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Space: 1999 #1
Breakaway
Book by Tubb, E. C.
144 pages, Paperback
First published January 1, 1975
2 people are currently reading
86 people want to read
About the author
E.C. Tubb
382 books85 followersEdwin Charles Tubb was a writer of science fiction, fantasy and western novels. He published over 140 novels and 230 short stories and novellas, and is best known for The Dumarest Saga (US collective title: Dumarest of Terra) an epic science-fiction saga set in the far future.
Much of Tubb's work has been written under pseudonyms including Gregory Kern, Carl Maddox, Alan Guthrie, Eric Storm and George Holt. He has used 58 pen names over five decades of writing although some of these were publishers' house names also used by other writers: Volsted Gridban (along with John Russell Fearn), Gill Hunt (with John Brunner and Dennis Hughes), King Lang (with George Hay and John W Jennison), Roy Sheldon (with H. J. Campbell) and Brian Shaw. Tubb's Charles Grey alias was solely his own and acquired a big following in the early 1950s.
An avid reader of pulp science-fiction and fantasy in his youth, Tubb found that he had a particular talent as a writer of stories in that genre when his short story 'No Short Cuts' was published in New Worlds magazine in 1951. He opted for a full-time career as a writer and soon became renowned for the speed and diversity of his output.
Tubb contributed to many of the science fiction magazines of the 1950s including Futuristic Science Stories, Science Fantasy, Nebula and Galaxy Science Fiction. He contributed heavily to Authentic Science Fiction editing the magazine for nearly two years, from February 1956 until it folded in October 1957. During this time, he found it so difficult to find good writers to contribute to the magazine, that he often wrote most of the stories himself under a variety of pseudonyms: one issue of Authentic was written entirely by Tubb, including the letters column.
His main work in the science fiction genre, the Dumarest series, appeared from 1967 to 1985, with two final volumes in 1997 and 2008. His second major series, the Cap Kennedy series, was written from 1973 to 1983.
In recent years Tubb updated many of his 1950s science fiction novels for 21st century readers.
Tubb was one of the co-founders of the British Science Fiction Association.
Much of Tubb's work has been written under pseudonyms including Gregory Kern, Carl Maddox, Alan Guthrie, Eric Storm and George Holt. He has used 58 pen names over five decades of writing although some of these were publishers' house names also used by other writers: Volsted Gridban (along with John Russell Fearn), Gill Hunt (with John Brunner and Dennis Hughes), King Lang (with George Hay and John W Jennison), Roy Sheldon (with H. J. Campbell) and Brian Shaw. Tubb's Charles Grey alias was solely his own and acquired a big following in the early 1950s.
An avid reader of pulp science-fiction and fantasy in his youth, Tubb found that he had a particular talent as a writer of stories in that genre when his short story 'No Short Cuts' was published in New Worlds magazine in 1951. He opted for a full-time career as a writer and soon became renowned for the speed and diversity of his output.
Tubb contributed to many of the science fiction magazines of the 1950s including Futuristic Science Stories, Science Fantasy, Nebula and Galaxy Science Fiction. He contributed heavily to Authentic Science Fiction editing the magazine for nearly two years, from February 1956 until it folded in October 1957. During this time, he found it so difficult to find good writers to contribute to the magazine, that he often wrote most of the stories himself under a variety of pseudonyms: one issue of Authentic was written entirely by Tubb, including the letters column.
His main work in the science fiction genre, the Dumarest series, appeared from 1967 to 1985, with two final volumes in 1997 and 2008. His second major series, the Cap Kennedy series, was written from 1973 to 1983.
In recent years Tubb updated many of his 1950s science fiction novels for 21st century readers.
Tubb was one of the co-founders of the British Science Fiction Association.
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Displaying 1 - 21 of 21 reviews
January 2, 2013
This book is a rough adaptation of the first four episodes of the classic science fiction TV series Space: 1999. While it is very well written, it doesn't really do any of the four episodes much justice, given the relatively short length of the book; the episode "Black Sun" barely gets two chapters. The book does do the TV series one better and explain the disappearance of a visitor from Earth who showed up in the first episode and was never seen again.
This is your standard TV adaptation. The TV series itself has a bit of a cult following, but never came close to gaining the beloved status of Star Trek or Doctor Who. It's an enjoyable book for sci-fi fans, particularly if they remember the original series.
