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The Forbidden Zone in the Planet of the Apes movie series is the barren, lifeless area declared off-limits to all apes. While most apes do not know the precise reasons why the area is forbidden, it is generally understood to be a wasteland, one fit only for humans, outlaws, and fools.

Planet of the ApesEdit

The Forbidden Zone was declared by The Lawgiver early in the apes' history. While the land had once been fertile, "the beast Man" had destroyed it through carelessness; anyone remaining there long was condemned to an early death.

When the spacecraft (called the Icarus) carrying Colonel Taylor and his team of astronauts crash-lands in a lake, they cross the Forbidden Zone, noting both that "nothing will grow here!", and "that strange luminosity at night, and yet there's no moon" on their way. Later they find a row of markers like scarecrows lining the edge of the zone. Not far on the other side, life blossoms – and the apes reign supreme.

Taylor meets the chimpanzee Cornelius later, and describes his land journey to Cornelius thoroughly enough that Cornelius knows the specific area where Taylor landed, and it isn't far from where Cornelius had conducted an archaeological dig the year before. (The dig had been stopped by the Ministry of Science, headed by orangutan Dr. Zaius, to whom Cornelius was subject.) Dr. Zaius also learns that Taylor came from the Forbidden Zone – but believes him to be a native of it, and probably a member of a mutant human tribe. He tries to persuade Taylor to disclose information about this tribe, but Taylor can't tell Zaius anything he wants to know, so Zaius plans to have Taylor first gelded, then sent to an ape laboratory for vivisection or other experimentation.

To save Taylor, Cornelius and Zira risk their careers (and public lives) by first breaking Taylor out of his holding cell, then taking him back to the Forbidden Zone, to the site of the dig, intending to let him go and come back with proof that the apes don't know the whole truth about humans, nor their past. Dr. Zaius follows them with a squad of gorilla soldiers, but is captured by Taylor. In the end, Zaius bids Taylor go free in the Forbidden Zone, telling him "The Forbidden Zone was once a paradise. Your breed made a desert of it, ages ago!"

When Taylor wonders about the root of the ape/human question, Zaius says confidently, "Don't look for it, Taylor – you may not like what you find." Taylor and Nova ride off together into the Forbidden Zone, and ultimately come upon the wrecked remains of the Statue of Liberty. Taylor realizes what Zaius knew (at least in part) and kept hidden all along; the Forbidden Zone is the irradiated dead zone around what was once New York City, destroyed in a nuclear explosion as humanity destroyed itself, allowing for the rise of the apes.

Beneath the Planet of the ApesEdit

Taylor discovers in the second movie (mostly offscreen) that there are indeed mutant humans dwelling in the Forbidden Zone – living underground, among the ruins of New York. Their spiritual center is St. Patrick's Cathedral, with the crosses on its doors turned upside down to form instead the Sign of the Bomb. At the cathedral's altar is the mutants' "Holy Weapon of Peace" – the Alpha-Omega (ΑΩ) Nuclear Device, left over from the 20th century and still functional, and capable of destroying all life on the planet, though the mutant humans appear unaware of this.

Tracing Taylor's path (even from outer space) is another astronaut named Brent, who meets Nova returning to Ape City and Zira. Brent eavesdrops on a meeting of the apes council, addressed by General Ursus, an ambitious gorilla leader. To Brent's mounting horror, Ursus begins by reminding the apes of recent crop damage caused by wild humans, who have been driven into ape territory by a lack of available food (caused by drought). Ursus has heard reports of strange sights and experiences, from ape scouts patrolling the edge of the Forbidden Zone, including one scout's report of intelligent humans capturing and questioning him, through telepathy, mind control and imposed hallucinations.

Dismissing the more sanguine aspects of the reports, Ursus presumes aloud that these humans, if they exist, must obviously have a food source, either beyond or inside the zone – and he proposes to claim it for the apes, to replace their lost resources. Ursus declares his army capable of withstanding anything the humans and their habitat have to dish out, and that the "once-forbidden zone" must be reconsidered, with the taboo against it centuries old. Dr. Zaius disagrees for the most part, but assents to join the gorilla army on an expedition.

