivy Xiao. The ISS is already bolted onto an iron Arjuna asteroid called Amalthea, which provides some protection against moon debris. Robots are used to excavate Amalthea to provide more protection in a project run by mining and robotics engineer Dinah MacQuarie. Technicians and specialists, including Doc Dubois, are sent to the ISS in advance of the Hard Rain to prepare it to become the headquarters of the Cloud Ark.

The plan is that the Cloud Ark must be self-sufficient for 5,000 years and capable of repopulating Earth once it is habitable again. A Human Genetic Archive is sent to the Cloud Ark, with the intention that it will be used to rebuild the human population. Approximately 1,500 people are launched into space in the two years before the Hard Rain begins.

Suspecting that some architects of the Cloud Ark are interested only in pacifying Earth's inhabitants with false hope (rather than creating an environment that will actually survive in the long term), a billionaire named Sean Probst realizes that the Cloud Ark will need a ready supply of water in order to provide propellant for the space station and to prevent it from eventually falling into the earth's atmosphere. He embarks on a two-year expedition to extract ice from a comet nicknamed Greg's Skeleton, using a nuclear reactor to provide power to bring it back towards Earth.

The Hard Rain begins approximately two years after the destruction of the moon as predicted; human civilization as well as nearly all life on Earth is obliterated, although some try to take shelter underground (such as Dinah's father) or in the deep ocean (such as Ivy's fiancé). Markus Leuker, appointed leader of the Cloud Ark, declares all nations of Earth to be dissolved, and imposes martial law under the Cloud Ark Constitution. Despite a worldwide agreement that members of government will not be launched into space, the President of the United States, Julia Bliss Flaherty, manages to get herself sent to the Cloud Ark at the last minute. Shortly afterwards the main cache of the physical Human Genetic Archive attached to the ISS is ruined by the thrusters of an arklet passing too closely, leaving only samples that had been distributed amongst the arks.

There is disagreement on the Cloud Ark about the best way to organize its society and avoid the debris of the moon. Some "Arkies" favor converting the Cloud Ark into a decentralized swarm of small space vessels at a higher orbit out of range of debris, rather than maintaining the central authority of the ISS. Doc Dubois wants to shelter in the "Cleft", a crevasse on the now-exposed iron core of the moon. Others want to go to Mars. Julia Flaherty starts to acquire a coterie of followers and encourages the proponents of the decentralized swarm plan.

Sean Probst's expedition has succeeded, and he has brought a comet into an orbit that will soon pass by Earth. His radio has failed and he has built a replacement by hand, and is able to communicate with Dinah MacQuarie by Morse code. However, he and his party die of radiation sickness caused by fallout from their nuclear reactor long before the expedition is complete. Markus Leuker and Dinah travel to the comet with a small crew to take control of it and bring it back to the Cloud Ark, in order to provide sufficient propellant to reach the Cleft on the moon's core. Just before Dinah returns with the ice as the sole survivor of the mission, Julia Flaherty persuades the majority of the population to abandon the ISS and move to higher orbit in a decentralized swarm, and sends a preliminary expedition to Mars. In the course of their sudden, unauthorized departure the ISS sustains catastrophic damage to many sections. The surviving portions of the Human Genetic Archive are carried along with them, but due to the Arkies' ignorance, these surviving portions are discarded or ignored. Only the digital version of the Human Genetic Archive survives aboard the ISS. The ISS and remaining third of the cloud ark combine through reshaping the ice into a support structure, and is rechristened Endurance.

During the three years that it takes for Endurance to reach the Cleft, the majority of its population die of various causes (cancer caused by cosmic radiation, suicide, bolide strikes, etc.); by the time they are within range of the Cleft, only about 30 survivors remain. Julia Bliss Flaherty's Swarm splits into two factions, who fight; Flaherty's faction is defeated. Running out of food, the Swarm resorts to cannibalism, and by the end of three years only 11 survive, including Flaherty and the leader of the opposing faction, Aïda. Aïda requests to reunite the remnant of the Swarm with the Cloud Ark before it reaches the Cleft, but secretly plans a battle for control of Endurance; as a result of that battle the population is diminished even further.

