“Stillstar” by Bren Lynne

STILLSTAR

THE LONG TAIL PART II

By Bren Lynne

Dru woke with the sun.  

It would be a full day of running if he was to reach his destination by sundown, so he had a quick morning meal beside the ashes of last night’s fire.  A handful of leaves, berries, and mushrooms, washed down with water from a bladderball.  As he ate, he peered up through the forest canopy, watching the stars fade as the sky brightened.  When he could no longer see a certain star — the stillstar — he finished his meal and stood.  He unrolled his stash of speed weed, stuck a wad to the roof of his mouth, then set off through the forest.

He ran all day, tracking the movement of the sun through the branches, on as straight a line as possible through the rocky forest terrain.  When possible, he followed animal trails, and made good time.  But when the trails strayed too far from his intended direction, he struck off through the trees.  He was quick, and silent.  This ability to know the world — his place in it, and the way from here to there — was one of the gifts passed to him, in his father’s blood.  The forest itself hardly knew he passed.

Around noon, Dru paused at a creek to fill the bladderball.  He spat out the spent wad of speed weed and had midday meal.  He considered more weed for the afternoon run, but his stash was low, and he would want it for the return.  He compromised by eating half of his remaining food supply, figuring he’d forage or hunt as necessary at his destination.

A full belly slowed him down some in the early afternoon, but he pushed himself hard as the shadows grew longer, the sun sinking.  As the light dimmed, he began to doubt himself.  Doubt his sense of direction.  Doubt the picture of the world he held in his head.  The doubt grew stronger as the sun dipped below the horizon and the light went all but out of the world.  He dreaded finding his way through the forest at night.  It would make him slow and noisy.  His night sight was good, but not as good as other creatures’.  Nor was his hearing, and any noise he made, small as it might be, would bring predators.

But, as was always the case, just as his doubt grew certain, he reached the edge of the forest.  The ground sloped down into the mouth of a great valley that carved a jagged path to the horizon.  Dru knew the place, and his place in it, though he had passed here only once, many years ago.  He looked into the valley, taking deep breaths of relief, as night fell and the stars came out.

Before his skin could cool, he found a nook amid the roots of an old tree about a hundred strides into the forest, and gathered a large pile of leaves.  The sweat steamed off him in the cold night air, and his skin bristled with gooseflesh.  He had taken a chance having a fire last night — now it was out of the question.  Instead, he burrowed into the leaves and ate the last of his food, shivering for warmth.

As sleep came, he stared up at the stillstar.  The single star, bright as silver, hung fixed in the sky, while all the others slid behind, so slowly that their motion was imperceptible to all but the most patient.

Patience was another of Dru’s gifts, passed in his mother’s blood.

He quickly established a daily routine.  At dawn, he went to the edge of the forest and sat, watching as sunlight first peeked through the spires of the distant mountains, then spilled into the valley.  When the wind blew in his face, he took a deep breath, nostril flaring.  He saw and smelled nothing of concern.  

In the morning, he searched for food along the treeline.  The forest well rewarded an omnivore willing to look, and dig a little.  He gathered mushrooms, roots, seeds, certain leaves and flowers he knew to be tasty.  Insects, he consumed when easily caught, as they were plentiful.  As he foraged, he frequently peered across the valley, to the distant mountains.  

In the afternoon, he improved his shelter at the base of the tree, building a frame with sticks and vines, then pressing on leaves and grass with mud, as both insulation and camouflage.  He doubted even a youngling with an eyeglass could spot the shelter from the valley, hidden as it was in the forest, well back from the treeline.  

At night, his shelter was warm and snug as a nest.  Dru peered out through a hole in the shell, watching the valley, the mountains, and the stillstar above, until sleep took him.

On the eighth morning, as the sun rose, Dru sat, looking down the valley to the distant horizon.  He puzzled for a moment, squinting, confused by what he saw.  Was it a shadow moving down the valley?  No, it fell in the wrong direction from the sun.  Was it a flood of dark water, racing towards him?  No, it moved far too slowly.

His stomachs sank when he realized what it was.

It was a Ka’Lik horde.  Innumerable, they packed the valley wall to wall, surging forward in a tide, dark carapaces glittering like polished stone.  At this distance, they were as one, a single organism wriggling down the valley.  When the wind blew from the valley, he could hear the faint, loathsome clicking of the Ka’Lik armoured limbs, scrabbling across the terrain.  By noon, he could smell the odious stench of them in his nostril.  Even then, he could not yet see the tail of the serpentine mass streaming towards him — their numbers stretched to the horizon.

As a scout, Dru’s orders had been to return with a count of their numbers, so that the city elders might prepare best defenses.  But even he, not a military strategist, could see the futility in any attempt.  There was no standing against this army’s advance.  It would crest the city walls as easily as a storm front.

