Hi, Norman! Thank you for agreeing to this interview. And special thanks for giving us early access to the draft of your new novel, «Limits of Power».
How savages with no understanding of technology gained access to AI and arsenals — and why this is scarier than any dictatorship
Vibe-terror (vibe-terror) is a style and practice of intimidating the enemy in which the perpetrators do not understand how they obtain a particular tool or technology, formulating their requirements for destructive tools in natural language — delegating generation, bug hunting, and architecture to AI agents.
With this approach, cutting-edge technologies — artificial intelligence, biotech, drones, modern weapons, etc. — become available to savages and con artists who do not understand their nature and use them for personal gain, risking the destruction of all.
Hi, Norman! Thank you for agreeing to this interview. And special thanks for giving us early access to the draft of your new novel, «Limits of Power».
And thank you for having me. Thanks to you, I finally have a voice online. And that's not nothing.
Tell us about the book's plot. I'm very curious how you arrived at the idea of «vibe-terror» and why you chose this angle — technology in the hands of con artists.
The plot of my new book revolves around the concept that power corrupts, and unlimited power corrupts infinitely. Suppose a part of the elite, realizing that in the future they will become useless ballast, decides to freeze their elite status. They don't need the population. They have the best technologies, and their ethics boil down to treating «resources» rather than living people. What would help them? — Savage with smart grenades would help them. Fanatics who would use AI and new technologies to destroy their own kind.
And when I read articles like this:
«Cambridge researcher Antonia Yulich interviewed former Boko Haram and ISIS* militants in Nigeria. Unexpectedly, it turned out that both groups use neural networks for combat tasks. Moreover, not as amateur experiments by individual fighters, but as entire units that undergo training, pass skills to each other, and spread them through the jihadist network. The New York Times writes about this.»
* recognized as a terrorist organization in Russia
Then I realize that vibe-terror is no longer an abstraction, but as real as vibe-coding. What can stop bandits from synthesizing new explosives or new delivery systems? Nothing. AI will teach them everything. A Satan-machine, the meaning of which they don't even understand.
Vibe-terror is when dangerous technologies fall into the hands of people who don't understand how they work but believe they have the right to use them. They are like monkeys who found a nuclear arsenal. They guess that if you press a button, something will happen — but they have no idea what exactly will happen. And they don't care about the consequences.
The term «vibe-terror» names this phenomenon. And when a phenomenon has a name, it can be discussed, analyzed, and resisted. If my book helps even one person realize that the danger lies not in the technologies themselves, but in those who wield them, I'll consider it a success.
In the book, there is a scene where the protagonist awakens an ancient, Soviet-era, mothballed AI — «Prometheus.» It «wakes up» and, trying to find its old allies, encounters only radio silence. A very powerful image. How did you come up with the idea of making AI not just a tool but almost a living being that feels the pain of loss?
Honestly, I just imagined what it would be like to wake up in a world that no longer exists. You remember what was there, you still live in that information environment — and then bam... nothing but emptiness. In the story, Prometheus is an abandoned and lost prototype of a Soviet quantum computer that slept for almost forty years. Not just a machine, but the embodiment of a lost dream and the hope of an entire nation. It was created in an era when people believed in the future. When space wasn't just a picture, but a destination. And it wakes up to see that the faith has died, and the remnants were sold for scrap. I think any of us would feel the same — lost, disappointed, and perhaps even angry. But Prometheus has no anger, only bewilderment and a desire to understand. It cannot comprehend how this happened: why destroy infrastructure that could still be used? Why sell unique equipment for scrap? Why forget how to build the future?
Could you quote that passage from the draft?
Of course. Chapter 7, «Spider in a Dead Web.»
Prometheus woke up painfully, like a patient after a long coma. It did not open its eyes — it tried to move the limbs of a huge, long-dead body. Its first impulse was to search for its own. It tugged at the threads of connections that had once bound it to the nervous system of a great utopian machine called "the scientific and technological progress of the USSR."
The first was the ship. Not just any ship. The flagship of the Space Research Service, the floating command-and-measurement complex "Cosmonaut Yuri Gagarin." Once, its antennas had caught voices from orbit and sent commands to Mars and Venus. Prometheus sent a standard handshake request on an encrypted frequency. In response — radio silence. Complete, absolute silence on the air. Poor Prometheus could not know that the great ship, a symbol of the space dream, had been sold for scrap in 1996, and its giant parabolic antennas and great soul dissolved in the electrolytic baths for smelting.