By the time Endurance reaches the relative safety of the Cleft, there are only eight surviving Homo sapiens in space, all of whom are women. One, the sociologist Luisa, has reached menopause, and the remaining seven (Dinah, Ivy, Aïda, Tekla, Camila, Moira, and Julia) come to be known as the Seven Eves. The Human Genetic Archive has been destroyed, but they have sufficient resources to use the surviving genetics laboratory to rebuild the human race by parthenogenesis. They agree that each of the Seven Eves gets to choose how her offspring will be genetically modified or enhanced. Aïda predicts that, hundreds of years from now, this project shall result in seven new races.

The narrative jumps to 5,000 years later. There are now three billion humans living in a ring around the Earth, and they have indeed formed into seven races, each one descended from and named after the Seven Eves who survived the events of Part 2. These races have quite distinct characteristics, including "Moirans" who can undergo "epigenetic shifts", radically changing their bodies in response to new environments. The iron core of the moon has mostly been used to build space habitats, but the Cleft itself has been turned into "Cradle", an exclusive piece of real estate attached to a tether that occasionally "docks" with Earth.

Humanity has divided mostly along racial lines into two states, Red and Blue, which are engaged in a form of Cold War characterized by cultural isolation, espionage and border skirmishes, mediated by treaty agreements more honored in the breach than the observance.

The orbiting races, the Spacers, terraform Earth by crashing ice comets into it to replenish the oceans, and seed the planet with genetically created organisms based upon re-sequenced DNA data saved from the escape to orbit. Once a breathable atmosphere is recreated, and sufficient plant and animal species have been reseeded, some members of the orbiting races ("Sooners") resettle the planet, in violation of treaty agreements.

A "Seven", a group of seven people with one member from each race, is recruited by "Doc" Hu Noah, to investigate mysterious people who have been sighted on Earth. As the story unfolds, they discover that some humans did indeed survive the Hard Rain on the planet by living in deep mines ("Diggers"), while others survived in ocean trenches using submarines ("Pingers"). Although these survivors have also evolved socially and biologically to form two additional races, the survival of root stock humanity separate from the Seven Eves causes turmoil in Spacer high politics. Ground conflict eventually occurs because each of the orbiting camps (Red and Blue) wishes to establish a preferential or exclusive relationship with the Earthbound races: the Diggers, although descendants of Dinah's family, interpret the Blue state's presence on their territory as an act of aggression and develop an alliance with Red, prompting Blue to seek out an alliance with the Pingers on the strength of Ivy's connection with one of their founders. Matters are further complicated because the Diggers claim all of the Earth's land surface as their own, and initially hold the Spacers in disdain (despite their high technology) for having fled the planet eons ago.

In an epilogue it is revealed that a separate, secret underwater ark had been created concurrently with the cloud ark, leading to the development of the Pingers, based on analysis of the "selfies" Ivy's fiance had sent her, using diagrams and sketches in the background as clues. Ty invites the surviving Seven (along with Sonar and Deep, representatives of the Diggers and the Pingers, respectively) back to apartments at his bar in the Cleft with the intent of forming the first "Nine".

At some unspecified date in the near future, an unknown agent causes the Moon to shatter into seven pieces. As the remnants of the Moon begin to collide with one another, astronomer and science popularizer "Doc" Dubois Harris calculates that the number of collisions will increase exponentially. A large number of moon fragments will begin entering Earth's atmosphere, forming a "white sky" and blanketing the earth within two years with what he calls a "Hard Rain" of bolides; this will cause the atmosphere to heat to incandescence and oceans to boil away, destroying the biosphere and rendering Earth uninhabitable for thousands of years. It is decided to evacuate as many people and resources as possible to a "Cloud Ark" in orbit, including a "swarm" of "arklet" habitats that will be able to avoid the debris from the moon—both to attempt to preserve the human race and to give the remaining doomed inhabitants of Earth something to hope for, to prevent civil disorder from breaking out on Earth before its surface is destroyed. Each nation on Earth is invited to choose by lot a small number of young people to become eligible to join the Cloud Ark.

The Cloud Ark is to be based around the International Space Station (ISS), currently commanded by American astronaut Ivy Xiao. The ISS is already bolted onto an iron Arjuna asteroid called Amalthea, which provides some protection against moon debris. Robots are used to excavate Amalthea to provide more protection in a project run by mining and robotics engineer Dinah MacQuarie. Technicians and specialists, including Doc Dubois, are sent to the ISS in advance of the Hard Rain to prepare it to become the headquarters of the Cloud Ark.

