The Fishy Business of Show Business

I don’t even like fish.

If I’ve learned anything from playing Hollywood these past few years, it’s that the more projects you can launch out of the gate, the greater your chances that one will actually cross the finish line, but almost certainly most of them won’t. (Actually, I’ve learned a few other lessons about show business as well, but those all lead to a great deal of curse-filled ranting that I think may not be appropriate for general consumption.) Specifically, I’m referring to those projects that are not entirely within one’s grasp to get done without the assistance of those rare few entities possessing the kind of money to get great looking images up on the screen. My past short film projects were self-financed and done for very little, but the objective, of course, is to do larger and more commercial work, and for that, I need someone to write a bigger check than I can write myself.

It’s a little like playing roulette and trying to cover as many different spaces on the board as possible so your odds of hitting anything are maximized. If you’ll indulge a somewhat lengthier analogy, though, I think it’s a lot more like fishing in a lake. Fishing is all about being in the right place at the right time with the right bait. If you’re fishing with just one rod, then you’ve got a single line in the water and just one chance to catch a fish. So if you want to increase your chances of a catch, you need more lines in the water. Only, it won’t do to drop them all in the same fishing hole because you really don’t know if there are any fish in that spot or not, so you have to spread them out all around the lake, hoping that the fish are going to be gathering in at least one of those places and that they’re going to be interested in what you’ve wrapped around your hook. (Hang on, we’re not done yet, this one keeps going for bit.)

Now this is where it gets really tricky. Fishing isn’t all about throwing your line out there and hoping a fish jumps on the end of it. You’ve got to coax those fish a bit, give a little tug on the line from time to time to try and get their attention. Sometimes you’ve got to reel it in all the way and recast the line, adjusting the position or hoping you land closer to the fish this time. While you’re babysitting this one line, though, all your other poles are going unattended. If you get a nibble on a line, you need to be there to give it a tug and try and set that hook or the fish is going to move on. So while you increase your odds of catching a fish with all those lines you’ve put in the water, you also end up running all up and down the shore line managing them each time you see the end of the rod twitch. It’s exhausting to say the least.

Now I could keep running with this whole fishing analogy, drawing comparisons to getting your hook stuck, having a snarl in your line, the frustration with the one that got away, or the abject disappointment of reeling in a bottom-feeding trash fish that wasted your bait, wasted your time, and delivers nothing suitable to the table. But I think by now you get the idea.

I believe this analogy could be applied to just about any sort of creative pursuit in which one depends on a publisher, financier, producing label, or similar entity in order to accomplish a goal larger than your available resources. But how does one keep sane in this kind of maddening situation? Well, maybe this is where the analogy breaks down because I think a lot of people who regularly fish would say they do so because they enjoy the act of fishing, not because they want to eat the fish. But assuming that your primary purpose for fishing is to serve up a tasty filet to a room full of assembled guests, it’s a good idea to know where you can just buy a fish when you need it. In other words, you’ve got make sure you’re not always relying on someone else to be able to satisfy your objective; you’ve got to have a project that is wholly in your control to be able to create, execute and present without the need for that other entity to write a check.

And that’s where I’m at right now: a dozen lines in the water, running back and forth managing the rods and reels, hoping to be in the right place at the right time with the right bait and to get a solid enough nibble I can set the hook.  But in the meantime, I need to be doing something that I can get done with my own available resources. For that, I’ve got a few ideas that I’ve narrowed down to, and I’ll bounce those off you in the next week or two.

Until then, happy fishing!

 

Hi-yo, Quicksilver!

The original Stryker image done for the first Battlebox releases of WARMACHINE.

A couple weeks ago I tweeted that I’d gotten roped into doing the concept art for the next incarnation of one of WARMACHINE’s most iconic characters, Commander Coleman Stryker. The truth is, I wasn’t roped into it so much as presented with the opportunity. It took about three seconds for me to process the idea and agree. Stryker is, after all, a character very close to my heart and represents the very beginnings of WARMACHINE.

