Chapter 5 Alive with... spies

1 Have you ever
discovered a secret
and passed it on?
2 Who do you think is
the most famous
fictional spy?
3 In the last few years,
many books and films
have been released
featuring teenage
spies. Do you think it
would be possible for
a teenager to be a spy
in real life? Explain.
Those who enjoy the spy
genre give a variety of
reasons for their
devotion. Some like the
mystery and intrigue;
some like the gadgets;
others enjoy the exotic
locations and incredible
exploits of the cult
heroes and villains.
What are the techniques
that their creators use to
allow us to experience
the thrills and spills of
the spy story?
In this unit
• Spies in narrative texts
• Spies in short stories
• Spies in computer
games
• Spies in film
I spy, you spy
spy noun
1. an agent employed by a
state to obtain secret
information, especially of
a military nature,
concerning its potential or
actual enemies: He was
captured inside enemy lines
and shot as a spy.
2. one who secretly keeps
watch on others: My little
sister is such a spy, always
trying to see what my friends
and I are doing in my room.
spy verb
1. to find out by looking
closely: He was sent to spy
out the land before the
attack.
Word history: From German
spähen, to scout, reconnoitre
Word family: espionage, espy
Technology: spyware is any
software application that is
planted on a computer hard
drive, without the owner
knowing, and that can ‘see’
the Internet sites visited. Its
purpose is to send that
information back to another
source, such as a marketer.
20
Wordplay
A single sentence, ending
in a cliff-hanger,
immediately pulls the
reader into the story.
110 english alive 3
Once you enter the tangled web
of espionage, there is
no escape. A spy story twists and turns, keeping the protagonist
and the audience guessing until the end. Like most literature, spy
fiction often reflects the preoccupations of its time. During the post–
World War II period, when famous spy fiction writers included Ian
Fleming, John Le Carré and Robert Ludlum, the USSR was the big
enemy. Fictional Russian agents were pitted against those of the UK
and the USA in a never-ending spy game that reflected Cold War
politics. So what does the future hold for the genre? Only one thing
is certain: as long there are battles for ‘world domination’ and secrets
to be kept and revealed, there will be spies; and while
there are spies, there will be spy fiction.
Reading and writing about
spies in narrative texts
Spy novels
A good spy story draws the reader in with fast action and a
series of puzzling clues to a mystery. Often the clues will lead
the reader and the protagonist to one conclusion, only to discover that they have
been tricked — led astray by a clever double agent or spymaster.
Below is an extract from the spy novel Sleeper by Luke C. Jackson. Set in presentday India, Sleeper centres around 15-year-old Sara Gray, a student at Calderstone’s
International School. In this extract, Sara is catapulted into a dramatic situation
that sets in motion a series of events which will make her question her past and
fear for her future. The margin notes will give you some tips to consider when
writing your own spy stories.
A
t the bottom of the stairs, she steps into the living room
and freezes.
In the middle of the room, her mother is sitting in a chair,
her hands behind her back. The telephone cord has been used
to bind her hands to each other, then to the chair’s frame. Her
mouth is covered with electrical tape, its silver surface stained
with blood that trickles from her nose.
Two men stand in the room, both of European appearance,
one dressed in a suit, the other in a black shirt and leather
jacket. She doesn’t recognise either of them, but they both
wear the same almost-blank expression as they turn to face
her.
Implied violence adds
to the sense of
impending danger.
A description of a
number of sounds
makes the scene more
vivid for the reader.
The question of who
Sara is working for is
raised. This question is
a common one in spy
narratives.
‘You must be Sara,’ the man with the leather jacket says. He
has the trace of an accent that Sara can’t identify.
Sara says nothing.
‘Why are you just standing there? Aren’t you going to help
your mother?’
Sara’s mind reels. Should she make a run for it? She could
probably make it upstairs, lock herself in her room, then call the
police on her mobile. But without a lock on her door, it would
only be a matter of time before they broke in.
‘Come in,’ the man in the suit says, motioning for her to move
to her left, further into the room.
For the first time, Sara notices that he holds a gun, its long
barrel reflecting the light from the kitchen. As she takes three
shaking steps to the left, she’s surprised the gun wasn’t the
first thing she saw. ‘My father will be home any minute,’ Sara
says, her voice quaking. Then she thinks about Aparna’s
father, and bluffs, ‘He’s in the computer business. He’s important. And he has guards who go everywhere with him. They
have guns, too.’
‘We’ll take that chance,’ the man in leather says, smiling.
For a few seconds, nobody says anything. The only sounds are
the drip of a tap in the kitchen, her mother sniffing softly, and the
distant whine of an auto-rickshaw. Then the man in leather
speaks again. ‘So Sara, your mother tells us you’re an intelligent
girl. Is that correct?’
Sara doesn’t know what to say.
‘I’m going to make you an offer, one intelligent person to
another. Would you like that?’
Sara’s heart is hammering. Her legs feel like they’re about to
collapse beneath her. But she nods.
‘Very good,’ the man says. ‘If you answer my questions correctly, we’ll make sure no more harm comes to your mother.
Okay?’
Again, Sara nods, and the man continues. ‘Who are you
working for, Sara?’
Sara shakes her head. ‘What do you mean? I’m not —’
She stops as he produces his own pistol and shakes his head
sadly. ‘I thought you loved your mother.’
‘I do!’ Sara cries out. ‘I do. Please, I’ll help you, if I can.
Really!’
Now the suited man is speaking in a foreign language. His
words are short and clipped. Sara has no idea what he’s saying,
and stares at her mother. Mrs Gray’s nose continues to bleed, and
her chin is cut, her forehead rising in a lump, but her eyes are surprisingly calm. Taking heart from her bravery, Sara forces herself
to relax. She hears a voice inside her, whispering.
The guy in the suit doesn’t want to use his gun.
The only escape route
is considered and
dismissed immediately,
heightening suspense.
Sara demonstrates her
ability to think quickly.
Through her interior
monologue, it is clear
that Sara understands
more about the men,
and the use of
weapons, than she
realises
unit 5 • Alive with . . . spies 111
Now the voice in her
head seems to be
commanding her to
defend herself, almost
as if there are two
people within Sara,
arguing about the best
course of action.