The plan is that the Cloud Ark must be self-sufficient for 5,000 years and capable of repopulating Earth once it is habitable again. A Human Genetic Archive is sent to the Cloud Ark, with the intention that it will be used to rebuild the human population. Approximately 1,500 people are launched into space in the two years before the Hard Rain begins.

Suspecting that some architects of the Cloud Ark are interested only in pacifying Earth's inhabitants with false hope (rather than creating an environment that will actually survive in the long term), a billionaire named Sean Probst realizes that the Cloud Ark will need a ready supply of water in order to provide propellant for the space station and to prevent it from eventually falling into the earth's atmosphere. He embarks on a two-year expedition to extract ice from a comet nicknamed Greg's Skeleton, using a nuclear reactor to provide power to bring it back towards Earth.

The Hard Rain begins approximately two years after the destruction of the moon as predicted; human civilization as well as nearly all life on Earth is obliterated, although some try to take shelter underground (such as Dinah's father) or in the deep ocean (such as Ivy's fiancé). Markus Leuker, appointed leader of the Cloud Ark, declares all nations of Earth to be dissolved, and imposes martial law under the Cloud Ark Constitution. Despite a worldwide agreement that members of government will not be launched into space, the President of the United States, Julia Bliss Flaherty, manages to get herself sent to the Cloud Ark at the last minute. Shortly afterwards the main cache of the physical Human Genetic Archive attached to the ISS is ruined by the thrusters of an arklet passing too closely, leaving only samples that had been distributed amongst the arks.

There is disagreement on the Cloud Ark about the best way to organize its society and avoid the debris of the moon. Some "Arkies" favor converting the Cloud Ark into a decentralized swarm of small space vessels at a higher orbit out of range of debris, rather than maintaining the central authority of the ISS. Doc Dubois wants to shelter in the "Cleft", a crevasse on the now-exposed iron core of the moon. Others want to go to Mars. Julia Flaherty starts to acquire a coterie of followers and encourages the proponents of the decentralized swarm plan.

Sean Probst's expedition has succeeded, and he has brought a comet into an orbit that will soon pass by Earth. His radio has failed and he has built a replacement by hand, and is able to communicate with Dinah MacQuarie by Morse code. However, he and his party die of radiation sickness caused by fallout from their nuclear reactor long before the expedition is complete. Markus Leuker and Dinah travel to the comet with a small crew to take control of it and bring it back to the Cloud Ark, in order to provide sufficient propellant to reach the Cleft on the moon's core. Just before Dinah returns with the ice as the sole survivor of the mission, Julia Flaherty persuades the majority of the population to abandon the ISS and move to higher orbit in a decentralized swarm, and sends a preliminary expedition to Mars. In the course of their sudden, unauthorized departure the ISS sustains catastrophic damage to many sections. The surviving portions of the Human Genetic Archive are carried along with them, but due to the Arkies' ignorance, these surviving portions are discarded or ignored. Only the digital version of the Human Genetic Archive survives aboard the ISS. The ISS and remaining third of the cloud ark combine through reshaping the ice into a support structure, and is rechristened Endurance.

During the three years that it takes for Endurance to reach the Cleft, the majority of its population die of various causes (cancer caused by cosmic radiation, suicide, bolide strikes, etc.); by the time they are within range of the Cleft, only about 30 survivors remain. Julia Bliss Flaherty's Swarm splits into two factions, who fight; Flaherty's faction is defeated. Running out of food, the Swarm resorts to cannibalism, and by the end of three years only 11 survive, including Flaherty and the leader of the opposing faction, Aïda. Aïda requests to reunite the remnant of the Swarm with the Cloud Ark before it reaches the Cleft, but secretly plans a battle for control of Endurance; as a result of that battle the population is diminished even further.

By the time Endurance reaches the relative safety of the Cleft, there are only eight surviving Homo sapiens in space, all of whom are women. One, the sociologist Luisa, has reached menopause, and the remaining seven (Dinah, Ivy, Aïda, Tekla, Camila, Moira, and Julia) come to be known as the Seven Eves. The Human Genetic Archive has been destroyed, but they have sufficient resources to use the surviving genetics laboratory to rebuild the human race by parthenogenesis. They agree that each of the Seven Eves gets to choose how her offspring will be genetically modified or enhanced. Aïda predicts that, hundreds of years from now, this project shall result in seven new races.

