The Fourth Kind

"How could they remember what they are being forced to forget?" -Dr. Abigail Tyler [The Fourth Kind]-

That question is perfectly appropriate thematically for a film that's less about content and more about questioning credibility and what one chooses to believe. Even better, how could they believe what they are being forced to believe?

Director Olatunde Osunsanmi certainly taps into the zeitgeist of popular American film when it comes to the UFO encounter through implementation of a title that immediately recollects Close Encounters Of The Third Kind [1977] by director Steven Spielberg whether intentional or not. It's strictly through the title of his film, The Fourth Kind [2009], that Osunsanmi achieves his desired effect. Though I suspect the director's intent is by design as The Fourth Kind is a purely manufactured fabrication.

Close Encounters Of The Third Kind is pure Hollywood spectacle and dramatization. The Fourth Kind is a dramatization too, but taps into techniques made popular by The Blair Witch Project [1999]. Shaky camera, home video and other low budget production techniques are employed to give a sense of realism to the film's events. It works in creating that effective mood to a degree, but The Fourth Kind isn't the unmitigated success it might have hoped to be.

For the most part The Fourth Kind works on pure atmosphere and style within the employ of a small budget and generates a palpable sense of dread without ever delivering any real event or physical alien presence. In fact, the most unsettling image is that of a white owl, as John Kenneth Muir correctly identifies in his alternate take on the film as a kind of alien "avatar." It spooks and immediately recalls the extra-terrestrial grey men with those great big eyes. Was it actually an owl? But as an entertainment it doesn't fully engage us or satisfy us with the kinds of characters we loved in such films as Fire In The Sky [1993] or Communion [1989]- characters we cared about.

Still, again, those pictures had more in common with the narrative structures of films like Close Encounters Of The Third Kind despite Fire In The Sky's claim of being a reality-based story sourced from an account of abductee Travis Walton. The Fourth Kind plays with our sense of reality and credulity by mixing Hollywood actors against split screens of footage highlighting less notable actors doubling as authentic people who have actually witnessed said abduction events or experienced real encounters.

Taking a step back, so what is the fourth kind really? Of course, the fourth kind denotes not just contact but actual alien abduction - the differentiation is worth noting. The fourth kind is always a sticky wicket as actual proof of such an event is rarely glimpsed or evidenced.

We can take our understanding further through the scientific identification or classification of close encounters in ufology as founded by astronomer and UFO researcher J. Allen Hynek. His hierarchy of classification was first noted in The UFO Experience: A Scientific Inquiry [1972]. The scale generally works as follows and has been modified accordingly through the years with variations on the theme through input by various ufologists, whose numbers are vast. In simple terms, the first kind of close encounter refers to a UFO sighting. The second kind refers to not only the sighting of a UFO, but the observation of its physical affect [crop circles, heat signature, etc.]. The third kind is notes the physical appearance of animate beings or entities. Again, the fourth kind is an extension of the Hynek scale and revolves around the physical abduction of humans. Interestingly enough, could Osunsanmi's film title have been referring to the hypnotic visual abduction of viewers? Might The Fourth Kind? have been a better label? For those interested, The fifth kind refers to joint communication. The sixth kind of close encounter involves the injury or death of the contacted. The seventh kind of encounter is sexual in nature. It is the sexual encounter and mating between a human and extraterrestrial and involves a hybrid birth dubbed the Star Child. Yes, this science fiction gets deep.

The intentionally creepy look of an alleged doctor. In The Fourth Kind the director is interested, as evidenced by a blurred opening image of actress Milla Jovovich and her claim that events captured for the film are disturbing. Blurring the lines between what is real and what is either a fictional or non-fictional dramatization is the primary directive. But asking us to believe these events through the use of a Hollywood actress as a spokesperson is the first mistake. Employing actors as a trusted source of fact is a poor technique in the film maker's charade.

Implementing archival footage, historical audio interviews, unintelligible Sumerian language bites and split screens of the alleged "real" Dr. Abigail Tyler and the actress playing her is a sound method of distraction. It's the art of the illusion at its best. Osunsanmi's story even takes place in the very real town of Nome, Alaska.

For me, many of the events that are re-dramatized from the archival footage are just a little, too clean and too perfect. The slight of hand felt revealed at points in the picture. While other times, particularly in the final minutes of the film, they are surprisingly unnerving.

In one scene, one of Tyler's previously hypnotized patients actually murders his own family one evening. The sequence is reenacted to the letter from the allegedly captured, authentic coverage. It may be one of the film's most thrilling moments and yet the techniques were ultimately distracting and seemingly implausible to me. In other words, it felt contrived.

