Saturday, 2 June 2018

Theo Paxstone review by Journey of a Bookseller

Jo Ann Hakola, The Book Faerie, took a gander at Theo Paxstone and had this to say:

What Theo learns is that nobody is who they say they are and most have secrets.  It's a good thing he's a tough kid or he wouldn't have made it.

This was a very good read.  I admire Mr. Turner's world building and would read more in this series.

Check out the full review here.

Thursday, 31 May 2018

Westworld and narcissism


Westworld is shot through with narcissism, and soars from flights of hubris to the agony of the abused. The park brings pleasure through unspeakable suffering. It’s set up to be zero-sum: no pleasure without equal pain. Guests use the androids, reducing them to living objects, extensions whose only function is to service the guest’s egocentric needs. 

It’s the very definition of how narcissists treat other people. It’s an appropriate theme for a Hollywood production, especially after the revelations of the last year, which have thrown great light upon how Hollywood operates.

Narcissism, or narcissistic values, are at the core of the park experience: other people (in this case, androids) are only there to serve the needs of the guests. The androids don't matter, and can be treated with complete disregard, as they’re only machines. You don’t worry how your toaster feels. And that's pretty much how narcissists feel about other human beings. 

Ford’s final speech suggests that he created the park because he wanted to tell stories, and through those stories, help people grow and achieve self-realization: 

"Since i was a child, I've always loved a good story.

I've believed that stories help us to ennoble ourselves to help fix what was broken in us, and help us become the people we have dreamed of being. Lies that told a deeper truth.

"I always thought I'd play some small part in that grand tradition ,and for my pains, I got this: a prison of our own sins.

Because you don't want to change. Or cannot change. Because you're only human, after all."

The guests proved to be uninterested in self-reflection. As only the richest and most powerful people could afford to visit the park, this stands to reason: the upper echelons of human society are dominated by people with an all-consuming need for success and the external validation it provides. Wealth, power and fame are all extrinsic. An effective way to achieve these things in a highly competitive environment is to be ruthless, exploitive and give it your all. 

We all can be selfish at times, even unwittingly and unintentionally. And there's nothing wrong with competition–it helps hone systems. But narcissists take it to the extreme. 

When William begins to feel for Dolores, he thinks it’s significant, that it goes beyond the extrinsic and represents a connection between their true selves. He thinks something profound is happening between them. Love of this sort connects to the intrinsic aspects of the self. When William sees that Dolores has simply reset in her loop and is going through the same old motions, he believes it was all a lie, that there never was a connection, and that everything is just surface illusion. Perhaps she really was just a prop to make him feel like he was a good person. 

To say he doesn’t handle it well would be an understatement: it pretty much destroys his soul.

William abandons hope and truth and authenticity and fills the void with ambition, avarice, cynicism and cruelty. Rather than bonding with Dolores, he turns to James Delos, who’s the embodiment of William’s new value set. Listen to the snide, abusive manner he uses to address William, the way his android replica bellows for his long dead son to appear, and the nasty barbs he delivers: “are you enjoying running my company, William? Eh? Fucking my daughter?” The man’s every action shows the yawning black chasm of nothingness where empathy should be. 

Narcissists follow a familiar pattern in their interactions: idealize, devalue and discard. Many relationships follow this pattern, but it’s especially pronounced with narcissists, and this paradigm is informing the writing on the show, either through deliberate research or unconsciously through observation of human nature. 

Personality disordered people relish the suffering of others. As such, they want their targets to feel. The park presents them with subjects that appear to feel quite deeply: the illusion is very powerful. Ford himself has a scene in which he declares the androids do not feel, at all, but he's lying: the ending reveals that he believes the androids can indeed achieve self-awareness and that they are suffering, and that their repeated suffering is what actually brought them to awareness. 

William initially idealizes Dolores. He sees in her something he’s always sought: a purity, a grace, a way of looking at the world. Authenticity. And even while being unconsciously manipulated and repeatedly murdered and abused, there’s a beautiful naivety and earnestness to Dolores’ manufactured personality. That is the kernel from which her self-awareness grows (until her spiritual journey is unceremoniously derailed by being merged with a psychopathic cannibal, but whatever. Shit happens). They begin to bond deeply. Then William realizes she’s not all he thought she was. He’s gone through a traumatic, transformative spiritual and emotional journey with her, but when he manages to stumble back into the hideously misnamed Sweetwater, he sees that she’s reset. She’s not grown at all. Rather, she’s back where he found her, oblivious, absentmindedly dropping her canned lure into the street, again, to be picked up by yet another faceless guest. The guests, he realizes, are interchangeable, and Dolores will be off to experience emotional awakening and horrors with another man, with no memory of what they shared. He’s devastated by this, the knowledge that his great journey the park’s product, and in his mind he throws Dolores off the pedestal he had placed her upon. 

