WEBVTT - Summer Reading: Aliens, Microbes, Cocktails and More

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<v Speaker 1>Welcome to Stuff to Blow Your Mind from how Stuffworks

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<v Speaker 1>dot com. Hey, welcome to Stuff to Blow your Mind.

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<v Speaker 1>My name is Robert Lamb, I'm Christian Sea, and I'm

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<v Speaker 1>Joe McCormick. And hey, it's our traditional summer reading episode.

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<v Speaker 1>That's right, this is uh kind of kind of beach

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<v Speaker 1>reading time. Will you guys go to the beach. I'm

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<v Speaker 1>not really a beach person. Wait, I go to the beach. Well,

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<v Speaker 1>I don't know, go to go to the beach. Yeah,

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<v Speaker 1>Robert goes to the beach. I like to go to

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<v Speaker 1>radioactive beaches and read your books, right right. Yeah, So

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<v Speaker 1>this is kind of, you know, an annual tradition here,

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<v Speaker 1>it's Stuff to Blow your Mind where we take a

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<v Speaker 1>break from the research and we talked about what we've

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<v Speaker 1>just been reading casually that we recommend our listeners go

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<v Speaker 1>and read for the summer. Yeah. I mean this is

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<v Speaker 1>the time, to your point, people are going on on vacation.

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<v Speaker 1>People like to bring I like to bring a book

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<v Speaker 1>with me on vacation if I'm whether I'm going to

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<v Speaker 1>the beach or not. And uh, it's also the time

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<v Speaker 1>when we have a lot of we're just putting together

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<v Speaker 1>the podcast. People are in and out, people are going

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<v Speaker 1>on vacation, so it's nice to have something we can

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<v Speaker 1>we can put together without a whole lot of extra

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<v Speaker 1>research involved. One thing I've discovered is that if you're

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<v Speaker 1>going on vacation, not to the beach, but say, to

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<v Speaker 1>your in laws house, it's also great to bring a

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<v Speaker 1>book there because you can sneak away. And I say

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<v Speaker 1>that as somebody who loves my in laws. I don't

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<v Speaker 1>have in law problems. They are the greatest people in

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<v Speaker 1>the world. But you're in somebody else's house every now

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<v Speaker 1>and then you want to sneak off to another room

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<v Speaker 1>and just read. Yeah. Well, And I have two thoughts

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<v Speaker 1>on this as well. For starters, we have so many

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<v Speaker 1>distractions built into our regular routine that if you just

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<v Speaker 1>break your routine a little bit, even by just going

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<v Speaker 1>on a small family trip or going to visit in laws,

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<v Speaker 1>you're gonna be able to break free from the shackles

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<v Speaker 1>of of of your life a little bit and maybe

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<v Speaker 1>read a bit more. That's nice. And then in general,

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<v Speaker 1>there's this rule of life always brings something to read,

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<v Speaker 1>because if you bring something to read, you will not

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<v Speaker 1>have time for it. But if you if you don't

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<v Speaker 1>bring a book, then you will find yourself sitting in

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<v Speaker 1>a in a waiting room somewhere with nothing to occupy yourself,

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<v Speaker 1>but you know, staring at your fingernails and wishing you

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<v Speaker 1>had your clippers on you, or you'll be looking at

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<v Speaker 1>junk on your phone and wishing you hadn't. I'm one

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<v Speaker 1>of those people who like overly prepares in that respect,

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<v Speaker 1>Like I've always got something to read, and I've also

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<v Speaker 1>always got like notebooks to write in, to the point

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<v Speaker 1>now where I've got like an absurd amount of notebooks

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<v Speaker 1>in my everyday bag, like because I got a field

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<v Speaker 1>Notes subscription. This isn't an advertisement for them, but I

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<v Speaker 1>gotta field Notes subscription, and now I have like six

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<v Speaker 1>field Notes for like all different things that are in

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<v Speaker 1>my backpack at all times. Plus I'm reading constantly. Well,

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<v Speaker 1>until until very recently, you couldn't really have the kindle

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<v Speaker 1>out on the plane while you're you know, during takeoff

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<v Speaker 1>and landing. So I would always make sure, Okay, do

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<v Speaker 1>I have a physical book for that portion of the flight,

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<v Speaker 1>and then I can bust out the kindle for the rest.

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<v Speaker 1>That's smart. Yeah, yeah, you don't have a kindle yet, right,

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<v Speaker 1>you're still reading everything physical. I read physical books and

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<v Speaker 1>on my phone, so I so this is funny. The

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<v Speaker 1>majority of the books that I'm going to recommend today

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<v Speaker 1>I read on my phone, even though I still like

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<v Speaker 1>paper books much better. Yeah, how is that on your eyes? Though?

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<v Speaker 1>I mean it's not great. It was one of those

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<v Speaker 1>where I just wanted to start reading a book. I

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<v Speaker 1>didn't want to go out and buy it somewhere wait

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<v Speaker 1>for it to arrive, so I just got the book

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<v Speaker 1>and started reading or or started listening to an audio book.

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<v Speaker 1>I mean I do both of those. So I I

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<v Speaker 1>consume books digitally a lot, even though I'm much enjoy

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<v Speaker 1>paper books. Yeah, I enjoy them much more. Yeah. Yeah,

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<v Speaker 1>it was boy getting a kindle this again on an advertisement,

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<v Speaker 1>like any whatever e reader that doesn't like flash light

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<v Speaker 1>directly into your eyeballs. Man, it was a revelation for me,

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<v Speaker 1>Like my reading increased exponentially when I when I got that,

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<v Speaker 1>because I just, I don't know, there's something about it,

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<v Speaker 1>like it got me really back into reading again. Yeah.

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<v Speaker 1>I've also really enjoyed the various like free e books

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<v Speaker 1>offerings that are out there. Like one that comes to

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<v Speaker 1>mind is U Tour books. We talked about this. Yeah,

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<v Speaker 1>they'll do a I think they're still doing this, a

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<v Speaker 1>Book of the Month club where they'll just put out

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<v Speaker 1>an e book and you can They'll just say here,

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<v Speaker 1>here's the file downloaded, get it on your device. However,

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<v Speaker 1>you get it on your device and then you get

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<v Speaker 1>to go one of those, which is like a novel

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<v Speaker 1>lette that I read recently. It wasn't free, it was cents,

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<v Speaker 1>so it really broke the bank. But not on my

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<v Speaker 1>list here, but I recommend it. Kelly Robeson, she's this

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<v Speaker 1>up and coming kind of sci fi horror fantasy writer,

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<v Speaker 1>and she wrote this story called I Think It's a

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<v Speaker 1>Human Stain and it is wow, really good. Yeah, but

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<v Speaker 1>I'm jumping ahead. I'm like, I'm already recommending stuff that

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<v Speaker 1>isn't on paper in front of me right here. Well,

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<v Speaker 1>where should we start, gentlemen? Should we start with fiction

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<v Speaker 1>or nonfiction? Because we're gonna roll through some fictional selections,

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<v Speaker 1>some nonfictional selections, and uh, Christian and I are gonna

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<v Speaker 1>bust out at least a couple of comics. I think

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<v Speaker 1>you have more than one. I'd have one comics selection.

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<v Speaker 1>I surprisingly only have one comics. But knowing me, I'll

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<v Speaker 1>end up talking about ten other comics by the end

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<v Speaker 1>of this episode. Yeah, why don't we start with the fiction?

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<v Speaker 1>All right? And I think one of you guys should

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<v Speaker 1>go first, because my fiction is a little odd. It's

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<v Speaker 1>not like one thing, Joe, why don't you kick it off? Then? Alright, Well,

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<v Speaker 1>I've got a couple of fiction picks this year. One

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<v Speaker 1>is a book that is more recent I mean, actually,

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<v Speaker 1>I guess it's about ten years ago now, but more recent.

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<v Speaker 1>Another one is a classic that I just discovered for

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<v Speaker 1>the first time this year. So I'll start with the

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<v Speaker 1>more recent one, and that is going to be Blind

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<v Speaker 1>Site by Peter Watts, which was published by Tour Books

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<v Speaker 1>in two thousand six. And we're just given Tour all

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<v Speaker 1>the love today. I'm gonna try not to interrupt you

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<v Speaker 1>too much, Joe, but I am currently reading this book

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<v Speaker 1>and and enjoying it quite a lot, so i'll I

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<v Speaker 1>may interject my opinions as well here and there. Well,

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<v Speaker 1>y'all tap me on the shoulder if I'm just gushing

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<v Speaker 1>to too effusively about this book. I loved this book.

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<v Speaker 1>I I picked up Blind Site after our interview with

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<v Speaker 1>our Scott Baker because in his paper on alien philosophy

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<v Speaker 1>or Scott Baker mentioned that there were really only two

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<v Speaker 1>books he could think of that really achieved the imagination

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<v Speaker 1>of a truly non anthropomorphic alien mind, and one of

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<v Speaker 1>the two books he named was blind Side. I've never

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<v Speaker 1>heard of it before. I've never read anything by Peter Watts,

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<v Speaker 1>but I was like, well, I'm looking for a new

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<v Speaker 1>sci fi horror kind of book right now, I'll check

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<v Speaker 1>that out. I ordered it, and oh man, it is

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<v Speaker 1>so great. Uh it's it's a great example of the

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<v Speaker 1>themes we talked about on the show all the time.

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<v Speaker 1>So I think it's like Dead Center, bulls Eye stuff

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<v Speaker 1>to blow your mind fan kind of book. But also

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<v Speaker 1>it's a it's a great example of, um, this common

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<v Speaker 1>sci fi type story, the first contact story. I don't

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<v Speaker 1>want to say too much about the story, though I

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<v Speaker 1>will talk about some elements from the setting of the novel,

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<v Speaker 1>because the story, I think you should just experience the

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<v Speaker 1>surprises of the plot on your own. But I will

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<v Speaker 1>say a bit about the themes and the setting. So

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<v Speaker 1>Peter Watts is a Canadian marine biologist turned science fiction author,

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<v Speaker 1>and his science background, I would say, really, really comes

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<v Speaker 1>through in the novel because it's a novel about scientific hypotheses.

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<v Speaker 1>Characters are scientists and are trying to solve scientific problems

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<v Speaker 1>in the in the plot of the story, and it

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<v Speaker 1>also deals with these fascinating questions about the biological origins

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<v Speaker 1>of consciousness. I would say it's my favorite kind of

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<v Speaker 1>science fiction novel because I want to picture there are

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<v Speaker 1>like four squares in a grid, and I would call

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<v Speaker 1>this in the square that I would call wild hard.

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<v Speaker 1>So you could define you could divide science fiction into

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<v Speaker 1>hard and soft, where hard sci fi incorporates scientific themes

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<v Speaker 1>and it tries to stay true to real physics and biology.

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<v Speaker 1>And then you've got soft sci fi has you know,

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<v Speaker 1>unexplained magical elements, and that's fine, but that's its own thing.

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<v Speaker 1>But then i'd separated also into dry versus wild. Dry

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<v Speaker 1>sci fi deals with the standard themes of drama and fiction,

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<v Speaker 1>familiar off interpersonal relationships and all that. Wild sci fi

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<v Speaker 1>deals with unpredictable, bizarre creatures and scenarios. And so this

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<v Speaker 1>this is in the corner of both hard and wild.

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<v Speaker 1>It's absolutely bonkers, but at the same time it's extremely

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<v Speaker 1>scientifically conscientious and concerned with scientific accuracy and plausibility. So well,

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<v Speaker 1>this is I think would you agree with I would agree,

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<v Speaker 1>And I think at this point you need to mention, uh,

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<v Speaker 1>the plot element and one particular character that initially hooked

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<v Speaker 1>me on it, Like, I think it's probably the first

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<v Speaker 1>thing you told me about it. Yeah, I would say.

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<v Speaker 1>My first thing to sell a stuff to blow your

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<v Speaker 1>mind fan about this book is that it's a space adventure,

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<v Speaker 1>hard sci fi, first contact book that has vampires, and

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<v Speaker 1>I'm on board. So it's Life Force. No, no, it's

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<v Speaker 1>not quite Life Force. So Life Force is definitely not

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<v Speaker 1>hard Side. Right, So you're out there going like, wait

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<v Speaker 1>a minute, vampires, Okay, I thought you said this was

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<v Speaker 1>hard sci fi. I would say it is. There's no fantasy,

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<v Speaker 1>there's no supernatural elements. Watts does an amazingly good job

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<v Speaker 1>of making vampires biologically plausible. And what he does is

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<v Speaker 1>he envisions them as an extinct branch of hominids that

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<v Speaker 1>went extinct in the place to see an epoch, uh,

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<v Speaker 1>and their cousins of Homo sapiens and Neanderthals. But they've

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<v Speaker 1>got all these interesting inherited glitches and features in their body.

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<v Speaker 1>For one thing, they are obligate cannibals, like they have

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<v Speaker 1>to consume other hominids because they need a necessary protein

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<v Speaker 1>that's generated in hominid bodies, and they can't generate it themselves,

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<v Speaker 1>so they've got to eat other hominids to survive. This

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<v Speaker 1>is why they're, you know, feeding on us. Of course,

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<v Speaker 1>this they eat, they're not drinking blood. They literally are

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<v Speaker 1>eating people. Now, I think it's more like they would

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<v Speaker 1>just eat people. They might drink your blood too. But

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<v Speaker 1>the genesis of all vampire myths, though, got you. So

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<v Speaker 1>how does this hold up in comparison. I'm looking to

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<v Speaker 1>Robert here because we did an episode on Germo del

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<v Speaker 1>Toro's The Strain, which is also very heavily scientifically influenced

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<v Speaker 1>vampire creation. I would say that the major difference here

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<v Speaker 1>is that in The Strain, they put a lot of

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<v Speaker 1>effort into imagining a very monstrous um vampire species that

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<v Speaker 1>is essentially parasitic in in its origin and in blind Sight,

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<v Speaker 1>Peter Watts puts a tremendous amount of effort into creating

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<v Speaker 1>It's still monstrous in a way, it's still inhuman, but

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<v Speaker 1>it's a very very human vampire in well, that that's

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<v Speaker 1>where it gets really interesting because he spends so much

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<v Speaker 1>time just talking about how would a creature like this think,

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<v Speaker 1>how would it uh. One of the examples that comes

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<v Speaker 1>up is it's uh, the vampire character doesn't speak much,

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<v Speaker 1>or when it does speak, if he speaks very briefly,

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<v Speaker 1>and it makes a comparison to two orcas, to transient predatory,

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<v Speaker 1>transient predator, and how the the ones that prey upon

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<v Speaker 1>mammals speak less and are therefore, you know, creating less

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<v Speaker 1>noise that would scare off potential prey. So even though

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<v Speaker 1>this vampire is a member of the crew, it's still

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<v Speaker 1>behaving and thinking like an evolved predator. Yeah, yeah, and

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<v Speaker 1>it's so great, I mean, and they so they respond

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<v Speaker 1>to it the same way you would respond in the

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<v Speaker 1>presence of a predator, Like they feel the predatory gaze

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<v Speaker 1>as if there's like a lion sitting across the table

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<v Speaker 1>from them talking to them. Um, and it's all it's

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<v Speaker 1>there's so many other little features he comes up with

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<v Speaker 1>that are just fascinating, Like they have to go into

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<v Speaker 1>these undead hibernation periods because of course, if you're just

0:11:27.840 --> 0:11:29.800
<v Speaker 1>eating humans all the time, you run out of food,

0:11:29.880 --> 0:11:32.280
<v Speaker 1>so they have to slow down their metabolism another thing

0:11:32.360 --> 0:11:35.920
<v Speaker 1>they've covered the show before. Yeah. Uh. And then so

0:11:35.960 --> 0:11:38.400
<v Speaker 1>they're harmed by looking at crosses. How does he make

0:11:38.480 --> 0:11:41.280
<v Speaker 1>that scientifically plausible? Where he gives He gives them this

0:11:41.440 --> 0:11:47.640
<v Speaker 1>inherited neurological glitch because perpendicular intersecting right angles almost never

0:11:47.720 --> 0:11:50.760
<v Speaker 1>occur in nature, and they've got this problem where when

0:11:50.760 --> 0:11:54.839
<v Speaker 1>they look at one, they go into seizures. And that's clever,

0:11:55.240 --> 0:11:57.680
<v Speaker 1>and that's kind of that's essentially one of the main

0:11:57.760 --> 0:12:00.640
<v Speaker 1>reasons they went extinct, right, is not because human were

0:12:00.679 --> 0:12:03.079
<v Speaker 1>able to really outsmart them, because they are brilliant. There

0:12:03.120 --> 0:12:06.439
<v Speaker 1>a rise of Christianity, well just the rise of human

0:12:07.200 --> 0:12:10.360
<v Speaker 1>and you can't go into a human city and they can't.

0:12:11.200 --> 0:12:13.240
<v Speaker 1>So if they okay, I see, So even if they're

0:12:13.240 --> 0:12:14.880
<v Speaker 1>just like looking at a house that's spilt with the

0:12:14.960 --> 0:12:17.960
<v Speaker 1>right angles, they start having these seizures. Yeah, wow, okay,

0:12:18.080 --> 0:12:20.679
<v Speaker 1>and then they also, like another detail he brings up

0:12:20.760 --> 0:12:23.680
<v Speaker 1>is um how they can they can hold two separate

0:12:23.679 --> 0:12:26.080
<v Speaker 1>worldviews in their mind at the same time. Yeah, they're

0:12:26.120 --> 0:12:29.120
<v Speaker 1>like a they're like a multi core parallel processor and

0:12:29.160 --> 0:12:32.280
<v Speaker 1>they can sort of divide their attention between solving multiple

0:12:32.320 --> 0:12:35.920
<v Speaker 1>problems at the same time, they've got a divisible internal brain.

0:12:36.480 --> 0:12:38.720
<v Speaker 1>This is not the example wats used, but I'm gonna

0:12:38.840 --> 0:12:41.840
<v Speaker 1>tweak it. You know, the what is it the rabbit?

