I’m genuinely tempted to make that the entire review, to be honest. This is the ninth Matt Dinniman book I’ve read, and the tenth is going to be out in March, and of the nine I’ve loved seven of them, thought the eighth (Kaiju Battlefield Surgeon) was okay, and … then there was this. I forced myself to buckle down and finish it over the course of last night and today, and to be honest I could have put it away after a hundred pages and been fine with it. It really feels like a manuscript that he had lying around and the publishing house was desperate to put something out that was trad-pubbed from the beginning, so he gave them this.
I don’t want to spend a ton of time shitting on this book, especially since it isn’t going to affect my enthusiasm for Dungeon Crawler Carl, but skippable is probably the perfect single-word review, and if I were to write a two-word review it would be half-baked. Nothing about it is particularly well thought-out, the main character is entirely indistinguishable from Carl, including his uncanny ability to come up with complicated plans on the fly, and I defy you to explain to me why the book (or the in-universe show the book is named after) is called Operation Bounce House. Everyone talks like they’re a teenager in 2020 even though the book is set hundreds of years in the future and on a planet Earth has colonized. I cannot emphasize enough how there has been no cultural change of any kind during all this time. I spent the whole book waiting for a twist where it turned out they had been on Earth the whole time and not actually in the future.
The plot: Oliver, who is Carl, is a farmer on a colony planet. The planet gets attacked by mechs being remotely piloted by, mostly, bored and wealthy teenagers on Earth who have spent lots of money to be part of a game show and may or may not realize they’re killing actual people. There’s lots of talk about how the showrunners are portraying everyone on the planet as terrorists. They fight back.
Why does this game show exist? Why are they killing people? No reason, really. Dungeon Crawler Carl earns a certain amount of “don’t think about it too hard.” This book very much does not. Nothing feels like it has been thought through.
It is not a LitRPG, by the way, even though the attackers are technically playing a game. There are no statistics or leveling up or unlocking abilities or anything of that sort; it’s more of a military sci-fi than anything else.
I have read worse books, to be sure— hell, I have read worse books in 2026— but I have no real reason to recommend that anyone else pick this up. Read Dungeon Crawler Carl, definitely. Ignore this one.
I promised that once the second Bobiverse book, For We Are Many, showed up I’d get it read quickly so I could follow up on whether there were any women in this one. Good news and bad news: the first time a woman speaks is a hundred pages in. She has one line, it is about her son, and she disappears for a while afterwards. But one of the more important secondary characters is female! In fact, she’s kind of important to one of the bigger themes of the book. Now, unfortunately, we’re nowhere near passing the Bechdel test or anything like that— to the best of my recollection there isn’t a scene with more than one woman talking at all, much less to each other— but this book represents an improvement, if not a huge one, over the first.
It is still good in all of the ways that the first one was good, and frankly it’s genuinely getting more interesting, so I’m kind of hoping that as time moves on a lot of the male secondary characters all have daughters and we can interact with them some more. All of the Bobs, of course, are immortal so long as they aren’t killed, so I would expect the secondary cast to change a lot.
Book Three comes out in the fancy new edition in March; I might cave and read it digitally before that. We’ll see.
I was not previously aware that printing the word “BOB” repeatedly on the edges of a book would cause me to impulse-buy it, but indeed, that’s what happened. Turns out the word “Bobiverse” is also a trigger; this is Book One of at least five, four of which have already been published as indie books. This is the tradpubbed edition; Book 2 will be out next week, and the next three are going to follow roughly bimonthly after that. My understanding is that #5 has only just been written, so that will be the first publication, but you can grab the first four right now if you want the indie versions.
This book was going to get some credit for originality, if nothing else; the idea is that Bob Johansson, the main (and virtually only) character, sells his tech company for Big Money at the beginning of the book, and more or less on a lark signs up for a cryogenics program. Once he dies his head gets lopped off and frozen, to await his eventual revival when technology catches up to fixing whatever killed him.