The narrative jumps to 5,000 years later. There are now three billion humans living in a ring around the Earth, and they have indeed formed into seven races, each one descended from and named after the Seven Eves who survived the events of Part 2. These races have quite distinct characteristics, including "Moirans" who can undergo "epigenetic shifts", radically changing their bodies in response to new environments. The iron core of the moon has mostly been used to build space habitats, but the Cleft itself has been turned into "Cradle", an exclusive piece of real estate attached to a tether that occasionally "docks" with Earth.

Humanity has divided mostly along racial lines into two states, Red and Blue, which are engaged in a form of Cold War characterized by cultural isolation, espionage and border skirmishes, mediated by treaty agreements more honored in the breach than the observance.

The orbiting races, the Spacers, terraform Earth by crashing ice comets into it to replenish the oceans, and seed the planet with genetically created organisms based upon re-sequenced DNA data saved from the escape to orbit. Once a breathable atmosphere is recreated, and sufficient plant and animal species have been reseeded, some members of the orbiting races ("Sooners") resettle the planet, in violation of treaty agreements.

A "Seven", a group of seven people with one member from each race, is recruited by "Doc" Hu Noah, to investigate mysterious people who have been sighted on Earth. As the story unfolds, they discover that some humans did indeed survive the Hard Rain on the planet by living in deep mines ("Diggers"), while others survived in ocean trenches using submarines ("Pingers"). Although these survivors have also evolved socially and biologically to form two additional races, the survival of root stock humanity separate from the Seven Eves causes turmoil in Spacer high politics. Ground conflict eventually occurs because each of the orbiting camps (Red and Blue) wishes to establish a preferential or exclusive relationship with the Earthbound races: the Diggers, although descendants of Dinah's family, interpret the Blue state's presence on their territory as an act of aggression and develop an alliance with Red, prompting Blue to seek out an alliance with the Pingers on the strength of Ivy's connection with one of their founders. Matters are further complicated because the Diggers claim all of the Earth's land surface as their own, and initially hold the Spacers in disdain (despite their high technology) for having fled the planet eons ago.

In an epilogue it is revealed that a separate, secret underwater ark had been created concurrently with the cloud ark, leading to the development of the Pingers, based on analysis of the "selfies" Ivy's fiance had sent her, using diagrams and sketches in the background as clues. Ty invites the surviving Seven (along with Sonar and Deep, representatives of the Diggers and the Pingers, respectively) back to apartments at his bar in the Cleft with the intent of forming the first "Nine".

                                             How to Live Safely in a Science Fictional Universe

Charles Yu's debut novel, How to Life Safely in a Science Fictional Universe, could be described as a story about contemporary family life disguised as science fiction. It concerns a young man who has spent most of the past decade in a small time machine in his job as a time machine repairman. He makes calls on people who have rented time machines for recreational purposes but have become stuck in time and must be rescued by him. As the novel progresses, it is revealed that this man's name is the same as that of the author, Charles Yu. The protagonist is a lonely and rather sad fellow, who spends much of his non-working hours drifting along in his capsule, thinking about his past and his parents, especially his father who disappeared long ago. Accompanied only by his dog and a computer that has the pixilated face of a female and a cartoon-like voice, Charles hopes to one day locate his father in some alternate universe to which he apparently has traveled in a time machine. Charles's parents, a few clients, and several street performers are the only other humans that he encounters during the course of the story. He makes one trip to a city in Minor Universe 31, a residential and entertainment world made mostly from a science fiction "substrate," where the company for which he works is headquartered. His objective is to have maintenance work done on his time machine and when he goes to pick it up, he encounters his future self. Panicking, he draws his service revolver and shoots his future self in the stomach, just as his future self is attempting to tell him that the key is the book. He has no idea what this means as he stumbles into his time machine and races away. On the capsule's console, he finds a manual-type book that has the same title as the novel.

With the help of his computer, he realizes that he must read the book and make amendments and additions to it as he goes along. At some point in the future, he must give the completed book to his past self, who then will shoot him and begin the rewriting process again in an endless cycle. Charles realizes he has become stuck in a time loop. By the rules of time travel, if he changes anything that happens during this loop, he risks entering an alternate universe from which he might not emerge. Under the circumstances, escaping the time loop appears to be extremely difficult. He may be doomed to spend the rest of his life in the time machine, writing the book, giving it to himself, shooting himself, and starting the cycle again. The book is a manual about time travel, but it also offers advice on how such a traveler should live within or use time wisely. The main use of Charles's time is in thinking about his father and mother, but he begins visiting periods in his past in his time machine, watching his younger self interact with his parents. Eventually, he discovers that the book given to him by his future self is literally the key, because it holds a key that unlocks a box that his mother gave him, inside of which his father left clues to where he went in time. This inspires Charles to realize that he can break out of his time loop through the power of his mind and memory. He does so and rescues his father from the past time in which he is stuck. As the novel ends, it looks as if the family has a chance to regain normalcy and move forward with a better understanding of how to cope with the difficulties of life by facing the problems of the past with courage and honesty.

