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Resident Evil: Caliban Cove, by S.D. Perry

About the Author

S. D. Perry is the author of several tie-in novels to popular series such as Aliens, Alien vs. Predator, Star Trek and Star Trek: Deep Space Nine. Perry also wrote the movie novelizations for Timecop and Virus. She is the daughter of bestselling sci-fi author Steve Perry and lives in Portland, Oregon with her husband and two children.

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Product details

Series: Resident Evil (Book 2)

Mass Market Paperback: 256 pages

Publisher: Titan Books (September 18, 2012)

Language: English

ISBN-10: 178116178X

ISBN-13: 978-1781161784

Product Dimensions:

4.2 x 0.7 x 6.9 inches

Shipping Weight: 5.6 ounces (View shipping rates and policies)

Average Customer Review:

4.4 out of 5 stars

137 customer reviews

Amazon Best Sellers Rank:

#34,204 in Books (See Top 100 in Books)

Resident Evil: Caliban Cove (Book 2) / 9781781161869I was a big fan of S.D. Perry's first book in this series (The Umbrella Conspiracy), and Caliban Cove continues to deliver the same level of enjoyment and superb writing. I'll note upfront that I haven't played the video games, so I don't know how well these books match the game-canon, but in terms of zombie novels set in the Umbrella mythos, this series delivers great action, wonderful characterization, and a lot of suspenseful thrills.Caliban Cove picks up after the end of Umbrella Conspiracy: the STARS team members who came back alive from the mansion are on the losing end of a conspiracy theory to cover up the virus spill, and one of the few allies they have decides to launch a raid on another Umbrella facility in order to get the evidence they need to clear their good name. For the raid, he needs the help of Rebecca Chambers, along with a group of genuinely well-characterized folks whose survival is NOT assured since (as far as I know) none of them ever show up in the video games. So the tension is ratcheted up immensely when Anyone Can Die.In terms of the good stuff: S.D. Perry is obviously a very skilled writer. Some franchise novelizations are very poorly written and/or poorly plotted (which, as a dedicated Aliens fan, I know all too well!), but Perry's novels are in my opinion just as good as anything else available at your local bookstore and aren't trying to coast crappy writing on the strength of the franchise label. So even if you're not a hardcore fan of the Resident Evil series, these books are genuinely good zombie/monster novels with a lot of isolation and suspense and creepy thrills to make the books genuinely engaging. The characters do occasionally engage in foolish behavior in order to facilitate the plot, but it's obvious that Perry does her best to handwave these events so that they're not *too* jarring.As far as the bad goes: My biggest disappointment with this series is its total embrace of the idea that evil people are mentally ill and that mental illness equals a dangerous menace to society. I realize that the people in charge of this franchise probably think someone would have to be "crazy" to want to zombify the world, but (a) the movies have thoroughly demonstrated other just as plausible reasons (greed, cruelty, elitism, stupidity, malice, a desire to lord over the ashes of society, etc.) and (b) blaming all this on one "mad scientist" completely obscures the many just-as-dangerous "sane" people who gave him a laboratory and zero oversight in the first place. The book even opens with a quote about how evil really needs mental illness in order to properly thrive ("Through avarice, evil smiles; through insanity, it sings.") and it comes off as unnecessary and jarring. Whether you can swim through this to get at an otherwise good story will vary by reader, I think.If you won't be bothered by the repeated hammering on mentally ill people (most of whom are far more likely to be hurt by non-mentally ill people than they are to harm anyone themselves), then there's a good zombie story in here. Note that these zombies aren't quite your "typical" zombies, as the ones in this book are able to carry and use guns and otherwise respond to stimuli (which I enjoyed for variety's sake but some purists may not).~ Ana Mardoll

