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May's crop of book reviews hits the streets - including all those juicy DK Star Wars art books dropping out of hyperspace just in time for the Clone Wars movie. UFO Volume 1 UFO Volume 1 DVD Collector’s Edition boxset The last time I reviewed a DVD, I commented that the selling point has to be the add-ons as much as anything if you already have it on video. For the Gerry Anderson series ‘UFO’, we have some a 45 minute commentary by Anderson, deleted scenes, some unused script pages, background info about SHADO and Straker and production photos amongst the 13 episodes. In the snazzy packaging, there is also a behind the scenes booklet and 5 postcards. Plus it’s cheaper by £16 as a boxset than by buying each DVD separately. Certainly, one can’t fault the presentation of all these goodies. It’s unfortunate that the majority of it is on the first DVD. There is an apology with the deleted scenes footage in not having a soundtrack for all of it. Other than insight as to its removal having more to do with episode length, it couldn’t really be regarded as a significant loss. They are more like curios of the past than anything. In some respects, so are the photos. They give an insight into behind the scenes but I doubt at the time that anyone thought they’d ever be given a viewing 30 years later or more would have been taken. The Anderson commentary is over scenes from the first episode ‘Identified’. Much of the information is pretty much what I’ve read over the years in various interviews. Then again, I’m a fan of the show. I remember these things. Others like me are bound to find a similar experience. At least this way, there is a more permanent record that can be kept. Of the physical goodies, the postcards aren’t your normal run of the mill shots. There’s a great one of Gabrielle Drake as Gay Ellis, a downed UFO using its ray beam, George Sewell as Alec Freeman, Foster’s silver car and an unidentified Interceptor pilot. I doubt if anyone buying this set will be posting them off to anyone but does raise some speculation as to what’s in store with Volume 2. It would be nice to see more of the hardware like Skydiver, Mobiles or Moon Interceptors. As I commented above, there’s a lot of attention to detail here. About the only real error is on the back of the box where guest actress Sonia Fox is mentioned twice playing the same role which is a bit careless. If you’re a fan of the TV series, you’ll no doubt be adding this set to your collection long before you even own a DVD player. What about the episodes? Do you even know what I’ve been ranting on about for the past few paragraphs? OK, in chronological order, we have the first 13 episodes of the Gerry and Sylvia Anderson production ‘UFO’. Set in 1980 - it seemed a long time away when it was filmed in the early 70s, aliens have been invading Earth for decades kidnapping people for their organs. The series concentrates on a secret covert organisation, SHADO, and their efforts to bloody the aliens’ noses sufficiently so they don’t come back. To these ends, this military organisation has a Moonbase defence and a jet-fighter carrying submarine fleet ready to take on all-comers. The stories centre very much on the problems of dealing with all of this plus a level of human related problems that indicates nothing is ever a bed of roses. The effects are on par with the Andersons’ early puppet shows which is hardly surprising as the incredible Derek Meddings supervised them all. The Anderson shows were the template for UK special effects shows back in the 60s-70s and even the likes of Kubrick and other film directors poached these people for their own work. Unlike other series from this time, ‘UFO’ has never truly dated. It’s version of 1980ish never came to pass. Big computers still had flashing lights. Gull-wing doored cars never took off simply because there isn’t enough room to park with enough space to open them in our reality. Our space programme never got as far as having regular missions on the Moon. Round-necked collared suits never became that fashionable. Outside of the UFOs coming to Earth, this is a representation of Earth like it was imagined we were heading for until someone realised the expense of it all. The one thing I noticed recently that the handset telephones didn’t have any wire connecting them, Something we might take for granted now wasn’t backwhen. As there were so few connections to anything else, ‘UFO’ doesn’t look that out of date as long as you don’t want to remember what decade it was supposed to represent. If you love vintage TV shows, then you’ll be adding this one to your list. I’m looking forward to Volume 2 with the hope that we see more of the cast, especially the Moonbase gals and what they looked like without those purple anti-static wigs. [Before anyone says anything, yes, I do know we saw Dolores Mantez and Gabrielle Drake without them in the series, but not the others.] check out websites: www.ufo-dvd.com and www.carltonvisual.com GF Willmetts Rhapsody by Elizabeth Haydon With the help of