As he gained in age and sophistication, he lost in freshness and simplicity.

Artax Revenge

Fri, 27 Nov 2009 19:41:00 GMT

http://www.reverbnation.com/artaxrevenge

Savage Sword of Conan the Barbarian issues 49 through 60

Sun, 30 Nov 2008 22:03:27 GMT

This volume contains some of the most ambitious adaptations of Conan material to date, reprinting the epic battle that leads to Conan becoming the king of Aquilonia in "Conan the Liberator," the sword-and-sorcery classic "Sword of Skelos," and the exhilarating "Conan and the Sorcerer." Collecting selections from The Savage Sword of Conan the Barbarian issues 49 through 60, this volume also includes the frontispieces and pinups from each issue, drawn by such amazing talent as Ernie Chan, Carl Potts, and Neal Adams! As a special bonus, you'll find a companion piece to Savage Sword Volume 1's "A Witch Shall Be Born" story-that hasn't seen print since its original publication in 1980!

* For the first time ever, these classic, uncensored tales are being collected in a series of omnibus-style books, with over 500 pages of sword-and-sorcery adventure in each volume--for the complete Conan collector!
Publication Date: February 18, 2009
Format: b&w, 544 pages, TPB, 7" x 10"
Price: $19.95
Age range: 16+
ISBN-10: 1-59582-175-9
ISBN-13: 978-1-59582-175-1

Lord Dunsany

Sun, 30 Nov 2008 04:19:04 GMT

http://www.drwhoguide.com/whotrip13.htm#4

Sun, 30 Nov 2008 01:05:30 GMT

The future is here -- and it’s not what we expected...

To the governments and corporations of the world in 2040, expansion is an article of faith. The human race must expand outwards, exploring new territories, new technologies, new ways of thinking.

Only problem is, the human race doesn’t necessarily share that faith. And with so much at stake, our leaders may have to call in some new partners to make sure we see the light...

pro-gress n. : 1: any movement in a desired direction. 2: growth or development.

‘Mankind will be just like a string of sausages, all the same!’ - Doctor Who: The Mind Robber by Peter Ling

The world is changing for the better, so we’re told, and we must change to keep up with it. In 2040, the human race has broken out of Earth’s confines, with bases on the moon and manned missions to the furthest planets of our solar system. The terrorist threat is being contained by ever-larger military alliances, crossing the old national boundaries. Wars are fought increasingly without the risk of human error, as military vehicles and weapons learn to think for themselves. Large corporations are increasingly working as the partners of government; the largest of them, Perseus, is leading mankind’s struggle to find new sources of energy, and its expansion into outer space.

Meanwhile, though, there are individuals and communities who find their own ways of living through this uncertain age. An artificial intelligence that doesn’t want to fight the war it was built for; a special agent with a penchant for catsuits and old-fashioned cars; an isolated community who find meaning in advanced mathematics; an ageing conservationist who lives for his memories of Antarctica. Still worse, there are dissidents and extremist groups intent on sabotaging the cause of expansion, urging governments to ‘pull back to Earth,’ and spreading bizarre rumours that Perseus is the advance guard of an alien invasion.

For the most part, these two worlds can coexist in 2040. But there are times and places where they come into conflict, and it’s here that the real interest lies. It’s also, of course, where we find the Doctor: a frequent visitor, in various guises and with various companions. But is there any pattern or purpose to his visits? And is he here just to observe our future, or to change it?

The Pirate Planet

Sat, 29 Nov 2008 22:41:08 GMT

Paul Clarke

And so on to the late lamented Douglas Adams' first stab at Doctor Who. 'The Pirate Planet' is composed of a recipe for disaster, combining a thoroughly over the top villain with an unprecedented amount of technobabble, either of which are capable of ruining an otherwise decent story. Astonishingly then, 'The Pirate Planet' is not only largely successful, but is also my favourite story of Season Sixteen.

