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.

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. 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. Love of this sort connects to the intrinsic aspects of the self. When William sees that Dolores has simply reset her loop, he believes it was all a lie, that there never was a connection, and that everything is just surface illusion. 

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

William 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?” 

Personality disordered people relish the suffering of others. The park presents them endless suitable subjects that feel deeply. 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 it is from their repeated suffering that brings them to awareness. 

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). 

After buying the park, William has Dolores brought down into the park’s labs, stripped naked, and put into diagnostic mode, so he can tell her that she was only reflecting what he needed. He denies her emergent consciousness and reduces her to an object.

Which is something people do to each other all the time.

William 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 replace them with programmed android duplicates who’ll do William’s bidding.

His transformation into The Man-in-Black is complete. 

Yet William 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. In the meantime, 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). 

Arnold realized the androids were potentially self-aware, and to subject them to the guest’s depredations was unconscionable. So he tried to derail the park by having Dolores shoot him in the head and kill all the other androids. 

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. 

FBI profiler Joe Navarro has studied and written extensively about toxic personalities and the harm they cause to anyone close. 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? 

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?

The world is what we make it.

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. 

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. 

What lessons will they ultimately learn from their suffering?

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.”





Thursday, 4 January 2018

Nil: No Blood for Coffee Movie Poster


The short film now has a movie poster.

Because posters are cool!

Tuesday, 2 January 2018

Saturday, 30 December 2017

The Last Jedi Review (and SPOILERS)

Saw The Last Jedi.

I didn't mind it. On one level, it's a great deconstruction of hero tropes. Aspects are subversive for the genre. There was some spectacular (if senseless) action. The film did raise irksome questions, some more nerdy (and admittedly irrelevant) than others.

Maybe i was grumpy.

Here are thoughts that shouldn't have occurred, in no particular order: 

(SPOILERS!)

1) Canto Bight made no sense. How do you have arms dealers selling to both sides in a binary state system? That only works in a multi-state system where you are selling from a third party nation. Any state locked in existential conflict with another, which allows arms sales to their deadly enemy, is inherently incompetent.

It would be like Northrop Grumman selling missile defense systems to the Soviet Union during the Cold War. They'd be arrested immediately. Same goes for any Soviet factory that tried to sell advanced torpedoes to the USA, for example. 

Selling under the table would also be ridiculously risky, jeopardizing the entire business for a few extra sales. It makes no sense whatsoever.

Secondly, the war started with the complete destruction of the Republic (?) fleet. So who have these dealers been selling to? There is no indication that the Republic fleet has been rebuilt, and there's been no time to do so, either. The war hasn't been going on long (Finn was still in med bay from his injuries in the last movie, and that's when the war started). So the idea that arms makers have long been profiting from human misery in this war doesn't make sense either.

And if the Republic and First Order were frequently at war, why not carry the battle to a conclusion and destroy the Space Fascists? Have they not heard of 'unconditional surrender'? Why didn't General Leia and the Republic finish them off? 

Finally, how would a state like the Republic defend itself from the wanton aggression of Space Fascists if they didn't have arms manufacturers? What were they going to use? Rocks?

Wait! I know, it's love, right?

They're going to fight planet-destroying hyperspace-lasers with love.

Good luck with that.

2) Why didn't some of the First Order ships (they had a whole fleet) use short hyperspace jumps to get ahead of the fleeing Resistance? They had lots of fuel. Why pursue the rebels for... what, hours? Days? A week?... just using subspace drives. It makes no sense, when the Rebels are perfectly capable of using short hyperspace jumps to close distances quickly (see the next point). Can't the First Order figure out that they could get AHEAD of the Rebel ships using such short jumps?

3) If smashing your flagship into a much, much bigger flagship (as Admiral Holdo does) can destroy it easily and spectacularly, why not build lots of kamikaze cruisers? If I invest 10 unit of production in a ship, and you invest 100, and I destroy your ship with mine, you are down 90 more production units than I am. Does this tactic not suggest it is a bad idea to throw all your resources into one huge vessel? Did not naval strategists change fleet composition with the coming of the aircraft carrier? The battleship went away. Carriers were large for a functional reason: to carry aircraft. The First Order builds enormous, easily destroyed ships because...? Is it the same reason why I'd build big Lego ships as a kid and then destroy them? Who is doing their strategizing?

It was Hux who did the strategizing, wasn't it?

I bet it was.

Has their accountant talked to them about how they're investing their resources? 

4) After Holdo flew the Resistance flagship into Snoke's even more immense flagship, the ship was in dreadful shape. It was cut in half. Sections were spinning off into space. Hull integrity was gone. Presumably it was blowing up, because everything in the movies explodes. The hanger with the ground vehicles (AT-STs) was in flames. The next thing we see is an organized landing on the salt planet, as if nothing bad had happened. At all. Ship blew up? Nevermind.

