A Man Among Ye

I love a good pirate story. Given that I have written a series about space pirates, that should come as no surprise, but I’m pleased to read a well-told tale about pirates in any era. One of the reasons pirate stories appeal to me is that pirates exist outside the norms of social propriety. Because of that, you can use them as a way to examine social structures and moral codes. Do those structures, laws, and moral codes keep people from harm, or are they about keeping certain people in power? They’re also interesting in a narrative sense, because the best pirate stories explore these kinds of issues while giving us an anti-hero we can root for and putting them into a situation that’s fun and exciting to watch.

Tom Hutchison, owner of Big Dog Ink comics, has a show on the Comic Book Shopping Network called the Midnight Collector’s Club, where he sells interesting collectable and new titles from other comic companies. One of the books he showed off was issue number one of A Man Among Ye written by Stephanie Phillips and featuring art by Craig Cermak. The cover caught my eye as something that looked like it took on the topic of pirates in a way that was both serious and fun. I read the first issue and immediately wanted to know what happened next. I lucked out and my local comic shop had issue 2.

The time period and general setting of the comic will be familiar to viewers of the series Black Sails. The protagonist is Anne Bonney. She’s aboard the Kingston, commanded by Calico Jack Rackham. We have some scenes on Nassau and Charles Vane makes an appearance. Unlike Black Sails, we’re not mixing in characters from Robert Louis Stevenson’s Treasure Island. It’s clear Stephanie Phillips has read many accounts of real life pirates and is both inspired by them and understands their limitations.

A Man Among Ye opens with the crew of the Kingston raiding a British ship. A young sailor from the British ship survives and sneaks about the Kingston. The young sailor soon proves to be Mary Read. Those who know their pirate history will recognize Mary as another real-life pirate who sailed with Rackham and Bonney. As the story progresses, we discover that not all the crew are happy about Anne Bonney’s presence on the Kingston or with Rackham’s captaincy. A sailor named Biff makes plans to dispatch Bonney and lead a mutiny against Rackham. All of this makes for an exciting and thrill-packed adventure story. Phillips shows a deft hand in her scripting by keeping the action moving and making me want to turn the page to see what happens next.

While there’s plenty of action, there’s also an exploration of women’s roles in society. We learn that Anne was expected to marry and become a housewife. She rejected that life to become a pirate, but clearly not all pirates think she has a place among them and they are even less thrilled when young Mary Read shows up. Even beyond that, there’s some mythological underpinning with the story taking some inspiration from the Greek myth of Actaeon and Artemis. Two issues in and I’m hooked. If you’re looking for a good rip-roaring pirate yarn that will also make you think a little more about society and its structures, check out A Man Among Ye. If you want to do the same, but in space, checkout my Space Pirates’ Legacy Series.

Penny Dreadful – Season Three

Halloween kicked off this week. Like many people, I enjoy some spooky films or books to get into the spirit of the season. Last week, my wife and I decided to watch the final season of Showtime’s series, Penny Dreadful. Just as a head’s up, I will endeavor to be as spoiler free as I can about the final season itself, but I will likely include some spoilers from the first two seasons. Proceed with appropriate caution!

Penny Dreadful Season Three

Penny Dreadful’s third season picks up where the second season left off. Sir Malcolm has gone to Africa to take the body of a loyal companion back to his people. He soon meets an Apache named Kaetenay, played by Wes Studi, who informs him that their mutual friend, Ethan Chandler is in trouble. Meanwhile, Ethan Chandler has turned himself into the authorities because he killed numerous people in his werewolf form. Meanwhile, Frankenstein’s Creature has gone to the North Pole aboard a ship. Back in London, Dorian Gray and Lilly, a woman resurrected by Dr. Frankenstein, seem to be happily-ever-aftering while the series’ protagonist, Vanessa Ives has been left alone and is one again going mad. Fortunately, Egyptologist Ferdinand Lyle drops by and refers her to a good psychologist, Dr. Florence Seward, played by Patti LuPone, who played Joan Clayton in season two.

