Book Launch: Sunstruck – Bigfoot Urban Fantasy

I had the cunning plan to launch the book on my birthday. This might have worked, if I hadn’t also got a helping of viral friends for my birthday. But a few days later than intended, it’s go time. Sunstruck is an urban fantasy novel with Bigfoot. More about the book and the launch is below.

Sunstruck Cover

 

Book Description

The Spokane Ecology Board covers up supernatural incidents, under the pretence of enforcing environmental laws. It’s a dull job of sightseeing thunderbirds and pixie outbreaks. Until the team gets murdered.

Ari is the replacement team’s Bigfoot liaison. Armed with everything she’s learned from detective shows, she’s ready to find the murderer. The downside is the job comes with a human partner, who smells of air freshener and lines up his desk like a math project. He’s only a scientist, so it’s not like he knows anything about magical crimes.

Ben Cabot grew up hearing stories about Bigfoot, but they failed to mention a love of the internet or an aversion to throwing wrappers away. But there’s more out of place than an untidy work partner. Someone’s messed with the case files, and that means the killer might be closer than they think.

I have a three chapter sample on my website. Some vendors also have their own samples. I always recommend reading the sample before buying. The book is currently available on Amazon US, Amazon UK and Smashwords. A comprehensive (and regularly updated) list of sellers is found on the book’s official page.

 

About the Series

The books are set in an alternate version of Spokane, Washington. They’re told from two points-of-view – Ari and Ben. The balance between the two narrators will depend on the book. Sunstruck has more from Ari. The next book (Conduit) will have more from Ben. After that, it’ll vary.

It’s an open-ended series, where each book has a stand-alone mystery (though it’ll help to read them in the right order).

 

Cupcakes

In the tradition of launch cupcakes, I made Bigfoot faces. These aren’t my most technically skilled decorating jobs, but they are very chocolatey. So, here’s to Bigfoot and launches. I hope you enjoy the book!

Bigfoot Cupcakes

# If you want to note it for later elsewhere, I’ve tweeted about it and have a post on Tumblr. The book also has a page on Goodreads.

Secret World – Act One Roundup

Dead on a bridge
I reviewed urban fantasy/horror MMO The Secret World shortly after it came out. Since then, I’ve played through the main storyline available at launch and tried out a number of the other activities in the game. The first special event (Hallowe’en) has also happened.

These are my updated thoughts on issues of gameplay and representation.

 

Gameplay

Storyline – Act One

The main story remains strong throughout. A story mission guides the player through each region. Mini stories link each of the areas, and these mini stories vary depending on the character’s faction. The story themes are as follows:

  • Solomon Islands – Zombie invasion, Wabanaki (Native American), Norse.
  • Egypt – Biblical plagues, Aten (Sun Cult), Ancient Egyptian Gods.
  • Transylvania – Forest folklore, vampires, Soviet era, Roma.

Recurring themes are sun cults (including a modern New Age cult, which runs through several of the zones), the Filth (dark stuff that corrupts people) and the Orochi group (a Japanese mega-corporation). Along the way, you learn more about Gaia and your own place in things.

There are several points where you have to make a choice. It could broadly be defined as a choice between good and evil, but it’s a little more complicated than that. You’re never really sure which is which, or whether evil has a point. Good has its own agenda and it may be evil is the one telling the truth. It’s been implied the choices will impact later on the game world or characters, but so far, it’s uncertain in what way.

New quests are released in small batches at regular intervals. There were two general updates, and then the Hallowe’en quest line. My main complaint is about Hallowe’en, as they said the event would run until the first week of November in one announcement… but they ended it on the morning of November 1st. This didn’t give enough time, as many people would have used the weekend after Hallowe’en to finish it (especially those hit by the hurricane). I hope next year they take on board the feedback, and reactivate the quests from this year (as well as any new quests they design for that year).

End Game

The end game does have issues. The main repeatable things are group dungeons (separate areas with a mini-story running through them) and lairs (where players spawn rare bosses to fight). The dungeons come in various difficulty levels, from normal to nightmare. Unfortunately, it’s very hard to get a group for anything above normal, unless you have gear from PvP. This is a player-created issue, but would be alleviated by having a better chance of decent gear in solo PvE play.

Accessibility

Right from the start, there was dialogue without subtitles. This has been improved. A lot more of the background comments have subtitles, but there will still be areas where it’s an issue. The community has taken this on board though, and walkthroughs will turn sound information into pictures.