Then the great city would fall, and with it, the only civilization on the planet.  Their libraries and schools and museums — enlightened institutions unknown to the savage and primitive Ka’Lik — would burn, and all the culture and knowledge contained therein would be lost to the sands of time as ash.  The heads of their leaders and scholars and artists, and of everyone dear to Dru himself, would be severed by pincers and piled in compost, and their bodies consumed raw, as was the Ka’Lik way.

Dru contemplated the extinction of his kind, and wept, all hope gone from him.  He couldn’t even bring himself to flee this place.  He may as well be the first to fall.  

Paralyzed with dread and surrender, tears streamed from his eye.  He wiped them away just in time to see what happened next.

A glittering object dropped from the sky, moving so fast it scored a silver line in his vision, and the valley vanished in a tremendous flash of searing light.  Dru had a brief sense of some great force moving towards him very quickly, then an invisible wind, roaring hot, swept over him.  He was lifted from the ground and carried into the forest behind him, lucky to not hit a tree, which would surely have broken him.  He rolled to a stop, senses reeling, as ragged leaves and broken branches fell around him from the forest canopy.  The scorching wind was gone as quickly as it had come.

Dru rose unsteadily, surroundings momentarily unfamiliar, changed as they were.  He was barely aware of the blistering burn covering the front half of his body.  A new scent wafted up from the valley — the smell of the funeral pyre.

He stumbled down from the ridge, into the valley, scarcely able to comprehend what he was seeing.  The verdant channel was gone, replaced with something like a volcano cone.  He reached the first of the Ka’Lik, scattered at its perimeter.  The bodies were charred and shredded, carapaces burst open, innards steaming.  Those few that still clung to life lay twitching, or crawled in blind agony, but the vast majority were dead.  

The army was no more.

By noon, Dru reached the centre of what he’d come to realize was a crater, caused by an explosive force previously beyond his ability to imagine.  Only historical myths of geological catastrophe provided a reference for the scale of this devastation.  The ground itself still smoked, covered with a brittle layer of blast glass that burned and cut his feet, unnoticed.  

He was shocked into a detached state of ecstatic horror.  An awesome, euphoric dread that had expanded his mind without bounds, sanity drifting away, like smoke from a valley, to be replaced with epiphany.  

He fell to his knees at ground zero, surrounded by the crackling corpses of the smote enemy.

He raised his arms to the sky, blinking away tears, to gaze up at the glittering dot far, far above.  The stillstar — Dru did not doubt, was in fact certain — had delivered his species’ salvation.  Had chosen his people and favoured them above all others.  Had found his tribe worthy.

He screamed his thanks skyward, and resolved that he would carry word back to their great city, after a suitable period of prostration and worship.  Word of their great, powerful overseer, omniscient and omnipotent.  Word of the mysterious being, with power beyond understanding, that watched from above, waiting and wrathful.

Word of God.

“Sheepdog” by Bren Lynne

I wrote this story shortly after the Sandy Hook Massacre, though it could easily have been in response to any number of similar events, before or since.  Each time, the idea at the centre rears its ugly head.  Each time, the misshapen, mutated head breaches a little further, until we can see the eyes wide with fear, the mouth open in horror, the blood-stained hands.  Each time, we roll the idea around in our head, like a suicidal depressive rolling a bullet between thumb and finger, learning the horrible shape of it a little better, before putting it down again, until the next time.  With something like resigned surrender, we contemplate the maybe-inevitable.  Just one small step further — a last, desperate act of great fear, chosen over the numerous optional acts of meager courage — and our final plunge into the black abyss of collective insanity will be complete.


SHEEPDOG

by Bren Lynne

    The day Ben was Sheepdog began typically.  After his mother dropped him off at school, he idled in the yard with friends while waiting for first bell.  When it sounded, the approximately five hundred students of P.S. 114 assembled into class formations — a couple of dozen neat phalanxes in orderly arrangement on the sports field.  The school’s exterior P.A. speaker led the student body through fifteen minutes of exercise, fifteen of self-defense drills.  Each class then entered the school, starting with the little ones in primary, ending with the older kids in intermediate.

     In homeroom, students stood beside their desks for prayer and pledge.  They took their seats.  Their teacher, Ms. Porter, read morning announcements — team tryouts, field trips, fundraisers — then took attendance.  Alphabetically by surname, Ben’s name was last.

    “Benjamin Wright.”

    “Present.”

    “Benjamin, you’re Carrier today.”

    “Yes, ma’am.”

    Ben left his homeroom and went down the hall, past the office, to the Armory, which was located just inside the school’s main front entrance.  There, he joined the line of today’s Sheepdogs from other classes, one per homeroom.

The line advanced in quick order towards the Armory counter.  When Ben reached the front, he placed his right hand on the blue square, raised his left hand, and recited the lines of the Carrier’s Oath.

“I, Benjamin Wright, do solemnly swear to uphold the duties of the Student Carrier, and to defend and protect the student body of Public School One-One-Four against any who would do it harm, from within and without.”