Over the course of the first episode, Dr. Jekyll, played by Shazad Latif, pays a call on his old classmate, Dr. Frankenstein and asks for assistance in his work at Bethlam Hospital. We also learn that the king of all vampires, Dracula has arrived in London and has an interest in Vanessa Ives. All of these characters in different locations and all of these plotlines are a lot to wrap up in nine episodes. If anything, I’d say that proves to be the final seasons greatest weakness. In particular Ethan goes through many twists and turns as he travels in America, meets a witch, and confronts his father and his past. I felt like we breezed through that storyline so fast that we didn’t have a chance to understand why Ethan made some of the choices he did and for a series that seems concerned with matters of good and evil, I was somewhat confused about which he actually turned out to be. The brief season also makes the ending feel abrupt and unsatisfying. There’s an interesting thread in the season about women and how their right to be individuals can put them at odds with societal expectations determined largely by men. I didn’t really feel like this thread was resolved in a satisfying way. It seemed to me that one or two more episodes may have gone a long way to giving the series a more complete feel.

Despite that issue, there were several elements I enjoyed in the final season. The characters of Kaetenay and Dr. Seward were fascinating and well acted. I particularly enjoyed the final season’s portrayal of Dracula. The writers and actor took a nuanced approach to the character. He could come across as genuinely charming and vulnerable, yet he was also decidedly creepy. Frankenstein’s Creature also went through a sad and well performed story arc as he regains his memories and seeks his long-lost family. The final season also seemed to feature a bit less gore and fewer jump scares than earlier seasons.

Overall, I was glad to have watched the entire Penny Dreadful series. There were some great moments that will stick with me. Even though I would have liked better resolution to some elements, pondering those will likely lead me to some story ideas. Of course, you can see my own take on vampires in my Scarlet Order vampire series. The links below will take you to the books:

If you’re a fan of comics, don’t miss the chapter I adapted from Dragon’s Fall with Bram Meehan and Michael Ellis.

The Valley of Gwangi

Last month, Robert E. Vardeman mentioned that he’s a fan of the Ray Harryhausen film The Valley of Gwangi in a post on his Patreon site. A couple of weeks later, when I was on a panel discussing Weird Westerns with Jeff Mariotte at the virtual CoKoCon, the film came up again. Although I had been aware of the film and had seen clips, I’d never watched the whole thing before, so I took this as a sign that I should finally sit down and watch it.

Cowboys and dinosaurs meet in The Valley of Gwangi

The film starts off looking like it’ll be a pretty ordinary western. T.J. Breckinridge runs a struggling rodeo on tour through Mexico in the early 20th century. Her former boyfriend, Tuck Kirby, wants to buy her out, but she doesn’t want to sell. T.J. has an ace up her sleeve. Gypsies brought her a tiny horse from Forbidden Valley and she expects it will be a great attraction. A paleontologist named Horace Bromley, recognizes the animal as no ordinary horse. He declares it’s the prehistoric horse, Eohippus. The leader of the gypsies say the little horse is cursed and convince Bromley to capture the horse and return it to Forbidden Valley. Bromley, of course, is interested to see what other creatures might live there. To get the horse, the gypsies have to knock out one of T.J.’s men, Carlos.

Tuck sees the gypsies leaving and discovers they’ve taken the Eohippus. He sets out after them. Unfortunately, Carlos saw Tuck and thinks he’s responsible for the theft. T.J., Carlos, and several of the rodeo riders set out after Tuck. They all soon arrive just outside the Forbidden Valley. After sorting out what’s going on, Tuck nearly recaptures the Eohippus, only to have it disappear into a cave in the cliff face. T.J., Tuck, Horace, and the rodeo riders set out after it. It turns out the Eohippus didn’t go into a cave, but entered a passageway leading to the Forbidden Valley. The rodeo men clear out some rocks and soon our band goes riding into the valley.

