Wednesday, June 29, 2016

Review: Satan's Blade (1984)

Yet another Arrow release from the 80's slasher camp, and another that I'd never heard of before. I wonder where they keep finding them! Unfortunately it might have been better if this one had stayed lost!

It's a puzzling story which suggests that a knife is cursed, and that anyone who comes into contact with it turns into a bloodthirsty maniac. We open with two girls robbing a bank, killing people there, heading for their hideaway, stashing the loot, before one kills the other, and then she herself is slaughtered by an unseen assailant. We then leap five years later to when two couples, and a group of five girls, are checking into a holiday lodge which is where the earlier murders were committed. Of course the murders start up again, with people being stalked and killed ... but is it the old fisherman by the lake? Or someone else committing the murders? And what about that stash of money which stays hidden throughout the film ... ultimately it's pointless as it has no bearing on anything ...

Of course who the killer is, is the big payoff, but it's not that much of a surprise.  Elsewhere the film has a lot of nudity, so much so, that it veers into soft porn territory at times ...

Unfortunately the cast are uniformly terrible, with bad delivery and poor acting at every turn. The blood looks like tomato sauce (it probably was) and overall it's a mess of a film. In fact it's the sort of film you get if you have the same person writing, directing and producing it, and the culprit here is one L Scott Castillo Jr. But not him alone as Thomas Cue wrote the screenplay and also acts in the film.

There's an extra in which Castillo Jr, interviewed by a mystery woman called Pam, shows us some of the 'artifacts' from the film, which include reels of the actual film, and old video covers, and a knife which looks nothing like the one in the film ... It's all rather painful.

As you can tell, I really wasn't enamoured with this one, and it's a struggle to come up with anything to praise it for. Even the music score is a synthesised mess ...

It's independent filmmaking at its most raw and unfocussed.




SPECIAL EDITION CONTENTS

•Brand new 2K restoration of the film presented in both 4:3 (1.37:1) and 1.85:1 versions
•High Definition Blu-ray (1080p) and Standard Definition DVD presentations
•Original Mono audio (uncompressed PCM on the Blu-ray)
•Optional English subtitles for the deaf and hard of hearing
•Brand new audio commentary by podcast The Hysteria Continues
•Interview with writer-director L. Scott Castillo, Jr.
•Reversible sleeve featuring original and newly commissioned artwork by Matt Ryan Tobin
•Fully-illustrated collector’s booklet featuring new writing on the film by Brian Albright, author of Regional Horror Films, 1958-1990

Monday, June 27, 2016

Review: Return of the Killer Tomatoes (1988)

This is a great little film! And one which I'd not seen before. I've not even seen the original Killer Tomatoes film, so had no preconceptions as to what this might all be about. But as sequels go, this is pretty enjoyable and well done fare. It's streets above other 'so bad they're good' type films, and I'd almost go so far to say that this is 'so good it's good'!

The basic plot is that there's a mad scientist, Professor Gangreen superbly played by John Astin (the original Gomez Addams), who has discovered a way to turn tomatoes into people. So he has created Rambo-esque guards for his house, and also a hot female assistant (Karen Mistal). In fact she is so hot she's steaming! Except that said assistant falls for one of the lads from the local high school, and he and his mate (played by a young George Clooney) decide to try and liberate her ...

It's generally a nonsensical romp of a film, with some brilliant '80s moments. I love how it starts as a beach movie, with a whole bevvy of unfeasibly hot babes in bikinis, and then moves into sideswipes at consumerism as they try product placement of all types to try and get enough money to finish the film ...  Tomatoes are bad as well and are smuggled in, while people run around screaming if there is even a hint of tomato! Chad (Anthony Starke) and Matt (George Clooney) work in a pizza place and pizzas are made with every ingredient but tomato as well - strawberry jam being one such replacement, and the whole film is silly and yet compelling.

