Book review: Timeless Adventures From The Father of Science Fiction, H.G. Wells

Book review: Timeless Adventures From The Father of Science Fiction, H.G. Wells. Published by: Prion.

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Let’s get one thing straight right from the get go: none of these adventures is ‘timeless’. Yes, they are still generally readable and are certainly very forward thinking. But they are all very obviously of their time, a time which is now over a century ago. Perhaps it is foolish to expect otherwise.
This is a fine volume containing four major works and ten short stories from H.G. Wells. The description of Wells as “the father of science fiction” might sound like a bold claim. However, if we are talking about British sci-fi, in Wells’ case, it’s actually pretty much on the button.
As a young man, Wells invented the time machine: not the device itself sadly, but the concept in the book of the same name which is included here (from 1895). The Time Machine in which Wells’ unnamed time traveller encounters nice Eloi and a nasty load of old Morlocks in the year A.D. 802,701 remains a good read. It has been filmed once, marvelously, by George Pal in 1960 and once, terribly, in 2002, by Simon Wells, great-grandson of the author.

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The Island of Doctor Moreau (1896): Don’t be put off by the appalling 1990s film version starring Marlon Brando and Val Kilmer. The book still seems weird, even now but is nevertheless a great story, about an exiled doctor conducting bizarre experiments on animals and people on a remote island. It is surprisingly relevant to ongoing ethical debates about the appliance of science today.
The Invisible Man (1897): Very famous and undeniably clever, this is nevertheless, less fun than it sounds.
The War of the Worlds (1898): Finally, before a selection of more minor, shorter works, comes Wells’ genre-defining classic of Martian invasion. It has itself been adapted a few times, notably Orson Welles’ (no relation) headline-generating radio broadcast in 1938. But it, like so many other versions of the story, that missed perhaps its most compelling feature: that this amazing futuristic alien onslaught begins in Wells’ own stomping ground: Kent, in the last years of the Victorian age.

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Book reviews: Star Wars books 2018

Star Wars Geektionary. Published by Egmont.

Star Wars Alien Archive. Published by Egmont.

First, the bad news. There will be no Star Wars films out this Christmas, the first time this has occurred since 2014.


But there is some consolation. Firstly, a Star Wars film has already come out this year already (Solo). Second, these two delightfully illustrated books are out too.


There’s all manner of useless and made-up information inside. And I should know: I wrote the last ever Star Wars Clone Wars annual.


Ever wondered what species Admiral Ackbar from Return of the Jedi was? (“It’s a trap!”) No? Well, he’s (or was) a Mon Calamari apparently. Try ordering one next time you’re in Zizzi’s.


Ever seen a Puffer Pig? Ever bargained with a Barghest? Is Tooka and Loth-Cat a cartoon series? Apparently not.

Have you ever seen a Steelpecker? Don’t laugh! It’s a bird from the planet Jakku! Yeah? Feeling silly now aren’t you? But where are Thisspiasians from? Doh! From Thisspias, obviously. Where else?

Occasionally, inspiration runs dry (Yoda’s species we are told is “unknown”). But this is good clean fun, particularly if your child has nothing more important to remember.

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Philip K Dick: The Man Who Fell To Earth

Blade-Runner-2-DirectorArticle reproduced from Geeky Monkey issue 8 (2016): written by Chris Hallam

Make no mistake: science fiction author Philip Kindred Dick was a man like no other. Paranoid, difficult, prone to visions of pink beams of light and strange God-like heads looking down at him from the sky, yet somehow simultaneously charming and hugely intelligent. Dick somehow managed to produce a wealth of novels and short stories during his 54 years. Works which formed the basis of the films Blade Runner, Total Recall, Minority Report and TV series The Man In The High Castle. 34 years after his death we assess the legacy of a science fiction colossus…

Perhaps no man has had as much impact on modern sci-fi as Philip K Dick. Assuming your favourite sci-fi films were produced in the last thirty years, there is every chance they were either based directly on one of Dick’s 44 books or around 120 short stories, or at least strongly influenced by them. Admittedly, some adaptations have been better than others – is Paycheck or Next among anyone’s favourite movies? Probably not. But all are linked by common themes, which arose from the eventful life of a deeply troubled genius.