Referring back to the video montage of the white owl, Muir and I agree the sequence fails to generate any real thrills. Muir does not believe the film fails, but simply the scene. As he notes accurately, "There's no sense of learning, no graduation of suspense, no escalation of terror." I felt this throughout The Fourth Kind in parts particularly an understanding of events. I didn't necessarily need to see aliens, but additional information might have made for a more suspenseful picture.

There are scenes where police surveillance through more archival footage would indicate the video cameras are interrupted by ufological interference and influence or perhaps a paranormal affect. There's never any proof apart from scrambled video. Once again, what do you believe? Dr. Tyler's daughter is allegedly abducted and and her son is removed from her care, but when Tyler attempts to explain events the on-site police officer is nowhere to be found to corroborate her story. This is a problem. Where's the testimonial on her behalf even if Dr. Tyler isn't real?

The actual Tyler abduction sequence is fairly intense. It doesn't hold a candle to Fire In The Sky [1993], but it's effective within the context of this film awash in blurry blue and white tints if a tad over edited. The comparison is probably unfair too comparing apples to oranges in terms of technique. The creators of both films are shooting for entirely different styles, but both beg similar questions. What are we willing to believe? Both films present these themes in their own contexts.

The film's final moments see Tyler awake in bed with a broken neck resulting from the abduction. She is informed her husband Will was the victim of suicide. The police official questions Tyler on her daughter Ashley's whereabouts. The bottom line is we don't know.

By the film's end we learn Ashley has never been found and Dr. Tyler has relocated to the East Coast estranged from her son. She is bedridden and her health continues to deteriorate as a result of the ambiguous nature of her experience.

We're to believe the FBI has allegedly visited Nome over 2000 times since the fourth encounter cementing the falsification of the The Fourth Kind.

As a result of the lie, critics were unkind. Those critical of the film had some truly tough words for the production giving it a 17% splat over at Rotten Tomatoes. "No, no, no, no," declared Michael Phillips [At The Movies]. A.O. Scott [At The Movies] dubbed the movie "dull" and "clumsy." Amy Biancolli [The San Francisco Chronicle] saw the film as melodramatic with "narrative segments... too glossy and over-stylized." Some critics found the archival footage a little too transparent. Cynthia Fuchs of Pop Matters asked, "Where's Fox Mulder when you need him?" But wouldn't the question be more appropriately, where is Agent Dana Scully? Other descriptors include: "arrogant," "ignorant," "silly" and "laughable" [and that was by a critic who liked the film]. Milla Jovovich can't escape the knives either. Ken Hanke wrote, "The first line in The Fourth Kind has Milla Jovovich calling herself an 'actress,' so we know right away the film is lying." Ouch. Mark Palermo reduced it to an entry for "Unsolved Mysteries." Andre Wright noted, "If this was made in the '70s, it'd be narrated by Leonard Nimoy and chock-full of yetis and the Devil's Triangle." Writer John Kenneth Muir places the film in a similar, but better articulated historical perspective. Laura Clifford declared, "I'd love to be at a screening of "The Fourth Kind" in Nome, where it's sure to be greeted as a comedy." Mark Dujsik wrote, "A lot of nothing happens in The Fourth Kind." Some saw the influence of Orson Welles, but that the director had more "chutzpah" than skill. Jeff Vice dubbed it, somewhat unsurprisingly, "Close Encounters Of The Worst Kind."

Joshua Starnes [Comingsoon.net] fell somewhere in my camp noting a series of interesting ideas, but not a complete picture when he said "the whole doesn't really seem equal to the sum of its parts." Could everyone be so wrong? There's certainly a theme here and the problems with The Fourth Kind are varied, but the general opinion is universal. I certainly see what works, but as a complete picture it does not.

There were some who felt it was "a sophisticated hoax" or "out-Blair Witch'd The Blair Witch Project." I might agree with that last one. One called it a "valiant original." Another said it was scary enough but, "just don't Google the flick before you see it." That may be the response from your average moviegoer too. Bob Bloom enjoyed the film and indicated "you spend more time debating with yourself whether what you are watching is truth or fiction." This almost works against the film as a distraction. Honestly, the director actually succeeds with his mixed film attempt overall, but the artificially clever film isn't enough to deliver the thrill of the paranormal for its full 90 minutes. The list goes on.

Ultimately The Fourth Kind feels almost schizophrenic in its effort. Instead of engaging us and riveting us in a tale about the people of Nome, Alaska, Osunsanmi, an understudy of director Joe Carnahan [The Grey], delivers a film founded more in style and technique than an actually compelling paranormal story. It's a great looking film shot on location in Bulgaria and British Columbia. The Hollywood portion is glossy and The Blair Witch Project approach appears sufficiently believable.

