→ November 9, 2023
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The Long Way to a Small, Angry Planet.

Becky Chambers’ The Long Way to a Small, Angry Planet is one of the biggest successes in self-publishing in the last decade or so, as she ran a successful Kickstarter to give her the time to finish the book, which sold well enough that Hachette’s Hodder & Stoughton picked it up and published their edition a year later. The book now has three sequels, winning the Hugo Award for Best Series in 2019, and all of the sequels earned nominations for the Hugo for Best Novel. This book, at least, has “first effort” all over it, though, and it’s kind of clunky and overdone in so many parts, especially the world-building, which detracted somewhat from a fun if very light story about a group of misfits becoming an ersatz family aboard a spaceship.

The Wayfarer is that ship, and as the series opens, Rosemary is heading for the Wayfarer to serve as its clerk, handling all of the paperwork the ship needs to move through space, across civilizations and, often, punching holes in the fabric of space to create shortcuts across great distances. These artificial wormholes are the Wayfarer’s main source of income, and they do it with a truly motley crew of specialists drawn from multiple species. Each crew member gets their own moment in the spotlight here, so rather than a single plot we get a series of episodes that allow the focus to move across everyone on the ship, from Corbin, the stubborn, meticulous biologist who grows the algae that helps power the ship; to Dr. Chef, the mechanic and, yes, chef, from a dying species who also serves as the ship’s counselor; to Jenks, the engineer who is – slight spoiler – in love with the ship’s AI. Really. (Needless to say I found that one a bit hard to take.)

I think the real problem I had with Long Way was the extensive exposition as Chambers builds out her universe, with giant civilizations of many species, endless rules, fictional technologies, and at least seven characters who need some sort of back stories. It’s a trap many first-time writers seem unable to avoid, and I at least attribute it to the benign desire to get all of these thoughts – the whole universe they’ve built up in their heads – out on to the page, as well as to prevent too much confusion on the part of readers. It also drives me up the wall, because 1) we can learn about this stuff as the story goes along and 2) if I really, really need to understand the technical details of how interstellar travel works in your books, or get a full description of every species’ cultural norms, that’s a bigger problem than just giving us a few pages of extrapolation can solve. Since Long Way visits a lot of planets and has such a diverse crew, we get a lot of that cultural stuff, and the book ends up spinning its wheels for pages and pages while Chambers describes trivial points about handshakes or mating customs.

The book does tackle some larger social themes, although it does so in a cursory way because there are so many smaller stories in the novel’s 438 pages. There’s a bit about cloning, a part about LGBT relationships, some stuff about war and the ethics of supplying one side (pretty timely right about now) when you’re not involved, and more, but none of tit gets more than superficial treatment.

The Long Way has to stand on the strength of its characters, since the plot is modest and the prose more akin to YA fiction, and there Chambers has some more success, although it’s a mixed bag. Rosemary is fine as the closest character we have to a protagonist, as her wide-eyed views and relative inexperience outside of her home planet make her a sensible lens for the reader to view most of the action. Some of the non-human characters are a little overdrawn, notably the navigator, Ohan, so again we get bogged down in details rather than seeing the characters develop. The more I write, the more I realize I just didn’t care for this book at all, other than that it was light and easy to read. It’s not The Calculating Stars bad, but I hope the remainder of the series spends more time developing the characters than explaining its fictional universe.

Next up: I’m about 2/3 done with Chester Himes’s If He Hollers Let Him Go.

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→ November 7, 2023
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Podcast guest author appreciation post.

I’ve been hosting my podcast at the Athletic (iTunes, Spotify) for over three and a half years now, and I’ve had the privilege of interviewing a number of authors whose work I’ve enjoyed. Of course, I boost their books on the show and on the site formerly known as Twitter, but I wanted to create a more lasting spot where you can find all of the books I’ve discussed on the podcast, allowing me to thank the authors once more for their time.

I’ve listed the book(s) I discussed with the authors on their episodes; it’s not an exhaustive bibliography and in some cases it’s not even my favorite book by that particular author. If a book is on this list, however, I have read it, and I recommend it. I’ve loosely organized them into categories, although some of them defied easy categorization. I’ll try to update this somewhat regularly as well.

All links go to Bookshop.org; if you order through those links I receive a small commission.