                       Praise

“Glittering layers of gorgeous and playful meta-science-fiction. . . . Like [Douglas] Adams, Yu is very funny, usually proportional to the wildness of his inventions, but Yu’s sound and fury conceal (and construct) this novel’s dense, tragic, all-too-human heart. . . . Yu is a superhero of rendering human consciousness and emotion in the language of engineering and science. . . . A complex, brainy, genre-hopping joyride of a story, far more than the sum of its component parts, and smart and tragic enough to engage all regions of the brain and body.”
—The New York Times Book Review

“Compulsively rereadable. . . . Hilarious. . . . Yu has a crisp, intermittently lyrical prose style, one that’s comfortable with both math and sadness, moving seamlessly from delirious metafiction to the straight-faced prose of instruction-manual entries. . . . [The book itself] is like Steve Jobs’ ultimate hardware fetish, a dreamlike amalgam of functionality and predetermination.”
—Los Angeles Times

“Douglas Adams and Philip K. Dick are touchstones, but Yu’s sense of humor and narrative splashes of color–especially when dealing with a pretty solitary life and the bittersweet search for his father, a time travel pioneer who disappeared–set him apart within the narrative spaces of his own horizontal design. . . . A clever little story that will be looped in your head for days. No doubt it will be made into a movie, but let’s hope that doesn’t take away the heart.”
—Austin Chronicle

“If How to Live Safely in a Science Fictional Universe contented itself with exploring that classic chestnut of speculative fiction, the time paradox, it would likely make for an enjoyable sci-fi yarn. But Yu’s novel is a good deal more ambitious, and ultimately more satisfying, than that. It’s about time travel and cosmology, yes, but it’s also about language and narrative — the more we learn about Minor Universe 31, the more it resembles the story space of the novel we’re reading, which is full of diagrams, footnotes, pages left intentionally (and meaningfully) blank and brief chapters from the owner’s manual of our narrator’s time machine. . . . . Yu grafts the laws of theoretical physics onto the yearnings of the human heart so thoroughly and deftly that the book’s technical language and mathematical proofs take on a sense of urgency.”
—NPR

“How to Live Safely is a book likely to generate a lot of discussion, within science fiction and outside, infuriating some readers while delighting many others.”
—San Francisco Chronicle

“An extraordinary work. . . . I read the entire book in one gulp.”
—Chris Wallace, GQ

“A great Calvino-esque thrill ride of a book.”
—The Stranger

“Science and metaphor get nice and cozy in Charles Yu’s How to Live Safely in a Science Fictional Universe. The novel joins the likes of Gary Shteyngart’s Super Sad True Love Story and Jillian Weise’s The Colony, fiction that borrows the tropes of sci-fi to tell high-tech self-actualization narratives.”
—Portland Mercury

“A brainy reverie of sexbots, rayguns, time travel and Buddhist zombie mothers. . . . Packed with deft emotional insight.”
—The Economist

“A funny, funny book, and it’s a good thing, too; because at its heart it’s a book about loneliness, regret, and the all-too-human desire to change the past.”
—Tor.com

“A keenly perceptive satire. . . . Yu’s novel is also a meditation on the essentials of human life at its innermost point.. . . Campy allusions to the original Star Wars trilogy, a cityscape worthy of the director’s cut of Blade Runner and a semi-coherent vocabulary of techno-jargon cement these disparate elements into a brilliant send-up of science fiction. . . . Perhaps it would be better to think of the instructional units of How to Live Safely in a Science Fictional Universe in terms of the chapters of social commentary which John Steinbeck placed into the plot structure of The Grapes of Wrath.”
—California Literary Review

“How to Live Safely in a Science Fictional Universe is the rare book I pick up to read the first several pages, then decide to drop everything and finish at once. Emotionally resonant, funny, and as clever as any book I have read all year, this debut novel heralds the arrival of a talented young writer unafraid to take chances.”
—largehearted boy

