Movies, Science / Space Race, Science Fiction/Fantasy

[April 28, 1967] Tempest in a Teacup (The Terrornauts)

April 28, 2022 Kris Vyas-Myall 1 Comment

by Mx. Kris Vyas-Myall

Next week will see the launch of third satellite in the British Ariel programme. Assuming this is successful, it will be significant for a couple of reasons.

UK3 Satellite, hoping to become Ariel 3 if it gets in orbit

Firstly, whilst it is being launched in partnership with NASA in California, it will be the first satellite to be entirely made and tested in Britain, whereas the first two were made in the US. In cooperation between the Royal Airforce, British Aircraft Corporation and General Electric Company, its success would help show that Britain can, if not exactly compete in the space race, at least get a nice chance at a bronze medal.

Secondly, it is carrying five different experiments for UK research facilities, from measuring electron density to atmospheric noise, all of which are going to be important for a more detailed understanding of our world.

One of the most interesting experiments to me is that Jodrell Bank is using it to study medium frequency waves that occur in space. As well as helping understand radio transmissions better this may also help better detect signals coming from extra-terrestrial intelligences. Which is what The Terrornauts is concerned with.

Mr. Brunner…We’re Needed!

Back in the ancient days of 1960 our esteemed editor gave a rather damning review of the original novel. However, largely this was due to the prose and the story being dragged out and it was noted that “the premise is excellent”. As such, if a good team was assembled it might well make a good motion picture.

Step forward the first member of this team, John Brunner. One of Britain’s brightest SF authors. Whilst, to the best of my knowledge, he has not written a film script before, he is adept at producing both readable space operas and extremely literary works. He reportedly wanted to remove all the dated pulp era material to concentrate on core science fiction ideas and character work.

Next up, a steady experienced hand of a director is needed, enter Montgomery Tully. Director of over 60 films across 4 decades, including last year’s excellent horror thriller Who Killed The Cat? Although not experienced in SF, many of the best productions of recent years have come from experienced directors outside the field. I will take a Godard or Kubrick experiments over another Irwin Allen or Ed Wood picture.

This production is from Amicus studios, the main rival to Hammer studios, with the enjoyable horror anthology Dr. Terror’s House of Horrors, the middling Dalek films and…. whatever The Deadly Bees was. Whilst they do not have the budget of their competitor, they have had ambition to try to do interesting films. Could this be their next success?

Added to this an array of talented actors listed on the cast sheet and things seem setup for a great cinematic experience.

What Could Possibly Go Wrong?

As it turns out, a lot!

Let us start with the plot itself. It begins with people working in a field of current interest to many SF fans, attempting to use high powered radio telescopes in order to attempt to find intelligence life outside of our solar system. Dr. Burke’s team have been working on the project for 4 years but failed to produce any results, to the frustration of Dr. Shore, who is annoyed they are using the equipment on the project. Having just 3 months left to discover a sign of life, they receive a repeating signal from an asteroid.

What is particularly surprising is it is the same signal Dr. Burke heard as a child. At an excavation with an archaeologist uncle, a mysterious black cube was uncovered. He was given it as present and inside he found strange black crystals that hummed. Falling asleep holding one, he had a dream of an alien world. On that world he heard the same sound. As you can probably tell, this is going to require you to accept a lot of coincidences.

After sending a signal back, a spaceship comes and takes the lab away (although not the control room or telescope it was sent from), along with Dr. Burke, his assistants Lund and Keller, and two comedy characters, the accountant Yellowlees and the tea lady Mrs. Jones.

We do have to talk about the odd comic turns. There's no problem with having some light comedy to emphasise the drama and the use of ordinary characters out of their depth is a common charming feature of Nigel Kneale’s SF plays or Hammer Horror films. The issue here is that it is played so broadly in contrast to the po-faced stance of the rest of the cast it sticks out. Charles Hawtrey is a regular member of the Carry-On cast and Patricia Hayes is probably best known for her regular appearances on the Benny Hill Show. I could not help but wonder at times if they had just walked off of those sets temporarily. Just toning down their performances and lightening the others would have done wonders.

ultrasonic hallucination monster — A terrifying ultrasonic hallucination as part of the tests.

Our five space farers find themselves in a structure on the asteroid and spend a lot of time wandering about and solving a series of logic puzzles to prove intelligence (likely inspired by a similar sequence in The Dalek Invasion of Earth), they are given a cube like Dr. Burke received as a child. It turns out to be a store of information on their mission. An ancient race explored the stars and encountered a race only known as “The Enemy” that want to eliminate other intelligent life by using rays that reduce intelligence. The signal from the base indicates The Enemy’s signals are approaching Earth and it is up to these five to use the base to defend humanity.

There is also a brief side trip where Lund trips on to a ‘Matter Transmitter’ and gets sent down to a planet full of green people in togas and shower caps who want to sacrifice her, but this seems largely to be a way to have a traditional pulp action sequence more than anything else. In fact, for such a short film, there is enormous amount of time being wasted. Most egregious is a sequence where they are trying to find a cube to help them and spend ages sampling them all, only to have the real cube presented to them by the unconvincing robot of the base.

Wobbly robots and very unconvincing moons

Although looks are not everything it has to be said this film looks cheap. Yes, the budget was smaller than Daleks – Invasion Earth 2150 A.D. or Thunderbirds Are Go, but it is at a comparable level to Island of Terror and The Projected Man, neither of which look as bad as this (despite their many other faults). Even BBC episodes of Doctor Who or Out of the Unknown, which work on less than 10% of the budget for similar runtimes, rarely resemble this level of shoddiness.

At the end it looked like we could have a tense and exciting space battle, but instead we have the attacking ship opening to reveal a red torch light and the fortress flailing about like a drunken Octopus.

Finally, the attacking fleet is destroyed but not before the final ship comes to crash into the base. The team manage to use the Matter Transmitter to escape and land in the same archaeological dig the black cube was found by Burke’s uncle. However, not having passports, they are arrested by a local police officer. Given how much The Terrornauts tends towards terrible cliché, it, of course, ends on a bad joke from Mrs. Jones:

I never did much like foreign parts

Hilarious…

Naut The Best Film

Mrs. Jones brings lab techs tea — Why not have a cup of tea and read a magazine instead?

As you can probably tell, this is a poor picture. Logic is consistently tenuous. There is barely enough plot to fill a Ferman vignette, instead being reduced to run-arounds. If I didn’t know its origins, I would have assumed this was a fan’s attempt at a Doctor Who script that was rejected by the production team.

But I think its worst sin is it is just incredibly dull. I don’t think this is due to lack of incident, but it is not about anything. There are no themes or interesting ideas I can tease out, it is just some people from Earth put into space to fight invaders, which they do via following recorded instructions.

Even this might have been salvaged if we had good character work but they all as thin as cigarette cards. Burke is the hero who is always right and can apparently do anything. Lund is his assistant who does whatever he says or randomly gets into trouble so she can be rescued. Keller is there for Burke to talk to. Yellowlees is the fussy and cowardly comic relief. And Jones is the ordinary person who does not quite understand what is going on, also for humour value.

They do not have any growth or go on a real quest. There is no significant difference I can see between the people when they leave Earth and arrive back.

In the end I cannot give this production more than one star.

Future Terrors

2001 Set photo — Kubrick and Clarke, on the set of what we all hope is not *The Terrornauts Raid Again*

Coming out very soon (we are continually promised) is 2001, the collaboration between another British SF author and experienced British director. Will this end up meeting the same fate? We shall see…

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Science / Space Race

[April 26, 1967] Fallen Cosmonaut ( The Loss of Soyuz 1)

April 26, 2022 Kaye Dee Leave a comment

by Kaye Dee

Back in November last year, while writing about Gemini 12, I asked “where are the Russians?”, since there had not been a manned Soviet space mission since Voskhod 2, in March 1965. I didn't expect that when I finally came to write about the next Soviet space flight, it would be to report the first death to occur during a space mission: an incident as deeply shocking as the Apollo 1 fire just three months ago. Sadly, the return of Soviet manned spaceflight and the introduction of its new Soyuz spacecraft (the name means “Union” in Russian) has been mared by the death of its crew and the destruction of the spacecraft itself.

Re-entry Mishap
Early yesterday (25 April Australian time), after more than twelve hours of silence about the mission, the official Soviet newsagency TASS announced that Cosmonaut Vladimir Komarov had been killed after the failure of the parachute on his Soyuz 1 spacecraft, following re-entry. As I write this, little is known about what actually happened, but it appears that the parachute lines became tangled in some way, preventing the chute from fully opening, so that the spacecraft smashed into the ground at high velocity. However, it is not clear whether Cosmonaut Komarov died before the spacecraft hit the ground, or whether he was killed on impact.

Newspaper article from the 25 April edition of The Canberra Times announcing the loss of Soyuz-1

New Spacecraft, Ambitious Mission
As is always the case with the USSR’s space programme, nothing was known about the Soviet Union’s latest space mission until it was safely in orbit. We now know that Soyuz 1 was the first flight of a new spacecraft, believed to be even bigger than the Voskhod, which, as we saw, could carry a crew of three. Moscow television has supposedly described the Soyuz as “huge”. Just as Mercury and Vostok, and Gemini and Voskhod, could be considered parallel programs, Soyuz is assumed to be the equivalent of Apollo, and part of the USSR’s Moon landing programme about which we know so little. Could the Soyuz be capable of carrying a crew of four, or even five cosmonauts?

Unconfirmed reports suggest that Soyuz 1 was intended to undertake a surprisingly ambitious mission for the shakedown flight of a new vehicle. The craft was apparently planned to rendezvous in orbit with at least one, and possibly two, other spacecraft, with between six and nine cosmonauts joining Komarov in space before the end of the mission. The low altitude of Komarov's orbits (the lowest to date in the Soviet manned programme), only 138 miles above the Earth, certainly hint that rendezvous and docking operations were included in the flight programme, as a low orbit conserves power resources. This would have been a significant spaceflight first indeed, especially if – as has also been rumoured – there were plans for a crew transfer between one of these other spacecraft and Soyuz 1.

Crew Transfers Planned?
The fact that Komarov was the only cosmonaut on board Soyuz 1 certainly gives the crew trasnfer rumour some credence, as cosmonauts from one or two other spacecraft could have transferred to Soyuz 1 to fill its empty crew couches. Of course, we have no idea whether this transfer would have taken place through a docking tunnel between two spacecraft, or via a spacewalk, since we know nothing about the Soyuz vehicle itself. However, unless the Soviet manned space programme has been conducting an equivalent to the Gemini programme in secret over the past two years, its cosmonauts have little rendezvous experience (apart from Vostok 3-4 and 5-6), no docking experience, and have conducted only one spacewalk, whereas NASA has firmly mastered these critical techniques needed for the Apollo Moon programme. Perhaps the USSR intended to start catching up by carrying out extensive practice of these techniques during this first Soyuz mission? Or perhaps they have largely ignored them because they are planning a completely different approach to their manned lunar programme?