Business

Oliver Burkeman – Four Thousand Weeks: Time Management for Mortals.

John A. List – The Voltage Effect: How to Make Good Ideas Great and Great Ideas Scale.

Children’s Books

Matthew Cherry – Hair Love.

Cooking

Michael Ruhlman – The Book of Cocktail Ratios, Ruhlman’s Twenty.

Nik Sharma – The Flavor Equation.

Culture

Matt Singer – Opposable Thumbs: How Siskel & Ebert Changed Movies Forever.

Fiction

Jasper Fforde – The Constant Rabbit.

Susanna Hoffs – This Bird Has Flown.

Will Leitch – How Lucky, The Time Has Come.

Elizabeth McCracken – The Hero of This Book.

History

Elizabeth Hinton – America on Fire: The Untold History of Police Violence and Black Rebellion Since the 1960s.

David Grann – The Wager: A Tale of Shipwreck, Mutiny, and Murder.

Robert Kolker – Hidden Valley Road: Inside the Mind of an American Family.

Josh Levin – The Queen: The Forgotten Life Behind an American Myth.

Memoir

Jason Kander – Invisible Storm: A Soldier’s Memoir of Politics & PTSD.

Kathryn Schulz – Lost & Found: Reflections on Grief, Gratitude, and Happiness.

Music

Jonathan Abrams – The Come–Up: An Oral History of the Rise of Hip–Hop.

Philosophy

Scott Hershovitz – Nasty, Brutish, & Short: Adventures in Philosophy with My Kids.

Lee McIntyre – On Disinformation: How to Fight for Truth and Protect Democracy.

Justin E.H. Smith – The Internet is Not What You Think It Is: A History, A Philosophy, A Warning.

Politics

Dan Pfeiffer – Battling the Big Lie: How Fox, Facebook, and the Maga Media Are Destroying America.

Psychology

Max Bazerman – Complicit: How We Enable the Unethical and How to Stop.

Sian Beilock – Choke: What the Secrets of the Brain Reveal about Getting It Right When You Have to.

Angela Duckworth – Grit: The Power of Passion and Perseverance.

Ellen Hendricksen – How to Be Yourself: Quiet Your Inner Critic and Rise Above Social Anxiety.

Katy Milkman – How to Change: The Science of Getting from Where You Are to Where You Want to Be.

Richard Nisbett – Mindware: Tools for Smart Thinking.

Michael Schur – How to Be Perfect: The Correct Answer to Every Moral Question.

Claude Steele – Whistling Vivaldi: How Stereotypes Affect Us and What We Can Do.

Ozan Varol – Awaken Your Genius: Escape Conformity, Ignite Creativity, and Become Extraordinary.

Science

Caroline Criado Perez – Invisible Women: Data Bias in a World Designed for Men.

Peter Hotez – Vaccines Did Not Cause Rachel’s Autism: My Journey as a Vaccine Scientist, Pediatrician, and Autism Dad.

Ed Yong – An Immense World: How Animal Senses Reveal the Hidden Realms Around Us.

Sports

Craig Calcaterra – Rethinking Fandom: How to Beat the Sports-Industrial Complex at Its Own Game.

Russell Carleton – The New Ballgame: The Not-So-Hidden Forces Shaping Modern Baseball.

Julie DiCaro – Sidelined: Sports, Culture, and Being a Woman in America.

Jessica Luther & Kavitha Davidson – Loving Sports When They Don’t Love You Back: Dilemmas of the Modern Fan.

Jonathan Mayo – Smart, Wrong, & Lucky: The Origin Stories of Baseball’s Unexpected Stars.

Joe Posnanski – Why We Love Baseball: A History in 50 Moments, The Baseball 100.

John Shea – 24: Life Stories and Lessons from the Say Hey Kid.

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→ November 4, 2023
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Stick to baseball, 11/4/23.

My ranking of the top 50 free agents this offseason went up this week for subscribers to the Athletic, and we’re updating it as options and other news (e.g., Clayton Kershaw’s shoulder surgery) affects the list, since it ran the day after the World Series ended. I’ll be breaking down any major signings where a player changes teams as well as any significant trades this offseason.

After a four-month hiatus, I sent out a new edition of my free email newsletter today, with some scattered thoughts on this World Series as well as a more thorough rundown of things I wrote in October.