By comparison, the director works some simple magic on a shoestring budget of ten million, while Close Encounters Of The Third Kind made a sizable impression with its twenty million in the day. Despite a critical hammering The Fourth Kind earned 47 million marking it a mild success. Believe that!? As Muir points out in his piece, The Fourth Kind is not a failure. In fact, artistically, it's a decent attempt and merely a partial success.

Unfortunately, The Fourth Kind is more like a lost opportunity had a stronger tale been told. It's a bit like Communion-lite. It's like paranormal mood music at a novelty shop.

The film lacks in credibility with Milla and Osunsanmi as representatives or voices and purveyors of the story's alleged truths. There is little weight given to character. The daughter is missing, but who cares? Some events are merely presented to the audience without the much required tension. Yes, the attempt at Sumerian voices is scary and a nice touch, but The Fourth Kind is all style over substance. It never becomes a film about the event, but rather what we, as Milla suggests at the opening of the film, decide to believe. Were residents visited by aliens? Was it demonic possession? Or were the town people suffering from some other psychosis? How about none of the above, because none of it is real. While The Fourth Kind was an initially intriguing exercise it just failed to deliver beyond the promise of the always intriguing genre premise [for me].

On the other hand, The One To Be Pitied watched the film and offered an alternate take of her own. She called The Fourth Kind "crazy bananas" scary and was stunned to discover it was merely PG-13. She objected to the rating given the intensity of its real content. She's not wrong. I can assure with a great degree of certainty my kids would have categorically no interest in seeing the film without suffering from nightmarish seizures under their bed covers or a thorough scarring for life, but it doesn't take much for some. The One To Be Pitied felt the mix of archive footage and reenactment was indeed disturbing in ways reminiscent of William Friedkin's The Exorcist [1973]. These things are indeed subjective as you can see.

This reaction from The One To Be Pitied gave way to an intense investigation of the subject matter and the alleged archival footage of Dr. Abigail Tyler. The One To Be Pitied quickly revealed The Blair Witch Project-like truth behind the mockumentary. The staged archival fakery is aided by a stamp of authenticity from the real Chapman University, a genuine liberal arts school. The artifice of the film is compounded by actress Charlotte Milchard as the real Abigail Tyler who is terrifyingly mediocre as a doctor on the edge. Yes, the false film will work for some. The One To Be Pitied was disappointed it was not of The Factual Kind.

I always sort of shrugged after seeing The Blair Witch Project and felt it never really went anywhere. The One To Be Pitied enjoyed that one too. I won't discount its influence on film, but pictures like these can certainly be influential without being entirely stimulating.

So The One To Be Pitied and myself experienced two entirely different reactions. She found it troubling even if it was a scam. I found it to be far less engaging than a film like Fire In The Sky. The Fourth Kind just felt a little confused. Its mundane approach just never really caught fire, so to speak.

Admittedly, the film, despite its apparent flaws, became mildly unsettling at times, but like a smart little fish, I nibbled without fully grabbing that hook I suppose.

Look, if The Fourth Kind, clearly The Blair Witch Project of alien abductions, was true I can assure you Nome, Alaska would be off limits though it's unlikely I'll ever visit. When I think about it I'm not certain if the artifice behind The Fourth Kind was clever or as crazy as the real Dr. Abigail Tyler, but I know one thing, good or bad, it will force a reaction. More importantly, I am however looking forward to the next installment of Resident Evil starring the real Milla Jovovich. She'll probably look amazing too.

The Fourth Kind: C-

Additional commentary: Again, John Kenneth Muir offers an alternate perspective on the pseudo-documentary/ mock documentary or mockumentary that is The Fourth Kind over at John Kenneth Muir's Reflections on Film/TV citing the film as a good attempt at "out-and-out horror."

He begins and, as always, weaves a terrific historical perspective through his use of film and television to give The Fourth Kind a legitimate context.

Muir does note the opening on camera address by Jovovich as she breaks the "fourth wall" as appropriately "cheesy," an establishing moment for the film that is a truly novice and ill-advised move. This attempt to draw us into the film actually had the reverse affect on me. I immediately began to question the motivations of the film.

Muir makes note of Tyler's arrival to isolated Nome, Alaska by plane over the treeline. Muir accurately refers to the very real town of Nome, Alaska, as "the perfect "test tube" environment for alien abduction and experimentation." The set up is a good one.

Muir enjoyed the use of the Sumerian and cuneiform angles taken by the filmmaker and I agree. It immediately taps into "the rules of that genre" and the idea of aliens from outer space. I always enjoyed those undercurrents with regard to Stargate and even Battlestar Galactica, classic or re-imagined. This is a well-established rule within science fiction television. It may have been the most effective portion of the film.

