During the ’70s and early ’80s photo novels (sometimes called movie novels) were popular movie or TV tie-in book adaptations. Following the format of a comic book, these adaptations used picture stills instead of artwork to tell a story. Either word balloons or off-panel dialogue were used and the photo novels were an innovative concept that didn’t go for the traditional adaptation that were sometimes a chore to read.
In an age before the VCR or DVD or even the digital download these books were great for fans who wanted to relive in a small way the experience of watching their favorite film or TV show. And there were hundreds of stills that were never seen before. The best books were the large format adaptations of Alien and Outland since the larger book size meant the pictures were bigger. Of course, the trade off was the cover price ($8.95 for Alien as opposed to $2.95 for Star Trek: The Motion Picture!).
Sadly, as new technologies emerged and print costs went up these types of books were discontinued in the early ’80s, although one was made for The Blair Witch Project in 2000. Many knew something was amiss when the Star Trek II: The Wrath Of Khan photo novel came out in black and white. The obvious reasoning behind this move was to cut production costs while keeping the book at a reasonable price for consumers. While it featured terrific and rare stills from the movie, the thing wasn’t in color and not visually appealing.
On a side note, photo novels are still produced for online viewing. The BBC’s website has several for Classic Doctor Who stories. There are also fan-made and professional photo novels with original stories that are online for Star Wars and other properties. Comic book artist and writer John Byrne announced in June this year of his intent to make an original Star Trek photo novel.
There weren’t many photo novels produced (no Star Wars, darn it!) during its heyday, but they are great collectibles for anyone who can find them or unforgettable gifts for fans.
The list includes: Alien, Buck Rogers In The 25th Century (the pilot TV film released in theaters), Close Encounters Of The Third Kind, Outland, The Lord Of The Rings (the animated version), Invasion Of The Body Snatchers (the 1978 remake), The Rocky Horror Picture Show, Star Trek: The Motion Picture, Star Trek II: The Wrath Of Khan, The Incredible Hulk (TV pilot), Battlestar Galactica (the TV pilot), and assorted Star Trek episodes (“Amok Time”, “The Trouble With The Tribbles”, The Deadly Years”, among others).
Doctor Who fans are still aglow over the recent fiftieth anniversary special “The Day Of The Doctor”, and for good reason! It was inventive, frenetic and most of all it was downright cool in so many ways. More importantly, “The Day Of The Doctor” was a loving tribute to the fifty-year-old program
Who’s Who?
For anyone who hasn’t watched, Doctor Who is about the adventures of a time-traveling alien called the Doctor, who can go anywhere in time and space. As a Time Lord, he often winds up in some misadventure while defending Earth and is accompanied by a long line of (mostly) human Companions. When the show first aired in the BBC back in 1963, it was more pedestrian than the madcap pace exuberated by the modern show. The Doctor was played by William Hartnell, a distinguished older actor who was more cerebral and sedate than his successors. Doctor Who was always plagued by low budgets and production values, which didn’t help its stature of being a children’s show. Still, it had an unmistakable charm and its youthful audiences loved the show. This happened after the show began steering away from historical dramas and introduced goofy aliens that were played by actors in bargain-basement costumes.
This status stayed with the show for many years and over many incarnations of the Doctor. You see, once Hartnell left the program in 1966, he was ingeniously recast. The Doctor was an alien, so it was established that he could regenerate into another person at the time of his death. Each Doctor that followed him was more and more outrageous in demeanor and attire, probably culminating in Colin Baker’s eye-hurting, multi-colored waist coat and his flamboyantly overbearing behavior. But this concept allowed each actor to add his own touch to the character, making the Doctor a rather complex person for this kind of show. It was probably why Doctor Who began to catch on past the kids.
The first significant introduction to American audiences of Doctor Who was the Tom Baker era from 1974 to 1981. His Doctor was distinguished by an overlong, multicolored scarf, and a huge afro. While he was quite daffy, Baker’s Doctor exhibited a cunning, intellectual side that was masked by his eccentric behavior. Still, the show was bogged down with horrible special effects and production values. While the show won many fans, there were just as many who dismissed Doctor Who as kiddie fare.
Eventually, Doctor Who was cancelled in 1989 and the property laid dormant until 1996 when Fox aired a TV movie pilot that attempted to jumpstart the franchise. The film was actually good, but controversial with many longtime fans, who bemoaned the semi-reboot. For instance, the Doctor revealed he was half-human and shockingly enough he had a romantic moment with his Companion. Egad! Sure, it sounds silly but fans can be recalcitrant whenever changes are made. The movie didn’t lead to a series and so the attempt at restarting the franchise was stillborn.
