 it doesn't feel like author Christian Francis has added or adapted much beyond what was already there, and it's often clunky as a result. The worst offender is the evil Djinn, whose rasping speech as it tries to regain its true form is often delivered liiiiiiike thiiiiisssssss, which wears out its welcome pretty fast. Full disclosure: I really like the first Wishmaster movie – for all its flaws, it's a solid introduction to an interesting villain with some twisted, inventive setpieces and effects. Best of all is Andrew Divoff's sneering frustration as he tries to get people to make a wish. It's like the Yes or No game Des O'Connor used to subject people to, only with the risk of your eyes turning to concrete. Divoff's performance carried the gradually worsening sequels too, and when he was replaced, I feel like the franchise lost its way. So I was eager to snap up this novel-length adaptation of the original screenplay both as someone who enjoyed most of the movies, and out of sheer curiosity. Could that standout, villainous performance be replicated on the page? Short answer: no. One last thing I will say for the movie is that, despite some hammy dialogue, every actor gives it their best shot, from Tammy Lauren's Alexandra to the fun cameos from various horror icons. It's a bit of a cliché, but they really did breathe life into their characters, even the over-the-top bit parts. When experiencing that same dialogue on the page, it doesn't feel like author Christian Francis has added or adapted much beyond what was already there, and it's often clunky as a result. The worst offender is the evil Djinn, whose rasping speech as it tries to regain its true form is often delivered liiiiiiike thiiiiisssssss, which wears out its welcome pretty fast. What the book does a little differently from the movie is add a layer of fourth wall breaking, framing the story as if the Djinn is offering you wishes, trapping you in the same way he traps so many of the characters. It's a neat idea, kind of like Clive Barker's Mister B Gone which suggests that you're cursed in some way just by picking up the book. I didn't really vibe with Barker's gimmick and I didn't this one either – mainly because it's introduced a few chapters into the book, which didn't make a lot of sense. Also, the idea is that you're wishing to continue, making the Djinn seem cleverer than you, and that notion of being looked down on seeps into the rest of the book at times, tarnishing it. Places and scenes tend to be introduced by suggesting a layer of malcontent bubbling under the surface, which is delivered in a borderline insulting way, from inner-city schools being described as bad just because kids from low-income families go there, to dockyards being innately corrupt and so on. When more upper-class areas are described, there are no criticisms levelled at the buildings or their residents. Setting a mood is one thing, but this doesn't do that, it's more like class-based criticism thinly disguised as scene setting, and it's a bewildering choice that really didn't do anything for me. Beyond that, the Djinn's sadistically inventive evil falls flat thanks to descriptions that either fail to paint a strong enough picture, or linger over minute details a little too long. The opening scene, where the Djinn presides over an ancient party gone horribly wrong should feel panicky and chaotic – instead it feels interminable, with people running around aimlessly and occasionally turning into weird things. Other times, the Djinn's victims are dealt with in a throwaway line or two, eliciting more of a shrug than a shiver. There's also not much in the way of satisfying character work, with the screenplay's dialogue doing most of the heavy lifting. People's inner thoughts are spun out without much charm or character of their own, and this is where most good novelisations succeed or fail. Given the chance to expand the often sparse prose of a screenplay into something more, Francis just doesn't deliver. Ultimately, I wish I'd watched the movie again instead.  Written by the creator of Hellraiser 2, 3 & 4, Peter Atkins, and directed by one third of the legendary KNB Effects Group, Robert Kurtzman – Wishmaster was an instant genre hit upon release, and went on to spawn three sequels, action figures and even a staged musical. The movie introduced horror fans to a new and enduring villain – the Djinn. A demonic genie who would offer wishes but would only grant nightmares. Wishmaster showcased its tale with an abundance of imagination and excitement, establishing itself as a classic worthy of its creator’s lineage – yet unlike many of its contemporaries, it never received a novelization. Now 23 years later, Encyclopocalypse Publications step into the fray to right this wrong. Encyclopocalypse has partnered with Peter Atkins to bring an original novelization to life. The book, written by Christian Francis, is based on Atkins’ original screenplay. The story follows Alexandra, a gemologist, who unknowingly releases an evil jinn from within an ancient opal. This monster wishes to take over the world but is restricted until his owner makes three wishes.  Comments are closed.
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