112 english alive 3
Sara doesn’t know where the thought comes from. She shakes
her head in confusion.
Look at the way he holds it, with his finger so far from the
trigger. He’s afraid to fire.
Her vision clouding momentarily, Sara feels a stinging sensation in her temples, then forces herself to breathe more slowly.
Now the leather-jacketed man is speaking again. Sara tries to concentrate, but catches only the tail end of what he’s saying, ‘. . . our
operation.’
‘Okay,’ Sara bluffs. ‘I’ll tell you what you want to know.’
He smiles. ‘Tell us how much you remember about the
operation.’
The men relax slightly. For the first time both are holding their
guns in plain sight, and Sara knows that their pistols contain tranquilliser darts, designed to stun rather than kill. She doesn’t know
how she knows it, but she does.
If you’re going to do something, do it now, the voice whispers.
As Sara springs forward, the man in the suit raises the pistol,
but Sara ignores it, punching him once in the solar plexus. Then,
using her own body to keep him upright she slips her hand
beneath his, her right forefinger finding the gun’s exposed
trigger.
Spinning in the direction of the man in the leather
jacket, she aims the gun and presses the trigger,
feeling three small, gas-powered explosions, each
shot sending a dart into the man’s broad
chest. Even as he takes a step towards her
his eyes roll upwards, before he crashes
to the ground unconscious.
The man hunched behind her has begun
to recover from the punch, and raises his free
hand to her shoulder. Spinning, Sara
simultaneously breaks his hold and
wrenches the gun from the man’s
grasp, using her momentum to drive
a foot into the soft tissue behind his knee.
With a grunt, the man pitches forward, and
the blade of her right hand collides with the
back of his neck, knocking him out.
Less than six seconds after the
fight had begun, it’s over. Both of
Sara’s attackers are on the
floor, still breathing but
unconscious, and she
is unscathed.
Sara’s actions are
those of somebody
with an extensive
background in martial
arts, not a schoolgirl
who took a couple of
kung fu lessons.
This whole scene acts
as a complication in
the narrative, and it
occurs on pages 39 to
42 of the novel after
we have been
introduced to Sara as
part of the
orientation. The
narrative drive is
developed strongly
through the action
and events in this
scene.
To have knocked two
armed attackers
unconscious in less
than six seconds
would be impossible
if she hadn’t been
trained to do so. But
she doesn’t remember
being trained.
READING NARRATIVE TEXTS
Understanding and knowing
Spy narrative texts:
• often have an exotic
setting
• include characters with
a mysterious past
• use mystery and action
to propel the narrative
• incorporate a series of
conflicting clues
• have an underlying
sense of danger.
1. According to the men, why have they come to see Sara?
2. The author of Sleeper surprises the reader in this extract by twisting the story
in unexpected ways. Find two examples.
3. Find a word in the extract that means:
• shaking, trembling
• to trick, deceive
• briefly, for a short time
• to jerk, force
• unharmed, not hurt.
Making meaning
4. Why do you think it takes Sara so long to notice that the men carry guns? Is
this realistic?
5. What examples can you find in the extract of (a) action, (b) mystery and
(c) suspense? Which of these is used most to drive the narrative forward?
6. The novel Sleeper has an exotic location: the city of Udaipur in India. Find a
clue in the extract that suggests this location.
7. This chapter teases the reader, supplying pieces of the puzzle that will not
make sense until later in the story. What questions do you have about Sara’s
past after reading this chapter? List at least three.
Analysing and reflecting
8. When this extract ends, Sara has knocked her mother’s attackers unconscious.
When she removes the gag from her mother’s mouth, what might Mrs Gray
say to her daughter?
9. Based upon what you have read in the extract, what do you imagine might
happen later in the novel?
10. In spy fiction, the idea of a protagonist with an unreliable memory is not new,
the most famous example being Jason Bourne in Robert Ludlum’s The Bourne
Identity. Why do you think this might be such an appealing idea to writers of
spy stories?
WRITING AND RESPONDING TO TEXTS
11. This chapter is written in the third person, but is limited to Sara’s point of
view. Retell Sara’s attack on the two men from her mother’s point of view, still
using the third person.
12. Sleeper poses the question ‘What if your whole life was a lie?’ Discuss this with
the person next to you.
13. (a) If you had always been certain that you remembered something a certain
way, and then found out that you had been wrong all along, how would
you feel?
(b) If this has ever actually happened to you, describe your experience to your
classmate.
14. Chart this scene from Sleeper as a line graph to show how the tension rises as
the action develops.
unit 5 • Alive with . . . spies 113
Short stories
For the fan of spy stories, one of their appealing aspects is that they provide
escapism. The short story below, A Trip to the Shop by Richard Yaxley, takes a
humorous view of the spy genre, based on the idea that many readers need to
escape from their humdrum daily lives. Like all short stories, this one can be
read in a single sitting; it has a limited number of characters, a brief
orientation, few complications and a short climax; and it is followed quickly
by the resolution.
The title may or may not
enable the reader to predict
the story’s subject matter.
The name of the
protagonist is mentioned
early in the story,
clarifying who will be the
focus of the action.
Orientation
A Trip to the Shop
by Richard Yaxley
S
hania,’ said her mother waspishly, ‘can you please get your nose out of that book and
go to the shop for me?’
Shania did not move. She was a tall girl with a mop of brown hair and too many
freckles. She was reading a book called Action Stations.
It was a thriller, with a gorgeous heroine called Katerina who karate-chopped blockheaded baddies, flew gyrocopters upside-down over piranha-infested rivers and saved the
world with the same frequency that most women apply lip-gloss.
She liked the name Katerina. It had two a’s and an i. Just like Shania.
‘Shania,’ whined her mother. ‘We need some bread, honey. And tomatoes. Please!’
Link between two stories
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Italic text is the cue that
we are reading the story
within the story.
Action is very important
in spy stories.
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Katerina appraised him with her cool, luscious eyes.
‘You’re a man,’ she said perceptively. ‘I have no time for men. They get in my way.’
‘But Katerina,’ pleaded the tall, dark, handsome, part-Mediterranean stranger,
‘you and I . . . we belong together. Like wine and cheese — we are made for one
another.’
