There are three keys in the Face Match module: y, n, u. A living face on the left of the screen, a dead one on the right, a few seconds to decide before the system moves you along. The training material is explicit about the mercy of this: "you would not be right all of the time," but no matter, other workers see the same pairings, other sites, other clicks, and "gradually consensuses would emerge, according to an algorithm." Mather Doten's narrator finds this comforting. Not despite the abdication of judgment but because of it — the system is "more reliable than any of us as individuals," and there is relief in handing your verdict about a dead stranger's face to something larger than your own uncertain eyes.

This is the part of the book that doesn't get quoted in the pieces about the zeppelin. It should. The novel stages a full-scale apocalypse — a cyberattack that ends in nuclear exchange, a president livestreaming from an airship fleet while the Pentagon burns behind him — but the actual mechanism of horror it identifies is a rubric. Mass death, once it happens, needs administering, and the administering falls not to a bureaucrat with a stamp but to a gig worker with a keyboard, rotated between modules "according to — it was said — competency and fatigue." I've made versions of this argument about other books: atrocity managed by paperwork rather than intention, violence laundered through process until no single hand is dirty enough to blame. What Doten adds, and what I hadn't fully weighed until rereading this, is the scale of who's holding the keyboard. This isn't Eichmann's desk. It's Mechanical Turk grief-labeling, distributed across a hundred terminals in a hotel banquet hall, and the horror is that it works exactly like the disaster-response crowdsourcing and RLHF annotation pipelines that now quietly identify, sort, and rate the world's images for a wage. In 2023 this read as satire of content moderation. It no longer reads as satire.

The zeppelin gets more attention, and it deserves some, but for a different reason than the reviews usually give it: the monitors. Trump's passengers are shown their own faces on screens facing them, "so that they could check their own reactions and be mindful of how much enthusiasm they were communicating." I once wrote about Bug Jack Barron that its host format required confrontation — Barron had to fight the man on the other side of the signal, in front of everyone, or the show meant nothing. Doten's president needs no such contest. He requires only continuous, self-monitored affect, love performed for a camera that is also, conveniently, a mirror. Nobody has to be beaten in an argument. They only have to be caught, on their own screen, failing to look happy enough. That's not a confrontation format. It's an engagement dashboard with a body count.