The official photo of Cosmonaut Komarov, released when the Soyuz 1 mission was announced, shows him wearing a spacesuit similar to that worn by Cosmonaut Alexei Leonov when he made the world’s first spacewalk. This photo can be seen in the reproduction of the article from The Canberra Times, above. It offers an intriguing hint that Komarov himself was possibly intended to make a spacewalk, or swap into another spacecraft for his return to Earth. However, confusing the issue is the picture below, which shows Komarov walking to board Soyuz 1 wearing a flight suit (similar to the one he wore as commander of Voskhod 1) rather than a spacesuit.

Problems with the Soyuz Spacecraft?
So why didn’t this rumoured space feat take place? Soyuz 1 was launched on 23 April. No problems were publicly reported during the early orbits of the mission, and Cosmonaut Komarov sent greetings from space “to the hardworking Australian people”. In another message, he also slammed the Vietnam War, in which Australia is fighting alongside the United States and other allies, sending a propaganda broadcast from orbit: "My warm greetings to the courageous Vietnamese people, fighting with dedication against the bandit aggression of American imperialism for freedom and independence", he said.

Soyuz 1 returned from space on its 19th orbit, after just 27 hours in space. It seems unlikely that this was the intended mission duration if rendezvous/docking and spacewalks with multiple spacecraft were really planned. The shortness of the flight may therefore be an indication that there were problems with the spacecraft, which is not necessarily unexpected with the first flight of a new vehicle. No other spacecraft launched to rendezvous with Soyuz 1, so perhaps this aspect of the mission was abandoned when problems arose.

Reports from amateur space-trackers in Italy also claim that they picked up messages in which Komarov complained to the Soviet Mission Control that they were “guiding [him] wrongly” during re-entry. Whether problems with the Soyuz spacecraft in orbit were responsible for the parachute failure that caused Soyuz 1 to plummet to Earth is perhaps something that we may not know for decades, if ever, given the habitual secrecy of the Soviet space programme.

One of the few photos available showing what remained of Soyuz-1 after its imapct with the ground

Lost Cosmonaut
As commander of the earlier Voskhod 1 mission, Colonel Vladimir Komarov was one of the handful of Soviet cosmonauts already known to us in the West. At 40, he was the second oldest of the cosmonauts (after Voskhod 2 mission commander Pavel Belyayev) and the first cosmonaut to make two spaceflights. Said to be highly respected by his cosmonaut colleagues, Komarov overcame a heart murmur, similar to that which grounded Astronaut Donald K. "Deke" Slayton durng the Mercury programmme, and other medical issues to retain his place in the Soviet comsonaut team. He was
married with a 15-year old son and 9-year old daughter. Komarov's 38-year old wife wife, Valentina, has been quoted as saying that she did not even know her husband had been assigned to the Soyuz 1 flight until it was publicly announced after launch. The identity of the cosmonauts slated to fly the other other spacecraft due to be launched as part of Soyuz-1's mission is completeley unknown at this point.

Cosmoanut Komarov with his wife Valentina and daughter Irina

Accident or Incompetence?
Was the loss of Soyuz 1 and Cosmonaut Komarov’s death just a tragic accident? There are persistent rumours that the spacecraft was not actually ready to be flight tested, and that political pressure was brought to bear on the space programme to produce another significant achievement in advance of a major conference marking 50 years since the October Revolution. Another question that arises is whether or not the unexpected death in January 1966 of Chief Designer Sergei Korolev (whose identity was only revealed after he passed away), could have had any impact on the development of the Soyuz and its subsequent fatal first flight?

Professor Sergei Korolev, the formerly anonymous Chief Designer of the Soviet space programme

An Honoured Hero
Like the lost crew of Apollo 1, Col. Komarov is a hero of the quest to explore space and has been posthumously awarded his second Hero of the Soviet Union medal and Order of Lenin. A Kremlin statement expressed the "profound grief" of the Soviet leadership at Komarov's death, and was signed by the Communist Party Central Committee, the Presidium of the Supreme Soviet and the
Council of Ministers. A ten-minute public announcement of Komarov's loss on Moscow television showed the Soviet space monument and a black-bordered version of the official photo of Komarov wearing his spacesuit, while Moscow radio is said to have played sombre music. Komarov’s funeral will be held today, after which his ashes will be interred in the Kremlin Wall. The United States requested permission from the Soviet authorities for two astronauts to attend the funeral as a mark of respect, but disappointingly this was turned down.

Presumably the USSR will now launch an accident investigation similar to that being conducted by NASA to find the causes of the Apollo 1 fire, and will place the Soyuz programme into a hiatus until the invetsigation is complete. With both participants in the Moon race now investigating tragic accidents that have led to the loss of astronaut and cosmonaut lives, will the Moon race ever resume? Or will both programmes instead return to spaceflight with different goals? Only time will tell….

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Science Fiction/Fantasy, TV

[April 24, 1967] You Look Familiar (Doctor Who: The Faceless Ones, Part One)

April 24, 2022 Jessica Holmes 1 Comment

By Jessica Holmes

Another month of Doctor Who, and this time we’ve got the first half of a rather good little mystery thriller. This is part one of The Faceless Ones, by David Ellis and Malcolm Hulke.

EPISODE ONE

Materialising on the runway of Gatwick Airport in modern-day London, it’s not long before the Doctor and company get themselves into trouble. For once, it’s not bug-eyed space monsters that pose the immediate threat– it’s the coppers! The group split up and hide, and that’s when things take a turn for the deadly. In the hangar for a company called Chameleon Tours (this will later prove to be quite fitting) Polly witnesses the murder of a policeman by an airline pilot!

She flees to tell the Doctor and Jamie what she’s seen. Meanwhile the killer, Spencer (Victor Winding) confers with an accomplice, Captain Blade (Donald Pickering). Upon investigating the body, the Doctor discovers that the man was electrocuted, inferring that the murder weapon, and therefore the murderer, was not from our world. There’s something very dodgy going on at this airport, that’s for sure.

On their way to report the crime, the Doctor and Jamie prove to be extremely observant (not) when they fail to notice Blade kidnapping Polly from right behind them. When they eventually realise she’s missing, they don’t search long enough to find her. A bit blase, don’t you think? There’s a murderer on the loose! It does annoy me a bit when characters have to leave their brains behind to allow the plot to progress.

Giving up, they try to report the killing to the airport authorities, but they can’t even get inside the terminal from where they are without a passport. That’s bureaucracy for you. However, airport security would very much like to talk to them about the police box that just turned up on the runway. Priorities!

I don't think I've ever seen someone look so infuriatingly smug.

And what of Ben? Honestly, not much. He’s just sort of lagging behind everyone else, none the wiser as to what’s going on. We'll ignore him until he does something interesting.

Following a lengthy interrogation, the Doctor manages to persuade the airport Commandant (Colin Gordon) to come and see the dead body for himself. By the time they reach the hangar however it seems that Blade and Spencer have cleaned up after themselves.

After they’re gone, the pilots bring someone out of the hangar. Whoever they are, they don’t seem very well, and it looks like they’ve got quite a painful skin condition.

In case you’re wondering, it’s not Polly. No, she’s just arrived at the gate, fresh off the plane from Zurich. And her name’s Michelle now. And she’s Swiss.

Oh, and she hasn’t the faintest idea who the Doctor is.

Meanwhile the pilots bring their afflicted friend to the airport medical bay…and it doesn’t look like the poor fellow has a skin condition, after all.

Whatever he is… he’s not human. Generally speaking, humans have faces.

The first episode kicks off a rather intriguing little mystery. By the end I still had no idea what was going on, but I was enjoying the ride all the same.

I suddenly have a craving for pizza.

EPISODE TWO

Now that they look like total liars, the Doctor and Jamie make a run for it when the Commandant calls the police.

While they’re on the run from the law, the pilots and a nurse attend to the faceless alien. They’ve apparently also kidnapped a gentleman from the airport staff, Meadows (George Selway), and have him tied down to a bed. They need him. Rather, they need his face. The nurse attaches a bunch of equipment to the pair of them, and the alien transforms, becoming a perfect copy of Meadows—even sharing his memories. The effect is similar to the one used to transform Hartnell into Troughton, though without the flash of light to mask the transition.

This is why I make exfoliation a regular part of my skincare routine.

Ben catches up to the Doctor and Jamie as the Doctor begins to wonder if Polly is really Polly. ‘Michelle’ as she now calls herself is working for Chameleon Tours. She adamantly denies remembering anything about the hangar, or anyone being killed there. However, the Doctor hadn’t even mentioned the murder. She knows more than she’s letting on.

The men confer, and the Doctor decides to try again to get the Commandant to listen to him, while Ben investigates the hangar and Jamie keeps an eye on Polly. I wouldn’t send a friend of mine to poke around a murder scene with the killer still at large, but what do I know?

Samantha's a smart lass, but she has dreadful taste in hats.

While Jamie’s hanging around the airport terminal being generally stunned by the modern world, a young woman comes to the Chameleon Tours desk. The woman, Samantha (Pauline Collins) is worried about her brother, who went on a Chameleon Tours holiday and never came back. Overhearing this, Jamie offers to help her.

Ben finds the real Polly inside a packing case, apparently catatonic. He immediately calls the commandant on a conveniently located telephone, hoping to be able to contact the Doctor.

Unfortunately the Doctor has already left the Commandant’s office, after the Commandant called the police on him. Who’d have ever seen that coming?

He meets back up with Jamie, and finds that ‘Polly’ left a short time ago. Inside her office, they find a monitor connected to a camera in the hangar, showing Ben—and someone sneaking up behind him. Unable to alert Ben to the danger, the Doctor can only watch as some sort of device freezes him.

Rushing to the hangar, the Doctor finds no sign of Ben, but he does find the strange weapon. There’s no sign of Polly, either. See, this is why you don’t send people to investigate crime scenes alone.

He finds the real Meadows, but before he can let him out of the crate, a voice calls from the other room, pleading for help. The Doctor naturally rushes in, only for the doors and windows to seal shut. The air vents begin to belch some sort of freezing gas…

The plot thickens, and things are getting a bit clearer– and more sinister. I’m starting to really like this story. It’s not over-reliant on flashy sets or effects, mostly playing out like a mystery. This episode also introduces Inspector Crossland (Bernard Kay, who has popped up in a few serials thus far), who has come looking for his murdered colleague. He doesn’t have much to do yet. Well, other than walk around and ask for information the audience already knows, but I’m sure he’ll become more important later.