‘Very well,’ murmured Katerina seductively. ‘You may kiss me.’
The stranger leaned forward. Katerina let him get close enough to see the quality of
her hand-made Latvian silk blouse, then she twirled, flexed and scissor-kicked to his
kidneys. The stranger buckled immediately and fell to the floor, groaning. She laughed
with the abandon of someone in complete control of her destiny then leapt into her red
Maserati sports coupe and zoomed back down the autobahn.
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Back to the ‘real’ story
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‘Oh Katerina!’ breathed Shania.
‘Oh Shania!’ yelled her mother. ‘How many times do I have to ask you?’
Shania sighed. She marked her spot in the book, closed it and placed it carefully on
the table.
‘Bread and tomatoes,’ said her mother more calmly. ‘Make sure they’re firm.’
She looks so . . . ordinary, Shania thought. She tried to imagine her mother zooming
down an autobahn in a red Maserati sports coupe and nearly laughed aloud.
‘Okay,’ she said.
‘And milk,’ said her mother petulantly.
‘Okay,’ said Shania Smith. She took a ten-dollar note from the housekeeping jar and
left the house.
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Complication
This links with Katerina’s
hand-made Latvian silk
blouse, providing a
contrast between Shania’s
real life and her fantasy
life.
The villain or arch enemy
is a standard feature of
spy stories.
Another complication
Gadgets are another
‘must-have’ in spy stories.
Use of humour ‘sends up’
the spy genre.
Complication
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It didn’t take long for the action to warm up. Two hawk-eyed, hack-mouthed killers
were waiting for her in the shadows of the front hedge. The sun glinted off their curved
swords, held wickedly before them. Shania let them get close enough to see the quality of
her beige Woolworths T-shirt, then she ducked, spun, grabbed their wrists in an iron grip
and flung their weapons fifty metres into the depths of the housing estate. The trained
assassins — for that was what they surely were — squealed in terror, jumped back on
their mopeds and buzzed off.
‘Kretzel’s henchmen,’ muttered Shania through gritted teeth. ‘I knew it.’
Kretzel was a ruthless, bald, one-eyed, squeaky-voiced megalomaniac who would
stop at nothing to achieve world domination. Katerina had had problems with him
too.
Shania walked on down the dusty road. The shop was only a short distance away —
about five hundred metres — but that was no excuse for complacency. A lot can happen
in five hundred metres, thought Shania grimly.
As if on cue, a giant shadow fell across her path. She looked up as three hairy,
humungous woman-eating spiders stepped out from behind a CWA billboard. Their eyes
spun towards her like out-of-control marbles. Then, in perfect synchrony, they lifted
their front legs and began a lumbering scuttle in Shania’s direction. The lead spider
raised fangs that dripped with a megalitre of death-dealing toxin.
Shania rummaged in her backpack. Since first tangling with the evil Kretzel, she
rarely travelled without her AFP — Arachnid Freeze Pump. Held in the hand like a
small, cylindrical pistol, it pumped a misty spray that had been specially developed in
Frankfurt laboratories to put hairy, humungous woman-eating spiders in a state of
suspended animation.
The creatures closed in. Shania could smell their rancid fur, see the sweat gleaming on
their thoraxes and their bulbous yellow abdomens.
She held up the AFP and pressed a button. The spray flew out and coated the spiders.
Instantly they froze.
Shania checked the gauge on the side of the AFP, just as Katerina would have done.
‘Down to 12 per cent availability,’ she grimaced. ‘Hope there aren’t any more.’ She
stepped beneath the legs of the spiders, taking care to avoid a frozen drip of venom that
hung like a stalactite from the last spider’s jaw. Then, having looked left, right then left
again — superwomen are very conscientious about road rules and setting a good
example — Shania crossed the road.
Here the footpath followed the line of the ocean. Today, fluffed by a light breeze,
the water was darker, topped with small choppy waves. Perfect conditions for an
attack, thought Shania, remembering Katerina’s recent tangle with Kretzel. She took
out her high-powered laser opto-binoculars and scanned the ocean. Just as she
thought. Kretzel’s fleet of sniper subs were waiting below the surface of the pier like
marauding sharks.
unit 5 • Alive with . . . spies 115
Another send-up of spy
heroes and spy stories
Sniper subs are tiny vessels built for a single operator. They are amphibious and carry
enough explosives to detonate an entire city. About the size of a torpedo, they are even
more deadly.
Shania clicked on the digitalised mapping mechanism of her opto-binoculars.
Instantly she was given a graphic display showing the exact position of each sub.
She counted. Twelve in all. Lucky. In her backpack was a box of micro depth charges.
Twelve of them, as it happened. Shania wasted no more time. Within seconds she was
disguised as a bearded tuna fisherman. She sauntered out onto the pier, smiling at the
playing children and waving to the men who were sitting on stools and hoping for a
catch of whiting.
How little they know, she thought grandly. Be with me, Katerina . . .
She used a portable scopex to locate each of the subs. After she had dropped the
MDCs there was a series of small popping sounds, but no-one seemed to notice. Life
went on as it always had. Shania looked down into the ocean. Nothing. The subs were
already plummeting to the bottom. Disaster had been averted. She wiped her brow,
ripped off the beard and continued on her way.
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Another gadget
Complication
Use of name Smith
suggests ordinariness of
Shania’s real life. By
contrast, most spy heroes
have exotic or glamorous
names.
116 english alive 3
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Shania knew immediately that the man behind the counter was a plant, probably
from Kretzel’s inner sanctum. How many shop assistants have titanium fangs in their
mouth and an MK47-shaped bulge under their shoulder? She used the StunBeam in
her watch to put him temporarily out of action, then grabbed her bag of groceries
and scuttled out of the store, nearly tripping on a concealed plutonium bomb, which
she quickly defused (red wire first, then blue followed by black). She had just completed this delicate but fulfilling task when a squadron of low-flying jet fighters
zoomed out of the clouds.
‘Kamikaze,’ said Shania to no-one in particular. ‘What a drag.’ She shrugged, took a
make-up mirror from her back pocket and deflected the sun’s rays directly into the path
of the aircraft. Suddenly blinded, the pilots panicked, strayed off course and the fighters
hurtled into the ocean with a ripping, roaring explosion and a huge splash.