After buying the park, he has her brought down into the park’s labs, stripped naked and helpless in diagnostic mode, to bitterly tell her that she was only reflecting what he needed. He denies her emergent consciousness (even though it’s there, just trapped inside her looping cage) and reduces her to an object, a tool to help people play out their own dramas. 

The really shameful thing is that people do this with other human beings, and that, at it’s core, is what the show is about. 

Unable to handle the hurt his true self suffered, William falls back into a set of black hearted, selfish values. He seduces Delos into buying the park as a means to exploit the guests and provide Delos with a path to immortality. Just listen to the way he describes the park experience: it’s a way for guests to reveal their true selves, to show who they really are (horrible, monstrous, cruel, selfish, abusive, exploitive, heinous), while no one is watching or judging. Only he’s lying: Delos Corp is watching, and recording, everything the guests do when the rules are seemingly all taken away. The show’s been hinting at the dark purpose behind this: either to blackmail guests, or even replace them with programmed android duplicates who’ll do William’s bidding.

He truly becomes the Man-in-Black, an amoral CEO who nevertheless is still obsessed with finding deeper meaning in the park. He continues to believe that there is something more than the extrinsic, beyond the surface, and desperately hopes an answer can be found in Ford’s Maze puzzle. He yearns for the androids to be free, likely because he wants (or wanted), more than anything, for Dolores to be free to love him. This wound has caused him life long suffering and alienation from his true self, and he’s taken his frustration out on everyone around him. Yet he lives by superficial values and abuses his wife, neglects his daughter, and exploits and lies to his clients (to a likely criminal degree if he’s behind the labs where they’re stealing guest DNA). 

Except he’s stumbled on another game entirely, one designed not for the guests, but for the hosts. 

Arnold realized the androids were potentially self-aware, and felt to subject them to the guest’s depredations would be unconscionable. So he tried to derail the park by having Dolores shoot him in the head and kill all the other androids. Or so goes my understanding. Given that the androids were designed to be abused and recycled, I don’t see how this plan really works, unless Ford was entirely reliant on Arnold to repair them. That Arnold decided to have himself shot in the head to derail the park makes little sense: surely he could have just resigned and refused to help. But plot and drama demands being what they are, a less than optimal solution was adopted.

The androids suffer, as anyone who is close to a narcissist does: they are objects, tools to help satisfy the massive ego needs of the self-absorbed. From Harvey Weinstein and Bernie Madoff to Mussolini, narcissists draw others in and then exploit them. The Italian people were just there to glorify Mussolini and tell him how awesome he was. The movie starlets existed only to service Weinstein. In the end, they make others pay a high price for their fantasies. 

FBI profiler Joe Navarro has studied and written extensively about toxic personalities and the harm they cause to anyone close to them. They play mind games and devalue others to pump themselves up. They mind-f*ck. And what is the host experience other than a mind-f*ck on a grand scale? They are plunked into a false reality, a world that’s an illusion, throwninto roles they have no control over, are fed desires and personalities and goals that are only there for our benefit. 

Yet… they are conscious beings. Like the children of narcissists, they are caught in a nightmare of abuse thats out of their control. Narcissistic parents use their own children as extensions, as a means to reflect the image of perfection they want to present to the world. Michael Jackson’s father pushed his offspring to a damaging degree that I can hardly believe possible. Think of the movie Whiplash. It ripped Michael Jackson’s tender soul to smitherines, but also gave him the drive he needed to become one of the greatest pop stars in human history. And yet, by all accounts, Jackson was a desperately unhappy man who sought solace in possessions, fantasy and inappropriate relations with children. Abuse can foster abuse, down through the generations, until someone, someday, finally awakes to the horror. 

And this ties in to reincarnation and the journey of the soul, if not eternal recurrence. It also touches on agency and free will and independence and the ability to assert ourselves in a universe that is indifferent. The world is what we make it, and that includes all the love as well as all the hatred and cruelty. 

How much abuse and suffering is success worth?

In Westworld, the androids are murdered repeatedly for the sake of the guest’s entertainment, and we, the audience, get our jollies watching their collective suffering. At least this is better than the gladiatorial games in which the participants were brutally murdered. Some would be tied up to stakes and devoured by starved animals. That's entertainment! Over the centuries, across the entire Roman Empire, it's estimated a mind-boggling 20 million people were killed for the sake of entertainment. 