Once in the valley, our heroes discover that Eohippus isn’t the only prehistoric creature living there. They’re soon attacked by a pteranodon. After dealing with the flying creature, they encounter a small plant eating dinosaur. The rodeo riders decide it would make an even better attraction than Eohippus, so they chase it, only to have the dinosaur snapped up in the jaws of Gwangi, an Allosaurus. From this point on, the movie becomes full-on cowboys versus beautiful Ray Harryhausen dinosaurs. Our rodeo riders take refuge in a cave that foreshadows the Land of the Lost TV series I watched as a kid. Eventually, the cowboys capture Gwangi and take him back to town. In a finale reminiscent of King Kong, Gwangi breaks free and rampages through the town where he corners T.J. and Tuck in a cathedral.

All in all, the movie is great fun and a terrific example of a Weird Western story. As always, Ray Harryhausen’s stop-motion monsters are a marvel to behold. There’s a scene where the rodeo riders attempt to lasso Gwangi and Harryhausen seamlessly blended the live-action and stop-motion photography. The only real problem with the effects happened because the film’s post-production was rushed and Harryhausen was never allowed to color correct his footage. As a result, the dinosaurs have a tendency to change colors from purple to gray to green from scene to scene. While I’m not generally a fan of tinkering with old movies, I wouldn’t mind seeing a color-corrected special edition of this film where the dinosaurs are each a consistent color.

You can find Robert E. Vardeman’s Patreon at: https://www.patreon.com/robertevardeman

As a friendly reminder, this blog is supported and kept ad-free in part by my Patreon, which is at: https://www.patreon.com/davidleesummers

Tank Girl

In my last post, I discussed the panel “Bad-Ass Women in Science Fiction and Fantasy” that happened at this year’s virtual CoKoCon. Among the people on the panel with me were five-time Bram Stoker Award-winning author Linda D. Addison and Jenn Czep, the talented author of such books as Cloud to Cloud and Blackstrap’s Ecstacy: A Corsair Captain’s Log. Both mentioned Tank Girl as one of their favorite bad-ass women in speculative fiction. When authors of this caliber recommend something, I listen. I remember Tank Girl appearing on the shelves of comic shops I visited back in the early 1990s and I remember when the 1995 movie came out, but I hadn’t actually read the comic or seen the movie. Among other things, that was the period of my life when I was just getting started with my astronomy career and my first child was born in 1995. So, I decided to learn more about Tank Girl.

Tank Girl in comics and at the movies

Tank Girl started in 1988 as a comic created by Jamie Hewlett and Alan Martin, which appeared in Britain’s Deadline Magazine. Set in the near future, the action takes place in a post-Apocalyptic Australia. The title character not only drives a tank, but lives in it as well. Her boyfriend is a sentient kangaroo named Booga. Her closest friends are women called Jet Girl and Sub Girl. You can, no doubt, figure out their vehicles of choice. The stories are generally ribald adventures. One of my favorites involves Tank Girl being fed up with the bad beer foisted on her by some large corporation and decides to find and steal some good beer. She convinces Jet Girl and Sub Girl to go with her. They succeed only to wind up teetering on the edge of a cliff in the tank, in danger of falling over due to the weight of the beer cans. Of course Tank Girl and her friends decide to dispose of the beer by drinking it! The best way I can describe the Tank Girl comic is Mad Max meets Loony Tunes.

In the 1990s, MGM was scouting for a hip property to develop into a movie and they bought the rights to Tank Girl and gave it a pretty good budget. As the story goes, once they started seeing the movie, they got scared and insisted that it should have a tighter plot and that the crude humor should be scaled back. As such, the movie’s a classic case of a great comic watered down by studio interference. Despite that, the quirky charm of the Tank Girl character still comes through. Lori Petty who plays the title character bears an uncanny resemblance to her cartoon counterpart. Also, the sentient kangaroos were well realized as practical on-screen effects. What’s more, the soundtrack, supervised by Courtney Love, is excellent and features songs by Devo, Joan Jett, and Ice-T, who also played one of the kangaroos.