The make-up is effective. I never imagined I would see a film where Milla looked like crap so there's that. In the final analysis Muir makes two points. I agree with one of the two.

He accurately points out from his always well-founded perspective in horror and science fiction that The Fourth Kind is essentially taken out of context by critics. "Critics may not be familiar with the style and history of the UFO pseudo-documentaries of the 1970s, and thus don't understand the genre the film is deliberately and delicately aping. They have no idea that this is an updating of a historical movie form. Therefore, they have no way to put The Fourth Kind into any kind of meaningful context for their readers." I would easily count myself among those lacking a historical perspective on the UFO documentary or mockumentary films, but my learning curve persists.

He also points out critics disliked the idea of being "tricked" or "outsmarted," which may have played into the backlash of the film for some critics to be sure, but not all.

But I would submit that, while The Fourth Kind was technically savvy, it was not effective in "entertainment value" as I had hoped as Muir received it. This of course is entirely subjective and as I mentioned The One To Be Pitied enjoyed the mental challenges of the film. I found myself generally unmoved and disconnected over the anemic proceedings. I certainly enjoyed The Fourth Kind's cerebral, effects-omitted attempt within the genre, but never fully accepted the characters or story.

Muir see The Fourth Kind as a "supremely effective" horror film and it does have its moments. It's pretty clear author Muir knows his horror, but as a film it left me a little detached and unconcerned with its principals. I simply wasn't drawn into their world. I didn't care about them. And if it is effective as a horror film to some it may be why I didn't enjoy it from the perspective of someone looking for science fiction. Elements of alien possession were tantamount to demonic possession.

And while it's not entirely fair to compare, as Muir points out, The Fourth Kind doesn't give us proof of alien abduction. Of course, there rarely is that, but with Fire In The Sky, as a picture, following the alleged alien abduction, I cared about the fates of Travis Walton and Mike Rogers. For some reason, I wasn't seduced by the style of the film. I didn't really care about Dr. Abigail Tyler or her missing child. I wasn't invested in them. It didn't feel real to me. They didn't feel real to me. It stands to reason since the entire event and film wasn't authentic.

"What you believe is yours to decide," offers Milla. It would seem most either didn't believe it or simply didn't enjoy the film. You can tip your cap to the risks taken with the film, but buying into the approach as entertainment is another kind of story.

The Fourth Kind Promo

Poster art for the The Fourth Kind.

The rare image offers a nifty take on J. Allen Hynek's scaling or close encounter classification system in ufology.

Dual!

Trouble indeed for Dual!.

This one is strictly for the fans of anime. There's not a lot of crossover appeal along the lines of Ghost In The Shell, Neon Genesis Evangelion [Evangelion] or Patlabor. Inspired to devour all robot anime following my look at Evangelion I was led to this production. Having a working knowledge of Evangelion will give you perspective on this entry. One would be left to conclude, 'You my friend are no Evangelion' despite efforts to borrow from it.

The creative team/ studio [AIC] behind Dual! Parallel Trouble Adventure [Dual!] [1999] serves up a half-hearted robot anime that just doesn’t pack the mechanized punch of a cerebral classic like Evangelion. It’s undeniably missing the inventive teeth needed to rise above the lot of average robot anime.

Conceptually it has the trappings to be special, but winds up a half-baked, Evangelion-lite entertainment minus most of the thought-provoking infusion from a mind like Hideaki Anno and the thinktank that is Gainax. There is little reservation about the intention here. Creator Masaki Kajishima [Tenchi Muyo!] and AIC sought to capitalize on the success of the Studio Gainax mega-hit, though Kajishima has assured Dual! is an extension of Tenchi Muyo!. There are a lot of imperatives going on here. It delivers many of the key ingredients: three robots, teen pilots, a lead male protagonist, urban combat and so on. Though I suppose that serves as a bare bones description for many of the mecha-driven exercises in anime.

Dual!, like many projects, lacks bite. It lacks originality. It lacks ingenuity. There is rarely an original hydraulic piston in its over sized mecha suit to be found. The idea of a dual universe is a good one, but hardly a new concept. The mirror universe or alternate universe concept is as tried and true a plot device as man stranded on a desert island, but it lacks the much required imagination needed to make it fresh and original. There is cel by cel envy for a whole host of productions that have preceded it. Dual! is just too damn generic and anemic for its own good. It’s hard to get jazzed about this anime when frame for frame, character for character, there's a sense of déjà vu.

It sorely lacks the richness of story and character necessary for an anime series to succeed and have the lasting impact of an Evangelion.

Personally, for me, Evangelion is like the Holy Grail of anime and the teen/ robot concept. There are some that have come closer. Studio Bones' Rahxephon comes to mind as a case in point with its original handling of robot protector against invading creatures. There is a finesse and aplomb to the story backed by a heap load of animation talent from Bones.