As Katerina says, thought Shania, a modern girl should never go out without her
make-up mirror.
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Protagonist continues to
show incredible heroic
abilities.
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On the way home there was a minor skirmish with a giant rolling boulder — easily disintegrated with her new, astro-powered Rock-Blaster — as well as two sword fights, a
quick scuffle with a Sherman tank and a tricky obstacle course through a cloud of poisoned arrows. But, like Katerina in Action Stations, Shania managed brilliantly, and
soon she was standing on the corner of their street.
She scanned the horizon. Her acutely developed nose-for-danger told her it was
over — all threats defeated. She sighed, wiped her forehead and smiled to herself. It
had been a busy day, but nothing she couldn’t handle, and tomorrow would bring
other challenges. It was all part of the business of being who she was — Shania
Smith, superwoman and saviour of the solar system. She took one final look around.
Everything appeared to be normal. Her mother’s brick-and-tile house squatted in the
middle of a suburb of brick-and-tile houses. In the distance she could see more brickand-tiles punctuated by the odd taller building and shopping centre. The sky — so
recently filled with the fumes of spider-breath and buzzing jet fighters — was once again
clear and blue. Behind her, the ocean — lately filled with marauding submarines and
exploding depth charges — lapped gently against the beach.
Shania sauntered up the driveway of their home, wondering if someone tall, dark and
handsome, and probably Mediterranean, would be waiting for her. A rakish Renaldo,
perhaps, or Jean-Paul with a snorting Spanish horse and fedora hat. She looked ahead
but could see only her mother, small and dumpy in a rayon print dress as she hung out
the washing.
‘Did you get the bread?’ she asked.
‘Yes.’ Shania held out the bag. ‘One loaf of white sandwich bread and six firm
tomatoes.’
‘Thanks,’ said her mother, not really listening.
‘Not a problem.’
If only she knew, thought Shania. If she knew about the real me — Shania Smith,
superwoman, saviour of the solar system, defender of rights, vanquisher of evil, goddess
of all that is good and true — she wouldn’t be so blasé.
She smiled to herself, wandered back inside to the lounge room. Action Stations was
on the table where she had left it. She sat down, tired from her afternoon’s exertions.
Repelling giant spiders, sinking marauding submarines, defusing massive bombs, outwitting trained assassins, dodging kamikaze aircraft — it all took it out of you. She
yawned, picked up her book and started reading again.
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Italics again link to the
story within the story that
began on page 114.
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Katerina opened the door of the six-star apartment. Jean-Paul, a tall, dark, handsome
man who wore a fedora and moved as if he might own a snorting Spanish horse, walked
towards her with a glass of champagne.
‘Guess what, ma cherie,’ Jean-Paul said in his resonant, perfect-tenor voice.
Katerina drained the champagne in a single gulp, glided to the bar and poured herself
another.
‘What?’
‘My share portfolio has increased by fifteen million per cent in the last ten minutes,’
said Jean-Paul, checking his new gold Rolex watch. ‘Because of this, I have just bought
an island in the Mediterranean, a squadron of luxury Lear jets and two succulent
lobsters. Ma cherie, I want you to be with me there . . .
Katerina looked into his deep dark eyes, felt her body shake with longing . . .
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Climax, twist and
resolution all occur
together, bringing reader
back to earth.
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‘Shania! Shania!’ Her mother was shaking her shoulder. ‘Wake up!’
She stretched, yawned, opened her eyes.
‘Mum, I was asleep . . .’
‘You forgot the milk. Go back to the shop at once and get the milk!’
‘Oh,’ said Shania Smith.
The book lay, face down, on the floor beside her.
unit 5 • Alive with . . . spies 117
READING SHORT STORY TEXTS
Understanding and knowing
CDthe R
OM
on
Spy short stories:
• have a clear beginning,
middle and end
• take place in a limited
amount of time
• involve only two or
three main characters
• assume that the reader
knows nothing of the
characters prior to
reading the story
• use action and suspense
to propel the story
• may end with a twist.
Story Spinner
1. Why does Shania admire the character of Katerina in Action Stations?
2. How do you think Shania feels about her mother? Which two sections of the
story provide this information?
3. Find six words or phrases in the story that you associate with the spy
genre.
4. List the gadgets that Shania has at her disposal in the story.
5. List three adjectives to describe:
(a) Shania’s appearance
(b) Katerina’s appearance.
Making meaning
6. Why do you think the author called this story A Trip to the Shop? Suggest a
more exciting title for the story.
7. What, if anything, did you enjoy about this story? What sort of reader would
you recommend it to?
Analysing and reflecting
8. This is a story within a story. Discuss with a partner how the author has done
this, and then draw up a graph to illustrate its structure.
9. How does the ending make you feel? Does the beginning of the story prepare
you for the ending?
10. Who seems like a more realistic character: Shania, Katerina, or Sara Gray in
Sleeper? Explain your answer using relevant examples from the stories.
WRITING AND RESPONDING TO TEXTS
11. Teenage spies are very popular. Check out the official website of another
fictional teenage spy, Alex Rider at www.alexrider.com, and then consider the
following questions.
(a) Is the site enjoyable to explore? Explain.
(b) Who does the website appear to be targeting? Think about age, gender and
interests.
(c) Is there anything the web developers could have done to make the
experience more enjoyable for you?
(d) If you were going to design a website for Sleeper and its main character,
Sara Gray, how would you use what you have learned from exploring
the Alex Rider website to make the experience most enjoyable for
visitors?
12. Imagine that the Australian government approached you tomorrow with a
proposition: ‘Come and work for us’. They would train you in the various
skills that a spy needs (known as ‘tradecraft’), and then send you all over
the world to learn what you could about people and organisations on
behalf of the government. They would clear it with your parents and make
sure your school was none the wiser. The only trouble is that it could be
dangerous. Would you do it? Why or why not? Discuss with a partner the
pros and cons.
21
Crack a code
118 english alive 3
13. Choose a scene from A Trip to the Shop and illustrate it.
on
OM
CDthe R
Script Scriber
P
lacing her hands on
her hips, Terri asked,
‘Steve, where are you
going?’