Tank Girl is a no-holds-barred, irreverent character. She’ll poke fun at almost everything and if she doesn’t like you she’ll straight-up maim you or kill you. I can see why she’s a favorite of authors like Jenn Czep and Linda Addison. When I think of characters like this, I tend to think of characters like Bill Murray’s Peter Venkman in Ghostbusters or Kurt Russell’s Jack Burton from Big Trouble in Little China. Men tend to get these wise-cracking, streetwise roles, so it was refreshing to see a woman in that kind of a part. There have been rumors that Margot Robbie would like to film a new Tank Girl movie. Hopefully she can make a version that captures even more of the comic’s unflagging spirit.

Bad-Ass Women

Late August through early October 2021 has proven to be a busy convention season for me. Most of the conventions have still been virtual, but I have cautiously returned to attending some in-person events. The first virtual convention I attended during this period was Bubonicon 52 Take 2 on August 20-21. Even if you missed it, they posted all of their panels on their YouTube channel in a playlist at: https://youtu.be/eIJoVSjxmlI.

Two weeks later on Labor Day weekend, I gave a science presentation and spoke on seven panels at the virtual CoKoCon. Sessions were held on Discord and Zoom. Unfortunately, these panels don’t seem to have been posted for later viewing, but the discussions were fun and lively. We discussed such topics as writing weird western fiction, keeping classic monsters fresh and new, and the differences between publishing in the small press and larger presses.

At both conventions, I was on a panel with a similar name. At CoKoCon, the panel was called “Bad-Ass Women in Science Fiction and Fantasy.” In that panel, the emphasis was largely on our favorite characters in the genres. At Bubonicon, the title was “Writing Bad-Ass Women” and the panel focused more on the process of writing strong women. The latter panel is available to watch here:

Most of us agreed that there haven’t been enough bad-ass women in science fiction and family, but that the situation is improving. As you can see, there were more men on the Bubonicon panel than women. Still, we all agreed that the process largely involves channeling those bad-ass women we have known in our lives and the ones we do admire in fiction and adapting those traits to our characters. At CoKoCon, I was the only man on the panel. Some of the favorite characters mentioned included Lieutenant Uhura from Star Trek, Ellen Ripley in the Alien movies, and Dr. Ellie Arroway in Carl Sagan’s Contact.

I think it should be clear from the list that bad-ass doesn’t always mean “kick-ass.” These women aren’t all characters who emphasize physical prowess. They’re smart characters who think through solutions. An interesting favorite character mentioned at CoKoCon was Tank Girl from the comics and movie of the same name. Although I knew of the character, I didn’t know much about her. I’ve since read some of the comics and watched the movie and may discuss her further in a future post, but among her striking characteristics were her fearlessness and irreverence.

One of the reasons I volunteered for these panels is that I believe in writing bad-ass women into my stories. Whether it’s Marcella and Jane in the Scarlet Order Vampire series, Fatemeh Karimi and Larissa Crimson in the Clockwork Legion series, or Suki Mori and her daughter Suki Firebrandt Ellis in the Space Pirates’ Legacy series, I endeavor to model these characters on the many bad-ass women I’ve known and admired in real life. One area that was mentioned in both panels were the lack of older women mentor figures. A few were named and again, this is an area where improvement is beginning to happen. One of my favorite strong women leaders from my own fiction is Admiral Ayumba Mukombe in Firebrandt’s Legacy. After being on these panels, I’m certainly tempted to tell more of her story. You can learn more about Admiral Mukombe and the other characters from my fiction at http://davidleesummers.com/

Moonbase Alpha

Back in April, I shared the model I built of Main Mission, the command center of Moonbase Alpha from the 1970s TV series, Space: 1999. As I mentioned at the time, the command center was only one part of the kit. The main part of the kit is effectively a diorama of the full Moonbase from the series. We saw the moonbase at the beginning of each episode in the title card, and often at various points in the series.