When I reviewed 'The Invisible Enemy', I heavily criticized it for its abundance of ludicrous pseudo-scientific concepts that failed miserably and contributed to the story's diabolical farcical nature. 'The Pirate Planet' should in theory be just as guilty of this failing, concerning as it does a hollow, space-hopping planet capable of materializing around another planet and draining it of its resources, after which the crushed remains of these planets are placed in a trophy room by a cybernetic pirate. In truth, I'm not sure I can pinpoint why Adams' approach works for me far better than that of Baker and Martin, but my best guess is this: when lesser writers use technobabble to explain their ideas, it often feels like lazy writing; when Adams does it, it feels as though science hasn't yet discovered enough to accommodate his imagination. I absolutely love the plot of 'The Pirate Planet', not just because I like the idea of Zanak, but because of the way that Adams milks the pirate concept for all its worth. We don't just get a planet capable of plundering by force other worlds, we get a Captain on the bridge with a technological equivalent of an eye patch and a hook, we get a lethal robot parrot on his shoulder, and we even get a plank for the Doctor to walk. Adams' witty dialogue reflects this, with the Captain demanding of Mr. Fibuli at one point "Are you trying to scuttle this planet?" In addition to this, we have further concepts on display, such as the Mentiads' psychic awakening by the life force released by Zanak's target planets, and Queen Xanxia, an ancient tyrant attempting to extend her natural lifespan by keeping her body alive between two time dams whilst she uses the energy from the crushed planets to stabilize a cellular projection of herself as a new body.

With so many absurd concepts on display, Adams unleashes some of the most ludicrous technobabble ever heard in Doctor Who, with references to macromac field integrators, synchronic feedback circuits, and magnifactoid eccentricolometers. Fortunately, 'The Pirate Planet' features two actors who rise to the challenge of delivering such gibberish in a convincing way, one of whom is Tom Baker, and the other of whom is Bruce Purchase. The Pirate Captain is a superb villain, because Purchase combines excellent delivery with comic timing, but above all brings considerable emotion to the part. It would have been so easy for to act the part of the Captain poorly, but Purchase portrays him to perfection by conveying a feeling of barely suppressed emotion throughout. The Captain is not a calm man, he is a frustrated warrior trapped in a situation he dislikes and this is reflected by his hair-trigger temper throughout. His characteristic vernacular includes such phrases as "Moons of madness!", "By the beard of the Sky-Demon!", and "Devilstorms!", all of which look silly on paper, but all of which Purchase delivers in such angry tones that they sound like entirely respectable oaths. It is suggested that much of the Captain's frequent bellowing is an act to lull Xanxia into a false sense of security so that she doesn't learn that he is planning to free himself from her clutches, but when he is in a rage it does nevertheless seem impressively authentic. The Captain displays other emotions however, and again Purchase rises to the challenge with ease. Occasionally, the Captain is wistful, such as when he is reminiscing about the Vantiliaris with Mr. Fibuli, and after Fibuli's death he seems genuinely distraught by the lost of his faithful lieutenant. There is also a moment after this when he quietly says "Yes Xanxia, finally I am ready" just before he dies when again we see another dimension to him, as long years of quiet plotting finally come to an end and he throws off his blustering persona. And then bellows, "I shall be free of you, you hag!" just before she kills him…

The Captain is also used as a source of comedy on occasion, for example when he orders his guards to find and destroy the Doctor's counter-jamming frequency projector, only for Mr. Fibuli to quietly enquire as to whether any of the guards will actually know what a counter-jamming frequency projector looks like. Mr. Fibuli is a perfect foil for the Captain, and is played in an appropriately nervous manner by Andrew Robertson. Fibuli is the frequent targets of the Captain's casual death threats from "I'll have your bones bleached" to the comparatively friendly "Your death will be postponed". Mr. Fibuli is also used for comic effect in his scenes with the Doctor and Romana, his bumbling, absent-mindedness meaning that he's even more easily confused by the Fourth Doctor than most people are. His aforementioned death, and the effect it has on the Captain, also works well by serving to allow the audience a glimpse of his real hatred for Xanxia. The other overwhelming impression of the Captain that I get is one of an enormous, if psychotic, intellect. Mr. Fibuli again helps to demonstrate this, acting in much the same way as the traditional Doctor Who companion; whereas the Doctor explains the plot to the audience via Romana and Kimus, the Captain's explanations and instructions to Mr. Fibuli serve much the same purpose. The Captain's intelligence is thus well conveyed, as we learn that he not only rebuilt Zanak and created the Bridge, but also of his scientific achievement in creating his Trophy Room. Even the Doctor, appalled though he is by the Captain's enormous crimes, describes it as the most impressive feat of astro-gravitational engineering that he's even seen.