As mentioned, I was somewhat entranced by Karen Mistal who plays Tara Boumdeay (Professor Gangreen's assistant). She is stunning and with a body ... what a body ... The '80s fashions really work to her advantage in this regard. We even get a return of the bikini girls at the end as Matt uses the Professor's machine to create some hot girlfriends for himself.

I loved the film. I liked the sense of self-awareness that it has, the breaking of the fourth wall, the insanity of the plot, and the gorgeous girls of course. For the ladies, there is of course George Clooney, and another assistant of the Professor called Igor, who is a handsome blond chap with a very educated speaking voice (Steve Lundquist).

It reminded me a lot of the more recent Sharkanado movies, with the same sense of the absurd and rollicking fun which they embody.

My one disappointment here is in the extras on this new Blu-Ray release from Arrow. Usually Arrow stuff their disks with tons of material, but here there's only a recent interview with Anthony Starke to round it off (there's a trailer and a couple of other minor elements, but no documentary or behind the scenes information. Ah well.

Worth getting to watch with your mates on a beer and pizza night. Just watch out for the tomatoes!



SPECIAL EDITION CONTENTS

  • High Definition Blu-ray (1080p) and Standard Definition DVD presentations
  • Original Stereo audio (uncompressed PCM on the Blu-ray)
  • Optional English subtitles for the deaf and hard of hearing
  • Brand new audio commentary with writer-director John De Bello
  • Brand new interview with star Anthony Starke
  • Original Theatrical Trailer
  • Reversible sleeve featuring original and newly commissioned artwork by Matthew Griffin
  • Fully-illustrated collector’s booklet featuring new writing by critic James Oliver


Friday, June 24, 2016

Short Stories on TV

I love short stories ... they're great in collections, and anthologies, and the very best make you think and feel emotions ... they can also be experimental in a way that might be tricky at a longer length, but they can also be varied and range from funny to horrific to gut-wrenching, to sad ... there really is no limit!

No surprise then that some of my favourite television is in the 'Short Story' field. Anthology series which take a the form of stand-alone tales of terror (or science fiction). Among such series in the past have been Out of the Unknown, The Twilight Zone, The Outer Limits, The Hunger, Tales of the Unexpected and Urban Gothic. All of them presented some great material during their runs, and all managed to make the most of what modest budgets they had available.

Unfortunately, in more recent years, this sort of Anthology series has all but vanished. All people seem to want are character-driven series with season arcs and cliffhanger endings to each season ... the idea of telling discrete stories each week doesn't exist. There was Black Mirror of course which took a more political slant on the genre, but it's hard to think of any others.

Which is why I was excited to see, first, a little series of films based on the work of H G Wells - The Nightmare Worlds of H G Wells, and, more recently, four of Neil Gaiman's short stories presented in similar fashion. I suppose one could also include here Mark Gatiss' brilliant M R James adaptation of The Tractate Middoth from a couple of Christmasses ago ...

The H G Wells stories were an interesting bunch, and I have to admit to not being very familiar with his short works. From what was presented, I got the feeling that they struggled to find ones which were actually adaptable to television. The themes seemed a little muddled in each, and the outcomes very obvious. I liked a lot the one about the old man who 'jumps' into the body of a younger man as he seeks immortality, and I also liked the one about the poisonous mushrooms, in which Shaun Parkes shines.

The direction of these was also well thought through, with largely black drapes taking the place of backgrounds, and the action taking place in a sort of theatre set, slightly removed from reality.  This was, presumably, a cost-saving measure, but it worked in the telling of the stories, making them slightly spiky and unreal. I'm not sure though that I could believe Ray Winstone as H G Wells. His accent being somewhat offputting, and not how I had ever imagined Mr Wells to sound (I have to admit, I have no idea what Wells' accent would have been, however!)

The four stories chosen were: The Late Mr Elvesham, The Devotee of Art, The Moth and The Purple Pileus.

Overall, however, I enjoyed Sky's presentation of these tales, and it was very refreshing to see proper short stories dramatised on television.