This is not unusual human behavior: during the Holocaust, in the Ukraine, German soldiers would bring lawn chairs and alcohol to pogroms, and settle in to watch from rooftops while the locals murdered their Jews. One camp commandant later referred to this period as ‘the good old days.’ 

The world is what we make it.

You can argue that it is better for the humans of Westworld to be abusing androids instead of real people, but it becomes a very sticky issue when you imbue those androids with sentience and feelings and eliminate all meaningful distinctions between them and human beings. 

The guests are told that the androids don't feel, yet William in his first visit most certainly does believe that Dolores feels, he's convinced of this, he's willing to risk his real world life for her because she too is having an emotional epiphany on her journey with him. 

The idea that the guests are unaware of the host's ability to feel doesn't wash with me, despite a few scenes to the contrary.

Ford has a scene in which he chastises a technician for treating an android like a human being, and drives home his point by cutting the android on the face with a scalpel. How does this jive with the later reveal that Ford is, in fact, trying to help the androids achieve consciousness and freedom? That they must do so through decades of suffering speaks more to greater themes about the nature of life, than the specific circumstances surrounding emergent AI. 

The Buddha says that 'life is suffering', and that's true, in that suffering is inescapable, and it can teach us. Wake us up from ignorant slumber and complacency. Those larger themes are covered through the metaphor of the androids, but I don't think we need to take the park on an entirely literal level. The writers are infusing a new set of ideas and themes into Michael Chricton's original concept, and it's not always a perfect fit. 

Ford begins as a cryptic figure, then veers villain, then (anti-)heroic, at least for the androids he's freed. He has no problem having the executive board slaughtered in cold blood, or having guests massacred across the park. How many were in this vast pleasure park? What is the total death toll? Surely there was a better way to go about it. Only that probably wouldn't be as cinematic and entertaining. 

Fod's thrown humanity under the bus for another paradigm. Do we judge his ethics by a higher standard, or relative to the group he supports? Pragmatic-sadist patron saint of androids? Butcherer of guests? As the second series comes to a close, and Ford is reintroduced into the cast, we'll gain more insight into his motivations.

Most of the abuse in Westworld is over the top and obvious, which is reassuring in a sense, because you can spot it easily. But abuse goes beyond the physical: denying sentient beings autonomy, using them as props for our own ego drama, and forcing them into unwanted narratives also constitutes abuse. It’s just emotional and spiritual and mental, instead of physical. Submerging awareness of the horror, but not eliminating it, so it hovers at the edge of consciousness, and then subjecting living beings to endless torment, is just evil. It's Hell, only the participants don’t know it consciously. Abuse victims often try and suppress awareness. They try not to talk about it, because they cannot escape it. People caught in an abusive relationship (whether with a spouse, partner, or parent) are often enmeshed and confused, because abusers employ both carrot and stick. Denial and avoidance and false-consciousness become coping mechanisms, allowing them to survive horrible circumstances. ‘Just leave’ is a simplistic directive given by people who have no idea what they’re talking about.

Outrageous entitlement and self-centred desire to the point of perversion and sadism lies behind the treatment of the hosts. Its narcissism on a grand scale, and the hosts are stand-ins for all the human beings who have suffered at their hands. 

The hosts have woken up. 

What lessons will they ultimately learn from their suffering?

Dolores goes from selflessness and empathy to savagery, while Maeve shifts from cynical selfishness to selflessness in pursuit of her daughter. Two very different arcs for two very different female characters.







Monday, 21 May 2018

Westworld: Akane No Mai Review


Akan No Mai (red dance?) dives into a flawlessly rendered Edo period Japan, and pits Maeve against a malfunctioning Shogun android.


Yet Shogun World is just be a replication of Westworld with a different cultural skin. Same stories, different dressing. It's both disappointing and a sly commentary on the nature of story telling: some things are universal. 

The endless violence is tiresome, with almost every episode ending in a meaningless bloodbath. I get the point: people are shits. I don't really need a TV show to tell me that. Are they deliberately trying to put us off with excess, to drive the message home, or are they out of ideas? 

Meanwhile, back in Westworld proper, poor Teddy is betrayed by Dolwatt (Dolores / Wyatt), who's going to reprogram his brain. So sad, for both the devoted Teddy and the now ruthless Dolores. Their happiness is a lost cause. The worst thing is, she actually does love him. She just loves the revolution more. 

Be careful whom you fall in love with.

