The Bookshelf

Review: The Questor Tapes

The Questor Tapes
The Questor Tapes by D.C. Fontana
My rating: 3 of 5 stars

In the years between the cancellation of the original Star Trek television series and the franchise-reviving feature Star Trek: The Motion Picture, Trek‘s creator Gene Roddenberry wrote and produced a number of made-for-TV pilot films that he hoped would lead to a new series and a regular gig for him. None of them sold, but they all at least made it to the airwaves and many are fondly remembered today. Probably the best of them (and the one I personally think would’ve been most interesting as an ongoing series) was The Questor Tapes, the story of a highly sophisticated android searching for its creator, a mysterious genius who’s gone missing. Along for the ride is a young engineer who was a protege of Questor’s creator and helped to assemble the android, and whose assistance Questor now requires to successfully navigate through society and those ever-confusing human emotions.

This novelization of the Questor film skillfully adapts an open-ended pilot into a satisfying stand-alone story. Some of the ideas in the story are overly familiar today, if not outright cliche’d, and Roddenberry’s, shall we say, outdated attitudes about sex and the human female are occasionally a bit jarring to modern eyes. (Every woman in the story has a smokin’ body and gets her wardrobe described in great detail, and the female character with the most prominent role is possibly a prostitute.) But if you keep in mind when this was written — 1974 — it’s a short and brisk read that’s perfect as disposable entertainment for a summer afternoon. Star Trek fans will find it particularly interesting because Questor is so clearly a forerunner of the Commander Data character from Star Trek: The Next Generation, which made its debut over a decade after Questor. Roddenberry wasn’t one to let go of a good idea…

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Review: Billy Connolly’s Route 66

Billy Connolly's Route 66
Billy Connolly’s Route 66 by Billy Connolly
My rating: 3 of 5 stars

Billy Connelly is a Scottish musician, comic and actor who, in 2011, rode a three-wheeled motorcycle from Chicago to Los Angeles, following the fragmented remains of the legendary Route 66. Naturally, the whole adventure was filmed for a British television series, and this book reads like what it basically is, i.e., a transcription of that series, complete with lengthy dialog between Connolly and the more interesting people he encounters.

As someone who has long dreamed of making a similar journey, this book was a bit sobering. Connolly makes it sound as if there are more ghost towns along the Mother Road than thriving tourist traps, a stark contrast to most of the literature on the subject. He’s also pretty harsh in his opinions of the greasy-spoon-style “road food” that I tend to enjoy. And yet the things he does enjoy along the way are enticing, from his encounter with an Amish furniture maker to his wonder at the Grand Canyon, and these make the moodier passages worth enduring.

One thing to note: Connolly has lived in America for many years and loves this country, but he is not American. Nor is he Christian. But he is opinionated, and he’s not the sort of person to soft-pedal his opinions, which some readers may find a bit off-putting. Personally I found his outsider’s perspective and blunt revulsion at some of the more excessive, fanatical, or just plain weird aspects of American culture rather refreshing. His writing style — assisted by cowriter Robert Uhlig — is more serviceable than poetic, but he can get philosophical from time to time. The overall impression is something akin to spending a couple hours hearing your colorful uncle tell you all about his vacation over a pint.

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Contribute to a Great Cause, Get Yourself a Great Comic

My long-time Loyal Readers may remember me blogging a couple years back about the writer Bill Mantlo, who single-handedly scripted the entire run of one of my favorite childhood comics, The Micronauts, as well as creating Rocket Raccoon, the crowd-favorite character from Guardians of the Galaxy. Briefly, Mantlo was an immense talent who was struck by a hit-and-run driver in 1992 and left in a tragically sad situation that continues to this day.

Well, my pal Jaquandor remembered, and yesterday he directed me to a Kickstarter campaign he’d somehow run across. Dynamite Entertainment and Mantlo’s collaborator Butch Guice are raising funds to reprint another one of Mantlo’s projects, as well as contribute to his ongoing medical care. Here’s the promo video for it; take a look and consider giving what you can. I know I will…



Review: Superman: Whatever Happened to the Man of Tomorrow?