Rhapsody and her magical musical talent they travel to the Great Tree and through the earth along its root to find the Wyrm that slumbers at the centre of the Earth. When they re-emerge thousands of years have passed and the world has changed drastically. They learn that all they once knew is now twisted into legend, one in particular about the Child of Earth, Child of Blood, Child of Sky. But even more worrying is the random and mindless violence that is tainting the land. Suspecting the F'Dor are responsible the assassin, Achmed, begins a campaign to unite the Firbolg under one king - himself. The main characters in this book are well-developed and the interaction between the three of them is enjoyable. Haydon's writing style is easy to read and she paces it well. All her characters are credible (one annoying!) and she has created a vast backstory full of legends and historical events. There are a few unpleasant moments like the tree of slaughtered children but she offsets this with well-written humour, particularly the camaraderie between the characters. An example being of how the giant Firbolg, Grunthor, occasionally threatens to eat Rhapsody. This one is a definite must for my collection and Haydon has set it up well for the next installment. Jacqueline Kirk Bewitched Forever by Herbie J. Pilato So why would a die-hard SF fan want a book about an American 60s-70s TV sit-com about a witch married to a mortal? Granted it’s a classic and still getting repeated endlessly on Channel 4 why would the review appear here. Maybe it’s more of this reviewer’s yen for nostalgia. Certainly all the sit-coms that have attempted this route since haven’t had the durability of ‘Bewitched’. For those who remember how I classify SF from fantasy as being whether or not there are consistent rules being applied, then ‘Bewitched’ comes under SF. They might call themselves witches, but their abilities of teleportation, matter-transformation, etc are also the key powers of a lot of SF characters. The only difference is they dress up what they do with a few incantations. This book covers the actors, the characters, a 254 episode guide, production side and everything else you ever wanted to know the series. There are also a lot of mini-interviews with the cast, the majority of whom have since died, making this the definitive book on the series. There’s loads of photos, too. Admittedly they’re all in black and white but I suspect going for colour would probably have raised the cost too high. Being picky, I would say the worse problem was when reference was given to different episodes, that author Pilato might have done better by indicating its number as well as name to ensure it could be cross-checked quickly. I’d also have loved to have seen a checklist covering all the names Endora called Derwood over the episodes as well. If you like the TV series then you’ll probably want to get hold of a copy of this book and let it stir up your memories. There were a lot of revelations. I was most surprised to discover how much of a political activist Elizabeth Montgomery was in her time not to mention how supportive she was for her fellow cast members. Agnes Moorehead confessed to never believing the show would get past the pilot. The fact the series is still appealing today shows ‘Bewitched’ still has a timeless quality. GF Willmetts The Last Underclass by Dean Warren Meanwhile, Quiet discovers that something is rotten among the elite. Some aging Achievers prolong their lives by triggering stem cells to differentiate into neurones. Surgeons then transplant the rebuilt brain onto the brain stem of a young human - usually a Welfie. And this ‘body switching’ conspiracy goes right to the top of the Achiever hierarchy. Now the genetic engineers are taking their research a step further: altering somatic cells to differentiate as if the Achiever was 25 years old. This forms the basis of ‘whole body rejuvenation’ offering massively extended lifespans for those that can afford it. Despite the looming threat of civil war, Quiet decides he must ensure that the Welfies obtain their share of these technological wonders. Much of 'The Last Underclass' deals with a pressing and serious scientific, political and sociological issue: whether stem cell research and therapeutic cloning could be the first step on the slippery slope to eugenics, designer babies and, ultimately, vastly prolonged lifespans. Inevitably, this could lead to an underclass of people who cannot afford the new advances. Scientists counter that genomic research will help treat currently unmanageable diseases. Everyone has a view on stem cell research and cloning - and I should make mine clear. My day job is as a freelance medical and bio-science journalist, and I've written about the science, ethics and applications of genomic research. I'm also consulting editor on a magazine devoted to high-technology in pharmaceuticals and biotechnology, including genomics. I'm firmly in favour of therapeutic cloning and stem cell research, within tightly defined guidelines. Indeed, I favour strictly controlled