Kazuki Yotsuka versus Evangelion's Shinji Ikari. The images speak volumes about the character. Dual! begins with an object of alien origin. It is recovered at an excavation dig and from that moment forward a schism occurs in the space-time continuum and dual universes persist moving forward with alternate and very different realities. One existence looks much like Earth, while the other looks very much like [cough] Evangelion. Grand, new technologies have been cultivated as a result of this mysterious artifact. The key protagonist, Kazuki Yotsuka [Dual!'s very own awkward Shinji Ikari of Evangelion], is the sole unique entity. He alone somehow exists without a living, breathing copy on the other side.

In time, he begins having disturbing visions of giant mecha battling in the streets outside his classroom windows. No one else can see. He alone is graced with a clairvoyant-like gift capable of witnessing a parallel dimension. Meanwhile, Professor Ken Sanada believes an alternate universe exists. His mission is to prove that theory true. Sanada’s beautiful daughter, Mitsuki [Dual!'s version of Asuka Langley Sohryu of Evangelion], ultimately brings her father and Kazuki together. Professor Sanada introduces Kazuki to the equipment he has built. It can teleport an individual to this dual Earth universe.

As you might expect, Katzuki ends up in the parallel, troubled misadventure. It is there he meets the alternate cast of characters from his own world. They all behave quite differently with personalities opposite their other Earth selves.

Instead of being the crazy Earth loon, Sanada is actually respected and supported by the UN who has funded the creation of an Earth Defense Command [EDC]. Does that sound like NERV?. The organization’s sole assignment is to stop the evil Rara. The series is sprinkled with a kind of silly humor and Rara is a lot more ridiculous and wacky than he is evil. In fact, his wife appears to wear the pants in the family. Mitsuki has also made her way to this new universe where she meets her rather unpleasant counterpart. She and Katzuki, it is determined, are quite adept of becoming pilots for the EDC. There's that young, gifted pilot plot device. Katzuki pilots Zinv, by far and away the coolest and best crafted and designed robot unit of the bunch, but certainly no Eva-01. The two partners also meet D [Dual!'s version of Rei Ayanami of Evangelion with a defect... er, make that more defects], a cool, emotionless female bioroid, from yet another lost time and race, with a strange gaping hole in her face where her eyeball should be. The hole is obstructed from view by an overlap of bright radioactive green hair. Brace yourself! The characters even live together. Where’s Evangelion's Pen Pen when you need him? Well, at least names were changed to protect the innocent victims from which this series was plagiarized.

One small relief is this is a mere twelve episodes rather than a provocative twenty-six like Evangelion. Dual! certainly steers clear of the confounding conclusions of the classic Evangelion. Those looking for some light mecha entertainment could do worse even if it borders on the familiar.

So does anything work for Dual!? The English dub provided is good. The animation is serviceable, but not extraordinary. Still, Production I.G. and Gonzo Digimation have no worries. Despite the vivid colors, the digital animation lacks warmth and gives the whole production a sanitary, cookie-cutter feel and sterile look.

The undeniably sleek and original design of Evangelion's Eva-01. Some of the robot skirmishes and cockpit scenarios are solid. Gunparade March is a stronger example of a work that built upon existing tropes and expectations with an interesting look. Zinv is the best-designed mechanized giant here. Overall, the designs are not particularly impressive. Again, Evangelion is at the pinnacle of memorable, distinct mech and character designs thanks to Ikuto Yamashita and Yoshiyuki Sadamoto respectively. These men have offered true vision and talent.

This image is a stark reminder of the battle between Eva-01 and the third Angel in the first two episodes of Evangelion. The final creations here look as if someone fell asleep at the sketching desk during the design stage. The fierce Eva Units have nothing to fear. Even when everything is working, the lack of artful, skilled animators combined with the weak execution of a weak script just cannot deliver the goods.

Having said all of this, Dual! offers light, fair entertainment to the anime aficionado. While I am a detractor of the series, some otaku enthusiasts have found the light mood and less serious tone in Dual!, quite agreeable, approachable, acceptable, and even refreshing. The series has even garnered a sizable fan base. Where Evangelion has the potential to damage the more mature, adult mind, Dual! is more accessible for those seeking less complex fare. More mature otaku sensibilities should look elsewhere.

When it comes to television, animation or film, I'm all about character and Dual! never substantially develops its characters. I hate to fall back on Evangelion, but Dual! forces the comparisons. Evangelion is chock full of touching, unexpected, deep character moments that gradually builds upon old information or foreshadow new information. It is a complicated weave of character building. Dual! simply doesn't offer that.