And then he dies, pretty much right away, rather ignominiously getting hit by a car. And he wakes up a hundred years later as an AI, a piece of property, and slated to be the controlling intelligence of a series of Von Neumann probes designed to find extraterrestrial planets suitable for humanity to move to. A Von Neumann probe, if you’re not aware, is a type of probe designed to be self-replicating; the idea is that it finds an asteroid or some other source of raw materials and creates another probe, which then flies off in a different direction, to create more probes, which then create more probes, which then create more probes, and on and on until something underpants-gnomey happens.
Bob is … less than thrilled by this development, and even less thrilled by the theocracy that America has turned into in the intervening hundred years (a bit on the nose there, Mr. Taylor) but he is an engineer and a software guy, so he’s able to hack his own programming so that once he escapes Earth’s direct control, he can more or less do whatever he wants. The interesting bit, of course, is that with every probe he creates, he has to effectively clone himself. He implements a rule where every successive Bob has to rename itself so that we don’t have a million characters with the same name running around, so one Bob is called Homer and another is Riker and so on (Bob is a big nerd) but they are all effectively him, if occasionally slightly tweaked from his base personality, so to speak.
The narrative fractures along with the Bobs, and by the end of the story we’re following, oh, three or four parallel stories, with a nice timeline in the front to help you keep everything straight: some of the Bobs have returned to Earth, now a post-apocalyptic nuclear wasteland, to help the remnants of humanity off of the planet; some of them, including Bob Prime, have found a planet with sentient life on it and are helping to nudge the inhabitants along against a competing species that finds them tasty, and others are hunting down the probes sent into space by Brazil, who immediately declare war upon the Bobs the first time they come across one another. There are a few other storylines that don’t get a ton of attention, but those are the big ones.
It’s a lot of fun, and I’ve got the rest of the series preordered, so I’ll get Bobiverse 2 next week and the rest of them as they come out. There’s only one real problem, and for right now, I’m cutting the series some slack, and we’ll see how he handles said issue in the future: at the beginning of the book, flesh-Bob is celebrating his windfall with a few friends, all of whom he’s cut in on the deal and who are also quite rich now, if not quite as flush as Bob is. They don’t have cryogenics money, is what I’m saying. One of those friends is female.
After Bob gets hit by the car, another woman does not have a single line for over two hundred pages.
All of the Bobs are male, of course, but even a large majority of the secondary characters are male. There are a few world leaders back on Earth, the intelligence controlling the Brazilian probes, a couple of doctors who Bob deals with before leaving the planet, and a couple of named members of the species Bob discovers. All but maybe two or three of those are male, and most of the females don’t really get a whole lot of time on the page, sometimes just a line or two before they disappear. A female descendant of Bob’s sister shows up and gets less than a paragraph before she’s whisked offstage, for example. Now, again, Dennis Taylor has gone to some lengths to make it clear that the Bobs aren’t exact replicas of one another, but they’re all versions of his personality, one way or another; I find myself wondering if Bob is going to find a way to create female clones of himself in the next book. Inside the story logic, I’m not completely convinced it matters, as Bob doesn’t actually have a flesh body any longer; he’s a space ship. But he’s certainly culturally male even if he doesn’t have a gendered body any longer, and, I dunno, maybe the smart bat-pig alien could have been a girl?
Again, I enjoyed the book, and Bob’s hardly a hypermasculine alpha male, so it’s not as if the book is dripping with testosterone or anything. The Wheel of Time has a ton of female characters and is somehow a much more gender-essentialist, masculinist series, for example, and Ken Liu’s Dandelion Dynasty also started off very man-heavy and corrected it completely in the second book. But I’ve got an eyebrow up, and I hope this gets addressed in future books. So consider this a three-quarters thumbs up, if that makes any sense, and I’ll try and get For We Are Many read quickly when it shows up so that I can report back.
Wow, that’s bigger than I thought it was going to be.
Oh well. Scrolling’s free.
I finished the seventh and most recent book in the Dungeon Crawler Carl series last night, staying up too late to do it. The eighth book comes out in June; I pre-ordered it the literal first day it became available to do so. Dinniman has an unrelated book, Operation Bounce House, coming out in February, and I’ve preordered that as well. The series is currently expected to be ten books, and apparently might be eleven.