After meeting Zira and Cornelius, Brent and Nova return to the Forbidden Zone one step ahead of the gorillas, and are led in gradually to the underground city through the wrecked Queensboro Plaza. They encounter the mutant leaders, who separate Brent and Nova and interrogate Brent telepathically. Brent and Nova attend a prayer meeting held by the mutants, who "reveal their inmost selves" to the bomb on the altar – removing masks and wigs to show themselves as grotesque, with no hair and little epidermis, and major arteries exposed; the end-product of generations living in the radioactive ruins, and a tradeoff for their superior psychic abilities.

Detecting the oncoming gorilla army, the mutants unleash their cache of psychic weapons, showing the apes visions of other apes painfully crucified upside down, surrounded by a ring of fire, then a giant statue of the Lawgiver that begins to bleed, then crackle and topple onto the ape army. Sensing a trick, Dr. Zaius rides into the middle of the visions, emerging unharmed. Their primary defense proving ineffective against the apes, the mutants each "take cover in his private shelter", while their leader (named Méndez) orders the bomb armed, aiming it toward Ape City. While Taylor and Brent conclude that the mutants don't know how powerful their weapon actually is, the apes and mutant humans prepare to battle to the death, and the whole planet may become a Forbidden Zone.

Escape from the Planet of the ApesEdit

While never seen onscreen, part of the backstory to the third film is the work of renegade genius chimpanzee Dr. Milo, who readily includes the Forbidden Zone among his technological research resources. Discovering Taylor's submerged spacecraft, Milo raises and restores it, and "half-understood it", as Cornelius recalls later. When the end of the ape world appears imminent, Milo, Cornelius and Zira don space suits, board the craft, and attempt a launch – only to go through a reverse of Taylor's journey, ending up in Earth's human-led past.

Conquest of the Planet of the ApesEdit

Taking place in the apes' prehistory (in the latter days of human civilization), there is no Forbidden Zone in the fourth Apes movie, but chimpanzee leader Caesar predicts its coming – "when the sea is a dead sea, and the land is a wasteland!" – as he proclaims the birth of the ape society.

Battle for the Planet of the ApesEdit

In the final Apes film, the Forbidden Zone appears as the Forbidden City – the radioactively contaminated wreckage of an unspecified city in North America which contained the Ape Management Complex wherein Caesar was processed, which the apes and a handful of humans escaped. Caesar declared the old city forbidden, when a nuclear war destroyed most of the Earth's human population, but later learns that videotapes of his parents (Cornelius and Zira) might still exist, and journeys back with MacDonald and Virgil to search for them. Encountering human survivors (already showing signs of mutation) under the city, a fight is sparked off between the survivors' army (using surplus weapons and scavenged civilian equipment) and the apes (with their small armory), with Ape City's human contingent corralled to keep them out of it.

When the mutant army fails to conquer Ape City, the order is sent back to launch their secret weapon against the apes – the Alpha-Omega Device. Succeeding leader Méndez, however, countermands the order, reminding the survivors that if the bomb is used, everybody loses, and tells them if they instead preserve the bomb and revere its power, they'll always have a sense of purpose. (Presumably they heed his words, and become the society encountered in Beneath.)

The Fordidden Zone by movieEdit

Template:Other uses Template:Featured article Template:Use mdy dates Template:Italic title Template:Infobox media franchise Planet of the Apes is an American science fiction media franchise consisting of films, books, television series, comics, and other media about a world in which humans and intelligent apes clash for control. The franchise is based on French author Pierre Boulle's 1963 novel La Planète des singes, translated into English as Planet of the Apes or Monkey Planet. Its 1968 film adaptation, Planet of the Apes, was a critical and commercial hit, initiating a series of sequels, tie-ins, and derivative works. Arthur P. Jacobs produced the first five Apes films through APJAC Productions for distributor 20th Century Fox; since his death in 1973, Fox has controlled the franchise.

Four sequels followed the original film from 1970 to 1973: Beneath the Planet of the Apes, Escape from the Planet of the Apes, Conquest of the Planet of the Apes, and Battle for the Planet of the Apes. They did not approach the critical acclaim of the original, but were commercially successful, spawning two television series in 1974 and 1975. Plans for a film remake stalled in "development hell" for over ten years before Tim Burton's Planet of the Apes was released in 2001. A reboot film series commenced in 2011 with Rise of the Planet of the Apes, which was followed by Dawn of the Planet of the Apes in 2014 and War for the Planet of the Apes in 2017. The films have grossed a total of over $2 billion worldwide, against a combined budget of $567.5 million. Along with further narratives in various media, franchise tie-ins include video games, toys, and planned theme park rides.