0:12:42.400 --> 0:12:44.520
<v Speaker 1>What is the optical illusion? Sometimes it looks like a

0:12:44.760 --> 0:12:48.040
<v Speaker 1>rabbit the duck, The rabbit the duck. The vampires can

0:12:48.120 --> 0:12:50.040
<v Speaker 1>look at the rabbit the duck and they see a

0:12:50.120 --> 0:12:51.800
<v Speaker 1>rabbit in the duck at the same time. Is it

0:12:51.920 --> 0:12:55.440
<v Speaker 1>the Necker cube? Yes, that's the example. You know about

0:12:55.440 --> 0:12:58.040
<v Speaker 1>this Christian right, Well, it's a It's a three dimensional

0:12:58.160 --> 0:13:01.080
<v Speaker 1>illustration of a cube, like the wire our cube, and

0:13:01.280 --> 0:13:03.520
<v Speaker 1>your mind, while you're looking at it will switch back

0:13:03.559 --> 0:13:05.880
<v Speaker 1>and forth from seeing it as a cube oriented in

0:13:05.960 --> 0:13:08.400
<v Speaker 1>one direction to a cube oriented the other direction. I

0:13:08.440 --> 0:13:09.800
<v Speaker 1>do know what you're talking about. I just didn't know

0:13:09.840 --> 0:13:12.120
<v Speaker 1>that's what it was called. Okay, So a human looks

0:13:12.120 --> 0:13:14.720
<v Speaker 1>at that and your mind is naturally switching you back

0:13:14.720 --> 0:13:16.360
<v Speaker 1>and forth. You see it one way, then you see

0:13:16.360 --> 0:13:18.439
<v Speaker 1>it the other way. The vampires in this novel can

0:13:18.440 --> 0:13:22.960
<v Speaker 1>see both cubes at once. One more thing I wanted

0:13:22.960 --> 0:13:27.800
<v Speaker 1>to terrify. Yeah, they sound like apex predators totally. I'd

0:13:27.840 --> 0:13:31.920
<v Speaker 1>say this novel it has really strong horror elements and

0:13:31.960 --> 0:13:35.280
<v Speaker 1>they are of a very interesting kind, because I would

0:13:35.280 --> 0:13:37.400
<v Speaker 1>say it's a cousin to the kind of cosmic horror

0:13:37.400 --> 0:13:40.720
<v Speaker 1>you'd see in something like Lovecraft and related works, where

0:13:40.800 --> 0:13:43.960
<v Speaker 1>there's this idea that there are vast powerful forces at

0:13:44.000 --> 0:13:47.120
<v Speaker 1>work in the universe and you're just a speck and

0:13:47.160 --> 0:13:49.640
<v Speaker 1>you have no reason to think that these vast powerful

0:13:49.640 --> 0:13:53.400
<v Speaker 1>forces are sympathetic to you at all. Corror. Yeah, and

0:13:53.440 --> 0:13:57.000
<v Speaker 1>so in Lovecraft these are like alien god beings and

0:13:57.280 --> 0:13:59.920
<v Speaker 1>these pantheons and things like that. In blind Sight, I'd

0:14:00.000 --> 0:14:03.319
<v Speaker 1>say the same thematic role is played by the laws

0:14:03.360 --> 0:14:08.800
<v Speaker 1>of biological evolution, Like the novel actually leverages real facts

0:14:08.800 --> 0:14:12.320
<v Speaker 1>about biology and extending them into thinking about space to

0:14:12.520 --> 0:14:15.480
<v Speaker 1>fill the role of cosmic dread brought on by the

0:14:15.520 --> 0:14:18.199
<v Speaker 1>elder gods in love Craft. That sounds very nice. Yeah,

0:14:18.240 --> 0:14:21.000
<v Speaker 1>I need to check this book out. Yeah, there, this

0:14:21.080 --> 0:14:23.240
<v Speaker 1>is one of those books. I'm reading it in in

0:14:23.400 --> 0:14:27.120
<v Speaker 1>the book format, and uh I keep making notes uh

0:14:27.160 --> 0:14:29.560
<v Speaker 1>in in my device as I see that. See it

0:14:29.560 --> 0:14:31.800
<v Speaker 1>tie into various topics we've covered, Like there's a scene

0:14:31.800 --> 0:14:33.800
<v Speaker 1>where there are a number of scenes in the book

0:14:33.800 --> 0:14:36.720
<v Speaker 1>where characters are are hit with very strong magnetic fields

0:14:36.760 --> 0:14:40.840
<v Speaker 1>and it's causing hallucinations and also, um, like a god helmet. Yeah,

0:14:40.840 --> 0:14:42.600
<v Speaker 1>it's like a god helmet. There. One of the characters

0:14:42.640 --> 0:14:46.200
<v Speaker 1>sees the creator God and goes berserk over it. Another

0:14:46.280 --> 0:14:51.280
<v Speaker 1>character essentially ends up having the Cotard's delusion, believing that

0:14:51.280 --> 0:14:55.800
<v Speaker 1>she does not exist anymore. It's it. I would say

0:14:55.800 --> 0:14:57.760
<v Speaker 1>that that in the portion I've read of it, the

0:14:58.240 --> 0:15:01.360
<v Speaker 1>cognitive stuff, like all the characters in it are so

0:15:02.160 --> 0:15:07.720
<v Speaker 1>cognitively trans human, so delightfully cognitively trans human. Um. But

0:15:07.720 --> 0:15:09.000
<v Speaker 1>but I don't want to steal too much of your

0:15:09.040 --> 0:15:11.360
<v Speaker 1>thunder here. Well, no, I just I think I'm about

0:15:11.400 --> 0:15:12.960
<v Speaker 1>ready to move on. But I just want to say

0:15:13.000 --> 0:15:16.000
<v Speaker 1>I think we haven't even touched on half of the

0:15:16.080 --> 0:15:20.840
<v Speaker 1>amazingly fascinating ideas in this book. So it's just jammed

0:15:20.960 --> 0:15:25.560
<v Speaker 1>with with stuff to contemplate really cool, interesting ideas. If

0:15:25.600 --> 0:15:29.480
<v Speaker 1>you're into science, if you're into big questions and cosmic

0:15:29.560 --> 0:15:32.560
<v Speaker 1>mysteries of existence, this is an excellent book. I think

0:15:32.560 --> 0:15:34.520
<v Speaker 1>you'd really enjoy. And there's not there is not a

0:15:34.600 --> 0:15:37.520
<v Speaker 1>quote unquote normal character in the book. Like now every

0:15:37.600 --> 0:15:43.600
<v Speaker 1>character is has some sort of bizarre cognitive ability or transformation.

0:15:43.800 --> 0:15:47.440
<v Speaker 1>Like there's a character with multiple personalities intentionally created in

0:15:47.480 --> 0:15:52.920
<v Speaker 1>her head team, like in her right so very eclipse phase,

0:15:52.960 --> 0:15:55.160
<v Speaker 1>where so they've got like the ability to sort of

0:15:55.600 --> 0:16:00.280
<v Speaker 1>sleeve multiple identities into a body. One character does, uh,

0:16:00.360 --> 0:16:04.040
<v Speaker 1>eventually maybe more than one, but yeah, another character has

0:16:04.560 --> 0:16:07.160
<v Speaker 1>the main character has lost lost half his brain to

0:16:07.280 --> 0:16:11.920
<v Speaker 1>an infection radical hemisphere ectomy. He had. He suffered from

0:16:12.000 --> 0:16:14.520
<v Speaker 1>seizures when he was a child, and they were so

0:16:14.560 --> 0:16:17.280
<v Speaker 1>bad that they did this procedure where they remove one

0:16:17.360 --> 0:16:19.920
<v Speaker 1>hemisphere of the brain and that does stop the seizures,

0:16:19.960 --> 0:16:22.440
<v Speaker 1>but it also has lots of side effects. Yeah. So

0:16:22.480 --> 0:16:26.200
<v Speaker 1>it's it's like that level of of creativity in this

0:16:26.240 --> 0:16:29.040
<v Speaker 1>book that that I think is just really really amazing.

0:16:29.160 --> 0:16:30.760
<v Speaker 1>I thought one more fact I want to say, and

0:16:30.800 --> 0:16:33.480
<v Speaker 1>then we can move on. This book also does something

0:16:33.520 --> 0:16:35.960
<v Speaker 1>that I've never seen done before. Maybe somebody else does it,

0:16:36.000 --> 0:16:39.240
<v Speaker 1>but I think it's great. You always hear the singularitarians

0:16:39.240 --> 0:16:42.720
<v Speaker 1>being so excited about uploading our consciousness into computers, and

0:16:42.760 --> 0:16:46.000
<v Speaker 1>that's always interpreted as and that's the end, that's the

0:16:46.120 --> 0:16:48.920
<v Speaker 1>end of history. We just upload our consciousness into computers

0:16:49.160 --> 0:16:51.960
<v Speaker 1>and then it's just heavenly bliss in a virtual environment

0:16:52.000 --> 0:16:53.960
<v Speaker 1>for all time. And we don't need to worry about

0:16:53.960 --> 0:16:57.920
<v Speaker 1>anything else. This book incorporates that as a historical event

0:16:57.960 --> 0:17:01.160
<v Speaker 1>people start being able to upload their minds into virtual heavens,

0:17:01.480 --> 0:17:03.840
<v Speaker 1>and then says, actually, that's not the end of history.

0:17:04.240 --> 0:17:07.520
<v Speaker 1>That just happens at some point and things continue going on.

0:17:07.920 --> 0:17:11.160
<v Speaker 1>What would be the consequences of that? And uh, and

0:17:11.240 --> 0:17:13.000
<v Speaker 1>I love it. The way he deals with it is

0:17:13.040 --> 0:17:16.200
<v Speaker 1>really interesting and oh yeah, like there are elements of yes,

0:17:16.200 --> 0:17:19.600
<v Speaker 1>we've had were post singularity, but we we have difficulty

0:17:19.920 --> 0:17:22.399
<v Speaker 1>communicating with the machines and understanding each other. You have

0:17:22.440 --> 0:17:24.800
<v Speaker 1>to have individuals whose whole role is to sort of

0:17:24.840 --> 0:17:28.480
<v Speaker 1>serve as an arbitrator between these two factions. It is

0:17:28.640 --> 0:17:31.840
<v Speaker 1>he is, he's sort of depicting post singularity, but it's

0:17:31.880 --> 0:17:34.840
<v Speaker 1>not a he's not sanguine about the singularity and its

0:17:34.840 --> 0:17:38.240
<v Speaker 1>effects on our lives. It's more kind of like, here's

0:17:38.280 --> 0:17:42.800
<v Speaker 1>just one more radically weird complication and human experience. Yeah,

0:17:42.800 --> 0:17:44.919
<v Speaker 1>and I seem to recall to that, like there are

0:17:44.960 --> 0:17:48.040
<v Speaker 1>a few areas where we haven't pushed into like full

0:17:48.240 --> 0:17:51.760
<v Speaker 1>singularity situations, such as the digitization of consciousness. Like I

0:17:51.760 --> 0:17:54.040
<v Speaker 1>think the individuals who are in that heaven still have

0:17:54.080 --> 0:17:55.679
<v Speaker 1>to have their body or at least part of it

0:17:56.400 --> 0:18:00.920
<v Speaker 1>on file somewhere right, Yeah, squeezed into tenually smaller and

0:18:01.000 --> 0:18:03.600
<v Speaker 1>smaller drawers. This reminds me of have you guys ever

0:18:03.600 --> 0:18:05.880
<v Speaker 1>read any Charles Stross? A lot of his stuff kind

0:18:05.880 --> 0:18:09.800
<v Speaker 1>of treats this singularity. This is funny. Charles Stross blurbed

0:18:09.840 --> 0:18:14.080
<v Speaker 1>the heck out of this. Apparently Charles Stross loved blind Son. Yeah,

0:18:14.119 --> 0:18:17.200
<v Speaker 1>so that's why it reminds me. Also, is Peter Watts

0:18:17.200 --> 0:18:21.080
<v Speaker 1>a pseudonym? That's his real name, because Peter Watts is

0:18:21.160 --> 0:18:24.440
<v Speaker 1>the the name of the character on Millennium that Terry

0:18:24.480 --> 0:18:29.120
<v Speaker 1>o Quinn played. Yeah, just a fun coincidence. Terryo Quinn

0:18:29.200 --> 0:18:32.000
<v Speaker 1>was in Millennium. Oh yeah, Terry Quinn was like a regular.

0:18:32.040 --> 0:18:33.720
<v Speaker 1>He wasn't in every episode, but he was. He was

0:18:33.760 --> 0:18:38.440
<v Speaker 1>like essentially like Leans Hendrickson's like Millennium group partner slash

0:18:38.680 --> 0:18:41.359
<v Speaker 1>front of me. Okay, well, y'all have to stop me,

0:18:41.480 --> 0:18:43.280
<v Speaker 1>or we have I have to stop myself. We some

0:18:43.280 --> 0:18:44.959
<v Speaker 1>somehow this has gotta stop where I'm just gonna keep

0:18:44.960 --> 0:18:48.320
<v Speaker 1>gushing about this book. Let's let's get your fiction pick

0:18:48.359 --> 0:18:51.080
<v Speaker 1>in here, all right. Well, um, maybe maybe I'm a

0:18:51.200 --> 0:18:53.600
<v Speaker 1>bit set in my ways here, but I decided to

0:18:53.960 --> 0:18:58.920
<v Speaker 1>not shock anyone into feature an Ian M. Banks culture novel. Yeah,

0:18:59.320 --> 0:19:01.679
<v Speaker 1>but you know, I think we're like N. M. Banks

0:19:01.760 --> 0:19:06.320
<v Speaker 1>is like best like commercial service. Maybe. So, I mean,

0:19:07.400 --> 0:19:09.679
<v Speaker 1>it's not the only book I read, but I have

0:19:09.720 --> 0:19:12.600
<v Speaker 1>to say I do love them, and I kind of

0:19:13.320 --> 0:19:16.040
<v Speaker 1>resist the urge to really just drive through them all

0:19:16.080 --> 0:19:17.600
<v Speaker 1>and just read all of them, because we're not going

0:19:17.640 --> 0:19:20.359
<v Speaker 1>to get any more of them since an M. Banks

0:19:20.560 --> 0:19:23.119
<v Speaker 1>it's no longer with us. But I generally read one

0:19:23.119 --> 0:19:26.680
<v Speaker 1>a year, and it's always it's always a pleasure. Um.

0:19:26.760 --> 0:19:28.560
<v Speaker 1>And then there are always so many stuff to blow

0:19:28.600 --> 0:19:32.840
<v Speaker 1>your mind aligned themes that pop up in in these books.

0:19:32.880 --> 0:19:36.480
<v Speaker 1>How many are there total? I want to say there, Um,

0:19:36.520 --> 0:19:38.080
<v Speaker 1>it depends on how you count on because I think

0:19:38.080 --> 0:19:41.040
<v Speaker 1>there's seven or eight that are considered culture novels. But

0:19:41.080 --> 0:19:44.919
<v Speaker 1>some are are sort of clear culture culture novels that

0:19:44.960 --> 0:19:48.679
<v Speaker 1>are you know, definitely involving members of the culture, and

0:19:48.720 --> 0:19:51.800
<v Speaker 1>then others it's a case where okay, this seems to

0:19:51.800 --> 0:19:56.280
<v Speaker 1>be a novel that's taking place in the same universe. Yeah,

0:19:56.560 --> 0:20:00.280
<v Speaker 1>and that that that those varying levels of awareness actually

0:20:00.359 --> 0:20:03.119
<v Speaker 1>come come into play in this book. The book is

0:20:03.359 --> 0:20:08.200
<v Speaker 1>uh is Matter. So the book concerns the shell world

0:20:08.400 --> 0:20:12.760
<v Speaker 1>of Sersamon, which is a titanic artificial planet that contains

0:20:13.200 --> 0:20:20.160
<v Speaker 1>nested concentric spheres internally lit by tiny thermonuclear stars. So

0:20:20.480 --> 0:20:22.080
<v Speaker 1>in the book we learned that it was built by

0:20:22.119 --> 0:20:25.080
<v Speaker 1>a mysterious long dead race known as the Veil for

0:20:25.160 --> 0:20:29.320
<v Speaker 1>reasons unknown. Uh. There there are multiple shell worlds spread

0:20:29.320 --> 0:20:32.680
<v Speaker 1>throughout the galaxy in the Culture universe, but it's thought

0:20:32.720 --> 0:20:36.480
<v Speaker 1>that the structures were originally intended to be fluid filled

0:20:36.520 --> 0:20:39.840
<v Speaker 1>and utilized as a means of projecting some manner of

0:20:39.840 --> 0:20:44.280
<v Speaker 1>of shielding around the entire galaxy. Now unknown if that

0:20:44.320 --> 0:20:47.000
<v Speaker 1>shielding would have been to keep something out or to

0:20:47.080 --> 0:20:50.000
<v Speaker 1>keep something in. Uh. You know, it's hard to question

0:20:50.000 --> 0:20:53.040
<v Speaker 1>the ways of the ancients, right, But anyway, it was

0:20:53.080 --> 0:20:55.520
<v Speaker 1>never completed, and in the ages that followed you have

0:20:55.680 --> 0:20:59.920
<v Speaker 1>various space fearing races coming in, exploring it, taking control

0:21:00.119 --> 0:21:04.000
<v Speaker 1>of it. And now various layers of this thing are

0:21:04.119 --> 0:21:08.800
<v Speaker 1>home to implanted ecosystems, and two of these contain humanoids,

0:21:09.040 --> 0:21:13.639
<v Speaker 1>feudal pre industrial humanoid races engaged in wars of conquest,

0:21:13.880 --> 0:21:18.560
<v Speaker 1>while foster civilizations look on like different alien beings. One

0:21:18.600 --> 0:21:21.240
<v Speaker 1>of them, they're just called the oct because they're kind

0:21:21.240 --> 0:21:24.919
<v Speaker 1>of cephalopodic. Wait now, if you said this, I missed it.