I don’t think I’ve reviewed any of the books as I’ve read them, and I don’t really intend for this to be a review yet either, as a multi-book review really ought to be for the whole series and even as fast as Dinniman seems to write, we’re at least two or three years away from that. I will say this, though: I started this series mostly out of FOMO, something that y’all know good and well catches me on books all the time. I don’t like not reading good books, even if their premise– aliens invade Earth and a guy and his cat get thrown into an intergalactic competition that somehow mimics the genre tropes of role-playing video games– is completely ridiculous. “LitRPG” is its own entire genre; having read and enjoyed eight books in it, other than reading more of Dinniman’s work in the future I have no plans at all to dip my toe into any other examples of it.
I’ve been reading about a book a month in this series since picking up Dungeon Crawler Carl in May. The first one was at least a little bit against my will; I wasn’t expecting to like what I was reading all that much, but again, FOMO.
I plan to restart the series in December so that I can have read it twice by the time A Parade of Horribles comes out. My wife picked up the first book on a whim a couple of months ago and is currently reading book five, and she’s read them back to back to back to back to back. Which means the same as “back to back” but sounds like more of a feat. This is not a thing she does, guys.
These books have no fucking right to be this good. They’re too ridiculous and too raunchy to be as good as they are. And yet somehow this series is the best new thing I’ve encountered in a long time, and having read four thousand pages of this series this year I am about to start over and do it again.
Plus Bounce House and the first book of another series of his called Kaiju Battlefield Surgeon, because right now Dinniman is tied with BrandoSando for the author I’ve read the most books from in 2025, and I can’t let Sanderson win that contest.
Just do it. Trust me. Put aside your reservations and pick up the first book. The whole series is on Kindle Unlimited if you happen to have Amazon Prime, so you don’t even have to pay for it. Get them from the library. I know, I know, this feels like it has to be dumb as hell. Go give them a shot anyway.
The first book of this trilogy sat on my Unread Shelf for way too long, mostly because I knew it was book one of a trilogy and if I read it and liked it I was locking myself into the next two books. And, well, yeah, in accordance with prophecy, I ordered The Fractured Dark and The Bound Worlds within the first couple hundred pages of The Blighted Stars, and … well, yeah. This is real good stuff.
The Blighted Stars starts off as a combination of a corporate espionage book (it’s one of those worlds where five big ultra corps control basically everything, and the leaders of those corporations are basically royalty) and an eco-disaster book. The Mercator corporation holds a monopoly on mining a material called relkatite, which is more or less completely essential to human civilization; it powers starship drives, for one thing, and it’s essential in printing human bodies as well.
… yeah, roll with that for a minute, I’ll come back around, I promise.
The two main characters are Tarquin Mercator, the scion of the family, who would prefer to not actually have anything to do with the family business and just study geology for a living, and Executor Naira Sharp, a monstrous badass who acts as a personal bodyguard, more or less, to Tarquin’s father. She’s also a revolutionary who wants to tear down the entire system from the inside. The Mercators are battling a major problem on their mining planets; a fungus that they’re calling the Shroud has begun appearing anywhere relkatite is mined, and it’s been overwhelming entire planets, rendering them more or less biologically sterile and preventing further mining from taking place. There are not many planets where humanity is actually able to live and thrive (the Earth has been rendered inhabitable a long time ago by the start of the series) and so the Shroud’s spread poses a genuine threat to the further existence of humanity.
That’s where it starts. It gets really fucking wild after a while, trust me.
For me, though, the most interesting thing about the series is the whole “human printing” thing. Basically nobody is in the body they are born in; if I understand the process correctly, once a kid comes of age they can be reprinted into new bodies that are more to their tastes, and people back up their own minds with some regularity, so that if they die the body they get reprinted into will have memories that are as close to “up to date” as possible. This isn’t necessarily unlimited; for one, it’s quite expensive, and especially traumatic deaths (or too many of them) can lead to a psyche being “cracked,” which basically drives the person irretrievably insane. The same will happen if someone is accidentally (or deliberately, as it turns out) double-printed, so that their mind is in more than one body at the same time. The fact that a cracked mind cannot simply be restored from a backup sounded like a weird sort of cop-out at first and ended up being really important later on.