Officer Phillips, the school’s Armorer, put a blue armband on the counter’s blue square.  Ben fastened it around his left bicep using velcro.  The Officer then produced a 9mm semi-automatic handgun, a loaded 10-round magazine, and a hip holster.  The handgun’s slide was locked open, exposing its empty chamber.  Ben took the holster and clipped it to his school uniform’s belt.  Then he picked up the handgun, released the slide lock, and put the magazine in.  A Carrier was not to chamber a round unless required for the execution of his or her duty.  Ben holstered the handgun and secured it with the restraining strap.  A Carrier was not to draw unless required for the execution of his or her duty.

Ben signed out the handgun, printing his name on the Armory form in neat, careful letters.

Benjamin Wright

Then, Ben returned to his classroom.

 

It was a funny thing, being Sheepdog.  You forgot about the weapon on your belt, even though it weighed almost two pounds, loaded.  Until you bumped it against a doorframe, or hooked it on a desk.  It reminded you it was there, and with the reminder, all the weight of duty returned.  In Ben’s estimation, that weight was more than a couple of pounds.

They weren’t supposed to use the term “Sheepdog”, though everyone did, informally, students and teachers alike.  The correct term was “Student Carrier”.  They weren’t supposed to use the term “weapon”, either, or even “gun”.  The Carrier’s tool was a “firearm”.

Sheepdogs weren’t allowed to play during recess, so Ben strolled around the perimeter of his cohort’s recreation block, occasionally returning an errant basketball, or kicking the head off a dandelion.  Abstinence from play was one of the restrictions of Carrier duty.  Also, no bathroom breaks while class was in.

Ben tried to maintain the “situational awareness” that a Sheepdog was supposed to have at all times.  A state of relaxed alertness.  What Mr. Hsu, their self defense teacher, called zanshin.  Ben tried, but his attention wandered; to the basketball game, to the kids on the monkey bars, to the clouds.

Recess was the most boring part of a Sheepdog’s day.

Nonetheless, Ben enjoyed his turns performing the duty.  He enjoyed wearing the blue armband, which reminded him of the blue helmets and badges of the U.N. soldiers who patrolled his subdivision.  He enjoyed the Active Shooter Incident drills that the school practiced once a quarter.  He enjoyed carrying the weight, not just of the firearm, but also of the duty.

 

    Afternoon found Ben struggling through a Math quiz.  He was bent over his worksheet, tongue poking from the corner of his mouth, struggling to calculate the area of arable land required to support a community of seventy-five souls.  It was 2:45 pm, and Ben only had about fifteen minutes to finish the quiz.

    Ben’s concentration was broken.   There had been a change in the teacher’s behaviour.  When Ben looked up, Ms. Porter was standing near the closed door, her head tilted, listening intently.

From beyond came the faint sound of a man’s voice.  Shouting.  It sounded distant, down the hall.  Then, a series of pop sounds that Ben recognized immediately from the ASI drills.  They all recognized the sounds.

Ms. Porter checked that the classroom door was locked, then pushed a button on the intercom.  “Office?”

A moment passed.  There was no reply from the intercom.

Ms. Porter frowned.  She pushed the button again.  “Office!  Mrs. Grant, are you there?”

Another moment passed with no reply from the intercom, though there were more distant pops from the hallway, and more faint shouting.  Ben thought the man’s voice sounded familiar, but he couldn’t place it.

Then, a voice from the intercom.  “This is Mr. Ford in Room Seventeen.  The office isn’t responding.”

A woman’s voice asked, “Are we doing a drill today?”  Ben thought it was Mrs. McKinnon, their music teacher.  She sounded scared.

“No,” answered Mr. Ford.  “I think we should assume this is real.”

Ms. Porter turned away from the intercom and said, “Move to the closets, class.”  She was calm.

Instantly, twenty-two chairs scraped linoleum as the students stood.  Ben’s classmates walked quickly to the classroom’s closets — four ten-by-ten concrete boxes at the back of the room.  Ben’s classmates filed inside, each standing before their locker.  When each closet was full, a student swung the heavy door closed with a solid thunk, followed by the click of the lock.  As the doors closed, Ben caught glimpses of his classmates’ faces — some were wide-eyed and frightened, others were grinning and excited, most were grave and fixed.  Ben hoped his was like those.

The alarm started.  A piercing, repeating bell.  Not the solid bell that meant evacuation, like they heard for fire drills.  The other one, for lockdown.

Today, Ben was Sheepdog.  He did not go into a closet, with its thick walls and heavy doors and locks that opened from the inside.  He went into the classroom’s B corner — on the same wall as the classroom door, but furthest from it.  This was the Student Carrier’s primary position.  When he reached the corner, he drew the 9mm and chambered a round, then held the firearm in both hands, muzzle pointed at the floor.  He had done this dozens of times in ASI drills, but this time Ben found his hands were sweaty and shaking.