Who’s Back
But like any good intellectual property, Doctor Who refused to die. Finally in 2005, a brand new series was launched that rejuvenated the stale franchise. Now Doctor Who had updated effects, the characters were dynamic and relatable and the stories were more adult. The ramifications and intricacies of time travel were explored in episodes like “Father’s Day”, “Blink”, and “The Name Of The Doctor”. Others had outlandish plots best explained by their episode titles–”The Stolen Earth”, “Dinosaurs On A Spaceship” and “Let’s Kill Hitler”. Some others where actually heartfelt like “The Doctor’s Wife” where the Doctor’s spaceship attained a corporeal, sentient form . To its credit, the show still retained its sense of whimsy and charm. Episodes featured many unique images like the Doctor soaring through the air in a carriage pulled by a flying great white shark (!), or him and his Companion riding a motorcycle up a glass tower. For every lighthearted episode, there were those that were quite chilling, adventurous, wondrous, and more importantly, thought provoking.
A very important change made to the modern Doctor Who is that the Doctor is the last of his kind. His race, from the planet Gallifrey, along with their mortal enemies, the Daleks, had died off fighting in a Time War. The Doctor, as played by Christopher Eccleston, was more morose and subdued. It was even reflected in his dark attire. He was clearly suffering from survivor’s guilt and was wracked by what he did in the Time War (it was revealed that he destroyed both races). However, by the end of his run, Eccleston’s Doctor (the Ninth Doctor) seemed to be recovering thanks to the help of his Companions Rose Tyler (Billie Piper) and Captain Jack Harkness (John Barrowman).
Edgier, More Emotional Doctors
This change into a more optimistic demeanor was fully expressed with the next Doctor brilliantly portrayed by David Tennant. The Tenth Doctor was exploding with youthful energy and charm. He often rambled on at a mile per second and had an impish way about him. One couldn’t help but be delighted by his antics. Yet, the Tenth Doctor once in a while unmasked a haunted and frightful demeanor that was unsettling to watch. This was underlined by Tennant’s ability to convey someone who was much older than he appeared.
His successor Matt Smith also had this uncanny ability. But, being that he was the youngest person to portray the Doctor, that ancient quality shown in his eyes and mannerisms added to the dichotomy of the Doctor. Now that Peter Capaldi will be the new Doctor come the next Christmas special (“The Time Of The Doctor”), some of his conflicting aspect will be toned down since Capaldi is an older actor.
But what does that mean for Clara Oswald (Jenna Coleman)? She will seem more like a daughter next to Capaldi. It’s doubtful there will be any romantic tension a la Rose Tyler, who started falling for the Tenth Doctor once he came into the picture. Perhaps Clara will soon leave the show. However, River Song (Alex Kingston) seems more compatible with Capaldi’s Doctor since the actress is closer in age to him.
I really wanted to like Marvel’s Agents Of S.H.I.E.L.D., I really did. But after seeing a few episodes of the new series on ABC I have to admit that the show is a subpar, uninvolving disappointment.
Agents Of S.H.I.E.L.D. has many things going for it, at least on paper. Start with executive producer Joss Whedon, who created the great TV shows Firefly and Buffy, The Vampire Slayer. He directed the pilot episode and the megahit film The Avengers and he is one of the driving forces behind the show. For fans, it’s clearly set in the Marvel Cinematic Universe with its many references and name drops from various Marvel films. Also, the star of the show is fan-favorite Special Agent Phil Coulson (Clark Gregg), who turns up alive and well despite being apparently killed by Loki in The Avengers. That’s about it in terms of what’s good with the program.
The problem with Agents of S.H.I.E.L.D. is that it commits two cardinal sins for genre fans; it’s dull and it’s a procedural-type of show. There are plenty of shows polluting the networks that are just like this one. Here’s the formula: the characters investigate some kind of crime, enter some forgettable guest stars, have everyone speaking in tech-ess that tunes out viewers and add in the Whedon touches. That would be adorably cute and perky female characters and actors speaking in a staged, witty manner. We’ve seen it all before and done better. Plus, in each episode there is an air of whimsy and lightness that doesn’t gibe with the situation in that world. What’s worse is that the light tone undercuts any sense of danger that is so badly needed with the episodes.