My biggest accessibility problem has been player created, as it’s become very hard to find a cabal (guild) who doesn’t organise everything over voice chat. Text-only cabals are rare. This is likely to be an issue in any game, so I’m not blaming that on the developers. It’s just a pity it’s gone that way.

Factions

Now I’ve tried out factions, the Templars still remain the most interesting. They are utterly colonial, yet at the same time, they have a whole lot more diversity than the other factions. They’re also the only one your character chooses to join (the others practise forced recruitment). The (faction-specific) story mission between Egypt and Transylvania was one of the most atmospheric in the game, in a creepy horror way.

The Illuminati are rather mad science, and though that can appeal to me, it didn’t quite hit it here.

The Dragon were the least my thing. There are some good aspects. I like the work they did on Seoul. They used Korean voice actors for the parts of dialogue in Korean, which avoids the Firefly effect of people who don’t speak the language botching the words. Working in chaos theory gave a modern mathematical edge to dragon legends.

But overall, the Dragon intro is full of East Asian stereotypes. Silent tattooed men stand ominously. No one says what they mean. And all round, the mysteriousness is so thick there isn’t really a chance to get attached to your handlers. Less yellow peril would have gone a long way to making me like the Dragon.

 

Portrayals

Gender/Sex Neutrality

The game has an interesting design choice, in that it does not differentiate between male or female characters. Everyone takes the role of Sarah (a woman) in the tutorial flashback. The Templar guards (mixed male and female) will flirt with anyone. NPCs who make suggestive comments in their cutscenes do so to all player characters.

However, it is a little imbalanced. Though a few male NPCs do make suggestive remarks, it’s a blink-and-miss-it moment. This is in contrast to some female NPCs, where it’s very obvious. This could easily be balanced though, but having a few more male flirts.

Sexuality

The game normalises gay and bisexual behaviour. In some ways, it has to, due to having no male/female differentiation with player characters. But it’s shown directly in dialogue with characters too. In the first zone (Kingsmouth) Moose tells you he has feelings for Andy. It’s not immediately obvious if this is mutual, but Andy does talk about Moose a lot and the Hallowe’en cutscenes suggest Andy is considering a relationship. It’s not uncommon to have a gay man pining after a straight man, and calling it representation. It’s a way of avoiding having to actually show a relationship. But it looks like it’s not the road they’re heading down, based on Andy’s current reactions…

…though this may not be a surprise considering Egypt has a gay couple who appear in cut scenes together.

There’s apparently a lesbian character, but this is known because of what some of the other NPCs say about her. I haven’t found that dialogue yet.

Women

Women and girls continue to have varied roles in the story, including positions of power. The Roma storyline especially has some direct criticisms of sexism, both from the woman who acts as their lookout and the daughter of the leader. The latter directly confronts her father when he suggests the only reason an older man enjoys her company is her looks, telling him it’s messed up to think being pretty is her only worth.

There are points that made me wince, like the French women at the windmill where one uses gendered insults against the other, but overall, it’s pretty female-positive.

However, women are underrepresented in marginalised groups. Kingsmouth has two black men as NPCs, complete with missions and dialogue. It has one black woman, who is the voice of the zombie announcements, and who can’t be spoken to and has no missions. There are several gay men, but only one lesbian who you wouldn’t realise is unless you hear the right background dialogue.

Disability and Non-Neurotypical People

One NPC in Transylvania has facial scaring and is blinded in one eye. There’s also a woman in a wheelchair in London (who currently has no dialogue, but is set up as though she will have in the future).

A recurring trope is seeing unknowable things and going insane (something common in Lovecraftian horror). What interested me more is how people with pre-existing conditions or who were non-neurotypical were handled. That’s a bit mixed. I loved the sociopath headmaster, as it showed a positive side to it. By not being concerned about the people around him, he’s able to cope with everything that’s happened. It gives him an impartiality that lets him organise the school, without getting caught up in feelings of guilt or grief.

Not so hot was the man with a low mental age in Transylvania. He enjoys killing things, and about the only thing keeping him from killing humans is his mother. Though it’s clear she encouraged this behaviour in him, it’s a common trope to show low mental age people as violent, and it isn’t countered by any other more positive representations.

Belief Systems of Marginalised Groups

There are a number of marginalised groups, include a Roma group, a Native American Tribe, Egyptians and some references to voodoo in the Hallowe’en event. Some are better handled than others.

The Wabanaki – the Native American tribe (or more accurately, a confederacy of nations) – came across as reasonably well researched. They were shown as modern people, and the events in the game touch on the issue of lost cultural knowledge. The tribe remembers they shouldn’t dig somewhere, but their last medicine man is shot and no one left knows why they can’t dig and why it’s important.