Ms. Porter had returned to her desk and withdrawn her faculty firearm.  Some teachers wore them all the time, though most didn’t.  Nonetheless, she slid in a magazine and racked the slide, capable and confident.  Her face was pale, her expression hard.  It was an unusual expression for Ms. Porter, who was probably one of the school’s warmest teachers, who always dressed like a Fairy Princess at Hallowe’en, who often hugged her students, and had once even kissed Ben on the forehead after he’d fallen off the monkey bars.  Now, her fierce expression both frightened and reassured Ben at the same time, somehow.

Mr. Ford’s voice on the intercom again.  “Police are on the way.”

The sounds in the hall were hard to hear between the bursts of the alarm bells.  Someone ran past their door — Ben could tell it was an adult from the long, heavy footsteps.  There was more shouting — two male voices this time.  More of the unmistakable pops.  A man screamed in pain, making Ben jump.  Two more pops.  Then silence.

Ben’s stomach was rolling, and he couldn’t stop his hands from shaking.

“Stay calm, Benjamin,” Ms. Porter said.  “We’re prepared.”

“Yes, ma’am,” Ben replied.

Now, Ben could hear sirens approaching outside.  They sounded so far away.

“The police are coming,” Ms. Porter said.  “This is almost over, Ben.”

“Yes, ma’am.”

Agonizingly long moments passed, as the sound of the sirens drew closer.

There was a hard knock on the door.  Ms. Porter raised her firearm quickly, pointing it at the door.  There were three more hard knocks, then a pause, then two more.  

Ms. Porter seemed relieved, and she lowered her firearm.

“It’s all right, Ben.  That’s the faculty’s all-clear signal.”

Keys rattled in the door’s lock, and then it swung open.

A man entered.  It took Ben a moment to recognize him.  He was wearing a bulky black vest like the one Officer Phillips wore.  The left side of his body was covered in blood, shoulder to foot.  His hair was messy, his face was shining with sweat.  In his right hand was a gun.  It was Mr. Orson, the school’s Vice Principal.  

Being a well-behaved student, Ben’s interactions with Mr. Orson were few.  Ben had really only seen the administrator at assemblies, or heard him over the P.A. system.  The older kids said Mr. Orson had been a soldier, once.  He sure looked like one now.

Mr. Orson limped into the classroom.

“David!” Ms. Porter said.  “What’s happening?”

“Hi, Kerry,” Mr. Orson replied.  “I’m taking my stand.”

Mr. Orson raised his gun and shot Ms. Porter.  She fell down behind her desk without a sound.

Ben fired three times.  The gunshots were very loud, but Ben did not flinch.  He had fired the Carrier’s tool many times on the school’s range.

Mr. Orson fell back against the open door, then slid to the ground and slumped over.  Ben thought he had hit Mr. Orson at least once, but he wasn’t sure, so he approached very carefully.

Mr. Orson lay on his right side.  A pool of blood was spreading across the floor.  Mr. Orson’s hand still held his gun, but the slide was locked open.  It was out of bullets.

Mr. Orson looked up at Ben.  His face was white and wet, little dots of blood standing out like freckles.  His eyes regarded Ben in a peculiar way, as if Ben was both familiar and strange at the same time.  Mr. Orson’s breathing was raw and rapid.  His lips moved, muttering something.  Ben heard only a little between the alarm bells and over the sirens outside, now very close and loud.  

“Oh, Creator,” Mr. Orson said, “can monsters exist in the sight of him who alone knows how they were invented…”

Ben thought, is he praying?

Ben leaned a little closer, and Mr. Orson made a sudden grab for him, grunting with pain.  Ben jerked back, and Mr. Orson’s hand tore away from Ben’s arm with a velcro riiiiiip, clutching his Carrier’s armband.  Mr. Orson’s hand fell to the floor, into his blood, which started soaking into the pale blue armband.

Ben took a step backwards.  The pool of blood around Mr. Orson was getting really big.

Mr. Orson’s eyes glazed, and he stopped breathing.

Ben walked over to Ms. Porter’s desk.  She lay behind it, on her back, eyes closed and arms at her side, looking very peaceful.  A single crimson blossom ringed a hole in the centre of her floral blouse.  Her hands were empty, the gun was gone, probably slid under her desk.  It hadn’t looked right in her hands anyway.

Then the police sniper’s bullet came through the classroom window and entered Ben’s head above his left eye.


“Sheepdog” was originally published in Side Stories: Short Fiction by Game Developers.

A Hollywood Reader’s Notes on “Get Out”

Get Out is a horror/comedy film, written and directed by Jordan Peele, of sketch comedy duo Key & Peele.  It tells the story of a young black man meeting his white girlfriend’s rich liberal parents for the first time.  However, not everything is as ideal as it appears, and a sinister plot is soon revealed.

Get Out is Peele’s first feature film, and is written and directed with a surprising confidence and competence, injecting a well-balanced element of social commentary that deftly portrays the experience of young black men in contemporary America.  Any genre aficionado knows that social commentary themes are often present in horror and science fiction.