And now, the links…

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→ November 3, 2023
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Nettle & Bone.

T. Kingfisher (the nom de plume of writer Ursula Vernon) won this year’s Hugo Award for Best Novel for Nettle & Bone, a light fantasy novel that subverts many tropes of the genre while adhering to others as it follows its protagonist on a quest to save her sister, the Queen of the North Kingdom. It is a blast to read, with some wonderful side characters alongside our hero and a great balance of humor and darkness, although I’m not sure it has the thematic depth of some of the best winners of that honor.

Our hero is Marra, the youngest of three sisters in the tiny Harbor Kingdom, a city-state located around the midpoint of the coast between the Northern and Southern Kingdoms, protected by its strategic location and the desire of both neighbors to avoid having it fall into their rival’s hands. As the story begins, Marra’s eldest sister, Damia, is married to the young Prince and heir to the throne of the Northern Kingdom, but she dies in an equestrian accident before she can produce a son, so the Prince then marries the middle sister, Kania. When Marra goes to see Kamia as her sister is about to give birth, however, Kania gives her a cryptic warning, and subsequent events cause Marra to realize her sister is the victim of a violent husband. She finds a dust-witch to try to obtain a way to kill the Prince, which ultimately leads her on a journey across two kingdoms with a party that grows to four, not counting the chickens, and ends with a showdown in the royal chambers.

Nettle & Bone is a quest novel, and we get a classic adventuring party of a cleric, a fighter, and a couple of mages, roughly speaking, where the pleasure is in the interplay between these characters as well as the world-building. Kingfisher has a Gaimanesque knack for crafting weird and creepy magical realms, with more delightful settings here than I can count – very reminiscent of a well-crafted RPG campaign, but with the detail of a Neverwhere or Among Others, where you’re immersed in the scene even as the writer asks you to believe any number of impossible things. The goblin market is an obvious homage to Gaiman’s work, among others, but Kingfisher gives it enough unique flourishes that it stands on its own merits.

I absolutely tore through this book, and I’ve already recommended it to two strangers who asked about it when I was reading it in public. That said, I have two major criticisms of the book, although only one of them affected my enjoyment of the work. That one is straightforward – Marra is not that interesting of a character. Kingfisher sure as hell tries to give her some personality, but beyond making her a worrywart, she doesn’t have much to distinguish herself. She’s the observer of the action, a Nick Jenkins (from A Dance to the Music of Time), but all three of her companions on the quest are more compelling characters. Marra’s whole family is boring, honestly; Kania’s a cipher, her mother doesn’t even have a name, I think, and her father is somewhere else. Kingfisher’s strength may lie in creating side characters, which is a real skill and not something I wish to diminish, but the time we spend with Marra alone forms some of the least interesting pages in the book.

My second criticism of Nettle & Bone is an academic one, which is that I don’t see much of a theme here – and for many readers, that won’t matter at all. It didn’t affect my pleasure in reading the book, either; it’s great fun, I laughed quite a bit, and I enjoyed a lot of the time I spent with these characters and in this world. I usually don’t think much about deeper themes or meaning until a book is done, after which it’s often all I think about – what is the author trying to say? What might they want the reader to take away from the book? Marra is a strong female lead, and her world, like ours, is patriarchal, while two of her three companions on the quest are also women, so there’s no question the book has a feminist bent. Beyond that, however, I couldn’t discern any greater themes here. That’s fine for the average reader, maybe for the vast majority of readers, but if we’re comparing books for the purpose of an award like the Hugo, I think questions of theme and meaning do matter. That said, I haven’t read any of the other nominees yet, so I have no opinion on whether this book was worthy other than to say I loved every minute while I was reading it.

Next up: Becky Chambers’ The Long Way to a Small, Angry Planet, a self-published, Kickstarted novel from 2014 that has spawned three Hugo-nominated sequels. I’m on page 10.

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→ November 2, 2023
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Rauha.