‘I am going out,
Terri,’ Steve answered.
‘Is that acceptable to
you?’
‘You were meant to
do your chores before
you left the house today.
You promised Mother
you would do them.’
‘And I will do them,
Terri,’ Steve insisted. ‘I
will do them as soon as I
return. You must trust
me.’
✔ learning
I CAN:
understand what drives
a spy narrative forward
appreciate some of the
elements of spy fiction
recognise the
differences between a
spy short story and a
spy novel
appreciate the design of
a website based upon a
popular spy series
use dialogue to
maintain reader interest.
Using dialogue to maintain reader interest
The modern spy story is complex, but should never get so bogged down in
detail that the reader loses interest. One way in which a writer can keep a
story flowing, even while delivering crucial information, is by using dialogue.
Look at the following passage from Sleeper.
itting back, Sara realises how quiet the house is. Usually, one of the staff would
have offered Sara a cup of tea or coffee by now. But, apart from them, the
kitchen is empty. ‘Is everything okay?’ she asks.
Staring at her hands, Apona seems to have lost some of her usual confidence.
‘It’s . . . I can’t believe . . .’ Shaking her head, she attempts to smile, but her bottom
lip trembles and she has to look away. ‘It’s nothing for you to worry about, Sara.
But I’m — I will have to stay here today. In case . . . my father needs me.’
They had planned to go into town this afternoon, so that Apona could choose a
present. Sara had saved her pocket money for a few weeks, and had a thousand
rupees — around thirty-five US dollars — easily enough to buy something nice;
Apona would get the best possible price.
‘Did something happen?’ Sara asks. ‘Is everyone okay?’
‘Yes,’ Apona says. ‘Everybody’s fine. It’s nothing like that. Last night . . .’
‘What is it?’ Sara asks.
When her friend looks at her, her eyes fill with tears. ‘Something’s missing . . .
something to do with my dad’s new project. Something important.’
There is information in this passage about the thing that has gone missing
from Apona’s father’s study, but the information does not come across as
rushed or forced. The first step to writing good dialogue is to recognise that
real people rarely speak ‘correctly’. A normal conversation will be filled with
broken sentences and questions, and peppered with contractions and
colloquial language. Look at the conversation on the left. By contrast, the
speakers sound very formal and, as a result, their argument sounds awkward
and unconvincing.
Over to you
1. Keeping the same basic lines of dialogue, rewrite the formal conversation
in a more realistic way, having the characters interrupt each other and use
slang where appropriate.
The second element of good dialogue is what is not said but is suggested in
the characters’ tone and body language. Imagine that the scenario above left
was part of a spy story. Terri is older than her brother, and feels protective of
him. She does not want to tell him that she thinks the house is being
watched. Steve knows the house is being watched, and had been intending
to find out who was doing the watching when his sister had called him back.
2. Keeping the same four lines of dialogue you wrote for question 1, add
body language and descriptions of the way things are said. Try to reflect
the sister’s concern for her brother as well as both characters’ frustration
with each other.
unit 5 • Alive with . . . spies 119
Reading and writing about spies in
visual texts
Spies in computer
games
Computer games today attract
some of the most popular novelists and screenplay writers, and
have overtaken movies in profits
earned. Filled with complex
puzzles, the best games are visual
texts that are held together by
an absorbing plot, and are
enjoyed globally by people of all
ages. With unique cell-style animation, XIII is a stylish thriller
that owes a lot not only to the
comic on which it is based but
also to Robert Ludlum’s The
Bourne Identity. Engaging characters, a wide range of challenges
and a complex storyline make
XIII a favourite among those
who love a good spy story.
Based on the French comic by William
Vance and Jean Van Hamme, XIII is a
comic-book-style computer game
known as a first-person shooter. It
tells the story of a man who wakes up
on a beach with no memory of how he
got there and no idea who he is. The
only clues he has to his identity are a
key to a safety deposit box in New York
and the number XIII tattooed on his
shoulder.
When the American
president is assassinated, the
protagonist discovers that he
is the main suspect, but he
has no memory of the event
and is convinced that he is
being set up. Is the
protagonist a hero or an
assassin?
120 english alive 3
The black and white
colour scheme makes it
clear that the scene took
place in the past. An
otherwise unremarkable
setting allows the player
to focus on the main
character.
In film terms, a high
camera angle is used to
suggest that the character
lacks power . . . perhaps
the power to stop himself
doing something he
would not otherwise do.
A mirror is commonly
used by a character when
they are questioning their
identity.
An early cut scene flashes back to a time
when the protagonist stood in front of a
mirror, about to reveal a tattoo on his arm
of the number XIII.
The game of XIII uses
a computer graphics
technique known as
cel-shading. With its
thick linework and
heavy shadowing, this
technique creates a
hand-drawn
appearance and style
that mimics that of a
comic book.
The character of XIII has an
array of weapons and gadgets to
choose from.
unit 5 • Alive with . . . spies 121
MAIN FRAME
Reds and browns give the
scene a sense of menace.
The first-person perspective
makes the player feel as if
they are completely
immersed in the action.
The sound of the explosion is
spelled out in bold, orange
text, heightening the comicbook feel of the scene.
INNER FRAMES
Frames within frames reflect
the game’s comic-book roots.
VALUES ON LEFT-HAND SIDE
OF MAIN FRAME
The player’s strength and
ammunition are shown onscreen for quick reference.
When attacked by a heavily armoured chopper, the protagonist protects himself with a rocket
launcher, one of many weapons he has been trained to use.
MAIN FRAME
The location is constantly varied: one minute it is set on the beach,
the next in snow, thus keeping the game visually engaging.
MINOR FRAME
The close-up on a two-way radio demonstrates its potential
importance to the character.
OTHER ON-SCREEN FEATURES
The protagonist uses stealth to gain access to a
highly fortified military base where General
Carrington, the man who once trained him, is
being kept under lock and key.
The player has a choice of fighting techniques/weapons: hand-tohand combat, throwing knives and crossbow, all of which are silent
when used correctly.
The on-screen text alerts the player to what the protagonist senses:
‘Feeling an alarm near!!’ His awareness of these elements increases
by completing different challenges and regaining the skills he was
once trained to use.