In the series, Moonbase Alpha was located in the crater Plato and was approximately four kilometers in diameter. The central tower housed the main mission command center we saw in the first season. The overall base housed some 311 people. The premise of the series was that a nuclear accident launched the moon from Earth orbit and sent it hurtling out into deep space. The series goes on to show the Alphans as they fight for survival during their encounters with assorted natural phenomena and various alien races. Needless to say, it was challenging to see how the physics would work out to get the moon out of the solar system in a short time span. Despite that, the moonbase was designed in a way that felt real. As a child, watching the show with wide-eyed wonder, I could imagine living on the moonbase and flying the Eagle transport craft. I remember asking my parents for an early edition of the Moonbase Alpha kit. They wisely turned me down. While it looks simple, I encountered some challenges along the way, even as a relatively experienced model builder. Here’s the finished model, photographed from approximately the same angle as in the title card.

Moonbase Alpha Model

Perhaps the biggest challenge of building this model is that the moon crater ground pieces are vacu-form plastic while the moonbase pieces are polystyrene plastic. What this means is that you can’t use standard polystyrene model glue to assemble the kit. Most of it must be done with a more general bonding agent such as cyanoacrylate adhesive or super glue. This is tricky stuff to work with, since you don’t want to get it on your fingers. If you do, it’s a good way to attach parts of the moonbase to yourself permanently! Another tricky aspect of this kit was that the travel tubes, the long radial segments coming out from the buildings, had to be cut to size. Fortunately, I’d watched a good video on YouTube from Starship Modeler that suggested that I should measure the pieces on the model itself rather than use the guide in the kit instructions. It gave me nice results and I was able to fit the tubes into position with little trouble.

Eagle on the pad ready for liftoff!

One of my favorite aspects of the series were the Eagle transporters, used to shuttle our crew on Alpha around the moon or to alien worlds they encountered as they hurled through space. One of the things I love about the most recent Moonbase Alpha kit is that they provided nice, detailed decals for the landing pads and the Eagles were made to scale. The challenge is that the Eagle in the photo above is only 1.5 centimeters long! I had to paint the details using my jewler’s magnifying loops. Still, I’m pleased with how the Eagles came out. I chose to place two of them out on landing pads since that seemed typical for a reconnaissance mission.

Moonbase Alpha mounted in its frame

I ended up mounting the whole base on form board to give it extra stability, and then having it framed at a local shop. It was a little expensive, but it now makes a nice wall hanging in my home.

While working on the model, I sought a little inspiration and came upon the Gerry Anderson Podcast. This podcast is hosted by Jamie Anderson, son of Gerry and Sylvia Anderson, who created Space: 1999, Thunderbirds, UFO and numerous other wonderful British TV series. Jamie’s co-hosts are Richard James and Chris Dale. In each episode of the podcast, they discuss trivia about episodes, share news about new memorabilia and upcoming projects related to the Anderson shows, and interview someone related to the series production or has some insight into one or more of the series. A highlight of each episode is the “Randomizer” where Chris Dale watches an episode and provides commentary and insight. At times, his remarks can be as much fun as watching an episode of Mystery Science Theater. What’s more, his Randomizer segment has induced me to seek out and watch some of the Anderson entertainment shows I didn’t know about before discovering the podcast. I was especially delighted when they chose to read an email I sent in. If you would like to hear it, it’s in show 162 a little over 13 minutes into the episode. There is a Facebook group devoted to listeners of the show. I have enjoyed being part of the group, in part because the other fans take such delight in the podcast and the shows. Any criticism of the shows is clearly made with a good-natured spirit. You can learn more about the Gerry Anderson podcast and find places to listen by visiting https://www.gerryanderson.co.uk/podcast/

Star Trek: Lower Decks

Given my love of both Star Trek and animation, I knew I would get around to watching the first season of Star Trek: Lower Decks eventually. I admit, I didn’t quite rush to the show for two reasons. First off, back when Star Trek: The Next Generation did a couple of episodes from the point of view of junior officers, I felt they’d botched certain elements of it. Also, the animation style put me off. Still, I’m glad I took a chance and saw what the series had to offer. I was pleased to find yet another incarnation of the Star Trek universe to enjoy.