Agents Of S.H.I.E.L.D. takes place shortly after the movie, The Avengers. Society is dealing with the fact that superheroes and aliens exist in the world. S.H.I.E.L.D. (Strategic Homeland Intervention, Enforcement and Logistics Division) is a multinational agency that is a major player in the espionage field. Phil Coulson, who appeared in most of the Marvel Cinematic Universe films, puts together a special task force to confront supernormal threats to world peace and security. On his team are veteran agents Melinda May (Ming-Na Wen), Grant Ward (Brett Dalton), two scientists/engineers–Leo Fitz (Iain De Caestecker) and Emma Simmons (Elizabeth Hentsridge)–and the newest S.H.I.E.L.D. recruit, a hacker called Skye (Chloe Bennet). Continue reading →
Editor’s Note: For those of you who haven’t visited our other site Deadloggers, here’s a brief recap of the second half of the third season of The Walking Dead…
The Summit
Episode Thirteen: In the pre-credits scene of The Walking Dead’s thirteenth third season episode, “Arrow at the Doorpost”, Rick Grimes (Andrew Lincoln), Daryl Dixon (Norman Reedus), and Hershel Greene (Scott Wilson) pull up to a deserted farm complex. While Hershel stays in the car as a lookout, readying his weapons, the other two jump out. Moving stealthily through the weeds, they sneak around the silos and storage towers until they come to an abandoned feed store. Rick enters, pistol drawn, looking around carefully until he sees the reason for his visit. It’s a pre-arranged summit with the Governor (David Morrissey)…
Post-credits, the Governor removes his gun belt an act of goodwill, and sits at a table, discreetly verifying a concealed hidden pistol; Rick remains standing, refusing to holster his pistol. Before any discussions begin, Andrea (Laurie Holden) arrives with Martinez (José Pablo Cantillo) and a grumpy-looking Milton (Dallas Roberts), and barges in to the meeting. Playing the role of peacemaker, she explains why she initiated the summit:
“Too many people have died for no reason. Let’s end this. Save the bullets for the real threat. We can solve this. That’s why I asked you to come here.”
Rick ignores Andrea and takes the offensive, explaining to the Governor that he is aware of the severed walker heads, the raids, and the incident with Maggie (Lauren Cohan) in episode seven, “When the Dead Come Knocking”. The Governor deftly brushes it aside, blaming Merle (Michael Rooker), and proclaims his desire to “move forward”. The two adversaries get to the issues. Showing the Governor a map, Andrea and Rick announce a demarcation line, of which each party will not cross. The Governor laughs and tosses the map aside, announcing that he is attending the meeting for one purpose: for Rick’s surrender. Demanding that Andrea step outside – she obeys, leaving in a huff–the two continue the battle of wills. The Governor
remains calm and relaxed against the edgier Rick, and comes up with superbly manipulative answers for all Rick’s accusations.
Rick fires back with insults, accusing the Governor of being the “town drunk”, not a leader, for his lack of control over Merle. The Governor immediately takes the negotiation to a darker level, chipping away at Rick’s weak spot by raising the issue of his baby daughter. Rick is hit hard and begins to lose focus…
Please click on the link to Deadloggers to continue reading about Episode Thirteen.
The Stalking Game
Episode Fourteen: The pre-credits scene of the episode, “Prey”, opens with Michonne (Danina Gurai) and Andrea on the road in a pre-Woodbury flashback. Resting for the night, they hunker down by the campfire, eating. The gurgling of Michonne’s pet walkers – chained to a nearby tree – piques Andrea’s curiosity about where the creatures came from. Asking Michonne if they attacked her, or if she knew them, Michonne replies – hissing her answer – that they deserve what they got and weren’t human to begin with. Cut to the present as the Governor labors, in a grisly inner dungeon, at testing chains. Like a man possessed, he grits his teeth, pulling and straining as he checks their might. Finally satisfied, he stops to catch his breath. It’s clear these chains are for people…
In Woodbury, a massive arms preparation is underway as Martinez loads a jeep with assault rifles, ammo, and the .50 caliber machine gun. Learning that a huge militia force is going out to confront the survivors, Milton and Andrea stare, puzzled at what they see, but Milton downplays it as “just a precaution, a show of force”. Andrea remains unconvinced.