The thing I like the most about this plot device is that O’Keefe really appears to have carefully though through its implications on society, to the point where I spent the whole first book trying to poke holes in this idea and make it retroactively dumb and every time I came up with something she’d anticipated it and dealt with it. Society is completely queernormative, for one thing; when you can simply reprint yourself into another body any time you want it’s hard to be against trans or gay people, and it’s heavily hinted that Tarquin was not born into a male body. There are a couple of prominent gay married couples as side characters as well.
The second thing, and I suspect some people might really be bothered by this, is the wide acceptance of suicide. Because you’re not really killing yourself; you’re just killing that print (the word “print” is used much more often than “body,” if not, possibly, every time) and you’ll be back soon anyway. In fact, a quick and clean suicide is a much better idea than several other ways you could be killed, because remember, really traumatic or messy deaths can lead to cracking. I feel like slitting my own throat might be kind of difficult, but it happens repeatedly across these books.
This blasé attitude toward death extends to murder as well, which is probably still illegal but not as much? This is probably a bigger deal for the poor, who can’t afford what are called “phoenix fees” to reprint, but all of the book’s main characters effectively have access to infinite money and so the characters kill each other with astonishing regularity. There is at least one point in the book where a character gets killed at the end of one chapter and then is the POV character of the next chapter after being reprinted in between the chapters.
My two biggest critiques of the series are both connected to reprinting. One, shit can get really confusing when a character dying does not have any actual impact on whether that character continues to show up or not. There are also occasional jumps forward or back in the timeline– not a ton of them, but they happen– and when you aren’t the world’s most careful reader (ahem) there can be a lot of rereading happening because something confusing has happened and you’re not sure if you missed a detail or not.
Second– and literally as I’m typing this I’m realizing what the answer is, but I’m going to do it anyway– is the notion that reprints are literally being loaded back into bodies from a “map,” which is their word for a personality download or backup, and maps can be altered through various nefarious means, but no one is against this whole idea, which I would think would be a thing. It’s the Star Trek problem– is the transporter really moving you from one place to another, or just killing you at location A and reconstructing you at location B? Personally, I’ve always been of the “killed then rebuilt” school, but people in this world really just treat reprinting as an inconvenience that might cost them some memories– and that’s occasionally even used strategically from time to time.
(The book does answer this, but kind of obliquely, to the point where I really did just realize what was going on, and I think they’re just relying on the tech having been around for so long that nobody thinks in these terms any longer, much like by the time Star Trek: The Next Generation rolls around absolutely no one is fighting against using transporters.)
I really enjoyed this series, and Megan O’Keefe has been around for a while, so there’s a bunch more where this came from, although these are currently the only books in this series. Strong recommend, especially if you’re in the mood for some complex, twisty sci-fi.
It’s well past time, I think, to declare TJ Klune one of my favorite authors. I have … eight books by him? Nine? Something like that, all of his adult novels, at least, and I’ve enjoyed all of them. In some ways, The Bones Beneath My Skin is one of his best books, up there with The House in the Cerulean Sea. It’s interestingly distinct from a lot of his other work, which usually has at least a little bit of the feel of a fairy tale about it, and one could make an argument that it’s his first science fiction novel. He calls it an “action movie” in the afterword, which I’m not completely convinced about but I see where it’s coming from.
At any rate, this book tells the story of Nate Cartwright, a reporter journalist (he never explains why he hates the word reporter so much, but damn, is he willing to be uppity about it) who in one fell swoop loses his family and his job at the Washington Post, and ends up at a family cabin deep in the woods in the middle of nowhere, where he is surprised to be greeted at gunpoint by a gut-shot, wounded Marine and a ten-year-old girl named Artemis Darth Vader. Shenanigans ensue. I don’t really want to spoil stuff all that much, to be honest, but it becomes quite clear really quickly that Artemis is not at all what she seems to be, and not just because she likes bacon more than any four normal people. (I burst out laughing when I randomly took the dust jacket off the book and discovered two pieces of bacon imprinted into the front cover. Bacon is a thing in this book.)