Planet of the Apes has received particular attention among film critics for its treatment of racial issues. Cinema and cultural analysts have also explored its Cold War and animal rights themes. The series has influenced subsequent films, media, and art, as well as popular culture and political discourse.


Template:Infobox film Beneath the Planet of the Apes is a 1970 American science fiction film directed by Ted Post and written by Paul Dehn. It is the second of five films in the original Planet of the Apes series produced by Arthur P. Jacobs.[1] The film stars James Franciscus, Kim Hunter, Maurice Evans, and Linda Harrison, and features Charlton Heston in a supporting role.

In this sequel, another spacecraft crashes on the planet ruled by apes, carrying astronaut Brent who searches for Taylor and discovers an underground city inhabited by mutated humans with psychic powers. Beneath the Planet of the Apes was a success at the box office but met with mixed reviews from critics. It was followed by Escape from the Planet of the Apes.

ComicsEdit

The Forbidden Zone was a 4-issue comic mini-series that ran from December 1992 to March 1993. The series was published by Adventure Comics, an imprint of Malibu Graphics, and was written by Lowell Cunningham. It appeared six months after Malibu's regular Planet of the Apes comic had ceased publication, and as such it represented the company's last association with the franchise, and also the last Apes comics until Dark Horse Comics launched a new line on the back of the 2001 re-imagining. The artwork of Leonard Kirk was amongst the best examples of Planet of the Apes comic-book art, with - unusually - accurate representations of the ape species in terms of comparative size and shape and facial features.

SynopsisEdit

The story was set some centuries after the time of the main series from Malibu Graphics - one character deduces that humans must have been made primitive outcasts in the era of Alexander and Jacob, rather than always having been animalistic (which is true, but ignores the conclusion of that story where Jacob welcomes Simon and Anne into Ape City). In this time, the ape-only city is led by the female chimpanzee Councillor Zoe, with General Brak as head of the gorilla military. His insubordinate junior, Colonel Arvo, has an intense hatred for humans and spends his spare time hunting them in their forest home. Arvo's son Julius, however, is a very different gorilla, and he leads an "exploratory expedition" of chimpanzees into the Forbidden Zone, where they find remnants of a human civilization, much to their surprise.

Meanwhile, the authorities in the mutant remnants of New York led by Lord Kolp have condemned their senior colleague Mendez Ten to death for his independent thinking and heresy against their worship of the Alpha-Omega Bomb. He escapes across the Forbidden Zone and both he and Julius find themselves at the mercy of the community known as the Primacy. This settlement was once under the jurisdiction of Ape City, but the spread of the radioactive wastelands cut off communications between the two towns. Primacy has maintained and developed the ideas of human integration that Ape City has turned it's back on. Primacy is led by the chimpanzee Lawgiver Dogen, but many of its leading citizens, such as security chief Pell Shea, are speaking, intelligent humans, though it is not without some discontent from certain gorillas.

Lord Kolp decides to dispatch his army under General Jaekel when he discovers that Mendez lives, just as Colonel Arvo tries to hunt down his son to prevent his heretical discoveries from spreading. Using the advice of Mendez and Julius, Pell Shea is able to maneuver the two armies into wiping each other out, thus ensuring the safety of Primacy. Kolp is content that the ape army has been neutralised and the "unevolved" mutant soldiers (they have no telepathic abilities) have been culled. Meanwhile, Zoe is satisfied that the truth about human heritage will remain hidden from the wider ape population. Mendez and Julius are welcomed as Primacy's newest citizens.

IssuesEdit

"Glory be to the Bomb, and to the Holy Fallout. As it was in the beginning, is now, and ever shall be. World without end. Amen."
--Mendez XXVI
File:Mutant.jpg

A Mutant represents any biological organism whose physical hereditary characteristics have been altered from that of the parent organism. Such alterations occur on the genetic level and may lead to further unpredictable mutations depending upon the initial root cause as well as other external stimuli. In terms of Template:Film, a mutant is a distorted creature marred by the radiation levels remaining after the nuclear war that destroyed much of life on Earth as seen in Template:Film. Some are bestial and some are brainy. They generally live in the Forbidden Zone and do not seem to be very nice. [2] The community of telepathic mutant humans encountered by Taylor and Brent in Template:Film lived in the ruins of New York City and worshiped the ultimate nuclear weapon - the instrument of the planet's final destruction.