The doctor’s expression is stern, suggesting he means business.
The scalpel and needle, one held in each hand, are in the foreground,
giving them prominence and making the doctor appear more menacing.
A fish-eye lens effect is used to mimic the character’s warped
perceptions.
A green fluid in the needle contrasts strongly with the white of the
doctor’s coat, drawing the player’s eye.
In the background, an X-ray viewing screen can be seen, with what may
be the protagonist’s x-rays displayed, suggesting that he has been here
for a while.
There is great contrast between light and shadow in the room, but the
colour scheme is dark overall, creating a sense of foreboding.
122 english alive 3
The protagonist has to fight his way out of the
lab while under the effects of a toxic serum.
READING AND VIEWING SPIES IN COMPUTER
GAMES
A spy computer game:
• uses film techniques
such as different angles
and lighting techniques
• is broken into episodes,
each with a number of
smaller goals, before
ending with a climactic
challenge or fight
• will usually take place in
a series of distinct
locations
• may contain a range of
storytelling techniques,
including cut scenes
and flashbacks
• may combine a realistic
look and a stylised
look.
Understanding and knowing
1. What Arabic numeral is represented by the Roman numerals XIII?
2. What skills would a player need to master in order to succeed in XIII?
3. XIII is a spy story. However, it also fits into other genres. From what you have
read and seen of it, which seems most appropriate:
• action
• mystery
• adventure
• science fiction?
Explain.
4. Which of the images from the game interests you the most? Why?
Making meaning
5. Which age group and gender do you think XIII is predominantly aimed at?
What makes you say this?
6. How could the game be altered to appeal to a wider audience?
7. Like a film, a computer game’s score heightens the mood. What kind of
music would best suit XIII?
8. The protagonist discovers that he has the number XIII tattooed on his
shoulder. Judging by what you have seen and read, what could this number
mean? Who, or what, could be number I?
Analysing and reflecting
9. Why might the game’s producers have decided to present XIII from the firstperson perspective? What would the effect have been if they had presented it
from over the shoulder of the character, as on page 121 (top)?
10. XIII is very stylised, looking much more like a comic book than real life. In
your opinion, does this less realistic look add to or detract from the game’s
appeal?
11. Often ‘shooters’ are considered boys’ games. But is it true that boys and girls
prefer different types of games? Discuss this with your classmates to gain a
consensus on what types of games girls and boys prefer. Assuming there is a
difference in preference, what might account for this?
WRITING AND RESPONDING TO TEXTS
✔ learning
I CAN:
understand how the
look and feel of a
computer game is
constructed to appeal
to a particular audience
create alternative ways
of solving a level of a
spy-based computer
game.
12. Choose one of the images from XIII on pages 120 to 122. How might this
level be redesigned to allow a player to succeed without simply shooting the
bad guy/s? Present your response as a diagram if you wish.
13. Every week you can turn on the television and watch shows that review
movies, discussing characters and plots and making recommendations. Do
you believe that computer games will ever get this kind of mainstream
acceptance? Explain.
14. Look at the image at the top of page 121. Imagine you are the protagonist.
You have no idea where you are or why, and you remember nothing of your
life before waking up in this room. Write half a page describing what you see,
hear, taste, smell and feel after waking up in the doctor’s surgery.
unit 5 • Alive with . . . spies 123
CDthe R
OM
on
Reading spy films
MeZine
Although there have been many spies in fiction, by far the most famous is James
Bond. He is a cultural icon, appearing in novels, films and computer games. And
with a new actor announced to play James Bond, there is no sign of him hanging
up his ‘licence to kill’ any time soon.
The Bond movies have really become a sub-genre of spy stories. Without
realism to hold them back, the films centre on the idea of the ‘super spy’ and are
littered with gadgets, weapons and pretty girls. Gone are the shadowy figures of
spy literature; the bad guys in Bond stories are much more ‘up front’: they want to
start World War III from their space stations or underground lairs. And questions
of morality are almost non-existent, as Bond dispatches dozens of enemies in
every film, often in the most elaborate and gruesome way possible.
Agent 007, super spy
Since hitting the big screen in 1952
with Dr No, the unflappable Agent 007
has set the pace for super spies. His signature line, Shaken, not stirred (the way
he likes his martinis), reflects his cool
demeanour and is recognised the world
over.
Dressed in a dinner
suit, with a flower in
his lapel, Bond
appears suave and
sophisticated.
His gun is silenced,
suggesting that the
secret agent is at least
somewhat concerned
with being stealthy.
Bond’s expression is
hard and unforgiving,
leaving no room for
argument.
124 english alive 3
The Bond Girl
The Bond Girl combines sex appeal
with strength. Giacinta ‘Jinx’
Johnson, played by Halle Berry, is an
agent of America’s National Security
Agency, and will stop at nothing to
catch her man.
Wearing a bikini, ‘Jinx’ entices Bond to
trust her . . . but is she all that she seems?
The knife worn on her designer belt
suggests that she knows how to protect
herself. It also refers to an earlier Bond Girl
played by Ursula Andress, who wore a
bikini with a similar knife belt.
Every country has a distinctive look, belief system and set of
customs, which Bond movies incorporate to give each film a
different feel. Later spy stories, including Luke C. Jackson’s
novel Sleeper, maintain this tradition.
When travelling in another country, Bond usually changes his attire
very little, and seems more concerned with stirring things up than
blending in.
When asked who he is, he simply replies, ‘Bond . . . James Bond’.
An evil organisation
Bond has faced SPECTRE (the Special Executive for Counterintelligence, Terrorism, Revenge and Extortion) in a number
of adventures. Originally, SPECTRE aimed to control the
world by pitting the two superpowers, America and the USSR,
against one another, before attacking the victor.
Emilio Largo, second-in-command
of SPECTRE, wears a white suit and
appears completely comfortable
among the rich and powerful — as
does Bond.
Largo is made to look less
trustworthy with the addition of
an eye patch.
The super villain
The head of SPECTRE, Ernst Stavro Blofeld, is James Bond’s arch
enemy, appearing in six Bond films. Originally, his face was not
shown; instead, filmmakers used a close-up of a hand stroking
a white Angora cat. This made him appear more mysterious.