It’s one thing to draw contrasts and comparisons between an anime series like Samurai 7 and Akira Kurosawa’s Seven Samurai. There’s a reason for the discussion. Samurai 7 offers an intentional reinterpretation. It’s a re-imagining of a classic. A debate is inevitable. Homage, tribute or shameless copy? These things are fair game. Should we be having the discussion on Dual! and Evangelion? Probably not. Dual! is nothing more than a pale imitation of much better productions on the market. It is an unabashed clone of far superior works. They say imitation is the greatest form of flattery and in some cases that is absolutely true. George Lucas paid considerable tribute to Kurosawa’s Seven Samurai using its influence for Star Wars, but did so within the framework of a space opera and fresh new ideas. As box office history would prove, that's flattery!. Dual! Parallel Trouble Adventure turns out to be a lifeless copy for the mind.

I don't want to discount the hard work the creators put into these projects, because they do. Further, I'm a firm believer in supporting these productions and paying proper royalties to the artists involved. And if you enjoy robot anime, Dual! may not rank among the classics, but you could do worse. There's enough visual evidence here to glean what you'll find in that cockpit. Dual! is simply not an Earth-shattering event on originality. Perhaps in another universe it could have been a stronger adventure thus the quest to digest and pursue quality anime continues.

Dual!: C-

Studio: AIC [Anime International Co., Inc.]/ Director: Katsuhito Akiyama/ Producer: Kazuaki Morijiri/ Animator: Atsushi Okuda/ Character Designs: Atsushi Okuda/ Mechanical Designs: Kenji Teraoka/ Character Designs: Masaki Kajishima/ Script: Yousuke Kuroda/ Hideki Shirane.

The Side Effects Of Anime

The impact may be profound.

The Incredible Hulk S1 Ep3: Final Round

"Don't make me angry... You wouldn't like me when I'm angry." -Bill Bixby as David Banner with that classic, eternally memorable line from the Pilot that would underscore the theme of each week's opening-

One of the most impressive aspects of Kenneth Johnson's adaptation of the popular, ever-lovin' green-eyed thing that is The Hulk was just how distinctive his vision was for the reality-based character in The Incredible Hulk. The ascendancy of his television version of The Hulk was largely due to Johnson's attention to the human condition and the affect of variables on that condition within the real world. Most critics simply cannot separate the comic book from television. Instead of looking at the two vehicles as two entirely separate assessments on the character, critics have often discounted or derided the television series as something of an insignificant blip in the history of the hero. Others are more fair giving the series its due and noting its tremendous five season impact in the world of the live action superhero.

Put simply, The Incredible Hulk genuinely builds a television mythology around its hero grounded in a drifter's journey that is wholly unique from the world established in the comic book. While it seemed only logical to take such a tact away from the outlandish nature of a comic book that would never be feasible technically for TV, such an approach is no less significant. The show still proved an incredibly difficult undertaking for Kenneth Johnson from a psychological vantage point. The fact Johnson could establish a man and a creature in a fashion so convincing in this manner was no small feat and indeed a remarkable achievement. Certainly, Bill Bixby and Lou Ferrigno took those ideas to the next level.

Again, as everyone knows, The Incredible Hulk, the comic, was the creation of Jack Kirby and Stan Lee. Kirby took the inspiration from the classics, particularly the story of Dr. Jekyll and Mr. Hyde, and it coupled with a dose of Frankenstein. Part of my re-education on the subject came by way of Starlog Magazine #312 for purposes of specifics and a delightful article called The Historic Hulk by Will Murray. Marvel's The Incredible Hulk Encyclopedia [2003] is another terrific resource for all things Hulk including a segment on the classic Johnson TV series.

When it came to coloring the great creature, Lee knew he had to avoid orange thanks to ownership by the Fantastic Four's ever-lovin' blue-eyed Thing. At first came the grey Hulk in its origins, revisited many years later to greater effect by Peter David and Todd McFarlane. Lee relented to the colorization of the Hulk as green, the creature we would come to know and love well.

Speaking to origins and alternate universes, like the one created for television by Johnson, the Hulk wasn't the product of a radioactive experiment as expressed in the television series or even the Ang Lee film, but rather the result of a nuclear test blast. The explosion of a Gamma bomb impacted the heroic Bruce Banner when he made efforts to save Rick Jones from the test zone. And of course, Johnson differentiated his Banner from the comic books, by dubbing Bill Bixby as David Bruce Banner instead of simply Bruce Banner. So change in any of the diverse, myriad Hulk forms was and is inevitable.