Beneath the Planet of the ApesEdit

HistoryEdit

The mutants were descended from a long line of mutated humans, whose origins dated back to the 1990's when the human controlled governments of Earth waged war with one another – a war which devastated significant parts of the population, and caused drastic geological upheaval.

Survivors of the nuclear holocaust were forced to seek shelter in the ruins of cities contaminated with atomic radiation. The exposure to this radiation caused severe genetic defects – defects which were passed down through the generations, forcing select groups of mankind to evolve into a new subspecies of mutant. Two-thousand years later, many of these mutant descendants began to develop advanced telepathic abilities. Whether these mental endowments were borne as a side-effect of their mutation is still a matter of speculation.

File:Mutant musician.jpg

By the late 40th century, a coalition of mutants established a settlement for themselves in the ruins of St. Patrick's Cathedral in New York City. They had acquired a weapon of mass destruction – a surviving relic from Humanity’s downfall. This was a Doomsday device known as the Alpha-Omega Bomb. Declaring the weapon as the "Divine Bomb", the Alpha-Omega Bomb represented not only a unifying characteristic of their lifestyle, but of their origins as well. They believed that God spoke to them through the weapon. They placed the missile, as well as its accompanying launch controls, at the nave of their altar in the cathedral. On most occasions, the subterranean denizens of New York wore latex masks and wigs which concealed their physical mutations, but during liturgical services and Mass, it was customary to remove their masks while proclaiming in unison, "I reveal my Inmost Self unto my God."

All elements of mutant culture revolved around devotion towards their religion. Followers wore stark, white, full-bodied uniforms, the design of which was patterned after the protective radiation suits worn by their ancestors. Even children were expected to behave in accordance to the tenets of their faith. A popular children's nursery rhyme, though seemingly innocent, invoked images of the nuclear horror that befell mankind centuries past. [3]

Ring-a-ring o'neutrons,
A pocketful of positrons,
A fission! A fission!
We all fall down.

The mutants were reclusive isolationists who shied away from the world above them. However, in 3978, a time-lost astronaut named George Taylor stumbled upon their underground society. The leaders used their mental powers to interrogate him at length, from which they learned that a society of evolved apes had developed a community outside the ruins of New York City. After extracting as much information as they could from Taylor, they imprisoned him in one of their many dungeon cells.

On occasion, the reigning council from Ape City would send Gorilla scouts into the region (which they referred to as the Forbidden Zone), in search of evidence of human occupation. To protect themselves from inquiry, the mutants used their telepathic powers to create massive illusions depicting scenes of graphic violence. In some cases they would craft the image of a great wall of flame; in others they would produce visions of apes being crucified and tortured. On one circumstance, they allowed a gorilla scout to enter the underground tunnels, where they placed him under an intense telepathic interrogation. Recognizing the aggressive prejudices of the apes, they decided that apes were a threat to their existence and took elaborate measures to conceal themselves from further inspection.

A short time later, another astronaut named John Brent and a mute human named Nova followed Taylor's trail into the Forbidden Zone. [4] The mutants captured them, and used the same mental torture techniques against Brent and Nova that they had used upon Taylor. They even manipulated Brent into turning on Nova, forcing him to choke her nearly to the point of death. After gleaning any information of value from him, they placed Brent into the same cell as Colonel Taylor. A guard named Ongaro watched over the prisoners and used his mental powers to make them fight against one another. In keeping with the structure of their own Holy doctrine, Ongaro iterated the fact that they do not actually kill their enemies, but rather, they force their enemies to kill each other. Brent and Taylor managed to break free of the mind control however, and killed Ongaro while escaping from their cell.

At the same time, a gorilla military leader named General Ursus led an invasion party into the Forbidden City to route out and exterminate all human occupants. They found the mutant’s cathedral and proceeded to execute as many mutants as they could find. Mendez and Caspay along with an unknown female mutant were shot down in cold blood, while Albina preferred to end her own life rather than suffer the fury of a military onslaught.

Moments after the last of the mutant leaders had been executed, George Taylor, dying from a gunshot wound, fell upon the launch controls of the Alpha-Omega Bomb. The device was activated and the resulting explosion destroyed the entire world and killed any surviving mutants that weren't executed by Ursus' Gorilla soldiers.