reproductive cloning in situations where there are no other reasonable alternatives. (To me, there seems little difference between a reproductive clone and an identical twin.) In other words, I admit that I brought numerous preconceptions to the book. Nevertheless, the 'slippery slope' argument, which seems to underpin 'The Last Underclass', is a difficult one for stem cell research's supporters to refute. After all, scientists' record isn't encouraging. We need think only of Hiroshima and Nagasaki to see how basic science can be turned against the humanity it's meant to serve. But, for me, Warren doesn't really clarify the issues surrounding genomic manipulation, although the 'The Last Underclass' effectively raises the topics. For example, I was never really clear whether Warren is against genomic improvement - even to eradicate diseases such as cystic fibrosis or inherited immune deficiencies - per se or whether he feels that the science requires strict regulation. After all, his central character is genetically enhanced and seems to exemplify humanity's ability to overcome inherited or environmental adversity. As Quiet comments, the advance of science and technology is inevitable. ‘We can't stop either advance, only regulate each,’ he says. On the other hand, on numerous occasions 'The Last Underclass' seems to regard genetic scientists and their research as inherently dangerous - or at least dominated by hubris. In places, 'The Last Underclass' portrays genetic scientists as, at best, unaware or uninterested in the ethical dimension. At worst, they're evil. But this view seems somewhat passé: few scientists, especially those in controversial areas, are unaware or ignore the ethical dimension. But that's not the view perpetuated in much of 'The Last Underclass'. For example, one character, a genetically modified biologist, comments about the genetic engineers: ‘The short-sighted bastards with their virus vectors, their modifying protein molecules, and their noble goals will make us all sorry they ever existed. They pre-empt natural evolution and need regulation.’ Elsewhere Warren writes: ‘...did science's record of progress for the last hundred years bring only a mad arrogance? Had the fantastic new understandings in physics, information processing, genetics and now of the brain made these scientists believe they were gods?’ Although I remain unclear about Warren's exact view, 'The Last Underclass' accurately reflects the moral, political and scientific ambiguity surrounding genetic modification. From a narrative point of view, I feel the arguments in 'The Last Underclass' could have been better made as a short story or novella - the constant repetition grates after a while. Moreover, in places, the argument descends into territory best left to cartoons. There's Leroy, for example, who is ‘genetically engineered to convert electrical signals to chemical ones. And vice versa. Something about eel genes.’ Other characters carry genes from the ‘Australian’ shepherd dog and weasels. Perhaps Warren aimed this as satire. But it too heavy-handed to work. Even if you ignore the idea of grafting a brain to someone else's central nervous system, which most biologists would consider, at the very least, inherently highly improbable, I noted a few minor scientific errors. (Although Warren clearly understands genomic research.) At the risk of seeming pedantic, I'll highlight two. Warren comments that humans ‘always killed off our culturally inferior variations - like the Neanderthals.’ However, modern humans did not necessarily kill off the Neanderthals: there is evidence of considerable inter-breeding over a long period especially in Iberia. There's also tantalizing evidence that elements of Neanderthal culture - for example, their use of herbal medicine - persisted into modern times. I'm also sure that many Native Americans, Australian Aborigines and African Bushmen would take exception to being descried as ‘culturally inferior’ later in the same sentence. Secondly, the brain's ‘wiring’ is not ‘set pretty much at birth.’ There is now a large and compelling body of evidence showing that the brain's neural architecture remains remarkably plastic throughout life, which allows it to respond to new stimuli, contribute to diseases, such as depression, and aid recovery from, for instance, strokes. 'The Last Underclass' isn't badly written. The nice, albeit somewhat predictable, twist that Quiet is the product of genetic manipulation is well done. The story moves along at a reasonable pace, although the constant and often unsubtle reminders about the dangers of genetic research hold up the narrative. However, the book comes to life in the action scenes. Indeed, I felt there was a decent adventure story yearning to escape from behind the polemic and I suspect that Warren could write an effective and intelligent techno-thriller. Nevertheless, there's no real depth to the characters, there is little detailed description of the world's new social structure and - for me, a fatal flaw in an SF novel - no real sense of wonder! Quiet helps discover the New Eden, but I didn't get the sense that this is important. Warren doesn't convey any real excitement about the potential of space exploration - in marked contrast to hard SF writers such as Bova - which sits uneasily in a supposedly SF book. The ethics and implications of stem cell research and cloning are important for us all. SF's ability to stand back and reflect upon current scientific issues could help inform the debate. 