The Neil Gaiman stories were given the overall title of Likely Stories, and there were again four chosen: Foreign Parts, Feeders and Eaters, Closing Time and Looking for the Girl.

Unfortunately I was less taken with these adaptations, though for the most part they were well made and cast. I liked seeing Montserrat Lombard in every one - she's a superb actress and brings a full range of emotion (and accents) to each role. I was less enamoured with comedian Johnny Vegas telling stories in a gentleman's club though.

Probably the best of them was Feeders and Eaters where Lombard plays a girl waitressing in a cafe who hears stories from her clientele. One such comes from a young man who has met and is looking after an old, old woman (excellently played by Rita Tushingham) ... but she needs fresh meat to survive, and the implication, very subtly done, is that she is literally eating him alive. It's so subtle though that you could miss it - I only knew because I published Gaiman's story in one of Telos' anthologies a few years back!

This is basically the problem with them though, there's not much story there. Gaiman is a brilliant writer and novelist, but the short stories they chose are perhaps not his best. But then I'm not the director/producer and don't know what criteria they were looking for. It's certainly true that all four are seedy and dark and dwell on the human condition ... so perhaps this was what they were aiming for. And if so, they succeeded!

Foreign Parts in particular made me feel quite grubby - it's about a venereal disease which takes over its host and makes them a better person somehow ... very strange.

I really hope that these two series have been successful for Sky and that they are moved to widen their net and seek out more authors and more works to bring to the small screen. There is such a wealth of potential out there that it seems a shame to limit it to just two authors ...

Tuesday, May 24, 2016

Review: Blood Bath (1966)

The new Arrow release of Blood Bath is not so much a release of a film, as an entire set devoted to how Roger Corman, Frances Ford Coppola, Jack Hill, Stephanie Rothman et al managed to take an obscure, unreleased Yugoslavian film and create another three films from it.  It's quite an undertaking, and included on this blu-ray set is a truly excellent feature wherein Tim Lucas takes us through all the different versions, explaining what happened, when and how and why.

I have to admit that Blood Bath is not a film I had previously seen, nor was particularly aware of, and as a black and white 1966 horror, which is fairly incomprehensible in places (and which has nothing whatsoever to do with some of the illustrative poster and ad art), it's a hard watch. William Campbell plays an artist, who is also a vampire, who is famed for his images of dead girls. In fact he paints them and then kills them, or vice versa, dipping them in wax in his studio. He is tormented by the ghost of a dead woman, and his undoing comes when this spirit summons his dead and waxed women to come alive at the end and kill him!

What is fascinating about all this, is how footage from a film called Operation: Titian, made around 1963, was cannibalised into three other films called: Blood Bath, Portrait in Terror and Track of the Vampire. I won't go into the detail here, but there's a general overview of what happened on the Wiki page: https://en.wikipedia.org/wiki/Blood_Bath.

It's interesting to see Sid Haig, years away from starring as Captain Spaulding in Rob Zombie's House of 1000 Corpses, and Patrick Magee, better known from films like Tales from the Crypt and Asylum, not to mention The Monster Club, making appearances here, and both do well with the material. William Campbell also does a good job, as do the various directors, matching shots and details from the earlier versions into something which sort-of hangs together.

As always, the presentation by Arrow is excellent. All four films are included in the package, so I suppose you could try and make your own versions if you so wished, as well as various documentaries and commentaries.

It's certainly a release for film historians and those interested in the career of Roger Corman, and also as an object lesson perhaps in how film-making used to be done.