0:21:24.960 --> 0:21:27.320
<v Speaker 1>Do the do the people inside the shell worlds know

0:21:27.480 --> 0:21:29.680
<v Speaker 1>they're in the shell world or do they just think

0:21:29.680 --> 0:21:31.880
<v Speaker 1>they're in the world. That's one of the really interesting

0:21:31.920 --> 0:21:35.480
<v Speaker 1>aspects of this book because the three main characters of

0:21:35.640 --> 0:21:40.080
<v Speaker 1>humanoid characters are members of the Royal House of Sorrow

0:21:40.320 --> 0:21:42.840
<v Speaker 1>and one of these internal levels that's again in this

0:21:42.960 --> 0:21:46.440
<v Speaker 1>pre industrial feudal age. But they're not They're not living

0:21:46.440 --> 0:21:50.399
<v Speaker 1>in complete ignorance of the world beyond them. Like they

0:21:50.440 --> 0:21:53.639
<v Speaker 1>they know that the oct or an alien species that

0:21:53.720 --> 0:21:55.760
<v Speaker 1>looks after them. They know that they live in a

0:21:55.800 --> 0:21:59.040
<v Speaker 1>shell world and that there's a greater universe beyond. But

0:21:59.080 --> 0:22:03.399
<v Speaker 1>at the same time, they they believe that their god

0:22:04.160 --> 0:22:06.760
<v Speaker 1>lives in the center of the shell world and uh,

0:22:06.840 --> 0:22:08.840
<v Speaker 1>and they're able to have like they're able to sort

0:22:08.840 --> 0:22:11.639
<v Speaker 1>of think magically, to have sort of magical thinking about

0:22:11.680 --> 0:22:16.240
<v Speaker 1>these greater powers while also believing that they are rooted

0:22:16.400 --> 0:22:19.800
<v Speaker 1>in more of a logical universe. So through throughout the

0:22:19.800 --> 0:22:22.040
<v Speaker 1>book he does a great job of exploring this question,

0:22:22.080 --> 0:22:24.840
<v Speaker 1>what would it be like to exist in a society

0:22:24.880 --> 0:22:28.720
<v Speaker 1>like this to to know uh, to know their aliens,

0:22:28.760 --> 0:22:31.200
<v Speaker 1>to know that there's a there's advanced science that your

0:22:31.280 --> 0:22:33.720
<v Speaker 1>people can't even uh, you know, graphs that you don't

0:22:33.760 --> 0:22:37.320
<v Speaker 1>even have it, like a germ theory of of of disease.

0:22:38.080 --> 0:22:40.479
<v Speaker 1>But yet to know that there are spaceships that travel

0:22:40.480 --> 0:22:44.080
<v Speaker 1>around inside your shell world. Um, and then how would

0:22:44.080 --> 0:22:46.840
<v Speaker 1>you and then how do you understand the the the

0:22:46.920 --> 0:22:49.679
<v Speaker 1>universe beyond your shell world? Because the problem is like

0:22:49.720 --> 0:22:53.840
<v Speaker 1>their cosmology is built upon this these layers within this sphere,

0:22:54.160 --> 0:22:56.320
<v Speaker 1>and so it's even more complex for them to try

0:22:56.320 --> 0:22:59.760
<v Speaker 1>and grasp this greater universe beyond. Now that makes me

0:22:59.800 --> 0:23:01.919
<v Speaker 1>think about sort of the consequences of like what we

0:23:01.960 --> 0:23:04.000
<v Speaker 1>see in Star Trek with the prime directive. You know,

0:23:04.080 --> 0:23:06.160
<v Speaker 1>they always say like, don't interfere and try to help

0:23:06.200 --> 0:23:10.719
<v Speaker 1>a less advanced species, uh, because you'd just be messing

0:23:10.760 --> 0:23:13.640
<v Speaker 1>up their way of life and their natural evolution through history.

0:23:14.040 --> 0:23:16.080
<v Speaker 1>And I often look at that and say, oh why not,

0:23:16.160 --> 0:23:17.720
<v Speaker 1>why don't we just come in and teach them about

0:23:17.760 --> 0:23:20.359
<v Speaker 1>spaceships and stuff like that. But you can imagine the

0:23:20.400 --> 0:23:22.960
<v Speaker 1>trouble that could be caused with this radical disconnect where

0:23:23.000 --> 0:23:27.480
<v Speaker 1>you don't have the scientific foundations already existing and suddenly

0:23:27.480 --> 0:23:31.240
<v Speaker 1>you're just aware of advanced technology. Yeah, and banks explore

0:23:31.320 --> 0:23:34.480
<v Speaker 1>some of this because you have these these various alien

0:23:34.560 --> 0:23:38.879
<v Speaker 1>races that are watching these feudal societies and essentially setting

0:23:38.880 --> 0:23:42.040
<v Speaker 1>back and enjoying their wars of conquest. And at the

0:23:42.080 --> 0:23:44.479
<v Speaker 1>same time, they're not supposed to get too involved. There

0:23:44.560 --> 0:23:47.960
<v Speaker 1>are there are laws involved that are keeping them from

0:23:48.000 --> 0:23:52.160
<v Speaker 1>you know, showing up and handing over advanced technology. And uh,

0:23:52.200 --> 0:23:54.200
<v Speaker 1>and I don't want to spoiling anything in the plot,

0:23:54.200 --> 0:23:57.040
<v Speaker 1>but essentially, uh, it seems to be the case that

0:23:57.080 --> 0:24:00.680
<v Speaker 1>someone has violated one of these these laws. Uh. It's

0:24:00.680 --> 0:24:03.879
<v Speaker 1>it's it's a book where the plot, it initially seems

0:24:03.920 --> 0:24:08.520
<v Speaker 1>pretty simple because within the shell world, you have a

0:24:08.600 --> 0:24:11.840
<v Speaker 1>just king who's who's killed by a new server, and

0:24:11.880 --> 0:24:13.679
<v Speaker 1>then you have the three children of the king who

0:24:13.760 --> 0:24:16.800
<v Speaker 1>have to deal with it. Like one child witnesses the murder.

0:24:16.920 --> 0:24:19.200
<v Speaker 1>He's not a child anymore, he's had grown up. Uh,

0:24:19.240 --> 0:24:21.159
<v Speaker 1>the witnesses the murder and is on the run. And

0:24:21.200 --> 0:24:24.439
<v Speaker 1>then the youngest son is there um uh you know,

0:24:24.560 --> 0:24:26.720
<v Speaker 1>left is the air. And then you have the daughter

0:24:26.920 --> 0:24:30.680
<v Speaker 1>who has actually left uh the shell world and now

0:24:30.760 --> 0:24:33.359
<v Speaker 1>is a member of the culture. And of course the

0:24:33.400 --> 0:24:38.080
<v Speaker 1>culture uh with a capital c is is the the

0:24:38.119 --> 0:24:43.040
<v Speaker 1>inter planetary, interstellar society at the core of most of

0:24:43.080 --> 0:24:46.120
<v Speaker 1>these culture books, and they're what I guess you would say,

0:24:46.440 --> 0:24:54.919
<v Speaker 1>hum an anarchist, utopian society post scarcity. And yeah, and

0:24:54.920 --> 0:24:56.760
<v Speaker 1>one of the details that comes up in this book

0:24:56.800 --> 0:24:59.000
<v Speaker 1>is that so the AI s are each a ship.

0:24:59.400 --> 0:25:02.000
<v Speaker 1>So these show run the culture essentially and they have

0:25:02.480 --> 0:25:06.840
<v Speaker 1>converse with one another make decisions, but each one's operating

0:25:06.840 --> 0:25:09.360
<v Speaker 1>system is built from the ground up, like it evolves

0:25:09.359 --> 0:25:11.600
<v Speaker 1>from the ground up. That protects them from being like

0:25:11.760 --> 0:25:16.360
<v Speaker 1>rapidly infected by anything. I think you just answered one

0:25:16.359 --> 0:25:19.720
<v Speaker 1>of my questions about this. But it sounds like you're

0:25:19.840 --> 0:25:24.000
<v Speaker 1>reading this book through the perspective of multiple cultures. Right.

0:25:24.000 --> 0:25:26.960
<v Speaker 1>It's not like there's one character that we follow that's

0:25:27.000 --> 0:25:29.800
<v Speaker 1>only in the culture and not in the show world.

0:25:29.840 --> 0:25:32.720
<v Speaker 1>You're getting perspectives from all of them. Well, there are three,

0:25:32.800 --> 0:25:35.680
<v Speaker 1>the three main characters all are rooted in in the

0:25:35.880 --> 0:25:40.840
<v Speaker 1>House of Sorrow, but you do encounter various other individuals

0:25:40.880 --> 0:25:43.399
<v Speaker 1>who are like there's a there's a character that was

0:25:43.720 --> 0:25:46.679
<v Speaker 1>maybe once a humanoid and now as a essentially this

0:25:46.800 --> 0:25:50.800
<v Speaker 1>metallic bush kind of a creature, like very trans human

0:25:51.320 --> 0:25:53.960
<v Speaker 1>um Verry David Lynch. Yeah. I mean that's one of

0:25:54.160 --> 0:25:56.280
<v Speaker 1>the great things about Banks sci fi is that he

0:25:56.520 --> 0:26:00.280
<v Speaker 1>deals with some very serious, uh science fiction topic, you know,

0:26:00.320 --> 0:26:03.200
<v Speaker 1>some very lofty ideas. There's a whole there's a whole

0:26:03.200 --> 0:26:06.320
<v Speaker 1>bit in this and really the the title itself refers

0:26:06.320 --> 0:26:09.359
<v Speaker 1>to uh section in it where they're they're talking about

0:26:09.359 --> 0:26:12.919
<v Speaker 1>simulations in the theory that that we live within a simulation,

0:26:12.920 --> 0:26:16.040
<v Speaker 1>that this is all computer simulation. And so they talk

0:26:16.080 --> 0:26:17.960
<v Speaker 1>about that like whether how do we know that we

0:26:18.040 --> 0:26:20.040
<v Speaker 1>are matter? How do we know that we are the

0:26:20.480 --> 0:26:24.760
<v Speaker 1>we're like the prime reality and not some created reality

0:26:24.800 --> 0:26:30.400
<v Speaker 1>for another's amusement. Uh, And then they agreed Deckard together, well,

0:26:30.760 --> 0:26:33.719
<v Speaker 1>and then there's gonna be some sort of absurd punchline here.

0:26:33.720 --> 0:26:35.120
<v Speaker 1>And I mean it's not I don't want to paint

0:26:35.160 --> 0:26:37.960
<v Speaker 1>it like it's discworld or anything, but there is a

0:26:38.280 --> 0:26:41.879
<v Speaker 1>there is a goodhearted silliness in a lot of of

0:26:42.119 --> 0:26:45.400
<v Speaker 1>the culture series that I think, uh, you know, propels

0:26:45.440 --> 0:26:47.720
<v Speaker 1>one on. There's an optimism there too. So what are

0:26:47.760 --> 0:26:51.600
<v Speaker 1>the chances that Hollywood is eyeing this as like a

0:26:51.640 --> 0:26:57.199
<v Speaker 1>big like franchise property. It sounds right for turning it

0:26:57.240 --> 0:26:59.879
<v Speaker 1>into some kind of media property, since it's got all

0:26:59.880 --> 0:27:02.800
<v Speaker 1>these different books and Enim Banks is so beloved as

0:27:02.840 --> 0:27:05.879
<v Speaker 1>an author. I don't know. I have not heard any

0:27:05.880 --> 0:27:08.399
<v Speaker 1>concrete plans to adapt any of the books, but there's

0:27:08.440 --> 0:27:11.679
<v Speaker 1>some there's some lovely smaller scale books that in the

0:27:11.720 --> 0:27:15.040
<v Speaker 1>series that I think would work. Wonders such as The

0:27:15.040 --> 0:27:17.560
<v Speaker 1>Player of Games, which I think I've talked about on

0:27:17.600 --> 0:27:19.960
<v Speaker 1>this podcast in the past before. But it's about a

0:27:20.200 --> 0:27:24.440
<v Speaker 1>cultural operative who has to infiltrate in an effect and

0:27:24.520 --> 0:27:29.119
<v Speaker 1>alien society, whose whole society has built around a single

0:27:29.680 --> 0:27:33.359
<v Speaker 1>super complex board game essentially, so they have to bring

0:27:33.440 --> 0:27:37.600
<v Speaker 1>him in a Master of Games Jonathan maybe, yeah, maybe

0:27:37.680 --> 0:27:41.280
<v Speaker 1>Jonathan will play We'll play him in the movie. So anyway,

0:27:41.280 --> 0:27:45.440
<v Speaker 1>I highly recommend matter. I I'm I'm torn if it's

0:27:45.640 --> 0:27:48.880
<v Speaker 1>an ideal starting point for the culture series, but that's

0:27:48.880 --> 0:27:50.840
<v Speaker 1>one of the ultimate beautiful things about it is that

0:27:50.880 --> 0:27:54.080
<v Speaker 1>this is not like an eight seven or eight volumes saga,

0:27:54.400 --> 0:27:57.520
<v Speaker 1>like each one can stand on its own, and each

0:27:57.520 --> 0:28:01.480
<v Speaker 1>one may refer to the overall time line, um, you know,

0:28:01.560 --> 0:28:03.159
<v Speaker 1>a little bit or a lot depending on what the

0:28:03.160 --> 0:28:05.080
<v Speaker 1>plot is, and each one I'm assuming does like a

0:28:05.080 --> 0:28:08.199
<v Speaker 1>pretty good job of immersing you in this world and

0:28:08.280 --> 0:28:10.600
<v Speaker 1>like kind of getting you settled into it before it

0:28:10.600 --> 0:28:13.680
<v Speaker 1>proceeds with its narrative. Yeah, yeah, yeah that they do

0:28:13.960 --> 0:28:16.160
<v Speaker 1>this one. This one is I think does an especially

0:28:16.160 --> 0:28:19.600
<v Speaker 1>good job because you have characters that are at home

0:28:19.800 --> 0:28:22.720
<v Speaker 1>in certain a certain layer, within a certain world, within

0:28:22.800 --> 0:28:24.720
<v Speaker 1>this larger reuniverse, and you're able to sort of work

0:28:24.720 --> 0:28:28.520
<v Speaker 1>out from there. Cool. Yeah, it's uh, my reading list

0:28:28.560 --> 0:28:31.600
<v Speaker 1>grows by the day. I I really don't think that

0:28:31.640 --> 0:28:34.000
<v Speaker 1>I'm going to ever be able to read everything that's

0:28:34.000 --> 0:28:37.000
<v Speaker 1>been recommended to me. But uh, Ian Banks, I have

0:28:37.119 --> 0:28:39.360
<v Speaker 1>The Wasp Factory sitting in my pile next to the

0:28:39.400 --> 0:28:43.880
<v Speaker 1>bed that start Yeah. Um, but that's not one of

0:28:43.920 --> 0:28:46.000
<v Speaker 1>his sci fi novel that was his for He had

0:28:46.000 --> 0:28:48.920
<v Speaker 1>written some sci fi novels and he he had difficulty

0:28:48.960 --> 0:28:50.920
<v Speaker 1>finding publishers, and so he said, well, heck, I'm going

0:28:50.960 --> 0:28:53.200
<v Speaker 1>to write a kind of a literary horror tale. So

0:28:53.240 --> 0:28:55.240
<v Speaker 1>he wrote The Wasp Factory and it's a tremendous hit,

0:28:55.280 --> 0:28:58.400
<v Speaker 1>and it is a it's a tremendous um. It's kind

0:28:58.400 --> 0:29:03.200
<v Speaker 1>of slightly surreal horror read. But one of the things

0:29:03.240 --> 0:29:05.400
<v Speaker 1>that makes me want to read The Wasp Factory. Is

0:29:05.440 --> 0:29:07.560
<v Speaker 1>that it's got a poll quote on the outside of

0:29:07.560 --> 0:29:09.480
<v Speaker 1>the book where you normally have stuff like, you know,

0:29:09.520 --> 0:29:12.600
<v Speaker 1>a tour to force, and the poll quote says something

0:29:12.680 --> 0:29:19.200
<v Speaker 1>like utter trash, absolutely depraved. Yeah, it's kind of depraved.

0:29:19.400 --> 0:29:22.360
<v Speaker 1>Once I finished that, then I'm gonna then I'll probably

0:29:22.400 --> 0:29:24.600
<v Speaker 1>add a culture book to that stack, and then it'll

0:29:24.600 --> 0:29:26.400
<v Speaker 1>be five years after that that I get to that.

0:29:26.720 --> 0:29:29.280
<v Speaker 1>I'm still trying to finish that niff the Lean book

0:29:29.320 --> 0:29:31.840
<v Speaker 1>that you love Me Borrow a year ago. Well, that's

0:29:31.840 --> 0:29:35.040
<v Speaker 1>a good one, which I have also recommended all over

0:29:35.080 --> 0:29:38.520
<v Speaker 1>the place. Michael Shay al Right, well, speaking of literary horror.

0:29:38.560 --> 0:29:43.000
<v Speaker 1>Speaking of Michael, what's your fiction selection? Yeah, so I

0:29:43.040 --> 0:29:46.960
<v Speaker 1>don't have one fiction selection. I have many. I have

0:29:47.120 --> 0:29:50.760
<v Speaker 1>undergone a project for the summer. My wife, for my birthday,

0:29:50.840 --> 0:29:53.640
<v Speaker 1>because I asked her to do this, got me subscriptions

0:29:53.680 --> 0:29:58.360
<v Speaker 1>to a bunch of genre magazines that have short fiction

0:29:58.400 --> 0:30:00.920
<v Speaker 1>in them. So I was like, you know what, I

0:30:01.320 --> 0:30:03.840
<v Speaker 1>really I know about all this stuff that's going on.