Superman: Whatever Happened to the Man of Tomorrow?
Superman: Whatever Happened to the Man of Tomorrow? by Alan Moore

My rating: 4 of 5 stars

A recent discussion with a friend regarding what I disliked about the film Man of Steel led to us reminiscing about the Superman comics we’d grown up with, which led in turn to him recommending this collection of stories from the 1980s that I somehow missed back in the day.

Briefly, in 1986, after decades of publication and hundreds of issues, DC Comics announced plans to reboot Superman… to toss everything that had come before and start over at issue #1, the destruction of Krypton, Ma and Pa Kent finding the baby in the crashed spaceship, the whole thing. But before that new series debuted, the publisher saw an opportunity that’s rare in ongoing comic-book titles, the chance for closure, to provide a definitive ending to the classic era of the Man of Steel… or, as he was once known, the Man of Tomorrow.

The two-part tale that lends its title to this collection, “Whatever Happened to the Man of Tomorrow?” (originally published in Superman #423 and Action Comics #583), is flat-out brilliant. Written by comic legend Alan Moore (Watchmen) and structured in the form of a flashback (from the futuristic year of 1997!) narrated by Lois Lane, the “last” Superman story tells of Kal-El’s old enemies and allies coming together for one final confrontation, with fatal consequences for many of them, including — apparently — Superman himself. While there are plenty of deaths and an overall elegaic tone, the story never gets too heavy, and it ends on an absolutely perfect note, quite literally with a wink and a smile. For older fans who loved the Superman of an earlier era, it’s a wonderfully satisfying, nostalgic conclusion. The art by Curt Swann and George Perez is perfect as well, clean and bright, a touch old-fashioned perhaps but very pleasing, and exactly the way I remember Superman comics looking when I was a kid.

Rounding out this trade paperback are two additional stories by Moore that are unrelated but have a similar tone and theme to “Whatever Happened.” In “The Jungle Line,” originally published in DC Comics Presents #85 with art by the great Al Williamson, Superman has been infected by an extra-terrestrial fungus. Delusional and not trusting himself to fly safely, he drives south, intending to die well away from anyone who might be hurt by his super-powered death throes. But the jungle he finds himself in is home to another denizen of the DC universe, the hideous but kindly Swamp Thing, who makes telepathic contact with the stranger in his realm and tries to help him fight the ravaging hallucinations.

Finally, in “For the Man Who Has Everything” from Superman Annual #11 (art by Dave Gibbons), the Man of Steel is held captive by a telepathic alien plant that grants the illusion of the victim’s greatest desire… in this case, a “normal” life on an unexploded Krypton. While his friends Batman and Wonder Woman fight to save him in the real world, Kal-El comes to realize the “life” he’s living is nothing but illusion…

Taken together, these four stories all form an interesting meditation on the core of the classic Superman’s character: his desire for a normal human life as a husband and father balanced against his superhuman nobility and sense of duty. Unlike more modern superhero stories, which would present these ideas with clenched jaws and grim self-loathing, these tales have a lighter touch, more humor and optimism, and a sense that, while Superman may wish he had a different life, he’s not all that unhappy with the one he’s got, because he’s serving a purpose. It’s a refreshing change from the modern superhero idiom, and a lot of fun to read.

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Review: Batman: The Doom That Came To Gotham

Batman: The Doom That Came To Gotham
Batman: The Doom That Came To Gotham by Mike Mignola

My rating: 4 of 5 stars

I am amazed by the seemingly infinite flexibility of the Batman mythos. I’ve read Batman stories set in the Victorian era and the far future, seen him teamed up with (or placed in opposition to) characters as offbeat as the monster from the film Predator, and of course he’s been interpreted through cinematic visions as wide-ranging as Adam West’s, Tim Burton’s, and Christopher Nolan’s, and yet, somehow, it almost always works. In The Doom that Came to Gotham, the Caped Crusader and his rogues’ gallery of regular sidekicks and villains are transplanted into an HP Lovecraft story, and it works very well indeed.

