By Emily Devenport
It’s often said, correctly, that SF doesn’t predict the future so much as it reflects current anxieties about where we may be heading. If so, there seems to be near universal concern over growing social and economic inequality. In recent SF books and movies one of the most common elements is a vision of the world divided into rigid castes of haves and have nots.
In Medusa Uploaded that social layer cake is back, this time on board a giant “generation space ship” ferrying humanity to a new home. For the most part the population of the ship is strictly divided between Executives and Servants. Oichi Angelis is one of the Servants (also referred to as “worms”), and soon after we meet her she’s being dumped out of an airlock. After she’s rescued by an AI named Medusa with its own agenda Oichi embarks on an angel-of-vengeance tour accompanied by a classical music playlist, leaving a trail of bodies behind her as she works toward uncovering the complex conspiracy behind the ship’s real mission.