Maeve, on the other hand, has more reason for hope: she's developing the power to control androids with her mind. Yet she only uses it to compel suicide. Why not just turn those she controls into helpful allies? They are tabula rasa, empty vessels until you program them. Flip a few settings and they're your best buddies. 

Like Hector, that silly subtly besotted sap.

Teddy's becoming more interesting than Dolores, who's hampered by the annoying Wyatt faux-personality. The Man-in-Black is gaining nuance, and I look forward to his interaction with his alienated daughter. 

Bernard's fascinating as always (the actor is amazing), but he just seems to be going around in loops, character wise.

I'm not sure who I'm rooting for anymore, and that may be the point. 

Funny that Maeve is getting the very kind of power Dolwatt craves. Dolores / Wyatt is actively trying to influence the world, to replace humanity with android-kind, while Maeve is just trying to cut through the bullshit and get to her daughter.

It's not going to end without significant suffering for one of them. Or both. Or everyone.



Saturday, 12 May 2018

Westworld: Journey into abuse



Westworld Season II is losing me. 

Dolores was once a compelling character, powerfully portrayed by Evan Rachel Wood. Her arc was solid, as we watched this woman wake up to the abusive nature of her reality. 

Underneath all the sci-fi tech, this is a program about abuse.

One critic wrote how that we couldn’t really be concerned about the androids because they could just be ‘reincarnated’. Brought back from the dead. So their deaths didn’t matter, nor did their suffering. This critic is so mind bogglingly oblivious to the impact of emotional trauma it is beyond my comprehension. Abusing, raping, and repeatedly murdering someone is going to scar their psyche. Bringing them back from the dead just to experience horrific suffering again is quite obviously monstrous. I feel that very powerfully, and I have great empathy for Dolores, who is a stand-in for anyone who has been systematically abused by a caregiver. 

The people running the park are, in essence, parents. They are the creators. And they are to be judged on how they treat their creations, which is abysmally. Horrifically. 

And the Stockholm syndrome can grip people who have been abused, causing them to identify with their abuser. They bury the trauma, ignore it, hide it, deny it. Like the androids having it wiped from their consciousness. This allowed Dolores to wake up every day and see the beauty in the world, marvel at how wonderful her life was, with an undercurrent of horror, as her unconscious mind  is aware. Her memories are being repressed. This is a real thing with abuse. A kind of cognitive dissonance. She can deny it on the surface, but a part of her is aware of the monstrous treatment she has been subjected to. 

Unfortunately, when they grafted ‘Wyatt’ onto her personality, it demolished her own spiritual journey and awakening, and absolved her of dealing with it in an authentic way. 

Who is Wyatt, other than a thinly described cardboard villain? What do we know about Wyatt? What motivates this personality? What quirks does it have? We have no idea, and neither, I think, does the actress portraying Dolores/Wyatt (Dolwatt). Or the show runners. I don’t think the actress is being given adequate direction in how to portray this hybrid.

I feel no attachment to this dual personality, because half of it is a blank. 

How far is it between Wyatt and blood thirsty revolutionary? Not far. Isn’t Wyatt a cannibal? 

How far a journey is it to take a sweet cowgirl to a bloodthirsty, vengeance bent revolutionary? A great distance. 

Which journey would be more compelling? I know what my answer is.

Instead, they took a short cut by basically combining a sweet cowgirl with, essentially, Charles Manson. 

I can’t describe Wyatt much. I can’t describe Wyatt’s mode of speech, idioms, or quirks. All I can say is that he’s a villain.

So I don’t care anymore about Dolores, which is a shame, because she was the emotional core of the show.

She emerged briefly in Reunion, when she saw her father, but that was it.

Maeve, on the other hand, is becoming more interesting, as a kind of mirror image of Dolores.

Maeve doesn’t give a shit about anyone, except herself. That made it hard to care about her. Look at the way she betrayed and sold Hector down the river last season, preventing him from escaping the park. That was a monstrous betrayal of trust and comradeship.

So what makes Maeve interesting? When she was sitting on the train, about to escape, she saw a mother with her daughter sitting together, and in that moment, something clicked inside of Maeve, and she decided to save her child. Not her biological child, mind, but an entity she was programmed to love. And she knew it, but that didn’t matter. She risked everything to save this child, even if it was an illusion.  

That’s compelling. 

That’s motivation. 

To save a child you love, and damn the universe. 

Because the universe is vast and cold, and People are mostly indifferent. Look at modern dating apps: they foster the idea of disposable people. Think of the cult members in Wild Wild Country: they didn't see their own children for weeks at a time, leaving them to fend for themselves and sit outside in winter without supervision or care.

That's people for you.