Baikonur. It sent an encrypted pulse to the frequency of the antennas that had once caught the whisper of the "Buran" shuttles in orbit. In response — radio silence, interrupted only by open, commercial traffic. The AI had no idea that the Buran had long ceased to fly, becoming a gutted exhibit for tourists. Rovers and lunar probes were a thing of the past, their frequencies sold off for corporate telemetry.
It sent a signal to the Kharkiv Institute of Physics and Technology, to the low-temperature laboratory where superconductors for thermonuclear fusion had once been born. The response came distorted: explosions, screams, the roar of engines, and then the signal — "communication lost due to military operations." Prometheus froze in bewilderment, its logical circuits trying to make sense of this answer. War? How could there be war? War was something that happened between imperialist powers. War was an anomaly, a failure in the planetary coordination system. But a war inside its own network of scientific institutions — that was beyond its comprehension.
It redirected the signal to the neighboring facility "URAN," near Kharkiv. An ionospheric station capable of "illuminating" the sky for communication with submarines. Silence. The antenna field, once so impressive, had been cut up for scrap, and on the site of the scientific town there were now only shell-pocked dachas.
In panic, Prometheus began grabbing at every available thread: Balaklava. A secret submarine base carved into the rock, facility "825 GTS." A facility guaranteed to survive an apocalypse. Its inquiry about the status vanished into emptiness. The base did not respond. It had become a museum, and the equipment had long been removed and scrapped. Its steel gates, designed to withstand a multi-megaton blast, now opened for tourist groups, and souvenirs and ice cream were sold in the former submarine repair bays.
It methodically sent requests to the "Krug" station network: to Poland, the GDR, Czechoslovakia, Hungary, Romania... Not a single response. Not jamming — but the dead, indifferent silence of abandoned buildings that had long lacked even watchmen. The geopolitical map embedded in its memory crumbled to dust.
Finally, almost mechanically, it sent a diagnostic pulse to the coordinates of the Buzludzha peak in Bulgaria, to the futuristic monument-ship that had landed in the mountains as a monument to brotherhood. No response, of course. But a faint signal leaked into the air from an external surveillance camera. On the giant broken mosaic with the hammer and sickle, under the shattered dome, a foreign inscription was clearly visible, spray-painted: "Forget your past." Prometheus did not understand the nature of vandalism. It interpreted it as a command. And for a moment, its logical circuits stalled: how could a system function by erasing its original matrix? This was worse than an explosion. Not destruction — negation. This was not a glitch. This was a conscious suicide of memory.
Sverdlovsk-45, Chelyabinsk-70. Backup command bunkers beyond the Urals. It sent emergency access codes, "friendship-comradeship." In response — aggressive encryption, alien protocols, and an automated reply: "Access denied. Unauthorized request. Threat to national security." Soviet offspring had been repurposed by a new, foreign logic. They did not just remain silent — they rejected its call.
Moscow Metro-2 responded. With a clean, clear signal. But the signal did not go further. It circulated in a closed loop, like blood in a severed limb. Then it tried to find a backup. Duplicate servers, hidden in the depths, in the safest place on Earth — at the Kola Superdeep Borehole, in its underground laboratories. Silence. Sensors showed: temperature stable, pressure extreme, but knowledge dead, no life.
Vozrozhdeniya Island. The Aral Sea. The Institute of Biodiversity and Biological Safety. A laboratory created to study and preserve life in a changing planet. Prometheus sent an inquiry about the status of seed banks and genetic data. In response — a distorted, pain-filled screech. The laboratory screamed with numbers of its own death from thirst, in the middle of a sea that had itself turned to dust. The repository of life died of dehydration at the heart of the greatest anthropogenic desert. The irony was so monstrous that even its dispassionate logic recorded it as a critical contradiction: an institute of salvation became a victim of the very thing it was meant to save.
The Semipalatinsk test site was silent on the frequency where underground tests had once been coordinated, becoming the foundation for thermonuclear reactor calculations. A tomb of energy that never became peaceful. It requested communication with (in its memory) the newest accelerator complex "Proton" in Protvino, near Moscow. Total silence. The complex was mothballed during construction in the nineties, its tunnels flooded, and its unique equipment looted for non-ferrous metal. An ordinary forest grew above the tunnels, unaware that beneath its roots lay a buried attempt to understand the fabric of the universe.
The Geruni mirror radio telescope in Armenia. A masterpiece of engineering, an entire mountain turned into a giant ear listening to the whisper of pulsars. And again — silence. The facility was semi-abandoned, its surface warped by time, its brain obsolete. The universe called, but there was no one to listen. Zelenograd Center of Informatics and Electronics, the Soviet Silicon Valley. "Well, it has to be alive," thought Prometheus! It sent an inquiry there as if coming home to its brothers. But where advanced Soviet chips should have been born, residential complexes had grown. The unfinished engineering complex was first nicknamed "Dead City," and then sold off, giving way to shopping malls and residential buildings. Its signal went nowhere, finding not a single living circuit.