This is your standard TV adaptation. The TV series itself has a bit of a cult following, but never came close to gaining the beloved status of Star Trek or Doctor Who. It's an enjoyable book for sci-fi fans, particularly if they remember the original series.
March 29, 2023
Revisit and Enjoy the Series All Over Again in Prose
This first in a series of Space: 1999 novelizations exceeded expectations. Veteran science-fiction writer E.C. Tubb brought some extra oomph to his adaptations that elevated them above mere story synopses. The book read fast and was engaging all the way through, never lagging, speeding along to a satisfying finish.
Other reviewers noted "Black Sun" was only given two chapters, 15 pages total. But did it need more? I read it and found nothing lacking. The toast with Victor's 60-year-old brandy is here, and the disruptions in time are captured masterfully in prose by Tubb, from the garbled language to the glimpses of and reaching for something beyond them that exceeded their grasp.
The television episodes are 50 minutes long by necessity, and are often padded out with establishing shots, special effects visuals, closeups of the casts' facial expressions, none of which Tubb could or necessarily needed to include. I appreciated the leanness of Tubb's writing that sacrificed nothing and redeemed much.
Another reviewer dismissed these novelizations as superfluous now. I mean, we have the shows on bluray and can watch an episode at any time we wish, right? Oh, what an impossible dream that was, however, back in 1975 when this book was published (and before it, the James Blish Star Trek adaptations). I remember being a kid in the '70s when there were no VCRs and when you caught an episode you had to commit it to memory best one could. Or, for the ambitious, tape the audio on a cassette recorder, as I did with some Trek episodes. These novelizations captured in print those stories for when our memories proved elusive.
But more than that, reading Breakaway now I appreciated it as a complementary work that stands alongside the episodes. Tubb didn't just dutifully summarize the plots; he added flourishes and details that are unique to the book. Random examples from later chapters include:
Victor has the testimonial for his Nobel Prize for physics framed in his laboratory. He's prone to being pedantic, correcting Koenig's term "black hole" with "black sun." Victor speaks "as if addressing a class of students" (p. 123).
After the breakaway, did everyone just accept their fate and press on? No, "There had been failures; one woman had gone mad, another had slashed her wrists and died before aid could save her. A man had gone berserk, beating his hands and head against a wall...(p. 130).
Implication of a baby born on Alpha before Jackie in "Alpha Child": "Two women who looked like squaws and a bundle I didn't know was alive until it moved." Victor identified Elgar from security as the father (p. 136).
Koenig observes people occupying themselves as they approach the black hole, "Mathias and Kano locked in an endless game of chess,"and "the woman he has seen quietly praying. Of them all she was probably helping the most" (p. 136).
A perfect description of Barbara Bain as Helena: "the golden helmet of her hair ... composure like an iron mask" (p. 140).
One major deviation from the Year One episodes concerns Commissioner Simmonds. [possible spoiler ahead] This novelization was obviously written before the script for the episode "Earthbound" (with Christopher Lee) because in the wake of the cataclysmic explosion that results in the moon's breakaway, Tubb bluntly declares, "Simmonds was dead. He lay where he had fallen, his head at an ugly angle, a patch of blood bright beneath his temple. The fall had broken his skull and the acceleration pressure had done the rest. His face, beneath the beard, looked oddly peaceful" (p. 46).
It was fascinating to read the original intent for Simmonds as a throwaway character killed off and forgotten. But actor Roy Dotrice's portrayal of Simmonds was so provocative that the writers must have realized they had to kill off this loathsome power-mad functionary in a more fitting and fantastic fashion--and they sure did!
Tubb also takes care to capture the "little things," like Victor's invariably saying the name "John" when speaking to Koenig, Kano's personifying Computer and thinking of it as a friend, and the unspoken affection between Koenig and Helena and Paul and Sandra. It's all here.
In closing, I will admit I recently rewatched Year One on bluray, which was like seeing it again for the first time, light years from my snowy, rolling, bunny-eared reception and commercially punctuated experiences of decades ago. Having the episodes fresh in my mind undoubtedly enhanced my enjoyment of this book because I could "see" in my mind's eye so much of what was being described. Reading Breakaway cold, never having seen the episodes, would surely have diminished the experience. But how many people would read a TV tie-in novel without already knowing and enjoying the show?
For fans who love the show and who love reading, Breakaway is highly recommended for revisiting afresh the opening chapters of the saga.