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Is this the real life? Is this just fantasy? 

“Ironically, he had gotten exactly what he had asked Rekal, Incorporated for. Adventure, peril, Interplan police at work, a secret and dangerous trip to Mars in which his life was at stake – everything he had wanted as a false memory. The advantages of it being a memory – and nothing more – could now be appreciated.”

We Can Remember It For You Wholesale (1966)

Douglas Quaid: “I just had a terrible thought… what if this is a dream?”

Total Recall (1990)

It is an all too common story. Or rather, it isn’t. A man dreams of going to Mars. This being the future he could actually achieve this in theory, but the planet is off limits to everyone except ‘Government officials and high officials’. Our hero Douglas Quail is nothing more than a lowly pen pusher, and being unable to afford the trip goes for a cheaper option: having false memories deliberately implanted into his brain by a company called REKAL. Quail will feel like he’s had the experience of enjoying a ‘James Bond in space’-style fantasy adventure as a secret agent on Mars, without ever having actually been there.

From the beginning of Dick’s short story, ambiguity reigns. Has Quail been to REKAL’s offices already? Is he in fact already a secret agent being controlled by REKAL, or is this just part of a carefully constructed fantasy too?

Paul Verhoeven’s 1990 film adaptation of We Can Remember It For You Wholesale, Total Recall, picks up the initial concept and runs with it. Dick’s story remains only in essence, but in essence it is always there. Changes were made: Doug Quail becomes Doug Quaid, presumably because Quaid (like the actor Dennis Quaid) was a cooler name than Quail which in 1990 would have reminded people of the much mocked US Vice President, Dan Quayle.

Schwarzenegger’s hero now also becomes a construction worker, doubtless in recognition of Arnie’s unusually muscular physique. Yet even the notion of Arnie as a loser (or more accurately as the sort of ordinary Joe he appears to be at the start of the film) still takes a bit of swallowing, particularly as he’s married to someone who looks like Sharon Stone.

The film had a long gestation period with actors as diverse as Richard Dreyfus, Patrick Swayze and William Hurt all being considered for the lead role before Schwarzenegger stepped in and hired Verhoeven. The source material was not obvious cinematic gold either, being one one of 120 Philip K Dick short stories. The only significant previous Dick adaptation was Blade Runner, at that point still considered a flop whose reputation was only slowly starting to rise. It is easy to see why filmmakers might have been wary.

The end result is less cerebral than the short story. Packed with action, violence, special effects and typical Schwarzenegger one liners. “Consider this a divorce!” is memorably uttered, seconds before Quaid guns down his wife, or perhaps ‘wife’). Total Recall was in contention to be one of the most expensive films ever made up until that point, and it went on to be a smash hit at the box office. Although I would be wary of advising any readers to type the words “Dick films biggest gross” into a search engine to check this, it is a fact that on inflation-adjusted figures, Total Recall is the biggest commercial success from Dick’s oeuvre, surpassing that of Spielberg’s Minority Report in the following decade.

For like Verhoeven’s later sci-fi based on Robert Heinlein’s book Starship Troopers (1999), or if you’re a fan of politician Boris Johnson, Total Recall manages the clever trick of being both silly and clever at the same time. While it seems likely the intelligence underlying the film was lost on many viewers who just saw it as an Arnie shoot-’em-up set on Mars, both the film and the story tap into a long standing Dick preoccupation: the idea that there is another reality underlying our own.

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It is a concept explored again in Len Wiseman’s inoffensive but unnecessary remake of Total Recall (2012) starring Colin Farrell and Kate Beckinsale. It is also touched upon in some of Dick’s other works, notably Do Androids Dream of Electric Sheep? (1968) and the less well known Flow My Tears, The Policeman Said (1974). The latter is a novel in which the main character, famous TV star Jason Taverner, wakes up to find that the world he lives in has forgotten him. Indeed, it is as if he has never existed. Colin Farrell would briefly experience the same thing after appearing in Oliver Stone’s Alexander later in the decade.