EPISODE THREE

The Doctor pretends to collapse, tricking Spencer into emerging from a hidden room to check on him, at which point the Doctor zaps him with the freezing device and makes good his escape. Later, Blade orders Spencer to kill the Doctor to atone for his incompetence.

The Doctor meets back up with Jamie, who has made the acquaintance of the Inspector, who is very interested in what the Doctor has to say. The pair return to the Commandant, and the Doctor lays out his theory of what’s going on: Chameleon Tours is a front for a kidnapping operation, and people are being abducted and replaced by doppelgangers from another world. To be fair, I wouldn’t believe him, either.

However, the Doctor now has the freezing device, which he tries to use on the fake-Meadows in air traffic control. The impostor runs for it, but not before the Doctor succeeds in turning his teacup to ice. Now nobody can deny that this weapon isn't like any we have on Earth.

Samantha and Jamie, meanwhile, have been told to stay put. As you might expect, they disobey the moment the Doctor turns his back. Samantha talks Jamie into snooping around the hangar with her, and they soon find a stack of pre-written and stamped postcards, realising that Chameleon Tours are forging postcards from their passengers to disguise the fact that they’ve vanished into the ether.

The pair bring this evidence to the Commandant, who finally agrees to allow the Doctor free rein to investigate the matter.

Meanwhile, fake-Meadows reports to Spencer that the Doctor is suspicious of him. Spencer provides him with a device to smuggle onto the Doctor’s person, which will take care of him once and for all. For some reason, the Doctor doesn’t recognise him when he returns to the office. Maybe he’s bad with faces. After all, he never noticed that the Inspector is a dead-ringer for a mediaeval Sultan and a future rebel. Fake-Meadows has no trouble sticking the device to the Doctor’s back, like a more deadly version of a ‘kick-me’ note.

Oblivious to the danger, the Doctor and Jamie return to the hangar and begin to search for the hidden room Spencer emerged from earlier.

The Inspector boards the Chameleon Tours aeroplane in order to talk to Captain Blade, following him into the cockpit, where Blade holds him at gunpoint. There also seems to be a lack of the expected equipment within the cockpit, hinting that this aeroplane is not quite what it seems.

The Doctor and Jamie find monitors in the hidden room showing the medical bay. They're about to investigate when Spencer remotely activates the device on the Doctor’s back, causing him to collapse in severe pain.

And on the aeroplane, the situation only gets worse. Once the plane reaches cruising altitude, Blade shows the Inspector the secret of Chameleon Tours; the passengers have all vanished!

Final Thoughts

So far, this is shaping up to be a good story! The twists and turns are building nicely, without throwing too many at the viewer at once.

I like Samantha, and I’m wondering if the writers are lining her up to join the crew of the TARDIS. She’s got a smart head on her shoulders and a bucketload of determination, to boot. The regional dialect (she's from Liverpool, though her accent is quite mild) is a bonus in my book, too. I believe I've mentioned that I appreciate it when the BBC doesn't force all its actors to speak in RP.

Of course, if she joins the crew it might start getting crowded. I wonder if there might be a departure on the cards soon? It would make sense, as we’re back in Ben and Polly’s time, and they have been travelling with the Doctor for a little while now. Oh, but I like Ben and Polly! Perhaps I’m wrong—maybe they’ll stick around for a little while yet. This could be a red herring. We’ll just have to wait and see!

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Comics

[April 22, 1967] Make War Not Love (Comics)

April 22, 2022 Jason Sacks 2 Comments

by Jason Sacks

Hello from sunny Seattle, where spring has sprung, the rain has (mostly) stopped, cherry blossoms are on the trees at the U-Dub, and Don & the Goodtimes are topping our city's pop charts.

My friends and I love hearing that wonderful local pop ditty on Kolorful KOL Radio while driving in his Corvair. Most often we wander down to the Spanish Castle, down in south King County (past my beloved Sicks' Stadium where the Seattle Angels play). At the Spanish Castle we get to watch some amazing pop, funk and jazz musicians deliver performances to warm us up on Seattle's rainy nights. Local standbys The Wailers, The Kingsmen and a very talented young man named Jimmy Hendrix have played there. Remember the name 'Hendrix'. According to rumors, he's keeping busy in England these days and may be working on a full album. My friends and I hope our local boy makes good.

But from one type of entertainment to another… It's been about a year since I talked in Galactic Journey about the state of American comic books. This seems like the perfect opportunity to give you an update on some changes I would never have expected.

In fact, before I dig into super-hero comics, I want to look at two genres of comics the fans seldom seem to notice: war comics and love comics. Yeah, neither genre has costumed heroes, but both are fascinating here in 1967.

Make War (Comics) No More?

National dominates war comics, while its closest competitor, Charlton, is frankly pathetic. Where is Marvel in the list? Well, Marvel still publishes Sgt. Fury and his Howling Commandos, but that comic has much to do with life in the army as Gomer Pyle, USMC does. Fury's style of goofy heroism may be a good read for the kiddies but it's too shallow for anyone over the age of 12. Anyone who is fascinated by the horrors and passions of war should read the good stuff.

Our Army at War is the flagship title of National's war comics line. This series stars Sgt. Rock and the combat-happy Joes of Easy Company. For several years now, writer Robert Kanigher has teamed up with the incredibly talented Joe Kubert to deliver some of the finest continuing-character war comics in my memory. Each story is like an opera of violence and martial situations with tight, terse prose matched by a gorgeously intense, slashy but stolid style by Kubert.

In fact, though I've seen Kubert's work for many years – he drew "Hawkman" in the Golden Age and drew the first Flash feature in Showcase, among hundreds of other stories – Kubert's style is hard to describe. Look at the below original page (from a friend's collection) to see what I'm trying to put into words.

Look at the incredible storytelling by Kubert. The tumbling coins on the left add tension while the top three panels on the right show the misery, fear and determination in the eyes of the soldiers. Note, too, the clever way Kubert both divides and unifies the single image. That's a clever use of paradox to heighten the tension of the page. There's just nobody drawing comics like Kubert these days.

In fact, while many fans criticize DC/National frequently for having a house art style, their costumed hero books employ much more homogenization than their war titles . Perhaps Kubert deserves some of the credit for that, as he edits many of the titles.

To a lesser extent, we see Kubert's artistic approach to the other war comics National releases. For instance, Russ Heath is the main artist on the "Hunter's Hellcats" feature in Our Fighting Forces, and Heath brings a slightly more polished but equally visceral style to its art pages. Even old-timer Irv Novick brings a looser, more unconventional style to bear with his stories of "The Losers" in G.I. Combat.

More than anything, the DC war series feature a dark, despairing tone. Readers get a real sense of the horrors of war. Though Capt. Storm or Sgt. Rock may succeed in their missions, the battles obviously take their toll on the protagonists.

I wish the same could be said for the many war comics which quirky publisher Charlton Comics releases. I should talk more about Charlton in a future column. One thing I have to discuss is how their comics are published alongside song lyric mags, crossword puzzle magazines and cereal boxes, but that's a topic for another week.

Instead, I'm here to bemoan Charlton's seemingly endless line of bland, dull war comics. Whether it's Fightin' Marines, Fightin' Army, Fightin' Navy (see a pattern?), War Heroes or Marine War Heroes, these chest-thumpin' men of action seem to never question their mission and never feel any pain from their incredible struggles. If you've ever wondered how the Pentagon would write comics intended for five-year-olds, read a Charlton war comic. I dare you.

While I'm discussing war comics, I should lament again the abrupt cancelation of Blazing Combat, Warren Publishing's often brilliant contribution to the war comics anthology genre. During its four-issue run last year, BC included sensational artwork by comics stalwarts such as Heath, Alex Toth, Gene Colan and many others. Writer Archie Goodwin told stories of wartime combat without filters, unnecessary heroism or national bias. With its ever-shifting anthology approach, Goodwin and his artists delivered stories which felt as contemporary as the Vietnam War and as timeless as the Peloponnesian War. Look, for instance, at the lovely page below drawn by the inimitable Reed Crandall.

These comics were created in black and white, published magazine sized, and often illustrated with ink wash or pointillistic techniques. For those reasons, the stories in Blazing Combat aimed higher than most comic books. Indeed, their audience was mainly adults. Tragically, that selfsame adult audience spelled doom for Blazing Combat. Reportedly publisher Jim Warren had to pull the plug on BC when PX bases across the world canceled their orders after author Goodwin penned a story critical of the war in Vietnam. Sales were too poor to sustain a money loser for long.

Make Love (Comics) No More?

I wish I could praise the many, many love comics published by National or Charlton but I sadly can't. Hey, I'm a man who likes women, I'm fond of my wife, my sister and my mother, so why can't there be comics for women which don't insult their intelligence? Sadly, neither publisher seems able to pull off that skill. This is one area Marvel hasn't plunged into in 1967; probably good news for them. (Millie the Model is more an Archie-style humor comic than a love comic, by the way.)

Once again, Charlton leads the way with garbage, flooding the newsstand with interchangable junk like Career Girl Romances, I Love You, Just Married, Teen-Age Love, Sweethearts and many more. Like the sweethearts candies you got in your fourth grade class on Valentine's Day, these comics are laced with sweetness and may put you into a coma.

The love comics from National are marginally better, at least boasting work by professional cartoonists. But their attitudes seem stuck in the Eisenhower era.

In fact, a reader should expect out-of-date attitudes. Comics like Girls' Love, Young Love and Falling in Love frequently feature reprints of comics from a decade earlier. Staff artists, modify the art to include modern hairdos or clothes. But their conformist attitudes reflect an earlier era when a girl's greatest goal was to be a housewife. It would be a bold statement for one of these comics to reflect the "free love" or hippie movements. The creators need to change with the time. Their musical beats should be attuned to the Beatles rather than Frank Sinatra.

I'd like to think there's a place for love comics in today's era. Perhaps some of the emerging group of so-called underground cartoonists can revive the genre, maybe with a twist. I know I would chortle to see a comic on the stands called Young Lust instead of Young Love.

Make Steve Ditko Comics at Marvel No More

Perhaps the biggest shock of the last year was the resignation of the brilliant Steve Ditko from Marvel Comics. Ditko, who was the prime force behind Spider-Man and Dr. Strange, apparently was engaged in a long, pitched battle with key Marvel editor/writer Stan Lee over the identity of a villain in the already-classic Master Planner saga. Ditko, who was the main plotter for the series, wanted to follow one direction for a character reveal. Lee disagreed and apparently that latest disagreement was the metaphorical last straw.

It's a shame because Ditko was reaching his apex on both series at the time this incident happened. Spider-Man was achieving new levels of bathos and power and was a solid, constantly interesting series.