This first in a series of Space: 1999 novelizations exceeded expectations. Veteran science-fiction writer E.C. Tubb brought some extra oomph to his adaptations that elevated them above mere story synopses. The book read fast and was engaging all the way through, never lagging, speeding along to a satisfying finish.
Other reviewers noted "Black Sun" was only given two chapters, 15 pages total. But did it need more? I read it and found nothing lacking. The toast with Victor's 60-year-old brandy is here, and the disruptions in time are captured masterfully in prose by Tubb, from the garbled language to the glimpses of and reaching for something beyond them that exceeded their grasp.
The television episodes are 50 minutes long by necessity, and are often padded out with establishing shots, special effects visuals, closeups of the casts' facial expressions, none of which Tubb could or necessarily needed to include. I appreciated the leanness of Tubb's writing that sacrificed nothing and redeemed much.
Another reviewer dismissed these novelizations as superfluous now. I mean, we have the shows on bluray and can watch an episode at any time we wish, right? Oh, what an impossible dream that was, however, back in 1975 when this book was published (and before it, the James Blish Star Trek adaptations). I remember being a kid in the '70s when there were no VCRs and when you caught an episode you had to commit it to memory best one could. Or, for the ambitious, tape the audio on a cassette recorder, as I did with some Trek episodes. These novelizations captured in print those stories for when our memories proved elusive.
But more than that, reading Breakaway now I appreciated it as a complementary work that stands alongside the episodes. Tubb didn't just dutifully summarize the plots; he added flourishes and details that are unique to the book. Random examples from later chapters include:
Victor has the testimonial for his Nobel Prize for physics framed in his laboratory. He's prone to being pedantic, correcting Koenig's term "black hole" with "black sun." Victor speaks "as if addressing a class of students" (p. 123).
After the breakaway, did everyone just accept their fate and press on? No, "There had been failures; one woman had gone mad, another had slashed her wrists and died before aid could save her. A man had gone berserk, beating his hands and head against a wall...(p. 130).
Implication of a baby born on Alpha before Jackie in "Alpha Child": "Two women who looked like squaws and a bundle I didn't know was alive until it moved." Victor identified Elgar from security as the father (p. 136).
Koenig observes people occupying themselves as they approach the black hole, "Mathias and Kano locked in an endless game of chess,"and "the woman he has seen quietly praying. Of them all she was probably helping the most" (p. 136).
A perfect description of Barbara Bain as Helena: "the golden helmet of her hair ... composure like an iron mask" (p. 140).
One major deviation from the Year One episodes concerns Commissioner Simmonds. [possible spoiler ahead] This novelization was obviously written before the script for the episode "Earthbound" (with Christopher Lee) because in the wake of the cataclysmic explosion that results in the moon's breakaway, Tubb bluntly declares, "Simmonds was dead. He lay where he had fallen, his head at an ugly angle, a patch of blood bright beneath his temple. The fall had broken his skull and the acceleration pressure had done the rest. His face, beneath the beard, looked oddly peaceful" (p. 46).
It was fascinating to read the original intent for Simmonds as a throwaway character killed off and forgotten. But actor Roy Dotrice's portrayal of Simmonds was so provocative that the writers must have realized they had to kill off this loathsome power-mad functionary in a more fitting and fantastic fashion--and they sure did!
Tubb also takes care to capture the "little things," like Victor's invariably saying the name "John" when speaking to Koenig, Kano's personifying Computer and thinking of it as a friend, and the unspoken affection between Koenig and Helena and Paul and Sandra. It's all here.
In closing, I will admit I recently rewatched Year One on bluray, which was like seeing it again for the first time, light years from my snowy, rolling, bunny-eared reception and commercially punctuated experiences of decades ago. Having the episodes fresh in my mind undoubtedly enhanced my enjoyment of this book because I could "see" in my mind's eye so much of what was being described. Reading Breakaway cold, never having seen the episodes, would surely have diminished the experience. But how many people would read a TV tie-in novel without already knowing and enjoying the show?
For fans who love the show and who love reading, Breakaway is highly recommended for revisiting afresh the opening chapters of the saga.
January 27, 2012
SPACE: 1999 was a bizarre tv series about a band of castaways at Moonbase Alpha, careening about the universe on the moon, which has broken loose and whizzes about like a pinball. It didn't make any sense whatsoever scientifically, but if you just kind of sat back and went with it, it could be fun to watch. Unfortunately here, Tubb tried to make some rational explanations for some of what was going on, instead of just adapting the scripts, so we're left with something of a disjointed hodge-podge. Tubb was a pretty good sf writer, most notable for the Dumarest stories, but this one just doesn't quite hang together.
