Network Effect

Network Effect Audiobook

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Review #1

Network Effect audiobook free

This is the fifth entry in the Murderbot Diaries series. At 350 pages, it seems to be the only full-length novel in the series. The previous four were novellas, 172 pages or less, as is a subsequent book, Fugitive Telemetry (2021), which came out last year. Network Effect won the 2021 Nebula, Hugo, and Locus awards for best science fiction novel, and the Murderbot Diaries series won a Hugo in 2021 as best series. The only book in the series that I’ve read is this one. I picked it up on the basis of an approving comment from a reviewer I respect –Michael Dirda?- who praised the series’ treatment of its alien protagonist.
The protagonist is the narrator. Murderbot. It’s a cyborg, an amalgam of human and manufactured parts, produced as a Security Unit, owned by a corporation or individual who bought it just as you might buy an inanimate object –a lawnmower, for instance– or just as slaveowners bought their slaves not all that far back in our history. The Unit’s owner can order it to do anything the owner wishes as long as it doesn’t conflict with a few basic pre-programmed prohibitions. Units aren’t seen as persons. When not in use, they can be put to sleep. When damaged, they can be discarded, even have parts cannibalized to build a new Unit. This Unit, the narrator, has no personal identifier. When other characters in the narrative speak of it, it’s “it” or “SecUnit,” which is what it was manufactured as, but not what it any longer is.
In an earlier installment, SecUnit found a way to dismantle its governor module. Since then, it’s been rogue, a free standing, self-directing entity, no longer a commodity or possession. As time goes on, the Unit has started to build relationships with people, a few, some humans and at least one fellow AI. It finds this new emotional baggage disturbing and inconvenient at times. Choices were simpler when it was just a tool, a super-efficient killing machine. The humans with whom he interacts find it puzzling too. Some trust it. Others see it as something like a pit bull –it may not be threatening now, but you can’t trust its reactions under stress—and you don’t know how it feels about humans for the simple reason it’s not one.

That’s the backstory to Network Effect, which starts with the hostile takeover of the research vessel that Murderbot and several humans are traveling in. Their ship caught in the grip of a transport beam, and Murderbot and one of the humans, Amena, are drawn into an alien spaceship. The ship soon moves into a wormhole, which renders any prospect of outside rescue nugatory until the ship reenters normal space. Murderbot and Amena discover that the ship itself has been taken captive. They rescue two of the original crew members and Murderbot discovers that the ship was once controlled by his AI friend, a robot ship pilot (the ship was its body) named ART.

The aliens have killed ART but ART left behind code that allows Murderbot to resuscitate him, minus memory of the time ART was out of commission. Murderbot discovers also that ART sicced the aliens on Murderbot’s ship before it self-destructed itself because ART thought Murderbot could defeat the aliens and knew it could not. From there on, the plot takes off. The alien invaders are defeated. ART is restored to control of its vessel, which is awesomely powerful. The ship descends to the colony from which the aliens, infected descendants of the colony’s original settlers, came to rescue ART’s captured crew, who are being held hostage there. They’re rescued, Murderbot is taken. ART goes to attack with all its awesome capabilities. Aided by another SecUnit whose governor unit Murderbot disables, and using a clever trick involving the creation of a second software version of its bot self, so that temporarily Murderbot can operate in two places at once, Murderbot escapes. The humans return home and Murderbot accepts an offer from ART to travel with it on its next mission.

If you grew up like I did, cutting your eyeteeth on a steady diet of sci fi and fantasy, you realize, of course, that Network Effect is space opera, with all the fights and feints and whizbang flash that genre demands. But the science in Network Effect is less preposterous than, that in, say, the novels of E. E. “Doc” Smith, Edmond Hamilton or Jack Williamson and the characters are much better developed. Or perhaps I should say, Murderbot’s character is. The humans in the story are pretty much window dressing and ART is as much a conceit as it is a person. But Murderbot is genuine. Reviewers have commented on it one of the more human and believable fleshings out of what a non-human being, forced to operate in a human world, might behave like and think (and feel too). Murderbot is also appealing, especially in those moments when it is trying to figure out how to live as ally and friend(?) with those perplexing and often irritating human beings who are around it.

