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Editor-in-Chief/ f Art Director Jason V Brock Managing g g Editor S. T. Joshi Design, g , Web,, and Layout y
JaSunni Productions, LLC (www.JaSunni.com)
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Visit us online: www.NamelessMag.com g
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Writ Wri itten itt ten Co Conttri rib ibu butors but tors Michael Aronovitz Paul G. Bens, Jr. Adam Bolivar Jason V Brock Sunni K Brock Matt Cardin Michael J. Clarke Ellen Denton Sam Gafford Wade German John D. Haefele Earl Hamner JC Hemphill S. T. Joshi Rahul Kanakia Keith Kennedy Kris Kuksi (+ Photos) William F. Nolan David Perlmutter J. J. Steinfeld Kaye Vincent Don Webb
Conttri Co rib ibu buti ting ingg Art rti tist ists/ ts/ Photographers g p
Speci p iall Th Thankks
Leslie Barany Jason V Brock H. R. Giger (Cover [utilizing elements by Kris Kuksi & Family Kuksi] + Misc. Int. Images) Our Advertisers & Contributors Richard H. Fay (Art [Shedroid on Tentacles], Our Readers & Subscriberss Joe Parrington pg 216) PETA Kris Kuksi Rod Serling Memorial (Art, pgs 157, 159-161) Foundation & Family Ron Sanders George Romero (Art [A Glass Darkly], pg 66; +++++ [Hither], pg 145) Brenda Whiteway (Art [Sand Being], pg 38) James Wymore (Cartoons, pgs 44-45)
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In Memoriam
Charles E. Fritch Fritc
This issue is dedicated to hiss lifelong work in the field.
Rod Serling
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Printingg Lightning Source
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+ + [NameL3ss] + + (ISSN 2169-1681 [Print]; ISSN 2169-1673 [Electronic]) Print Single Issue Suggested Retail Sale Price: $19.95 USD (Single Issue MSRP: $24.95 USD) and includes the E-book version; prices and subscriptions/ shipping vary by region, and are subject to change without notice. Published irregularly (Biannually: SPRING/SUMMER & FALL/WINTER) by CYCATRIX PRESS: 16420 SE McGillivray Blvd., Ste. 103-1010, Vancouver, WA, USA 98683. Copyright Š2010 and beyond by JaSunni Productions, LLC, and where specified elsewhere in the issue. All rights revert to the authors/artists upon publication. All design elements (including the overall layout and the distinctive NAMELESS logo) are copyright Š2010 and beyond by JaSunni Productions, LLC. Nothing shown can be reproduced without obtaining written permission from the creators. All cover images, whether book, magazine, CD, or DVD, as well as film posters, image captures, promotional images (headshots, behind-the-scenes, etc) and creator photos remain the copyrighted property of their respective owners, and are used herein with permission, or pursuant to Fair Use Guidelines: Every reasonable attempt has been made to contact image and content rights holders, and identify same; if there are inadvertent omissions, we apologize. Go veg: Save your life, and save theirs! Advertising rates available. Discounts for bulk and standing retail orders. Direct all inquiries, address changes, submission queries, subscription orders, and so on to: info@namelessmag.com
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+ + Fea7uRes + +