Rauha came out earlier this year through Hachette and is a sort of spiritual successor to Nidavellir, although there’s no formal connection between the two games, merely sharing some similar scoring and artistic elements. It’s a very tight game where you’re working in a small space and will have to make some difficult decisions to undo things you’ve done before, fighting the natural attachment you might have to moves you made earlier in the game. It was co-designed by Johannes Goupy, who’s had a slew of games come out in the last 18 months (Elawa, Rainforest, Orichalcum); and Theo Rivière, who’s worked with Bruno Cathala on such games as Draftosaurus, Sea Salt + Paper, and Naga Raja, and also co-designed The LOOP.

(I’m currently giving away a copy of the game via Instagram, entries due by midnight, November 5th.)

Players place one “biome” tile per turn on their 3×3 boards, taking 12 turns in total – so naturally they’ll have to cover some tiles with later ones, which is where things get difficult, although I’ll get to that in a moment. Each biome tile has several features – a terrain, an animal type, possibly a water source, and possibly a power/reward for when the tile is activated. After you place a tile, you activate the current row or column on your board indicated by the round marker; thus you don’t activate the tile you just placed unless it happens to be in the row or column for the current round. After every third round, there’s a scoring round you activate all of your tiles with “spores” on them; some tiles allow you to pay crystals to place more spores, and you’ll have to get at least a couple of those to be competitive in the game. Those scoring round also give points to the player with the most water sources. After twelve regular rounds and four scoring rounds, the game ends.

The tiles are a little complex, with a lot of icons to learn, which was one of the drawbacks I found in the game. There are four terrain types, three animal types, and water sources on tiles; most tiles have some kind of power when activated, although some don’t. The majority of tiles don’t cost anything to take, but some cost up to 5 crystals, and some tiles later in the game can only be placed in specific spaces on your board. Tile powers can include straight crystals or points, allowing you to trade crystals for points, allowing you to pay crystals to place a spore, or granting you points based on the number of tiles of a specific animal type you have. When you place three tiles in a row of the same terrain type or same animal type, you can gain a God that grants you a power when you gain it and again in the scoring rounds. You keep a God tile until someone else claims it by making the required pattern, even if you cover up one of the tiles in the pattern on your board.

Rauha packs a lot of game into a little board, and it’s extremely well balanced within those player boards. The terrain and animal types are just symbols with no additional powers beyond what you get from the God tiles, so they all function the same way. You’re really at the mercy of the tile draws and the draft in each round, though, and it’s way too easy to end up, say, never getting a water source to stay competitive in that category, which is one of only two ways you’re really competing directly with opponents (along with the God tiles). It’s not a planning game, although it looks like one. You can do a little preparation, placing tiles so that you can complete a row/column two different ways, but that’s about it. It’s still more a game of skill than of chance, certainly, but it’s the kind of game where the chance elements can drown a less skilled player. That’s a whole style of game that has its adherents. I’m just not one of them, I think.

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→ November 1, 2023
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The Guest Cat.

I picked up Takashi Hiraide’s slim novel The Guest Cat on a whim at Midtown Scholar, the wonderful independent bookstore in Harrisburg, about a month and a half ago en route to a Senators game, drawn by the quirky cover, the small format, and the description that referred to the author as a poet, which if nothing else should mean the prose is interesting. It’s a strange, lyrical little book, lovely in its way, but also very much about grief and change, reminding me very much of the two novels I’ve read by Max Porter.

There is a cat, although the cat needs a host, and the hosts are a nameless couple who have no children and have what seems like a staid life in a Japanese city, working, living together, but without much spark or interest to their lives. The husband is our narrator, and describes the arrival of a neighbor’s cat who begins visiting the couple every day as part of its routine, once its owners have left for the day. Neither husband nor wife is especially fond of cats, or so they say, yet this cat, whom they eventually nickname Chibi, captures them both – especially the wife, who is just a wisp on the pages, surprisingly incorporeal in the husband’s telling. We know so little about her, which implies that perhaps he does, too, and he’s fascinated by just how much she cares for and about Chibi, even frying little fish just for the cat (I know people do this, but cooking explicitly for your pet is a bit much for me), and the cat’s visits eventually become a part of their quotidian lives. They even venture out, exploring the grounds where their cottage is, to follow the cat, meeting some neighbors and even gaining use of the main house as its owner leaves for a retirement facility.