With the Captain such a bombastic, memorable character, there is a danger that he might entirely steal the show, but Tom Baker proves more than capable of holding his own. The increased humour that marked his performance in 'The Ribos Operation' here continues apace, and even gets more pronounced. Fans who dislike silliness in Doctor Who probably loathe this story, but I've said before that I think the Tom Baker era is long enough to accommodate this change in style and I do rather like it. Baker's performance here is massively eccentric, but in such an all-pervasive way that it's actually quite difficulty to isolate specific examples. It's all the little touches that he brings to the role, such as when he suddenly throws his arms around Mula and Kimus and talks to them like old friends, or his double take when he realises that he has successfully picked the lock to the Bridge in Episode Two. I suspect that this approach works for me not just because it is rather amusing, but also because, much like Troughton's performance as the Second Doctor, it creates a sense of a genius hidden beneath the veneer of a clown. Admittedly, Baker is far less subtle in his clowning than Troughton was, but he has enough charisma to carry it off. Occasionally however, he shows the Doctor's more serious side; he's visibly appalled on learning that Zanak's next target is Earth, and more famously, he gets an excellent scene with the Captain in the Trophy Room, when the Captain announces that he is gratified that the Doctor appreciates his technological achievements. The classic moment of course is after the Doctor's furious "Appreciate it? Appreciate it?! You commit mass destruction and murder on a scale that's almost inconceivable and you ask me to appreciate it? Just because you happen to have made a brilliantly conceived toy out of the mummified remains of planets…", which draws the Captain's equally angry "Devilstorms, Doctor, it is not a toy!" And this in turn provokes the Doctor's "Then what's it for?!", a line into which Baker crams so much feeling that it is almost palpable, and remains one of my favourite moments from the entire run of Doctor Who on television.

As in 'The Ribos Operation', the Doctor's interaction with new companion Romana continues to entertain. The early scenes in the TARDIS demonstrate that their relationship is still rather antagonist, as Romana teaches herself to pilot the Doctor's "capsule" and the two then engage in a brief routine of one-upmanship. Once they arrive on Zanak however, their relationship proves to be increasingly friendly, partly because they are developing a certain mutual respect, and partly because Romana increasingly seems to be enjoying herself (and likewise, Mary Tamm). Adams also makes good use of K9, who tracks the Mentiads and acts as the Doctor's anti-jamming frequency projector. He even gives him his own foe, in the shape of Polyphase Avatron, which results in a amusingly conceived but poorly executed duel between the two robot animals.

Where 'The Pirate Planet' falls down is in some of its supporting characters. David Warwick's Kimus is passable, although he doesn't get much to do except serve as a target of expository dialogue from the Doctor. The Mentiads, whilst an interesting concept, also aren't very memorable, Pralix being the only one of note; matters are complicated by the fact that the script seems to call for the Mentiads to be fairly wooden characters, in order to tie in with the "zombie" tag that they are labeled with by the Captain. Bernard Finch tackles his few lines with some enthusiasm, but he's still fairly forgettable. Rosalind Lloyd' icy performance as the Nurse has been criticized by some, but I personally think that she serves her purpose well enough, and makes Xanxia seem suitably unpleasant. Xanxia's real significance to the story is that she is the key to the Captain's motivation both in plundering other worlds and also in creating the Trophy Room; a more memorable performance from Lloyd is scarcely necessary alongside Bruce Purchase and Tom Baker. My least favourite guest cast performances come from Ralph Michael as Balaton and Prima Townsend as Mula, a pair of performances so stilted that they always puts me in mind of the scene between "Bob" and her father from the beginning of the Blackadder II episode Bells ("Yes… I want to you become a prostitute"). Mula's "Why? Why? Why?", a bad line poorly delivered, really doesn't help.