There have certainly been some significant and wonderful period runs within the Hulk 'verse. Herbe Trimpe [1968-1975] is renowned for his work on the book, though it was before my time. Later, as I mentioned, Peter David [1987-1998] had a huge run, while Bruce Jones [2002-2005] took the character to new, dark places. Both placed remarkable stamps on the mythology of the comic character. Of course my strongest recollection of the character came with the pencil magic of one Sal Buscema [1975-1985], brother of John, who really left an indelible image in my mind of the Hulk I loved from the comic books. Often I immediately recall Sal's work, which is why it was so disappointing to see his work derided in Starlog Magazine #312.

Writer Will Murray, who wrote a great piece overall in The Historic Hulk, wrote "The book slipped into a long period of coasting." His remark is more a denunciation of the writing than Sal's artwork, but somehow Sal overcame these shortcomings with his magnificent and brave portraits of ol' green skin. Murray wrote the character spiralled in quality. "The Hulk stagnated, battling a crazy conga line of bigger and badder monsters." Well, Murray isn't completely wrong, but as a child I adored Sal's interpretation not to mention that conga line of monsters. If anything Hulk was all about the next round of monster beat-downs. I was good with that. In fact, there was rarely a month that went by for a long period that I didn't run up to the local drug store for the latest issue of The Incredible Hulk. There was a revolving door of cool appearances too from The Man-Thing to the U-Foes. Classics like Sal were all about presenting the great tradition of comic books in the "Mighty Marvel Manner!" as they used to say. I'm not quite sure they still say that. It lacks a certain gritty and grim requirement for today's superheroes.

Anyway, after happening upon that terrific, but sobering, article in Starlog Magazine, it was refreshing to see Arnold T. Blumberg wax poetic on Sal in his coverage of the many phases of the Hulk's evolution in the Official Overstreet Comic Book Price Guide. Blumberg declared Sal's work as the "definitive incarnation" for many. Though, Blumberg, too, notes the soft storytelling of Sal's tenure, he does credit Sal with overcoming those weaknesses through sheer artistic will. In fact, as wonderful as David and Jones' work is, and I discovered it much later, Buscema created images that have remained with me through the years. His Hulk gives me warm reminders of a simpler time, a less angst-filled period in comic books and he definitely captures the nostalgia factor with his wonderful artistry and craftsmanship of the character. Sal even took the character into a long run of another favorite series of the period in The Defenders. Ironically, Johnson's TV hero taps into the psychological aspect of the hero that was never fully mined in those early age comics.

Following that amazing run by Buscema, John Byrne took the reins for a short stint, but left rather abruptly and his handle on the character never generated more than a few strong issues notably of course the wedding of Bruce Banner.

Further, I would be remiss if I didn't mention an affection for Todd McFarlane's steady and beautiful work on the character during those Peter David years. Dale Keown's efforts, too, are notable.

Did you know Harlan Ellison wrote a story for the Hulk comic book called The Brute That Shouted Love At The Heart Of The Atom [The Incredible Hulk #140], based on his own collection The Beast That Shouted Love At The Heart Of The World [1969] featuring one story, the classic A Boy And His Dog? It's a crazy world.

As a child I loved the comic book, but I also loved the show and for good reason the two never really felt completely connected. The show, while reality-based, was a lot like an alternate universe. Today, I've lost touch with the comic book, despite a handful of wonderful classic books that I still retain, but like the comic book the show still entertains me and remains a distinctive creation with a visionary lead by Bill Bixby as Dr. David Banner. Bixby absolutely delivers a psychological component in his flesh and blood creation that immerses us into a character that wasn't always on the mind of the comic book or the inevitable films in the same detail.

Clearly, the comic books, thankfully, were able to take fantastic liberties, and did so far more successfully than Ang Lee's The Hulk [2003], which attempts a movie version of the comic book more than a successfully engaging plotline.

The fact was those involved with the TV show knew there was no way to compete with the unlimited imaginations of a comic book and Johnson knew he needed to sell it to a mature audience looking for more than endless, raging Hulk action. There had to be psychological weight and complexity to the character to sustain the series' evolution so that viewers could relate. Johnson told Sean Egan in SFX #206 in April 2011, "I just wanted to do something that would belie the comic book origins and take us into the real world as much as one can possibly do." Johnson crushed it with The Incredible Hulk. What Johnson tapped into from the pages of the comic book for the realities of television was the outcast underpinnings of the comic book character as well as the deeper pathos of the Banner character. The comic book got it right many times over the course of its ongoing run, but Johnson's TV series got it right too, and in television terms smashed through a wall of limited expectations. Five seasons, after all, is like an eternity in television.

So nearly four months after the appearance of the two Hulk pilot films, The Incredible Hulk and Death In The Family, Kenneth Johnson returned behind the writing chores for the series official debut with The Incredible Hulk, Season One, Episode 3, Final Round. Johnson would not return again until Episode 9, the oft-maligned Never Give A Trucker An Even Break.