September 17, 2024
Usually I have fun reading novelizations, because they often expand on the source material and give hints of earlier versions of the TV show or movie by including stuff based on early drafts. I think this is the first time I've seen a novelization instead massively shrink the source material and thus remove most of my enjoyment.
While this book is titled Breakaway, after the first episode of Space 1999, that's actually just one of four episodes it's adapting. 140 pages would be short for a novelization in general, but I think it could've worked to adapt one 50 minute TV episode. There'd be time to get through all the events of the Moon blasting out of Earth's orbit while giving a bit of extra backstory to characters and build them out a little more. Instead, this volume gives a perfunctory description of the episode's events that are only a little more involved than the Wikipedia article, and then does the same for the next three episodes.
I do enjoy a few bits that attempt to add continuity to the story, like having the anti-matter planet of the second episode be Meta or have the Triton probe warn of the black hole. But the characters are pretty thin, especially if they're anybody outside the main trio. Those secondary characters are basically interchangeable names with none of the charm lent them by the actors. I think also the problem with this compression is that season one Space 1999 is often trying to be cerebral and something like 2001 on television, and thus ends up for better or worse being slow and ponderous. But when you zip through the stories as fast as you can, it sucks out any charm or interest.
In essence, this feels more like a glorified episode guide than a novelization. Admittedly I think I've soured to a degree on Space 1999 since I was a kid, in contrast to my still having a fair bit of enjoyment of the Supermarionation stuff. But I was still hoping this would be a fun story that might add something to the story, and instead I feel like this did nothing but detract from the whole experience. I did become aware of another book by the same author that sounds like it may do a better job of expanding on the story, so I may give that a try - especially since it gives the Alphans a resolution.
While this book is titled Breakaway, after the first episode of Space 1999, that's actually just one of four episodes it's adapting. 140 pages would be short for a novelization in general, but I think it could've worked to adapt one 50 minute TV episode. There'd be time to get through all the events of the Moon blasting out of Earth's orbit while giving a bit of extra backstory to characters and build them out a little more. Instead, this volume gives a perfunctory description of the episode's events that are only a little more involved than the Wikipedia article, and then does the same for the next three episodes.
I do enjoy a few bits that attempt to add continuity to the story, like having the anti-matter planet of the second episode be Meta or have the Triton probe warn of the black hole. But the characters are pretty thin, especially if they're anybody outside the main trio. Those secondary characters are basically interchangeable names with none of the charm lent them by the actors. I think also the problem with this compression is that season one Space 1999 is often trying to be cerebral and something like 2001 on television, and thus ends up for better or worse being slow and ponderous. But when you zip through the stories as fast as you can, it sucks out any charm or interest.
In essence, this feels more like a glorified episode guide than a novelization. Admittedly I think I've soured to a degree on Space 1999 since I was a kid, in contrast to my still having a fair bit of enjoyment of the Supermarionation stuff. But I was still hoping this would be a fun story that might add something to the story, and instead I feel like this did nothing but detract from the whole experience. I did become aware of another book by the same author that sounds like it may do a better job of expanding on the story, so I may give that a try - especially since it gives the Alphans a resolution.
April 2, 2023
A rather unremarkable adaption of the scripts of the first 4 episodes of the TV show. The moon has become the dumping ground of Earth's radioactive waste. A chemical reaction with 'lunar' metal causes sporadic radiation leaks from the containment center. After the first dump site explodes the crew of Moonbase Alpha are worried that an even bigger explosion will occur at the second storage site. When the explosion occurs it causes a fission reaction and provides thrust to move the moon away from Earth's orbit. Thus begins the journey.
The author sticks pretty close to the original scripts, offering only a few bits of mental dialogue for some key players. Explaining some of the science remains only what the scripts offered without delving into more detail.
The author sticks pretty close to the original scripts, offering only a few bits of mental dialogue for some key players. Explaining some of the science remains only what the scripts offered without delving into more detail.
January 14, 2024
Wish I could've given more credit to this!
A rough adaption of three of the most memorable episoded, plus one (Triton) I always found booooring.