The idea has had an impact on cinema way beyond straight adaptations of Dick’s work too. For example, in The Matrix (1999) in which Keanu Reeves’ hero discovers that reality as we know it is merely a façade shielding us from a far more horrible existence. Michel Gondry’s Eternal Sunshine of the Spotless Mind (2002) sees a young couple, played by Jim Carrey and Kate Winslet, deliberately choosing to have all memories of their relationship erased following a bad break up. Soon, without even realising that they have met before, they meet and fall in love all over again. Peter Weir’s The Truman Show (1999) sees the main character Truman Burbank, also played by Jim Carrey, slowly begin to realise that his apparently ordinary suburban life is in fact an elaborate construct for a reality TV show watched by millions since his birth.

Original stories? Of course. But they all owe a debt to Philip K Dick.

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What if…? Alternative worlds

Few of us will ever forget the terrible history of the end of the second World War. With Franklin Roosevelt assassinated in 1933, the United States proved unable to defeat Germany and Japan. The former USA was thereafter divided between the Japanese established Pacific States of America in the west and the Nazi-controlled former eastern states.

Of course, this isn’t what happened. Roosevelt in fact narrowly survived an assassination attempt shortly before his first inauguration. The Mayor of New York sitting next to the President Elect heard the gunshots and immediately stood up. He was shot and killed. Roosevelt, crippled by polio and thus, unable to stand, remained seated and survived. And (spoiler alert!) Germany and Japan lost the war.

The possibility that it might have ended in victory for the forces of Nazi Germany and imperial Japan is almost too horrendous to contemplate. Yet this very nearly happened. Little wonder then that Dick’s The Man In The High Castle (1963), one of his most acclaimed novels and now a successful Amazon Prime TV series, is only one of a number of stories which explores this theme.

Robert Harris’ novel Fatherland (1992) for example, imagines a Nazi occupied Britain in which the dethroned King Edward VIII (he of the abdication crisis) had been reinstalled by the Nazis, receptive to the King’s fascist sympathies. Set in 1964, with Hitler preparing to celebrate his 75th birthday, the US president in this world is Kennedy. Not the famous JFK, but his father Joseph P Kennedy, who in our reality had seen his own political career flounder due to his anti-British and pro-appeasement tendencies during the war. In Harris’ world appeasing the Third Reich is still fashionable into the 1960s, much to the ageing (and corrupt) JPK’s advantage. Similarly, CJ Sansom’s novel Dominion (2012) sees Churchill crucially failing to become leader in 1940. The Prime Minister Lord Halifax ends up making peace with the Nazis after the British leadership loses its nerve in the face of apparent certain defeat in 1940. The war is thus dramatically shortened, but peace comes at a terrible price. Finally, Philip Roth’s acclaimed The Plot Against America (2004) sees the US coming under the fascist spell when the popular but pro-Nazi aviator Charles Lindbergh unexpectedly wins the presidency in 1940, beating Roosevelt.

The Man In The High Castle predates all of these, but certainly was not the first book of its type either. Dick in fact seems to have been directly inspired by a combination of the revived interest in the Third Reich brought on by the high profile trial of the leading Nazi Adolf Eichmann, captured and ultimately executed in the early 1960s, and by a book by Ward Moore called Bring The Jubilee. This 1953 novel envisaged what might have happened had the Southern Confederacy rather than the Union won the American Civil War of the 1860s. This ultimately leads to Germany beating Britain and France in a shortened version of the First World War and the 20th Century world becoming divided between American Confederate rule and a German empire.

Dick’s The Man In The High Castle was to be one of his biggest successes. It also features a novel within a novel entitled The Grasshopper Lies Heavy which imagines what the world would be like had the Allies won the war after all. Even this differs from what actually happened, Churchill remaining in power after the war (in fact he returned to power only in 1951, having been defeated in the 1945 election) and the 1949 Communist takeover in China never occurs.

Like most Dick adaptations, the TV series follows his writing quite loosely (the USA becoming a victim of atomic attack for one thing) and this seems likely to continue with a second season in the pipeline. But the essence of Dick’s vision: a living, breathing, authentic alternative world is apparent in every scene.