Of course, with the third entry of The Incredible Hulk the series finally settles on its opening theme each week as narrated by the late, great Ted Cassidy.

The opening minutes of the episode sees star Bill Bixby as David Banner fronting as David Benson attacked by two thugs, but instead of transitioning into a startling metamorphoses he is saved by Henry "Rocky" Welsh who just happens to be a professional boxer.

According to Starlog Magazine #312 and an article by Mark Phillips, Hulk-out, "There were two Hulk transformations per episode." We'll see if the math adds up going forward and note the reasons for the Hulk transformation. Truthfully, for this fan of Johnson's psychological drama, two is more than sufficient. Bring on the frailty and subtext of the human condition. Enter one Bill Bixby for the job.

Welsh invites Benson to stay at his home for a few days. The offer of accommodations by strangers to Banner is a recurring theme. Strangers simply cannot resist the honest and kind face of Bill Bixby and often welcome Banner in their home. Can you imagine that happening today?

Welsh lands Banner work at the boxing gym he frequents. Welsh really hopes to be a "winner" someday. The Olympic's owner has a delivery to be made that Rocky always handles. Banner catches wind of it and challenges the owner. The owner overhears Banner and tells him to mind his own.

Of course, Banner is a good man and simply can't sit things out. His principles are strong and thus he is the lonely journeyman as a result.

Banner meets Rocky's girldfriend, Mary, and they talk quietly. Fast friends he's giving her a farewell kiss by episode's end. That Banner is a smooth operator. Banner suspects the owner might be "shady." He tells Banner to get back to work.

En route home Rocky and Banner are jumped for a back alley scrub. Of course you know what that means. Here comes the Hulk! Fortunately, as a result of the scuffle, Rocky drops his package. It turns out to be heroin. Rocky is an unknowing drug runner. He's known about the ring as a "sweet" guy, but not a boxer, but he does serve the owner a purpose.

Rocky is a good person, but not the brightest bulb on the planet as Rocky assures the boss he won't go to the authorities. After all, Rocky likes the gym and he's got big dreams. The boss plays into Rocky's desires and promises him a big match later that night confirming he's prepared to keep Rocky quiet.

In the gym, Banner stops Rocky and asks him if he actually saw what he was transporting, but Rocky just doesn't want to acknowledge the reality of the situation. The Incredible Hulk's Final Round is about choices. It's about the choices we must make and the realities we must face.

As much as Banner, played with just the right touch by Bixby, knows Rocky needs to act, there's something inside Banner that understands Rocky's desire to achieve a dream. Banner sees that light and that spark in his eyes and simply cannot take that away from him, because Banner knows what it means to dream. Whether it was the dream to have the strength to save someone he loved or to one day cure himself of that which haunts him, Banner is sympathetic to Rocky's heart.

Reporter Jack McGee makes an appearance because whenever the Hulk appears McGee is never far behind.

Rocky's girlfriend can't understand why the gym owner would allow Rocky to fight a killer like opponent Bill Cole. Rocky is quite simply not rocky. Banner suspects a set up by the owner to knock out and knock off Rocky.

The owner actually plans to drug Rocky and force induce a heart attack. Banner overhears the plan and breaks into the owner's office. He's discovered and Banner is knocked unconscious. No chance for anger there.

Banner is placed inside a metal cage, gagged and hoisted high above the boxing ring. Somehow it doesn't seem like the smartest plan.

One of the lackeys drugs Rocky's water bottle. The boxing match begins between Cole and Rocky. The Hulk's version of Rocky Balboa is also an underdog and his chances look grim. With Rocky's blood pressure rising as he enters round 2, Banner struggles to break free and is enraged by his inability to intervene and save Rocky. Enter the Hulk!

The Hulk closes down the show. The creature once again saves the day by preventing Rocky's death.

"It can't always be like in the movies. Not everybody can be a Rocky." It's back to the lonely road for Banner. And as one reflects back on Banner's short stay, you begin to realize his impact and that of the Hulk's generally positive influence on those he encounters. Banner is making a difference in people's lives one town at a time.

Final Round may be The Incredible Hulk meets Rocky, but Rocky it's not. By today's standards the story is relatively simple, straightforward and does plug into formula to a degree. Still, like artist Sal Buscema in those classic comic books, Bill Bixby's performance elevates the material with his every opportunity and for those moments alone, Final Round is a decent return to the ring for a series kickoff, but a knock out, it's definitely not.

Final Round: C+. Writer: Kenneth Johnson. Director: Kenneth Gilbert.

Hulk Transformation Reason #1: Back alley beat down by thugs. Bastards!

Hulk Transformation Reason #2: Gagged, bound and unable to break free. Bastards!