'The Last Underclass' examines an issue that needs to be addressed through legislation and sober, informed consideration. So I wanted 'The Last Underclass' to challenge or - at least - question my views. I wanted a 'Brave New World' or '1984' that clarifies, rather than just raises, the issues surrounding stem cell research and therapeutic cloning. It's a real shame that, for me, 'The Last Underclass' isn't that book. Mark Greener Check out website: www.xlibris.com Perceptualistics: Art By Jael. Text by John
Grant released: 24 May 2002 These are noncommissioned works of art that Jael has developed her own sales market. When getting down to reading the book, there is also a selection of commissioned bookcover art at the front showing Jael is quite capable of doing ‘realistic’ looking material as the next SF cover artist. In that sense, there’s enough for everyone’s taste in this book. Considering we don’t see any of her cover art over here, I hope publishers Paper Tiger consider commissioning a book of this work as well because I would like to see these covers at a much larger size. Jael describes her ‘Perceptualistic paintings’ as to look and get your own meaning out of them rather than place any limiting factor on them. From this reviewer’s perspective, they do work rather better at a distance than close up. Although there is no scale given to any of them, the text does indicate that Jael paints on large canvas. This is the one instance, where thumbnail paintings next to the larger versions would actually have helped to bring this home. John Grant’s text is really Jael’s biography covering her colourful life from Utah to Las Vegas to New Jersey, painting as she goes everything from portraiture to covers and abstract. Judging by the notes here, Jael must surely be the oldest female fantasy artist going currently being 70 plus years old. The only disappointing thing is not seeing a picture of the lady herself. Although I suspect some of you seeing this book in bookshops might be inclined to put it down after only a cursory look. Saying that, if you’re like me, the longer spent looking over the art the more inclined you’ll be for taking it home with you. Check out website: www.papertiger.co.uk GF Willmetts Time Tunnel by Murray Leinster With another set of producers looking at this book as a means to kick-start a different Time Tunnel series from the one already mentioned in the press, this reviewer decided to check it out. Another plug for www.abebooks.com. I found a copy of the book there and it was delivered from an American bookshop in less than a week. You can’t get better service than that in the UK!!! This book is obviously markedly different from Allen’s 60s TV series although they share covers. The difference this time is the art is on a black cover when the later book has it in white. Don’t be confused. The TV series edition has a photo on the backcover. This story also has nothing to do with Project Tic-Toc. It is set in France where the American (who never gets a Christian name) Harrison and colleague Pepe Ybarra follow a series of disturbing news items of how back in 1804, an individual called de Bassompierre had been filling leading scientists of that year with things they shouldn’t have known for another century and reality is slowly changing. They locate Professor Carroll, an old University lecturer of theirs, who is now part owner of a shop selling obvious antiques but at low prices. Harrison also reacquaints himself with Valerie, Carroll’s step-daughter, for the added love interest for the story. Carroll had discovered an old cannon which when walked through as a tunnel returns to the past. One of his relatives regularly uses it to exchange perfume for the curios that is sold in the shop. Carroll is disturbed by the fact that de Bassompierre’s revelations in the past are affecting the present with China on the verge of nuclear war, France and Formosa liked to be nuked any day and those are just the good points. An expedition is then carried out into the past to resolve these problems and to avoid any grandfather killing paradox that might jeopardise their own existences. The descriptions of 19th century France, not to mention the accents of the French characters capture the mood perfectly. Occasionally, I wondered if Tim Powers had some of his inspiration for his ‘The Anubis Gates’ novel here. Certainly the solution is not what would have been expected, especially in 1964. About the only area of criticism would have to lie with the rather deux ex machina technique of visiting the past but then, what time travel story doesn’t employ such devices? I’d swear Michael Kube-McDowell’s ‘Alternities’ novel employs the same kind of tunnel. If you like Leinster’s work or interested in seeing an interesting take on time travel, then this book is worth seeking out even without the Irwin Allen connection. GF Willmetts The Shadow Sorceress (The Spellsong Cycle book