The year is 1928, and the globetrotting adventurer Bruce Wayne has just discovered the remnants of the overdue Cobblepott Antarctic expedition… as well as the tentacled thing they found in the ice that apparently drove them all mad. Wayne destroys the monster with explosives — or so he thinks — and returns to Gotham City, the home he hasn’t seen in 20 years. But he soon encounters a talking dead man and a demon called Etrigan, who warns him that an old debt is coming due. An ancient evil from before the time of men is waking up, and if Wayne can’t find a way to stop it, humanity is doomed…

One of the pleasures of an “alternate history” tale like this is seeing how familiar characters and tropes get reworked in service of a new framework, and in this case, the reworking is clever, organic to the story, and frequently surprising. (This story contains the most logical explanation behind The Penguin that I’ve ever encountered!) But I suspect this story would also be effective if you didn’t know a thing about Batman or his usual sidekicks and adversaries. Co-writer Mike Mignola is the creator of Hellboy, another series that draws heavily on Lovecraft’s dark tales of Elder Gods and cosmic dread, and this story is an effective pastiche of those. It’s a taut, spooky yarn that effectively ratchets up the dread panel by panel until the climax, which casts a whole new light on the eternal question of whether the Dark Knight’s true identity is Bruce Wayne… or the bat.

Mignola did not do the artwork in The Doom that Came to Gotham, but the general look will nevertheless be familiar to fans of Hellboy, although it’s less stylized. Rendered mostly in a subdued palette (except where fire is involved), with nice detail overall and a suitably squirmy look to the creatures, the art contributes greatly to the final effect of the story.

Overall, a highly satisfying read.

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Nearing Midnight…

Those of you who may still be out on this All Hallow’s Eve, still flitting from shadow to shadow in search of candy or mischief, or maybe just a tingle down the spine to break up the monotony of your tame and fenced-in little suburban lives, so modern, so clean and above all, so predictable, had best be making for home soon. But be wary… even in this modern 21st century, you may encounter something you do not understand… out there… in the dark…

“If I can but reach that bridge,” thought Ichabod, “I am safe.” Just then he heard the black steed panting and blowing close behind him; he even fancied that he felt his hot breath. Another convulsive kick in the ribs, and old Gunpowder sprang upon the bridge; he thundered over the resounding planks; he gained the opposite side; and now Ichabod cast a look behind to see if his pursuer should vanish, according to rule, in a flash of fire and brimstone. Just then he saw the goblin rising in his stirrups, and in the very act of hurling his head at him. Ichabod endeavored to dodge the horrible missile, but too late. It encountered his cranium with a tremendous crash—he was tumbled headlong into the dust, and Gunpowder, the black steed, and the goblin rider, passed by like a whirlwind.


The next morning the old horse was found without his saddle, and with the bridle under his feet, soberly cropping the grass at his master’s gate. Ichabod did not make his appearance at breakfast—dinner-hour came, but no Ichabod. The boys assembled at the schoolhouse, and strolled idly about the banks of the brook; but no school-master. Hans Van Ripper now began to feel some uneasiness about the fate of poor Ichabod, and his saddle. An inquiry was set on foot, and after diligent investigation they came upon his traces. In one part of the road leading to the church was found the saddle trampled in the dirt; the tracks of horses’ hoofs deeply dented in the road, and evidently at furious speed, were traced to the bridge, beyond which, on the bank of a broad part of the brook, where the water ran deep and black, was found the hat of the unfortunate Ichabod, and close beside it a shattered pumpkin.

Happy Halloween, kids…

"The Headless Horseman" by Chris Beatrice


A New Book That Is Relevant to My Interests

Confession time: I’ve long had this odd little fascination for… brothels.

Oh, stop! I don’t mean it like that. My interest is purely academic. Well… mostly academic. When you grow up in strait-laced Utah, you can’t help but feel some attraction to the seedier side of things, especially when the notorious flesh-pots of Nevada are only a few hours away. (The Mustang Ranch outside of Reno had a near-legendary quality among my peers when I was in my early twenties; I remember much discussion of taking a little road trip… of course, it never happened, but the idea occupied a large patch of real-estate in our imaginations for a time.)

Seriously, though, youthful rebelliousness and licentiousness aside, I really am interested in the history and sociology of the whole phenomenon, especially in the context of how puritanical American culture tends to be, generally speaking. Basically, there are certain underground economies that flaunt traditional morality and that flourish in spite of — or maybe because of? — the country’s surface-level propriety, and these never really go away despite periodic attempts to stamp them out. I’m intrigued by that dichotomy, and by the hypocrisy of a society that’s unwilling to legitimize these economies even while so many individual Americans privately embrace them. So naturally a new book by Jayme Lynn Blaschke called Inside the Texas Chicken Ranch, which is just out today, has been on my radar for some time.