Ditko's work on Dr. Strange, meanwhile, existed on a level few other comics have ever reached. In a vast, multi-chapter epic spanning some dozen issues, an increasingly desperate and isolated Strange journeys to lands scarcely imagined by mortal men. There, he encounters beings so unknowable and cosmically powered that their mere existence is beyond our mortal ken. Ditko set Strange as one single solitary man desperately trying to save our entire universe even while the rest of the universe continued on, blissfully unaware of the strange battles happening around them.

As you can see in the above excerpt, characters like Eternity live in great cosmic landscapes, full of bizarre and almost incomprehensible sparks which bespeak our insignficance as humans. And yet Strange, a mere human with expanded consciousness, fights desperately to avoid massive cosmic destruction.

That astounding storyline, a truly cosmic saga, drew the curtain on Ditko's Marvel era with a real sense of majesty.

The "Dr. Strange" strip has been drifting without Ditko's presence, with pointless stories and uninspired artwork. But I'm mention to you that Ditko's other great series, The Amazing Spider-Man, has reached new heights in 1967.

John Romita has stepped in to fill Ditko's shoes. Lo and behold, the impossible seems to have happened: the comic has gotten better. Amazing Spider-Man is now more fun, somehow both lighter and darker than before. More importantly, some charming supporting characters have emerged. I'm keeping my eye on Romita's groovy interpretation of Gwen Stacy. She seems like she could become a compelling love interest for poor ol' Peter Parker.

And the series seems to be finding its level. Amazing Spider-Man #50 was just released two weeks ago, so I don't want to ruin its fascinating twists and turns. But look at that wonderful page above and tell me you're not intrigued. Romits delivers drama Ditko couldn't reproduce in quite the same way and points to an exciting new future for the old web-head.

Jaunty Jim Debuts

Speaking of exciting futures, comic fandom has been buzzing over the last few months about the emergence of a new creator at Marvel who seems to have a unique set of skills. Jim Steranko is in a role unprecedented at Marvel, both writing and drawing the "Nick Fury, Agent of SHIELD" strip in Strange Tales. As far as I can remember, no Marvel creator has assumed the duties as writer and artist of an ongoing. His work is intriguing and unprecedented, and so far it's been spectacular.

Steranko displays a dynamism and energy in his panels which rivals his mentor, Jack Kirby. His men seem coiled with power, drawn with dynamic foreshortening that holds tremendous power on the page even while the anatomy makes no sense in real life. In the page above, look at the wild energy of the final panel in the excerpt above, with its massive overwhelming machinery contrasting with the negative space to add power to Nick Fury's battle. Nobody, not even Kirby draws like Steranko. Who knows what the man can achieve in the coming years?

The King Remains and Reminds Us Why He's King

…which doesn't mean the King isn't carrying his own weight. Jack Kirby continues to deliver some ace action yarns in Fantastic Four and Thor. The recent Doctor Doom-Inhumans crossover story had me on the edge of my seat, as Doom schemed to assume the Silver Surfer's Power Cosmic and, with that power, control the world. That storyline was a deeply dynamic drama, definitively delineated by Kirby's crispy lines.

The Black Panther is perhaps the most dynamic character find of the last year. He debuted in the pages of Fantastic Four #52. T'Challa is the king of a futuristic kingdom deep in Africa who dons his ceremonial outfit to battle perfidious villainy, in this case embodied in the nefarious Klaw.

It's thrilling to see a Black hero appear at Marvel, especially one who can defeat our estimable heroes in battle while maintaining his regal presence. I'm so intrigued by this new hero. I hope he returns soon. I can't wait to read more about him. (Seems to me he'd be a great member of the Avengers.)

And as for Thor, if there ever was a case where a picture says a thousand words, the below image does that!

If you don't want to read that issue of Thor, you clearly lack an imagination!

The Debut of Batgirl

Life at National Comics has been a little quieter than life at Marvel these days. Their quietness has started to make National's line of heroes feel a bit stodgy compared with their Marvel counterparts. Lately the Justice League of America has veered a bit into camp, which felt appropriate when the Batman TV series was at the top of the charts. Since people are starting to get bored of Batman's repeating jokes, likely sales of Batman-related comics will begin to sag as well.

For instance, the return of the Penguin to comics in Batman #190 boasts a wonderful cover by Carmine Infantino but… darn, look at the stiff and uninspired artwork inside the issue.

Maybe the introduction of the dynamic new Batgirl will revitalize the Batman comics a bit. College student Barbara Gordon, the daughter of Commissioner Gordon, donned her distaff version of the cape and cowl in Detective Comics #359, late last year. Fan reaction to her appearance has been all over the place. Many have praised the idea that this new Batgirl can actually throw punches and kick some heads in – unlike the more old-fashioned Bat-Girl of the 1950s. Others have complained about the need to tie Commissioner Gordon more closely with our heroes. And some younger fans have complained about Batgirl acting like a big sister to Robin, which embarasses him since a girl can often out-achieve him (of course the female fans love that aspect of the heroine).

Under Infantino's pencils, the new Batgirl is a lilthe, athletic fighting machine. She's also kind of a women's libber, fighting with the ability of a man while maintaining her female identity. She would be a welcome addition to the Batman TV series. I hope she gets added to it soon.

Sadly, unless her series takes a radical turn, I can't imagine Wonder Woman becoming a feminist icon. I dare you to look at the cover below and tell me I'm wrong.

The tremendously prolific Robert Kanigher writes Wonder Woman. He's is one of the key forces behind the war comics I mentioned earlier. Maybe's he's too busy in his mental combat to consider the abuse he's heaping on his heroes.

In fact, of DC's heroes line, only "Legion of Super-Heroes" in Adventure Comics resonantes for me (well, okay, one other series has sparked excitement – see below for the details). My newfound love for the Legion surprises me. I usually yawn at the Superman family of titles (which this is part of). Readers get one variation after another of the same full stories. But new writer Jim Shooter has brought a new energy to the future's finest super-teens. Just this year, "The Doomed Legionnaire" brought an unexpected death to the team (I promise I won't tell you who dies!) This month, we're viewing an incredible flash-forward to a time when the Legionnaires are adults. It's spellbinding stuff, written for teenagers with an energy and freshness which makes me wonder if Shooter himself is a teen.

And finally…

This article has aleady run long, so I'd better add a few final notes before I head down to the Spanish Castle to see Paul Revere and the Raiders…

Doom Patrol continues to be DC's ginchiest comic book – miss it and weep, pals!
Archie's super-hero parodies like Captain Pureheart are a giggle a minute if you're in the right mindset. They are well worth your twelve pennies.
Warren continues to publish the outstanding horror comics Creepy and Eerie, and each feature work by the delightful Mr. Ditko. Miss them at your peril.
Look for copies of King Comics' Flash Gordon on your local stands. If you can find it, you will find some breathtaking comic art by the likes of Al Williamson and Reed Crandall.
And lastly and leastly, a reminder that the weakest and dullest comics in the Marvel line is The X-Men. Save your cents for its much better imitator, Doom Patrol. When will Marvel wise up and give up on this series?

Till next time, sayonara!

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Science Fiction/Fantasy, TV

[April 20, 1967] End of the Road (Star Trek: "Operation: Annihilate!")

April 20, 2022 Gideon Marcus 5 Comments

Operation: Summarize!

by Gideon Marcus

The Enterprise is checking upon the farflung colony of Deneva, which hasn't sent out a message in a year. One million souls are thus feared for. Captain Kirk has a personal reason to be worried–his brother and his family reside on this planet.

Starfleet's finest head for an interview at TRW.

Their fears are soon realized. Beaming down to the planet, Kirk and co. determine that the entire population has been taken over by parasitic pancakes, who use pain to ensure their hosts to their bidding. They have apparently been waiting for the day a starship came a-calling, so that they could continue their rampage through the universe (why they didn't use the ship they came in is never explained…) While investigating the planet's surface (again, only the most expendable personnel are sent, including Kirk, Spock, McCoy, and Scotty), Mr. Spock is infected by one of the alien invaders.

"Ooo! That smarts!"

Kirk's brother, Sam, is dead, and his sister-in-law, Aurelian, taken aboard the Enterprise for treatment, soon perishes. But Kirk's nephew, the Denevan populace, and Spock may yet be saved. McCoy and the scientists in the Enterprise's 14 science labs throw the book at a monstrous specimen that Spock secures from the planet. No dice. No amount of radiation, heat, or anything else will destroy these critters (or at least, nothing that will destroy them and not also the host.)

There is a clue, however. One Denevan took a shuttlecraft into the sun. Before he burned up, he announced that he was "free" of the alien. This is the clue Kirk needs (and everyone else misses). Apparently McCoy only thought to use infrared (heat) and very high energy radiation (microwaves and X-Rays) since the captain deduces that visible light is the key to killing the beings.

Spock volunteers to enter a light chamber and be subjected to a zillion candles of light. It kills his parasite, but also leaves him quite blind. Turns out they didn't need to use the whole spectrum of visible light. Only the invisible spectrum of invisible light.

Yes, I was confused, too.

"We've tried everything! Heat! Radiation!" "What about… light?" "Yes, Jim. I said we tried radiation. You think we're stupid?"

Turns out the key wavelength is ultraviolet light. Correct me if I'm wrong, but that's generally lumped in with "radiation", but perhaps McCoy was being extremely narrow in his definition. Anyway, Kirk dumps a bunch of "tri-magnesite" ultraviolet beacons in orbit around Deneva and sets them off. The radiation (that isn't radiation) is so intense that it even kills the parasites that are indoors, but doesn't manage to bake the colonists (maybe the only ones who survived were Black…)

Anyway, there is a lot to enjoy about the episode, from Nimoy's performance (see below) to the absolutely stunning setting (the TRW campus, from which were monitored the space probes of Pioneers 0, 1, 2 and 5, Explorer 6, and the Orbiting Geophysical Observatories).

But the science is ridiculous, even for television. Really Voyage to the Bottom of the Sea stuff. The title is one of the least inspired of the series, too.

It's a bit of a shame that this is the episode that concludes the first season. Nevertheless, the strength of the others we've seen this season suggests we're in for a great time come fall. And in any event, it's certainly not "The Alternative Factor".

Three and a half stars.

Operation: Indecision!

by Jessica Dickinson Goodman

Captain Kirk seemed to be of two – or more! – minds in "Operation: Annihilate!" His curiosity wars with his concern for his ship's safety early in the episode when the Denevan vessel hurls itself into the sun; his fear for his brother Sam and his sister-in-law Aurelean's safety on Deneva competes with his commitment to civility with his crew, leading him to snap at Lieutenant Uhura in a moment of uncharacteristic and uncaptainly unkindness. (To her credit, Uhura responds with complete professionalism and competence.)