4) by L.E. Modestitt Jr. The story follows the progress of Secca, a 'fiery redhead' of a sorceress, following the death of Anna - her Mother-Mentor and the Sorceress-Protector of Defalk. After the funeral is held, it becomes apparent that the Sea-Priests, sorcerers and chauvinistic believers in societal dominance of women, are trying to reassert their control. Thus begins a long campaign of fraught magic and battles in which the resources and true nature of young Secca are tested. The magic system revealed is quite intriguing. Clearsong spells are constructed in a combination of singing and played string music - sorcery through harmony. The Sea-Priests create their magic in a more primal way using their 'thunder-drums'. Throughout their plane of existence, disturbances in the 'Harmonies' may be felt by those with enough talent - something for me that held definite echoes of ‘I felt a great disturbance in the Force...as if millions of voices suddenly cried out in terror and were suddenly silenced.’ Intriguing though it may be, there were some examples of sorcery being used for civil engineering purposes - building roads and bridges, etc. - which were muddy and uneventful enough to give me nasty flashbacks to reading 'Tess of the D'Urbervilles'. There was also a retrospective angle to the story that, although appropriate for its focus on a character who is grieving and struggling to assert herself in the wake of her legendary predecessor, didn't entice me as a reader. There is much to admire and enjoy in 'The Shadow Sorceress'. Modesitt is a competent author and has crafted a convincing world in this book - a serious, sturdy world that appeals to me on a technical level. The dialogue is convincing, the characters develop and the plot slowly unfolds, yet there is a certain lack of sparkle, an absence of the awe and fascination that I enjoy in fantasy - that mental surge when you stop and think ‘Amazing! Can you imagine? What if...?’ Additionally, I have a problem with the prevalent use of rhyming couplets in fantasy, this being no exception - if a writer does not include Thees and Thous in their modern writing repertoire, why use poetic traditionalism? It would be wonderful to read a contemporary novel where poetry is seamlessly integrated in style and receives as much crafting as the main body of fiction. ‘The Dark Sorceress’ is a traditional fantasy novel and will no doubt achieve greater significance as an integral part of the greater 'Spellsong Cycle' saga. I would not recommend it as a stand-alone novel however or to those seeking momentary wild escapism in their fiction. Lucy A.E. Ward check out website: www.orbitbooks.co.uk Effendi: The First Second by Jon Courtney Grimwood A disemboweled young woman is found on the private beach of Hamzah Effendi, a wealthy magnate with virtually unlimited influence. Ashraf Bey, his prospective son-in-law - failed - has found himself by dint of birthright in the position of chief of police. After several more deaths, one of which he was responsible for, he finds himself governor of El Iskandyria. Pivotal to the plot is the massacre of innocents - rootless conscripted children fighting the vicious adult battles born of petty reasons. The main catalyst is the secretive Colonel Abad. Who he actually turns out to be is a stroke of invention that could have been absurd in a less fraught context. The fourteen-year-old Avatar who pursues him is almost as remarkable as the nine-year-old Hani, easily the equal of Miss Marble, who uses her precocious computer skills to investigate the Colonel's whereabouts. If it were not for the clinically described visceral splatter, which can be disconcerting at times, there is almost an element of Agatha Christie here. As the story builds, the episodes in italics begin to take on meaning. At his best, Grimwood is a consummate weaver of plot. When not at his best, his lucidity can lapse into obfuscation, especially when special knowledge is required to understand some of the terms he uses. At the beginning, ‘Effendi’ is over-egged with a near impenetrable display of the author's knowledge that could be off-putting for the casual reader. Only when this scene setting is out of the way are we allowed to know what is going on. A shame. His sure touch with characters, from mildly engaging to thoroughly unpleasant, is still there. I wonder what the author might achieve with a more sympathetic cast? Like designer crud, ‘the angry young man’ syndrome of the 90's will ultimately have to run its course. It probably only came around again because of the changes in the way society perceives itself. Because the dashing Romeo is no longer fashionable, perhaps it is inevitable that a blonde, emotionally mixed-up young man, with a chip in his head as opposed to on his shoulder, might