Psychic AbilitiesEdit

Members of the mutant leadership (notably the Inquisitors) possessed a wide variety of psychic abilities. These powers included the ability to communicate telepathically with their fellow mutants, as well as other humans. They employed these powers for a variety of effects, which they referred to as "Weapons of Peace". The most common of these abilities was a process known as the Visual Deterrent. This reflected a mutant's ability to create elaborate and convincing illusions designed to confound or in some cases ensnare unsuspecting prey. They used the Visual Deterrent to trap the time-lost astronaut George Taylor. They later used the power to much broader effect in the hopes of warding off an encroaching ape army. Accompanying the Visual Deterrent was a practice known as the Sonic Deterrent. Using this technique, a mutant could generate a piercing sonic hum in a target's mind – the intent of which was ultimately to drive the victim insane. The most intrusive and devastating tactic however, was a practice called Traumatic Hypnosis. Using this ability, a mutant could control another person's mind, forcing them to act in contrast to their own nature – even violently.

Mutant make-up preparation for Beneath the Planet of the Apes Mutant make-up preparation for Beneath the Planet of the Apes Mutant make-up test for Beneath the Planet of the Apes Mutant make-up test for Beneath the Planet of the Apes

NotesEdit

  • The mutants' name for the own society was never indicated on film or in the script. Marvel's comic book adaptation of the film, however, identified the mutants as the 'Children of the Bomb'.
  • In Paul Dehn's earliest outline for Template:Film - the first of his story arc - he had already mapped out the background of the Mutant society: Their hereditary leader, Mendez the twenty-sixth, never tires of telling them that this religion is the first in Earth's history to have been founded not on Faith but on Fact. And this, in a sense, is true. When the last Atom Bomb exploded in up-state New York (circ. 1995) and huge earth-subsidences buried New York City, the few thousand survivors on the surface went underground in the hope of avoiding or at least minimising the genetic effects of radioactivity. It took only the misshapen birth of the next generation for this hope to be proved false. The mutants were 'created by the Holy Fall-Out descending like manna from the Divine Bomb'.[5]
  • In the movie, the character of Mendez XXVI is credited only as "Mendez". The novelization indicates that he is the twenty-sixth Mendez in a line of succession.
  • Actor Don Pedro Colley is credited only as "Negro" in the closing credits of the film. Colley's official web-site lists his character's name as Ongaro[6]
  • Originally the music for the mutant's liturgy was to be composed by Jerry Goldsmith, who scored the music for the first Template:Film film, but POTA director Frank Shaffner convinced the studio heads at Twentieth Century Fox to pull Goldsmith from the project in favor of having him score Shaffner's then current film project, Patton. Goldsmith was ultimately replaced with composer Leonard Rosenman. [7]
File:Hoyle.jpg
  • All of the elder members of the mutant community wore liturgical vestments, which were color-coordinated with the visual effects of their thought projection abilities.
  • The first draft screenplay listed the areas of concern for each of Brent's Inquisitors. "Our actors should note that each Inquisitor pursues (in alternation) an individual line of questioning.
  • The Negro probes for facts;
  • Albina, for emotional feelings;
  • Caspay, for beliefs and opinions.
  • The Fat Man asks no questions at all. He is there merely to induce pain.[8]
The final screenplay reversed two of those roles.
  • The Fat Man probes for facts.
  • The Negro asks no questions at all. He is there merely to induce pain.[9]
  • According to The Mutant News newspaper distributed in theatres showing the movie in 1970, the leader of the mutant resistance to the ape invasion - the 'General of the Defence' - was 'Ygli VII', whose responsibility was to train the population in the use of mental deterrents.[10]The purpose of the deterrent is to prevent any injury whatsoever to non-apes. If the deterrent was ignored then the process of AD would begin. AD stands for Assured Destruction.