LIMITED EDITION CONTENTS
• Limited Edition collection of the complete Blood Bath
• High Definition Blu-ray (1080p) presentation of four versions of the film: Operation Titian, Portrait in Terror, Blood Bath and Track of the Vampire
• Brand new 2K restorations of Portrait in Terror, Blood Bath and Track of the Vampire from original film materials
• Brand new reconstruction of Operation Titian using original film materials and standard definition inserts • Optional English subtitles for the deaf and hard of hearing on all four versions
The Trouble with Titian Revisited – a brand new visual essay in which Tim Lucas returns to (and updates) his three-part Video Watchdog feature to examine the convoluted production history of Blood Bath and its multiple versions
Bathing in Blood with Sid Haig – a new interview with the actor, recorded exclusively for this release
• Archive interview with producer-director Jack Hill
• Stills gallery
• Double-sided fold-out poster featuring original and newly commissioned artworks
• Reversible sleeve featuring original and newly commissioned artwork by Dan Mumford
• Limited edition booklet containing new writing on the film and its cast by Anthony Nield, Vic Pratt, Cullen Gallagher and Peter Beckman
Poster for Blood Bath. The film does not include blondes being
chained up, nor dipping girls in boiling blood. There are no skeletons, and no torture
chamber, and no rack on which a girl is strapped. There is no shrieking of mutilated victims,
and no-one is caged in a black pit of horror. There is however
a net which is used to dip a dead brunette in wax ...

Saturday, May 14, 2016

Time and Spaces

Received through the post a lovely little book from the nice people at Miwk Publishing ... this is Time and Spaces: A Photo Journal of Doctor Who Filming by Yee Jee Tso.

The informed among you will realise that Yee Jee played the 'Asian Child' Chang Lee in the 1996 Doctor Who TV Movie which starred Paul McGann as the Doctor ... and thus this book is a record of the recording and locations of that TV Movie.

What Yee Jee has done is to revisit the locations 'today' and photograph them, putting them into the context of the TV Movie. There are a few excerpts from recording schedules, quotes and reminiscences from Sylvester McCoy and Daphne Ashbrook, and some lovely photos from the studio recording.

It's a shame that there aren't more photos from the actual recording on location, but instead we get a selection of lovely images of these places as they are 'today', with descriptions of how they were used for the making of the TV Movie.

It's a fascinating little memoir, and a trip down memory lane to the locations and places where history was made back in 1996, when the Doctor was back ... and it was about time!

Time and Spaces by Yee Jee Tso
Available from Miwk Publishing: www.miwkpublishing.com


Friday, May 13, 2016

12th Doctor's 2nd Sonic Screwdriver

It's been a long time since I was sent one of Character Options' Doctor Who products to review ... but at last they come through with the 12th Doctor's second Sonic Screwdriver ...

This first appeared in the last episode of season 9, 'Hell Bent', and was something of a surprise when the Doctor produced it from his pocket.

The main immediate difference from its predecessors is that there is no 'focussing' element at the end, instead there is a crystal-like structure which on screen reminded me a little of a Metebelis crystal. Otherwise it's the usual tube-like device with various bits and bobs on it - though different bits and bobs here to previous screwdrivers.

The operation here is a single push/pull switch on the side. Pushing it once and holding it activates a green light and a buzz, while pushing it twice and holding it makes it flash green with a whine sound. Pulling it once and holding it activates a blue light and a different buzz, while pulling it twice and holding it makes it flash blue 'chasing' around in a circle with yet another whining sound.

It's pretty cool, though it is quite hard to activate the 'two push/pull' functions. My thumb was hurting from the effort of holding the switch in place to make them work. It's also not obvious that there even is a 'two pull/push' element - I had to actually read the packaging to find out what it did! Perhaps the activation contacts could have been bigger and easier to connect to, or maybe just having four little buttons to press would have been a lot easier to navigate.

It might also have been nice if there were a couple of other manual functions to the toy - like the way that the old ones had an extending shaft and so on. However I guess that this would have pushed the manufacturing costs up.

It's a smashing looking toy though, and as the Sonic Screwdrivers have, over the years, become synonymous with the Doctor, it's nice that the newest one is available to buy in toy form.

The toy should be in the shops 'within weeks' Character say, but I'm sure there are some retailers around who will be taking pre-orders very soon.