take his place. Whatever its faults, like sometimes engaging syntax too baffling for requirements, ‘Effendi’ is a compelling read with the clever use of smoke screens. Some readers, like myself, prefer a little more help. However masterful the description and grasp of context, they can also be overwhelming though, once underway, the narrative becomes more fluid. There is one thing I seriously insist on quibbling about. This is the substitution of "sat" for "sitting" and occasionally "stood" for "standing". In a narrative that is generally accomplished, this tendency can pull the reader up sharp. It is something I would have thought a proficient proof-reader (do they still exist?) would have weeded out. ‘Effendi’ is a dynamic read, in many respects better than ‘Pashazade’. Even with my reservations, I would highly recommend it, especially to those who are following the trilogy. Jane Palmer check out websites: www.earthlight.co.uk and www.j-cg.co.uk The Tomorrow People Volume 2: The Medusa Strain This suits Jedikah who in a younger human-looking form than his previous appearance - the original actor wasn’t available - who wants revenge on the 20th century Tomorrow People. He helps Rabowski steal the Crown Jewels and kidnaps Carol when she and Stephen try to intercept them. The rest of the story centres on the rest of the Tomorrow People and Ginger, their Sap pal, trying to rescue them. The ‘Medusa’ of the title is a telepathic creature that prevents Tomorrow People from effectively using their abilities but has difficulty with more than one at a time. Jedikah re-creates the head bands he used previously that blocks their abilities while continues with his own plans. There were several thoughts that went through my head as I watched this story. Outside of the Anderson shows, this has to be the only other series that springs to mind from this period where we have, in Roger Price, a writer-director in charge of proceedings for the whole of its run. Such control allows stronger continuity and upholds the series bible. There was an odd reference to Hitler being an alien which is actually covered in more detail much later in the series. At this time, no doubt it was just a throwaway line but it was remembered later and used. As to the Tomorrow People themselves. A revelation that they are only telepathic amongst themselves and can’t read the human Saps minds also indicates Price having to build up their limitations. Having Carol and Peter essentially powerless for most of the story and blasting John and Stephen so they were out of commission stops them having an easy time. When you have a group who can essentially teleport/jaunt where they want to go plus limited telepathic and telekinetic abilities, more work is required to stop them ending the story quickly. Looking at the series through adult eyes these days, I find I’m looking at these aspects differently to how I did when I was in my teens. Occasionally, I’m also wondering what influence it must have had when I came up with my own ‘Psi-Kicks’ stories although the only thing in common is somewhat similar abilities that all psionic based humans have. If anything, it taught me to take a different path rather than follow suit. A taste of childhood - even if my erstwhile publisher claims he never had one - then seeing ‘The Tomorrow People’ again is no doubt on your list. GF Willmetts Star Wars Attack of the Clones: The Visual
Dictionary; by David West Reynolds
There wasn't a book concept or genre they couldn't grab their sweaty airbrush-stained hands on and not end up turning it into a feast of cutaways, floorplans, maps and full-colour photographs. However, after conquering the planet with their eyewitness travel guides and fine children's books, the over-production of titles for the unexpected and - relative - flop of the Phantom Menace led them to near bankruptcy and a public pillaring by the likes of the Financial Times. They seem to have found their feet again commercially (are they part of Pearson empire now, or is that my imagination?), and we are happy to report that this Visual Dictionary is the sort of treat that would have had me mugging my father for pocket money in my tweenager years. Like the visual dictionaries DK produce for the historic world of the Romans and Ancient Egypt, this tome explores all the nooks and crannies of Lucas's admittedly fictional world. There's cut-away views of clone trooper blasters, aliens galore - from the trash of Coruscant's criminal underlevels to the denizens of an ET version of Cheers' bar - a detailed look at the different Kung Fu-like schools of Jedi combat, holocron libraries, and well ... just about everything that's in the movie, really. Our independent source who has seen a prerelease cut of the Clone Wars says that the new movie is a stonking return to form after the Jar-Jar full of poop we were served in the original prequel, so hopefully sales of this edition will not disappoint DK like the last lot. Good it is. Mmmmm. Buy you will. Check out websites DK.com and StarWars.com Stephen Hunt Star Wars Attack of the Clones: Incredible