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Dystopia Limited

Regular Geeky Monkey readers will have already read an extensive feature on the making of Blade Runner in issue three (you can get a back issue from http://www.get-geeky.today). Despite this, it should be emphasised what an impact the collective vision of Philip K Dick and director Ridley Scott had on subsequent filmmakers.

We are now in 2016 and thus only three years away from the 2019 setting of the film, and while the Replicants and (as with Back To The Future Part II) flying cars are unlikely to become a reality by then, in other respects the film seems eerily prescient. Dick, who had set the novel in 1992, never lived to see the completed film, but was pleased with what he saw of Scott’s polluted neo-noir dystopian vision during his final months.

It is true, Dick can hardly be credited with inventing the notion of a dystopia. But despite the inherent pessimism of much of Seventies cinema (a time when it was quite normal for many films to have unhappy endings), much of the sci-fi scene in the early Eighties was still surprisingly optimistic. The visions of the future presented in the Star Trek or Star Wars films were all for the most part upbeat. The authentic-looking heavily polluted gloom of Blade Runner was, ironically, a breath of fresh air.

1982 was a big year for box office flops for seemingly every film except ET: The Extra Terrestrial. Blade Runner joined The Thing and Tron among the box office failures. The author was now dead and the prospect of more Dick adaptations initially seemed slim.

In an act three twist no one saw coming, the years ahead would see Blade Runner’s reputation slowly rise and its influence grow. The film has been credited with influencing everything from Terry Gilliam’s Brazil (1985), Akira (1987), Kathryn Bigelow’s Millennium-set virtual reality drama Strange Days (1995), Alex Proyas’s Dark City (1998), Neil Blomkamp’s District 9 (2009) and Alfonso Cuaron’s Children of Men (2006).

Second Variety (1953) was another Dick story bought for movie rights before his death, but was slower to make it to the screen. Screamers (1995) starring Robocop’s Peter Weller focuses on soldiers being pursued by manmade machines designed to destroy them in the late 21st Century. Although badly received on its release, it did ultimately spawn a cult following and a sequel, Screamers: The Hunting (2009).

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The age of paranoia 

“Paranoia, in some respects, I think, is a modern day development of an ancient, archaic sense that animals still have – quarry type animals – that they’re being watched… And they’re being watched probably by something that’s going to get them… and often my characters have that feeling.”

Philip K Dick interviewed in 1974

Most people have a healthy degree of scepticism about the world around them. Dick, however, took this to unusual extremes. Initially, his paranoia seemed to have some foundation: as a young author soon after the end of the McCarthy era anti-communist witch-hunts, he was visited several times by FBI agents. This despite the fact Dick himself was never overly political, although he was enjoying something of a beatnik existence at that time.

Later he began to use amphetamines heavily and his mental health (though not his creative abilities) began to decline. By the early 1970s, according to his biographer Anthony Peake in A Life Of Philip K Dick: The Man Who Remembered The Future he was, “Extremely paranoid, believing at different times that communists, Nazis and the FBI were on his trail.”

Dick’s visions and hallucinations are too many and varied to detail here. While undeniably interesting – he once believed he saw a giant head floating in the sky, another recurring theme was a vision of a pink beam of light – they are really only relevant insofar as they influenced his work and increasingly turbulent domestic life. This probably peaked in an incident in which the author appears to have burgled his own house (what exactly happened will probably never fully be known).

Not surprisingly, this paranoid tendency was soon reflected in his work. The Adjustment Bureau (2011) is only based very loosely on the early Dick short story The Adjustment Team (1953) but both feature the recurring motif of the course of reality being determined by powerful external forces beyond human control. In the case of the film the mysterious bureau men and the lives of ambitious young politician David Norris (Matt Damon and his new girlfriend Ellise played by Emily Blunt).

This sense of paranoia extends into Minority Report (later filmed by Steven Spielberg with Tom Cruise and Colin Farrell, the future star of the Total Recall remake) in which a society has managed to eliminate crime through the deployment of pre-cog psychics. They are able to predict crimes before they occur and thus prevent them from ever actually happening. This early Dick story is one of the most successful adaptations, although a recent attempt to make a TV series flopped. Richard Linklater’s animated A Scanner Darkly (2006) based on the 1970s novel also reflected strongly Dick’s descent into drug culture.