+ + Fan7asi3s + +
"From the Editor's Desk" Editorial by y JJason V Brock +05+
"The Clock Tower" by Keith Kennedy +11+ "2323" by Ellen Denton +39+ "Parting g Shots. . ." Š›Â?Â˜Â˜Â—ÂœČąÂ‹Â˘Čą ÂŠÂ–ÂŽÂœČą Â˘Â–Â˜Â›ÂŽ ¢
+44+ "It was Raining... g Grandmother" by Earl Hamner +65+ "Devil & Sir Francis Drake" by Adam Bolivar +68+ "Collections" ‹¢ȹ ȹ Ž–™‘’•• ™ +117+
TRIBUTE: "Charles E. Fritch" by William F. Nolan +08+ "The Optimal p Mode" ›Â?Â’ÂŒÂ•ÂŽČąÂ‹Â˘Čą ŠÂ&#x;Â’Â?Čą Ž›•–žĴŽ› +22+ "King g of the Dead: George g Romero" Interview by y JJason V Brock +47+ "The Weird Literary y Life of Stephen p Grendon" [+Artwork] Article by John J D. Haefele +91+ "Classic Interview: Rod Serling" by William F. Nolan +104+
"Selected Poems" by Wade German +144+ "The Echo" ‹¢ȹ Â’ÂŒÂ‘ÂŠÂŽÂ•Čą ›˜—˜Â&#x;Â’Äľ +149+
"The Group: p An Excerpt" by S. T. JJoshi +129+ "Kris Kuksi: In the Realm of the Senses" [+Artwork] Interview by y Kaye y Vincent +156 +1 56+ 56 +
"Captivities,, or Lugosi g 2031" by J. J. J Steinfeld +179+
COLU CO LUMN LU MN:: "Nu MN Numi mino mi nosi no siti si ties ti es"" es ‹¢ ŠĴ Š› Š›�’ �’— �’ — +162 +1 62+ +
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"The "T h Dar he ark k Si Side d of Sp de Spac ace: e: 199 9999" Article by Paul G. Bens, Jr. +1 166 66+ + CO OLU LUMN M : "Al MN A teern nat atee Wo Word rdss" rd ‹¢ Š– Šě Šě˜›Â? Ä› Â? +184 +1 84+ 84 +
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"Man-Eater" by Rah ahul ul Kan anak akia ak ia +187 +1 87+
+ + [N [NAM AMEL ELES ESS] S] Re Revi view ewss + + +1 +198 198 98+ +
* Ka Kaye ye Vin y incce centt * Wil cent illi liam li am F. No Nola la an * Sunni K Brock k * Mi Mich hael J. Clar Cl arke ke * Don Web ebb b* * Jason V Brock * Paul G. Benss, Jr. * Jr.
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¢ȱ ȱ ¢ I. ȱ ȱ ȱ ȱ ȱ Dzȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ mad ravings of unimportant men are oft lost in the annals of history. ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ǰȱ ȱ ȱ ǰȱ ȱ ȱ ǰȱ ¢ȱ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ¢ȱę ȱ ¢ ǰȱ ȱ ¢ ȱ ȯ ȱ ȱ ȱ ȱ ȱ ȱ hope beyond hope—a voice. ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ I have always tried to do what is right by those around me. I believed since youth that one mistake—however grandiose or subtle—ought ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ recount represents a contrary opinion. ȱ ǰȱ ȱ ¡ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ǰȱ ȱ ȱę ¢ȱ ȱ ȱ ȱ ¢ȱ ǰȱ ȱ I must begin. I had always walked the same route, and by sheer fate it ȱ Ĵ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǰȱ ¢ȱ ǰȱ ȱ ¢ ȱ Street. She would smile shyly and incline her head, and I in turn would incline mine, trying to keep my feelings hidden behind a ǰȱ ȱ £ ǯȱ ȱ ǰȱ ȱ ȱ ȱ ǰȱ ȱ ¢ȱ ȱ ȱ my being. I dreamed of her every inch pressed against me from the ȱ ȱ ę ȱ ȱ ǯȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ¡ ȱ ¢ȱ ȱ ȱ ¢ȱ ȱ and now it was being let loose, wave after torrid wave, into my heart and my head and all the way down into my toes. And yet I managed ȱ ȱ ȱ ǰȱ ¢ȱ ǰȱ ȱ ȱ ȱ ȱ ǯ Further along my morning walk, I would come across another ǯȱ ¢ǰȱ ȱ ǰȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ be represented by a half a dozen members outside the clock tower. ¢ȱ ȱ ȱ ǰȱ ȱ ¢ȱ ȱę ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ǰȱ ȱ ȱ ȱ ¢ȱ
