If Mitch Courtenay’s spin on selling Venus and his battles inside Fowler Schocken made you grin at the audacity of an ad-driven world, you’ll love the way Jennifer Government turns branding into law. Max Barry’s near-future has citizens taking their employer’s surnames, barcode tattoos at the checkout, and a Nike campaign that literally markets murder. It’s the same gleefully cutting send-up of consumerism you saw when Mitch pitched colonizing a planet like a soda—just with privatized police (hello, NRA security) and PR wars that make Fowler’s stunts look tame.

Remember how Mitch’s identity could be shuffled by contracts and how ad campaigns write reality in The Space Merchants? Brunner’s classic immerses you in an overpopulated, corporate-steered world where General Technics jockeys for power while the supercomputer Shalmaneser hums in the background. The churning media noise, jingle-like headlines, and boardroom maneuvers echo Mitch’s corporate knife fights—only here the dystopia sprawls across continents and boardrooms with a prophetic bite.

If the Consies’ pushback against Mitch’s Venus hype and the world’s resource crunch hooked you, Robinson’s novel meets you where the climate bill comes due. Opening with a harrowing Indian heatwave, The Ministry for the Future follows policy warfare, carbon coins, and geoengineering gambits—solutions marketed and messaged almost like Mitch’s campaigns. It captures the same tension between PR gloss and ecological reality that Kathy kept throwing in Mitch’s face.

When Mitch is stripped of status and dumped into the grind of a protein plant, you glimpse the machinery beneath the ads. Bacigalupi keeps you there. In a future Bangkok ruled by calorie companies, factory workers, smugglers, and corporate agents like Anderson Lake scramble while engineered beings like Emiko bear the cost. It’s the same ladder Mitch climbed—and fell from—laid bare, with corporate appetites and class lines as sharp as any Fowler Schocken pitch deck.

If Mitch Courtenay’s cutthroat deal-making and willingness to blur lines thrilled you, Bester’s Ben Reich will both repel and fascinate. Reich, a titan who weaponizes jingles to foil telepaths, plots the murder of rival Craye D’Courtney while Pre-Factor Lincoln Powell closes in. It’s the same high-stakes corporate game Mitch plays—identity feints, psychological warfare, and all—only pushed to a fever pitch where ambition becomes a crime and the ad jingle becomes a shield.