Saturday, April 23, 2016

Review: Bride of the Reanimator (1990)

H P Lovecraft has a fascinating legacy in films. I'm not sure there has ever been a wholly successful adaptation of his work (Wiki lists 33 films based on his work!), but the Re-Animator films give it a good shot.

Produced by Brian Yuzna. directed by Stuart Gordon, and starring Jeffrey Combs as Doctor Herbert West, Re-Animator (1985) was a great little film, chronicling Dr West's experiments with a luminous liquid which could re-animate the dead. Very watchable and entertaining, the film has since gained a cult following as these things do, and spawned two sequels.

After its success, Yuzna and Gordon turned to another Lovecraft tale for their next offering, From Beyond, and after that, Yuzna alone decided to go back and see what Herbert West was up to, the result being Bride of the Re-Animator. That these films were in part based on the old Frankenstein films can be no secret, with even the titles following the order of the old Universal classics.

Bride of the Re-Animator, while not quite as good as the original film, nevertheless has a good stab at being entertaining, crazy and quirky all at the same time. Once again Herbert West wields his glowing serum, but this time it allows him to create all sorts of monstrous creations through the connection together of various body parts. Thus a dog ends up with a human arm and hand, there's a cute little creature made from five fingers and an eyeball, and, as we reach the end of the film, a whole room full of monstrous creations straight from the crazed mind of FX artist Screaming Mad George.

The film is certainly paying respects to The Bride of Frankenstein with the creation of a statuesque female by Dr West from various body parts, including the heart of his assistant's girlfriend! When she rises, it's straight out of the black and white Universal film, with mad hair and jerky movements. And of course she never asked to be created in the first place ...

I really enjoyed the film, and it has a lot going for it. The monstrous creatures at the end are marvellous and I found it all channelling a sort of Freaks or The Sentinel vibe for me, as well as the more obvious Frankenstein influences. What is interesting is how close some of the plot elements are to the original H P Lovecraft story. According to details here https://en.wikipedia.org/wiki/Herbert_West%E2%80%93Reanimator, the original work was serialised over six parts, with the first two being used for the original Re-Animator film, and the last two for Bride of the Re-Animator.

Overall the film is part of a very nice offering from Arrow, with the usual selection of documentaries and commentaries.

DIRECTOR-APPROVED 3-DISC LIMITED EDITION CONTENTS
  • Brand new 2K restorations of the Unrated and R-rated versions of the film, approved by director Brian Yuzna
  • High Definition Blu-ray (1080p) and Standard Definition DVD presentations
  • Original Stereo 2.0 audio (uncompressed PCM on the Blu-ray)
  • Optional English subtitles for the deaf and hard of hearing
  • Newly commissioned artwork by Gary Pullin
  • Limited Edition Collector’s Booklet
  • Limited Edition Packaging to be revealed

  • DISCS 1 & 2 – BLU-RAY/DVD – UNRATED VERSION
  • Brand new 2K restoration of the Unrated version
  • Brand new audio commentary with Brian Yuzna
  • Audio Commentary with Brian Yuzna, star Jeffrey Combs, visual effects supervisor Tom
  • Rainone and the effects team including John Buechler, Mike Deak, Bob Kurtzman, Howard Berger and Screaming Mad George
  • Audio Commentary with stars Jeffrey Combs and Bruce Abbott
  • Brian Yuzna Remembers Bride of Re-animator – brand new featurette in which the director looks back at the making of the first Re-animator sequel
  • Splatter Masters: The Special Effects Artists of Bride of Re-animator – Brand new FX featurette with a wealth of behind-the-scenes footage and interviews with Robert Kurtzman of KNB, Screaming Mad George, Tony Doublin and John Buechler
  • Getting Ahead in Horror – archive making-of featurette
  • Deleted Scenes

  • DISC 3 – BLU-RAY – R-RATED VERSION



  • Brand new 2K restoration of the R-rated version
  • The Target Book - Redux

    It's always lovely when a book about a subject you're passionate about gets published, and even moreso when it's written by you!  Thus it was when The Target Book was launched on an unsuspecting public back in 2007. The reception it got was brilliant, people seemed to love it! We ended up doing (I think) two print runs with our Indian printers (at the time, printing in India was cheaper than in the UK, even factoring in the shipping costs) of the paperback edition, and two different limited edition hardbacks with leatherette covers ... even so, eventually the paperbacks ran out, and the book slipped out of print.