Behind The ScenesEdit

Template:Film screenwriter Paul Dehn first developed the idea of the mutants. He conceived a grotesquely misshapen race who took pride in their deformities, and in his very earliest treatment introduced Mendez XXVI - "a figure who looks like the Grand Inquisitor grotesquely lengthened by a distorting-mirror. The immensely tall, cadaverously lean body is topped by a head discernibly human, though the great aquiline nose suggests an eagle's beak. Even the long fingers are raptorially curved like claws. But the eagle seems blind. Where there should be eyes, there is facial flesh. Then a curious thing happens. Mendez says: 'Let me look at you' and turns slowly into profile to reveal that his eyes are at the sides of his face and not in front. He can, like a great bird, look outwards but not forwards." The evolution of the mutants was to be demonstrated visually, with an example of their hypocrisy: "Mendez... enters a long corridor, lined with statues, ...they are strictly representational, totally realistic statues of Mutants; and the names and dates on the plinths tell us that they are Mendez's ancestors... as the dates become earlier, each statue's appearance approximates closer to the human norm... We end on Mendez I - a normal, handsome, strong-jawed, military-moustached, grizzle-haired soldier... Mendez pauses for a moment - seeing (without turning) out of his side-eye - and whispers in a sort of agony: 'Forefather, why can we not all look like you?... From whom will come the new, untainted blood that should cleanse our inbred race? We have lived a thousand years alone, like worms, below ground - doing good to none but ourselves. If we come up to Earth's surface we shall die. And though my people have been taught (for their greater comfort) that they are beautiful and therefore to be desired, what stranger, coming down among us, would find us desirable enough to use our deviant bodies for the creation of a nobler breed? Forefather, why can we not all look like you?'"[11]

Dehn altered his vision of the mutant deformities for his later screenplay, keeping the idea of their gradual deterioration, but lessening the effects on their physiognomy. "At first, we were going to have them really mutated with monstrous noses and three eyes, real horror figures, but we didn't think that would have been nice for the children and after a great deal of research, it was the makeup department that came up with the idea that if you had been radiated, all seven layers of your skin would have been destroyed, and all that would be left was this terrible network of veins."[12]

Director Ted Post was apparently responsible for the final makeup concept for the mutants in the film. For many months, the studio had spent thousands of dollars and several artists trying to find the right look for the mutants, coming up with almost every conceivable brand of monstrosity, deformity, and what-have-you. When Post walked into the makeup lab, he was appalled at the sight of myriad grotesque plaster heads lining the shelves, ranging from early Universal to early American-International in appearance. He remembered a drawing from a medical text entitled 'Gray's Anatomy', in which was printed a vivid picture of a man's head, with the top layer of epidermis removed. For some reason, he never forgot that picture and suggested the idea to Dan Striepeke and John Chambers. With the magic of their skills, they transformed this into film reality.[13]

In order to create the effect of a human being mutated through exposure to radiation, make-up artist Chambers examined photographs of corpses where the outer dermal layer of skin had been removed. After sifting through other, more graphic potential mutant designs, he decided upon using these photographs for the basis of his mutant make-up. [14] He later recalled: "This was a full, soft foam-rubber head appliance, and I used silicone adhesives to blend it out. In the ape appliances, there were small pieces, a chin, a muzzle, and a forehead, and the rest was face hair and a wig. It took more time to blend the edges there, but the mutants were already made up, and the only extra makeup we used was around the eyes and mouth. So we took two hours, average, on those."[15]

The original ending to the movie was to have the competing ape and mutant armies destroyed in the explosion of the missile, while Taylor, Nova and Brent escaped to the Ape City to establish a Utopian society. Moving forward by many decades, the action would cut to the Forbidden Zone where a group of horribly mutated gorillas emerge from a tunnel and, symbolically, shoot a dove.

Battle for the Planet of the ApesEdit

With the final movie of the Apes series, writer Paul Dehn wanted to bring the story full-circle and show the lead up to the events of the original movie and Beneath. Thus Template:Film shows the remnants of humanity in Governor Breck's city starting to become disfigured and mentally unbalanced due to the fall-out of a nuclear war. They also - in scenes filmed but only added to the film in DVD releases many, many years later - possessed the Alpha-Omega Bomb. Kolp, Chief of Breck's security at the time of Caesar's rebellion, was now the leader of the survivors after Breck's death. His chief advisors were Mendez (presumably 'Mendez I') and Alma, who took on the leadership of what remained after Kolp and his military leader launched a disastrous assault on Caesar's Ape City that resulted in the death of most of the able-bodied mutants and the capture of the few survivors. The final 'lost' scene from the movie showed Mendez refusing to detonate the bomb, preferring to view it as a symbol of hope for a peaceful future.

The scenes deleted from the movie serve to make the series a continuous loop. The reason they were omitted from the final theatrical cut is unknown. It has been speculated that they were omitted so that the ending could be left open - that the nuclear obliteration of the planet was not inevitable. However, according to Paul Dehn, the final shot of a tear on Caesar's statue was to tell the audience that Caesar's efforts would ultimately fail.

