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Tag Archive: To Catch a Thief



By Art Schmidt

Once upon a time, there was a book called The Cave of Time, which was the first Choose Your Own Adventure book written by Edward Packer in 1979.  In this book, the idea of a fictional story and a fast-paced action adventure game were married into an experience which placed the actions of the story, and therefore the outcome, into the reader’s hands.  Every couple of pages would present the reader with a situation and then a choice: if you turn right, go to Page 29, if you turn left, go to Page 32.  Once you turned to that page, the story continued based upon your choice.  The Cave of Time was the first of its kind, and quickly led to nearly two hundred books of its type being published by Bantam Books for almost twenty years.  Subsequently additional books (and reprints) have been issued and continue to come out every few years, including The Magic of the Unicorn published just last year.

The folks who created the original Dungeons and Dragons product back in the 1970s, TSR Hobbies, Inc., quickly saw the potential of this creative type of book, and published their own choose-your-own-adventure books under the heading Endless Quest books starting in 1982.  Dungeon of Dread was a much longer and detailed novel than the original Choose Your Own Adventure books, twice as many pages and a more detailed story and background for the protagonist whose persona the reader undertook.  The books were popular, and TSR published three dozen over a five-year period.  The Endless Quest books were republished years later, and some more titles added, but with the surge of video games and other cheap, immersive entertainment, the books lost their charm for the fantasy gaming public and went out of print.  Other books were added in the 1990s but were largely out of print until this year.

   

Wizards of the Coast (who purchased the Dungeons and Dragons gaming brand in the 1990s) has revived the Endless Quest line of books and has licensed Candlewick Press to publish four new books based in the world of the Forgotten Realms, available today.  All four are written by Matt Forbeck, an award-winning and New York Times-bestselling author and game designer, whose credits include the Rogue One junior novel, the Magic: The Gathering comics, and Captain America: The Ultimate Guide to the First Avenger.  Unlike the previous books of the 1980s and 1990s, these books are each based on one of the four core character classes from the Dungeons and Dragons game: cleric, fighter, rogue and wizard.  Written in the second person, the novels focus on characters who are nameless but of specific race and gender.

In Escape the Underdark the reader plays a human fighter, and the story follows the Out of the Abyss hardcover adventure from the Rage of Demons storyline from the Dungeons and Dragons season three. The main character begins the story unarmed and enslaved by the evil drow elves of the dreaded underdark, the vast underground world which exists just below the surface of the Forgotten Realms world.  As the publisher describes the novel: “You awaken in an underground cell, stripped of your armor and your sword.  Your fellow prisoners inform you that you’re trapped in the Underdark, soon to be taken to the great drow city of Menzoberranzan and sold off as a slave.  But word is that demons are stirring in the underworld’s depth…”
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Review by C.J. Bunce

Notorious isn’t just the name of an Alfred Hitchcock film, it describes the reputation of the acclaimed director over the course of his 55-year career.  Over the course of his films he would become famous for not only the blonde actresses in his films, but his misogynistic, voyeuristic, fetishism themes and content.  A precursor in many ways to Quentin Tarentino, Hitchcock nearly 40 years after his death is as popular as ever, with his film Vertigo still on many critics’ lists as the best American film of all time.  Those who view his films are left to wonder how much of the content of his films were the man, and how often was he simply selling what moviegoers were looking for–something new, something surprising, something stylish, and something shocking.  The flip side of Hitchcock viewed as provocateur is the fact that his films always featured a strong lead woman–sometimes from the opening scene and other times by film’s end–and the actress was often the only name marketed above the title, including some of the most fierce and compelling women characters ever filmed.

Scotland author Caroline Young takes a compelling look at the director and his relationship with the leading women in his films in her new book Hitchcock’s Heroines, a photograph-filled hardcover from Insight Editions.  Young, author of Roman Holiday: The Secret Life of Hollywood in Rome, Tartan & Tweed, and Style Tribes, sources interviews with the actors as well as interviews with Hitchcock to gain a better understanding of what motivated his work.  He spent the first half of his career–represented by the first half of the book–developing the style he would come to be known for by the time of his 1954 success Rear Window, culminating in his ideal production team: costume designer Edith Head, production designer Robert Burks, assistant director Herbert Coleman, and editor George Tomasini.  Hitchcock knew that most of his audience were women and believed that in the 1940s-1960s women usually determined what movie a couple was going to attend.  So the appearance of his leading women was as important, if not more important, than any other part of the film.  He also had an eye for using color and wardrobe as part of his storytelling tools, perhaps changing a character’s muted-toned costumes to striking and contrasting by film’s end to represent a character’s change in mood, strength, or growth.

Hitchcock’s Heroines is a superb source of costume sketches, costume designs, and production stills spanning Hitchcock’s directorial career.  Young includes with her discussions of each actress and corresponding character the costumes and costumers, which amounts to a history of Hollywood costume design artists, including Jean Peron, Dolly Tree, Joe Strassner, Marianne, Irene, Edward Stevenson, Vera West, Gilbert Adrian, René Hubert, Howard Greer, Edith Head, Christian Dior, Milo Anderson, Moss Mabry, Helen Rose, Harry Kress, Rita Riggs, Helen Colvig, and Julie Harris, although it was also not beyond Hitchcock to source his own vision from off-the-rack wardrobe from Western Costume Company or Bergdorf Goodman. Hair style and hair color is also a recurring theme Young pursues in the book.

Young references an interview from 1931 where Hitchcock discussed selecting actresses for roles: “The chief point I keep in mind when selecting my heroine is that she must be fashioned to please women rather than men, for the reason that women form three-quarters of the average cinema audience.  Therefore, no actress can be a good commercial proposition as a film heroine unless she pleases her own sex.”  It is noteworthy that Hitchcock was not always responsible for who starred in his films–Young cites instances where studio head David O. Selznick directly cast Hitchcock’s leading actors.

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