The Chicken Ranch (I don’t know why these places are always “ranches,” but that’s the way of things) is probably the best-known brothel in America, thanks to its being immortalized in the stage musical and Dolly Parton/Burt Reynolds film The Best Little Whorehouse in Texas, as well as that staple of classic-rock radio, ZZ Top’s “La Grange.” Jayme himself is a native of the La Grange area who grew up hearing tales of the infamous “home on the range,” and spent years researching the real story behind the legend, followed by further years trying to find a publisher for his book. I’m really delighted for him that he’s finally succeeded. Here’s the book’s official promo:

As I said, Inside the Chicken Ranch is on the market as of today, available from all the usual outlets, including Amazon and direct from the publisher. Congratulations, Jayme, I can’t wait to read it!


The Dark Came Down on All Hallow’s Eve…

From A Breath of Snow and Ashes, the sixth volume in Diana Gabaldon’s Outlander series:

The dark came down on All Hallows’ Eve. We went to sleep to the sound of howling wind and pelting rain, and woke on the Feast of All Saints to whiteness and large soft flakes falling down in absolute stillness. There is no more perfect stillness than the solitude in the heart of a snow storm.


This is the thing time, when the beloved dead draw near. The world turns inward, and the chilling air grows thick with dreams and mysterry. The sky goes from a sharp clear cold where a million stars burn bright and close, to the gray-pink cloud that enfolds the earth with the promise of snow.


I took one of Bree’s matches from its box and lit it, thrilling to the tiny leap of instant flame, and bent to put it to the kindling. Snow was falling, and winter had come; the season of fire. Candles and hearth fire, that lovely, leaping paradox, that destruction contained but never tamed, held at a safe distance to warm and enchant, but always, still, with that small sense of danger.


The smell of roasting pumpkins was thick and sweet in the air. Having ruled the night with fire, the jack-o’-lanterns went now to a more peaceful fate as pies and compost, to join the gentle rest of the earth before renewal. I had turned the earth in my garden the day before, planting the winter seeds to sleep and swell, to dream their buried birth.


Now is the time when we reenter the womb of the world, dreaming the dreams of snow and silence. Waking to the shock of frozen lakes under waning moonlight and the cold sun burning low and blue in the branches of the ice-cased trees, returning from our brief and necessary labors to food and story, to the warmth of firelight in the dark.


Around a fire, in the dark, all truths can be told, and heard, in safety.


I pulled on my woolen stockings, thick petticoats, my warmest shawl, and went down to poke up the kitchen fire. I stood watching wisps of steam rise from the fragrant cauldron, and felt myself turn inward. The world could go away, and we would heal.


No point here, nothing much to say, just a piece of writing that I found especially lovely and evocative. And enviable…


Review: Razor’s Edge

Razor's Edge
Razor’s Edge by Martha Wells

My rating: 2 of 5 stars

Razor’s Edge is the second of the two books in the aborted Empire and Rebellion trilogy that made it to press before Disney’s acquisition of all things Star Wars and subsequent termination of the existing “Expanded Universe” of tie-in materials. (Well, technically, Razor’s Edge was the first of that trilogy, but I read it second; there isn’t a unified story arc connecting the two, so it doesn’t matter what order you read them in.) Remember, the idea behind Empire and Rebellion was to give each of “the big three” characters — Luke Skywalker, Leia Organa, and Han Solo — a book focusing on them during the little-covered period between the Battle of Yavin and the Battle of Hoth, i.e., between Star Wars and The Empire Strikes Back. Razor’s Edge is Leia’s entry… and I’m sorry to say that it was pretty disappointing after the rollicking good time I had with the Han Solo book Honor Among Thieves. Also, I’m at a bit of a loss to explain exactly why.