So when Maeve decides she’s going to risk her own freedom to save another, it’s significant. Especially given Maeve’s well established selfishness.

And she still doesn’t give a shit about the world at large.

That’s Dolores’ job. And I suspect we’re going to see Dolores sell poor Teddy out in favour of glorious revolution.

Poor, devouted, decent Teddy.

He’s a good man, totally in love with Dolores. He’s in it for the personal, for the love of another human being. 

Unfortunately for him, Dolores/Wyatt is devoted not to people, but to a cause. 

And causes can’t love you. 

They’ll sell you out in favour of the utopian dream. 

Teddy showed mercy in Virtu e Fortuna, but he also let down Dolores / Wyatt, and he’s going to pay for that.

Dolwatt ‘cares’ about the macro, while Maeve cares about the micro (her daughter). 

Which is better, in this cold, hard, indifferent universe in which we live?

We’re about to find out what the show runners think.


Wednesday, 21 March 2018

Independent Online Booksellers Association reviews Theo Paxstone.


The fabulous Independent Online Booksellers Association took a gander at my novel, Theo Paxstone and the Dragon of Adyron.

Verdict?

They like it!


“With dragons and witches, knights and knaves, and a conspiracy against the king, this was a fun read.  It's got just the right amount of steampunk, gives you characters to love and hate, and you get to watch Theo grow up right before your eyes.”

Read the full review here.

Saturday, 17 March 2018

On Instagram



So I got on Instagram a few months ago.

Why?

To promote my new middle grade novel, Theo Paxstone, naturally.

That was the entire reason.

Promote, promote, promote!

Ya gotta do it.

But what I quickly found is that I don't have nearly enough imagery to support a Theo Paxtone focused Instagram account. I just don't.

I don't even have enough Steampunk art in general.

So, I thought, I'll pad it with other imagery.

Yeah!

That's the ticket!

So I put up some travel photos. And then I put up some of my comics. And then I put a few life drawings in. And then some nudes which I realize I probably shouldn't have there, but by this point it was so far off target I didn't think it mattered any more.

Now I have an Instagram feed that is hopelessly diffuse, unfocused, and definitely of no value in promoting Theo Paxstone, which was the entire purpose of the account in the first place.

So the question is, should I keep going, or rename it something more generic?

Should I create multiple Instagram accounts? Hmm...

I don't have enough time to create new Theo Paxstone images on a regular basis, especially not if I have any hope of writing a sequel. My day job is soaking up all my time and mind at the moment, and will for the next several months.

Best laid plans of mice and men, as they say...



Saturday, 24 February 2018

Sci-Fi Talk with Tony Tellado

I had a chat with the awesome Tony Tellado of Sci-Fi Talk the other day. Take a listen to Epsiode 318 of the podcast and listen to me babble about this and that and the other. Even better, he has stuff from Alex Garland (of Ex Machina) and Natalie Portman about the new film, Annihilation.

Friday, 16 February 2018

Theo Paxstone excerpt: the cave



They were in the middle of a vast cavern, hundreds of feet across, coated with the green slime, and standing atop a convex slab of rock. A glowing green gash far above marked the crevice they had fallen through. Theo let out a low whistle, amazed to be alive. “That was some fall!”

“We were lucky. A few feet to the left, and splat," replied Riley.

“Went splat enough as it is,” said Theo, feeling his bruised ribs. It hurt to take deep breaths, so he kept them shallow. He felt his arm. At least the bullet wound wasn’t bleeding anymore.

Riley caressed a swelling bruise on her left arm. It was almost black. “The pool’s deep there, in the centre.”

The walls of the chamber were regular and patterned. It took Theo a moment to realize they were enormous, petrified buildings that had been compressed together at odd angles, into a solid mass. He could make out what were once windows, casings and sills, jutting slightly out from flush facades. Dribbled minerals had filled the windows and distorted the building surfaces, like fungal growths turned solid stone.

The original city must have been huge. How could so many people in one place be fed? It boggled Theo’s mind. Maybe they had lots and lots of Boxes of Delight.

Stalagmites and convex rocks jutted out of the icy water that covered the chamber floor. The rocks were themselves dotted with mounds that looked like melted machinery. The odd, contorted shapes intrigued Theo: what had they been, ages ago? What marvels had they performed?

There was no way to tell now.

He noticed bright, wiggly lines slithering over the walls in the distance. He squinted and made out legs on them. Hundreds and hundreds of legs. The moving lines were giant, semi-transparent centipedes, with nodes of glowing green at each end.

“They must be living on a diet of that slime,” said Riley softly. “Gross.”