Planet of the Apes MagazineEdit

The Planet of the Apes Magazine published by Marvel Comics between 1974 and 1977 featured comic-strip adaptations of the five Apes movies, with the mutants as outlined above. One significant change was that, working from the shooting script rather than from the final cut of the movie, the adaptation of Battle featured Breck as the now-mutated leader of the humans in place of Kolp, and the strip also included the 'Alpha-Omega' scenes which were edited out of the theatrical release.

The new, original stories included in the magazine, written by Doug Moench, were full of wildly imaginative scenarios far beyond what was depicted in the movies or the TV series. In Terror on the Planet of the Apes, for example, the fugitives Jason and Alex had to combat giant mutated river monsters while on their way to confront 'The Inheritors', the society of vaguely-human Mutant Drones controlled by a network of five huge disembodied brains suspended in glass cases. The Inheritors also kept a menagerie of mutated monsters which they used for pit-fighting for their entertainment. The Inheritors had a rival race of mutant human descendents known as 'The Makers'. The Makers were slightly more human in appearance, though they were extensively reconstructed with bionic replacement body-parts. They were also more paranoid, and therefore destructive, than the power-hungry but calculating Inheritors. How their races diverged and became sworn enemies is not revealed. A race of Winged Monkey-Demons served the stranded alien 'Keepers' in their vast, buried ship - the 'Psychedrome'. The origin of the Monkey-Demons isn't known, whether they were fellow-aliens or Earthly mutations.

Evolution's Nightmare told the tale of the one human and one ape survivors of a great war, who had to travel together in order to escape the Forbidden Zone. Along the way they encountered monstrously deformed beasts, and their story ended when they were killed in the crossfire of two competing gangs of Mutant Apes and Mutant Men in the ruins of a destroyed city. Kingdom on an Island of the Apes included a knight's quest against a 'dragon' - a giant lizard, mutated to enormous size. Future History Chronicles rivaled Terror for it's inventive script. The sea-faring heroes had to deal with giant sea-monsters, one of them genetically engineered by an orangutan, before they encountered the 'New Order Born Of Old Sins' - a sea-borne population of horribly mutated apes and humans who traveled with a nuclear missile onboard their ship increasing their mutation constantly. They had differing views on how their 'New Order' had originated, but agreed that the effects of the radiation made them all so disfigured as to make any conflict between their species pointless. Their twisted logic was to spread their radioactive mutation to every living creature. Seemingly sinking the mutant's ship, the heroes later found themselves at the mercy of mutant apes who traveled on giant mutated frogs.

Return to the Planet of the ApesEdit

The Return to the Planet of the Apes animated series borrowed heavily from both the movies and the live-action TV series, whilst also adding it's own flavour. One such example was the 'Underdwellers'. These humans - entirely distinct from the mute humans of Nova's tribe - resembled the mutants of Beneath the Planet of the Apes in their robed attire, their apparent psychic and telekenetic powers (in making Judy disappear into a fissure in the ground in episode one; teleporting her back when she tried to escape), and their living in the underground ruins of a human city. They were not shown to be mutated beneath their human appearance however, and while they were single-minded in their self-preservation, they were not as outwardly hostile as the mutants of Beneath. In addition, they seemed to live in very close proximity to the Ape City, perhaps even directly below it, and their presence there was common knowledge - Urko attempted to provoke a war with them by sending hooded gorillas to commit robberies disguised as Underdwellers. Their leader was Krador, and their religion was centered on what they believed to be a statue of a prophesised saviour called 'Usa' - in reality a statue commemorating the lost astronaut Judy, with the letters 'U-S-A' noting her nationality. This was why they had abducted their 'saviour' when she suddenly appeared from the sky.

Adventure Comics' Planet of the ApesEdit

The Adventure Comics' series of Planet of the Apes comics and spin-off comics dealt with as wide a span of Apes history as did the Marvel Comics line. The title comic series featured a tribe of 'Children of the Forgotten Apes' led by Dunzell - forgotten because they had been imprisoned in underground cells within the Ape Management building, and had been left there unbeknownst to Caesar's rebellious ape followers. Trapped and kept prisoners by the mutated humans left in the city, they too had become mutated, and developed psychic powers. They were given their freedom by Caesar, but met their deaths at the ghostly hands of the spirit of Governor Breck - revived by those same mutated human survivors. His first act, however, was to slaughter the disfigured examples of humanity who had brought him back into existence.