Until, of course, one day Chibi doesn’t arrive, and the two of them find their highly predictable lives upended by his disappearance. To this point, they appear to have avoided any tragedies or other major events that might have derailed their lives – birth, school, work, death as the song goes – yet Chibi’s brief time in their lives jolts them out of their doldrums, and when he’s gone, they’re completely thrown. The journey, if you can even call it that, from that point to the end of the novel, pushes both husband and wife to reevaluate some of the givens in their lives and to consider life’s transience, and they end by making what are, for them, some pretty significant changes.

The novel also has a metafictional aspect, as the husband reveals that he wrote the novel we’re reading after Chibi disappeared, while the prose is spare but not austere, setting the scene with lithe descriptions of trees, rooms, and, yes, cats. The whole thing feels like a meditation, a small idea that Hiraide expanded into a broader commentary on how easily we slip into routines and lose sight of the brief nature of our lives. Perhaps he’s a cat person now, too, and is arguing that pets can give surprising meaning to our lives, making us appreciate the brevity of our lives because theirs are even shorter, or to see their carefree ways as a model for letting go and being free. I took it as a broader comment on the need for change in our lives, to avoid becoming stuck in routines and the drudgery of living day to day if we have the luxury and privilege to do so. The beauty in The Guest Cat, though, is in how such a simple fable can lead to a myriad of interpretations, and linger with you long after its title character has left the scene.

Next up: I’m more than halfway done with this year’s winner of the Hugo Award for Best Novel, T. Kingfisher’s Nettle & Bone.

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→ October 31, 2023
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Music update, October 2023.

It’s weird – ten days ago this list was horribly short, maybe nine songs, and not for a lack of effort, but the last Friday of the month brought a torrent of new stuff, and suddenly the list was approaching 35 tracks. I settled on 31, which you can see below or find here if the Spotify widget doesn’t work for you.

Brittany Howard – What Now. Howard was the lead singer/guitarist for the Alabama Shakes, then released a solo album when they broke up, winning a Grammy for the track “Stay High” and taking six other nominations. I’ll take this over any song from her debut album Jaime, though. This thing fucking rocks, and also it funking rocks, like she slipped her hand through a wormhole and pulled this out of 1978.

The Libertines – Run Run Run. Apparently Pete Doherty has been clean for nearly four years now, which has the side benefit of giving us new Libertines music, with this song teasing the March release of their fourth album and first in nine years, All Quiet on the Eastern Esplanade. It’s a touch melodic for the louche lads, but hey, we all get a little softer in our old age, innit?

Creeper – Sacred Blasphemy. Creeper had my #2 album of 2020 with Sex, Death, and the Infinite Void, anover-the-top mélange of glam rock, post-punk, new wave, and even some metal, and their follow-up, Sanguivore, is even more ambitious and experimental, the sort of album I’m going to have sit with and listen to several times to fully digest. I don’t know if it’ll match the prior one for me, but I always respect artists trying to push out of their comfort zones, even if it doesn’t work (with at least one track here where it definitely doesn’t).

The Joy Formidable – Share My Heat. The full-length version of this song is 15 minutes, so I give you the radio edit instead, which has the pounding guitar riff that makes this my favorite song yet from this Welsh rock trio. It’s the third new song this year from them, so I imagine a follow-up to 2021’s Into the Blue is in the offing.

Yard Act – Dream Job. Yard Act’s debut album was one of my favorites of 2022, coming in at #3 on the year, and they’re back with the first single from their next album, Where’s My Utopia?, which is due out on March 1st. It’s got the same sly vocals, sardonic lyrics, and post-punk stylings, but this time with more of a late 70s disco feel.

Bob Vylan – He’s a Man. “Just another day in the life of a big dumb man.” This duo, who blend punk, grime, and hip-hop, among other genres, have such a great knack for satire, as on this send-up of toxic masculinity and the Tory-voting couch potato.

STONE – Am I Even a Man. Last year’s EP punkadonk didn’t slow down these British neo-punks, who’ve continued churning out singles that adhere to their core punk ethos while expanding their horizons just a little – enough to make them more than just punk revivalists, at least.

Egyptian Blue – To Be Felt. I’m a sucker for British post-punk bands, clearly, so here’s another one; Egyptian Blue have been around for almost a decade but just released their debut album, A Living Commodity, this past month, which is when they crossed my radar. They keep it to straightforward post-punk, rather than trying to do too uch to stand out, which I appreciate as someone who’s a fan of the original genre from the early 1980s (although, to be honest, I came to it later).