    We then had a problem. I would have loved to have got the book onto a Print On Demand system so that copies could still be bought, but the physical page size we had chosen (as being the largest we could do for the rrp we wanted it to be) was not compatible with any system, so we couldn't use the PDFs we had, and I didn't want to have to completely re-lay out the book. Printing in the UK was too expensive for full colour at a short print run, and so we just had to accept that the book was out of print and move on.

    But people kept coming and asking about it, perhaps driven by the silly prices that copies of the book were displaying online (many of these driven by crazy automated pricing algorithms ... I suspect no book was ever sold at the prices being charged!) and we had to keep turning people away.

    The BBC Books reissue.
    Then, in 2016, several things happened all at once. Firstly I was approached by the BBC about whether I would lend some of my original Target cover art for an exhibition which was planned in London. I was uncertain, as there seemed to be absolutely no benefit to me in lending the pieces. It was to promote some reprints of the novelisations being released by the BBC, and the gallery was apparently charging an entrance fee for customers to see the exhibition, yet there was no loan fee, and no benefit to me in taking part. So I initially declined. The BBC in the form of Edward Russell was disappointed, but understood my rationale, and I think it was he who suggested, why don't you see if the gallery would sell copies of your book on the range? Not realising that it was long out of print.

    In the same week, I had a call from a regular printers that we use at Telos Publishing, and in the course of the call, I mentioned that we had this full colour book, and we'd love to bring it back into print. My contact then told me that they had just got in some new colour machines, and that she thought we could do it for a cost which worked (obviously the unit cost - what the publisher pays the printer - for a book has to be low enough that when trade discounts and so on are applied, plus all the publishers' costs, that the book can make a profit for the publisher, otherwise there's no point in doing it).  So we knocked some numbers around, and yes indeed, we could produce a new edition of the book for a cost which worked ...

    So I then looked at the book more seriously to see what might need to be done. I checked with Arnold T Blumberg, who had laid the book out originally, to ensure that he still had the files, and that he could make changes to it if needed, and yes indeed he did.

    BBC Books' 50th Anniversary edition
    The immediate thing which needed attention was at the back of the book. We had seven pages of advertisements at the back of the first version, and pretty much all of them were now out of date. So why not use those seven pages more productively for a new Appendix, which could bring the story up to date. When we published the first edition, BBC Audio had only just started releasing the Target novelisations on audio, and indeed there was a short sidebar which discussed that elsewhere in the book. And BBC Books hadn't started their programme of reprints at all. So I could cover both of those developments properly in a new section. So I got started writing and researching. Luckily everyone involved was happy to help, so I got information from Michael Stevens who has produced the audio ranges, Ben Willsher who did some of the new artwork covers for the audios, Justin Richards, BBC Books Consultant and Albert dePetrillo, managing editor at BBC Books. With interviews completed, facts assembled, and artwork pulled together (Chris Achilleos kindly snapped some pics of his original sketches for the new covers he had done for the BBC for me to use in the book!) it was all taking shape nicely.

    With the new section completed, I also had to address elements in the rest of the book. Paul Scoones kindly supplied a list of minor errors which he had spotted in the book, so these were corrected. I reworked the sidebar about audio releases to remove all the BBC Audio ones (as those were now covered in the Appendix) and to expand it slightly to include all the audio versions of TV stories which had been released beforehand. I missed off the Century 21 EP of episode 6 of 'The Chase' as that's not strictly a novelisation, more of a condensed and narrated version of the episode itself, likewise with the Genesis of the Daleks LP. But all the actual novelisations are now listed, from 1978's talking books onwards.