But his deepest conflict becomes clear when Commander Spock and Kirk's nephew Peter become the prey of the fleshy flying flapjacks that served as this episode's villains. Kirk watches as Spock is consumed by pain, overwhelmed by it, then fiercely begins to resist it using his Vulcan training. This moment encapsulates the sweet tension that gives this episode its flavor:

Captain Kirk: "I need you, Spock, but we can't take any chances. We'll keep you confined for a while longer. If you can maintain control, we'll see. My nephew. If he regains consciousness, will he go through that?"
Dr McCoy: "Yes."
Kirk: "Help them. I don't care what it takes or costs. You've got to help them."
McCoy: "Jim, aren't you forgetting something? There are over a million colonists on that planet down there, just as much your responsibility. They need your help, too."

"I need you, Spock."

Though Kirk brings up his nephew's fate throughout the episode, it is his relationship with Spock – and his fear for his well being – that drives much of the action. This episode, more than many others, gives us language for that relationship from both Dr McCoy and Kirk himself: "affection," "best first officer in the fleet," "need," someone McCoy needs to "take care of." The look of devastation on Captain Kirk's face when he realizes that Spock might have been permanently injured was powerful, though it did make me wonder if Star Fleet can be so advanced if it has no clear accommodations for blind people. I would hope for more from the future.

"Who put this #$&@ table here?"

Like the other reviewers, I found the science in this episode silly; I kept getting hung-up on how the Ingrahamians were flying in the first place and whether we were supposed to see them as a devious hivemind or a reactive predator. But Kirk's conflict was delicious, the acting was great fun, and it made me check my TV Guide for when the next season starts. See you all back here again in September!

Three stars.

Operation: Genocide!

by Joe Reid

If there is anything that I learned from this week’s episode of Star Trek, it is that Vulcanians are strong and powerful life forms with amazing physical and mental gifts. "Vulcans" on the other hand are the discount Woolworth's version of Vulcanian. I seem to remember that when Mr. Spock was a Vulcanian, he could read the mind of an alien lifeform, get to know that lifeform’s intentions and desires, and find a way to help it. Remember just a few short weeks ago, on the episode, “Devil in the Dark ", where Spock saved a misunderstood creature from the humans that were going to exterminate them? Now in “Operation: Annihilate!”, creatures, intelligent creatures no less, are no longer afforded the benefit of the doubt to be misunderstood. They can only be annihilated.

Woolworth's – discount Vulcans available now…while supplies last!

Dear reader, please forgive my jeering of Spock. As a character, I find him to be a standout and thoughtful character most of the time. Apart from the limited nature of the abilities that he displayed in this episode, I normally find him compelling to watch. The problem that I had with this episode was the handling of the creatures themselves. The nameless, formless, flying, buzzing, lumps of Horta excrement, that conquered 3 planets and had the amazing power to control men and make them build ships. This seems like an intelligent species that is after something. I find myself truly wondering what it was. “Operation: Annihilate!”, completely ignores that, just following along with the dictate presented by the title.

The episode starts out with a mystery. Mass insanity is gripping entire populations on planets and jumping to other planets, and no one knows why. The best sci-fi takes us on a journey of discovery, to find out the whys of whatever the writer has brought to us. This week, we viewers start down a path and are presented with a creature that has more abilities than any that we have seen on the show thus far. It is invisible to scanning. As stated before, it flies, directs populations to do their bidding, and buzzes like a honeybee, for crying out loud.

"I suddenly have a craving for pancakes with honey syrup…"

Kirk and the others at one point of the episode suppose that this creature may be part of a larger organism that exists in a great beyond. After being presented with so many proofs of intelligence, it is disappointing that the crew of the Enterprise, so intent on meeting new life forms, drives forward towards destruction over discovery. Towards demonization of actions, over deconstruction of intent. Towards annihilation over understanding.

This creature had the potential to be one of the, if not the most interesting and complex creatures that we could have witnessed in the cosmos. Instead, these single celled marvels are treated like a disease in need of penicillin. What a waste. If only a proper Vulcanian were present this week, something could have been made from the unsolved mysteries left unexplored in this episode.

2 stars

Operation: Vulcanalia!

by Abigail Beaman

As it turns out, Vulcans are not just pointy-eared humanoids with very little variation to their anatomy compared to humans. We learn an awful lot about Spock's people from this latest episode. Now we did know a few things. One of the earliest examples is that Spock’s blood isn’t a red color, but instead green. This is due to Vulcans' blood being copper-based instead of iron-based like our human blood. But thanks to this episode, not only do we learn more about Vulcans, but we might have learned just how secretive Vulcans are about themselves with other races.

So much to this man…

In "Operation: Annihilate!", we discover that Vulcans in fact have two sets of eyelids, after Spock recovers from blindness caused by the light that kills an invasive alien parasite living inside him. Similar (I guess) to felines, Vulcans adapted these inner eyelids to protect their eyes from the harsh and unforgiving sun on the planet, Vulcan. This allows our first mate, Mister Spock to regain his eyesight after the exposure to 1,000,000 candles per square inch. Yet then an eyebrow may raise, as earlier in the episode when he first loses his sight, Bones blames himself. Bones is sure the damage is permanent and nothing could have saved Mister Spocks’ eyes. Bones not knowing that Mister Spock has two sets of eyelids initially really bugged me. Isn't he the ship's Chief Medical Officer? But maybe it's not his fault that Spock's internals are unknown to him. Maybe Vulcans keep their racial anatomy secret. That would explain why McCoy is so irritated all the time–his patient keeps holding vital information from him!

"I blame myself." "I blame you, too!"

Now I’m not saying this episode was good. For the most part, I actually felt very unhappy that this is the episode season one had to end on (hopefully season two will continue on with good episodes like “The Devil in the Dark” or “Shore Leave”). I do in fact feel that the anatomy Daugherty comes up with within this episode is a cop-out to ensure a somewhat happy ending. [Note: Daugherty is the Director. Carabatsos is the writer–those darn credits flash by so fast! (ed)].

Yet something I would also like to point out is Leonard Nimoy’s acting of the stoic and computerized Mister Spock fighting the human emotion, pain. Throughout the episode, after Mister Spock is infected, he tries everything in his Vulcan power to deny the pain he is in. Leonard Nimoy really shows this struggle that Spock faces; his creeps rather than strides, his voice is harsh, and every once in a while, he seems to twitch in pain. It sent shivers down my spine. I was very enthralled by Leonard Nimoy (well at least more than usual) by his acting in this episode. It was probably one of, if not the only saving grace in this episode for me (well also Scotty about to shoot Spock; remind me next time when I wanna pick a fight with him).

"Freeze, Mr. Spock!"

This episode left me empty inside, and for that, I have to rate it pretty low.

Two and a half stars.

Operation: Copycat!

by Erica Frank

The aliens in "Operation: Annihilate!" are obviously inspired by Heinlein's classic, The Puppet Masters, but the differences are definitely for the worse. These aliens don't attach themselves to humans—they sting them once, injecting them with "tentacles" that spread throughout the nervous system. This allows them to control people through pain—pain so bad it can kill. It's unclear how the aliens coordinate their efforts and communicate with each other. (Looks like more evil telepathy. Sigh.) It's also unclear what the aliens themselves do after their planetary takeover, other than flutter around in shady spaces.

These aliens have been moving through planets, causing "mass insanity" and destruction for several hundred years. If the pain immediately killed people, they wouldn't last long enough to reach new worlds. So it seems only the ones who resist control are in danger, or they'd be like a virus that burns out its host before it has a chance to transfer.

Because of this, I doubt Peter—Kirk's nephew—was at risk of death. Rather, he'd likely succumb to the alien control. He'd wake up surrounded by strangers, only to be told his parents are dead. He might well give up fighting entirely; he'd have no reason to push through the pain. So it's unclear why Kirk needs to find an immediate solution.

This episode brings too many questions. While it's common for science fiction to leave possibilities for the reader or viewer to ponder, in this case, the potential answers often make no sense.

We're supposed to believe large tentacles like these are spread throughout the nervous system… without being visible through the skin? And that removing them wouldn't stop the pain? In that case, what's causing the pain?

Kirk should be able to just declare the planet off-limits, infected, and sabotage its space travel while bringing in a full scientific team. Or will the pain quickly kill people? …In which case, how did the aliens last long enough to get to new worlds, and how have they taken over only a handful of planets in several hundred years? Or are there dozens of others we don't know about?

If they haven't been going through dozens of planets, what have they been doing for those hundreds of years? Do infected humans eventually "hatch" into a swarm of flappy blob aliens that can infect new people? Or do the flappy-blob versions reproduce on their own, with the injected hosts eventually dying along with their tentacles? Do the injected people reproduce normally, and have alien-controlled babies? (Eew.) Or will each child need to be infected?

Regarding their destruction: If they stick to shaded areas, how will bombarding the planet with ultraviolet light reach them? Any of them that are inside buildings will be safe. (And in the meantime, the entire human populace will have very bad sunburns.)

Two stars. While the aliens were interesting and the underlying ideas were good (which makes sense; they were based on a terrific book), the plot itself was disjointed and incoherent. I was more intrigued by McCoy's frequent wardrobe changes than the story itself.

Summer reruns have begun! Join us tonight at 8:30 PM (Eastern and Pacific) for the pilot that sold the series: "Where No Man Has Gone Before!

Here's the invitation!

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Magazine, Science Fiction/Fantasy

[April 18, 1967] Bright Lights (May 1967 Fantasy and Science Fiction

April 18, 2022 Gideon Marcus 7 Comments

by Gideon Marcus

Tinsel Town

Last weekend, the world's greatest stars and movie-makers assembled in Santa Monica for the annual celebration of the best the silver screen has to offer. It was a cavalcade of prominent names, from Sidney Poitier to Lee Remick to Julie Christie to Omar Sharif. Some of the contestants were unfamiliar (Herb Alpert has a short animated film?) Some were surprising but welcome in their inclusion (like The Wargame for best documentary). Some were inevitable (If Grand Prix hadn't won Best Sound and Best Editing, I'd have written letters…) Two titans towered all the rest (Who's Afraid of Virginia Wolf and A Man for All Seasons–both of which I still haven't seen yet).

And throughout it all, Bob Hope was host, narrator, and satirist. Lorelei observed that this time, the jokes about recognition still eluding the aging comedian seemed more pointed and bitter than usual. Maybe it's time he got some kind of lifetime achievement award, as did Isaac Asimov at a recent Worldcon…

Print City

The latest issue of Fantasy and Science Fiction features a similar assemblage of luminaries–and it's not even an "All-Star Issue"! Presented in a format that has been standard and familiar since 1949, this month's read was as comforting and entertaining as two primetime hours at the Oscars.