Klune’s strengths are on full display here– found family, great characters (Artemis is entirely unforgettable, although I can picture a reader she’s a bit much for) and a wry sense of humor. Artemis may be my favorite of all of his characters, although this book has some weaknesses, and it will be interesting to see whether the passage of a few months dulls the edges from the things I didn’t like about this book or brings them to the forefront. If I remember correctly I read Cerulean Sea similarly early in the year– February, maybe?– and it was still one of the best books I’d read that year when I got to The List. We shall see if history repeats itself.
But I want to talk about some of those weaknesses, because they’re interesting, so I’m going to put a little line here and then talk spoiler talk. Wander off now if you don’t want to see anything, but feel free to come back later.
This book was originally self-published, after Klune’s editor told him that it wasn’t great as a romance novel because there was “only one” sex scene. I contest the label of “romance novel” altogether; I don’t mind romance every now and again but while this book certainly has a romance subplot it is absolutely not part of that genre, but what I found interesting was that the book’s sole sex scene feels almost entirely out of place given the rest of the book. Maybe I’m off base here, but I feel like you can have a ten-year-old girl as a main character or a scene with explicit butt sex but maybe you shouldn’t have both. To be clear, the ten-year-old girl isn’t involved in the butt sex in any way, but still.
The book also pulls directly from the Comet Hale-Bopp/Heaven’s Gate mass suicide of 1997, to the point where it’s set at the same time, has a comet with a different name making an appearance (but the comet’s name is still hyphenated!) and there’s a mass suicide that is identical to Hale-Bopp right down to the silk coverings over the dead people’s faces and them all dying barefoot in bed. The entire subplot ties in to a character who is important to Artemis, but when I realized that he was literally just rewriting Heaven’s Gate and changing a couple of minor details, it almost killed the book for me.
It’s kind of ironic for me to say this, given that I’ve defended him in the past for pulling inspiration from tragic real events, but (to briefly recap that post) the influence of the Sixties Scoop on Cerulean Sea is so reworked and altered that many readers don’t notice it until it’s pointed out. This is not that– he has lifted the entire mass suicide and stuck it in his book. My problem isn’t with taking inspiration from real-world events, here; it’s that he’s doing so sloppily. There is absolutely no way anyone could have been alive and aware of the world in 1997 and not recognize the parallels here; they’re that glaring. And it throws you into oh no he didn’t mode in what should be one of the climactic events of the book, and the whole thing could have been done so so so much better, even if the main guy in the cult needed to be in the book somehow.
But again, in six months, who knows if this will still bug me when I think about this book. If I just remember how awesome Artemis is, you can expect this to show up at the end of the year, and one way or another it’s absolutely still a hit for Klune. I just wish he’d reworked parts of it a bit more before Tor reissued it.
My Illumicrate subscription has been kinda hit or miss, if I’m being honest, and I keep almost cancelling it. I think their version of this book is the best-looking of any of their books that I’ve yet received, but upon seeing what the cover of the paperback looks like, I may have to order that too. One way or another, though, the books are always pretty, but it’s only about 50/50 whether I’m going to like the book, and so far I think I’ve only gotten one book from them that I’d heard of prior to it showing up in my mailbox.
Hammajang appears to be Hawaiian Pidgin for cattywampus, and if you’re not white enough to know that word then we’ll go with “messy” or “chaotic.” The book is sort of an outer space Hawaiian diaspora Ocean’s 11 mixed with cyberpunk and lesbians(*) and a dash of The Fast and the Furious. That sentence has either sold you the book or caused you to keep scrolling, and I would encourage you to follow that impulse either way. It’s directly up my alley, though, and it gave me everything I might want from such a book– a great, character-centered heist story with a whole bunch of personal betrayal and criss-crossing loyalties and an ending that genuinely took me by surprise. Let me just say that I’ve read a whole lot of heist books and there is a certain way that they never, ever end, and if you’ve also read enough heist books that that counts as a spoiler, trust me, you’ll enjoy the hell out of this book. It’s on the short side; 340 pages in the Illumicrate edition with big print, and I think it took me maybe 3-4 hours in two sittings to get through, but I’m absolutely in for more of this world and more of these characters. (I haven’t mentioned Edie, the MC, by name yet; there is no reason this book has to have a sequel and it’s written as a one-shot, but I want more Edie, and I want it soon.).