It does a good job of giving a continuity from the moment Moon left Earth's orbit to the moment it was hurled for real into the deepest space, but the book was too short, and it wasn't a very exciting ride. I know the series by heart, I had no problems finding and tracing the new elements, but I can imagine a new reader, one who never watched the TV show, finding themselves at odds with a suerficial narrative and a bare characterization
A rough adaption of three of the most memorable episoded, plus one (Triton) I always found booooring.
It does a good job of giving a continuity from the moment Moon left Earth's orbit to the moment it was hurled for real into the deepest space, but the book was too short, and it wasn't a very exciting ride. I know the series by heart, I had no problems finding and tracing the new elements, but I can imagine a new reader, one who never watched the TV show, finding themselves at odds with a suerficial narrative and a bare characterization
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January 19, 2021Essentially this adapts the episodes "Breakaway," "A Matter of Life and Death," "Ring Around the Moon," and "Black Sun" in prose format. The first two are essentially novelette length while the last two are little more than short stories. For the most part, these are straight adaptations of the script with little embellishment, but still, Tubb did an interesting job of finding narrative threads to link together.
August 8, 2021
Good adaptation of four episodes from the classic science fiction series. However, the fourth episode, The Black Sun, does get a little short shrift, relegated to just a few chapters at the end. A nice effort is made to connect the stories together from the original scripts.
March 1, 2025
A novelisation of episodes 1, 13, 19 and 10 (production code rather than broadcast order) of the 1975 British SF series. Tubb’s prose is slapdash, and the stitching together of crises affords a lurching, improbable quality to science that already obliterated credulity.
2.5★
2.5★
March 29, 2025
I found a decent paperback copy of the novelization of he first episode of the British tv series, "Space 1999: Breakaway." The novel was lively and riveting at times. This is amazing since the series was rather stodgy. I will look for more novelization books about the 1970s' sci-fi tv series.
September 2, 2025
More based on the series than Earthfall, but not entirely.
August 7, 2025
The first season of Space: 1999 - commonly dubbed Year One by its aficionados - was a staple of the TV landscape of my youth. It never failed to stir this uncomfortable yet quite addictive mix of fascination and horror - the later tone regrettably expunged by American producers for its second family-friendly season. The story of the moon jettisoned from its orbit around the Earth by a nuclear catastrophe and hurling through space along with the personal of Moonbase Alpha left a vivid and uneasy impression on my younger self. Even its main protagonists, commander John Koenig, doctor Helena Russell and professor Victor Bergman had a presence quite unlike any other main cast on TV at the time: intense, creepily intellectual and quite ambiguous; a far cry from the time’s TV cannons.
In this first novelisation, E.C. Tubb uses the central conceits of four episodes - including the first with which the book shares its title - and attempts to weave a continuous narrative; a brave exercise served by a perfectly decent prose bent on liberal and fanciful usage of scientific jargon or concepts, occasionally prone to lyrical flights. A brave exercise indeed but alas doomed to failure. Regardless of the author’s best efforts towards narrative coherence, the very episodic nature of the original material is inescapable. By cramming four episodes into a book no thicker than a pamphlet, Tubb’s rushing his readership through a series of set-pieces which all feel hardly connected.
The nuclear incident propelling our protagonists on their way leads to their encounter with a planet made of anti-matter before they have to face the threat of total annihilation by an alien A.I. to finally plunge into a black hole, all this at a very confusing pace. Many scenes - mostly action - are reported by one character or another to move the story(ies) forward - and presumably keep the page count low - and does it at such a clip that missing one sentence or even a word is liable to leave you scratching your head. Names pop in and out, die or survive interchangeably, leaving nothing behind but a chance mention. By the time that happens, I assure you you would have forgotten who they were or how they disappeared. As a result, Tubb’s valiant attempts at characterisation feel at odd with the general void of emotion or even interest. The book is a curiosity, a cultural artefact of debatable importance and a perfectly forgettable experience - which the series certainly was not.
In this first novelisation, E.C. Tubb uses the central conceits of four episodes - including the first with which the book shares its title - and attempts to weave a continuous narrative; a brave exercise served by a perfectly decent prose bent on liberal and fanciful usage of scientific jargon or concepts, occasionally prone to lyrical flights. A brave exercise indeed but alas doomed to failure. Regardless of the author’s best efforts towards narrative coherence, the very episodic nature of the original material is inescapable. By cramming four episodes into a book no thicker than a pamphlet, Tubb’s rushing his readership through a series of set-pieces which all feel hardly connected.