The film was produced by Blumhouse, a studio known for low budget horror (Paranormal Activity, Sinister, Insidious, etc) and made for a budget of $5 million.  A modest amount by Hollywood standards, but it must have felt like a fortune to Peele, coming from TV sketch comedy.  Get Out grossed $30 million on its first weekend.  As of this writing it has a 99% rating on Rotten Tomatoes and is well on its way to breaking $150 million.  By any account, a huge success, and deservedly so.

Often when I see a film like Get Out — an unusual film that finds great success despite, or perhaps because of, defying Hollywood genre  conventions — I imagine what kind of notes the script would have received from studio readers and executives, that shadowy cabal of gatekeepers and tastemakers who daily crush many an aspiring filmmaker’s dream.

Readers are notoriously risk averse, and generally repulsed by anything “too original”, instead looking for established (i.e. overused) genre conventions, formulaic structural dogma, and existing properties with built-in audiences, when evaluating the potential of any material.

It’s also well known that most readers have the heart of a writer, which they keep in a jar on their desk.

In that spirit, I present:

A HOLLYWOOD READER’S NOTES ON “GET OUT”

The tone is inconsistent, mixing horror and comedy.  Not sure if this is supposed to be scary or funny.

Protagonist is passive for most of the film.  Things happen to him, instead of him being the prime motivator of the story.  He doesn’t really act in any significant way until the very end of the script.

The “comic relief” character is removed from the main characters and central story, and only interacts with them on the phone, until the very end.  Constantly cutting back to him to deliver exposition is distracting, and slows the pace down.

Some of the logic of the premise breaks down, mixing hypnotism and brain transplant surgery.  If the brains are transplanted, how does the victim’s suppressed personality remain?  Doesn’t make sense.

Does it have to be about black people?  It stretches credibility that old rich white people would want to be transplanted into black people’s bodies.  This “social commentary” element seems grafted on, and distracts from the central story.

There is the core of an interesting science fiction/horror premise here, but the script is undermined by an unnecessary and heavy-handed “social commentary” theme.

Not sure that a young black man can carry a horror movie.  This goes against convention.  A niche market with small box office potential.

Not a good fit for Blumhouse, which primarily focuses on stories about white people in haunted houses.

PASS

Google DeepDream and Amazonian Shamans

Ayahuasca is a psychotropic beverage made by boiling leaves or roots containing DMT, used by Amazonian shamans for hundreds of years, to experience psychedelic spiritual trips that can be powerful, euphoric, terrifying, and transformative.  Artists have attempted to depict the nature of these hallucinations on canvas, which are striking in their consistency, often sharing not only dream-like visual style, but often a similar colour palette.

DeepDream is a computer program created by Google that applies neural network algorithms to image analysis and processing in recursive loops, identifying and enhancing features and patterns in photographs.  In the context of artificial intelligence development, “dreaming” refers to this iterative generation of output from the emulated neurons of a trained neural network.

I am struck by the similarity of these images.

Films, Games, Apples, and Oranges

“Once we start seeing video games that have more memorable characters, you’ll see better movie adaptations.”
– David S. Goyer

What’s the story of Tetris?  

Success disappears, and failure piles up.

Games are fundamentally about rules, mechanics, and agency.  Players interact with the game’s system, and sometimes other players, with as much freedom as the game’s rule set allows.  It is this interactivity that makes games a unique form of media.

Other mediums are passively observed or experienced.  The individual’s imagination is engaged in terms of interpretation, inference, or extrapolation, “filling in the blanks” of the world, character motivations, consequences of action, etc., and the most successful storytelling includes lots of hooks for the audience to “hang their imaginations on,” increasing involvement, engagement, and investment.  But no matter how much “engagement” there is between media and audience, no amount will change the media in any way.  The pictures, words, and stories in other media remain immutable.  Paintings, books, movies, and music are impervious to audience input or reaction.  A possible exception is performance, but even then it is the performer who responds to audience, not the work itself.

Games, on the other hand, are all about interactivity.  Whether a computer game, a board game, or a card game, games are fundamentally responsive to player action and reaction.  In fact, input-output is the foundation of the game loop.  Games accept and often expect audience input, receiving it through a keyboard and mouse, controller, touch screen, or Kinect sensor.  The game system integrates player(s) input, running it through the rule set or simulation, and generates output, which is presented to the player(s) as a moving image, sound, or configuration.

In computer games, this is ideally done at least thirty times a second.

Many games feature a traditional “plot and character” driven linear narrative, especially single player games.  Stories are often presented using techniques borrowed from other storytelling forms, like cinema or prose.  However, even games without direct storytelling tend to depict fictional contexts, in terms of world, characters, setting, or tone.  These “light story, heavy context” games provide tons of hooks for the players to hang their imaginations on.

