spooky action at a distance

a SFF & IF review


May 2016

SFF REVIEW: creating sensitively, AI, and “The Algorithms of Value”

Hello, fellow travelers. There’s been a minor hiccup lately due to travel, but the lifestyles of two peripatetic writer-academics means slight scheduling adjustments. When this post goes live, Arkady should be somewhere in Istanbul, and Cat should be somewhere in the middle of the US, heading east. We’re back on schedule, though. The following piece is Cat’s review (of sorts) on Robert Reed’s “The Algorithms of Value”, published in the January 2016 issue of Clarkesworld, and found here:


I’ve found myself recommending “The Algorithms of Value” several times in the last week, in quite different contexts. This is perhaps not unsurprising. I knew of Robert Reed before this venture; if I say “I enjoyed this story by a Hugo-award winning novelist”, that is not exactly a groundbreaking assertion. But I keep coming back to it, not even primarily for the structure or the plot but for the world it creates, and what that vision might offer our own.

“The Algorithms of Value” depicts a world of sufficiency, in which each human’s basic drives are weighed and measured by artificial intelligence systems which assess and provide necessities. Safety, food, water, and shelter are accommodated for by these AI-controlled rooms; the lower rungs of Maslow’s hierarchy are not the only provisions, however. The rooms can supply beauty, music, pleasure; the algorithms still have room for individuality and personal beliefs, and inequality is still a facet of the world. Equality without uniformity. All this is the work of a team of coders, lawyers, creative, and sentient AIs, in part led by the story’s protagonist, Parchment.

The story doesn’t detail the algorithms exactly, only their effects, but the effects are significant—enough to cause a shift which Parchment’s late husband claims will last ten million years. The backstory of Parchment’s complex marriage to her husband, the financier of the Algorithms, was compelling– a fascinating portrait of a facet of Parchment’s past, much in the way the room she wakes up in is. But it’s the Algorithms that draw me, again and again—the question Parchment and her colleagues ask—their attempt to answer “what will we make of our world?”

The question of what we’re doing to and with our AIs has been exceedingly relevant lately; we all remember Microsoft’s experiment with Tay, the bot who was supposed to mimic a teen girl and who the internet trained to spew racist, sexist, anti-Semitic remarks within twenty-four hours. There’s significant overlap between the IF and AI communities, especially with twitterbots and Kate Compton’s Tracery tool for procedurally generated fiction, and the overwhelming response in my communities was “…yeah, we could have told you this was going to happen” and “you didn’t do basic things we learned about years ago?”

It wasn’t as if Microsoft didn’t take some steps, which makes the matter more vexing. Tay was trained to respond to a specific incident, like the shooting of Eric Garner, with more nuance than some people on our Facebook feeds. Despite this, there were (seemingly) no checks against the user-submitted corpus of information which Tay was barraged with. This is, to put it mildly, a gross and offensive oversight for which the community of Twitter bot makers has been creating interesting solutions for some time; for instance, there’s Darius Kazemi’s solution to stopping his popular TwoHeadlines bot from telling transphobic jokes. In the end, the overwhelming feeling seemed to be confusion and frustration—how many more times will this happen before we learn that we can correct for sensitivity, that we can weigh input for greater or lesser import, and that transparency in our algorithms of what we value is always better than silence?

Reed’s story, to me, suggests that the solution to the gnawing need in us once all of our needs are satisfied is not exploration or trailblazing, not reaching out but reaching across. “The Algorithms of Value” poses empathy as the solution, that arriving at a nuanced understanding of ourselves and each other is perhaps of inestimable value. Perhaps that’s a lesson to take away as we—writers and developers, dreamers and programmers—ask ourselves, and each other, what we’ll make of our world.


INTERVIEW: Brendan Patrick Hennessy on “Birdland”

We’re continuing to interview prominent SFF and IF authors about craft in specific works. This week, Cat interviews Brendan Patrick Hennessy, whose Twine game Birdland took 4th place in the 2015 IF Comp and recently picked up six XYZZY nominations.

2013 was a good year for you—you had You Will Select A Decision, KING OF BEES IN FANTASY LAND, The Thing About Dungeons, and Bell Park, Youth Detective. You got XYZZY nominations for two of those games, including best writing.

Haha okay. First off I love that you refer to that two year gap as “a break”. For me that was like not a relaxing breather in between projects but a long slog where I was not able to make any headway on anything. I tried to start maybe a dozen games in this time? Including a failed early version of Birdland and an abandoned Bell Park sequel set at an elite yacht club high school in the year 2017. It was very depressing to feel so unproductive for so long!

Continue reading “INTERVIEW: Brendan Patrick Hennessy on “Birdland””

IF review: voice and cohesion in “Birdland”

Birdland, by Brendan Patrick Hennessy, is playable here:

(Birdland is another Twine game, but a much more complex and multi-branching one than most of the Twine I’ve played so far. It has a statistics system, where the choices that the reader makes have a direct influence on what further choices they will be able to make. I note that it has enormous replay value, something that is new to me in IF that I’ve read.)

There’s been a whole lot of press and positive buzz about Birdland, and I am not likely to be original in my effusive praise of the thing, but I have been having a lot of thoughts about the nature of the interactive part of interactive fiction, especially after my experience with First Draft of the Revolution, and Birdland is an example of something I’m still struggling to articulate: how to manage character creation and ‘game’ elements while keeping a consistent narrative voice and a cohesive sense of the protagonist’s personality.

So this is less of a review and more of a meditation on style.

Continue reading “IF review: voice and cohesion in “Birdland””

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