The human universe in which these characters move is heavily corporatized, a dog eat dog environment. Look high enough up the ladder, to Murderbot’s former corporate owners for example, and it’s Murderbot who emerges as the human one –just not, you know, human.

I guess what I’m trying to say is that though not great literature, this is good –by which I mean interesting, even engrossing—reading, and it appeals to us on two counts: our love of adventure (story-telling) and our curiosity about the different. It reminded me vaguely of Iain M. Banks’s standalone novel of the future, Feersum Enjin (1994), one of whose narrators was a self-taught machine. Banks was a better writer and imaginer than Wells is, at least on the basis of this novel, but Wells is no slouch. But then, I have a high tolerance for what I once labeled “junk literature” –sci fi and fantasy, sea stories, spy thrillers, westerns and romance novels. Those were the books I used to cycle down to reality after long hours in grad school reading fifteenth-century chronicles in Spanish, French and Latin. Until I change my ways and convert to reading only the likes of Proust or Henry James, I guess I’ll keep looking for the small pleasures of formula fiction when it’s done well. As done here.

Review #3

Audiobook Network Effect by Cris Dukehart

Review #4

Audio Network Effect narrated by Cris Dukehart

After I finish a Murderbot Diary I always want more. They just keep getting better and better. I always love the banter between Murderbot and Art. Looking forward to the next book.

Murderbot. What a name!!!! Never thought I would have the “feels” for a sentinent, organic\inorganic construct. Everything I like in a man. Strong, silent, capable, VERY capable, super protective instincts, funny, impenetrable loyalty, resourceful and super smart!!!. Some more Murderbot please!

Review #5

Free audio Network Effect – in the audio player below

Although my preference is for literary science fiction of the type that is uncommon now (British near future SF of the 60s-80s) and US social SF (of the 50s-90s variety) I am very familiar with all aspects of the genre. I enjoyed the four Murderbot novels very much -even though a dysfunctional AI android construct with a fairly adolescent worldview is not the kind of character I really relate to, Martha Wells depicted such a being amusingly, insightfully and with great technical skill. Although they’re basically mind candy, the novellas are muscular, taut and well-told.

At novel length, however, Wells’ limitations show clearly: there is very little character development, the plot is nothing we’ve not read before in this series and – as is inevitable with most series – sopshisticated readers will begin to feel that they’re being spoon-fed more of the same, which is far from satisfying. I have no problem with genre writers who have a formula, as long as the formula is original and cannot be replicated by others. Also, as a novel, ‘Network Effect’ is too long by a good 100 pages – a common problem with most novels these days is excessive length demanded by publishers so that the books feel like ‘value for money’ for buyers, as if ‘never find the quality feel the width’ as an approach is a guarantee of good storytelling. It’s not. ‘Network Effect’ felt flabby, slow and tedious compared to ‘All Systems Red’ for example.

Wells really should leave Murderbot be now, as the returns are diminishing. Trouble is, many readers can’t see when they’re being spoonfed by having their expectations fulfilled, when truly great SF goes for a fresh novum each time, turns the world on its head via paradigm shift and finishes with a bang of conceptual breakthrough. or at least it used to. Now, series books which are written almost entirely for commercial reasons for the many readers who want repetition and familiarity (concepts which are the opposite of the cognitive dissonance sophisticated SF readers require) are one reason why written SF has been in decline for several decades as an art form.

If you want more of the same, this will make you happy, but if you want new ground broken, don’t buy ‘Network Effect’. I’m done with Murderbot personally, as this novel didn’t leap off the page and light me up like the early novellas did.

Wells, if you’re that good an SF writer, turn out some singletons in the the way Philip K Dick, Robert Silverberg, J G Ballard, K W Jeter and Ursula Le Guin did.

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