In terms of development, the original Commander Coleman Stryker is the first warcaster ever created. He became the baseline by which all other warcasters were compared to and balanced against. In a sense, both mathematically, and conceptually, Stryker represents the closest thing to an ‘everyman’ that a warcaster can be. He’s not ‘the best at what he does’ like the two-gun-slinging Caine, nor is he imbued with the powerful arcane abilities that Haley possesses and develops over time. He’s good at what he does, don’t get me wrong, but he was created with the idea that he’s well rounded and adaptable to a multitude of situations, relying on no single strategy for success. And fictionally, this is represented in the character as well. He’s the consummate soldier and an admirable leader, the kind of guy you want to follow into battle. While victory is his goal, the preservation of life and humanity are his foremost concerns. He’s gallant, shining, brave and ready for anything. At least he was…

Something unique about the WARMACHINE and HORDES miniatures games is the way we’ve woven the sweeping story into the game itself, primarily reflected in the character models. The big story, the one we call the ‘meta story’ started about nine years ago in our first expansion book, Escalation. Through a brief anthology story and several vignettes and snippets of fiction, we exposed the characters of the warcasters. We got to know them better, get inside their heads a little, and we got to see the beginning of their ‘character arcs’.

Andrea Uderzo’s magnificent rendering of Stryker in Prime MkII.

According to the screenwriting guru Syd Field, there are four building blocks or aspects of character, which people like to lump together with the term ‘characterization’. These aspects are a point of view unique to the character, an attitude reflecting how he interacts with life and challenges, a need, want or desire that motivates the character through the story, and last but not least, change. No, not a pocket full of coins. We’re talking about character change. The thing that ultimately connects us to a character in a dramatic situation is our observation of how that character deals with a problem and ultimately changes (or doesn’t in some cases) in order to achieve a resolution to that problem. (Am I getting too heady here? Better get some caffeine…)

So, back to Escalation. We’ve got this character, a hero of his nation, a man revered as much for his courage and martial prowess as he is for his sense of justice and mercy. He’s a veteran of numerous battles and engagements  and has certainly experienced both victory and defeat, but his character is never daunted nor tarnished because his only desire — to protect the kingdom that he cherishes — is utterly selfless. And then he’s confronted by something he’s never had to deal with before. His past wartime experience was always by the book. The rules of engagement were clear and everyone abided by those rules. Then came Khador’s invasion of Llael and everything got turned on its head. As Cygnar mobilized to assist their allies to the north, the long simmering theocracy of the Protectorate of Menoth seized the opportunity to strike at Cygnar’s unprotected flank. The result was chaos that spilled over the confines of any battlefield and quickly devastated the lives of innocent civilians caught in the line of fire. Coleman Stryker was rudely awakened from the dream that war could be a noble method of resolving conflict and forced to face the cold reality that there is nothing noble about it. He watched helplessly as ruthless Khadoran soldiers murdered and looted a defenseless village while Protectorate militia massacred fleeing civilians simply to make a point about their difference in theological preference. This was a war without boundaries, an ugly war like Stryker had never experienced before. Witnessing this inhumanity without the power to stop it became the catalyst for Stryker’s change.

Stryker served a just an honorable king, a service he’d been proud of over the ten years since he’d aided Leto in usurping his brother’s throne and leading the nation into an era of prosperity. But Leto’s code prohibited any action considered inhumane, and this is the catch 22 that Stryker found himself mired in. The enemies of Cygnar were willing to do anything to crush them, but Cygnar had no way to defend against such ignoble actions while still upholding the nation’s values. Realizing he would only be leading men to their death as his beloved country crumbled around him, Stryker laid his sword down at the feet of his king and resigned his command unless he be given the freedom to seek total destruction against the forces that threaten Cygnar’s people.

And so ends Act I of Stryker’s character arc. Met with the catalyst for change, Stryker reluctantly embraces this new reality and makes a decision to change his personal code in order to seek a solution to the problem of his nation. Ultimately, Leto has no choice but to give Stryker his leash, and what happens next becomes the subject of much heated controversy between those following the saga of the Iron Kingdoms. Stryker, the once shining knight of Cygnar, becomes the monster he is trying to defeat.

In retrospect, as the creative director driving the plot of the meta-story, I realized we moved a little too fast from the Escalation chapter to the next expansion installment, Apotheosis. If I had the chance to do it all over again, Escalation would have been a bit more of a prologue and a chance to get to know the characters and set up the conflict, and there would have been another book inserted before Apotheosis in which we take these characters to the brink like we did with Stryker. I think the controversy that stirred around Stryker and what he became in Apotheosis was largely due to the fact that we moved from the starting image of this character so quickly into something completely opposite. It might have felt a little like a bait and switch in terms of his fictional presentation. On the other hand, it was a very dramatic shift, and the fact that it polarized people to the character means that it struck the right chords. Our take on the events in the Iron Kingdoms is that nothing is black and white, it’s all grey area and one’s opinion of a situation is entirely relative to his or her position and point of view. In other words, people SHOULD disagree.