Meanwhile, in his dungeon, the Governor spreads out a frightening array of surgical and dental tools. Milton arrives, aghast at what the Governor calls his “workshop”, and asks how it fits into the new start that Woodbury was supposed to be for the sake of people and community. The Governor – whom Milton refers to as “Philip” – answers that it is revenge for his daughter Penny (Kylie Szymanski). Milton immediately finds Andrea, and relays the terrible news: there is no deal and the Governor plans a massacre of the prison population. Andrea knows that she must stop this but is stumped as to how. They visit the dungeon, secretly peeking through the balcony. The Governor continues arranging his torture instruments, whistling Bye Baby Bunting (the song he sang to his daughter), unaware of the two visitors. Andrea, mortified at the spectacle, knows she must assassinate him. She readies her pistol, lining up a shot…
Editor’s Note: For those of you who haven’t visited our other site Deadloggers, here’s a brief recap of the second half of the third season of The Walking Dead…
Brothers In Arms
Episode Nine: The pre-credits scene of episode nine of The Walking Dead, “The Suicide King”, opens in the fights arena as the bandaged Governor (David Morrisey) leaves Merle Dixon (Michael Rooker) and his captured brother Daryl (Norman Reedus) to slug it out to the death. The crowd, hungry for action, spurs them on. The Governor’s thugs hover around the arena with harnessed walkers –part of the sport – as Merle pulverizes his younger brother, calling out his declarations of loyalty to Woodbury. Unbeknownst to the crowd, Merle instructs Daryl to follow his lead in escaping as the two turn on the surrounding walkers. Suddenly, Rick Grimes (Andrew Lincoln) and the rescue team raid the arena, throwing smoke bombs and firing shots as they enable Daryl and Merle to slip out …
Post-credits, Merle leads the rescue team out of Woodbury, curiously leaving an open hole in the fence. They meet up with Glenn (Steven Yeun), Maggie (Lauren Cohan), and Michonne (Danai Gurira) on the outskirts. Both Michonne and Glenn are incensed that Merle has joined them and both need to be restrained due to their anger. Merle, however, seizes the opportunity to jibe Michonne, sneering a variety of politically incorrect taunts until Rick knocks him unconscious. Heading back to the prison, an argument ensues. Daryl vehemently wants his brother in the group – claiming they need the muscle against the Governor – but is against Michonne’s presence. Glenn – his face still red and bruised from Merle’s beating – is opposed to Merle but wants Michonne to stay. Rick, meanwhile opposes the presence of both. Daryl understands Rick’s thinking, and declares that Merle and him will leave the group and fend for themselves. Grabbing his gear, he joins his brother – now awake – and they disappear into the forest. Rick, meanwhile, snaps at Michonne, warning her that the moment she is patched up she is on her own…
Please click on the link to Deadloggers to continue reading about Episode Nine.
Increasing Tensions
Episode Ten: In the pre-credits scene of the episode “Home”, former sheriff’s deputy Rick Grimes takes a break from manning the prison barricades in order to scope the perimeter. Using his binoculars, he spots a few stray walkers, but then discovers an odd sight: his dead wife Lori (Sarah Wayne Callies), her back turned, standing over hers and T-Dog’s graves in the prison yard. Dressed in white, she stands erect, radiating a spectral, ethereal beauty. Rick grabs his rifle and feverishly heads out to confront her only to find her gone, having re-appeared outside the prison gates. Drenched in sweat and consumed with longing, he finally reaches her. Lori strokes his cheek as they gaze at one another, face-to-face. Michonne, alerted to this curiosity, closes the gate behind him and watches, shocked, as she realizes Rick is deep inside a powerful hallucination…
Post-credits, Andrea (Laurie Holden) visits the Governor in his Woodbury apartment and finds him apologetic and insecure over his eroding leadership skills. Complimenting her over her impromptu speech to the citizens (in the previous episode, “Made to Suffer”), he declares his plans to abdicate and offers to make her his successor. Andrea, stunned at the revelation, is speechless…
Outside the prison, the now-independent Merle and Daryl Dixon are hiking through the forest. Unsuccessful at finding food, there is growing tension and a general lack of agreement between the brothers. Daryl wants to return to the prison, although Merle assures him that the Governor has already annihilated the survivors, leaving Daryl in somewhat of a funk…
Continuing on, sweaty and gasping for air in the thick humidity, Merle continues taking shots at Daryl, this time over what he perceives are his poor navigational skills. Alerted by noises that shatter the morning calm, Merle laughs it off as animals getting intimate although Daryl recognizes it as a baby crying. Hurrying in the noise’s direction, they spot a horrifying sight: a desperate Hispanic family is trapped on a bridge, surrounded by a herd of walkers moving in for the kill. Daryl races in to help, while Merle remains behind, mocking his brother’s valiant tendencies and yelling after him to “stay put”…
During the ’70s and early ’80s photo novels (sometimes called movie novels) were popular movie or TV tie-in book adaptations. Following the format of a comic book, these adaptations used picture stills instead of artwork to tell a story. Either word balloons or off-panel dialogue were used and the photo novels were an innovative concept that didn’t go for the traditional adaptation that were sometimes a chore to read.
although one was made for The Blair Witch Project in 2000. Many knew something was amiss when the Star Trek II: The Wrath Of Khan photo novel came out in black and white. The obvious reasoning behind this move was to cut production costs while keeping the book at a reasonable price for consumers. While it featured terrific and rare stills from the movie, the thing wasn’t in color and not visually appealing.
There weren’t many photo novels produced (no Star Wars, darn it!) during its heyday, but they are great collectibles for anyone who can find them or unforgettable gifts for fans.
Starloggers 