    BBC Books' new edition
    with new cover art
    Other illustrative detail came from artist Jason Fletcher (Fletch!), who had kindly supplied an image of the fourth Doctor to use as a foil stamp on the back of the second deluxe, limited edition hardback. I felt that it would be nice to include that somewhere, and so it became part of the endpaper design for this new edition. Finally, Alister Pearson suggested using a piece which David Lavelle had created for the Target Exhibition which showed both the first and seventh Doctors against a Target background. We managed to fit this on the Dedication page (which I had always thought was a little empty before). Unfortunately the credit for Alister and David for this image somehow vanished from the files along the way ... so huge apologies to both for that.

    Arnold sorted out the layouts, going through several iterations as usual to get everything to work and to fit. We shifted the seven blank pages to before the Index and the Target Cover Gallery as that made more sense, and expanded the Gallery to include all the new editions of the books which BBC Books have released to date. In a way this was a departure from the original intent of the Gallery which was to show all the original covers, and of course most of the new BBC editions use the original Chris Achilleos art, but they are so lovely that we thought it was worth showing them. Of course those titles with new covers (Remembrance of the Daleks, Vengeance on Varos, The Visitation and Battlefield) are also included.

    David signing copies of the finished book.
    I had decided to release the new edition in hardback - we'd not done a straightforward hardback before - and to that end, I needed to design some endpapers, and also, for the front and back covers, I wanted to take advantage of a new process that the printers had in, a UV gloss ink, which would give a glossy look to the parts of the cover it's applied to.  This is not the same as a UV gloss laminate, which we had experimented with in the past on some of Telos' books printed in India, with variable results, but a fifth run of ink.  To achieve this, I had to supply a mask for the whole cover showing which parts should have the ink applied. Strangely this is more complicated than it sounds, but I managed it.

    Thus the whole thing went off to print, with delivery set for the week before the exhibition opened. Now the waiting started!  Along the way, Chris Achilleos reached out to me about my decision not to take part in the exhibition, and after discussing it with Chris, I agreed to loan some of my original pieces for display, in part as a favour to Chris, and in part as I now would have my book available again, and the Gallery had agreed to sell some!

    The Sticker!
    A friend called Matt Doe also got in touch. Matt is a dealer and collector of Who toys and so our interests intersect! Matt offered to produce a little sticker of the cover art from The Target Book to give to people who ordered it direct from Telos. It was a brilliant idea, and so we sorted that out ... thus we had a lovely little extra to say thanks to everyone who supported the book by pre-ordering it.

    The books arrived yesterday (22nd April) and look totally brilliant. The printing quality is lovely - the original edition was a little dark in places on the printing, a feature I think of the heavier quality paper which was being used, and also of the Indian printing presses - and the cover with the matt and glossy areas is beautiful. I'm very happy.

    I hope everyone who visits the Cartoon Gallery in London to see the original Target art will fall in love with it in the same way as it has captured me and so many others over the years. I hope people will be interested enough to want to get a copy of the book too!

    As I have been writing this piece, the first review has come in ... hopefully this bodes well for the future :) https://scifibulletin.com/doctor-who/reviews/review-doctor-who-books-the-target-book/


    The Target Book
    Written by David J Howe with Tim Neal
    Foreword by Terrance Dicks
    176pp. Large format 22cm x 28cm hardback. Fully illustrated in full colour throughout.
    ISBN 978-1-84583-114-1
    Available from: http://www.telos.co.uk/product/the-target-book-hb-pre-order/

    Doctor Who: The Target Books Artwork runs from 28 April – 11 May 2016 at The Cartoon Museum, 35 Little Russell Street, London WC1A 2HH
    Website: http://www.cartoonmuseum.org/exhibitions/future-exhibitions/50174-doctor-who-the-target-book-artwork