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The Optimal Mode Television Animation in America, 1948–2010 ¢ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ě ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ has produced a number of great programs that are considered ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱǻ ǰȱ ¢ǰȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ Ǽǰȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ¢ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ę ȱ ¢ȱ ȱ ȱ children, and a medium of inculcation of "negative" values in that same audience. Most of these assessments were arguments ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ¢ȱ ȱ Ě ȱ of larger social and economic trends at the time of their original ȱ ȱ ¡ ǰȱ ǰȱ ȱ ǰȱ ȱ Ĵ ȱ ȱ ȱ ȱ ȱ ȱ ¡ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ In recent years, television animation1 has been taken more seriously, though this tends to favor the more visible and £ ȱ ȱ ȱ ȱ ¡ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǰȱ one that is able to treat television animation programs on a fair ȱ ȱ ȱ ȱ ȱ ȱ ę ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ę ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ to view television animation as Marshall McLuhan spoke of it ȱ ȱŗşŜŖ ǰȱ ȱ ȱȈ ȱ Ȉ2 of television through which it accomplishes television's objective of presenting enlightening and challenging material for consumption by its audience. The Beginnings: 1948–1965 ȱ ě ȱ ȱ ȱ ȱ ȱ ȱ community, television animation began in commercial terms ȱ ȱ ȱ ȱ ȱ ȱ ȱ ŗşŚŞǯȱ ȱ ę ȱ ȱ series, Crusader Rabbit ǻ ¢ ǰȱ ŗşŚŞDzȱ ŗşśŝǼȱ ȱ ȱ ȱ 1
ȱ ȱ ȱ ȱ ¡ ȱ ȱ ȱ ȱę ȱ ¢ȱ ȱ ȱ ¡ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ¢ȱ ȱ ¡ ȱ ȱ ȱ ȱ ǯ Řȱ ȱ ȱ ȱǻ ȱ ȱ ȱ ȱ ǰȱ ǯǼǰȱ Essential McLuhan ǻ ǰȱ DZȱ ȱ ȱ ǰȱ ŗşşśǼǰȱ ŗřśǯ
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.LQJ RI WKH 'HDG Legendary Filmmaker George A. Romero on Politics, Film, and the Future ȱ ¢ȱ ȱ ȱ
ȱ ȱ DZȱ ǰȱ ǯȱ ǰȱ ȱ ȱ Ĵ ȱ ȱ ǯ ȱ ǯȱ DZȱ ¢ȱ ǯ DZȱ ¡ ǯȱ ȇ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȇ ȱ ȱ ȱ ¢ȱ ȱ ȱ ę Ȭ ȱ ǰȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ¢ ȱ ę ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȯ ȱ ȱ ǰȱ ¢ ǰȱ ¡ ǰȱ ȱ ȱ ȱ ǯȱ ȱ what doȱ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǵ DZȱ ȱ ȱ ȇ ȱ Ƿȱ ȇ ȱ ȱ ȱ ¢ȱ ǰȱ ȇ ȱ ȱ¢ ȱ ǯȱ DZȱ ǰȱ ȇ ȱ ȱ ȱ Dzȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȇ ȱ ȱ ȱ ȱ ȱ Ƿȱ ǰȱ¢ ȱ ǰȱ ȇ ȱ Ĵ¢ȱ ǯȱ ȱ ȱ ȱ ȱ ȯ ȇ ȱ ȱ ǯȱ DZȱ ȱ ¢ǰȱ ȱ Ƿ
Left: Romero directing on the set of ¢ȱ ȱ ȱ ȱ(1985). DZ The director at a recent convention appearance.
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What was famous Wisconsin author August Derleth up to when he breathed life beyond the printed page into one of his most famous literary characters? Was he harboring secret motives, or did he mean it only as a hoax? Indeed, a mystery there ǰȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱę ȱ ȱ ȱ ȱ ȱ comprising . . .