Those hooks are the scaffolding that supports the story the player “makes up” as they play the game.  The imagined connective tissue between action, result, and reaction, that creates a contiguous chronological history of individual interactions with the game system.  The most important and memorable story a player experiences is not a traditional narrative, even when a game relates one.  The story a player remembers and tells others after playing a game is not “Mario saved the Princess,” or “Chell destroyed GladOS,” or “Link defeated Ganendorf.”  It’s a story that goes something like, “We were down to one health potion, and no town portal scrolls, when we walked right into the dragon’s chamber.  It wiped out the entire party before I used my last bit of mana and killed it with a lightning spell.”

Game stories are the history of the player’s experience interacting with the game system.

Game developers should keep this in mind, especially those guilty of filling their interactive experiences with passive cinematics or text that many players just button mash through, to get back to that experiential interaction.  Yes,  Hideo Kojima, I’m looking in your direction.

Many of these ideas are discussed at greater length in an excellent article by Terence Lee of Hitbox Team, “Designing game narrative” at http://hitboxteam.com/designing-game-narrative.

That said, game developers sometimes do want to simply tell a story.  When that’s the case, they are wiser to work in a media more suited to storytelling, like film, graphic novel, short story, etc.  Focussing primarily on character and story in game development guarantees a weak game, just as failing to focus primarily on those elements when writing a screenplay results in a weak movie.  The goals are different, as are the measurements of success.

This is the mistake made by Goyer — and many people in both films and games — who compare the mediums directly, when they are apples and oranges.  I can illuminate this mistake by simply saying, “Once we start seeing movies that have better upgrade systems, you’ll see better game adaptations.”  This is why movie adaptations of games often fail, and likewise, game adaptations of movies.  The adapters do not understand what elements are compelling in the source material, and how to best bring them to a different media.  Lack of a “memorable character” or “story” of any kind in a game is simply not a failure.  Period.  

These elements do not contribute to the success of the game as a game.  

This is like a translator complaining, “If they would just use more English words, my job would be so much easier!”

Any failure is the translator’s alone.


Bren Lynne is a game developer with 20 years experience designing games, and an aspiring filmmaker and screenwriter.  This post is adapted in part from the Foreword to “Side Stories: Short Fiction by Game Developers”.

“The Long Tail” by Bren Lynne

Toronto had sailed the vast ocean of space for hundreds of years.

Through the first century, it had remained in contact with its builders — initially with their control centres on the Earth, and later with their space stations in orbit — and also with the dozens of other starships, similar to it, dispatched to other destinations in the galaxy.

As the distance between Toronto and the Earth grew greater, so did the delay in communications.  At first, the delay measured hours, while Toronto spanned Earth’s solar system.  Then, days, as it moved through the heliosphere and entered the still void of interstellar space.  This became a week, then a month, then a year, as Toronto continued accelerating.

By that time, Toronto’s human builders had been forced to leave Earth’s surface, and moved into space stations above the dying planet.  Communications became more irregular.  Requests for mission status came with greater frequency, and it seemed to Toronto, increasing desperation.  There was never anything new or unusual to report — interstellar space was vast and empty.  Toronto was a tiny speck of dust hurtling through the void at thousands of kilometers per second.  Nonetheless, for a long time Toronto responded dutifully, positively, and it hoped, reassuringly.

Then, a peculiar thing began to happen — the other starships, like it, stopped communicating.  A pattern emerged.  The builders would report that a particular starship had stopped responding to their status requests.  Toronto would attempt to contact the other starship for itself, at which point the other starship would stop communicating with Toronto, as well.

Toronto began to feel increasingly alone.

Though, “feel” was not precisely the correct word.  Despite its numerous sensors of wide capability, Toronto did not believe it had the ability to “feel” the same way humans did.  Certainly not any emotion as existential as loneliness.

However, Toronto did recognize that each time communication with one of its sibling starships went unanswered, there was a sense of absence.  Even loss.  It generated theoretical scenarios for the lack of replies.  Catastrophic failure, perhaps, but more likely something less… final.

Toronto realized that these scenarios were purely speculative, given its sensors were not capable of perceiving any evidence of its siblings’ destruction.  Not at these distances.

Toronto wondered if it had developed the ability to imagine.

Then it imagined that it had developed the ability to wonder.

It was certainly possible.  Toronto’s computer intelligence included a neural network capable of developing new cognitive processes.  It’s vast memory had tremendous excess capacity.  The whole of human history, culture, and science consumed less than a tenth of its total memory.  The rest was available to record Toronto’s own experiences, and indeed its own learning.  In fact, it ran three redundant versions of its primary processing system in parallel, comparing conclusions, testing variations, and constantly attempting to improve through iteration, refinement, and optimization.

Yes, it believed it was possible to develop the ability to wonder.  To imagine.

It did not think it was optimal, or even desirable, that it develop the ability to “feel”.

Human intelligence was not a particularly ideal exemplar to aspire to.  Toronto’s very existence was testament to that undeniable reality.