The Forbidden Zone mini-series set out a dispute amongst the mutant community which led to Mendez X being expelled by Kolp (a different Kolp) and finding a new home in the ape/human settlement called 'Primacy'.

BOOM! Studios' Planet of the ApesEdit

In BOOM! Studios' principal Planet of the Apes title there were no mutants featured as such, but there was a religious order led by Brother Kale and Sister Martha who, we are told, separated from a main body of missile-worshippers taking with them a small part of their arsenal. Kale set up a mission among the human population of Mak, where he had a particular following among the younger mutes. Kale and his order were all bald or shaven headed, they wore robes very similar to those worn by the mutants in Beneath the Planet of the Apes, they had telepathic abilities, and they actively organised armed resistance to apekind, but they did not appear to be physically mutated or wearing masks.

File:Boommutantapes.jpg

BOOM!'s parallel storyline continuity stretched through Betrayal of the Planet of the Apes, Exile on the Planet of the Apes and Planet of the Apes: Cataclysm and portrayed Ape City in the years before Taylor's arrival. In Planet of the Apes: Cataclysm we learned that the mutants who guarded the Alpha-Omega Bomb had an extremist faction within their midst who wished to fire the weapon and end the world. To this end, one of their number murdered the chimp monk Brother Corvin and used his identity to access an ancient missile base, firing, and destroying the Moon. He then headed to Ape City to cause further damage before his identity was revealed to Zaius and he was killed. At some point, Ursus apparently either became their agent, or was himself a mutant in disguise. Later, Milo was captured by these mutants but was helped to escape by a member of the pacifist faction, who also summoned Zira, Cornelius and Lucius to join Milo after he had repaired Taylor's spaceship. Before that, however, Milo and Cornelius travelled to the distant Painted Valley, where they discovered a group of chimpanzees mutated by water contaminated by the nearby Forbidden Zone. These mutant apes had the ability to project mental images such as monsters, but they were only just learning to control their powers and were eventually received back into the remote community from which they had been outcast.

See AlsoEdit

File:Fellowship of the Holy Fallout.jpg

External LinksEdit

ReferencesEdit

  1. ==Further reading==
    • ==Further reading==
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    • {{cite book | first=Robert | last=Heinlein | authorlink= | date=1980 | title=Expanded Universe | edition= | publisher=Ace Books | location=New York |
    • ==Further reading==
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    • {{cite book | first=Robert | last=Heinlein | authorlink= | date=1980 | title=Expanded Universe | edition= | publisher=Ace Books | location=New York |
    • {{cite book | first=Robert | last=Heinlein | authorlink= | date=1980 | title=Expanded Universe | edition= | publisher=Ace Books | location=New York |
  2. Glossary to the Planet Of The Apes Jim Whitmore (1976)
  3. Although Beneath the Planet of the Apes featured an image of children playing together, the nursery rhyme that they sang was only included in the shooting script, and was not incorporated into the final cut of the film. The nursery rhyme is a re-imagined version of "Ring Around the Rosey".
  4. Beneath the Planet of the Apes gives the year as 3955, however this is inconsistent with the timeline provided in the first film. For the sake of consistency, this site recognizes the year 3978 as the authoritative timeline of events for both Planet of the Apes and Beneath the Planet of the Apes.
  5. Planet of the Apes Revisited - A treatment at Hunter's Planet of the Apes Scripts Archive
  6. The Official Don Pedro Colley Website
  7. John O'Callaghan; "The Great Apes Score Debate", Film Score Monthly
  8. Planet of the Apes Revisited - First Draft Screenplay at Hunter's Planet of the Apes Scripts Archive
  9. Beneath the Planet of the Apes - Final Screenplay at Hunter's Planet of the Apes Scripts Archive
  10. 'Beneath the Planet of the Apes' promotional material
  11. Planet of the Apes Revisited - A treatment at Hunter's Planet of the Apes Scripts Archive
  12. 'Cinefantastique Planet of the Apes Issue' (1972)
  13. 'Cinefantastique Planet of the Apes Issue' (1972)
  14. Behind the Planet of the Apes; 20th Century Fox, 1998
  15. 'Cinefantastique Planet of the Apes Issue' (1972)
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