“A wild and inventive first novel . . . has been compared to the novels of Kurt Vonnegut Jr. and Jonathan Lethem, and the fact that such comparisons are not out of line says everything necessary about Yu’s talent and future.”
—Portland Oregonian

“Bends the rules of time and literary convention.”
—Seattle Weekly

“Getting stuck with Yu in his time loop is like watching an episode of Doctor Who as written by the young Philip Roth. Even when recalling his most painful childhood moments, Yu makes fun of himself or pulls you into a silly description of fake physics experiments. In this way, he delivers one of the most clear-eyed descriptions of consciousness I’ve seen in literature: It’s full of self-mockery and self-deception, and yet somehow manages to keep its hands on the wheel, driving us forward into an unknowable future. How to Live Safely in a Science Fictional Universe is intellectually demanding, but also emotionally rich and funny. . . . It’s clearly the work of a scifi geek who knows how to twist pop culture tropes into melancholy meditations on the nature of consciousness.”
—io9

“Funny [and] moving. . . . Charles Yu’s first novel is getting ready for lift-off, and it more than surpasses expectations which couldn’t be any higher after he was given the 5 Under 35 Award . . . How to Live Safely in a Science Fiction Universe is one of the trippiest and most thoughtful novels I’ve read all year, one that begs for a single sit-down experience even if you’re left with a major head rush after the fact for having gulped down so many ideas in a solitary swoop. . . . Yu’s literary pyrotechnics come in a marvelously entertaining and accessible package, featuring a reluctant, time machine-operating hero on a continual quest to discover what really happened to his missing father, a mysterious book possibly answering all, and a computer with the most idiosyncratic personality since HAL or Deep Thought. . . . Like the work of Richard Powers . . . How to Live Safely in a Science Fictional Universe fuses the scientific and the emotional in ways that bring about something new.”
—Sarah Weinman, The Daily Beast

“One of the best novels of 2010. . . . It is a wonderfully stunning, brilliant work of science fiction that goes to the heart of self-realization, happiness and connections. . . . Yu has accomplished something remarkable in this book, blending science fiction universes with his own, alternative self’s life, in a way, breaking past the bonds of the page and bringing the reader right into the action. . . . Simply, this is one of the absolute best time travel stories . . . even compared to works such as The Time Machine by H.G. Wells or the Doctor Who television series.”
—SF Signal

“Within a few pages I was hooked. . . . There are times when he starts off a paragraph about chronodiegetics that just sounds like pseudo-scientific gibberish meant to fill in some space. And then you realize that what he’s saying actually makes sense, that he’s actually figured out something really fascinating about the way time works, about the way fiction works, and the “Aha!” switch in your brain gets flipped. That happened more than once for me. There are so many sections here and there that I found myself wanting to share with somebody: Here—read this paragraph! Look at this sentence! Ok, now check this out!”
—GeekDad, Wired.com

“In this debut novel, Charles Yu continues his ambitious exploration of the fantastic with a whimsical yet sincere tribute to old-school science fiction and quantum physics. . . . A fascinating, philosophical and disorienting thriller about life and the context that gives it meaning.”
—Kirkus, starred review

“With Star Wars allusions, glimpses of a future world, and journeys to the past, as well as hilarious and poignant explanations of “chronodiegetics,” or the “theory of the nature and function of time within a narrative space,” Yu, winner of the National Book Foundation’s 5 under 35 Award, constructs a clever, fluently metaphorical tale. A funny, brain-teasing, and wise take on archetypal father-and-son issues, the mysteries of time and memory, emotional inertia, and one sweet but bumbling misfit’s attempts to escape a legacy of sadness and isolation.”
—Booklist

“This book is cool as hell. If I could go back in time and read it earlier, I would.”
—Colson Whitehead, author of Sag Harbor

“Charles Yu is a tremendously clever writer, and How to Live Safely in a Science Fictional Universe is marvelously written, sweetly geeky, good clean time-bending fun.”
—Audrey Niffenegger, author of Her Fearful Symmetry and The Time Traveler’s Wife

“Funny, touching, and weirdly beautiful. This book is awesome.”
—Nick Harkaway, author of The Gone-Away World

“How to Live Safely in a Science Fictional Universe is that rare thing—a truly original novel. Charles Yu has built a strange, beautiful, intricate machine, with a pulse that carries as much blood as it does electricity.”
—Kevin Brockmeier, author of The View from the Seventh Layer and The Brief History of the Dead

“Poignant, hilarious, and electrically original. Bends time, mind, and genre.”
—David Eagleman, author of Sum

Sleeping Giants is a science fiction novel by Sylvain Neuvel in which an unknown interviewer and scientist Rose Franklin attempt to decipher the alien origins and purpose of a giant robotic weapon. Told by way of case files – transcripts, diary entries, and other documents – the novel spans the course of four years, beginning with a prologue set when Rose is 11 years old.