A large scar runs down the right-hand side of Blofeld’s face, hinting at
a violent past.
Usually the presence of a pet would signal that a character is kind;
here, it is used in a menacing way, the villain compulsively stroking his
cat while ordering men to their deaths.
unit 5 • Alive with . . . spies 125
In order to complete his missions, Bond requires technical assistance in
the form of gadgets. These are provided by the ‘Q Division’ of MI6.
Throughout Bond’s career, many gadgets have been hidden in his watch;
more recently, he has carried a stun gun, a mobile phone with a hightech lock pick, and a remote control for his BMW.
Before Bond goes on a mission,
there is always a demonstration of
the latest prototypes back at
headquarters. The films indulge in
humour by displaying gadgets that
are not quite ready or are just plain
silly, this one being demonstrated
by the legendary character Q.
Usually designed to match his clothing, the
gadgets that Bond actually uses have a clean,
stylish look. They are hidden from prying
eyes, but are ready for immediate use. This
pen doubles as a gun.
The Bond gadgets were parodied in the
television series Get Smart. As Agent 86,
Maxwell Smart was equipped with
unnecessary and impractical gadgets
such as a shoe phone. This would have
attracted so much attention that it would
have been easier to find a pay phone
instead.
126 english alive 3
READING SPY FILMS
Understanding and knowing
Super-spy films:
• are less concerned with
realism than with
providing thrills
• pit the super spy against
a powerful enemy who
is usually bent on world
domination
• involve the use of
elaborate gadgets
• are often parodied in
film and television.
1. Who was James Bond’s arch enemy?
2. Which appeals to you more: a traditional spy story or a super-spy story?
Why?
3. Which of the following is not a feature of the super-spy sub-genre?
(a) Gadgets
(b) Exotic locations
(c) Moral ambiguity
(d) Thrills and spills
Making meaning
4. It has been suggested that a super spy needs to be opposed by a super villain.
Why might this be?
5. Which would be easier to use as the basis for a computer game: a traditional
spy story or a super-spy story? Explain.
6. Why might the super-spy genre be parodied more often than the more
traditional spy story?
Analysing and reflecting
7. In super-spy parodies such as the Austin Powers films and Get Smart the main
character is depicted as not very bright, but the main woman — the
equivalent of the Bond Girl — remains fairly intelligent and resourceful. Why
might this be?
8. Some people describe Bond films as formulaic; clearly, to some extent this is
true. In your opinion, is it a bad thing that they are formulaic?
9. For fans, do spy films appeal because they provide escapism? (Escapism is the
avoidance of reality through the imagination or through entertainment.) In
pairs, discuss whether you think this is the main reason for their appeal. For
what other reasons might such films appeal to viewers? What might be the
profile of a typical spy film fan?
WRITING AND RESPONDING TO TEXTS
10. Pretend you have just begun working for Q Division. Design a gadget for
use by a teenage spy. Present it in the form of a detailed diagram. Remember
that the gadget needs to be useful for the teenage spy and should be
concealed in a device that would not raise an eyebrow if he or she were
searched.
22
Design a spy gadget
23
Spy-Q
11. Create your own super-spy parody. Sketch your character and then write a
description of them including the following:
(a) name
(b) catchphrase
(c) allies
(d) favourite gadget/s
(e) a brief description of their personality
(f) a brief description of their most famous mission, including a catchy title
along the lines of Thunderball, Moonraker or You Only Live Twice.
unit 5 • Alive with . . . spies 127
Creating a super villain
A super spy needs an arch enemy . . .
someone to run into a number of
times before meeting in a final
showdown. This is the super villain.
They typically have an elaborate
background that ties into their present
evil deeds, and are not satisfied with
merely controlling a company or small
country: they want to take over the
world.
In the 1997 super-spy spoof Austin Powers:
International Man of Mystery, James Bond’s arch
enemy Blofeld was parodied in the character of
Dr Evil. From his secret island lair, the super
villain planned to send an
explosive device into the centre
of the Earth, which would
swamp the planet with
boiling hot magma . . .
unless the world’s leaders
paid him a hefty ransom.
>
128 english alive 3
>
Over to you
✔ learning
I CAN:
recognise the difference
between a traditional
spy story and a superspy story
design a parody of a
super spy
create a suitably evil
super villain.
1. Design a suitable arch enemy for either James Bond or your own parody
of a super spy. In your profile, include:
(a) a head or full-body sketch
(b) a list of their skills
(c) their favourite weapon
(d) under what circumstances they first met the super spy.
2. Most ‘final fights’ are preceded by a scene in which all the loose ends are
tied up before the battle begins. Write a brief passage of dialogue in which
the villain describes their motives for trying to take over the world. And
remember: the best parodies keep the same basic structure as a serious spy
story, but change small details in order to create a comedic effect. It does
not have to be too ‘over the top’.
3. A final showdown usually takes place in the location at which the villain
feels most at home, such as Dr Evil’s volcanic lair or moon base.
Sometimes it will involve the villain fighting from within a vehicle that
represents their personality. Design a setting for this final showdown,
drawing it either from overhead or from eye level. How might your
villain use the terrain to enhance their chances of defeating the super
spy?
A
lthough spies have existed for thousands of
years, the job title was not officially acknowledged by
Western governments until early in the twentieth century. Even
today, much of what spies actually do is cloaked in secrecy.
Filling the gap between what we suspect and what we know is
the fictional spy — highly trained and equipped for any
situation. But it is not simply the protagonist’s resourcefulness
that guarantees a readership for the spy story. The best spy
stories question the notions of good and evil, and explore the
grey area between. As the world moves into an era in which
companies have as much power as small governments, and the
enemy could be anywhere, the spy is a fitting hero in an era of
uncertainty. Often asked to do things that they may disagree
with, spies must maintain a strong sense of self if they want to
survive. As Michael Cox, editor of The Oxford Book of Spy Stories
writes, ‘For writers, the great game is still there to be played’.
