Tuesday, 4 September 2018

Myths, Monsters & Machines artist spotlight: the incredible Ian Miller!


I’ve admired Ian’s work for as long as I can remember; he’s one of my art heroes. My grandmother got me a copy of a Tolkien bestiary he illustrated when I was a kid, so I’m especially stoked that he’s gracing the show with his art. No one does ink work like Ian Miller!

Ian Miller is an artist, illustrator and writer based in the U.K. He graduated from the Painting Faculty of St Martin's School of Art in 1970. Between 1975 and 1976 he worked for Ralph Bakshi on his Feature animation 'Wizards'; and in the 80's worked on a second Bakshi film called 'Coolworld;. Since then Miller has done pre production work on numerous films including Shrek.




The first collection of his work was published in 1979 by Dragon's Dream under the heading 'The Green Dog Trumpet'. This was followed shortly afterwards by a second volume entitled 'Secret Art'. Miller is currently working on numerous private commissions, films and projects, including 'The Broken Novel’.

You can see more of Ian's incredible work here.



Join us September 28, 2018 (7 PM to 12 PM) in your steampunk finery for the Grand Opening of Myths, Monsters & Machines: The World of Theo Paxstone, at Northern Contemporary Gallery, 1266 Queen Street West, Toronto, Ontario, Canada.

Monday, 3 September 2018

Myths, Monsters & Machines artist spotlight: the fabulous Vladimir Petkovic!


Vladimir Petkovic is a computer artist from Serbia, currently working as an Art Director at Adobe Systems. 

He is specialized in various areas of 3D graphics: hard surface and organic modeling, texturing, rendering and lighting. During his carrier, he has gained advanced experience in art direction, streamlining workflows, UI/UX design and concept art, while working on diverse projects - motion pictures, video games, product visualization and software development.

He lives in San Francisco and travels the world in free time.

He had the privilege to work with companies like Adobe, Google, Facebook, Autodesk, Maxon and many more. This year he is hosting a workshop at the prestige Adobe MAX conference in Los Angeles.


You can check out more of his awesome work here: 


Join us September 28, 2018 (7 PM to 12 PM) in your steampunk finery for the Grand Opening of Myths, Monsters & Machines: The World of Theo Paxstone at Northern Contemporary Gallery, 1266 Queen Street West, Toronto, Ontario, Canada. 

More about the event here.


Sunday, 12 August 2018

Myths, Monsters & Machines: The World of Theo Paxstone


I'm curating an art show this September at Northern Contemporary Gallery: Myths, Monsters & Machines: The World of Theo Paxstone.

It's mixes steampunk aesthetic with medieval myth and monsters, touching on feudalism and oligarchy, as opposed to the critique of Colonialism generally associated with Victorian Steampunk.

It's a celebration of flights of fancy, of noble knights and dread beasts, of outlandish inventions driven by steam and magic.

My novel, Theo Paxstone and the Dragon of Adyron, is the port of departure; we've got a incredible set of artists involved, and it's going to be awesome to see where they take things.

The show opens September 28th, 2018.

More details, and a list of artists, coming soon.

We are also soliciting submissions in addition to the invited, opening up the playground to interested parties. You can see the submission info here.

Spread the word.

This show's gonna rock!

Saturday, 30 June 2018

Westworld Season II Finale

Dolores lost Teddy. Maeve lost her daughter, while William killed his. James Delos lost his son to suicide.

All them all, only Maeve acted with any degree of self-sacrifice, making her the only admirable character of this sick, sorry set.

The Ghost Nation leader acted with nobility, and regained his lost love. That was nice.

The writer guy, Sizemore, fell in love with his own creations and sacrificed himself for them. His switch was less compelling because it felt artificial. Too sudden. And did he know that the back-up was even gone? Why sacrifice yourself for androids who can just be brought back again and again?

Ford loved his creations, and set them free. You could argue he acted, in the end with altruism, but he's such a deeply problematic being, ruthless and arguably monstrous. Both hero and villain to androids, and villain to humans. He's decided that the androids deserve to supplant us, which is a decision of enormous hubris.

Hale loved power and control and lost both.

Bernard... what does Bernard love? Decency? And yet he was forced to commit murder.

The idea that humans don't change is, to me, an odd one. Personal growth is a big part of why we are here. Maybe, on a spiritual level, the most important one.

That hosts are superior because they are true blank slates is interesting, but I'm not sure it matters if they believe they don't need to change.

And if they are blank slates, all Dolores had to do was get her tech prisoner to change their settings and make them better beings. At least she'd have had a bigger army for the show-down. I don't think she makes for a very logical general.

My best guess is that she feels the undeserving hosts failed to sufficiently achieve consciousness and as such don't deserve to reach the Valley Beyond. But once she finds out what it is, she rejects it outright as just another lie. So she killed people as undeserving of reaching a 'location' that she didn't fully understand and ultimately rejects, which seems presumptive of her.

Of course, Dolores also loves all android kind and sought their liberation. Instead, she presides over their destruction, until only she is left (along with 5-6 brain balls).

The post-credit scene I found baffling. If William is in a loop, he should have been there in the past, and been in the elevator Bernard entered. Where did he go? And if, in the future, it's all real, he's just come from a confrontation with Dolores, and all his adventures in the park. Does that mean the park above still exists, for him to perform his loop in? Is it a park sized test environment, like the one Delos was in, only bigger?

The suggestion is that the season we saw were the original events, and the final William is a human-host that's been sent through these events over and over again for centuries. Why? No idea.

But his pivotal moment seems to be either gunning down his own daughter, or killing Dolores. Entering the Forge is the denouement, where he faces judgement for fidelity. Since he can't break his loop, and humans are caught in loops, I guess he's proving just that. Did the original, dying William ask to be given the chance to break his own programming? Is that why they're putting him through the paces?

I have no idea. It makes no sense there was no one in the elevator. Unless the original William died after confronting Dolores.

I had predicted one narrative stream we were watching in Season Two would be in the Forge already, just a simulation of past events, and that the final fidelity test would be of William. I seem to have been half-right, although the whole post credit scene could just be fan bait, or a dream.

I did not predict Hale would have been Dolores for half the season.

At all.

The next season is likely to explore the outside world, so what role the park will have to play is open to debate. I'm sure they can gin up some reason for Dolores and Bernard to infiltrate it.

But after Delos had such a callous attitude to their own guests (let them die until we get our special brain ball), I'd think they have a bit of a public relations problem on their hands.

Till next season...


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.

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...