English Teacher – Nearly Daffodils. There’s a debut album coming … soon, it sounds like, from this Leeds quartet of post-punk upstarts, with this the second single teasing it after “The World’s Biggest Paving Slab.”

Folly Group – Big Ground. This London quartet sounds a lot like early Everything Everything to me in the best possible way, perhaps with less production but the same chaotic energy.

milk. – London. This is the title track from the Dublin indie-pop band’s latest EP, a four-track affair that also has the great “I Think I Lost My Number Can I Have Yours?” It’s pretty sleek and catchy, definitely not the sound I associate with Dublin or Ireland’s rock scenes.

Griff – Into the Walls. More sultry, sophisticated pop from the 22-year-old Sarah Griffiths, who just released a three-track EP called vert1go vol. 1. She toured with Dua Lipa in 2022, and Taylor Swift bumped Griff’s previous single “Vertigo,” so I’m expecting her to break out in a huge way very soon.

Girl Ray – Hurt So Bad. This song actually predates their 2023 album Prestige but ended up missing the cut for the album, so this British electro-pop trio released it as a one-off single this month. It’s a great example of their general sound and ability to craft a great synth hook.

Sampha – Suspended. Lahai, Sampha’s long-awaited follow-up to his Mercury Prize-winning debut from 2017 just dropped to very positive reviews, featuring this track, “Spirit 2.0,” and “Only.”

Black Pumas – More than a Love Song. Black Pumas earned a Grammy nomination for Best New Artist for their 2019 debut album Black Pumas; I enjoyed their psychedelic soul sound but thought the album lacked strong hooks. This song, from their just-released second album Chronicles of a Diamond, has two giant hooks, the vocals in the chorus and the fuzzed-out guitar riff that follows it, and has me far more interested in their new album than I was two weeks ago.

NIJI & Moses Boyd – Sounds of the City. This is the debut single from Niji Adeleye, a jazz pianist from London who has played in Harry Styles’s backing band, with help from the superstar jazz drummer Moses Boyd. This track has no lyrics but his second single, “Love Will Find It’s [sic] Way,” does have vocals from Adeleye.

Uriel Herman – MJ. Herman is an Israeli jazz pianist who just released his fourth album, Different Eyes, which also includes a cover of Nirvana’s “Polly” that I found unrecognizable – not in a negative way, just in that it sounds nothing like the original. Neither did his earlier covers of “Smells Like Teen Spirit” or of David Bowie’s “The Man Who Sold the World,” though, so this is just how he rolls.

HEALTH – Ashamed. This LA-based noise-rock trio’s seventh album, Rat Wars, is due out on December 7th, and the video for this track – which has the subtitle “(Of Being Born)” there but not on streaming sites – was partially filmed at the DragonCon science fiction, fantasy, and gaming convention in Atlanta, which is awesome.

Black Honey – Lemonade. Black Honey skillfully melds power pop with the trashier sounds of bands that have tried to subvert indie’s pop leanings, like the Pixies and Modest Mouse, but somehow also sound like early Smashing Pumpkins. I’ve liked almost everything they’ve ever released, to varying degrees, and this stand-alone track is up there.

Charly Bliss – I Need a New Boyfriend. Not quite as good as “You Don’t Even Know Me Anymore,” but I’ll take this to mean that this power-pop band’s third album, and first since 2019, is coming soon. Their guitarist, Spencer Fox, voiced Dash in the original The Incredibles.

TORRES – Collect. Mackenzie Scott’s sixth album, What an Enormous Room, is due out in January; I admit I’ve been pretty lukewarm on their music to date, but this song has a different vibe for me, darker, grimier, almost a little angry.

Sundara Karma – Better Luck Next Time. This British band’s third album is barely long enough to qualify, just nine songs and 30 minutes, but they do deliver the goods again – to me they’ll probably always sound like descendants of U2. They’re certainly better than whatever that Irish band is producing right now.

A. Savage – David’s Dead. That’s Andrew Savage, lead singer/guitarist of Parquet Courts, in case the voice wasn’t a giveaway. His second solo album, Several Songs About Fire, features this track and “Elvis in the Army,” with his jangle-pop style and laconic vocals on full display.