Set aboard the U.S.S. Cerritos, Lower Decks focuses on four ensigns: Becket Mariner, an irreverent character who has climbed up to higher rank, only to be demoted again; Brad Boimler, a by-the-book character who sees himself as a future captain; Davana T’endi, an Orion medical technician; and Eugene Cordero, an engineer adjusting to a cybernetic implant. The ship itself is on a mission of providing engineering support to worlds just entering the Federation. The series features many references to classic Star Trek episodes and, perhaps not surprisingly, has many wonderful tributes to the original animated series. On the whole, the source of the humor comes from poking fun at places fans themselves have poked fun at the different series. More than once, the series reminded me of Seth MacFarlane’s The Orville.

Back in Star Trek: The Next Generation, there were two episodes told from the perspective of junior officers. The first was called “Tapestry” where the powerful alien Q shows Picard what would have happened if he hadn’t gotten into a fight which resulted in him needing an artificial heart. We learn Picard never took the chances he needed to be promoted and remained a junior officer. The next episode was “Lower Decks” about four junior officers up for promotion. Both episodes were good overall, but my problem was that the senior officers seemed too aloof and frankly snobbish around the junior officers. The dynamic felt more like Hollywood producers around interns from the back office than members of a team working together to explore the galaxy. Over my time in astronomy, I’ve had the opportunity to work with numerous well-known scientists in leadership positions, including Nobel Prize winners, and while some have been challenging to work with, most have been team players who recognized that everyone in the room was there because they had something to contribute no matter their level of seniority or what accolades they’d received. When I turn on a Star Trek episode, I want to see a team I’d want to be on as much or more than the one I’m on in real life. The Lower Decks animated series succeeded at this, possibly helped by the comedy premise. All of the characters are flawed, which puts them on much more equal footing as people, even when some of those people have more experience. What’s more, I felt as though the characters were having fun, which made me want to join them for the fun of exploration.

In graduate school, I was a fan of Matt Groenig’s comic strip, Life in Hell. I watched Groenig go on to develop The Simpsons and Futurama. I then watched other creators use a similar style in shows like Family Guy and Rick and Morty. In effect, Groenig’s style became the “adult animated comedy” style and we see it again in Lower Decks. I don’t dislike the style, but I found myself wondering if it would work for Star Trek. As it turns out, the style was adjusted to give it just a little more realism. While I was frustrated to see another American animation show forced to look a certain way because of its intended audience, I did find the actual look appealing and I soon warmed to the characters, in part because of solid voice acting and good scripts.

On a personal level, I loved the California-class ships named after the state’s cities. Growing up in California, I recognized all the ship names they’ve mentioned so far. I would love to see my old stomping grounds of San Bernardino or Barstow get a starship in a later season. The former seems like it would provide an opportunity to pay tribute to original series writer Jerome Bixby, who lived there. It might be fun to see it appear in an episode about the mirror universe that he created. Of course, Bixby’s stories were an early influence on my own writing, which you can learn more about by visiting http://www.davidleesummers.com

Alita Battle Angel – The Movie

Two weeks ago, I shared my thoughts about the Robert Rodriguez film, From Dusk till Dawn. This past week, I watched Robert Rodriguez’s adaptation of the manga Battle Angel Alita, which I discussed here at the Web Journal back in December. There was a lot about From Dusk till Dawn that suggested Rodriguez would be a good director for this manga. He clearly had a good sense of both character and action, both of which would be essential for adapting Alita for mainstream American audiences.