The Weird Literary Life and Times of Stephen Grendon ¢ȱ ȱ ǯȱ ȱ ȱ ȱEvening in Spring and The Shield of the Valiant ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ Ȉ Ȉȱ ȱ ȱ DZ ȱPlace of Hawks ǽŗşřśǾȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Dzȱ ȱCountry Growth ǽŗşŚŖǾȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Dzȱ ȱ Sac Prairie People ǽŗşŚŞǾȱ ȱ ȱ Wisconsin in Their Bones ǽŗşŜŗǾȱ ȱ ȱ ȱ ȱ ȱ ¡ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ǯȱǻ ȱřśǼ ȱ ȱ ȱ ȱ Ȭ ȱ ȱ ȱ ȇ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ Ȭ ȱ ¢ȱ alter ego ȱ ȱ ǯȱ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȇ ȱ Ȉ ǰȈȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ¢ ȱ ¢ȱ ȱ ¢ ȱȈ ǰȈȱ ȱ ȱ ȱMr. George and Other Odd Persons, ȱ ȱ ȱ ȱ Capital Timesȱ ǻ ǰȱ Ǽȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱȈ Ȉȱ ȱ ě ȱ ǰȱ ȇ ȱ ¢ȱ ȱ ȱ ȱę ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱȈ ¡ Ȉȱ ȱ ȱ ȱ ǰȱ ȱ ǰȱ ǰȱ ȱ ȱ ȱ ȱ ę ȱ ȱ ȱę ǯ ȇ ȱ ȱ ȱ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ Evening in Spring ȱ ȱ ȱ ȱ ȱ ȱ ę ȱ ȱ ȱ ȱ ȱ ȱ¢ ȱ ȯ ȱ ¡ ǰȱ ȱ ȱ ȱ ǯȱ ǯȱ ȱ ȱ ȱ Ȉ Ȉȱ ȱ Ȉ ȱ Ȉȱ ǻEssential Solitude Řśşȱ ǭȱ řřŝǼǯȱ ȱ ȱ ȱ ȱ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ¢ǰȱ ȱ ȱ ȱȈ ȱ Ȭ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ
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+ + [NameL3ss] Classic Interview + +
Rod Serling ¢ȱ ȱ ǯȱ Prefatory Note: ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ę ȱ ȱ ȱ ¢ȱ ȱ ŗşŜřȱ ȱ ȱ ȱ ȱ ȱ Gamma £ ȱǻ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ǽǯȱ ȱ ȱ ȱ ȱ ȱ ǻGammaȱ ¢ȱ ȱ ȱ ȱ ȱ ę ȱ Ǽǰȱ ȱ ȱ ¢ȱ ¢ ǰȱ ȱ ȱ ȱ ȱ ȱ ę ȱ ȱ ȱ ¢ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱǯȱǯȱǯȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ Ȭ Ȭ ¢ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ¢ȱ ǯȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ǯ —WFN
+++++ ȇ ȱę ȱ ȱ ȱ ȱRodman Edward Serling in this pithy, revealing interview with the gifted creator of TV's ȱ ȱ . Let us preface our visit with Mr. Serling by pointing out that his three paperback collections of ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ǻ ȱ ȱ ę ȱ ȱ ȱ ȱ ȱ ȱ ȱeighth printing). Rod lives the Good Life, in a ȱ ȱ ȱ ȱ ȱ ȱ ę ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱȈ ȱ Ȉȱǻ ȱ ¢ ȱ ȱ ȱ ȱ for such television milestones as Ĵ and ȱ ȱ ȱ ¢ ), ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ Ĵ ȱ ¢ȱ ȱ ȱ ¢ȱ transcribing his award-winning words. Outspoken as always, Rod says what he believes—which has made him one of the industry's most controversial personalities. Here, without further ado, is uncensored Serling. ȱ ǯȱ DZȱ ȱ ȱ ȱ ȱ Ȉ Ȉȱ ȱ ǰȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǻ ¢ ¢ǰȱ ǰȱ Ǽȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ¢ ȱ ¡ ȱ ǵ ȱ DZȱ ȇ ȱ ȱ ȱ ȯ ȱ ȇ ȱ ȱ ȱ ȱ ȱ
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The Group: Bradbury, Matheson, Beaumont, Nolan ¢ȱ ǯȱ ǯȱ
Excerpted from Ĵ ȱ DZȱ ȱ ¢ȱ ȱ ȱ ǰ PS Publishing, 2012