Slow Pulp – MUD. Yard was a mixed bag for me, maybe more towards the side of ‘disappointing,’ although I suppose my complaint that the songs are kind of sluggish would be an example of me forgetting to read the label. Anyway, I do like the way the big guitars come in on the chorus here, very ‘90s alt-rock while giving some texture to a languorous track.

Everything Everything – Cold Reactor. EE announced their seventh album, Mountainhead, will arrive on March 1st; this lead single has a lot of Jonathan Higgs’s acrobatic vocals, but I was hoping for some more madness in the music.

Shed Seven feat. Rowetta – In Ecstasy. So I had no idea Shed Seven were still together, although the minor Britpop band re-formed in 2007 for live shows and eventually put out a proper album in 2017. Their sixth album, A Matter of Time, is due out some time next year. If you don’t remember them from their ‘90s heyday, check out “Dolphin” and “Getting Better.” Rowetta, by the way, was a member of the Happy Mondays for their peak years, and appeared as herself in 24 Hour Party People.

Wild Nothing – Dial Tone. This sounds like every other Wild Nothing song, which is to say it’s good, but Jack Tatum is kind of stuck in neutral here. At least he’s not ripping off Talk Talk songs any more.

Slate – St. Agatha. Another Welsh band, this Cardiff act sounds like Fontaines D.C. suddenly fell in love with classic shoegaze. This is just their second single so far, so I’m basing this on a pretty small sample.

King Gizzard and the Lizard Wizard – Chang’e. Rocco Baldelli’s second-favorite band (after Phish, I hear) released a double album of sorts this month. The Silver Cord has seven tracks of restrained length, all between 3:24 and 4:40, and then “extended mixes” of those same songs, ranging from 10:18 to 20:41. I prefer the short versions myself.

Tortuga – Lilith. A stoner metal band from Poland? Sure. The band just released their third album, Iterations, on Friday, but this track is the first I’ve heard from them. There’s some definite influence from the New Orleans sludge-metal school as well as classic stoner metal sounds like Kyuss and Sleep.

Wayfarer – A High Plains Eulogy. The new Wayfarer album, American Gothic, is an incredible work of technical death metal, although I found the growled vocals too much to take. This track has clean vocals, so you can appreciate the intricate fretwork without the distraction of a Cookie Monster imitator.

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→ October 28, 2023
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Stick to baseball, 10/28/23.

Nothing new from me at the Athletic this week as I’ve been working on my top 50 free agents rankings, which will run on Wednesday. My only new content outside of this site was a review of the game Forest Shuffle over at Paste Magazine; it’s got some lovely art but it’s a heavy thinker for a game that’s entirely made up of a large deck of cards. I do like it, though.

My guest on the Keith Law Show this week was Dr. Lee McIntyre, a philosopher at Boston University who discussed his new book On Disinformation: How to Fight for Truth and Protect Democracy. You can listen and subscribe via iTunes, Spotify, amazon, or wherever you get your podcasts.

And now, the links…

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→ October 24, 2023
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Dungeons and Dragons: Honor Among Thieves.

I’m a bit of an oddball for my age bracket when it comes to Dungeons & Dragons. I’ve played the pen and paper game, while in middle school, and liked it but found the actual process kind of slow, and of course when you put a bunch of teenaged boys together in a room, they will begin to act like idiots at some point and the game becomes secondary. (They didn’t stay idiots, though; that group now has two successful lawyers, one of whom has defended death-row inmates; a senior VP at a big insurance company; and whatever I am.) I loved some parts of it, including the character creation, and thought others were slow. I did get very into video role-playing games, both within the D&D universe, such as the Pool of Radiance (which I never completed – I couldn’t beat the final boss, even when I tried to play the game again in my 20s), and without, like the Bard’s Tale and some Ultima Games. Regular readers know I became obsessed with the original Baldur’s Gate trilogy about twenty years ago, and I won’t try the newest game because I’m afraid I’ll disappear into it for days or weeks. So I have some nostalgia for the game, but it’s limited, and when people ask if I was a D&D player I generally answer with something like “not really,” because I don’t know the lore or the rules anywhere near like dedicated players do.