The Spencer Estate lies in ruins. The surviving members of Racoon City S.T.A.R.S. department have been disbanded and driven underground. With the aid of like-minded S.T.A.R.S. members from the Exeter branch, Rebecca Chambers must travel to Caliban Cove, Maine to investigate an Umbrella base there and find the evidence needed to reveal the company's secrets and clear her and her friends' names.To begin with, some background on the novel. S. D. Perry's novels are their own universe. The novelizations of the games, while following the story set forth in them, does add, subtract, and change things within. For example, as you might had gleaned from my synopsis, S.T.A.R.S in Perry's verse isn't Racoon City's version of S.W.A.T., but are instead a national task-force that work with their branch's local police department. It should also be noted that Perry was writing these novels while the early games were being made and released. So do keep all that in mind.Following that, let's talk about the characters. As noted, the story follows Rebecca, the only surviving Bravo. The surviving Alphas (except for Brad, who had skipped town) do make appearances in the beginning of the story. However, after the attack on Barry's home, they no longer play a part in the story. Instead they are replaced by Exeter S.T.A.R.S. members.Captain of the Exeter branch, David Trapp is a friend of Barry's from training. Having been tipped off about the situation at Caliban Cove by the mysterious Trent, David leads the operation, angered by Umbrella's bribing of S.T.A.R.S. He's the Chris of the new characters.Karen Driver is the Jill of the team. Intelligent (though one of her actions mid-way through the operation does call this into question) and calm, she's not much of a believer in superstitions. However, Karen does carry an old World War II-era hand grenade with her for luck, a heirloom from her father. And yes, the grenade is a Chekhov's Gun.Having served with S.T.A.R.S. for just a little over a year, Steve Lopez doesn't just fill the Rebecca role of the group (in the experience department, not the medic role), he also serves as a tiny love-interest for her.Out of all the new characters introduced, I have to say, I found John Andrews to be my favorite. David and John are the most developed of the four, Steve and Karen only being there to fill their roles in the story. A big, muscular man who looks after his teammates, John is the Barry of the group.The final character introduced is Nicolas Griffith, the villain of the story. He is your standard mad scientist, wanting to release his strain of the t-virus to, in his own words, "bring peace to the world." In a way, one can say he is Wesker before Wesker (remember, this was released years before Resident Evil 5 was even a thought at Capcom). However, he doesn't have the same personality that Wesker brings, making him little more than, as stated earlier, a standard mad scientist.Being a Resident Evil novel, it of course brings in t-based B.O.W.s. However, there is only one proper t-zombie. Instead, the main threat are a new form of t-zombies: the tri-squads. Tri-squads are a form of more intelligent zombies, though not by much. Working in teams of three, they are able to use guns and follow commands. However, they need explicit orders from a higher intelligence to work to their fullest. Once they finish their orders, they just stand about like a standard zombie.Caliban Cove also introduced a new type of Hunter: the Ma7s. They really don't have much of an impact on the story, being released near the climax and quickly being killed. There is also the Leviathans, a water-based B.O.W. They really don't have much of an impact on the story. One shows up at the start of the operation, destroying the raft used by the team and almost eating John. The last mention of them is at the end of the story, being disposed of by the S.T.A.R.S. reinforcements.Overall, I like the fact the novel follows Rebecca. Considering the fact she has only played a role in two of the games and hasn't shown up following the Mansion Incident, it's nice to see an original story following her past her last appearance, even if it is non-canon to the games. However, the story is just average. There is nothing to set the novel apart from others in the genre. Most of the characters are two-dimensional and the story is nothing to write home about. Really, the only selling point is the fact it is an original piece of fiction following Rebecca.

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  • Binding: Paperback
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“To read this book is to sit with Kazan as he talks about his work. You feel his energy, devotion, and openness. You are given rare and fascinating access to the insights and techniques of a great director.” —Sidney Lumet“Kazan stands alone in his work both on stage and screen. This book provides an excellent opportunity to deepen our understanding of Kazan’s achievements.” —Alec Baldwin“A fascinating account of how a master director works. . . .  It is also, quite simply, a good read.” —The New Criterion “A wonderfully conflicted yet curiously confident self-portrait of a great director.” — Los Angeles Times “Unusually entertaining . . . It’s not just his insights, it’s the incisive way he expresses them.” —New York Observer“This is Kazan the professional speaking, a giant of the Method spilling his secrets. . . . An indispensable resource for anyone hoping to understand the direction of actors and the differences between stage and screen. . . . Revelatory and instructive.” —Directors Guild of America Quarterly “Kazan on Directing displays Kazan’s interpretive genius at work, analyzing each major play and movie, working with writers on scripts and actors on interpretations. . . . Invaluable.” —The Providence Journal “[Kazan] may be the most influential director of his time after Hitchcock. . . . If only every living American director would read this..” —The Buffalo News “Remarkable. . . . A portrait of the artist in his own words. . . . A marvelous dissection and explanation of how Kazan brought to life some of America’s greatest pieces of drama, and at what personal price.” —Eric Lax, truthdig.com  “Elia Kazan possessed a treasure trove of knowledge about acting and storytelling. What a gift it is to have his ideas between covers in Kazan on Directing—a wonderful compilation of Kazan’s shrewd insights and vast experience.” —George Stevens, Jr. “Kazan has been called the greatest actor’s director. In this illuminating book he details his methods. A must-read for everyone in show business.” —Carroll Baker “[This] riveting book is Kazan talking to us—pushing us, lifting us, motivating us. Every student of stage and film should read it.” —Karl Malden “[Kazan’s] experience as an actor in the Group Theatre helped train him to become one of the greatest directors of actors in the twentieth century. This amazing book demonstrates his rich understanding of the actor as an artist.”  —Ellen Adler, Stella Adler Studio of Acting “Astounding. . . . I have never, ever read anything as clear and personal and detailed (not to mention well-written) as this book. . . . I devoured it.” —André Bishop, Artistic Director, Lincoln Center Theater

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About the Author

Elia Kazan was born in 1909 in Istanbul. He graduated from Williams College and attended the Yale School of Drama before joining the Group Theatre. He was the founder of the Actors Studio, and he won three Tony Awards for direction (for All My Sons, Death of a Salesman, and J.B.) and two Academy Awards (for Gentleman’s Agreement and On the Waterfront), as well as an honorary Oscar in 1999 for lifetime achievement. He died in September 2003.