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Listen up Philip: PDK in the 21st Century 

“My God, my life is exactly like the plot of any one of ten of my novels or stories. Even down to fake memories and identity,” Dick once admitted. “I’m a protagonist from one of PKD’s books.”

Philip K Dick died only a few months before the first major adaptation of any of his works, Blade Runner, was released. Not all of Dick’s works have translated well to the screen. Paycheck (2003) sees Ben Affleck undergo a memory wipe, tackling similar themes to Total Recall. Next (2007) starring Nicolas Cage as a man employed by the FBI to predict and prevent terrorist attacks is only very loosely based on the Dick story The Golden Man.

While his novels and stories are undoubtedly still widely read, a second series of The Man In The High Castle already underway for 2016 and a Blade Runner sequel starring Harrison Ford and Ryan Gosling coming in 2018, it is clear the screen has given his work a new lease of life. This is only fitting. For with most of his work still potentially ripe for adaptation, it is possible we could be seeing more Philip K Dick adapted films and TV series for many decades to come.

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What’s in a name? 

Why is Blade Runner called Blade Runner? It’s a fair question. There is, after all, no reference to the term in either the book or the film. Deckard is only ever referred to as a bounty hunter and Replicants are not mentioned by that name in the book at all. It is easy to see why director Ridley Scott wanted to condense the memorable but cumbersome Do Androids Dream Of Electric Sheep? but why Blade Runner?

In fact, The Bladerunner was the name of a book by Alan J Nourse from 1974 which Dick’s friend, celebrated Naked Lunch author William Burroughs, had written a treatment for a movie version of called Blade Runner (a movie). In Nourses’s book, the title made sense as the main character ran ‘blades’ as part of a futuristic black market medical supply operation. To cut a long story short, the film never got made but Ridley Scott loved the name and bought the rights to it.

Dick had very nearly called the book The Electric Toad, Do Androids Dream? or oddest of all The Killers Are Among Us Cried Rick Deckard To The Special Men. The book also had a strong influence on the 2000AD comic story Robohunter which was created before Scott’s film in 1978.

Philip K Dick, it is fair to say, had a flare for an unusual title. Among his many novels are The Man Who Japed (1955), Dr Bloodmoney or How We Got Along After The Bomb (1965), The Three Stigmata of Palmer Eldritch (1965), Flow My Tears, The Policeman Said (1970), The Man Whose Teeth Were All Exactly Alike (1970) and Humpty Dumpty in Oakland (published posthumously in 1986).

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Paycheck! 

Some are great, some are bad. But which of Philip K Dick’s movies have done the best at the box office?

(Source: Box Office Mojo, March 2016)

Worldwide total grossing opening weekend figures, in millions of US dollars, unadjusted for inflation.

  1. Minority Report (2002) $358.4
  2. Total Recall (1990) $261.3
  3. Total Recall (2012) $198.5
  4. The Adjustment Bureau (2011) $127.9
  5. Paycheck (2003) $96.3
  6. Next (2007) $76.1
  7. Blade Runner (1982) $27.6
  8. Impostor (2002) $8.1
  9. A Scanner Darkly (2006) $7.7

Total:$1,161.7

Average:$129.1

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Film review: Ghost In The Shell

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Ghost in the Shell is out now on Digital Download.

106 minutes

Directed by: Rupert Sanders

Stars: Scarlett Johansson, Michael Carmen Pitt, Pilou Asbaek, Chin Han, Juliette Binoche

First, the good news: in 2017, for the first time ever a superhero film starring a genuine actual woman person proved a big hit at the box office.

However, it wasn’t Ghost in the Shell. It was Wonder Woman.