0:30:03.960 --> 0:30:06.760
<v Speaker 1>I write fiction. I should try to immerse myself and

0:30:06.800 --> 0:30:09.760
<v Speaker 1>what people are currently publishing. So here I'll hand you

0:30:09.760 --> 0:30:11.880
<v Speaker 1>guys the two physical copies that I brought in. You

0:30:11.880 --> 0:30:14.080
<v Speaker 1>can take a peek while I'm going through these, But

0:30:14.240 --> 0:30:18.200
<v Speaker 1>I have been reading, uh, and have subscriptions now to

0:30:18.440 --> 0:30:23.080
<v Speaker 1>The Dark Nightmare Magazine, Apex Magazine, The Magazine of Fantasy

0:30:23.080 --> 0:30:28.240
<v Speaker 1>and Science Fiction, Clark's World, Light Speed, Cemetery Dance, Black Static,

0:30:28.400 --> 0:30:31.760
<v Speaker 1>and The Lovecraft Easing. Uh. And if that sounds like

0:30:31.800 --> 0:30:34.440
<v Speaker 1>a lot, it is. I had no idea how much

0:30:34.480 --> 0:30:36.080
<v Speaker 1>I was getting into and how much I was gonna

0:30:36.120 --> 0:30:39.000
<v Speaker 1>try to keep up with. But yeah, the basic idea

0:30:39.520 --> 0:30:41.440
<v Speaker 1>was that I subscribed to these so I could be

0:30:41.480 --> 0:30:44.880
<v Speaker 1>more aware of what is publishing within this ecosystem, Who

0:30:44.920 --> 0:30:48.320
<v Speaker 1>are the new voices in genres like horror and fantasy

0:30:48.360 --> 0:30:51.040
<v Speaker 1>and sci fi, and what are their concerns. I felt

0:30:51.080 --> 0:30:53.280
<v Speaker 1>like I had a responsibility as a writer to to

0:30:53.360 --> 0:30:55.640
<v Speaker 1>keep up with what my peers were doing, but also

0:30:55.680 --> 0:30:59.600
<v Speaker 1>to support their work financially. Uh. So the copies I

0:30:59.600 --> 0:31:02.920
<v Speaker 1>just gave you, I have physical subscriptions to Cemetary Dance

0:31:02.960 --> 0:31:06.680
<v Speaker 1>and Black Static. Everything else is digital, so uh, you know,

0:31:06.800 --> 0:31:09.360
<v Speaker 1>it actually only ends up being like something like twenty

0:31:09.400 --> 0:31:11.600
<v Speaker 1>dollars a month for all of those subscriptions, which is

0:31:11.680 --> 0:31:16.240
<v Speaker 1>kind of nice. And uh, there aren't as many avenues

0:31:16.320 --> 0:31:19.560
<v Speaker 1>I think for beginning writers to break in anymore. Robert

0:31:19.560 --> 0:31:22.280
<v Speaker 1>and I were talking about this earlier this morning, and

0:31:22.400 --> 0:31:25.400
<v Speaker 1>to get paid on top of that, right as there

0:31:25.480 --> 0:31:27.480
<v Speaker 1>used to be. So I decided I'm going to try

0:31:27.480 --> 0:31:30.280
<v Speaker 1>to support these and do my best to keep up.

0:31:30.280 --> 0:31:32.719
<v Speaker 1>Although wow, I'm I'm already way behind. It is a

0:31:32.720 --> 0:31:35.880
<v Speaker 1>ton to keep up with. I don't think I'll ever

0:31:35.920 --> 0:31:38.280
<v Speaker 1>be able to read all of it. I've already got

0:31:38.280 --> 0:31:40.080
<v Speaker 1>a stack. I've only had it for three months. I've

0:31:40.080 --> 0:31:42.360
<v Speaker 1>already got a stack of twenty plus issues to catch

0:31:42.440 --> 0:31:44.480
<v Speaker 1>up on. But I've been trying to read like one

0:31:44.480 --> 0:31:47.160
<v Speaker 1>short story a day, and then I again have a

0:31:47.160 --> 0:31:50.760
<v Speaker 1>little field Notes notebook that I tracked the stories in,

0:31:50.880 --> 0:31:53.000
<v Speaker 1>and you know, track which ones I like the most,

0:31:53.320 --> 0:31:55.000
<v Speaker 1>so I can keep an eye out for those authors

0:31:55.040 --> 0:31:57.440
<v Speaker 1>in the future. Cool. Yeah, I mean, I I have

0:31:57.520 --> 0:32:00.280
<v Speaker 1>a I have a lot of thoughts about the UH,

0:32:00.720 --> 0:32:03.960
<v Speaker 1>the the independent publishing industry, and and and the various

0:32:04.000 --> 0:32:07.680
<v Speaker 1>horror publications that still survived this day and some of

0:32:07.720 --> 0:32:09.160
<v Speaker 1>the new ones that have come out. I mean, I've

0:32:09.200 --> 0:32:13.040
<v Speaker 1>I've I've written fiction. I do enough for a while,

0:32:13.160 --> 0:32:18.280
<v Speaker 1>so I'm familiar with with these, but certainly, uh, certainly

0:32:18.400 --> 0:32:20.800
<v Speaker 1>some legendary titles that a Cemetery Dance has been around

0:32:20.800 --> 0:32:23.959
<v Speaker 1>for quite a while, and I think that's I remember

0:32:24.040 --> 0:32:27.800
<v Speaker 1>when I was first discovering like Joe Lansdale and Poppy

0:32:27.880 --> 0:32:31.560
<v Speaker 1>z Bright, I remember having their short story collections and

0:32:31.560 --> 0:32:33.640
<v Speaker 1>I was always curious, like, where did these? Anytime I

0:32:33.640 --> 0:32:35.040
<v Speaker 1>look at a short story collection, I want to see

0:32:35.040 --> 0:32:38.800
<v Speaker 1>where things published originally? Curiosity and Cemetery Dance was always

0:32:38.800 --> 0:32:40.880
<v Speaker 1>on the list. That was how I picked this group.

0:32:40.960 --> 0:32:43.960
<v Speaker 1>I basically have been reading a lot of anthologies in

0:32:43.960 --> 0:32:46.200
<v Speaker 1>the last couple of years. Usually it's like the best

0:32:46.200 --> 0:32:48.280
<v Speaker 1>Horror of the year, the best dark fiction of the

0:32:48.320 --> 0:32:50.280
<v Speaker 1>year or whatever, and so I would go through those

0:32:50.600 --> 0:32:53.280
<v Speaker 1>as bibliographies essentially and say, like, all right, where was

0:32:53.320 --> 0:32:56.240
<v Speaker 1>all this stuff published originally? Cool, I'll go subscribe to

0:32:56.280 --> 0:33:00.880
<v Speaker 1>that stuff now. Um. Surprisingly, yeah, it's not all that expensive.

0:33:00.920 --> 0:33:02.840
<v Speaker 1>They're about like two or three dollars an issue. If

0:33:02.840 --> 0:33:05.560
<v Speaker 1>you get them digitally, they get auto delivered to my Kindle.

0:33:05.600 --> 0:33:07.480
<v Speaker 1>I don't even have to download them. Like all of

0:33:07.520 --> 0:33:09.480
<v Speaker 1>a sudden. It's like at the on the first day

0:33:09.520 --> 0:33:11.960
<v Speaker 1>of a month, there's like, you know, ten new magazine

0:33:12.000 --> 0:33:15.880
<v Speaker 1>sitting on my Kindle. Um. There's some weird formatting issues though.

0:33:16.160 --> 0:33:20.280
<v Speaker 1>The Dark in particular, like for some reason isn't Kindle ready,

0:33:20.320 --> 0:33:22.120
<v Speaker 1>so it won't show up on my Kindle. But I

0:33:22.120 --> 0:33:24.680
<v Speaker 1>can read it on like the Amazon app, on like

0:33:24.720 --> 0:33:27.000
<v Speaker 1>a phone or a tablet or something like that. So

0:33:27.240 --> 0:33:29.920
<v Speaker 1>sometimes I gotta switch devices or whatever. But it's fine,

0:33:30.360 --> 0:33:34.520
<v Speaker 1>the first world problem. The cool thing about Clark's World

0:33:34.560 --> 0:33:36.360
<v Speaker 1>that I'd like to point out is that it also

0:33:36.560 --> 0:33:41.600
<v Speaker 1>republishes classic works by you know, really well known established

0:33:41.880 --> 0:33:45.800
<v Speaker 1>sci fi fantasy authors. Uh So, like, for instance, James

0:33:45.800 --> 0:33:50.280
<v Speaker 1>Tiptree Jr. There was a story by him her in

0:33:50.560 --> 0:33:52.800
<v Speaker 1>uh in one of the issues that I was reading.

0:33:52.840 --> 0:33:54.760
<v Speaker 1>So I don't know how familiar you guys are with

0:33:54.840 --> 0:33:58.440
<v Speaker 1>James Tiptree Jr. But it's a pseudonym for Alice Bradley Sheldon,

0:33:58.960 --> 0:34:01.600
<v Speaker 1>uh And she wrote sci fi from the sixties to

0:34:01.680 --> 0:34:03.840
<v Speaker 1>the eighties, but she took on a male student in

0:34:03.920 --> 0:34:06.880
<v Speaker 1>persona to make it easier to get published. She really

0:34:06.880 --> 0:34:10.120
<v Speaker 1>wrote some amazing stuff, one of the greats, really, and

0:34:10.120 --> 0:34:12.320
<v Speaker 1>she's got this huge body of work to explore. So

0:34:12.360 --> 0:34:14.239
<v Speaker 1>it was cool that just like kind of popped up

0:34:14.239 --> 0:34:18.320
<v Speaker 1>there in Clark's World. Uh, there's also nonfiction in these,

0:34:18.400 --> 0:34:20.040
<v Speaker 1>so there's a lot of stuff that looks at the

0:34:20.080 --> 0:34:23.719
<v Speaker 1>industry as a whole. What's going on with publishing. Uh,

0:34:23.880 --> 0:34:27.040
<v Speaker 1>what kind of awards are coming out? You know, brom Stoker,

0:34:27.400 --> 0:34:30.480
<v Speaker 1>Shirley Jackson. Actually, as we're recording this, the Shirley Jackson

0:34:30.520 --> 0:34:33.319
<v Speaker 1>Awards were just awarded like two two or three days ago,

0:34:33.360 --> 0:34:37.920
<v Speaker 1>I think for sixteen nominees, and uh, they talk about

0:34:38.160 --> 0:34:43.080
<v Speaker 1>genre films related literary criticism. It's really interesting. Uh so

0:34:43.280 --> 0:34:46.279
<v Speaker 1>my favorite so far. I've been reading these for three

0:34:46.320 --> 0:34:49.080
<v Speaker 1>months now trying to keep up. There's three stories that

0:34:49.160 --> 0:34:51.760
<v Speaker 1>I want to call out in particular. One is Kiss

0:34:51.840 --> 0:34:55.520
<v Speaker 1>the Mouthless Girl by Giovanni de Fio, and that was

0:34:55.560 --> 0:34:58.040
<v Speaker 1>in Nightmare of May of this year. You were telling

0:34:58.040 --> 0:35:00.919
<v Speaker 1>me about this, Yeah, yeah, this one really stuck out

0:35:00.960 --> 0:35:03.520
<v Speaker 1>to me. And then there was The Witches Hour or

0:35:03.560 --> 0:35:07.120
<v Speaker 1>just Witches Hour by Shannon Connor Winward, which was in

0:35:07.120 --> 0:35:10.960
<v Speaker 1>the Magazine of Fantasy and Science Fiction again May, the

0:35:11.000 --> 0:35:14.160
<v Speaker 1>May issue. And The Lark Ascending, which is a story

0:35:14.200 --> 0:35:17.760
<v Speaker 1>by Samantha Henderson that was in the Dark Again published

0:35:17.800 --> 0:35:21.759
<v Speaker 1>in May. Uh, Magazine of Fantasy and Science Fiction did

0:35:21.800 --> 0:35:24.200
<v Speaker 1>you know, like that's where all the Dark Tower stuff

0:35:24.239 --> 0:35:27.600
<v Speaker 1>was published originally, Like The Gun Slinger originally came out

0:35:27.680 --> 0:35:30.600
<v Speaker 1>as five short stories in the Magazine of Fantasy and

0:35:30.600 --> 0:35:33.399
<v Speaker 1>Science Fiction over the course of the late seventies going

0:35:33.440 --> 0:35:37.480
<v Speaker 1>into the eighties. Yeah. So uh that magazine, I mean,

0:35:37.480 --> 0:35:39.279
<v Speaker 1>it's been around since the forties. It has like this

0:35:39.400 --> 0:35:42.920
<v Speaker 1>amazing track record of of talent that it's Foster Stephen

0:35:43.000 --> 0:35:45.960
<v Speaker 1>King eventually worked up to that after all the all

0:35:46.000 --> 0:35:50.040
<v Speaker 1>the Cavalier, Yeah, Stephen King is the opposite. Like if

0:35:50.080 --> 0:35:52.960
<v Speaker 1>you go and you look at like Nightshift and Skeleton

0:35:53.040 --> 0:35:54.840
<v Speaker 1>Crew and you're like, where was this originally published, and

0:35:54.840 --> 0:35:58.560
<v Speaker 1>it's all like Cavalier and like Penthouse and stuff like that. Yeah,

0:35:58.840 --> 0:36:00.520
<v Speaker 1>that was back in the day where you could make

0:36:00.520 --> 0:36:05.080
<v Speaker 1>money writing short fiction and just selling them to skin Mag's. Yeah. Uh,

0:36:05.320 --> 0:36:07.400
<v Speaker 1>you know a publication that I'll throw in there is

0:36:07.440 --> 0:36:09.839
<v Speaker 1>being a pretty good one if you're into if you're

0:36:09.840 --> 0:36:14.399
<v Speaker 1>into fantasy, particularly dark fantasy. Grim Dark Magazine, Oh yeah, yeah,

0:36:14.480 --> 0:36:16.279
<v Speaker 1>that was also on my list. I ended up not

0:36:16.400 --> 0:36:20.440
<v Speaker 1>going with it because that's like a very specific genre, right,

0:36:20.520 --> 0:36:23.719
<v Speaker 1>grim dark is a its own like sub genre, is

0:36:23.719 --> 0:36:26.400
<v Speaker 1>my understanding. It depends how you're talking to ye. Do

0:36:26.520 --> 0:36:30.040
<v Speaker 1>people not consider George R. Martin an example of grim dark?

0:36:30.200 --> 0:36:34.120
<v Speaker 1>Like the Throne stuff? Think sure, but basically their whole

0:36:34.320 --> 0:36:37.839
<v Speaker 1>lengthy like Facebook arguments like is this author grim dark? Nope,

0:36:37.840 --> 0:36:41.000
<v Speaker 1>not grim dark enough for me. Yeah, it gets a

0:36:41.000 --> 0:36:44.080
<v Speaker 1>bit As with any genre classification and stub genre classification,

0:36:44.080 --> 0:36:45.759
<v Speaker 1>it can get a bit silly. So what is it?

0:36:45.760 --> 0:36:50.399
<v Speaker 1>It's it's fantasy where characters swear and they're mean and immoral. Well,

0:36:50.400 --> 0:36:54.359
<v Speaker 1>it's like I think graphically violent, right, is part of it?

0:36:54.640 --> 0:36:57.319
<v Speaker 1>Though this is the whole. These are all discussion points

0:36:57.320 --> 0:36:59.959
<v Speaker 1>in the argument. But because I remember, like I wrote

0:37:00.040 --> 0:37:02.359
<v Speaker 1>a short story. But both of you guys have read

0:37:02.360 --> 0:37:04.839
<v Speaker 1>this short story I wrote last year and I sent

0:37:04.920 --> 0:37:06.480
<v Speaker 1>it around to a couple of friends, and our buddy

0:37:06.520 --> 0:37:09.160
<v Speaker 1>Michael we Hunt, who's an established writer who's published in

0:37:09.200 --> 0:37:11.239
<v Speaker 1>some of these magazines, was like, it's a it's a

0:37:11.320 --> 0:37:12.799
<v Speaker 1>little bit grim dark. I don't know if you're going

0:37:12.880 --> 0:37:14.640
<v Speaker 1>to be able to get it published some of these

0:37:14.680 --> 0:37:16.640
<v Speaker 1>And I was like, I don't even know what that is.

0:37:16.680 --> 0:37:19.279
<v Speaker 1>And then that's how I learned. Yeah, yeah, I mean,

0:37:19.360 --> 0:37:21.440
<v Speaker 1>I guess grim dark is just kind of like, you know,

0:37:21.480 --> 0:37:24.279
<v Speaker 1>a lot of it's nihilistic. Um. Yeah, that sounds like

0:37:24.480 --> 0:37:26.320
<v Speaker 1>Grim Dark Magazine in particular. I wonder the reason I

0:37:26.360 --> 0:37:28.160
<v Speaker 1>started picking it up is because our Scott Baker has

0:37:28.160 --> 0:37:30.880
<v Speaker 1>had a couple of short stories said in his uh

0:37:31.000 --> 0:37:35.040
<v Speaker 1>his universe in that those books, So we should throw

0:37:35.080 --> 0:37:36.799
<v Speaker 1>that out for people who haven't listened to the Art

0:37:36.800 --> 0:37:41.239
<v Speaker 1>Scott Baker episode. So, uh, that universe is the Second

0:37:41.239 --> 0:37:44.160
<v Speaker 1>Apocalypse socca yea, yeah, yeah, yeah, And these are dark

0:37:44.200 --> 0:37:46.880
<v Speaker 1>fantasy books that he has what like at least like

0:37:46.920 --> 0:37:50.360
<v Speaker 1>eight of or something like that, and it's a dark, dark,

0:37:50.760 --> 0:37:57.360
<v Speaker 1>philosophically charged fantasy epic. Yeah. Again, another thing that's in

0:37:57.440 --> 0:37:59.280
<v Speaker 1>my stack. I have the first book in that series,

0:37:59.320 --> 0:38:01.759
<v Speaker 1>but I haven't gotten to it yet. Also recommended to

0:38:01.800 --> 0:38:04.239
<v Speaker 1>me by a friend of the show, E. C. Steiner. Yeah.

0:38:04.320 --> 0:38:07.600
<v Speaker 1>A lot of people whose opinions I respect to love

0:38:07.680 --> 0:38:10.919
<v Speaker 1>that stuff. So that's my fiction for the summer, Holy Cow.

0:38:11.320 --> 0:38:14.640
<v Speaker 1>Other than comics, of course, But yeah, I've I've been

0:38:14.760 --> 0:38:18.080
<v Speaker 1>diving into the deep end. I also just finished rereading

0:38:18.239 --> 0:38:20.640
<v Speaker 1>Stephen King's for the summer, but that is not on

0:38:20.680 --> 0:38:23.120
<v Speaker 1>my recommendation list. I love that book, but I don't

0:38:23.120 --> 0:38:25.560
<v Speaker 1>know that I necessarily think it's for everybody to revisit.

