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They manage about as well as you might expect -- which is to say, not very well at all.

It's an interesting mashup of tropes. The teenage detectives are used to traveling around, busting "supernatural" frauds, though they have more serious issues. (The stoner who loves dogs also has severe anxiety, for instance, which is why he avoids people and self-medicates.) And they're just aging out of the demographic when one of them convinces the rest to take on one more case before the band breaks up.

Naturally it's a creepy old haunted house on a cliff above a small, dying coastal New England town that's slowly being eaten away by the sea. And the families disputing ownership of the house both have old claims, and they all seem just a bit off somehow...

You know from the start that they're not all coming back from that last case before retirement as everything falls apart (or falls into place, depending on perspective). It's not a question of if so much as how...and how badly.

(Cross-posted from my website.)

To call The Jinn-Bot of Shantiport a cyberpunk version of Aladdin would be a disservice. It takes that as a starting point and gleefully launches into a tale of political upheaval, prize-fighting robots, kaiju and mechs, unwanted legacies, family secrets, betrayal, loyalty, a Not-Prince, oppression, opulence, AI rights, pervasive surveillance, masking who you are, and of course sufficiently advanced technology that can grant wishes (only three for the trial period, but unlimited wishes can be unlocked for...well, you get the idea), all set in a crumbling spaceport slowly sinking into the mud on a backwater planet where everyone's sure the world is ending soon, but no one's sure how or why, and it hardly matters because no one can afford to leave anyway.

It's a glorious mishmash of all this and more, wrapped around the human Lina and her monkey-bot brother Bador, filtered through a storytelling bot who has just woken up from being factory-reset and is trying to make sense of the totally illogical humans and bots, not to mention the city itself.

Great fun, highly recommended.

(Cross-posted from my website)

When I first heard of Little Fuzzy, long before I read the first book, I had no idea there were any sequels. I think I may have also gotten them mixed up with the Hokas (with perhaps good reason). After reading Piper's original and Scalzi's reboot, I got curious about how Piper continued the original story.

There's a loose plot following a kidnapping investigation, but it's mostly there as a framework to explore the human/fuzzy relationship and how the colony is changing. With the question of sapience established, it gets into the politics of shifting from a company town to an eventual democracy, the ethics of human colonization and native relations with the Fuzzies, and biology, considering where the Fuzzies fit in the planet's food web and why they're so fond of a particular prey animal and a particular brand of human-made emergency rations.

Many of the original characters return, but shifted into new roles and new alliances. Jack Holloway is an official liaison between humans and Fuzzies. Victor Grego, the corporate boss who fought so hard to keep the Fuzzies from being recognized as people, has adapted to the new normal and discovered that he actually quite likes their newly-contacted neighbors. People of both species are picking up the others' language, and factories are gearing up to mass-produce devices to shift the Fuzzies' voices into human-audible range.

It's still very much the Mad Men approach to ecological space colonization: All the humans smoke, cocktail hour is a sacrosanct ritual, most of the active, in-charge people are men, and even the good guys treat the Fuzzies like children. But at least they're trying to work on the Fuzzies' behalf, unlike the traffickers and opportunists. And there's a female scientist who shows up her egotistical boss quite well. But within that context, it's an interesting read.

(Cross-posted from my website.)