The nuclear incident propelling our protagonists on their way leads to their encounter with a planet made of anti-matter before they have to face the threat of total annihilation by an alien A.I. to finally plunge into a black hole, all this at a very confusing pace. Many scenes - mostly action - are reported by one character or another to move the story(ies) forward - and presumably keep the page count low - and does it at such a clip that missing one sentence or even a word is liable to leave you scratching your head. Names pop in and out, die or survive interchangeably, leaving nothing behind but a chance mention. By the time that happens, I assure you you would have forgotten who they were or how they disappeared. As a result, Tubb’s valiant attempts at characterisation feel at odd with the general void of emotion or even interest. The book is a curiosity, a cultural artefact of debatable importance and a perfectly forgettable experience - which the series certainly was not.
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April 24, 2018If you liked the tv show, you may or may not like these books. I personally find EC Tubbs irritating, due to his tendency to a sort of composite Nietchzean(sp?) existentialism.
Still, the books are the only link I still have to the tv show, which not only starred Martin Landau and Barbara Bain, but also that guy who plays Professor Bergman (What was his name? Barry something, I think...Morse, perhaps? Yes, Morse.
Reading the books helps me re-evoke the tv series--so I put up with the author's irritating narrative voice.
I should also point out that these editions also contain a photospread in the middle--which, unless the reader remembers the tv episodes, should be left until last because they contain spoilers.
Still, the books are the only link I still have to the tv show, which not only starred Martin Landau and Barbara Bain, but also that guy who plays Professor Bergman (What was his name? Barry something, I think...Morse, perhaps? Yes, Morse.
Reading the books helps me re-evoke the tv series--so I put up with the author's irritating narrative voice.
I should also point out that these editions also contain a photospread in the middle--which, unless the reader remembers the tv episodes, should be left until last because they contain spoilers.
July 11, 2012
I was surprised to find this in a used bookstore recently. Based off of fond after-school-television memories of the Space: 1999 show, I bought the book and read it. We basically have the first few shows novelized and loosely adapted to fit into a single cohesive book. I have seen this same routine used in some other television series adaptations before and it seems to work sometimes and not work others. For this one, I enjoyed reading it but some of the changes seemed a little too far off from the original television broadcast (although this could be attributed to faded memory). I think I might have enjoyed this more if it was just Breakaway as a stand-alone with a little more depth added in. Overall, still a good read.
December 19, 2015
(The following information is not a spoiler in the fullest sense, just a preface to the entire series) Mankind, in its infinite wisdom, has decided to store all of it's atomic waste...where?? On the moon. Bad idea. Of course that mess blows up one day in 1999 (must be a typo; read "2099"), sending Earth's lunar satellite (along with all 311 personnel of Moonbase Alpha) out of its orbit and careening out of the Solar System. Sort of like "Lost In Space", just on the moon instead of in a spaceship. This first book in the series novelizes the first four episodes of the 1970's t.v. show. A classic sci-fi read and quite good.
December 5, 2016
The moon is careening so fast that our heroes can't evacuate back to Earth, and so fast that they depart the solar system within weeks, yet also slowly enough that they are not splattered by G forces and slowly enough to have adventures with three staggeringly convenient rogue planets (Meta, Terra Nova, & Triton) before dropping down a black hole with no ill effects thanks to a physics-cancelling shield invented on a whim mere hours earlier. Is the entire universe taking crazy pills? Still, don't worry, we'll still have sexism to comfort us in the distant future of 1999.
March 27, 2013
Adaptation of the first episdode of the TV series Space: 1999. Commander John Koenig takes over Moonbase Alpha to get a deep space probe back on track and discovers that the nuclear waste dump on the far side of the moon is about to reach critical mass. Can the moon with the hapless crew of the Moonbase survive being blasted out of Earth orbit?
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October 9, 2012i liked that it was the first five scripts of the series and they had scenes that were not in the aired versions but overall i liked it.
July 17, 2015
As a longtime fan of the TV series, I was excited to find this book. I thoroughly enjoyed this novelization and really liked the extra bits not shown on the show.
May 21, 2016
Not the same impact as when I read it in junior high. I still love the series.
June 5, 2008
Whatever happened to Martin Landau?
I thought all of this was so real aged 12/13...
I thought all of this was so real aged 12/13...
Displaying 1 - 21 of 21 reviews