In production terms, 'The Pirate Planet' generally maintains the high standard of 'The Ribos Operation', although the model footage of the city is dreadful and there's some dodgy CSO on display with the Polyphase Avatron, the air cars, and worst of all, the spanner in Episode Four. This is compensated for by the excellent sets used for the interiors of the Bridge, and also the model work used to show its exterior. The Bridge's destruction at the end of Episode Four is also particularly worthy of note. The location footage, especially in the caves at the end of Episode Two, is also impressive and is used to great effect. Overall, 'The Pirate Planet' is a hugely entertaining debut from Adams and one of my favourite stories of Graham Williams' entire stint as producer.
http://www.gallifreyone.com/review.php?id=5b

http://www.kasterborus.com/tardis/4/destroy.wav

Savage Sword of Conan the Barbarian issues 37 to 48.

Sat, 29 Nov 2008 14:39:16 GMT

Editing and charting Conan's course in the influential Savage Sword of Conan magazine, Roy Thomas led a phenomenal assemblage of talented illustrators boldly through the end of the seventies and into the eighties, unfettered by page counts and the limiting thumb of the Comics Code. Thomas scripted the continuing adventures of Conan, drawing from Robert E. Howard's original tales-along with other Conan adventures-and working with such esteemed artists as John Buscema, Sal Buscema, Ernie Colon, Klaus Janson, and the amazing Gil Kane! The Savage Sword of Conan brought the world thrilling adaptations of "Sons of the White Wolf," "The Legions of the Dead," and "The Treasure of Tranicos." The real treasure in this massive tome, however, is the sprawling, ambitious adaptation of the Conan the Buccaneer novel by the powerhouse team of Roy Thomas, John Buscema, and Tony DeZuniga! This volume is sure to deliver brutal barbarian violence as well as horrific, chilling surprises.

* This volume collects Savage Sword of Conan the Barbarian issues 37 to 48.
Publication Date: October 08, 2008
Format: b&w, 500 pages, TPB, 7" x 10"
Price: $19.95
Age range: 16+
ISBN-10: 1-59582-149-X
ISBN-13: 978-1-59582-149-2

Samuel Taylor Coleridge

Sun, 07 May 2006 03:43:35 GMT

Samuel Taylor Coleridge
The Rime of the Ancient Mariner
IN SEVEN PARTS
Facile credo, plures esse Naturas invisibiles quam visibiles in rerum universitate. Sed horum omnium familiam quis nobis enarrabit ? et gradus et cognationes et discrimina et singulorum munera ? Quid agunt ? quae loca habitant ? Harum rerum notitiam semper ambivit ingenium humanum, nunquam attigit. Juvat, interea, non diffiteor, quandoque in animo, tanquam in tabulâ, majoris et melioris mundi imaginem contemplari : ne mens assuefacta hodiernae vitae minutiis se contrahat nimis, et tota subsidat in pusillas cogitationes. Sed veritati interea invigilandum est, modusque servandus, ut certa ab incertis, diem a nocte, distinguamus. - T. Burnet, Archaeol. Phil., p. 68 (slightly edited by Coleridge).

Translation
ARGUMENT
How a Ship having passed the Line was driven by storms to the cold Country towards the South Pole ; and how from thence she made her course to the tropical Latitude of the Great Pacific Ocean ; and of the strange things that befell ; and in what manner the Ancyent Marinere came back to his own Country.
PART I
An ancient Mariner meeteth three Gallants bidden to a wedding-feast, and detaineth one.

It is an ancient Mariner,
And he stoppeth one of three.
`By thy long beard and glittering eye,
Now wherefore stopp'st thou me ?

The Bridegroom's doors are opened wide,
And I am next of kin ;
The guests are met, the feast is set :
May'st hear the merry din.'

He holds him with his skinny hand,
`There was a ship,' quoth he.
`Hold off ! unhand me, grey-beard loon !'
Eftsoons his hand dropt he.

http://etext.virginia.edu/stc/Coleridge/poems/Rime_Ancient_Mariner.html

part 1

Thu, 27 Apr 2006 23:01:11 GMT