With the added benefit that one can reread favorite stories!

by Ronald Walotsky

Planetoid Idiot, by Phyllis Gotlieb

Our first star is Phyllis Gotlieb, a woman writer who joined the SF ranks one year after Mses. Rosel George Brown, Kit Reed, and Pauline Ashwell. Her latest is a fine novella in the Analog tradition–indeed, it reads like something Katherine MacLean might have penned.

A mutli-species spaceship has landed on the ocean planed of Xirifor. Their goal is to save the indigenous race from a pandemic of gill rot such that they can better represent themselves when representatives of the Galactic Federation come to negotiate for the pearls the aliens harvest.

The crew of the contact ship are a beautifully heterogenous group: Hrufa, an eight foot telepathic amphibian is their leader, keeping the rest of the team in order, if not harmony. Thlyrrh is a protoplasmic being with a shape-shifting carapace; it can do almost anything…except compose an original thought. And then there are the two humans, or "solthrees" (I really like that phrase): Olivia the exobiologists, and Berringer, the generalist.

Despite their vast collective knowledge, they are hindered in their task by politics, internal and external. But in the end, working together, they deduce a solution that is completely scientific and plausible.

It's all very satisfactory, and if I have any complaint, it is only the title, which I found misleading (I thought "planetoid idiot" would be a play on "village idiot"). Definitely a candidate for the next volume of Rediscovery.

Four stars.

Sleeping Beauty, by Terry Carr

It's nice to see Ace Books publisher, Terry Carr, slinging the pen again. His latest story is a beautifully written if rather inconsequential tale of a landless prince, galloping across Europe looking for that most endangered of modern creatures: the single (and wealthy) princess. There is, of course, a sting in the story's tale.

You'll forget it soon after you read it, but you'll enjoy the journey. Three stars.

Safe at Any Speed, by Larry Niven

If Ralph Nader has his way, all cars of the future will be like the one presented in this, the latest tale to take place in Niven's "Known Space". It's his most humorous piece, almost Sheckleyesque, and it accomplishes a lot in a brief space.

Four stars.

Fifteen Miles, by Ben Bova

Two years ago, Air Force astronaut Chet Kinsman was tested in orbit when he had to go mano-a-mano with a Communist spacewoman. Now Kinsman is on the moon, haunted by the memory of the lady he had to slay. Will his guilt get in the way of his rescuing a fellow astronaut trapped in a lunar crevice?

This is another grounded SF tale I'm surprised (but pleased) to find in F&SF. I've not yet found Bova brilliant (though Victoria Silverwolf has), but I always enjoy him.

Three stars.

The Red Shift, by Theodore L. Thomas

Thomas explains in his nonfiction vignette how quasars, which must be extragalactic yet near objects, give lie to the Doppler shift, and thus rewrite physics. Specifically, he says that the redshift of quasars indicates that they are far away, but that radio astronomy locates them much closer to Earth.

I do not know how he makes this assertion, as it is radio astronomy that detects these quasars at all–including their red shift. According to the article I read in Britannica's 1966 year book of knowledge, quasars are very interesting in that they point up an asymmetry between the young universe (quasar-rich) and the curent universe (quaser-poor). But there's nothing that suggests quasars exist close by, or that there's anything wrong with Doppler.

There does seem to be something wrong, however, with Thomas.

One star.

Cyprian's Room, by Frances Oliver

Onward to the second woman-penned story, by an author about whom our editor knows virtually nothing. A pity, because her first story is a good one. Romantic Hilda Wendel takes a room in the big city hoping to meet someone interesting in her boarding house. She finds a tubercular artist whose views on art are maddeningly contradictory, yet irresistably compelling.

Is he just an avante-garde…or something otherworldly?

A high three.

Interview with a Lemming, by James Thurber

This putative dialogue between man and lemming, to indulge in adjectives solely beginning with "i" is inconsequential, irritating, and inspid–particularly the thinks-itself-clever ending.

Two stars.

Where is Thy Sting, by Emil Petaja

One of the last fertile men in a post-atomized Earth, racked with suicidal desires, must be kept alive at all costs, even if it means subverting his reality.

I'd have liked this story more had I not read one so similar to it (The Best is Yet to Be) in the pages of this same magazine not many months before.

Two stars.

Times of Our Lives, by Isaac Asimov

All about time zones. I actually found this atlas-derived article educational and interesting.

Four stars.

Fill in the Blank, by Ron Goulart

Finally, the return of a perennial star with a series with more installments than James Bond. Max Kearney is dragooned into investigating what appears to be an infestation of poltergeists. The culprits are all-too-temporal…but it doesn't mean magic's not involved!

It's funnier in the latter half. Three stars.

House Lights Return

By strict mathematical computation, the latest F&SF only scores an average three star rating. Nevertheless, the brilliance of the first piece, the general competence of most of the rest, and the edification provided by the Good Doctor leaves a most pleasant impression.

Let's keep our stars around for a while. They make good illumination.

by Gahan Wilson

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Magazine, Science Fiction/Fantasy

[April 16, 1967] The Generation Gap (May 1967 Fantastic)

April 16, 2022 Victoria Silverwolf 3 Comments

by Victoria Silverwolf

Youth is Wasted on the Young

The children now love luxury; they have bad manners, contempt for authority; they show disrespect for elders and love chatter in place of exercise. Children are now tyrants, not the servants of their households. They no longer rise when elders enter the room. They contradict their parents, chatter before company, gobble up dainties at the table, cross their legs, and tyrannize their teachers.
— attributed to Socrates

It's no secret that young people are rejecting many of the opinions of their elders these days. That's always been true to some extent, of course. However, with the hippie culture, the civil rights movement, and antiwar protests, all of which mostly involve young adults, the gap between the generations seems wider than ever.

In particular, once heavy bombing of North Vietnam began a couple of years ago (Operation Rolling Thunder, still going on intermittently), college students, led by such organizations as Students for a Democratic Society, started demonstrating against the war. On April 17, 1965, somewhere between fifteen thousand and twenty-five thousand people showed up at the nation's capital, in the largest protest to date.

SDS members and others during the March on Washington, almost exactly two years ago.

There have been many other protests since then, both in the United States and other nations. I don't mean to imply that these demonstrations consist entirely of young people, but they do seem to make up the majority of peace activists.

Just yesterday, thousands appeared at massive protests against the conflict in Vietnam in major cities across the United States. In New York City, well over one hundred young men burned their draft cards, followed by a speech by civil rights leader Martin Luther King, Jr., at the United Nations.

The crowd fills Kazar stadium in San Francisco.

What does the parallel escalation of America's involvement in the war and the rejection of it by many young adults and their elders mean for the immediate future of the United States? It's hard to say, but things look dark. Just as the struggle for civil rights sometimes looks like a second Civil War, complete with bloodshed, the battle between Hawks and Doves threatens to tear the country apart along political lines. Let's hope the nation is never as divided as it seems to be now.

Music to Argue With Your Parents or Children By

The tension between generations shows up in popular culture as well. A fine example of this happened recently. From late March until the middle of April, a cheerful little tune from the young folks who call themselves The Turtles was at the top of the American music charts. Happy Together is a great favorite of teenagers, I believe.

I like the part near the end, when the frequently repeated title changes to How is the weather.

Mom and Dad are likely to prefer the song that replaced it as Number One this week. Veteran crooner Frank Sinatra, assisted by daughter Nancy, currently has the nation's biggest hit with the much more traditional number Somethin' Stupid.

I'll refrain from commenting on the propriety of having father and daughter sing a love song together.

Catch a Wave

Not even speculative fiction escapes the conflict between generations. The so-called New Wave movement within the field, primarily in the United Kingdom, offers experimental, controversial, and sometimes incomprehensible stories to readers. The latest issue of Fantastic, a magazine which has been rather stodgy since it went to a policy of containing mostly reprints, mixes a bit of New Wave with plenty of Old Wave stuff.

Cover art by Malcolm Smith.

As usual, the cover reprints art from an old magazine. In this case, it's from the back cover of the July 1943 issue of Fantastic Adventures.

The original looks a lot better.

The Ant with the Human Soul (Part One of Two), by Bob Olsen

Cover art by Leo Morey.

The whole of this Old Wave, pre-Campbell novella appeared in full in the Spring-Summer 1932 issue of Amazing Stories Quarterly. I guess Fantastic didn't want to devote most of the magazine to it.

Illustrations by Morey also.

The narrator tries to kill himself by jumping into the ocean, but a scientist rescues him. The scientist suggests a bizarre scheme. He has a gizmo that can increase or decrease the size of anything, even living creatures. He combines that with neurosurgery in order to perform a weird experiment.

First, he'll increase an ant to the size of a human being. After that, he'll put a part of the narrator's brain into the ant's head. When he shrinks the ant back down to normal size, the narrator will experience everything the ant does, and will be able to control the ant's actions. In essence, he will become the ant.

After the strange transformation takes place, the narrator takes us on a guided tour of life in an ant colony. This first part ends with a cliffhanger, promising the reader that a violent event is about to occur.

Mad Science!

This is an odd story, not only because of the outrageous premise. The mood varies wildly. Some sections deal with the narrator's loss of religious faith, which drove him to attempt suicide. Others are very lighthearted, with playful banter between the two characters. The best part of it is the description of life as an ant, which is depicted in vivid, accurate detail.

Three stars, mostly for taking me into the ant colony.

The Thinking Seat, by Peter Tate

Cover art by Keith Roberts, better known to me as a writer.

The magazine calls this a new novelette, which is a half-truth. It's new to American readers, but it appeared in the November 1966 issue of the British publication New Worlds. My esteemed colleague Mark Yon reviewed it at that time, but let's take another look.

Illustration by Gray Morrow, which is the only truly new thing in the magazine.

The setting is the seacoast of California in the near future. The rugged shore has been replaced with artificial beaches of a tamer nature. The water is warmer, due to the discharge from a nuclear power plant. (I also got the impression that it made the water thicker, almost gelatinous, but I may be wrong about that. This New Wave story isn't always clear.)

A man and a woman with a strange relationship show up at a beatnik colony. She'd like to be more intimate with the fellow, but he doesn't seem interested. Instead, he becomes fascinated by a charismatic poet, who openly announces that he's going to take the woman away from the other man. Things come to a climax during an attempt to sabotage the nuclear power plant, as a way of protesting what it's done to the coast.

I have probably greatly simplified and distorted the plot, because this isn't the easiest story to understand. The narrative often stops to offer examples of obscure poetry, which adds more ambiguity. (Apparently the poet steals phrases from the Beat poets, but I don't know enough about their work to confirm that.)

