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It's kind of an interesting series of books, because the whole framing is, like, as a historical document describing contemporary events... the same way you'd read a historical document today, and you might be slightly outraged by the things that the people from the time got up to, but at the same time you get an insight into how they thought, and how they were like as actual people. That kind of clashes with the ending, though, because the ending tries to tie things up, and I don't want it to try to do that.

It's one of those Adrian Tchaikovsky novels that has alternatively-evolved sapient animals in it, but it also has an unexpected amount of queer characters. Tchaikovsky tends to be good at the former, and this book is not an exception; he also handles the latter well enough, though if you are not okay with bigotry exhibited by some of the more contemptible characters being part of the plot, you may want to skip this one.

The novel starts out kind of slow and takes a while to ramp up while you want to scream at the characters to figure it out already. In the middle, it may seem to be a bit predictable, although it does take some interesting twists in the last third, which subverts that impression a bit.

Overall, a fun parallel universe story, if you're into that sort of thing, even if not an exceptional one.

From the plot alone, this novella would be a bit of perhaps cliche science fiction. What makes it both unique and compelling is that the story being told from the perspective of the "Murderbot" (hence The Murderbot Diaries), a cyborg generally treated by society as a piece of equipment.

Martha Wells's writing does a good job of showing Murderbot's personality, its particular anxieties, its relationships towards humans, and general attitudes towards life. Even if the plot is cliche, Murderbot as a character is the opposite.

Elizabeth Bear's second White Space novel is, in some ways, better than the first. Once again, the story is told through the eyes of a compelling and complex character. The setting of the novel—a post-scarcity interstellar polity called the Synarche—is once again central to the novel, but the this time the inner workings of the Synarche, the relationship of its various citizens to it, and its flaws are examined in greater detail and from a more internal perspective, which makes the setting more interesting.

The novel suffers from pacing that could be better at times. We get to hear a lot of what the protagonist's thoughts are, but sometimes this feels redundant, with her explaining her already previously stated feelings on the situation multiple times, which does help to establish the stakes and motivations, but past a certain point feels a bit redundant.

Once again, this is an entertaining novel akin to the Culture series or Star Trek, in its depiction of a utopian-but-perhaps-flawed spacefaring future, though it is less epic space opera and more character-focused.