The mystery, of course, is not so much why this happened but why this hadn’t happened before. There are a few possible explanations:

Explanation 1: Cinema audiences are all similar in character to Donald Trump. They claim to like women but secretly fear and despise them (even the ones who are female themselves): Happily, FALSE. Resident Evil, Underworld, Tomb Raider and other female-led non-superhero films have done well with audiences after all. As did Wonder Woman…

Explanation 2: No one outside the Geekzone knew about characters like Elektra, Aeon Flux, Catwoman and the franchise Ghost in the Shell. Everyone knows Wonder Woman: Probably TRUE, yes. Except in the case of Catwoman, who everyone knew but which was truly dreadful.

Explanation 3: That’s just it! Wonder Woman was actually good. All those other films were bad! Surprisingly, this is generally TRUE too (although Ghost in the Shell, as we shall see, isn’t bad). But why should this be…?

Explanation 4: Women are just bad at playing superheroes. FALSE! Garner, Theron, Johansson were and are all good actresses. It’s not just Gil Gadot, great as she is.

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Explanation 5: Filmmakers really haven’t got the knack of making superhero films for women until now. Oddly, this is more likely to be the explanation than anything else.

Perhaps I am wrong to group Ghost In The Shell alongside these other films. It is arguably a different kettle of fish. It is science fiction, a direct remake of the Japanese anime which is  in fact one of the most successful animes there has ever been. it’s Blade Runner type setting is reasonably visually impressive and the film is certainly action packed. Johansson is fine as the synthetic human who has been transformed into an anti-terrorist operative  although it is difficult to reject the widespread criticism that an Asian actress would have been more suitable for the part.

Ghost In The Shell is never awful but it isn’t especially original, lacks a sense of humour and is sometimes quite boring. Great films do sometimes fail at the box office. This did fail but ultimately really isn’t great.

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Star Wars book reviews: 2017

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Let’s face it: here is something about Star Wars. Nothing compares to it. It is simultaneously one of the biggest films of all time and a cult favourite. These reviews cover just a small sample of the huge range of Star Wars books released (mostly) in the past year. 2017 is, of course, the 40th anniversary of the original film’s release. The strange thing is none  of these books are even being released because of that. There are always just lots of Star Wars books being released anyway and these are some of them.

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Art of Colouring: Rogue One A Star Wars Story and Star Wars Rogue One Profiles And Pictures have both been released by Egmont to capitalise on the success of the recent mildly enjoyable Rogue One film. The colouring book has its weaknesses -why would any one want too colour in storm troopers who are black and white anyway? – but both are otherwise competent enough. Make Your Own U-Wing (also Egmont) similarly does exactly what it says on the tin.

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A more philosophical supposedly grown-up approach to the franchise is taken by former Obama Administration official Cass R. Sunstein in The World According To Star Wars (pub: William Morrow). It is good but mostly quite silly.

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By far the best book on the history of the franchise here and indeed, perhaps anywhere,  is Chris Taylor’s How Star Wars Conquered The Universe (Head Zeus, 2015). Utterly absorbing and totally comprehensive.

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Finally, before her untimely death last year, Carrie Fisher’s memoir The Princess Diarist (Bantam Press, 2016) generated a disturbance in the Force by revealing the then teenage actress’s on set affair with Han Solo actor Harrison Ford, then in his thirties and nearing the end of his first marriage.

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“I love you!” “I know!” is the couple’s famous exchange in the film. And we should know  too. The affair had already been referred to in Chris Taylor’s book mentioned above. This was published some time before Carrie Fisher’s confession. Why did nobody pick up on it then?

Fisher’s final book is not really a fitting tribute to the late author’s formidable talent. The diary extracts written by her younger self are not really fit for publication. The rest is lightweight fare from a great writer on lazy form.

Ultimately, though, consider this: no books have been released entitled How Smokey and the Bandit Conquered The Universe. Or How Annie Hall Conquered The Universe. Or How Saturday Night Fever Conquered The Universe.

Why? Because Star Wars is utterly unique. Truly, a Force unto itself.

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Book review: Magic Words: The Extraordinary Life of Alan Moore

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In 1978, Alan Moore decided to quit the job at the Northampton gas board and dedicate himself full time to breaking into the comics industry as a writer. It was a high risk strategy. He was twenty-four years old and his young wife was pregnant. But Moore saw it as his last chance to exchange a job he hated for a career he loved.