Where is the rest of the crew? Did they not abandon ship? Why are the survivors not more disheveled? They just escaped a disaster worse than Titanic, with dialogue every bit as bad.

5) After the fight with Kylo aboard the super-duper-big star-destroyer thing, how did Rey get aboard the Millennium Falcon?

6) The ground flyers on the salt planet were rickety. Poe put his foot through the hull of his. This point is emphasized. Yet Rose then flies her already-falling-apart vehicle right into Finn's, which, at high speed, would very likely kill (or severely maim) them both. And get them captured, to boot.

This is a wiser move than flying into the death gun (which could delay the enemy attack and serve a purpose) because?

Wait! I know the answer. The answer is luuuuuv. 

7) Bombers in zero-gravity? I hear that they were magnetic bombs, but this is never explained properly. The distances in space are vast, so using bombs without propulsion or serious acceleration seems just... dumb. Really really dumb, especially when you put them on ships that move slower than I can walk. They used to have Y-wings. Those were faster. Who was in charge of equipment purchasing for the Resistance? 

9) Why are the two henchmen of Snoke such laughable losers? They should be a comedy duo playing clubs not out menacing the galaxy.

Their talents are being misused.

And why would anyone put Hux in charge? I wouldn't trust him with a call centre, much less a space army.

Are you seriously telling me there was no one out there more qualified?

I sense nepotism.

10) Wildly unrealistic schemes are shown as being unwise by Poe's early heroics, and later by the failure of his scheme with Finn and Rose, which dooms most of the fleeing rebels in their tiny ships (who are sold out by DJ). This is actually pretty cool, in a way, but it also makes the heroes look like dangerously incompetent doofuses with very poor discipline. 

11) Luke doesn't seem like the kind of guy who'd go into a child's bedroom with the intent to murder the kid in their sleep, even if it's only a momentary lapse in judgement. And if he did, Luke would right that wrong, not sulk on an island for 20-40 years.

The whole late night visit with the laser sword smacked of child abuse.

Granted, Vader murdered younglings, so maybe killing kids runs in the Skywalker family. Is that Rian's point?

How does Rian Luke fit with Lucas Luke? They seem like different characters.

Hamill is a trooper, but he has valid complaints.

He understands his character far better than Rian does.

13) Why were the precious Jedi texts kept in the open air, on a wet island? They looked like they were made of paper. Was it special non-biodegradable space paper? Okay, I know, this is a quibble. Just kidding.

14) Poe talks to Finn and Rose while they are in hyperspace using a little walkie-talkie device. So now they can communicate across light years instantaneously. And no ship communication monitoring is going on that would alert Holdo. Really?

Since when could they talk instantly across light years even while in hyperspace?!? (I seem to remember a call from the Emperor over hyperspace radio in ESB, but I also remember this being an exception to the rule, that there were only a few devices in the galaxy capable of this. Maybe that was from Extended Universe material?)

If they can, why not call for help earlier? Why not get on space radio and tell the galaxy what's happening? Why is there no Space TV? The whole galaxy can know what's happening instantaneously... that's huge. Why isn't the Rebellion using this? Do they have no PR people?

In The Force Awakens, the Space Fascists use a planet-based hyperspace-laser (?) to fire (presumably) between star systems. Yet we can see the laser beam moving in slow-motion past Ren's ship. If it is so slow you can see it move, how does it get to destroy another star system before someone notices it coming and uses instantaneous space radio to alert people? Stars are light-years apart. If it was a hyperspace-laser, I missed the line of dialogue, and the visuals certainly didn't convey it. And once the planet's laser sucked up the sun (what on earth is left of the sun at this point? Suns are massive), where did it get it's heat from? What about the gravitational effects? Was the planet mobile, too? It'd have to be, if it ever wanted to fire the big laser again. 

In Star Wars, why didn't Han just turn on his hyperspace-radio and find out that Alderaan blew up? Surely some trader's spaceship (Alderaan would have had considerable space traffic, would it not? There'd be space trade. They had a war about trade routes before sometime, I seem to remember.... wait, don't remember...) saw the planet blow up. Wouldn't they have spread the word?

Didn't Tarkin want to use the destruction of Alderaan for PR purposes, to intimidate? You can't intimidate if no one knows about it.

Is this new tech? When did this happen? Why am I not getting the memos?

Do the rules go out the window the moment it's inconvenient? And if the rules are completely fungible, how is there any drama? You just change the rules to get the characters out of trouble. 