The American movie adaptation largely follows the plot of the first two volumes of the Alita manga. Set in somewhat grungy city under a pristine floating city, Dr. Ido finds Alita’s cybernetic head in a scrap heap and attaches it to a new body. We learn that Dr. Ido supplements his income as a bounty hunter. While following Dr. Ido, Alita unlocks some of her latent combat abilities. She also decides to become a bounty hunter. As all of this is going on, she meets a young man named Hugo who teaches her about life in the city. He also shares his dreams of traveling to the floating city, Zalem. In the film, Hugo takes Alita to a fallen spaceship from an ancient war, where she learns more about her past. He also introduces her to a futuristic, rocket-propelled version of roller derby called motorball. These last two elements weren’t in the first two volumes of the manga, but I gather are introduced in later volumes.

Overall, the movie felt like a faithful adaptation of the manga. It stayed true to the story of Alita and her journey of self-discovery and independence. It also kept the manga’s spirit of fighting for justice even when the odds are against you. I liked how even though we’re presented with something of a dystopia, the film’s “Iron City” didn’t seem an entirely bad place. You could get chocolate, make friends, and find moments of joy.

One element of the script that bothered me was the need to change and anglicize some of the names. The manga came from an era when anglicizing names was common. For example, Alita’s name in the original manga was Gally. However, in the movie, they change Dr. Daisuke Ido to Dr. Dyson Ido. They also change Yugo to Hugo, which doesn’t bother me as much since they sound similar. Still, it seems anime and manga translation has largely moved past the need to anglicize Asian names for American audiences. It’s time for more mainstream movies to follow suit.

I have mixed feelings about the movie’s choice to give Rosa Salazar’s Alita large eyes reminiscent of the style seen in anime and manga. On one hand, it’s an interesting nod to the story’s artistic roots. Also, it makes some sense that a battle cyborg might have enhanced, larger eyes to take in more than ordinary human eyes. The large eyes serve to emphasize that Alita isn’t human. However, that’s where I think the filmmakers missed the mark somewhat. Alita is supposed to be very human despite the fact she’s manufactured. Also, in manga and anime, the large eyes are something of an artistic style designed to emphasize the role eyes play in conveying emotion. It seems unnecessary to give one character literal anime eyes. It also had a tendency to remind me I’m watching a “special effects movie” instead of letting me disappear into the story.

So far, Alita: Battle Angel is my favorite American live-action adaptation of an anime. It may be flawed, but it largely stayed true to the source material. It gives me hope for better adaptations in the future and if it introduces some new readers to the source material, so much the better.

Time Traveler with a Celery Boutonniere

As I’ve mentioned in other posts, I first learned about the television series Doctor Who from an article in Starlog Magazine. The article announced that Peter Davison would take over the role of the Doctor from Tom Baker, who had played the part for seven years. I knew nothing about who any of these people were or what the show was about, but I do remember blond-haired Peter Davison in a light colored outfit standing next to the ubiquitous blue police box, which I would later learn was his machine for traveling in time and space. When I finally saw an episode of Doctor Who, it featured Tom Baker, a jovial fellow with a mop of curly hair and a scarf that went on forever. I was curious how the young blond actor and the curly-haired actor could play the same part. Eventually, I would learn that the Doctor can regenerate into a whole new body. Still, I was curious what Peter Davison would be like compared to Tom Baker.

The Doctor and the Master face off in Peter Davison’s first season as the Doctor.

Around this time, I discovered that my local bookstore started carrying novelizations of Doctor Who episodes. Right there on the shelf was that blond-haired fellow smiling at me from the cover of a story called “The Visitation.” I picked it up and found myself transported back to medieval England in a story where aliens crashed on Earth. In the final struggle, a lamp is knocked into some hay and the great fire of London is started. In college, I would finally see the episode as part of season nineteen of the series, which was Peter Davison’s first. That season is now out on Blu-Ray and I recently revisited the first year of this blond-haired fellow as the Doctor.

I had fond memories of this season from college. Tom Baker played the Doctor for so long, a new actor seemed a breath of fresh air. I remember Peter Davison as an affable, breezy personality. As a quirk, he wore a stalk of celery as a boutonniere on clothes suitable for a cricket match. I remember liking how the writers created something of a Holmes/Moriarty relationship between the Doctor and his old nemesis the Master.