And of course it is there for readers too. Spy on!
unit 5 • Alive with . . . spies 129
The designer who came in
from the cold
In a bid to capitalise upon the popularity of ‘super-spy’ stories around
the world, an Australian computer-game-design company has come
to your school. They want to design a spy game aimed squarely at the
teen market (boys and girls) and have decided to allow you and a
classmate to flesh out the concept before they approach their
investors. The following scene will eventually be animated, forming a
cut scene to begin the game.
W
hen he looked through the binoculars and saw the money on the
bed, Owen stopped short. He was no stranger to large sums of
money, but there was something about the duffle bag filled with cash that
made it hard to breathe.
He was only meant to watch. Watch and make notes. Instead, he’d left
his equipment in the bare-walled apartment across the road and entered
Terry’s room. Closing the door quietly behind him, Owen listened carefully. He heard running water, then the clink of metal on porcelain. Terry
was shaving.
Owen was leaving the room and walking down the brightly lit corridor,
duffle bag slung over his shoulder, before he had time to talk himself out of
it. A minute later, he was jumping on a bus, paying for a ticket and
squeezing himself between the late-night passengers, hoping the trains
would still be running.
He reached the busy station fifteen minutes later, and was about to walk
through the entrance when he sensed, rather than heard, the car pull up to
the curb. He turned around and saw the black-coated men making their
way through the crowd towards him. So he started to run.
It was what they’d trained him to do.
SAMPLE
STORYBOARD
130 english alive 3
The game may be serious or
satirical, but you must cater for
both male and female players. And
remember: this is a super-spy game,
so think big. Big organisations, big
villains, and big thrills for the
player. With your partner, complete
the following activities.
The look/feel
• Will the game be serious or
satirical?
• Which point of view will the
game show?
• Will the artwork be realistic,
comic-book style or something
else altogether?
• What kind of music will
accompany the game?
The protagonist
• Sketch a picture of Owen and
list his skills. What weapons/
gadgets might he have on him
as he enters the train station?
• What items might he pick up and
use to fend off his pursuers once
he is inside the train station?
The story
• Who might the money belong to?
• Who might Owen have been trained by?
• Imagine that when he eventually reaches the train,
three floors down, Owen meets either an ally or an
enemy. Who is it?
The gameplay
• How will you design this level so that players can
achieve success in different ways?
• Draw a map of the train station from above,
including two possible routes that the protagonist
can take to get to his train.
• Design one puzzle for the player to solve within
the level.
Marketing material
Once you have completed the activities above,
you will need to prepare sample marketing
material for your computer game.
Packaging
Unit 5
• The front cover of your game’s case may contain
a single captivating image or a series of images
that convey different aspects of the game. On the
back cover, it should contain a blurb. Use punchy
language to grab the reader’s attention.
Website
• No computer game marketing campaign is
complete without an official website. Suggest three
ways in which the look and feel of the game could
be built upon in an online setting. If you like, you
can create a sample page using a website development
program.
A computer game case should leap off the
shelf, forcing a potential player to pick it up.
unit 5 • Alive with . . . spies 131
Key terms
blurb: brief description of a book,
DVD or computer game, designed
to entice potential readers/viewer
climax: the highest point of
tension in a story, where the main
action is concluded
Cold War: the period of tension
between communist and noncommunist countries, from 1945
to 1991
colloquial: describes language
that is part of everyday, informal
speech
complication: a problem that
occurs in a plot, and which
heightens the dramatic tension
cut scene: found in computer
games, a scene that tells a vital
piece of the story and does not
allow the player to interact with
characters on screen
double agent: an agent who is
acting for more than one intelligence
organisation and passing on the
secrets of one to the other
first-person shooter: a ‘shoot
’em up’ style of game, presented
with a first-person perspective, so
that the action is viewed as if
through the character’s eyes
fish-eye lens: a wide-angle
photographic lens that covers about
180°, producing a circular image
with foreshortening in the centre
and distortion towards the edges
formulaic: based upon a set
formula or pattern
interior monologue:
conversation with oneself in one’s
own head
narrative: a written or spoken
text type that tells a story
narrative drive: the force that
moves a story forward
orientation: beginning of a story,
when characters are introduced
and settings established
parody: to imitate something in
order to ridicule it
132 english alive 3
point of view: the perspective
from which a story is told
protagonist: the leading character
or hero in a play, novel or film
resolution: the process by which
the dramatic tension in a narrative
or drama falls and the conflict
comes to a satisfactory end
satirical: describes a text that
makes fun of human vice or
weakness, often with the intent of
criticising or changing an aspect of
our society
score: the music written for a film
or a play
spoof: an imitation of a wellknown art form or genre in order
to make fun of it
stylised: using artistic forms and
conventions to create effects;
having a distinctive style
sub-genre: a sub-division of a
larger genre
third person: third person
pronouns are he, she and they, so a
text written in the third person talks
about characters in this way.
twist: a surprise ending
visual text: a text constructed
using visual images rather than
words, for example a photograph
Word list
Try these
Novels
Sleeper by Luke C. Jackson, John
Wiley & Sons
Stormbreaker: the First Alex Rider
Mission by Anthony Horowitz,
Walker Books
Computer games
XIII
Goldeneye: Rogue Agent
James Bond: From Russia with
Love
Television shows
Alias
Get Smart
Films
James Bond: Die Another Day,
MGM
Agent Cody Banks, MGM
Austin Powers: International Man
of Mystery, New Line
Dr No, MGM
Connections
Narratives: see pages 2–6, 7–9,
20–4, 30–4, 60–1, 71–3,
172–4, 186–8
Films: see pages 11–14
On the web
Word
Alternatives
crucial
vital, critical, pivotal
exotic
unusual, out of the
ordinary
fitting
appropriate, suitable,
proper
gruesome
revolting, bloodcurdling
mission
assignment, task
On the CD-ROM
resourceful
adaptable, flexible,
ingenious
MeZine: make your own minimag (see page 124)
stealthy
secretive, undetectable
Story Spinner: spin your own
story (see page 118)
unpredictable erratic, unforeseen
villain
scoundrel, wrongdoer
Go to www.jaconline.com.au/
englishalive/ea3 and click on
the following weblinks:
CIA: spy-fi
CIA: artefacts
Alex Rider
Script Scriber: get set to script
write (see page 119)