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Product details

Paperback: 368 pages

Publisher: Vintage; unknown edition (January 12, 2010)

Language: English

ISBN-10: 0307277046

ISBN-13: 978-0307277046

Product Dimensions:

5.2 x 0.7 x 8 inches

Shipping Weight: 9.9 ounces (View shipping rates and policies)

Average Customer Review:

4.7 out of 5 stars

25 customer reviews

Amazon Best Sellers Rank:

#340,735 in Books (See Top 100 in Books)

Rarely has a book on film said so much in so little space. First, it is mostly Kazan's voice we hear. Secondly, the book is finely organized, offering editorial comments and questions,letters from Kazan countering with his lively answers to these and elaborating on his views, separate sections as director of stage and film (the book actually comes in two parts),and the most fascinating articles/speeches Kazan ever gave, as, for instance, an address by Kazan delivered ar Wesleyan University in 1973, which covers just about everything about directing under the sun. Kazan is a "no holds barred" commentator of his own work, relating his experiences in life and in film in sometimes scorching language, managing to be entertaing and completely outspoken. There are hidden treasures everywhere about filmmaking that will make the film buff and filmmaker alike salivate with pleasure. Not to forget here a foreward by John Lahr,a Preface by Martin Scorsese, and an illuminating Introduction by Robert Cornfield, which contains the best remarks on "method acting" I have ever seen. All in all, a good read, worth all the pennies you spend on it.

The Book is amazing! for a number of reasons: first of all the great author. Despite some controversy over 1952's affair Kazan remains one of the best American directors ever... Just like another great director Sidney Lumet comments on the book - reading it really feels like having a deep interesting conversation with the author, that alone is one hell of a rare treat for books of this type. It is amazing and very useful how Kazan treats material a play or a screenplay, his amazing quest for certainty and precision, how he breaks the material down to find a basic idea - a spine, and how he explains the importance of finding this spine and how all the rest of the things like acting, lighting and generally everything comes from and should be connected to this "Spine". The other amazingly important bit about the author and this book is that he is very critical first of all to himself. He would sit and watch a show in a theater and think and capture it's mistakes and then analyse those and if they lead to him the director he doesn't ignore it on the contrary he goes deeper and draws the exact conclusions why and how this or that mistake has been made and how he should avoid them in the future. He is very rational, adequate and precise but at the same time amazingly passionate, he works with actors knowing each of them amazingly well for what they really are and what they are capable of. In other words he explains and shows the enormous importance of good Casting. I came across this book by watching Francis Ford Coppola's interview where he mentions this book and how the approach of Kazan in treating the material helped him create his big notebook for Godfather. He states that this notebook was so dense and full of important details for each scene that he practically didn't need a script on the set. Coppola uses the same method as Kazan for example for the scene: what the scene is about?, what he wants to express with it?, how to express it the best way? and what are the risks? and etc. this structural approach to the material is very useful both for beginner filmmakers and professionals. Book doesn't have the setups and how to do recipes it has a lot more. It gives the most important ingredient of all on how to find, formulate and then express the general idea, It gives clues on how to find the inspiration and I guess that is much more important than any instructions. This book is amazingly inspirational and passionate and at the same time superbly precise and rational - I guess the unity of these elements underlines most the significance of this book and the significance of the body of work of this great visionary who has influenced a lot of great directors such as Nicholas Ray, Sindey Lumet, Martin Scorcese, Francis Ford Coppola and many more

I thought this would be a rather pedantic and boring read. Instead, I dicovered his writing style to be excellent and engaging and found I couldn't put it down. Highly recommend this book to any aspiring director, film and/or theater. You won't regret it!

A heavy read so only for very serious directors.

Amazing (if not one of the best) book for young directors looking to amp up their skill in their craft. So glad my teacher recommended this to me! I carry it with me almost everywhere!

This was an informative book on acting and directing I encourage everyone who's an actor or director to read this

great book and transaction. many thanks!

Order this book. You won't be disappointed. It's like sitting in a directing class with the master. You get to read his personal notes and inner feelings about working with Brando, Leigh, T. Williams, A. Miller, Malden, Steiger and more! Not just memories from an older Kazan, but his thoughts while in rehearsal or on the set. Anyone who works with actors or aspires to direct, should read this wonderful book. Definitely five stars.

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Kazan on Directing, by Elia Kazan PDF
Kazan on Directing, by Elia Kazan PDF