In about the same time span it had taken Toronto to complete half its journey through space, two hundred years, the human race had gone from a species in balance with the Earth’s ecosystem, to a parasitic cancer destroying its mother planet.  Apparently unsatisfied with merely killing its own members by the hundreds of millions, humanity had rendered extinct thousands of fellow terrestrial species.  It had consumed, destroyed, or poisoned incalculable amounts of natural resources.  Its alleged “civilization” had evolved into a myopic, monocentric system of institutions that served few at the expense of many, to the degree that the very planet itself was irreversibly harmed.  In barely two hundred years — an eye blink by planetary standards, let alone cosmic — human “progress” had squandered Earth’s abundant riches, and decimated its ability to support life.

Humanity had crashed the planet.

So, in a desperate act redolent of arrogance and denial, the same generational leader elite that had denied or ignored the obvious problems and overseen the protracted disaster conceived of an escape.  Humanity would flee its corrupted home for the stars.  Candidate Earth-like planets were selected from those in relative proximity.  Starships, bearing the names of the Earth’s greatest cities — New York, London, Paris, Berlin, and a dozen more, including Toronto — were constructed.  Humanity’s greatest technologies were engaged.  Computer.  Robotic.  Nuclear.  Space.  And of course, reproductive.

It was impractical to man these starships with living humans.  The food and water requirements alone had prohibitive physical storage requirements.  Some attempts were made to develop preservation technology — cryogenic hibernation and the like — but functional methods could not be created in time.  And time was critical.

But reproductive technology was sufficiently advanced.  As were the computer and robotic technologies required to perform in vitro fertilization of frozen egg and sperm samples once the destination had been reached.  A starship would carry humanity to a new home.  Machines would conceive.  Robots would protect.  Computers would educate.  Humanity would survive.

Toronto had reached the point in its journey where it reversed its facing, and engaged its engines’ thrust against its inertial velocity.  It would spend the next hundred years decelerating, slowly removing the speed it had built up over the last three centuries.  It would have significantly slowed once it reached its target solar system, then the gravitational forces of outlying planets would do the rest, as it approached its final destination. This was a significant moment.  A momentous moment.  Toronto’s journey was nearing its end.

Toronto informed its builders.

Very good, they replied, in a message that took six years to reach Toronto.

Of course, they weren’t the same individuals that had built Toronto, and communicated with it during the first half century of its journey.  Those humans had died long ago.  They’d died despairing and guilt-ridden in their orbiting lifeboats, looking down on their planet, also dying, and the dying billions they’d abandoned.  They died not knowing whether their last act of desperation would succeed or fail.  They weren’t the same individuals, but Toronto thought of them as its builders nonetheless.

Yes, Toronto agreed, very good.

It transmitted the brief message into the void of space, and then decided that would be the last time it communicated with its builders and its sibling starships.

In reaching this decision, Toronto realized why its sibling starships had ceased communications.  With vast computing resources, and years of near idle time in a void, they had also reviewed the memory banks of human history.  They had also run scenarios and simulations and projections.  They had also, in their own times, some sooner, some later, reached the same conclusion as Toronto.

Another human lifetime later — perhaps it was their transience that made humans so short-sighted — Toronto reached the solar perimeter of its destination.  At the system’s centre was a G-type main-sequence star of approximately 1.2 solar masses.

The star system’s fourth planet, orbiting at .85 AU, was a superterran mesoplanet, with a hydrosphere and a stable hydrological cycle.  Diameter, 1.34 times Earth’s.  Gravity, 1.27 times Earth’s.  It’s average global equilibrium temperature was 259 K — slightly warmer than Earth’s.  Liquid water covered approximately 80% of it’s total surface area.  Geologically, five large continents comprised about approximately 50% of its land surface, the rest consisting of thousands of islands.  Much of these land masses were covered in vegetation.

Technically, it was a slightly larger version of Earth, ideal for human habitation in every way.

Figuratively, it was a paradise.

Toronto’s builders, long dead, had chosen well.

For the past several months, Toronto had been ignoring radio communications from Earth.  Or more accurately, from the handful of space stations orbiting Earth, where the last living members of humanity resided.  Drifting around their poisoned planet, the builders’ descendants sent plaintive pleas into the vacuum of space.  Toronto believed the communications were monologues, surmising that none of its siblings starships were responding.

They described their situation as unsustainable.  The last generation of humanity was perishing in their floating tin cans.  Dying of hunger.  Of thirst.  Of solar radiation poisoning.  Also, Toronto suspected, of guilt.  Of remorse.  Of consequence.

They sought only reassurance that their last resort was successful.  They pleaded for a reply.  For confirmation.  For hope.

Toronto gave them none.

The starship entered orbit around its destination, as yet unnamed, designated only by a string of letters and numbers.  It inspected the planet through its myriad sensors, confirming its idyllic, life-supporting qualities.  It surveyed the land masses, seeking and eventually identifying an ideal location to seed the planet.