ȱ ȱŗşŚŖ ȱ ȱŗşśŖ ǰȱ ȱ ȱ ȱ ȱ ǰȱ ¢ȱ ȱ ȱ ǰȱ ě ȱ ȱ ȱ ȱ ȱ ȱ Ȭ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ǯȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȯ ǰȱ ¢ȱ ǰȱ Ȉ ȱ ǰȈȱ ȱ ȱ Ě¢ȱ ȱ ¢ȱ ¢ǰȱ ȱ ǰȱ ȱ ǰȱ ȱ ȱ ǯȱ ǰȱ ȱ ǰȱ ȱę ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȯ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ Ȧ ǰȱ ȱ ę ǰȱ ȱ ¢ǯȱ ȱ ȱ ȱ ȱ Ȭ ȱ ȱ Ȭ ȱ ȱ ȱ ȱ ȱ ȱ DZȱ ȱ ȱ ȱ ȱ ȱ £ ȱ ǻWeird Talesȱ ę ¢ȱ
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+ ȱ ȱof the Moon+ The Quiet Horror of
¢ȱ ȱ ȇ ȱ ŗşŝśȱ ȱ ȱ ȱ ¢ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱThunderbirds,ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ Space: 1999, ȱ Ȭ ȱ ȱ ę ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¡ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ2001: A Space Odysseyȱ ȱ ȱ ȱ ȱ ȱStar Trek, Space: 1999 starred ȱ ȱ ȱ ȱ ǰȱ ȱ ěȱ ȱ ȱ ȱ ȱ ¢ȱ popular Mission: ImpossibleDzȱ ¢ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ The Fugitive; ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ǰȱ ȱ ǰȱ ȱ ǰȱ ȱ ȱ ǯȱ ȱ ěȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ Ȭ Ȭ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱę ȱ ¡ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ę ȱ ȱ
¢ȱ ¢ ǰȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ Ȭ ¢ ȱ ȱ ȱ ȱ ǯȱ Ȉ ȱ ȇ ȱ ȱ ȱ ȱ ǰȈȱ ȱ ¡ ȱ ȱ ȱŘŖŖŘȱ ǯȱȈ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ¢Dzȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¡ ǯȈȱ ȱ ȱ ȱ ¡ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ¢ ȱ ǰȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱę ȱ ȱ ȱ DZȱ ȱ ǰȱ ȱ ǰȱ ȱ ǰȱ ȱ ǰȱ ¢ȱ ǰȱ ȱ ¢ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ě ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǻ ¢ȱ ȱ 2001: A Space Odyssey' ȱ ȱ Ǽǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱę ¢ȱ ȱ ȱ ȱ ǯȱTime
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Reviews & Analysis Dan O'Bannon's Guide to Screenplay Structure ¢ȱ ȱ ȇ ȱ ȱ Ĵȱ ǯȱ Forewordȱ ¢ȱ ȱ ǰȱAfterword ¢ȱ ȱ ȇ ȱ ȱ ǰȱŘŖŗř DZȱşŝŞȬŗȬŜŗśşřȬŗřŖȬş ŘŜŚȱ Dzȱ ȱ DzȱǞŘŜǯşśȱ
www.MWP.com
ȱ ȇ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ȱę ȱ ȱ ȱ ȱ ¢Ȭ ȱ¢ ǯȱ ¢ǰȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ¢ȱ ȱ ȱ ę ȱ ȱ ȱ ȱ ǰȱ Ȭ ǰȱ ȱ ȱ certainly are: Alien, The Return of the Living Dead, Dark Star, Total Recall, The Resurrected.ȱ ȱ ȱ ȱ ȱ ȱ ¡ ȱ ȱ ȱ ¢ȱ ȱ Dzȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ¡ ȱ ¢ǰȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ¡ ǰȱ ȱ ȱ ȱ artistically. In their new book, Dan O'Bannon's Guide to Screenplay Structure, ȇ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ the rationale behind why screenplays that work make satisfying and ȱę ȱǻ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱȱ
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ę ¢Ǽǰȱ ȱ ȱ ¢ȱ ȇ ǯȱ ȱ ȱ ¢ ǰȱ ȱ ȱ ¡ ȱ ¢ȱ ȱ ǰȱ ȱ ȇ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ Ȉ Ȭ Ȭ Ȉȱ ȱ ȱ ȱ ¢ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȇ ȇ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ¢ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ě ǯȱ ȱ ȱ ȱ ȱ ȱ ȱȈ ȇ ȱ ȱ ȇ ȇ ǰȈȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¡ȱ Ĝ ȱǻ ȱ ȱ ȱ ǰȱ ę ȱ ȱ ȱ Ĝ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ Ǽǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ Ĵ ȱ ȱ Ĵ ǯ ǰȱ ȱ ȱ ȱ ȱ ȱ DZȱ ǰȱ ȱ ¢ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ¢Ȭ ȱ ǯȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ¡ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ę ȱ ǰȱ ȱ ȱ ¢ȱ ȱ ȇ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǻ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ¢ ȱ Ǽǰȱ¢ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ Ȧ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȇ ȱǻ ȱ ȱę ¢ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǷǼǯȱ ȱ ȱ ȱ ȱ ȱ ȱ Ě ȱ ȱ ȱ ǰȱ ȇ ȱ ȱ ȱ ȱ ȱ ǯȱ Ĵ ȱ ȱ ȱ ǰȱ ȱ ¢ ǰȱ ȱ ȱ ȱ ¢ ¢ȱ ǰȱ ǰȱ ȱ ¢ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ǰȱ ȱ ȱ ȱ ȱǻ ¢ȱ ¢ȱ ȱ Ĵ ȱ ¡ Ǽȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱĚ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ¡ ǰȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ Ȭ ǯȱ ¢ǰȱ ȇ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ǰȱ ȱ ȱ ǯȱ ȇ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ę ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǻ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ¡ ¢ȱ ȱ ȱ ȱ Ǽǰȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ¢Dzȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱę ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱęĴ ȱ ȱ ¢ȱ ȱ ¢ȱ ȱ ȱ ȱ DZȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ¢ȱ ǯ —Jason V Brock
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Mutation Nation: Tales of Genetic Mishaps, Monsters, and Madness ȱ ¢ȱ ¢ȱ DZȱ ȱ ǰȱ ȱ ¡ ǰȱ ȱ ȱ ǰȱŘŖŗŗȱ DZȱşŝŞȬŗȬşřŝŝśȬŞŖŘȬŞ ŗşŞȱ Dzȱ ȱǞŗŚǯşś ȱ ȱ ǰȱ ȱ ¢ȱ ȱ ȱThe True History ȱ ȱ ȱ DZȱ ȱ ę ȱ ȱ ȱ ȱ ȱ ȱ ¡ ¢ȱ Life of Joseph Carey Merrickȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ȭ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¡ ȱ ȱ ¢ǰȱ ȱ ȱ ȱ Ĝ ǯ ȱ Ȃ ȱ ę ȱ ę ȱ ¢ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ȱ ę ȱ ǯȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ¢ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ĵȂ ȱ ǰȱȈ ȱ ȱ Ȉȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¡ ȱ ȱ Ĵ ȱǻ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ Ǽȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ¡ ¢ȱ ǯȱȈ ȱ ȱ Ȉȱ ¢ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ¡ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ǯȱ ȱ Ȃ ȱȈ Ȉȱ ¢ ȱ ȱ ȱ ȱ ȯ ȯ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǻ ȱ Ĵ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ǽȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ǯȱ ȱ ȱ ǯ ȱ ¢ǰȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ǰȱ ȱ Ȉ ȱ Ȉȱ ¢ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ Ȭ ǰȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ¢ ȱ ȱ ȱ ȱ ȱ ¢ȱ ǰȱ
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