0:38:25.680 --> 0:38:30.279
<v Speaker 1>It's a huge Alright, So we're gonna take a quick break,

0:38:30.320 --> 0:38:32.400
<v Speaker 1>and when we come back, we'll jump into some non

0:38:32.440 --> 0:38:35.680
<v Speaker 1>fictional selections. Uh, and then after that we'll probably take

0:38:35.680 --> 0:38:38.560
<v Speaker 1>another commercial break, and then we will discuss a few

0:38:38.560 --> 0:38:45.480
<v Speaker 1>comics and one final fiction selection from Joe. Thank Thank Alright,

0:38:45.480 --> 0:38:49.640
<v Speaker 1>we're back. Okay, So nonfiction, if I know you guys,

0:38:49.800 --> 0:38:54.000
<v Speaker 1>there's some pretty dense stuff because you, especially Joe, Joe

0:38:54.120 --> 0:38:59.040
<v Speaker 1>loves some like really dense scientific nonfiction material but also accessible.

0:39:00.040 --> 0:39:02.200
<v Speaker 1>I don't know what you mean by Dent's. I mean,

0:39:02.200 --> 0:39:06.720
<v Speaker 1>I wouldn't like, I'm not recommending like textbooks or anything. Okay,

0:39:06.760 --> 0:39:09.879
<v Speaker 1>it's uh, it's a textbook. Now. My pick this year

0:39:10.239 --> 0:39:15.000
<v Speaker 1>is The Fundamentals of Physics, Volume two. Now it's a

0:39:15.080 --> 0:39:18.400
<v Speaker 1>book by Ed Young, of course, one of my favorite

0:39:18.400 --> 0:39:21.200
<v Speaker 1>science writers and has been for years. The book is

0:39:21.239 --> 0:39:25.319
<v Speaker 1>his twenty sixteen book from HarperCollins called I Contain Multitudes

0:39:25.400 --> 0:39:28.399
<v Speaker 1>The Microbes Within Us in a Grander View of Life. Now.

0:39:28.520 --> 0:39:31.360
<v Speaker 1>Ed Young is, as you've mentioned before on the show,

0:39:31.400 --> 0:39:34.800
<v Speaker 1>somebody if you're into our podcast, worth following on Twitter

0:39:34.800 --> 0:39:37.480
<v Speaker 1>because he has some really interesting insights. So yeah, he.

0:39:37.560 --> 0:39:40.279
<v Speaker 1>I mean, he's great on Twitter. Just if you ever

0:39:40.320 --> 0:39:43.200
<v Speaker 1>see an article by him. He writes for different publications

0:39:43.200 --> 0:39:46.000
<v Speaker 1>that he writes for The Atlantic, for National Geographics sometimes,

0:39:46.000 --> 0:39:48.239
<v Speaker 1>but anytime you see an article by him, it's worth

0:39:48.320 --> 0:39:51.080
<v Speaker 1>checking out. It's usually going to be about some really

0:39:51.160 --> 0:39:54.760
<v Speaker 1>interesting feature of biology that you've never been aware of before.

0:39:54.800 --> 0:39:57.640
<v Speaker 1>And he's one of the real great biology writers out

0:39:57.640 --> 0:39:59.719
<v Speaker 1>there right now. He's one of those dudes that like

0:40:00.239 --> 0:40:02.759
<v Speaker 1>every time we're researching, like I'd say, like once a

0:40:02.800 --> 0:40:05.400
<v Speaker 1>month when we're researching, like something will just paying on

0:40:05.440 --> 0:40:08.319
<v Speaker 1>the radar and it will be an ed Young. Uh So.

0:40:08.400 --> 0:40:11.839
<v Speaker 1>I Contain Multitudes is about microbial life, and it's one

0:40:11.840 --> 0:40:13.799
<v Speaker 1>of the best science books I've read in a long time.

0:40:14.280 --> 0:40:16.239
<v Speaker 1>I'm actually hoping we can talk to Ed Young on

0:40:16.239 --> 0:40:18.600
<v Speaker 1>the show sometimes. It'd be really great, and I've I've

0:40:18.640 --> 0:40:21.319
<v Speaker 1>emailed with him once, but I want to get back

0:40:21.320 --> 0:40:22.880
<v Speaker 1>in touch with them. Hopefully we can bring him on.

0:40:22.960 --> 0:40:25.480
<v Speaker 1>We'll see. But like I said, he's been one of

0:40:25.480 --> 0:40:27.480
<v Speaker 1>my favorite science writers for years, and I think this

0:40:27.520 --> 0:40:30.640
<v Speaker 1>book is just gold. It hits the sweet spot of

0:40:30.719 --> 0:40:35.480
<v Speaker 1>combining getting it right with making it fascinating, which sometimes

0:40:35.520 --> 0:40:39.000
<v Speaker 1>you feel like science writers tend to spill more over

0:40:39.080 --> 0:40:41.160
<v Speaker 1>onto one side of that than the other. He can

0:40:41.200 --> 0:40:43.920
<v Speaker 1>do both. He's really good at getting the point across

0:40:44.000 --> 0:40:47.440
<v Speaker 1>and being accessible. Yeah. Um, so, based on the title,

0:40:47.680 --> 0:40:50.879
<v Speaker 1>you might guess that I Contain Multitudes because you contain them.

0:40:50.920 --> 0:40:53.799
<v Speaker 1>Is about the microbiota within your body, and that is

0:40:53.840 --> 0:40:55.719
<v Speaker 1>a major part of the book, but it's only one

0:40:55.840 --> 0:40:57.880
<v Speaker 1>part of the story. One of the main themes that

0:40:57.920 --> 0:41:01.240
<v Speaker 1>I took away from the book is that it's about

0:41:01.280 --> 0:41:03.400
<v Speaker 1>the many ways in which this is not a world

0:41:03.440 --> 0:41:06.839
<v Speaker 1>of plants and animals with some microbes scattered around it.

0:41:07.280 --> 0:41:10.399
<v Speaker 1>This is a world of microbes. And if you were

0:41:10.480 --> 0:41:13.759
<v Speaker 1>just to communicate from a purely biological perspective with an

0:41:13.760 --> 0:41:17.960
<v Speaker 1>alien species, what is Earth life like? People would usually say, well,

0:41:18.040 --> 0:41:19.960
<v Speaker 1>it's you know, it's like humans. They've got a head

0:41:20.000 --> 0:41:22.120
<v Speaker 1>with eyes and aren't. No, you'd be talking about the

0:41:22.160 --> 0:41:25.360
<v Speaker 1>microbes because that is what the majority of Earth life is.

0:41:25.719 --> 0:41:28.160
<v Speaker 1>We didn't put them on the Golden plates at all. Yeah,

0:41:28.400 --> 0:41:32.000
<v Speaker 1>I mean we should have that, that is, Yeah, that

0:41:32.200 --> 0:41:35.200
<v Speaker 1>is what's representative of Earth life. And so this is

0:41:35.239 --> 0:41:39.520
<v Speaker 1>a mic anything about bacteria that surely they must that's

0:41:39.560 --> 0:41:42.040
<v Speaker 1>an interesting question. We should look at in the future. Well,

0:41:42.080 --> 0:41:45.240
<v Speaker 1>they did have carvings of naked humans, and those naked

0:41:45.280 --> 0:41:50.759
<v Speaker 1>humans are crawling with bacteria, naked bacteria. It depends what

0:41:50.840 --> 0:41:56.279
<v Speaker 1>the the alien encountering it knows about life. Yeah, we

0:41:56.320 --> 0:41:59.120
<v Speaker 1>assume that the aliens that are encountering it are also

0:41:59.160 --> 0:42:02.280
<v Speaker 1>going to be anthropo, more fick and subsequently have eyes

0:42:02.520 --> 0:42:05.120
<v Speaker 1>and look at these etchings on a gold plate anyway,

0:42:05.160 --> 0:42:08.239
<v Speaker 1>might feel them or yeah, you know it's but if

0:42:08.239 --> 0:42:10.600
<v Speaker 1>they have harsh on voyage, are too bad. But if

0:42:10.640 --> 0:42:13.480
<v Speaker 1>they evolved from microbial life, and I guess we to

0:42:13.520 --> 0:42:16.000
<v Speaker 1>assume they did, that's our only modeled and they would

0:42:16.160 --> 0:42:18.920
<v Speaker 1>surely look at a human being on a plate and say, oh,

0:42:19.040 --> 0:42:21.879
<v Speaker 1>this is what evolved from microbial life on their world, right,

0:42:21.960 --> 0:42:24.440
<v Speaker 1>So okay, back to your ed Young book. Yeah, and

0:42:24.480 --> 0:42:26.360
<v Speaker 1>so well, that is one thing we can sort of

0:42:26.400 --> 0:42:28.920
<v Speaker 1>expect that ed Young doesn't talk about this much. But

0:42:29.040 --> 0:42:32.440
<v Speaker 1>it's like, if we encounter life somewhere else in the universe,

0:42:33.080 --> 0:42:35.640
<v Speaker 1>one thing we can almost certainly be sure of is

0:42:35.719 --> 0:42:38.719
<v Speaker 1>that it evolved from single celled organisms. And in what

0:42:38.800 --> 0:42:41.200
<v Speaker 1>direction it evolved. You know, it's hard to guess. I

0:42:41.600 --> 0:42:44.360
<v Speaker 1>might go in all kinds of ways. But single celled

0:42:44.440 --> 0:42:47.440
<v Speaker 1>organisms are going to be the rule for life in

0:42:47.480 --> 0:42:50.879
<v Speaker 1>the galaxy, and they're definitely the rule for life on Earth.

0:42:50.960 --> 0:42:54.080
<v Speaker 1>Microbes are are not just a thing that we interact

0:42:54.160 --> 0:42:57.120
<v Speaker 1>with on Earth. But one of the great things about

0:42:57.120 --> 0:42:59.840
<v Speaker 1>his book is it shows all the hundreds of ways

0:42:59.880 --> 0:43:03.360
<v Speaker 1>that microbes are so integrally a part of our existence.

0:43:03.800 --> 0:43:06.799
<v Speaker 1>It almost doesn't even make sense to think of ourselves

0:43:06.880 --> 0:43:10.480
<v Speaker 1>as humans with microbes living in and on us. We

0:43:10.520 --> 0:43:12.960
<v Speaker 1>need them for our lives. We've co evolved with them.

0:43:13.040 --> 0:43:15.279
<v Speaker 1>The more we learn, the more it becomes clear they

0:43:15.320 --> 0:43:18.360
<v Speaker 1>are us. Microbes are part of what we are, and

0:43:18.440 --> 0:43:21.719
<v Speaker 1>without them, we wouldn't be what we are. So I'm

0:43:21.719 --> 0:43:25.520
<v Speaker 1>gonna how stuff works eyes this conversation for a second.

0:43:26.120 --> 0:43:28.799
<v Speaker 1>Brain Stuff are one of our other shows here that

0:43:28.960 --> 0:43:32.920
<v Speaker 1>I am the narrator on. UH. We have the classic episode,

0:43:32.920 --> 0:43:35.520
<v Speaker 1>which is our version of this why are You Farting?

0:43:35.920 --> 0:43:38.600
<v Speaker 1>Which is that that's basically like our version of that.

0:43:38.719 --> 0:43:41.600
<v Speaker 1>It's like, here's about all these microbes that are inside

0:43:41.600 --> 0:43:44.920
<v Speaker 1>your body, but we'll tie it into flatulence. Anyway, that

0:43:44.960 --> 0:43:47.920
<v Speaker 1>book is definitely worth checking out, and maybe in the

0:43:48.000 --> 0:43:49.600
<v Speaker 1>future we'll get to talk to Ed on the show.

0:43:49.640 --> 0:43:51.960
<v Speaker 1>Sometimes Yeah, that'd be cool ed. If you're listening, give

0:43:52.040 --> 0:43:57.040
<v Speaker 1>us a call. Alright, So I have two selections I'm

0:43:57.080 --> 0:43:59.240
<v Speaker 1>going to run through here. Okay, there's a reason because

0:43:59.239 --> 0:44:02.000
<v Speaker 1>you'll need the set one after the first one. The

0:44:02.080 --> 0:44:05.960
<v Speaker 1>first book is Raven Rock, The Story of the U. S.

0:44:06.000 --> 0:44:08.360
<v Speaker 1>Government's secret plan to save itself when the rest of

0:44:08.400 --> 0:44:12.319
<v Speaker 1>us die, by Garrett M. Graff. Uh. This is one

0:44:12.360 --> 0:44:16.399
<v Speaker 1>of the more terrifying things you you can read this year. Uh,

0:44:16.440 --> 0:44:19.920
<v Speaker 1>and the horror is twofold. So on one level, you

0:44:19.920 --> 0:44:22.480
<v Speaker 1>can revel in the post apocalypse that might have been

0:44:22.800 --> 0:44:25.759
<v Speaker 1>a United States ravaged by nuclear war, in which a

0:44:25.840 --> 0:44:29.520
<v Speaker 1>replacement US government has stitched together from surviving political and

0:44:29.560 --> 0:44:33.960
<v Speaker 1>corporate leaders. Post office employees travel the country to count

0:44:34.080 --> 0:44:37.200
<v Speaker 1>the dead. It's it's sort of chronicle of the mega deaths,

0:44:37.280 --> 0:44:40.320
<v Speaker 1>I guess. And uh, everyone else who crawled out of

0:44:40.320 --> 0:44:43.000
<v Speaker 1>a bunker gets to spend those hoarded two dollar bills

0:44:44.320 --> 0:44:48.319
<v Speaker 1>and eat Nibisco survival biscuits, so you know, it's kind

0:44:48.360 --> 0:44:51.480
<v Speaker 1>of it has something for fallout fans, you know. On

0:44:51.560 --> 0:44:54.120
<v Speaker 1>the other hand, you get to learn all about our

0:44:54.239 --> 0:44:58.080
<v Speaker 1>our nation's past rehearsals for nuclear war, the nature of

0:44:58.120 --> 0:45:02.000
<v Speaker 1>the so called nuclear football, and just how much unchecked

0:45:02.040 --> 0:45:04.680
<v Speaker 1>power a US president has to plunge the world into

0:45:04.760 --> 0:45:13.640
<v Speaker 1>nuclear annihilation. So it will it will absolutely horrify de Beatreat. Well, yeah, yeah,

0:45:13.920 --> 0:45:17.480
<v Speaker 1>you get to what is it A Boy and his Dog? Yeah,

0:45:17.520 --> 0:45:19.960
<v Speaker 1>I mean, in a way, if you're reading A Boy

0:45:19.960 --> 0:45:22.880
<v Speaker 1>and his Dog, or The Road or The Stand or

0:45:22.880 --> 0:45:24.960
<v Speaker 1>just about anything else you can you can whip this

0:45:25.000 --> 0:45:28.480
<v Speaker 1>out and sort of fact check everything. So in this

0:45:28.480 --> 0:45:31.560
<v Speaker 1>book you get to learn about the mobile aerial command

0:45:31.600 --> 0:45:35.360
<v Speaker 1>centers for the US government and the Buried Bunker, essentially

0:45:35.400 --> 0:45:38.719
<v Speaker 1>cities created to shelter the chosen few while you know,

0:45:38.760 --> 0:45:41.440
<v Speaker 1>the rest of everybody else dies, And you get to

0:45:41.760 --> 0:45:45.880
<v Speaker 1>consider all these different accounts of how these plans played

0:45:45.960 --> 0:45:49.680
<v Speaker 1>into US history, such as there's this account of Defense

0:45:49.719 --> 0:45:52.920
<v Speaker 1>Secretary James Schlessinger and he ordered the Pentagon, he had

0:45:52.920 --> 0:45:56.000
<v Speaker 1>to order the Pentagon not to uh to disregard a

0:45:56.040 --> 0:45:59.880
<v Speaker 1>presidential launch order of nuclear weapons because he was a

0:46:00.080 --> 0:46:02.880
<v Speaker 1>raid that Richard Nixon, who at the time was this

0:46:03.000 --> 0:46:06.120
<v Speaker 1>like the very end of his presidency. He's drinking heavily,

0:46:06.600 --> 0:46:09.040
<v Speaker 1>you know, just thumbing through his enemies. This is what

0:46:09.160 --> 0:46:12.320
<v Speaker 1>everybody was worried about, that he would like in a rage,

0:46:13.040 --> 0:46:15.399
<v Speaker 1>just fire some nukes on his way out the door.

