Some time ago, I read the John Le Carre novel The Spy Who Came In From The Cold. Le Carre’s sober, unromantic description of espionage during the cold war was very gripping and powerful. There are no fantastic gadgets, or cat stroking villains plotting world domination, just ordinary fallible people working two sides of a complex and grim international conflict. His novels make for fascinating and engrossing reading and he was very successful in his day, but something that stood out to me about this book and the rest of Le Carre’s works was how very rare it seems to be that we see a down to earth approach to spy stories. I suppose that, for as interesting as the real world of spies is, it is far too complex and depressingly serious for broad general appeal. Sometimes you just want to see the good guy fool absurdly evil bad guys. People long for the thrill of a sudden gunfight or a final act twist. That may be why one of the most enduring franchises in media history is Ian Flemming’s James Bond.
Notice: Apologies for the delay in reviews this last month. Things should be moving at a steady pace once again with weekly Saturday reviews.
A book cover, movie poster, or game box art can say a lot about what you can expect from a product. It can also say absolutely nothing at all. While the old adage is true, you can’t judge a book by its cover, that won’t stop some covers from having an impact. A book cover can affect how you imagine the world described within, a movie poster can set your expectations for what you’re about to see, and sometimes a game’s box art can leave you utterly dumbfounded. Enter 1992’s The Lawnmower Man.