The plot isn’t bad. It begins with Leia and Han on a secret mission to meet with merchants who can provide supplies for the construction of the new rebel base on Hoth, but their ship is attacked by Imperials shortly after arriving at the rendezvous point, suggesting they’ve got a leak somewhere in the Alliance. Fleeing their attacker, they come upon a pirate vessel attacking a freighter… and to Leia’s shock, the pirate is a former Alderaanian ship that survived the destruction of their homeworld and turned rogue to survive. One thing leads to another, and Han, Leia, and the Alderaanians find themselves at a pirate armada’s “clearinghouse,” surrounded by cutthroats, trying to figure out how to save a group of innocent captives as well as themselves, and uncover the identity of the spy in their midst, as before the Empire catches up to them.

That all sounds good, and I liked the primary setting — an abandoned asteroid mine filled with broken-down machines and senile droids, now taken over by the pirates — but I found I just didn’t engage with the story in any significant way. The secondary characters were largely indistinguishable from each other, the Imperial pursuit never seemed all that threatening, and I wanted something… more from Leia. Her lingering feelings of guilt and trauma over what happened to Alderaan are mentioned, and supposedly play a big role in why she’s so interested in these hometown pirates, but the feelings don’t have any palpable presence, and I kept thinking they ought to. Not that I wanted the book to become too dark and heavy — remember, that’s my complaint with so much of current popular culture and a place I definitely don’t want Star Wars to go — but a little more exploration of the princess’ mindscape would’ve been appropriate in this story.

On the positive side, Leia is convincingly portrayed as capable of independent action, Han gets in one of his trademark insanely reckless rescue stunts, and some of the banter between them is nice.

In the final analysis, I’d give Razor’s Edge a lukewarm recommendation. It’s mediocre and disposable, but it’s an adequate diversion, and it is better than some of the Star Wars tie-ins I’ve read. But I wanted it to be so much better than it was…

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Review: Star Trek: Captain’s Log

Star Trek: Captain's Log
Star Trek: Captain’s Log by David Tipton

My rating: 3 of 5 stars

This graphic novel, which I suspect will be of interest only to hardcore Trekkies, collects four stories about starship captains whose names aren’t Kirk or Picard: Pike (from the original series’ first pilot episode “The Cage”), Sulu, Harriman (briefly seen in the feature film Star Trek: Generations), and Jellico, a character who appeared in the two-part Next Generation episode “Chain of Command.” While it’s an interesting idea to more fully flesh out some of the background characters of the Star Trek universe, the results are decidedly mediocre, in part because three of the four stories follow essentially the same formula: the starring captain experiences (or is told about) a specific incident, then finds himself in similar circumstances and uses the trick that worked years ago to save the day again. Only the Jellico story breaks the mold… as does the Jellico character himself, perhaps the only truly abrasive Starfleet captain we’ve seen in all the many, many years of Star Trek stories.

My favorite of the four stories involves Harriman, captain of the Enterprise-B, and his struggle to come to terms with his role in the incident seen in Generations, in which the legendary Captain Kirk was (apparently) killed saving Harriman’s ship. Harriman is widely believed to be “responsible for the death of a monument” because he froze when the crisis began, and his confidence isn’t helped when an angry Doctor McCoy dresses him down. Overall, the story is somewhat banal — McCoy apologizes and shares some wisdom, the Klingons attack, Harriman outwits them and regains his mojo — but there are some really nicely written exchanges between Bones and Harriman, and the dialog is all in-character and authentic. (My favorite: “You’re a wise man, Doctor.” “Nah, I’m an old man. People just mistake the one for the other.” That’s Bones McCoy, at least in his later years; I even “heard” the words in De Kelley’s voice.) It helps that this segment has the best artwork of the four, too; Andrew Currie really captures Kelley’s and William Shatner’s expressions.

The Pike story has some nice emotional moments as well, expanding on a relationship only hinted at in “The Cage” between the captain and his attractive young Yeoman, but overall it’s just a generic shoot-’em-up tale. The Sulu story was completely forgettable (seriously, I can’t even recall what it was about). As for the final story about Jellico… it’s a nice change from the others, in that it’s told from the perspective of a newly transferred officer who’s trying to get used to her new captain, but I find Jellico such an obnoxious bully that I can’t believe he’d be an effective leader, and I can’t bring myself to care too much about him. He’s a jerk at the beginning of the story, he’s a jerk at the end of the story, and the protagonist has simply learned to live with it.

Ultimately, this is a fast, but disposable read aimed at a niche audience. But it does have its moments…

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