0:46:15.600 --> 0:46:17.239
<v Speaker 1>And I believe he It is not just like I

0:46:17.239 --> 0:46:19.440
<v Speaker 1>wonder if he'll do this, like I think Nixon had

0:46:19.440 --> 0:46:23.839
<v Speaker 1>had mentioned the possibility. Well, Nixon had been practicing what

0:46:23.920 --> 0:46:28.040
<v Speaker 1>was known then as the Madman theory of of international relations,

0:46:28.080 --> 0:46:30.879
<v Speaker 1>where he would he would get his subordinates to try

0:46:30.880 --> 0:46:33.920
<v Speaker 1>to convince the Soviet Union that he was unhinged and

0:46:34.040 --> 0:46:37.160
<v Speaker 1>likely to launch a nuclear strike in order to get

0:46:37.200 --> 0:46:41.080
<v Speaker 1>more leveraging power in negotiations with them because he was

0:46:41.400 --> 0:46:44.680
<v Speaker 1>The idea was, if the Soviets think that Nixon might

0:46:44.800 --> 0:46:47.520
<v Speaker 1>is so crazy he really might start a war, then

0:46:47.560 --> 0:46:52.719
<v Speaker 1>we can get more out of them when we're having discussions. Okay,

0:46:53.160 --> 0:47:00.359
<v Speaker 1>So it's it's that practics by any other world leaders. Uh. Well,

0:47:00.520 --> 0:47:03.480
<v Speaker 1>I will just say that with with everything that continues

0:47:03.520 --> 0:47:06.840
<v Speaker 1>to uh fill our news feeds, this this book is

0:47:06.960 --> 0:47:12.160
<v Speaker 1>uting and relevant and uh and also you know anxiety

0:47:12.280 --> 0:47:15.400
<v Speaker 1>uh aggravating as well. Alright, and this is why you

0:47:15.440 --> 0:47:16.960
<v Speaker 1>have a second book. That is why I have the

0:47:17.000 --> 0:47:19.560
<v Speaker 1>second book. The second book. Listeners to the show may

0:47:19.600 --> 0:47:23.200
<v Speaker 1>remember from Joe and I's Cocktail episode, because after Raven Rock,

0:47:23.200 --> 0:47:25.840
<v Speaker 1>you're gonna need a drink. The book is The Drunken

0:47:25.880 --> 0:47:28.560
<v Speaker 1>Botanists The Plants that Create the World's Great Drinks by

0:47:28.600 --> 0:47:31.840
<v Speaker 1>Amy Stewart. This is just this is a lovely volume

0:47:31.960 --> 0:47:33.960
<v Speaker 1>to keep around. This is one that I pull off

0:47:33.960 --> 0:47:37.360
<v Speaker 1>the bookshelf fairly frequently. Yeah, Robert, you let me borrow

0:47:37.400 --> 0:47:40.080
<v Speaker 1>this when we were preparing for our mixology episode and

0:47:40.120 --> 0:47:42.879
<v Speaker 1>I flipped through it. I really enjoyed it. It's it's

0:47:42.880 --> 0:47:46.879
<v Speaker 1>got just cool little facts and uh stuff behind all

0:47:46.920 --> 0:47:49.400
<v Speaker 1>these cocktails you might enjoy in the liquors that go

0:47:49.480 --> 0:47:53.400
<v Speaker 1>into them, and it's uh, it's a cabinet of curiosities

0:47:53.480 --> 0:47:55.880
<v Speaker 1>for the mouth and the stomach. Yeah. Essentially, if you

0:47:56.160 --> 0:47:59.319
<v Speaker 1>if you drink, and you are if you're a beer

0:47:59.400 --> 0:48:00.960
<v Speaker 1>drink or a and drink, or certainly if you're a

0:48:00.960 --> 0:48:04.600
<v Speaker 1>cocktail drinker, you can look up to be different beers, wines,

0:48:05.480 --> 0:48:09.480
<v Speaker 1>various liqueurs and see what is the botanical origin and

0:48:09.760 --> 0:48:12.040
<v Speaker 1>then what is that plan? Where does it come from,

0:48:12.080 --> 0:48:15.880
<v Speaker 1>how did it come to be? How did humans cultivated

0:48:16.040 --> 0:48:19.480
<v Speaker 1>or interact with it? Uh? So it it turns every

0:48:19.520 --> 0:48:22.719
<v Speaker 1>it turns every cocktail you might have uh into uh

0:48:23.080 --> 0:48:27.719
<v Speaker 1>into a potential you know, botany lesson between this and

0:48:28.239 --> 0:48:31.160
<v Speaker 1>our colleagues Annie and Laura and over on food stuff.

0:48:31.480 --> 0:48:34.279
<v Speaker 1>I feel like, uh like we need to just have

0:48:34.400 --> 0:48:37.919
<v Speaker 1>like a full bar set up here and how stuff works, well,

0:48:38.080 --> 0:48:40.400
<v Speaker 1>I feel like we have a cabinet full of liquor bottles.

0:48:41.560 --> 0:48:43.719
<v Speaker 1>But like I look at their feeding, like half the

0:48:43.760 --> 0:48:47.080
<v Speaker 1>episodes that they do are about like some kind of alcohol.

0:48:47.280 --> 0:48:50.399
<v Speaker 1>So it's clearly like really interesting. Scientifically, well, it's it's

0:48:50.440 --> 0:48:52.080
<v Speaker 1>kind of an imbalance, right. I mean they get the

0:48:52.120 --> 0:48:55.480
<v Speaker 1>free alcohol and we get free copies of Raven Rocks.

0:48:56.120 --> 0:48:59.680
<v Speaker 1>So there you go review copies. I should say they're

0:48:59.680 --> 0:49:03.600
<v Speaker 1>not free. So yeah, the Drunken Botanist, Uh excellent volume

0:49:03.719 --> 0:49:06.480
<v Speaker 1>looks good on a shelf, and it has cocktail recipes

0:49:06.560 --> 0:49:08.919
<v Speaker 1>within it so you can bust it out to to

0:49:09.040 --> 0:49:12.440
<v Speaker 1>see what you're gonna you know, uh, concoct for the evening.

0:49:12.520 --> 0:49:14.440
<v Speaker 1>So at the beginning of this episode, I said that

0:49:14.480 --> 0:49:18.120
<v Speaker 1>I would inevitably bring up other comic books. Raven Rock

0:49:18.200 --> 0:49:21.000
<v Speaker 1>reminds me of this great series that I think is

0:49:21.000 --> 0:49:23.960
<v Speaker 1>wrapping up right now called Letter forty four. Have I

0:49:23.960 --> 0:49:28.719
<v Speaker 1>talked to you guys about this before? The premise is that, uh,

0:49:29.000 --> 0:49:35.160
<v Speaker 1>the United States has detected a spaceship just within the

0:49:35.200 --> 0:49:39.080
<v Speaker 1>Solar system, and they have already sent a ship full

0:49:39.120 --> 0:49:41.960
<v Speaker 1>of scientists to go investigate what it is. And the

0:49:42.600 --> 0:49:45.080
<v Speaker 1>beginning of the story, as a new president is elected,

0:49:45.120 --> 0:49:48.080
<v Speaker 1>there's a letter on his desk in the Oval office

0:49:48.120 --> 0:49:50.360
<v Speaker 1>and he opens it. It's essentially a letter describing to

0:49:50.440 --> 0:49:53.240
<v Speaker 1>him like, here's all this stuff that's going on. Congratulations,

0:49:53.320 --> 0:49:56.399
<v Speaker 1>you just inherited this huge problem. And the story goes

0:49:56.480 --> 0:49:59.359
<v Speaker 1>on from there. The Raven Rock thing reminds me because

0:49:59.360 --> 0:50:02.200
<v Speaker 1>a huge part of it is them preparing for what

0:50:02.239 --> 0:50:04.040
<v Speaker 1>they assume is going to be some kind of doomsday

0:50:04.080 --> 0:50:08.720
<v Speaker 1>scenario if the aliens are coming to Earth. I highly

0:50:08.760 --> 0:50:12.680
<v Speaker 1>recommend this story. It's like the West Wing meets uh,

0:50:12.800 --> 0:50:17.560
<v Speaker 1>you know, some like outlandish hard sci fi is really cool.

0:50:18.280 --> 0:50:22.480
<v Speaker 1>And that leads me to a completely unrelated nonfiction recommendation

0:50:22.520 --> 0:50:25.680
<v Speaker 1>that I have, so I recommend and this is something

0:50:25.719 --> 0:50:28.800
<v Speaker 1>that I am about halfway through right now myself, Corey

0:50:28.920 --> 0:50:33.160
<v Speaker 1>doctor Rose. Book Information doesn't want to be free laws

0:50:33.280 --> 0:50:36.160
<v Speaker 1>for the Internet age. This is something I stumbled across

0:50:36.480 --> 0:50:38.919
<v Speaker 1>when I went to south By Southwest earlier this year.

0:50:39.239 --> 0:50:40.680
<v Speaker 1>They have they do this little thing where they have

0:50:40.680 --> 0:50:43.200
<v Speaker 1>like a south By Southwest bookstore that they set up

0:50:43.239 --> 0:50:45.960
<v Speaker 1>in the convention Center. And it's like all books that

0:50:46.040 --> 0:50:49.360
<v Speaker 1>have debuted at south By Southwest where the the authors

0:50:49.360 --> 0:50:52.680
<v Speaker 1>have given talks related to them. So I found this there.

0:50:53.160 --> 0:50:56.120
<v Speaker 1>Um short. These are all short essays by Corey Doctor

0:50:56.200 --> 0:51:00.160
<v Speaker 1>or like real short about copyright and navigating around it

0:51:00.239 --> 0:51:03.520
<v Speaker 1>to be a successful creator of really anything in the

0:51:03.560 --> 0:51:07.839
<v Speaker 1>digital age. It's about how old models have failed and

0:51:07.920 --> 0:51:10.839
<v Speaker 1>are changing and what is actually coming down the road.

0:51:10.880 --> 0:51:13.040
<v Speaker 1>And this is a book that's published by McSweeney's. You

0:51:13.040 --> 0:51:16.200
<v Speaker 1>guys are familiar with mc sweeney's. So the physical copies

0:51:16.239 --> 0:51:19.520
<v Speaker 1>got this really cool design to it. I'm reading it digitally,

0:51:19.560 --> 0:51:22.680
<v Speaker 1>but it's got a it's got a beautiful cover. Um.

0:51:22.800 --> 0:51:25.880
<v Speaker 1>Corey Doctor, if people aren't familiar, is a blogger and

0:51:25.960 --> 0:51:29.120
<v Speaker 1>fiction writer. He's the guy who runs Boying Boying Uh.

0:51:29.160 --> 0:51:32.680
<v Speaker 1>He's very active in copyright activism and in Creative Commons

0:51:32.760 --> 0:51:37.640
<v Speaker 1>is writings. They're almost all available as free PDFs from

0:51:37.680 --> 0:51:41.680
<v Speaker 1>his own site using Creative Commons licenses. So he's basically

0:51:41.719 --> 0:51:44.000
<v Speaker 1>made some some interesting arguments. I don't know that I

0:51:44.000 --> 0:51:45.759
<v Speaker 1>agree with all of them, and I don't I don't

0:51:45.760 --> 0:51:47.480
<v Speaker 1>want to go through all of them here, but that

0:51:47.640 --> 0:51:51.960
<v Speaker 1>distributing his content as such, making them free to everybody,

0:51:52.000 --> 0:51:55.799
<v Speaker 1>actually helps his sales in other distribution models, whether that's

0:51:55.840 --> 0:51:58.680
<v Speaker 1>print or digitally. So even though you can download a

0:51:58.680 --> 0:52:03.120
<v Speaker 1>PDF of like this book, he argues, well, that acts

0:52:03.160 --> 0:52:05.520
<v Speaker 1>as like fodder to get people to go and buy it,

0:52:05.560 --> 0:52:08.319
<v Speaker 1>whether it's in print or digitally. It's kind of an

0:52:08.320 --> 0:52:12.360
<v Speaker 1>interesting model. That's interesting that that kind of perhaps ties

0:52:12.400 --> 0:52:14.880
<v Speaker 1>in with the comic book I'm gonna mention later. Oh cool,

0:52:14.880 --> 0:52:17.160
<v Speaker 1>Oh right, yeah, yeah, yeah, that's that. That is a

0:52:17.200 --> 0:52:20.640
<v Speaker 1>good launching point. Um. So there's some really good advice

0:52:20.680 --> 0:52:23.000
<v Speaker 1>in this book for creative people who are trying to

0:52:23.080 --> 0:52:25.799
<v Speaker 1>make a go at making a living off of what

0:52:25.840 --> 0:52:29.399
<v Speaker 1>they do. Whether you're your musician, your writer, your podcast

0:52:29.520 --> 0:52:32.319
<v Speaker 1>or whatever. You're making short films and you're putting them

0:52:32.360 --> 0:52:36.120
<v Speaker 1>on YouTube. This gives you advice on questions like when

0:52:36.160 --> 0:52:39.600
<v Speaker 1>should you quit your job, does copyright protection work in

0:52:39.640 --> 0:52:42.040
<v Speaker 1>your favor? It tells you how to build an audience,

0:52:42.480 --> 0:52:46.200
<v Speaker 1>and uh doctor makes this point that most creative people,

0:52:46.680 --> 0:52:48.560
<v Speaker 1>when they're starting out, they don't want to worry about

0:52:48.600 --> 0:52:50.839
<v Speaker 1>this stuff, right, They just want to make things. They

0:52:50.840 --> 0:52:52.640
<v Speaker 1>just want to get it out there in the world,

0:52:53.360 --> 0:52:56.560
<v Speaker 1>but rather than ignoring it, he recommends use this book

0:52:56.840 --> 0:52:59.600
<v Speaker 1>based on the lessons that he's learned as a starting

0:52:59.640 --> 0:53:02.279
<v Speaker 1>point so that you can learn the difference between These

0:53:02.280 --> 0:53:07.520
<v Speaker 1>are the various sectors that he describes creators, investors, audience,

0:53:07.600 --> 0:53:11.719
<v Speaker 1>and intermediaries and as well. This also describes how the

0:53:11.760 --> 0:53:14.839
<v Speaker 1>industry is currently organized and where it's going, which is

0:53:15.200 --> 0:53:17.359
<v Speaker 1>something I mean, I know it's of interest to us

0:53:17.400 --> 0:53:19.719
<v Speaker 1>because we work within this industry, but I'm sure that

0:53:19.760 --> 0:53:22.560
<v Speaker 1>there are many of our listeners out there that make stuff,

0:53:22.560 --> 0:53:25.799
<v Speaker 1>whether they're they're writing articles, or they're doing their own podcasts,

0:53:25.840 --> 0:53:28.680
<v Speaker 1>or they're making short films, or they're recording music. I

0:53:29.160 --> 0:53:31.480
<v Speaker 1>think this would be of interest to most people who

0:53:31.480 --> 0:53:34.719
<v Speaker 1>are trying to sort of get their creative projects out

0:53:34.719 --> 0:53:36.920
<v Speaker 1>there into the world. Cool. Yeah, So if you're out

0:53:36.920 --> 0:53:38.799
<v Speaker 1>there and you're listening to us and say, hey, when

0:53:38.840 --> 0:53:41.479
<v Speaker 1>can I start a podcast and quit my job? Yeah?

0:53:42.080 --> 0:53:46.400
<v Speaker 1>Read this before? Yeah, definitely. Yeah. I think basically, if

0:53:46.400 --> 0:53:48.880
<v Speaker 1>I remember correctly, there's a there's a chapter title that's like,

0:53:48.880 --> 0:53:52.640
<v Speaker 1>when should I quit my job? Don't? Well, maybe we

0:53:52.640 --> 0:53:54.480
<v Speaker 1>should take a quick break and then when we come

0:53:54.520 --> 0:53:57.799
<v Speaker 1>back we can look at our our final selections. I

0:53:57.840 --> 0:53:59.759
<v Speaker 1>know a couple of comics from you guys, and another

0:53:59.760 --> 0:54:06.640
<v Speaker 1>fig book I wanted to mention. Thank alright, we're back.

0:54:07.200 --> 0:54:08.600
<v Speaker 1>So Joe, what do you have? You have one? You

0:54:08.600 --> 0:54:12.040
<v Speaker 1>have one more fictional selection here before Christian and I

0:54:12.040 --> 0:54:14.160
<v Speaker 1>share a couple of comics. Yeah, and now this one

0:54:14.520 --> 0:54:17.239
<v Speaker 1>is a classic in science fiction. I'm sure a lot

0:54:17.280 --> 0:54:19.600
<v Speaker 1>of you have probably already read it, and I just

0:54:19.640 --> 0:54:21.480
<v Speaker 1>wanted to mention it because it was new to me

0:54:21.640 --> 0:54:25.400
<v Speaker 1>this year, and it's every bit as great as people

0:54:25.440 --> 0:54:28.359
<v Speaker 1>say it is. It's deserving of the praise. And this

0:54:28.400 --> 0:54:31.279
<v Speaker 1>would be the nineteen sixty nine sci fi classic, The

0:54:31.400 --> 0:54:35.200
<v Speaker 1>Left Hand of Darkness by Ursula Kay Lagwin. Ah. Yeah,

0:54:35.440 --> 0:54:38.120
<v Speaker 1>my wife has been reading a lot of Lagwin lately.

0:54:38.280 --> 0:54:40.759
<v Speaker 1>Yeah yeah, yeah, yeah. Have you guys read this book?

0:54:40.760 --> 0:54:44.360
<v Speaker 1>I have not read it. I have not. Yeah, I

0:54:44.480 --> 0:54:46.839
<v Speaker 1>just okay, So I've been meaning to read this book

0:54:46.840 --> 0:54:49.080
<v Speaker 1>for years. I think there's a big resurgence with her

0:54:49.080 --> 0:54:51.239
<v Speaker 1>stuff going on, right, Yeah, I just noticed that this

0:54:51.320 --> 0:54:54.200
<v Speaker 1>is funny. So I started reading this book, and I

0:54:54.239 --> 0:54:57.520
<v Speaker 1>was talking to my wife, Rachel, who doesn't usually read

0:54:57.520 --> 0:55:00.319
<v Speaker 1>a whole lot of sci fi. Uh, And I found

0:55:00.320 --> 0:55:03.000
<v Speaker 1>out at the same time, completely unknown to me, she

0:55:03.120 --> 0:55:05.759
<v Speaker 1>had been reading a different Languin book. I don't know

0:55:05.760 --> 0:55:08.200
<v Speaker 1>where all this sudden interest came from. I guess it

0:55:08.320 --> 0:55:12.000
<v Speaker 1>just emerged from the ether. But hold on, Your wife

0:55:12.000 --> 0:55:14.520
<v Speaker 1>and my wife are in the same reading group. I

0:55:14.680 --> 0:55:17.720
<v Speaker 1>think they might have had a Luguin book assigned for that.

0:55:17.719 --> 0:55:22.319
<v Speaker 1>That might be it may well. Anyway, this book is

0:55:22.520 --> 0:55:25.080
<v Speaker 1>just excellent. Like, if you've never read it before, you

0:55:25.080 --> 0:55:27.799
<v Speaker 1>should go back. It was published in nineteen nine, but

0:55:28.000 --> 0:55:30.320
<v Speaker 1>it's fresh. It feels like it could have been published

0:55:30.560 --> 0:55:34.239
<v Speaker 1>this year. Uh, it just jumps off the page. It's

0:55:34.360 --> 0:55:36.560
<v Speaker 1>so good. All right, Well, we'll give us the cell

0:55:36.680 --> 0:55:38.960
<v Speaker 1>beyond everyone knowing that this is a book we should

0:55:38.960 --> 0:55:42.040
<v Speaker 1>have read. Why should we read it? Well, it's It's

0:55:42.040 --> 0:55:45.600
<v Speaker 1>a very different kind of alien contact story. Unlike Peter

0:55:45.680 --> 0:55:49.000
<v Speaker 1>Watt's book that I recommended earlier, Blindside, which is amazing

0:55:49.040 --> 0:55:51.680
<v Speaker 1>on its own, and in that book, the alien contact

0:55:51.760 --> 0:55:56.520
<v Speaker 1>is a confusing and dangerous meeting of utterly unfamiliar minds.