Thus I approached the Dungeons & Dragons: Honor Among Thieves movie (free on Amazon Prime) without any particular bias towards or against the film; I don’t think I was predisposed to like or dislike it, or to criticize it for any lack of fidelity to source material. I did worry it would be too fan-servicey, or corny, or maybe just boring because plenty of video-game stories lack the depth required for a two-hour film. D&D: Honor Among turned out to be a lot of fun, witty, fast-moving, a little too silly at times, but very enjoyable, and the rare film that left me hoping we’ll get a sequel.

Chris Pine plays Edgin Darvis, a bard who begins the film in prison with his comrade Holga (Michelle Rodriguez), a barbarian fighter, after the two were part of a large robbery gone very wrong, which also led to Edgin’s daughter Kira going with one of the members of their crew who escaped the authorities, the thief Forge Fitzwilliam (Hugh Grant). We see their parole hearing, where Edgin dissembles at length, waiting for one particular judge to arrive, allowing the script to give us Edgin’s and Holga’s back stories – he was part of the peacekeeper group the Harpers until a Red Wizard they’d arrested killed his wife, after which he teamed up with Holga, who became a sort of surrogate mother to Kira, and later Forge and the elf Simon (Justice Smith), a young mage who, like low-level magic users in D&D, isn’t good for much because he’s so inexperienced. When Edgin and Holga finally get out of prison, they find out that Forge is now Lord of Neverwinter, and perhaps not the welcoming old friend they expected to find. They reunite with Simon and draft the tiefling druid Doric (Sophia Lillis), a shapeshifter who, we find out quickly, Simon is rather sweet on. Hijinks, magic, and combat ensue as they try to find the missing magic item they were after in the busted burglary that landed the two in prison, while also rescuing Kira and uncovering whatever Forge’s game is.

The story’s fine, although you can see in general where things are heading and the film doesn’t rely too heavily on big twists and plot surprises. It’s the characters and the actors who make this so much fun, notably Pine, who wisecracks like Michael Bluth with a bit more savoir-faire and less befuddlement at what people around him are doing. Pine sets the tone from the rambling monologues he gives to stall for time at the pardon hearing, making it clear that the script is going to lean heavily on humor and his personality, and less so on the lore of the source material – which is good, because I don’t think anyone needs a film about the 5e core rules set or lengthy soliloquies about critical hits and saving throws. His interplay with Rodriguez is very strong, as she’s doing a sort of Rosa Díaz/Cara Dune mashup that contrasts nicely with his “I’ve got this under control” smartass vibe. Smith has his moments as a supporting character whose importance increases as the story moves along – again, thematically consistent with the rules of the game – and it seems like the script sets his character and Lillis’s up for bigger roles in any future installments. Grant is a complete ham, but it works, and having some knowledge of his behavior over the years, including on the set of this movie, well, perhaps it wasn’t that big of a stretch for him.

Combat in role-playing games can be a slog for players, and even in the best of circumstances it’s still driven by probabilities whether through dice or cards or some other similar mechanism, which would not translate very well to screen or page. The combat sequences in Honor Among Thieves dispense with all of that – the characters just fight, mostly Holga, who can take out a whole army, although Simon plays more of a role as the party gains experience. It’s a subtle nod to the way the game is played without ever slowing down the overall story; the fights are entertaining, well choreographed, and, most importantly, quick. (There’s also very little blood or actual on-screen violence – it’s all cartoonish or out of sight, less violent than a typical Marvel movie.)

There are some clear plot conveniences here and a visit to the Underdark that raises all sorts of questions about architectural stability and sanity. I also wouldn’t call any of the character development or overall themes “deep,” as the script is happy to give us these four adventurers and allow their chemistry to keep things light and fun, which is this film’s greatest strength. I laughed quite a bit, and I was reasonably invested in the plot, even though I think anyone can guess the general outline of the conclusion. It’s a great, not too serious adventure film in a genre that doesn’t often get this treatment.

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→ October 21, 2023
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Stick to baseball, 10/21/23.

My second Arizona Fall League notebook went up on Monday, covering everyone of note whom I hadn’t written up in the first one. I also held a Klawchat on Thursday.

I appeared on TSN 1050 in Toronto to talk about the League Championship Series and the Blue Jays, including prospect Ricky Tiedemann and the controversial decision to replace José Berrios with Yusie Kikuchi in what turned out to be their last playoff game.

And now, the links…

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