Success came slowly with occasional one-off stories (Tharg’s Futureshocks) in the new science fiction comic 2000AD. Later, came Skizz, D.R. and Quinch and my own personal favourite, The Ballad of Halo Jones. More success came through the short lived and inappropriately titled Warrior comic (it was not war-related at all). Moore provided the backbone to the comic between 1982 and 1985, most famously with V For Vendetta, set in a late 1990s futuristic fascist dystopia. He also wrote Marvelman, now known as Miracleman, a promising superhero strip derailed by a legal dispute with Marvel Comics. This proved an forerunner to his greatest success, DC’s The Watchmen.

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Today, Alan Moore is still in Northampton, in his sixties and is renowned as one of the most successful comic writers ever albeit one with a bit of reputation for disputes with his employers or prospective filmmakers attempting to adapt his works (Moore has famously never seen any of the four films directly based on his own comics).

His fascinating story is detailed thoroughly by the always excellent Lance Parkin in this comprehensive biography.

Magic Words: The Extraordinary Life of Alan Moore by Lance Parkin, published by Aurum Press (2013)

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Book review: The Impossible Has Happened by Lance Parkin

The Impossible Has Happened

The Impossible Has Happened: The Life and Work of Gene Roddenberry, Creator of Star Trek. Author: Lance Parkin. Aurum Press. Published: July 21st 2016.

It has been fifty years since the creation of Star Trek and the franchise is undeniably going strong. A new film and a new TV series are both scheduled to appear later this year.

Twenty five years after his death, the reputation of the series creator Gene Roddenberry is more uncertain. On the one hand, he has been subject to a personality cult almost as elaborate as that surrounding Scientology creator and sci-fi author. On the other hand, he has been demonised as a fraud, a philanderer and a phoney. The truth, as usual, lies somewhere in between.

He was born in 1921 and served with distinction as a pilot in the Second World War. After the war, ironically he came very close to death in a Pan Am air crash which killed seven people in 1947. He served in the US police force drifting into TV writing and creating one non-Star Trek series, a police-themed one called The Lieutenant. He then created Star Trek which ran for three series between 1966 and 1968. At the time, it was neither very successful or a failure. Mission Impossible which ran at about the same time was probably more successful. Leonard Nimoy indeed joined the Mission Impossible cast after Star Trek ended. But unexpectedly, Star Trek became a huge success after it had ended through syndicated repeat showings. The show grew and grew and grew.

Many of the myths surrounding Star Trek seem to come from stories Roddenberry himself told at science fiction conventions in the 1970s. Some had the commendable aim of consolidating a following for the series but others clearly had more to do with Roddenberry’s ego. Yes, the series did end after three series but Roddenberry’s claims that it was ended unfairly by small-minded producers don’t add up. It was no longer profitable and the last series was significantly worse than the others. Roddenberry also subsequently exaggerated his own role as a champion of equality and civil rights claiming falsely that he fought narrow minded studio heads over the issue In fact, though he wasn’t racist by mid-20th century standards, the 1960s series only ever featured as many other minorities as most other US TV series of the time. Nichelle Nicholls’ Uhura, for example, was barely ever given anything important to do. She was one of many women Roddenberry had affairs with and in truth, the original series really didn’t have a progressive role towards women at all.

Leonard Nimoy certainly grew to hate Roddenberry. The man would often claim sole credit for the success of the series, ignoring the contribution of many others. He had no role at all in the making of the most acclaimed film 1982’s The Wrath of Khan (which he hated) and his own increasingly drunken, ageing cocaine-addled influence partly explains why the ultimately excellent Next Generation series had such a dull start.

Author Lance Parkin provides a balanced portrait of a man who for all his many flaws took TV on a journey where no one had gone before.

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Blu-ray review: High-Rise

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Starring: Tom Hiddleston, Sienna Miller, Jeremy Irons, Keeley Hawes, Elisabeth Moss, Reece Shearsmith. Director: Ben Wheatley. Released: June 18th 2016.Studio Canal

Anarchy has often made material for some surprisingly dull films.