(*) I have also seen this book compared by official publicity people to Gideon the Ninth, and the presence of lesbians is the only similarity to Gideon. Do not go into this book thinking you’re getting Gideon beyond the very, very loose plot descriptor of “lesbians in space.”(**)
(**) Actually, okay, this is another similarity, as there isn’t a lot of space in either book. Hammajang doesn’t take place on Earth, and to be quite honest I can’t quite describe how Kepler works. I think it’s a space station somewhere Out There but the book doesn’t dwell on it much other than one part involving a less-than-optimal oxygen supply. This is, effectively, urban sci-fi, which is not a bad thing.)
It’s possible that my review of this book is going to be slightly unfair.Rumor Has It is the third volume of Cat Rambo’s excellent Disco Space Opera series, which started with You Sexy Thing and continued with Devil’s Gun. It’s also the third volume that their publisher has been nice enough to send me an ARC of. Cat actually lives in South Bend, and they did a reading at my local Barnes and Noble last weekend, and unfortunately I didn’t find out about it until about an hour beforehand. I reviewed both of the first two books, and I’m a big fan of the series.
… which I thought was a trilogy, and I read the first 2/3 of Rumor Has It under that assumption, and only when I realized that there were not remotely enough pages left to wrap up the storyline did I Google around a bit and discover that nobody was calling it a trilogy. I currently have no idea how many books are planned in the series, as I can’t find that information anywhere; it’s possible that it’s meant to be open-ended. Ordinarily the idea that there was going to be more of something I liked is good news, but reading it with an ending in mind kinda screwed up my perception of the story. Also, while “the secret ingredient is intrigue” is a perfectly cromulent tagline for a book about a group of mercenaries turned interstellar restauranteurs, the secret ingredient is not intrigue. The secret ingredient is phone:
Every time and I mean every time I picked up the book, I heard Krieger’s voice in my head.
So here’s the thing: this book still has all of the strengths I talked about in my reviews of You Sexy Thing and Devil’s Gun. Rambo’s writing is punchy and funny, the characters are absolutely unforgettable, and the basic premise, elevator-pitched as Farscape meets The Great British Baking Show, is absolutely packed with flavor potential.
Unfortunately, it also has the weakness of the second book, which I referred to as “one of the most second-booky second books I’ve ever read.” The good bits are still good, but the overall story really isn’t advanced at all in Rumor Has It, and the book suffers from both being (remaining?) incomprehensible if you haven’t read the first two and it’s also quite wheel-spinny in a way that Devil’s Gun wasn’t. The characters spend the entire book at a single space station trying to drum up some money, and while that space station is cool, if you could have replaced the whole book with the ultra-rich owner of the intelligent bioship they’re riding around in simply cutting them a check, you have a bit of a problem. Some character arcs get advanced a bit, but what felt like the most important character storyline of the book ends up literally being nothing worth worrying about at the end. The big villain has now spent two entire books entirely offstage. I genuinely don’t even remember why they’re mad at him at this point.
(Okay, he sort of shows up. But not really, and going into further detail would be a spoiler, so I won’t do that.)
Anyway, what this leads to is that for the second book in a row I’m writing the phrase “It’s not a bad book, but …” about something I wanted to like more. Again, the strengths of the series are still here, and even if I don’t get sent an ARC I’m spending money on the fourth book. I’m invested, there’s no doubt about that, and it’s possible that had I realized that the series wasn’t coming to an end with this novel I’d have more positive feelings about it. But right now the entire book kind of feels like a subplot that went on for too long, and I’m really hoping the fourth book slaps the status quo around a little bit more. You Sexy Thing still retains my full-throated support, and you should pick this up if you’re into the series already, but know what you’re getting into before you start reading.