Epic Stryker in full battle rage.

So with a his newly appointed station to Lord Commander giving him authority above the law of the land, Stryker decides that the best defense is a good offense, and he sets out to offend his enemies in every way he can. In doing so, he offends some friends as well, namely his mentor, Commander Adept Nemo, when he uses his newfound authority to confiscate a suit of prototype warcaster armor against the old man’s wishes.

He proceeds to march across Cygnar, rounding up civilian sympathizers of the Protectorate (specifically, anyone that worships the Protectorate’s god, Menoth), then shipping them off to a prison island. It’s a dark turn for our once gleaming hero and obviously not something the Protectorate’s religious tyrants would ever expect from Cygnar. Then Stryker leads a brutal assault against Sul, a city filled with the downtrodden and oppressed citizens of the Protectorate. Stryker’s metamorphosis is underway. He has officially become the monster he wants to destroy. It’s a conscious choice, one born of noble intent and complete self-sacrifice but it’s a dark path and comes at the price of Stryker’s soul and very nearly his life.

His sights locked on a particularly vile priestess of the Protectorate, Feora, Stryker lets vengeance take hold of his actions. But Stryker’s hubris comes back to haunt him when the prototype armor goes on the fritz. Were it not for the quick intervention of Stryker’s least favorite ally, Caine, he would have been skewered on the ends of Feora’s fire-breathing blades. So consumed by his rage at this point, Stryker learns nothing from the close call and shirks the aid and counsel of his friends, determined to destroy the entire city.

An early version of the Stryker in-game model by WhiteMoon Dreams.

There are readers that empathized with Stryker, realizing he was doing what he thought he had to do in order to protect Cygnar from destruction. Others were disgusted with his actions, disappointed and let down that the noble hero could fall so far from grace. But that’s the point. In order for Stryker to achieve his own apotheosis, we would first have to destroy everything that he was. I hear players of the games criticize the fiction from time to time, claiming that the stories aren’t dramatic because the main characters don’t die. But I’ll argue that physical death isn’t nearly as meaningful as spiritual death, and right then, Stryker was on the express elevator to hell.

When we next meet up with Stryker, he’s cornered Feora in a temple full of Protectorate civilians seeking shelter from the battle and he’s about to get the vengeance he’s been seeking. But  Feora commands a warjack to unleash a barrage of rockets to cover her escape, bringing down the temple on top of the heads of the cowering Menite civilians. Suddenly, Stryker is hit with the realization that the civilians of the Protectorate are in just as much need of protection from their tyrant leaders as his own people are back in Cygnar. And herein lies the final fork in the road for Stryker’s soul. Pursuing Feora and leaving the civilians to die means completing his transformation into the monster. The blood of innocents on his hands can never be washed off. Victory would be his, but there would be no return to the man he once was. Instead, he places himself in harm’s way, buying time for the civilians to escape as the temple comes crashing down to bury him alive. The path of darkness has led him to new enlightenment just before he finds redemption in death.

Okay, not real death. Symbolic death. Death of a particular existence, illustrated in the action of being buried alive. We all know Stryker lived or I wouldn’t be getting the chance to concept a new model for him. But the change the character goes through over time, from courageous hero of the people to a monster, to being reborn, enlightened with the ideal that no existence is worth the compromise of values, humanity, or one’s soul is a defining theme of WARMACHINE and in my mind makes Stryker the very heart of WARMACHINE. He might not be your favorite character — there are so many to chose from, after all — and you might not even care for Cygnar as a faction, but as both a game piece, and as a fictional character that has endured and emerged victorious in the battle for his very soul, Stryker is the touch stone by which all other characters are measured in this setting.

And that’s why there was never a question about whether or not I’d do the concept art for his next incarnation.