I got the impression that this example of the Eternal Triangle, which ends badly, was really a case of repressed homosexuality. That's a theme you won't find in most Old Wave science fiction, to be sure. The whole thing works better as a study of the psychology of the three main characters rather than as science fiction.

Three stars, mostly for keeping me wondering about things.

A Way of Thinking, by Theodore Sturgeon

Cover art by Art Sussman.

The October-November 1953 issue of Amazing Stories supplies this supernatural chiller from the pen of one of the field's greatest stylists.

Illustration by Ernest Schroeder.

The narrator is a writer of science fiction and fantasy, who even mentions his work appearing in Amazing, so I assume it's a fictional version of the author. He tells us about an acquaintance who reacts to problems in unusual ways, often by thinking about things backwards. The fellow's brother is dying a slow, horrible death. The suggestion arises that it might have something to do a doll owned by the dying man's vengeful ex-girlfriend. The brother deals with the situation in his usual unorthodox manner.

This synopsis makes the story sound like a typical tale of voodoo, but that's misleading. I don't want to give too much away, but the plot goes in unexpected directions, and the climax is truly disturbing. Of course, given the author, it's very well written. It's not his most ambitious work, to be sure, but it succeeds as a horror story.

Three stars, mostly for the shocking conclusion.

The Pin, by Robert Bloch

Cover art by Mel Hunter.

From the December-January 1953-1954 issue of Amazing Stories comes another tale of terror.

Illustration by Lee Teaford.

An artist looking for a cheap studio comes across an abandoned loft. It's supposed to be empty, but there's a guy inside, surrounded by a huge pile of telephone books, directories, and so forth. The fellow stabs at random names in the books with a pin.

You may have already figured out that the pin causes the death of those whose names are selected. (The premise reminds me of Ray Bradbury's 1943 story The Scythe, as well as the 1958 movie I Bury the Living.) There aren't a lot of surprises in the plot, but it's an effective little thriller.

Three stars, mostly for creating an eerie mood.

Cold Green Eye, by Jack Williamson

Cover art by Richard Powers.

The March-April 1953 issue of the magazine offers yet another spooky tale. In its original appearance, it was called The Cold Green Eye. Don't ask me why they left out the first word.

Illustration by Ernie Barth.

The child of a pair of daring explorers is raised by Buddhist monks after his parents die in a mountaineering accident. He's adopted by an aunt back in the United States. She's a harsh disciplinarian, punishing the boy for what she thinks of as his heathenish ways. In particular, she hates flies and kills them whenever she can, while the child believes in reincarnation and that all living creatures should be protected. Things get strange when the kid uses the sacred scroll he has in his possession.

There's a good chance you'll see the ending coming, although it still raises goose bumps. What's more surprising is that the cruel aunt is a devout Christian, in contrast to the boy's gentle Buddhism. I didn't expect that from an American horror story from more than a decade ago. Maybe the author just thought it made for a good story, and wasn't really trying to say anything about the two faiths.

Three stars, mostly for aunt's comeuppance.

Hok Draws the Bow, by Manly Wade Wellman

Cover art by C. L. Hartman.

Here's a sequel to a story that was reprinted in the previous issue of Fantastic. It comes from the May 1940 issue of Amazing Stories.

Illustrations by Robert Fuqua.

Once again our hero is Hok, a Homo sapiens fighting a war of extermination against sinister, cannibalistic Neanderthals. (It's best to forget about this story's version of prehistory and just think of it as a sword-and-sorcery yarn.) A fellow shows up bragging about his ability to project a spear farther than anybody else. That's because he's got a leather strap that he winds around it, sending it spinning.

The boastful man also has plan to take over Hok's clan, and he's particularly interested in Hok's pretty mate. He's made himself a god-like ruler over the Neanderthals, even teaching them basic military tactics. It looks like Hok's people will be wiped out, but our hero combines the man's strap and a throwing stick used by the Neanderthals to create a secret weapon.

That doesn't keep him from being captured. Fortunately, his mate has a throwing arm Sandy Koufax might envy.

The title and the opening illustration give away the fact that this story is about Hok inventing the bow and arrow. Other than that, it's an efficient adventure story.

Three stars, mostly for keeping things moving quickly.

Beside Still Waters, by Robert Sheckley

Illustration by Virgil Finlay.

The same issue as the Sturgeon story is the source of this tale. A spaceman lives on an asteroid, turning rock into soil that can grow crops and extracting oxygen from minerals. His only companion is a robot. The machine starts off only able to speak a few phrases, but over time the man teaches it to converse more fully. The story ends with a scene that tries to touch the reader's emotions.

The fact that the man can live on the surface of an asteroid unprotected, even if he somehow produces oxygen and food, is ludicrous. (Not to mention the fact that the asteroid's tiny gravity is going to send the oxygen out into space quickly.) The ending takes the plot into pure fantasy. An author best known for his wit tries to be sentimental here, and the result is bathetic.

Two stars, mostly for the excellent illustration.

Bridging the Gap

That was mostly a middle-of-the-road issue, coming to a sudden halt at the end. Maybe there's something to be said for mediocrity. If nothing else, both young and old can agree that the Old Wave and the New Wave have their ups and downs.

The late President Kennedy closes the generation gap.

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Book, Science Fiction/Fantasy

[April 14, 1967] Earth, Air, Fire, and Water (April 1967 Galactoscope)

April 14, 2022 Victoria Silverwolf Leave a comment

by Victoria Silverwolf

Two new science fiction novels take readers from the dry land to the depths of the sea, and down from the sky in a burst of flames. Will they make proper use of the traditional four elements of ancient times, and reach the exalted level of the aether, that fabled quintessence that was of a more refined nature than the others? Let's find out.

Canada's Gift to American Science Fiction

Alberta-born writer Gordon Rupert Dickson, now living in the USA, has been publishing fiction since 1950. It's hard to say that there's a particular kind of Dickson story. He's written light comedy, such as the Hoka series with fellow Minnesotan Poul Anderson (currently a resident of the San Francisco region), all about aliens who look like teddy bears and cause trouble by imitating human beings. He's written entertaining adventure stories, some for a juvenile audience. In recent years, he's gained notice for more serious and thoughtful works.

His novella Soldier, Ask Not (Galaxy, October 1964), part of the Dorsai series, won the Hugo award, and the novelette Call Him Lord (Analog, May 1966) won the Nebula award less than a month ago. Will his latest novel add to his reputation?

The Past is Prologue

Cover art by Richard Powers.

It's something of a challenge to jump into The Space Swimmers without any preparation. The author throws a complex background at you in bits and pieces, and it's obvious that a lot has gone on before the novel begins. That's because it's a direct sequel to the novelette Home from the Shore (Galaxy, February 1963).

Cover art by Jack Gaughan.

Surf 'n' Turf

In brief, humanity has split into land dwellers and ocean dwellers. The sea people have developed abilities that make them valuable space explorers. Humans encounter the so-called space swimmers, beings that are gigantic in size but tiny in mass, beyond Mars. They die every time people try to capture them. This causes the sea folk to rebel, and withdraw their services from the space vessels of the land folk. The result is war, with the land dwellers destroying the underwater communities of the ocean dwellers.

This is where the novel begins. The war has cooled off slightly, although the land folk sometimes hunt the sea folk for sport, in the tradition of Richard Connell's famous story The Most Dangerous Game.

Our hero is Johnny Joya, who more-or-less instigated the rebellion of the sea folk in the novelette. He lives in isolation in the frigid waters of the Arctic with his young son Tomi after the death of his wife during the war. Tomi has even greater abilities than his father. The sea people can communicate with dolphins, but Tomi can also communicate with killer whales. Father and son become involved in an attempt to reconcile the two branches of humanity.

It seems the space swimmers can teleport instantaneously from one place in space to another. If Tomi can communicate with one of the mysterious creatures, he may be able to discover the secret of interstellar travel. Complicating matters is the fact that both sides have developed doomsday weapons that could wipe out the other.

I've only scratched the surface of a novel that has a heck of a lot going on in only one hundred and sixty pages. I haven't mentioned major characters or important subplots. Suffice to say that Dickson keeps things moving at a brisk pace.

There's a certain vagueness in some of the book's concepts that leads to confusion at times. We're told more than once that the ability of the sea people to communicate with dolphins is not telepathy, but this is left unexplained. Johnny works on problems by making use of so-called analogs (a nod to the magazine of the same name?) but I didn't understand how this was supposed to work.

It may seem unlikely that the sea people are willing to completely destroy life on land through a series of devastating earthquakes, and that the land people are willing to destroy all life in the ocean through modified disease organisms. The way each of these terrifying weapons is described, it seems as if either one would completely wipe out both sides. The fact that we live in an age of Mutually Assured Destruction (to make use of a term coined by Hudson Institute researcher Donald Brennan, appropriately known as MAD) may add some plausibility to this part of the book.

Worth reading, but I don't think it will win any awards. Three stars.

Sterling Silver

Native New Yorker Robert Silverberg has been an extremely prolific author in multiple fields since 1954. Not all of his work has been notable for its quality, it must be admitted, but he won a Hugo award in 1956 as the Most Promising New Author, beating out Harlan Ellison, Frank Herbert, and Henry Still. (Who? He hasn't published anything since 1961. Sic transit gloria mundi.)

I won't mention the many sex novels he's published under multiple pseudonyms, except to say that eroticism plays an important role in Those Who Watch, his latest novel (unless another one comes out while I'm writing this, given his speed at the typewriter.)

Three Times Two Equals Six

Anonymous cover art.

Aliens have been monitoring Earth for centuries, cruising the skies in flying saucers hidden from human eyes by a screening device. One of the hundreds of saucers filling the atmosphere has a disastrous failure, causing it to explode over New Mexico. The three crewmembers bail out, landing in separate areas and sustaining serious injuries.

The trio consists of two males and a female, all part of a mating group. (We'll find out later that such a triad is normal for the aliens, although sometimes it's two females and a male.) Although not described in any detail, the extraterrestrials are small beings, each one wearing an artificially created human body. Their real bodies are intimately connected with their external disguises, so they experience the pain of their damaged human bodies and other sensations.

At this point, the narrative alternates among the three aliens and the human being each one encounters.

One extraterrestrial appears to be an ordinary man of middle years. A young American Indian boy, living in a pueblo that keeps its traditional ways only to attract tourist dollars, brings him food and water while he recovers from a spine injury that renders him paralyzed. In exchange, the highly intelligent lad, who figures out very quickly that he's dealing with an alien, learns about the other's native world. He also acquires a piece of advanced technology that could be deadly.

Another alien takes the form of an extraordinarily handsome young man. He gets aid from a young widow with a small child. The two fall in love, in the first of two human/alien couplings we'll see.