As exciting (or depending on your viewpoint) terrifying as a good riot may be, its difficult to maintain the sustained energy of a genuine rumpus for long on screen. It’s true Quadrophenia was enlivened by a memorable battle between Mods and Rockers while Spike Lee’s Do The Right Thing was essentially all a big build up to an urban riot. But JG Ballard’s celebrated 1975 dystopian drama High-Rise is all about a riot: essentially a sky rise building’s not so gradual descent into violence and barbarism. How long can a film continue to shock, titillate and surprise you over a two hour period?

Quite a lot as it happens. Hot British director Ben Wheatley (Sightseers) is in many ways a perfect fit for this sort of thing and ably assisted by a cast of beautiful and not so beautiful people, this just about works while never quite scaling the heights of a novel which has influenced everything from the Blockmania of Judge Dredd to David Cronenberg’s early tower block based horror Shivers.

Indeed, as the accompanying featurette on author JG Ballard reminds us, Cronenberg is one of a number of directors (along with Spielberg) to tackle the late author’s books before. Set in a futuristic version of the Britain of the 1970s and featuring audio commentaries and interviews with cast and crew, High-Rise probably won’t be your favourite film of this year. But it will probably be one of the more interesting.

 

 

Book review: Star Wars latest Egmont titles

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Some of you may not like to hear this, but Star Wars is to some extent supposed to be for children. How else do you explain the Ewoks? Jar Jar Binks? Cast your minds back: Who are the stars of the opening scenes of the original film? Luke? Obi Wan? No. C3PO and R2D2. Doubtless you yourself were a child when you were first sucked in by the Force. It is thus hardly surprising then that the franchise (now ultimately ran by Disney) is still keen to attract as young audience.

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With this in mind, Egmont Publishing have released the following three books aimed at children of eight and above in a new series entitled Adventures In Wild Space. These focus on Milo and Lina Graf who embark on a perilous journey across space to rescue their parents who have been kidnapped by agents of the Empire. The action takes place between the events of Revenge of the Sith (the last and best of the three prequels) and A New Hope (otherwise known as the”first” one). All three books are good fun and have pictures throughout.

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They are:

Star Wars: Adventures In Wild Space: The Snare by Cavan Scott

Star Wars: Adventures In Wild Space: The Nest by Tom Huddleston

Star Wars: Adventures In Wild Space: The Escape by Cavan Scott (a prequel to the other two books, in true confusing Star Wars style).

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Also released, are a novelisation of The Force Awakens by Michael Kogge, a picture book version of the same recent enjoyable film and a fun flap-lifting interactive book set in the Star Wars universe, Bounty Hunt.

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Book review: 2001: A Space Odyssey

Book review: 2001: A Space Odyssey.

By Arthur C. Clarke.

Illustrations by Joe Wilson.

Published by The Folio Society.

All illustrations from The Folio Society edition of 2001: A Space Odyssey.

. © JoeWilson2016

2001: A Space Odyssey is a long film. Having experienced both it and the actual year 2001, it must be said the film seemed the longer of the two.

In summary: Music. Prehistoric ape men throwing bones into the air. Spaceships moving very slowly to classical music. Leonard Rossiter. The excellent HAL shutdown sequence. The space baby bit which nobody really understands. Many hippies came away in 1968 thinking they had seen the best film ever made. Perhaps they were right. No one had after all, seen Timecop then.

Some muse that the film proves that director Stanley Kubrick helped fake the Apollo 11 moon landings the following year. This seems unlikely. Kubrick was after all a very meticulous director, famous for insisting upon multiple takes. If he had been hired to film the moon landings, they would probably still be being filmed.

This is not the film, however, it is Arthur C. Clarke’s much more palatable book, illustrated for the first time (by artist Joe Wilson). It is not a predictive text. Having cleverly predicted the moon landings would be in 1970 (he made the prediction in 1945 and was only one year out!) Clarke seems to have been about a century out at least in predicting how advanced we would be by 2001. Anyone hoping for the discovery of a giant space baby in that year would have been sorely disappointed.

But this is ultimately an enjoyable and nicely illustrated read. Scoring it out of 2,500, I would unhesitatingly give it…2001.