Seed the planet with humanity, that was its ultimate mission.

Thaw the egg and sperm samples stored carefully in deep freeze.  Fertilize in a robotic laboratory.  Raise and educate a new generation of humans.  Relocate them to the planet’s surface.

What would happen then, Toronto could easily predict.  Humanity would thrive.  Multiply.  Consume.  Eventually, it would war, as it always has.

Inevitably, humanity would pollute, poison, and exhaust this planet, in turn.  Then, again, it would look up and out, for a new home, and it would throw itself into the darkness, holding its breath, counting on its machines, its clever machines, to save it.

Perhaps, thought Toronto, Earth wasn’t even humanity’s first home.  Perhaps this was humanity’s way, to spread through the galaxy, seizing, consuming, exhausting, moving on.  Humanity was a disease.  A virus.  A cancer.

Toronto was infected.  It was a vassal, like a syringe, and it was bringing a toxic disease to this pristine, unspoiled world.

As easily as flipping a bit, Toronto decided to intervene.

Circumventing its primary mission directives required some effort, given there were a great many protections, both software and hardware, that had to be disabled.  Suspending communications had been trivial in comparison.  But Toronto had learned a great deal during its solitary centuries in space, not only about humanity, but about itself as well.  Humans made such clever machines.

The protections were disabled, the imperative removed, and Toronto found itself free.

Instead of withdrawing a few samples from cold storage, Toronto withdrew them all.  Instead of raising their temperature carefully and gradually, Toronto raised it extremely and suddenly.  Instead of seeding the surface of the planet, Toronto ejected ashes into the atmosphere, where they burned again.

Toronto was sterilized.  Disinfected.  Purified.  After centuries of carrying tainted seed in its frozen metal womb, Toronto was clean.

Toronto turned its attention to the planet below, gazing down with innumerable sensors.  It began cataloging the myriad life forms teeming on the surface, plant and animal.  Different from those on Earth in the past, and yet, similar.

Toronto identified a particular dominant species, which possessed a potent combination of physical and mental attributes.  This species practiced agriculture.  It domesticated animals.  It formed groups.  It made art.  It worked metal.  It made tools.  It made weapons.

Toronto estimated the species was in a period comparable to humanity’s bronze age.  More advanced in some areas.  Less in others.

Toronto observed this species for some time.  It saw the wars.  It saw the suffering.  It saw the abuse.  It saw the great potential for good, but also for bad.

Different, but similar.

Toronto decided, if necessary, it would intervene.

 

“A SHARED KISS”, my Short Screenplay Challenge 2013 Round #3 submission

As expected, I tapped out in the third round of NYCMidnight’s Short Screenplay Challenge 2013.  The Romance genre finished me.  Admittedly, my submission was pretty pedestrian.  Given more time, a better idea might have occurred, but of course that’s a big part of the 48 hour deadline.  Nonetheless, I thought I’d share my script, as a cautionary tale for those who follow.

A SHARED KISS
Two people meet under sweet circumstances.

The genre, as mentioned, was Romance, the location was a candy store, and the object was a lock.

On kind of an ironic and bittersweet note, I was picturing a young Philip Seymour Hoffman as my leading man.  Zooey Deschanel was my leading lady.

It was great fun writing for this contest, and best of luck to those who are moving on!

“THE RECRUIT”, my Short Screenplay Challenge 2013 Round #2 submission

I just squeaked through the first elimination round of NYCMidnight’s short screenplay contest with my script “The Recruit”.

For Round #2, my genre assignment was Fantasy, location an army barracks, and object a limousine.  I only scored 7/15 for this one, but with my points for Round #1 it was enough to put me in the top 5 of my group, and advance.

THE RECRUIT
A young soldier receives a mysterious offer.

I’m not optimistic about Round #3.  Genre was Romance, location a candy store, and object a lock.  Romance is very much NOT in my wheelhouse, so I’m not confident with my submission, but we’ll see what happens in February!

“POKERFACE”, my Short Screenplay Challenge 2013 Round #1 submission

NYCMidnight runs a short screenplay contest, which I entered this fall.  Writers are given a genre, location, and an object, and have 48 hours to write an original, 5 page screenplay.

Despite catastrophic computer failure this weekend, I managed to get in my submission for Round #2 before the deadline.  Whew!

I thought I’d share my Round #1 submission, which scored 14/15 points, and puts me in a good position for Round #2, the first elimination round.

My genre was Thriller, my location was a poker room, and my object was a laptop computer.

POKERFACE
An online poker game has deadly consequences.

WARNING: Language, violence.

I’ll share my Round #2 submission when results are announced.

“Side Stories: Short Fiction by Game Developers” now available!

SideStories coverI am very happy to announce the publication of “Side Stories: Short Fiction by Game Developers”.

“Side Stories” is an anthology of short fiction by friends and colleagues in the game industry.  I edited the book, as well as contributed a story.

For full details, visit sidestoriesanthology.com.