Rewatching it, the nineteenth season didn’t quite match my memories. Peter Davison’s Doctor seemed to snap at people more than I remembered. He also looked a little uncomfortable in the part at times. He was, after all, the first actor to play the part who had also grown up watching it. The season also presented the Doctor with three companions. This wasn’t unheard of in the series’ run, but it wasn’t common. In this case, I could see that four regular characters were a challenge for the writers. Often they’d find a way to put one companion on the sideline while giving one or two others the limelight.

I had fond memories of an episode called “Black Orchid.” It’s a short episode in the middle of the season where the Doctor ends up in the middle of a 1920s mystery. It’s not very science fictional, but it seemed like it made the best use of all the characters and it remains one of my favorite of the season. The episode I first read in novel form, “The Visitation” also held up pretty well. The only part I thought could have been improved were the aliens, who looked too much like people in stiff, rubber suits.

The season felt longer than other Doctor Who seasons I’ve purchased. Indeed, most seasons I’ve watched only have four or five distinct stories. This one had seven. Classic Doctor Who stories were serialized from half-hour episodes. Most of the actual stories were shorter than stories in earlier seasons. Still, I had a feeling that in some cases the writers struggled to find material for all four episodes of a story. Some stories in the nineteenth season might have been stronger as only two or three-part stories. This is probably one of the reasons “Black Orchid” remains a favorite. It doesn’t feel padded out.

As with other Doctor Who Blu-Rays I’ve purchased, this one is chalk full of interviews and behind-the-scenes documentaries. All in all, it was fun to go back and spend a season with the first Doctor I’d ever actually seen, if only in a magazine photo.

COVER REVEAL – BREAKING THE CODE — eSpec Books

Happy Star Wars day! May the Fourth be with you! One of the things I’ve always loved about the Star Wars Universe were all the creatures George Lucas and his team dreamed up. Whether it be the Bith who played mean jazz in the first movie’s cantina scene, the Mon Calamari fish people who fought for the Rebel Alliance, or the Wookies, like Chewbacca who was Han Solo’s best friend, there was something about these creatures that made me want to believe they were real.

Around the same time as Star Wars, there was a television series hosted by Leonard Nimoy called In Search Of…. That show introduced me to strange creatures purported to exist in the shadows of our own planet. Among these creatures were the Sasquatch, the Loch Ness monster and the Yeti. I’ll admit, now that I’m older, I’m skeptical of many of these stories. And yet, I have heard stories from friends and people I’ve met that make me wonder if there could be some truth to these tales of cryptids. Friends who have lived in Gallup, New Mexico have told me stories about the Skinwalker and that helped to inspire my tale, Breaking the Code, which comes out later this month from NeoParadoxa Press, an imprint of eSpec Books.

Breaking the Code is volume 3 of the Systema Paradoxa series. Just because it’s volume 3 doesn’t mean you need to read volumes 1 and 2 to understand my story. Each volume tells its own story of a cryptid. That said, I know many of the contributing authors and you’ll definitely want to read every volume in the series.

I have updated my website to include a page for Breaking the Code. Just visit http://www.davidleesummers.com/Breaking-the-Code.html to be updated with all the places where the book is currently available. Or better yet, subscribe to https://www.cryptidcrate.com where you’ll not only receive the book later this year, you’ll also get all kinds of goodies and many of the other books in the series. With that, I’ll let you take a look at the eSpec Books post.


A part of the Systema Paradoxa series under eSpec’s new NeoParadoxa imprint, this is Breaking the Code by David Lee Summers. A cryptid novella based on the skinwalker. There are creatures lurking in our world. Obscure creatures long relegated to myth and legend. They have been sighted by a lucky—or unlucky—few, some have even been […]

COVER REVEAL – BREAKING THE CODE — eSpec Books