When the novel begins, Rose takes out the bike she has received for her birthday, only to fall into a massive hole near Deadwood, South Dakota, in which is a giant hand. Seventeen years later, Rose now spearheads the effort to determine what the hand is, and to crack the code of the symbols featured on it. At the same time, two American pilots, Kara Resnik and Ryan Mitchell, testing Syrian airspace for radiation, return over Turkey when another body part appears beneath them, activated by the radiation they trail. Because of this, Kara and Ryan are tasked to be a part of Rose’s team. A French-Canadian linguist, Vincent Couture, is brought on board to help decipher the symbols. Scouring the globe, the team completes the robot.

The team is watched over, protected by, and instigated by an unknown interviewer (to whom the files belong and who appears in most of the files speaking to the members of the team). The interviewer has immense power that spans presidential administrations, and indeed he only has two equals: the sitting president and an unidentified subject whom he meets in Washington D.C. The unidentified subject turns out to be the descendant of alien soldiers who came to Earth as the most far-flung colony of their alien empire, to guard it against the threat of invasion using giant war machines. When the danger had passed, they left one robot behind in pieces so that when humanity advanced enough technologically, it could operate the robot on its own and prove worthy of alien contact – or destruction. The ability to master the atom for war is the sign of humanity’s advancement, and progress by the 2010s has allowed the robot to be found, reassembled, and activated, for it uses radioactive material as fuel. The aliens are now watching to see what becomes of the robot they left behind.

Kara and Ryan become pilots for the robot, but they are unable to make much progress because the robot only responds to Kara. When Vincent attempts to operate the robot, he is successful, meaning he and Kara are both descendants of the aliens – the only ones who can operate alien machinery because of their genetics. As a result, Greek geneticist Alyssa Papantoniou is brought on board to study Vincent and Kara. But a testing accident on the robot destroys part of Denver International Airport, kills hundreds (seemingly including Rose), and exposes the top secret project to the world. The United States then goes public with the truth about the robot, and sinks it in the Puerto Rico Trench so no country may harness its destructive power. Secretly, the interviewer oversees a consortium of nations other than America which buy into a project to recover the robot.

The new secret project is overseen by Alyssa. But when the project is exposed because of Alyssa’s incompetence, the United States must intervene – now holding the moral high ground – to take custody of the robot – with everything happening at the workings of the interviewer. The United States then gifts the robot to the UN to form the Earth Defense Corps, a multinational effort to prepare for potential alien invasion. As the novel ends, in an epilogue, Rose wakes up on the side of a road in Ireland, with no memory of the project and no memory of the past four years – though she does remember everything before.

I purchased the Matebook X Pro for 1350 from Microsoft with the student discount.

Build: It is a very sturdy laptop and fits perfectly in a backpack.

Trackpad: It feels just like the MacBook Air.

Keyboard: Great typing. Switches are very similar to the MacBook Air but their noise is lower pitched.

Screen: The screen is great and I love the thin bezels.

Software: No bloat besides the driver manager.

Gaming: People underestimate the mx150. It runs pubg at a playable 40fps at mostly low and a few medium settings and fortnite at 60 FPS

with medium settings. I would never use it a a primary gaming machine, but it would be very useful for lan party’s.

Battery life: average

Dislikes: It can get very loud when gaming.

Overall, It feels like the spiritual successor to my MacBook Air in design and size. It has a fantastic display and build quality and it is priced competitively. If you are willing to pay a premium for build quality and portability then I would definitely get this laptop.

I have never done a Reddit review before so ask any questions that I left out.

Pics:

size comparison to MacBook Air https://i.imgur.com/xzcLiO0.jpg

side by side https://i.imgur.com/B4FiTlD.jpg

front view https://i.imgur.com/yDZCdqm.jpg

top view https://i.imgur.com/2n0JNSs.jpg