0:55:56.560 --> 0:56:00.440
<v Speaker 1>This is more of an alien anthropology story. So it's

0:56:00.480 --> 0:56:04.760
<v Speaker 1>set within Laguin's Hainish cycle, which is this larger group

0:56:04.800 --> 0:56:06.919
<v Speaker 1>of books that I haven't read any of the other

0:56:06.920 --> 0:56:08.600
<v Speaker 1>ones in this cycle, So you don't need to know

0:56:08.640 --> 0:56:11.399
<v Speaker 1>anything about the cycle going in. It's all explained within

0:56:11.440 --> 0:56:14.080
<v Speaker 1>the story. You can just jump right in to this novel.

0:56:14.160 --> 0:56:17.360
<v Speaker 1>But anyway, in this story, there are many solar systems

0:56:17.400 --> 0:56:22.120
<v Speaker 1>throughout the galaxy with similar related humanoid life forms that

0:56:22.200 --> 0:56:25.880
<v Speaker 1>have been seeded by one original culture, and the humanoid

0:56:25.920 --> 0:56:30.279
<v Speaker 1>world's gradually become absorbed into this one sort of galactic

0:56:30.400 --> 0:56:34.520
<v Speaker 1>treaty organization called the Ecumen. And this is I guess

0:56:34.560 --> 0:56:37.520
<v Speaker 1>sort of similar to the culture actually in the Banks.

0:56:38.560 --> 0:56:41.799
<v Speaker 1>And in this novel, the Ecumen sends a single loan

0:56:42.080 --> 0:56:47.400
<v Speaker 1>representative named ginli I to this cold frozen planet called Gethen,

0:56:47.880 --> 0:56:51.520
<v Speaker 1>and it's his job to convince the planet's major governments

0:56:51.560 --> 0:56:54.520
<v Speaker 1>to sign treaties and join the Ecumen. But it's kind

0:56:54.520 --> 0:56:57.520
<v Speaker 1>of difficult because they're not a spacefaring planet. They have

0:56:57.600 --> 0:57:01.440
<v Speaker 1>no spaceships. Uh, they don't have much technology that's sort

0:57:01.440 --> 0:57:05.359
<v Speaker 1>of like, you know, a mid twentieth century industrial technology,

0:57:05.400 --> 0:57:08.800
<v Speaker 1>but they that they have no goal of going into space,

0:57:08.880 --> 0:57:12.359
<v Speaker 1>and so when he shows up, their reaction is not

0:57:12.520 --> 0:57:17.280
<v Speaker 1>very interested. Surprisingly, But anyway, that that sort of gets

0:57:17.280 --> 0:57:20.800
<v Speaker 1>into the cultural differences between like Earth culture and what's

0:57:20.880 --> 0:57:23.280
<v Speaker 1>there on this planet? So that that's the opening set up,

0:57:23.560 --> 0:57:25.880
<v Speaker 1>But most of the joy of this novel is just

0:57:26.000 --> 0:57:30.120
<v Speaker 1>in the interactions of alien cultures learning from each other

0:57:30.160 --> 0:57:32.920
<v Speaker 1>and learning about each other. And one of the great

0:57:32.960 --> 0:57:34.600
<v Speaker 1>themes in this book, and it's sort of there in

0:57:34.640 --> 0:57:37.680
<v Speaker 1>the title, is that light is the left hand of darkness.

0:57:38.160 --> 0:57:41.600
<v Speaker 1>It's that we learn to understand thuring things through difference

0:57:41.600 --> 0:57:45.720
<v Speaker 1>in distinction, Like they're oftentimes things we don't recognize in

0:57:45.800 --> 0:57:49.200
<v Speaker 1>ourselves until we meet somebody very different from us, and

0:57:49.280 --> 0:57:52.280
<v Speaker 1>we we learned to contrast that person with us to

0:57:52.560 --> 0:57:55.320
<v Speaker 1>see something we never knew was there before. So the

0:57:55.360 --> 0:57:58.560
<v Speaker 1>novels this kind of anthropology of the inhabitants of Gethin,

0:57:58.640 --> 0:58:02.280
<v Speaker 1>but in doing that, it also a reverse anthropology of

0:58:02.360 --> 0:58:06.400
<v Speaker 1>human Earth culture. And it's it's just full of I mean,

0:58:06.480 --> 0:58:08.240
<v Speaker 1>I don't want to spoil too much about it, because

0:58:08.280 --> 0:58:11.240
<v Speaker 1>most of the pleasure and it is just discovering how

0:58:11.280 --> 0:58:14.280
<v Speaker 1>the world works and how different it is from us,

0:58:14.400 --> 0:58:17.400
<v Speaker 1>and and how the differences can be can seem so

0:58:17.440 --> 0:58:19.520
<v Speaker 1>different and be the same, or can show us something

0:58:19.560 --> 0:58:24.480
<v Speaker 1>about ourselves. It's just a great, great sci fi book. Cool. Yeah, Well,

0:58:24.600 --> 0:58:27.160
<v Speaker 1>it sounds like I need to actually pull it off

0:58:27.160 --> 0:58:30.160
<v Speaker 1>the shelf and jump in, actually make it happen this

0:58:30.240 --> 0:58:32.360
<v Speaker 1>year with the Left Hand of Darkness, not to be

0:58:32.400 --> 0:58:35.760
<v Speaker 1>confused with the Right Hand of doom. What is that's

0:58:35.800 --> 0:58:39.000
<v Speaker 1>a hell Boy graphic novel? Okay? Is the Big the

0:58:39.040 --> 0:58:42.560
<v Speaker 1>Big Stone Hand? Yeah? Oh right, right right? The Big

0:58:42.600 --> 0:58:46.640
<v Speaker 1>Punchy very different than the hell Boy world. But but

0:58:47.040 --> 0:58:49.400
<v Speaker 1>there's all kinds of I mean, it's serious, but it's

0:58:49.440 --> 0:58:52.520
<v Speaker 1>also got some humor in it. It's um I couldn't

0:58:52.520 --> 0:58:54.120
<v Speaker 1>recommend it enough, and I think both of you guys

0:58:54.160 --> 0:58:57.160
<v Speaker 1>would love it cool. The idea that there's some humor

0:58:57.160 --> 0:58:58.760
<v Speaker 1>in it, I think is a good selling point because

0:58:59.320 --> 0:59:01.680
<v Speaker 1>she has a very very serious sounding name. I know

0:59:01.760 --> 0:59:05.520
<v Speaker 1>that sounds ridiculous, but well, it's not a silly novel.

0:59:05.560 --> 0:59:07.800
<v Speaker 1>I mean, it's not Star Trek e like it's a

0:59:07.960 --> 0:59:10.200
<v Speaker 1>It's got a very serious story and a lot of

0:59:10.240 --> 0:59:13.400
<v Speaker 1>serious stuff happens in it. But there there's also some

0:59:13.520 --> 0:59:15.360
<v Speaker 1>joy and some humor in it to be had in

0:59:15.400 --> 0:59:18.480
<v Speaker 1>the relations between the characters. Yeah, I think that's one

0:59:18.480 --> 0:59:20.160
<v Speaker 1>of the That is one of the reasons I keep

0:59:20.160 --> 0:59:22.160
<v Speaker 1>coming back to Banks, So there is a joy there,

0:59:22.480 --> 0:59:26.120
<v Speaker 1>you know. I do enjoy some joyless fiction, I know.

0:59:26.760 --> 0:59:32.479
<v Speaker 1>But yeah, it's like you want something that they wants

0:59:32.520 --> 0:59:35.640
<v Speaker 1>to wake up in the morning. Sometimes. All right, well

0:59:35.880 --> 0:59:40.080
<v Speaker 1>shall I cover my comic here? Comics? Okay, So I

0:59:40.400 --> 0:59:42.400
<v Speaker 1>always have to to preface by saying I'm not a

0:59:42.520 --> 0:59:46.120
<v Speaker 1>huge comics guy. I probably read like three comics a year.

0:59:46.800 --> 0:59:48.880
<v Speaker 1>And uh and and I'm you know, a bit, a

0:59:48.920 --> 0:59:52.760
<v Speaker 1>bit choosy and reluctant. Uh, but inevitably pick up a

0:59:52.800 --> 0:59:56.600
<v Speaker 1>couple of things. So this year I I read Alejandro

0:59:56.720 --> 1:00:01.200
<v Speaker 1>Jodorowski's Showman Killer, which I enjoyed. On you suggestion, Christian,

1:00:01.240 --> 1:00:07.480
<v Speaker 1>I read James Stoko's Orc Stain. Oh God, so good. Yeah. Yeah,

1:00:07.560 --> 1:00:10.880
<v Speaker 1>I'm actually reading one of James Stocco's earlier works right now.

1:00:10.960 --> 1:00:13.479
<v Speaker 1>Not on my recommendation list, but he did this book

1:00:13.480 --> 1:00:17.600
<v Speaker 1>called Wanton Soup that's all about like space truckers, essentially

1:00:18.280 --> 1:00:21.880
<v Speaker 1>who in the main space trucker is constantly in search

1:00:21.960 --> 1:00:24.960
<v Speaker 1>for the best wanton soup in the galaxy. Yeah, well

1:00:24.960 --> 1:00:27.200
<v Speaker 1>that sounds fun too. Yeah. Stucco is great. But the

1:00:27.440 --> 1:00:30.560
<v Speaker 1>book that I'm gonna highlight here is is a wonderful

1:00:30.600 --> 1:00:33.560
<v Speaker 1>little comic. Uh. And it's actually a web comic, but

1:00:33.680 --> 1:00:36.960
<v Speaker 1>there's the first uh what ninety two pages of it

1:00:37.280 --> 1:00:40.560
<v Speaker 1>are available in physical form, and it's called Kill six

1:00:40.560 --> 1:00:44.440
<v Speaker 1>Billion Demons by Tom Parkinson Morgan. And this one is

1:00:44.480 --> 1:00:48.800
<v Speaker 1>actually recommend recommended to me by j M. Dragonis, who

1:00:49.080 --> 1:00:51.840
<v Speaker 1>is another tought talented comic artist in a friend of yours. Yeah,

1:00:51.880 --> 1:00:55.520
<v Speaker 1>well I met him because he's a listener to our show. Yeah,

1:00:55.680 --> 1:00:58.320
<v Speaker 1>he wrote into me. I think he heard me talking

1:00:58.360 --> 1:01:00.880
<v Speaker 1>about going to comic book conven at some point, and

1:01:00.920 --> 1:01:03.400
<v Speaker 1>we sometime last year we met up at a comic

1:01:03.400 --> 1:01:07.240
<v Speaker 1>book convention and became friends and we're comics buddies now. Yeah.

1:01:07.280 --> 1:01:09.439
<v Speaker 1>And and I introduced you to him when we did

1:01:09.440 --> 1:01:11.800
<v Speaker 1>our live show at C two e two earlier this year. Yeah,

1:01:11.840 --> 1:01:13.600
<v Speaker 1>and that's where we were chatting and he said, oh,

1:01:13.640 --> 1:01:16.360
<v Speaker 1>you should check out six Billion Demons, So I looked

1:01:16.400 --> 1:01:19.600
<v Speaker 1>it up. I did, and by while we're at it.

1:01:20.000 --> 1:01:22.240
<v Speaker 1>His pen name for his comics is JM. But his

1:01:22.320 --> 1:01:26.360
<v Speaker 1>name is Joe Uh. Joe Uh does a book called

1:01:26.400 --> 1:01:28.480
<v Speaker 1>The Sires of Time, which is worth checking out too.

1:01:28.480 --> 1:01:30.600
<v Speaker 1>Oh yeah, he has this kind of this wonderful wood

1:01:30.600 --> 1:01:34.040
<v Speaker 1>cut style that it's beautiful. You should follow him on

1:01:34.040 --> 1:01:36.880
<v Speaker 1>social media and what like watching him the time he

1:01:36.920 --> 1:01:41.200
<v Speaker 1>puts into like every single page is it's stunning. Anyways,

1:01:41.280 --> 1:01:45.040
<v Speaker 1>kill sixteen billion Demons those sounds right up my alley. Yeah,

1:01:45.080 --> 1:01:48.120
<v Speaker 1>and uh, it's it's it's a web comic, which is

1:01:48.160 --> 1:01:49.840
<v Speaker 1>kind of a new thing to me. I'm not really

1:01:50.240 --> 1:01:52.640
<v Speaker 1>that up on web comics and now they work. But

1:01:52.720 --> 1:01:55.520
<v Speaker 1>you can you can go to kill six Billion Demons

1:01:55.600 --> 1:01:58.320
<v Speaker 1>dot com. That's no numbers and there must went tough

1:01:58.360 --> 1:02:01.480
<v Speaker 1>to get that domain name, but you can read it

1:02:01.520 --> 1:02:04.080
<v Speaker 1>all there and it's like people it's like a guess

1:02:04.160 --> 1:02:07.000
<v Speaker 1>kind of a patron system where people support that way

1:02:07.400 --> 1:02:11.320
<v Speaker 1>and or by the physical book. But it's it's essentially

1:02:11.320 --> 1:02:13.560
<v Speaker 1>the story of a young woman who sucked into an

1:02:13.560 --> 1:02:19.840
<v Speaker 1>alien world of demons, angels, fallen gods. Uh. It showcases

1:02:19.880 --> 1:02:24.120
<v Speaker 1>heavy inspiration from Eastern religion, so lots of like lots

1:02:24.120 --> 1:02:27.920
<v Speaker 1>of iconography that feels reminiscent of Hinduism and various as

1:02:27.960 --> 1:02:31.480
<v Speaker 1>well as various Buddhist works of art. And there's also

1:02:31.720 --> 1:02:34.320
<v Speaker 1>uh this meant might just be me. I haven't seen

1:02:34.840 --> 1:02:38.040
<v Speaker 1>you know him point to this artists and inspiration, but uh,

1:02:38.280 --> 1:02:40.680
<v Speaker 1>I get a strong sense of Wayne Barlow in a

1:02:40.720 --> 1:02:44.600
<v Speaker 1>lot of the designs Wayne Barlow, who you know, created

1:02:45.000 --> 1:02:48.760
<v Speaker 1>and made a career out of drawing uh at times dinosaurs,

1:02:48.880 --> 1:02:53.400
<v Speaker 1>some paleo art, but also aliens and demons. Ye, so

1:02:53.800 --> 1:02:55.919
<v Speaker 1>gorgeous stuff. Like if you just if you're out there

1:02:56.000 --> 1:02:57.640
<v Speaker 1>listening and you want to see what it looks like,

1:02:57.640 --> 1:03:02.080
<v Speaker 1>like Google image search that or look for it on Pinterest. Yeah. Yeah,

1:03:02.080 --> 1:03:05.840
<v Speaker 1>Wayne Wayne Barlow is incredible. H So this uh, this,

1:03:05.840 --> 1:03:08.640
<v Speaker 1>this is just a really really fun comic to pick

1:03:08.720 --> 1:03:13.360
<v Speaker 1>up strong female protagonists, wonderful lore and there's just so many,

1:03:13.400 --> 1:03:15.760
<v Speaker 1>so many scenes you turned to are just going to

1:03:15.840 --> 1:03:19.160
<v Speaker 1>be like an epic landscape where they're all these different

1:03:19.520 --> 1:03:24.760
<v Speaker 1>demonic or angelic creatures engaged in various activities around like

1:03:24.840 --> 1:03:27.640
<v Speaker 1>strange locales, and you just kind of you just kind

1:03:27.640 --> 1:03:29.240
<v Speaker 1>of lose yourself in the image. It's kind of like

1:03:29.240 --> 1:03:31.240
<v Speaker 1>looking at a at a Bosch painting, you know, and

1:03:31.280 --> 1:03:33.960
<v Speaker 1>you're just you're just picking out all the details and

1:03:34.160 --> 1:03:38.040
<v Speaker 1>figuring out the smaller stories that are occupying the corners. Yeah.

1:03:38.160 --> 1:03:41.360
<v Speaker 1>I mean I had never heard of this until you

1:03:41.360 --> 1:03:43.760
<v Speaker 1>you brought it in today into the studio and it

1:03:44.000 --> 1:03:47.680
<v Speaker 1>completely missed my radar. But it looks gorgeous al right, Well,

1:03:47.800 --> 1:03:50.320
<v Speaker 1>how about you, Christian you you were You, unlike me,

1:03:50.360 --> 1:03:52.160
<v Speaker 1>are a big comics guy, so I know you've got

1:03:52.200 --> 1:03:55.920
<v Speaker 1>something special for us. This is uh my favorite comic

1:03:56.000 --> 1:03:58.000
<v Speaker 1>that's come out in the last I guess like twelve

1:03:58.320 --> 1:04:02.040
<v Speaker 1>months maybe um. I think it was being published in

1:04:02.080 --> 1:04:04.640
<v Speaker 1>single issues last year and the collected edition came out

1:04:04.920 --> 1:04:08.520
<v Speaker 1>early seen. I believe it's called House of Penance and

1:04:08.560 --> 1:04:12.400
<v Speaker 1>it's by Peter J. Tamassi, Ian Bertram and Dave Stewart,

1:04:12.400 --> 1:04:15.800
<v Speaker 1>and it's published by dark Horse Comics. This is so

1:04:15.880 --> 1:04:19.560
<v Speaker 1>the collection is a graphic novel horror story about the

1:04:19.640 --> 1:04:24.400
<v Speaker 1>Winchester Mystery House and its construction. So we're probably all

1:04:24.440 --> 1:04:26.280
<v Speaker 1>three of us fairly familiar with it. But if if

1:04:26.320 --> 1:04:29.479
<v Speaker 1>you're unfamiliar with it. It builds off of the myth

1:04:29.560 --> 1:04:32.360
<v Speaker 1>that Sarah Winchester thought there was a blood curse on

1:04:32.400 --> 1:04:36.280
<v Speaker 1>her home thanks to her husband's gun business. So the

1:04:36.360 --> 1:04:39.080
<v Speaker 1>idea here and this is real. You can go visit

1:04:39.120 --> 1:04:41.760
<v Speaker 1>this place if you've not heard of it before. Winchester

1:04:41.880 --> 1:04:44.919
<v Speaker 1>Mystery House is a real mansion in San Jose, California.