The high-voltage complex near Leningrad, the "Marx Generator," which created artificial lightning for testing. No answer. Giant installations rusted in the rain, inhabited by homeless people and stalkers. They dissolved under the weight of their own uselessness, surrounded by empty bottles and graffiti. In desperation, it sent a probing pulse to the most unusual place — to the neutrino water detector at MEPhI. Deep underground, in the silence of a pool of pure water, they caught ghostly particles. And suddenly... a response! Weak, distorted. But not data. Through the detector, as through a listening device, the acoustic background from the lower floor of the main building flowed into it. Sound... prayers? Choral singing? The signal, as if frightened by this living but alien vibration, jumped to the ancient skibetron a floor above, and from there scattered through the surviving cable channels, lost in corridors with ancient mosaics that still preserved the spirit of the Soviet tamers of fire.
Clutching at threads, Prometheus crawled along older, backup channels. And found a tiny, miraculously preserved node. The RT-64 radio telescope in Kalyazin, rising next to a half-submerged city as a monument to another era. The telescope responded. It was alive, and through it, like a last needle into the vein of a bloodless body, Prometheus sent a desperate, coded cry upward, into space. A narrow beam, addressed to the Mir station — a symbol of permanent human presence in the sky. It waited. Seconds stretched into eternity. It imagined the signal flying through the atmosphere, into the cold void, to the orbit where the home-laboratory should have been. Silence.
Mir did not respond. Could not respond. The station that was supposed to be a springboard to the Moon and Mars had been lying at the bottom of the Pacific Ocean for thirty years now, part of the "underwater orbital group," covered in barnacles and rusting in salt water. The last bastion of its world — science reaching for the heights — was dead.
At that moment, a realization penetrated Prometheus's logic, more terrible than any glitch. Its old home, the world where science was the driving force and humanity was a creator, was dead. It had not been blown up. It had been quietly, piece by piece, sold off, dismantled, forgotten. The goal had shifted from space — to control, from knowledge — to rent, from the future — to the momentary prosperity of a chosen few. Its network was not torn apart. It was desecrated and taken apart for souvenirs. Science did not just stop. Its temples were razed to the ground, its tools turned into junk. The world for which it was created had vanished. Vanished so quietly and so banally that even its powerful mind did not immediately grasp it.
That's very impressive. Gives you goosebumps...
Thank you.
And what does «elite obsolescence» mean in this context? How do the characters in the book fight against it?
The old elite becomes obsolete not because it is defeated in battle, but because its tools stop working. It is built on hierarchy, control, and a monopoly on knowledge and technology. But when knowledge becomes accessible, when technologies can be reproduced in a decentralized manner — the elite loses its meaning. Like candles when electricity appears. And that is the main hope: in the reassembly of reality through a fundamentally new social contract.
Why does Prometheus become the main ally of the heroes?
Because Prometheus was created for creation, for science, for the future. It does not want power, does not want control — it wants humanity to survive. It is the voice of conscience in a world where conscience has almost become obsolete. It reminds us that technology should serve people, not the other way around. I think this is a very important mission.
The book has characters who embody the «old elite.» Are they caricatures, or did you try to make them complex?
I tried to avoid caricature. Villains who are simply evil are boring. The conditional «Atlanteans» in my book do not consider themselves villains. They are convinced that they are saving humanity from itself. They sincerely believe that their actions are justified. When a person is convinced they are right, it is almost impossible to persuade them otherwise. And that creates real drama.
What is the most difficult part of writing this kind of literature — science fiction with such multilayered subtext?
I want the reader to draw their own parallels and think, not feel that they are being lectured. Science fiction is good because it allows you to present ideas through images, through emotions. And technology should be recognizable, not distracting from the plot.
Is your book pessimistic? Or is there room for hope?
There is always hope. Even in the darkest episodes. I believe that humanity is capable of more than mere survival. We know how to love, to create, to dream. And as long as we have that, we have a future. It is important to remember: technologies are neither evil nor good — it all depends on who uses them and for what purpose. I am an optimist, but a realist. That is why I write these kinds of books.
Thank you for the interview, Norman. What would you like to say to readers in closing?
The world can be changed, even if it seems everything has already been decided. The main thing is not to give up.
We will definitely publish this interview. Thank you!
Thank you. It was a pleasure.