I wasn’t as comfortable with the handling of the Roma (who appeared to be an entirely invented sub-group, with invented beliefs), though it does avoid things like the gypsy fortune-teller stereotype.

The voodoo references were too brief to really say, and in itself, I don’t think that’s a good thing… they have a Haitian market and a voodoo supply shop, so they could have NPCs and related missions. Voodoo should be a year-round religion, not kept as ‘black magic’ for Hallowe’en.

But the biggest area of discomfort are the sun cults. In the game story, the sun cults aren’t really worshipping the sun, but are being corrupted. This works fine for the invented New Age cult. It’s getting a little dubious at Aten. I couldn’t see any signs of a continuing tradition of Aten worship from an internet search, but it may exist. However, once we hit the Mayans, I wasn’t happy… it strayed too far into the North Native Americans being good and South Native Americans being bad (as the context is a battle between the Mayans and the Wabanaki). Unlike Egypt (where a village of everyday people is shown), this example had no ordinary Mayans to act as a counter to the corrupted Mayans.

 

Final Thoughts

The game still has aspects that need improvement and areas where the portrayals could be better. However, I’m still enjoying the storytelling and they’ve got me interested in how it’s going to end. I like the prominent women, non-white and gay characters, and would like to see this extended to other groups.

I have some cautions, in that it’s a horror game and some characters will die. I hope they focus on killing off non-marginalised characters, because it’s far too common to kill off the black and gay characters first. And there are a lot more non-marginalised characters to kill, so it’s not like there’s a lack of other choices.

A Wabanaki gathering

The Wabanaki (…with two exceptions. I’m the centre character with the cross on my back. To the far left is Boone, a white man, who is there with his partner Jack.)

I, Robot and the Uncanny Valley

A photo of Sonny: He has a realistically shaped face and eyes, but his workings show through artificial skin.Discussions of the movie I, Robot tend to focus on how Asimovy it really was (or wasn’t). I was interested in another feature: how the uncanny valley was used in movie. This post talks a bit about what the uncanny valley is, how I, Robot used it and how that might relate to non-visual fiction.

** includes spoilers for I, Robot **

What Is The Uncanny Valley?

The uncanny valley is a theory about how people react to increasingly human-like things. The theory states that people become more emotionally positive to things as they become increasingly human. A lizard is more like a human than a turnip, so lizards get more warm fuzzy feelings. A monkey is more like a human than a lizard, so monkeys get more warm fuzzy feelings.

But just before something reaches being a full human, there’s a drop in positive emotions towards it. This drop is the uncanny valley. It’s the point where a thing stops looking endearingly humanised and starts looking freakily sub-human. Or the point where a human is no longer seen as human and drops into the valley (zombies are the classic speculative fiction example of that… still all human and rather uncanny).

Robot design is an area where this matters. Makers want to make their robots human-like enough to make people feel good about them, but not step too far and fall into the valley.

Uncanny = Evil

The main use of the uncanny valley in the film is to signify evil.

The old robots are humanoid, but they have a blockier build and clearly robotic faces. They’re shown behaving in sympathetic ways, such as robots in storage huddling together. These robots are at the positive peak. They show sympathetic, human-like features, without appearing to be too human.

The new robots are down there in the valley. They have human-like faces, realistic eyes and rounded limbs, yet don’t look entirely human. Their voices are soft and more human-like than the old robots, yet also emotionless. The uncanny valley is telling you these robots are evil.

This is a pretty standard use of uncanny valleyness. It manipulates the audience into sympathising with the old robots and distrusting the new ones.

Why Don’t The Future People Think They’re Freaky?

Other than the protagonist, people trust the new robots. Even the protagonist doesn’t think they look untrustworthy (not any more so than the old robots anyway). So why don’t the future people think the robots are freaky?

One criticism of the uncanny valley is that it’s culturally based. A person’s experiences will change where (and possibly if) the valley exists. This is shown when humans drop into the valley.

Supposing you had a friend who didn’t have hands. You have no problem perceiving your friend as being human. A stranger isn’t used to your friend, and places him in the uncanny valley. The stranger’s reactions are hostile and untrusting. This example is unfortunately not that hypothetical – people with obvious deformities, scarring and missing limbs can end up in the uncanny valley and are treated accordingly.

The important point is that you and the stranger have different thresholds for what’s human and what’s not. However, given time, the stranger will get to know the friend, and will stop seeing hands as a defining human feature*.