1:04:45.320 --> 1:04:50.040
<v Speaker 1>It was the residence of William worked Winchester's widow, Sarah,

1:04:50.080 --> 1:04:52.640
<v Speaker 1>and it has a lack of a building plan that's

1:04:52.680 --> 1:04:56.600
<v Speaker 1>turned it into this odd curiosity for tourists. Uh. It

1:04:56.680 --> 1:05:00.560
<v Speaker 1>was constructed in eighty four and Sarah and other people

1:05:00.640 --> 1:05:04.360
<v Speaker 1>have claimed that it was haunted by the ghosts of

1:05:04.400 --> 1:05:08.240
<v Speaker 1>those who were killed with Winchester rifles, so she kept

1:05:08.280 --> 1:05:12.920
<v Speaker 1>building it into this crazy labyrinth. There's doors and stairs

1:05:12.960 --> 1:05:16.640
<v Speaker 1>that go to nowhere, like our hotel in Chicago, stairs

1:05:16.800 --> 1:05:18.720
<v Speaker 1>leading straight into a wall. I thought I thought of

1:05:18.720 --> 1:05:21.840
<v Speaker 1>the Winchester Mystery House when we stayed there. Yeah. There's

1:05:21.840 --> 1:05:24.959
<v Speaker 1>also like there's just windows inside that open up into

1:05:24.960 --> 1:05:28.440
<v Speaker 1>other rooms, but they don't open outside. Like, yeah, I've

1:05:28.440 --> 1:05:31.080
<v Speaker 1>not visited, but it's definitely on my bucket list. It's

1:05:31.080 --> 1:05:34.040
<v Speaker 1>pretty interesting. So this book is all about that. It's

1:05:34.080 --> 1:05:37.760
<v Speaker 1>about this the construction of it. It's got this art

1:05:37.880 --> 1:05:42.120
<v Speaker 1>that is just stunningly detailed. It's got this wonderful color palette.

1:05:42.160 --> 1:05:45.000
<v Speaker 1>So if you don't recognize Dave Stewart's name, Dave Stewart

1:05:45.040 --> 1:05:48.720
<v Speaker 1>is like the go to colorist in the comics industry.

1:05:48.760 --> 1:05:51.360
<v Speaker 1>Like he is the guy who's one like best colorist

1:05:51.640 --> 1:05:53.760
<v Speaker 1>at all the awards ceremonies for like the last like

1:05:53.840 --> 1:05:57.360
<v Speaker 1>fifteen years or something like that. He's he's amazing, uh,

1:05:57.400 --> 1:06:00.640
<v Speaker 1>and so he uses this really cool palette of beds

1:06:00.680 --> 1:06:03.440
<v Speaker 1>that draws you into this myth. It's got some smart

1:06:03.520 --> 1:06:06.320
<v Speaker 1>layout with really clever panel designs, but at the same

1:06:06.320 --> 1:06:10.600
<v Speaker 1>time it keeps this story flowing. It's really haunting and

1:06:10.760 --> 1:06:14.240
<v Speaker 1>unsettling too. Like Tamasi really takes the whole like Sarah

1:06:14.240 --> 1:06:17.480
<v Speaker 1>Winchester myth and and builds out with it, you know,

1:06:17.600 --> 1:06:21.080
<v Speaker 1>beyond what we know about Sarah Winchester. But it's rare

1:06:21.160 --> 1:06:24.720
<v Speaker 1>for a horror comic in that it's actually unsettling and

1:06:24.760 --> 1:06:27.160
<v Speaker 1>fills me with dread when I'm reading it. Like most

1:06:27.200 --> 1:06:31.840
<v Speaker 1>horror comics, I write horror comics, so I have this

1:06:31.880 --> 1:06:34.240
<v Speaker 1>problem when I'm writing mine. It's very difficult in the

1:06:34.280 --> 1:06:36.840
<v Speaker 1>medium of comics to build dread in the same way

1:06:36.880 --> 1:06:39.880
<v Speaker 1>you can in prose or in film, for instance, where

1:06:39.880 --> 1:06:42.640
<v Speaker 1>you've got like audio to work with. Right in comics

1:06:42.720 --> 1:06:45.680
<v Speaker 1>there's there's different tricks and tools that you can play with,

1:06:45.880 --> 1:06:49.320
<v Speaker 1>but it's not as easy. And this book, man, it

1:06:49.440 --> 1:06:51.280
<v Speaker 1>really does a good job of it. I mean, it

1:06:51.360 --> 1:06:54.200
<v Speaker 1>gets your your skin crawling by the end of it.

1:06:54.600 --> 1:06:58.840
<v Speaker 1>It's definitely for any horror fans who found our episode

1:06:58.880 --> 1:07:02.280
<v Speaker 1>on the causes of human and violence interesting because really

1:07:02.320 --> 1:07:06.600
<v Speaker 1>the larger theme surrounding the book, you know, outside of

1:07:06.640 --> 1:07:09.440
<v Speaker 1>these like bizarre ghosts that may or may not be

1:07:09.520 --> 1:07:13.880
<v Speaker 1>haunting Sarah Winchester as she's constructing this monstrous mansion, it's

1:07:13.920 --> 1:07:17.120
<v Speaker 1>about human violence, you know. And and and the legend

1:07:17.120 --> 1:07:19.440
<v Speaker 1>goes that for all the construction workers that lived on

1:07:19.520 --> 1:07:22.280
<v Speaker 1>site that we're building the house, she wouldn't allow them

1:07:22.320 --> 1:07:25.520
<v Speaker 1>to carry arms, and they weren't allowed to No violence

1:07:25.560 --> 1:07:27.840
<v Speaker 1>was allowed on the property. If they ever gotten to

1:07:27.880 --> 1:07:31.600
<v Speaker 1>a fight or anything, they were immediately fired. Um. It

1:07:31.760 --> 1:07:36.200
<v Speaker 1>uses lettering in a really smart way too. So we

1:07:36.240 --> 1:07:40.360
<v Speaker 1>associate bang in comics with a gun shooting, right, but

1:07:41.280 --> 1:07:44.840
<v Speaker 1>they use the lettering. So there's bangs and blams all

1:07:44.880 --> 1:07:48.680
<v Speaker 1>throughout this book, but it's associated with the construction of

1:07:48.680 --> 1:07:52.080
<v Speaker 1>this building and all these guys constantly hammering and building

1:07:52.120 --> 1:07:54.360
<v Speaker 1>these rooms and then tearing these rooms down and rebuilding

1:07:54.360 --> 1:07:58.400
<v Speaker 1>them in a different configuration. But then gunshots get mixed

1:07:58.400 --> 1:08:01.240
<v Speaker 1>in there too, and violence gets mixed in there. It's

1:08:01.480 --> 1:08:04.880
<v Speaker 1>I was really really impressed with this book, so I

1:08:04.960 --> 1:08:08.360
<v Speaker 1>highly recommended. I want to say, uh, the original series

1:08:08.400 --> 1:08:10.640
<v Speaker 1>of something like five or six issues long, so it's

1:08:10.880 --> 1:08:14.240
<v Speaker 1>it's a good one and done graphic novel that's just

1:08:14.640 --> 1:08:19.760
<v Speaker 1>utterly creepy cool. And does it Does it have any

1:08:19.840 --> 1:08:24.840
<v Speaker 1>overlap at all with the movie Thirteen Ghosts? No? I

1:08:24.880 --> 1:08:29.080
<v Speaker 1>wish it did. Uh yeah No, unfortunately no, because that

1:08:29.200 --> 1:08:31.679
<v Speaker 1>may be my favorite specially built. I was going to say,

1:08:31.800 --> 1:08:33.760
<v Speaker 1>we need to, uh, we need to find a way

1:08:33.800 --> 1:08:38.920
<v Speaker 1>to incorporate thirteen Ghosts since one of our trailer talks, right,

1:08:39.240 --> 1:08:45.840
<v Speaker 1>I'm talking about the remake with Matthew Lillard. Right, oh yeah,

1:08:45.880 --> 1:08:51.120
<v Speaker 1>I think he was yeah, and um god what yeah?

1:08:51.760 --> 1:08:53.519
<v Speaker 1>So oh, you know what, this was another one of

1:08:53.520 --> 1:08:57.360
<v Speaker 1>those movies where U two movies with the basic same

1:08:57.400 --> 1:09:00.360
<v Speaker 1>premise came out at the same time. There was House

1:09:00.400 --> 1:09:05.000
<v Speaker 1>on Haunted Hill and in thirteen Ghosts all came out

1:09:05.080 --> 1:09:08.719
<v Speaker 1>like right around yeah, right right, yeah. Did thirteen Ghosts

1:09:08.760 --> 1:09:12.120
<v Speaker 1>have f Murray Abraham in it? It might have. Yeah,

1:09:12.200 --> 1:09:15.440
<v Speaker 1>he might have been. He might have been the grand designer.

1:09:16.320 --> 1:09:19.679
<v Speaker 1>I think. I recall from Roger Abert's review of Thirteen

1:09:19.760 --> 1:09:23.040
<v Speaker 1>Ghosts where he started by saying, this is certainly one

1:09:23.080 --> 1:09:26.639
<v Speaker 1>of the loudest movies I've ever seen. I will give

1:09:26.680 --> 1:09:29.720
<v Speaker 1>Thirteen Ghosts this the designs of the ghosts in that

1:09:29.760 --> 1:09:33.760
<v Speaker 1>movie are awesome. Like, the ghosts look really cool. I

1:09:33.800 --> 1:09:36.760
<v Speaker 1>think I remember I vaguely remember f Murray Abraham, but

1:09:36.760 --> 1:09:39.080
<v Speaker 1>he might not have even been anything. Don't you have

1:09:39.160 --> 1:09:43.439
<v Speaker 1>to wear like special glasses or they're they construct glass

1:09:43.520 --> 1:09:45.360
<v Speaker 1>around the house so you can see the ghosts, but

1:09:45.479 --> 1:09:50.160
<v Speaker 1>only through this particular kind of made glass. Yeah what Yeah, no,

1:09:50.439 --> 1:09:54.000
<v Speaker 1>this is completely unrelated, but definitely go see thirteen Ghosts.

1:09:56.160 --> 1:09:59.400
<v Speaker 1>All right, Well, there you have it, some fictional, nonfictional

1:09:59.439 --> 1:10:03.559
<v Speaker 1>and comic recommendations from your host here for you to, uh,

1:10:03.640 --> 1:10:06.000
<v Speaker 1>you know, consider for your summer reading. Yeah, definitely if

1:10:06.080 --> 1:10:08.680
<v Speaker 1>you listeners out there have something that you think we

1:10:08.720 --> 1:10:11.640
<v Speaker 1>should read, which I'm sure you do after hearing us

1:10:11.680 --> 1:10:14.439
<v Speaker 1>gab about what we've been reading for the last hour plus,

1:10:14.880 --> 1:10:17.880
<v Speaker 1>let us know, right, you can write into us. We're

1:10:18.000 --> 1:10:20.559
<v Speaker 1>all over social media. We're on Facebook. You can write

1:10:20.640 --> 1:10:25.519
<v Speaker 1>us there, Twitter, Tumbler, and Instagram. I'm loving Instagram right now, guys.

1:10:25.640 --> 1:10:29.040
<v Speaker 1>Instagram's Instagram is my new social media platform of choice.

1:10:29.760 --> 1:10:32.880
<v Speaker 1>You mean personally or for the brand both. Yeah, it's

1:10:32.880 --> 1:10:37.360
<v Speaker 1>like brand the brand. Yeah, I just really like it.

1:10:37.360 --> 1:10:41.479
<v Speaker 1>It's like, uh, it feels like the one safe space

1:10:42.120 --> 1:10:44.720
<v Speaker 1>in social media right now where people can't just be

1:10:44.840 --> 1:10:47.759
<v Speaker 1>like utterly and human to each other. Yeah. I definitely

1:10:47.760 --> 1:10:51.679
<v Speaker 1>feel like feel that way about like my personal Instagram. Yeah,

1:10:51.880 --> 1:10:54.439
<v Speaker 1>I can just go there and it's mostly pictures of

1:10:54.479 --> 1:10:57.200
<v Speaker 1>people's kids, right Yeah. Yeah, yeah, it's either like people

1:10:57.240 --> 1:11:00.559
<v Speaker 1>sharing cool art or you know, self is aren't really

1:11:00.560 --> 1:11:03.040
<v Speaker 1>my thing, but like doing selfies and feeling proud about

1:11:03.040 --> 1:11:06.160
<v Speaker 1>themselves or taking pictures of their lives. Yeah, we should

1:11:06.200 --> 1:11:08.800
<v Speaker 1>start uploading pictures of food and that how you get

1:11:08.800 --> 1:11:11.800
<v Speaker 1>followers on Instagram as food? Yeah, I would assume so.

1:11:11.960 --> 1:11:14.640
<v Speaker 1>Pretty much our Instagram feed is like our episodes or

1:11:14.920 --> 1:11:17.160
<v Speaker 1>weird pictures Robert and I take throughout the course of

1:11:17.160 --> 1:11:19.599
<v Speaker 1>our day. Oh. I should also mention that on our

1:11:19.640 --> 1:11:22.680
<v Speaker 1>Facebook group we uh on Facebook page, we now have

1:11:22.800 --> 1:11:25.640
<v Speaker 1>a group associated with that. So if you if you

1:11:25.680 --> 1:11:28.680
<v Speaker 1>were one of our Facebook followers, and you you you

1:11:28.720 --> 1:11:30.960
<v Speaker 1>would you would like to interact with us more and

1:11:31.000 --> 1:11:33.280
<v Speaker 1>comment on the on the various content we put out,

1:11:33.800 --> 1:11:35.880
<v Speaker 1>especially on the podcast episodes, but in a way that

1:11:36.000 --> 1:11:39.120
<v Speaker 1>maybe is less lost. Uh, you know, it's not as

1:11:39.200 --> 1:11:41.080
<v Speaker 1>lost as it would be on the main page. Then

1:11:41.080 --> 1:11:43.280
<v Speaker 1>the group is uh, it's potentially a good place for that.

1:11:43.360 --> 1:11:46.519
<v Speaker 1>We just rolled it out. It's we're still still building up,

1:11:46.520 --> 1:11:48.559
<v Speaker 1>but we're just we're gonna see what happens with It's

1:11:48.680 --> 1:11:50.840
<v Speaker 1>very small right now. I mean it compareson to our

1:11:50.840 --> 1:11:53.160
<v Speaker 1>Facebook page. I think our Facebook page has a million

1:11:53.200 --> 1:11:55.760
<v Speaker 1>plus followers, but like our discussion group right now is

1:11:55.800 --> 1:11:58.839
<v Speaker 1>only like maybe twenty or thirty people. So yeah, definitely

1:11:58.880 --> 1:12:01.720
<v Speaker 1>hop in there. Uh, it's a great place. Like some

1:12:01.800 --> 1:12:04.599
<v Speaker 1>of our our listeners are already putting articles in there

1:12:04.640 --> 1:12:07.920
<v Speaker 1>to get our attention and other listeners attention to be like, hey,

1:12:07.960 --> 1:12:10.120
<v Speaker 1>did you hear about this? Check this out? Like the

1:12:10.200 --> 1:12:13.439
<v Speaker 1>tartar grade thing. I saw that tartar grade piece and

1:12:13.439 --> 1:12:16.920
<v Speaker 1>then Peter shared it on our discussion board, and I

1:12:16.920 --> 1:12:20.480
<v Speaker 1>immediately thought of Joe. It was like Joe tart grades. Yeah,

1:12:20.479 --> 1:12:22.280
<v Speaker 1>so check this out and it should. This is a

1:12:22.560 --> 1:12:27.160
<v Speaker 1>water Bears yeah, the client of Vassa Baron. Uh, this

1:12:27.240 --> 1:12:29.040
<v Speaker 1>is a good place for if you've ever wanted to

1:12:29.040 --> 1:12:30.800
<v Speaker 1>share something to our page. I don't think we have

1:12:30.840 --> 1:12:32.640
<v Speaker 1>that functionality right now. You can share it to the

1:12:32.680 --> 1:12:37.720
<v Speaker 1>group and you'll be able to accomplish the same effect. Yeah, yeah, totally. Hey,

1:12:37.760 --> 1:12:40.120
<v Speaker 1>And in the meantime, As always, you can go to

1:12:40.120 --> 1:12:41.840
<v Speaker 1>stuff to Blow your Mind dot com if you want

1:12:41.840 --> 1:12:44.240
<v Speaker 1>to see some blog posts Robert, you've done any good

1:12:44.240 --> 1:12:46.800
<v Speaker 1>monster stuff on there lately? Oh man, it's summer's been

1:12:46.840 --> 1:12:49.160
<v Speaker 1>too busy for mine. I think I did one un blade. Yeah,

1:12:49.200 --> 1:12:51.799
<v Speaker 1>I saw your blade. Well that was great to a slime?

1:12:52.479 --> 1:12:57.120
<v Speaker 1>Might I think that's it? Seriously, best kept secret on

1:12:57.160 --> 1:13:01.440
<v Speaker 1>the Internet. Robert's monster science posts on our site are amazing.

1:13:01.640 --> 1:13:04.479
<v Speaker 1>If you're not like, subscribe to our assess feed, go

1:13:04.600 --> 1:13:06.439
<v Speaker 1>to Stuff to Blow your Mind right now and just

1:13:06.479 --> 1:13:09.360
<v Speaker 1>scroll through all the awesome stuff robertson putting up there

1:13:09.360 --> 1:13:12.320
<v Speaker 1>for seven years now. Yeah, it'll be an easy trip.

1:13:12.400 --> 1:13:14.559
<v Speaker 1>You will not be trying to be a slim mic

1:13:14.600 --> 1:13:18.799
<v Speaker 1>crawling up hill ice ice skating up hill um. And also,

1:13:18.880 --> 1:13:20.960
<v Speaker 1>as always, if you want to email us get in

1:13:21.000 --> 1:13:23.160
<v Speaker 1>touch with us directly. You can hit us up at

1:13:23.360 --> 1:13:36.720
<v Speaker 1>blow the Mind at how stuff works dot com for

1:13:36.880 --> 1:13:39.200
<v Speaker 1>more on this and thousands of other topics. Does it

1:13:39.240 --> 1:14:01.040
<v Speaker 1>how stuff works dot com b B four five