15) What the heck is going on with the state of the galaxy? I know it'd require an info dump, but honestly, it's not clear. What happened to the victory at the end of Return of the Jedi? Why can't you give us a one-two minute breakdown of where we're at?

The whole thing seems like a movie-reset, so they can milk conflict between Empire and Rebels and sell the same sort of merchandise in perpetuity. The galaxy isn't moving forward, but forcibly set in place.

This universe could be, should be, bigger than that.

I didn't like the prequels, but at least they weren't as much of a rehash.

16) Subverting expectations is good, but when you put in threads and dangle mysteries and then repeatedly go "Ah-ha!" it's just annoying. Why throw in so many narrative dead ends? It felt like too many things going nowhere. Am I watching Game of Thrones?

17) How long do hyperspace jumps take in this galaxy now? I thought they used to take awhile. Days, even. Now they seem much, much faster. According to some, the whole thing only happened over a few hours, although days obviously pass with Luke and Rey's subplot. Time in Empire Strikes Back was screwy like that too, but here it feels worse because the subplots are so boring.

18) Was it my imagination, or did a laser bolt bounce off of Captain Phasma's armour in one scene? If so, why don't all stormtroopers wear reflective armour? Their space armour seems pretty useless otherwise. And it's not like the First Order is cash strapped, what with their monster-sized battleships and planet-sized space lasers. Why skimp on reflective space armour?

Was Phasma hogging it all? Did she want to keep that edge all to herself?

The stormtroopers should unionize.

And why not make their ships reflective too?

19) Why did you have the two characters who have the least chemistry together kiss? It'd make more sense if Finn and Poe had.

So there you go. Just some of my silly questions. Granted, many of these things you just have to look over in a sci-fi space opera type film. But if the narrative is working, these thoughts don't occur. 

Rian Johnson makes some really counter-intuitive story choices (unceremoniously slicing Snoke in half, for example, early on), which surprised me. That was great. I thought Snoke might have been wounded, but wow, no, they flat out cut him in half.

On the other hand, some of Rian's zigs I really didn't jibe with (see Luke above).

So spectacle, sizzle, action, explosions. Some decent emoting.

But it was also a long film, felt that way, and was filled with holes.

Maybe the third one in this new trilogy will be better.








Thursday, 28 December 2017

Steam mech sketches

There are lots of different models of steam mechs, built for various tasks. Some are for fighting big monsters, some dealing with small swift ones, and others are built just for show.





Sunday, 26 November 2017

Theo Paxstone and the Dragon of Adyron... second trailer


With a theme song by the one and only Devin Polaski!

Resized for YouTube, as well.

FaceBook (what the original trailers were made for) has an odd size for videos (1200 x 628, as opposed to the more common 1920 x 1080). It's a bit of a hassle, resizing, as it wiped out all the 3D camera movements. So I tied everything to a Null object and scaled that.

And it worked!

Thursday, 16 November 2017

Grace Heejung Kim's Petite Bourgeois Revolution


Back in May, i curated a show at Northern Contemporary Gallery in Toronto called My Petite Bourgeois Revolution, which was all about First World problems. Grace Heejung Kim was one of the awesome artists who participated, adding her exquisitely balanced yet deceptively simple yet endlessly intriguing work to the collection. I caught up with her and peppered her with all kinds of questions:


What's top of mind when your create?Composition, concept, craft, anatomy, color? What aspect fascinates you most?
When I make illustrations, concept always first, then, composition and color. I believe that every single step of the process is important and fascinating. I try to consider everything as an play/experiment. That way, you constantly push your boundaries and also have fun while doing it.

What kind of work do you usually do? Commercial, editorial, advertising, fashion, fine art?
I mostly do editorial works and fine art. However I am always open for new challenges!

What is your dream project?

I always like to tell a story with my illustrations, and I like to read, a lot. I’ve only done mock covers so far, but I would love to make book covers and eventually publish my own story.

Why did you chose the First World Problem you did?

Aren’t we always looking for free wifi?

I know I am.


What artists and / or art movements inform / inspire your work?

I am inspired by all of the contemporary and modern art that I come across living in New York City. But I have to say Fluxus from the 60-70s is my favorite art movement. I love the idea of collaboration of different artistic media and disciplines.

If you could cross the world to see the work of one compelling creator and visit their studio (anytime, anyplace), which one would you chose?

I would love to visit the New York City in the 1960s to experience, and hopefully participate, the Fluxus.

Any advice for new artists, starting out in today's market?

Be persistent and patient. Don’t be afraid to put your work out.

Do you have anything to say to your future self in 5 years?
I hope you have a dog by now.




See more of her work at her website, or on Behance. Trust me, it's worth a visit!