Back to robots, it’s clear that a society’s view on robot appearance could modify. What’s uncanny at first may not be in a few generations time**. (On the other hand, it’s possible there’s a limit on what people would accept as human. As we have no evidence either way, a story could take either view***).

Why Do We Like Sonny?

Sonny is one of the uncanny robots. This is emphasised in his early appearances, by displaying almost human behaviour. He dreams and can draw, yet draws with precision with both hands at once. He’ll fight to survive, yet does so with superhuman strength and agility. Unlike our friend with no hands, he’s not displaying completely human behaviour. It’s going to be difficult to overcome that feeling of uncanniness.

By the end of the film, Sonny is showing human understanding of things like loyalty, deception and the value of free choice. It’s interesting that while watching the film, I have no trouble accepting Sonny, yet the screenshots still look creepy. Appearance may put a robot into the valley, but behaviour can pull them out of it.

This shouldn’t be a surprise, as behaviour is the thing that tells you real humans are humans. Often a screen robot looks uncanny because its behaviour is a little off (this can also be true of 3D animated people… the audience picks up on tiny errors in the movement that betrays the fact it’s a simulation).

How Do We Like Sonny?

This is a question that’s hard to answer. When we take someone or something back out of the valley, what are we actually doing? Do we see them as…

  • A human (whether they are or not). Any differences are accepted as normal human variation.
  • Near-human. We may not have had a category for that before, but our brains start to realise there’s a middle-ground between human and not.
  • An exception. We’d still find others like them just as uncanny, but the individual is accepted.

In the case of the friend without hands, it’s going to be the first one. We soon realise that hands were never a defining part of being human anyway. The friend behaves in an entirely human way, so it’s not a difficult leap to make.

With Sonny, there’s still a voice saying he isn’t human. Whether we’re seeing him in a near-human category, or he’s just sneaking closer to be seen as fully human, is hard to say.

It would be fair to say that any one of those options could be realistic in a story.

Application to Fiction

Stories don’t have the same visuals as films, but the ways character might react may be based on this principle.

One interesting issue is that it might means it’s easier to accept a non-human robot as a sentient being with rights. The robot who falls in the valley has to overcome feelings of distrust – something an out-of-valley robot doesn’t have to contend with.

The robot Asimo is a classic out-of-valley design. Roughly humanoid and able to move in a human-like way, but robotic enough that he doesn’t fall in the valley. People react in a positive way to Asimo****, and this would obviously be a great advantage if Asimo were sentient and trying to gain rights. People wouldn’t assume he was evil.

On the other hand, Sonny has an uphill struggle. It’s interesting that the movie makers didn’t try to make Sonny look outwardly friendlier than the other new robots. The viewer has to overcome their own prejudices to see Sonny as anything other than the bad guy.

Few robot stories deal with the potential issues of a robot facing discrimination for its appearance. Perhaps a new robot line would be a little too human-looking and not sell as well, so they face being dismantled for parts. Perhaps when it comes to choosing between believing the blocky robot and the almost-human one, a character might go with their instinct and chose the blocky robot (possibly with disastrous consequences).

The sort of cultural change needed to accept an almost-human robot as human (or as definitely not human, and not uncanny) would take a long time to reach. In the meantime, all those robots in the valley have a problem. It’s odd that their problem doesn’t appear in fiction as much as you might expect.

* This has some real world significance too, because it suggests that it’s important for people to have experience of a wide range of people. If they don’t, they run they risk of seeing other humans as non-human.

** In Doctor Who, Donna (a modern day woman) meets automated greeters at a library in the future. These greeters have human faces on them, to put patrons at ease. They’re normal to the future people, but freaky to Donna.

*** Kryton, an android in Red Dwarf, has a blocky appearance. The crew discovers that earlier models look identical to humans. When asked why Kryton looks more primitive, he explains it’s because humans didn’t like their androids looking too human. Later models were made to look less human on purpose*****.

**** One example was the reaction to the Honda advert where Asimo moves through a museum. Some watchers were moved to tears, as it shows a very positive view of technology… a friendly robot reacting the way a human might to the museum exhibits. Few (if any) people thought “that robot looks like a mass murderer… I wouldn’t let him near those gadgets”.

The advert can be watched here. And just because it’s fun, dancing robots!

***** Though the way people react to humans in costumes is always somewhat different. Data from Star Trek was made to look slightly not human, in both behaviour and appearance. Yet he didn’t tend to set of people’s uncanny valley alarm. He’s a man in a costume and we know it.

Sonny photo is Copyright © Twentieth Century Fox Film Corporation. Used for review purposes.