If you made it though that long winded essay, you must really be interested in what exactly Stryker’s next incarnation actually is — that’s the real reason you’re reading this! I’m sure some of you have guessed it by now, anyway. The big change is that like the latest version of Vlad, Stryker will be mounted. Rules-wise, I’m not at liberty to speak much and honestly, I’m not sure exactly where he’s sitting in development. But the concept brief calls for his horse to be clad in heavy powered armor and there’s a suggestion that Stryker’s own armor might be heavier than his original epic version, by virtue of being mounted on the horse. Presumably, Stryker’s prototype armor has been tuned up by Nemo and he’s no longer a danger to himself, so there’s an opportunity there for some visual change. The brief also suggests that he retain his iconic blade, Quicksilver II (now you get the title of the blog!). I’m thinking this is the right call as I haven’t been able to come up with an idea for any other weapon that feels right in his hands.

It’s quite a few years back when we wrapped Stryker’s character arc in Legends, after he killed Hierarch Voyle and repelled the Protectorate invasion. He’s long overdue for a new model incarnation and this will be a return to the shining knight, but representative of the change he’s undergone. Honestly, I’m not entirely sure yet how I’ll approach it. There’s something missing in the idea that I haven’t discovered yet— the pose of Stryker atop the horse, some affectation of his armor? Would it make sense for a warcaster to carry a pennant into battle? Or is he dual wielding Quicksilver with his disruptor pistol like his original sculpt?

Concept art for Epic Stryker

I got a lot of great feedback on the Eiryss 3 concept and it was a fun process to sift through and harvest the suggestions, several of which found their way into the final concept. I’m interested in what you’d do with Stryker’s new image and look forward to sharing this creative journey with you again.

 

 

 

Lessons from Hollywood: Clean Energy Will End the World

“Look honey, another playboy billionaire just tried to save the planet!”

<DARK KNIGHT RISES and AVENGERS spoilers ahead. You’ve been warned!>

The development of clean, renewable energy sources is one of the greatest challenges facing our planet today, or so I’m told.

Now I’m no physicist and to be honest, I’m about the furthest thing from being politically aware that you’re likely to find in someone who actually has access to the internet. But here’s something I do know: clean energy is bad for humanity. It’s going to cause the deaths of millions, if not the destruction of  then entire world. I know this because Hollywood has told me so.

Thanks to a number of highly successful box office blockbusters, I have become absolutely terrified at the prospects of breakthrough clean energy technology, and you should be, too. Over and over we’re told, as soon someone develops a machine that can supply pollution-free power to civilization, some psychopathic jack-off is going to come along and either turn it into a bomb, or worse, use it to open up an intergalactic portal for a horde of homicidal alien invaders.

Here are a few case studies just off the top of my head:

SPIDERMAN 2 — Doc Ock sets out to perfect fusion power under the pretense of benefiting mankind, but unfortunately, he doesn’t have it all quite figured out. So when a short circuit fries his brain-pan, he decides to follow through with his experiment and blow up New York. Well it was the thought that counts, right Octavius?

THE AVENGERS — Tony Stark is set to unveil his new latest creation that will solve humanity’s energy crisis forever. Then along comes a Norse God who mindfucks another scientist into rewiring the whole thing to power a cosmic superhighway for a pissed off legion of alien assholes who apparently have nothing better to do than wreck New York. Way to go, Stark!

DARK KNIGHT RISES — At least when Bruce Wayne realizes that his own clean energy reactor prototype is capable of being weaponized by probably just about any lunatic who might feel like blowing up Gotham, he has the good sense to mothball the project. Except that he leaves it plugged in so that when that lunatic comes along he’ll have no problem turning it into a giant, fucking bomb with which to blow up Gotham (which we all know is really New York). That’s thinking ahead, Wayne!

WATCHMEN — Do I even need to mention this convoluted mess? Dr. Manhattan gives free energy to the world in the form of a bunch of nuclear reactors, which some maniac then wants to BLOW UP so that he can teach the world a lesson and avert a nuclear war. WTF??? Thanks for nothing, Dr. Manhattan.

So, what can we conclude from all of this?

First, New York may be the greatest city in the world, but if someone actually develops a source of clean energy, I would get the hell out of Dodge, ASAP.

Second, despite all the celebrity campaigning to save the world, Hollywood wants us to believe that solving the problems of society, namely the whole energy crisis, is actually a very, very bad thing for mankind. We’ve got a billion dollars worth of ticket sales to prove it and I’m pretty sure I’ve left plenty of other examples out.

So until someone comes up with a new plot device or at least shows us a possible future in which clean energy technology actually benefits the world, I say stock up on sunscreen, burn those fossil fuels, and let’s take our chances with the global warming. It beats getting vaporized by some maniac or eviscerated by a roid-raging alien, right?