Cross-Sections; written by Curtis Saxton, Illustrated by Hans Jenssen
and Richard Chasemore
With a case history like that, how could I fail but to love this full-colour Star Wars Attack of The Clones offering? The gadgets and interiors illustrated vary from the small airspeeders (read hover-car) used by Anakin Skywalker through to the truly massive Trade Federation Core Ship. Featured vehicles goodies include: - Naboo Cruiser (bit like a stealth bomber) While the illustrations are fab, the faux technical babble that accompanies them sometimes grates a little. A bit too reminiscent of the all too fully fleshed out Star Trek technical manuals of yore. For instance, there is a long justification for how the Solar Sailer only has tiny solar sails (and can travel out-system), rather than the hundred-mile wide sails she should be sporting. This craft belongs to Count Dooku (or should that be Count Dracula), and is "powered by an as-yet undetectable source of supralight emissions, allowing Dooku's custom ship an independence, and style, unknown by any other current space-faring vehicle." Yeah, right. Or perhaps Lucas realised that having a sail a couple of hundred miles big would just make the rice grain-sized ship look out of proportion on film, and nobody apart from NASA-types would ever winge about making it smaller. These small gripes aside, this is another worthy addition to the DK cutaways series, and I have no doubts that the Attack of the Clones Incredible Cross Sections volume will be making its way onto the shelves of many a true Jedi in the months ahead. Check out websites DK.com and StarWars.com Stephen Hunt
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OTHER CONTENT - May 2002
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Resisting
temptation from one of my favourite TV series isn’t something I
like doing. Granted, with the exception of two episodes that were
never originally released on video, I already have the series on
video, so why go after a DVD boxset? 
back
to top
The
assassin Brother and his Firbolg companion are in thrall to a demon
F'Dor. In an attempt to escape they happen upon Rhapsody, bard and
ex-whore, who whilst trying to elude the city guard re-names the
assassin where upon his bonds are broken.
You
know how it is. You look for one book and up pops another that looks
like an interesting read. The fact that a first edition of this
book can cost over $50 and the second edition is becoming rarer
made it a decision to pick a copy up through ABEbooks.com soon as
I saw a cheap copy. As it turns out, the copy in my hands looks
as good as new.
John
Griffin - "Quiet" to his friends - barely survives as a Welfie,
the economic underclass left disenfranchised, unemployed and dependent
on Government rations in the wake of technological advances. But
when he rescues one of the elite Achievers from an abduction attempt,
Quiet gets the chance to go to the military academy. Despite being
bullied and abused, Quiet graduates high in his class. Fresh from
graduation, Quiet joins a mission that discovers the first inhabitable
planet outside the Solar System: New Eden.
Here
we have another American artist whose coverwork we rarely see in
the UK. Jael’s art is a mixture of contrasts. Flicking through the
book, the most apparent work is her abstract paintings - what she
calls ‘Perceptualistic paintings’ - that tend to deserve more than
a cursory look. 
As
noted last month when I reviewed Leinster’s first tie-in to the
Irwin Allen TV show, ‘The Time Tunnel’, there was a need to back
to his original novel also of the same name sans the ‘The’. 
In
fairness to the author, I must make it perfectly clear that I have
not read the three preceding novels in the 'Spellsong Cycle' series.
This would have no doubt increased my enjoyment of the book, which
I found to be quite inaccessible as a stand-alone novel.
In
this sequel to ‘Pashazade’, the alternative history where the Kaiser
wins the First World War, which allows the decadent Ottoman Empire
to survive past its sell-by-date, is less crucial to the plot. American
interference in the Middle East is still there, and so are the bloody
politics of regional struggle that can consume a nation's potential.
Looks
like ‘The Tomorrow People’ series is going to be a regular video
occurrence every two months. This tale returns the metamorphic robot
Jedikah after being restored in the future by Count Rabowski. This
particular renegade human lives in a spaceship in hyperspace to
evade capture and has imprisoned Peter, a Guardian of the Time Lanes,
forcing him to shift them through time. 
Dorling
Kindersley became a byword among graphic designers in the book publishing
industry during the 90s for the sheer beauty of photography and
illustration that peppered their output.
I
have always been a sucker for cut-away illustrations, and spent
many hours during my geeky Adrian Mole years with an A3 pad and
a Rotring architect's pen, drawing up massive spaceships with open
decks and tiny crew-type inhabitants.
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