Paralleling this is the mating between the female alien, disguised as a voluptuous woman, and a military man, bitter because a medical problem kept him from becoming an astronaut. He and the widow eventually come together, after their alien lovers leave Earth.

Meanwhile, rival aliens, who also have hundreds of unseen flying saucers orbiting the planet, try to track down the three, in order to charge them with violating an agreement not to land on Earth. (There seems to be a sort of Cold War going on between the two species. Neither one is supposed to be on the surface of the planet, but they both have secret agents on Earth.)

This is a leisurely novel, despite the attempt to create suspense in the form of the enemy aliens. Much of it consists of conversations between each of the three aliens and the human being that renders aid. The two sexual encounters between a lonely human being and a benign extraterrestrial may be too much of a good thing.

The sections of the novel about the American Indian boy are probably the best. The author avoids stereotyping Indians, and shows a great deal of empathy for their situation in modern society. Silverberg displays a gift for characterization in his intimate portraits of the three humans; perhaps not quite so much for the aliens.

He's still a promising, if not quite so new, author. Three stars.

by Gideon Marcus

Ring in the Old

If Silverberg is a new old hand (or an old new hand), and Dickson is a plain old hand, then Murray Leinster is the oldest of hands. In fact, Will Jenkins (Leinster's real name) has been a pubished author of scientifiction since 1919–before the genre even had a name. Suffusing his work with a patina of scientific accuracy, up through the '50s, his name was a welcome one on the masthead of any magazine. I particularly enjoyed his Med Series tales of Dr. Lincoln Calhoun and his pet/assistant, Murgatroyd.

Those happy days are years in the past, and as John Boston and I can tell ya, his latest works have been phoned in…from a booth in Duluth that hasn't been serviced in decades. Thus, it was with trepidation that I picked up Leinster's latest, Miners in the Sky.

It's actually not bad.

Set in the lawless rings of the planet Thutmose, a Saturn analog in a star system far from Earth, it details the perils faced by a space miner named Donne. He's no sooner set foot on the trade asteroid of Outlook, a sizable rock within Thutmose's rings, when his little "donkeyship" explodes. He quickly deduces that word has (mistakenly) gotten out that he has discovered the Big Rock Candy Mountain, a bonanza rock laden with the "abyssal crystals" that facilitate solar system travel. Donne must get off Outlook as soon as possible: his partner, Keene, is stuck on the ringlet they are mining. He may run out of air, or worse, already have also been the target of an assassination. Complicating things is the arrival of Keene's sister, Nike, who insists on coming with Donne. So begins a long chase through the rings of Thutmose, with a murder-inclined criminal on Donne and Nike's heels.

I had worried that the story would be simply a gussied up Western, but there's a bit of physics and a lot of pretty description of the Thutmosian locale that makes Miners reasonably SFNal. To be sure, it is written in Leinster's current mode: all short sentences, lots of exclamation marks, and characterization as shallow as a kiddie pool. Add to that the several times Leinster points out that, as a woman, Nike "instinctively" looks to a man for help.

Miners in the Sky will definitely win no awards. It is yet another in a long line of stories cranked out on autopilot to pay the bills. Still, I don't regret the time I took reading the book. Sometimes, all you need is a little adventure.

Three stars.

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Science Fiction/Fantasy, TV

[April 12, 1967] We'll take Manhattan (Star Trek: "The City on the Edge of Forever")

April 12, 2022 Janice L. Newman 11 Comments

Time, the subtle thief of youth

by Janice L. Newman

We’ve been watching Star Trek for almost a full season, now. We’ve seen some sublime episodes and at least one really terrible episode, but the overall quality has been high. “City on the Edge of Forever” is one of the best episodes we’ve seen yet.

The early part of the episode sets things up, with Sulu getting hurt and McCoy being called to the bridge to treat him. There’s a nice bit of banter between the doctor and Captain Kirk here, followed by a moment of horror when unexpected turbulence causes Dr. McCoy to accidentally inject himself with a drug that drives him mad. Kirk, Spock, and even Sulu have all had opportunities to do dramatic scenes where they’re half out of their minds due to drugs or other influences. It’s nice to now see DeForest Kelley given the opportunity to really let loose.

Sulu gets to smile, but McCoy gasps like nobody's business!

McCoy makes it down to the planet below and throws himself through an alien artifact that leads to the past. This is where the episode really begins, with Captain Kirk and Mr. Spock quickly following him through the artifact’s archway to try to fix the timeline McCoy has broken.

Finding themselves in New York circa 1930, Kirk and Spock face many challenges: they stand out in their modern clothing, they have no money nor place to go nor anything to eat, and Spock is noticeably strange to the natives of this time – though probably not as strange as Kirk assumes. As hilarious as Kirk’s struggle to explain Spock’s ears may be, the theater existed long before the 1930s. I suspect most sane people would simply assume Mr. Spock was some sort of traveling player, possibly cast in the role of Mephistopheles.

"My friend, officer, is obviously the Prince of Darkness."

Be that as it may, the important thing is that Captain Kirk and Mr. Spock are convinced that they stand out and must quickly blend in. Proving that he is indeed ‘a rat’ (as Ruth Berman noted in the latest issue of her 'zine, Dinky Bird), Kirk doesn’t hesitate to steal some convenient clothing, necessitating that they flee from a most inconvenient policeman.

They take refuge in the basement of a mission and meet a woman who will prove to be the crux of the time paradox: Edith Keeler. Edith, despite Kirk admitting that they stole their clothes and are on the run, is charmed enough by them to offer them help. She gets them a job, a place to stay, and food at the mission.

These basic problems solved, the difficulties facing the men out of time become more complex. Spock needs components that don’t exist or are incredibly expensive in order to determine what caused the time anomaly and broke their own timeline. There are plenty of great, teasing conversations between Kirk and Spock, where Kirk needles Spock and Spock ultimately rises to the challenge, despite the many hours of work it takes and the fact that he must work with equipment that he claims is hardly ahead of “stone knives and bearskins”.

Meanwhile, Kirk is growing closer to Edith Keeler. She’s a visionary who imagines a future where the power of the atom is harnessed and men will go to the stars. He’s a man from that very future. They make a lovely match…and a poignant one, when Spock determines that in order for their timeline to be saved, “Edith Keeler must die.”

Edith Keeler: Focal point of history

McCoy finally shows up, managing to just miss the captain and Mr. Spock when he’s taken in by Edith Keeler. Thankfully the drug wears off, leaving him sane again, though deeply confused. He has some nice exchanges with Edith, short conversations that nevertheless make them both even more likable. Their chemistry is almost as good as Edith’s and Kirk’s.

All the threads draw together when Kirk is planning on taking Edith out for a movie and she mentions McCoy. Kirk and Spock rush across the street back to the mission to meet their errant doctor in the doorway, McCoy joyful and relieved, Kirk and Spock fearful that the man might still be out of his mind. Turning, Kirk sees in horror that Edith is crossing the street after them, heedless of an approaching car. Kirk instinctively moves to save her but is stopped in place by Spock’s shout of warning. Horribly, Kirk must grab McCoy and hold him back to keep him from intervening.

“You deliberately stopped me, Jim. I could have saved her. Do you know what you just did?” McCoy demands.

And, in one of Trek's most memorable lines yet, Spock replies, “He knows, Doctor. He knows.”

Kirk knows.

The episode wraps up quickly after that, with the three men returning to the present day to find that their timeline has been repaired. In another memorable and surprisingly blue line, Kirk ends the episode with the words, “Let’s get the hell out of here.”

The best part of this episode was the emotional narrative, with the push-pull of the various characters’ motivations and needs causing real tension and tragedy. Kirk has kissed a lot of women throughout the various episodes so far, but I believed that his relationship with Edith Keeler, whirlwind though it was, was real and heartfelt. The ending was beautifully bittersweet.

Four stars.

One for the Birds

by a special guest

You know, when I heard there was going to be an episode of Star Trek by Harlan Ellison, I figured I was in for a treat. After all, this is the fellow who gave us the brilliant "Demon with a Glass Hand" and "Soldier" on The Outer Limits (shoulda won the Hugo, by the way). And this is Star Trek, fer chrissakes, the show that's supposed to finally bring good STF to the unwashed masses.

The teaser and the first act are complete messes. We open up on the Enterprise being tossed about by "time ripples", whatever they are. Mostly, it looks like a sub par episode of Voyage to the Bottom of the Pot, what with endless camera jiggles and tottering extras. Sparks fly from the helm since, in the future, no one's invented fuses. The ship's doctor (who else could do it?) rushes to the bridge to administer Sulu some happy juice; at least Takei gets to show off that dreamy grin of his. And then (for Pete's Sake), our Chief Medical Officer manages to jab himself with the whole vial of goof juice, sending him straight to paranoia-ville. I guess they just don't make country doctors like they used to.

All the nonessential personnel, like Kirk, Spock, Scotty, and Uhura, beam down to Planet Glitterball to find their hopped-up Doc. But he's too sneaky–he hides behind things! Apparently rock walls block ship's sensors and tricorders and things. We watch security teams walk right past the guy several times. If I could roll my eyes any harder, I'd see the back of my skull.

"Och! If only I could see over this rock!"

Kirk and Spock meet up with the giant, talking doughnut that plays Cinemascope films (which, to be fair, wasn't too bad an effect). The wheels in Kirk's brains almost come off at the concept of time travel–apparently, he's forgotten he's already traveled back in time twice just in this season. Then he proposes the most harebrained plan: go back in time a day to "stop the accident". What does he plan to do when he meets himself? This is Starfleet's finest?

McCoy breaks free of his security guards, though at least that's consistent–the Enterprise has the worst MPs in the universe as has been shown in, well, every goddam episode of this show. Once in the past, Bones alters history, and suddenly the Enterprise ain't in orbit anymore. We know it's serious because the one line they gave Nichelle Nichols this episode is "I'm frightened." Pauline Leet is rolling over in her grave, and she ain't even dead yet.

"I still get paid for the day, right?"

Once we get to the past, as they say now on L.A.'s KHJ, the hits just keep on coming. Spock needs to build some cockamaimie projector out of vacuum tubes, relays and bubble gum, to make his Buck Rogers tricorder work. Kirk, his life, his universe, but most importantly, his ship on the line, falls head over heels for a local dame. That might be tolerable, but good grief–Edith Keeler? The moon-eyed do-gooder who vomits dopey dialogue to winos about how we're gonna go to the stars, harness the atom, and wear lamé uniforms, and those are the years worth living for. Even that might have been alright had, when Kirk asked where she came up with her visionary ideas, she answered, "Oh, you know–Amazing, Astounding, and like that." Instead, she just "feels it."

This is the loon that'll inspire a peace movement to keep us out of the war so the Nazis can take over the world? Color me unconvinced.

"…and don't forget to invest in IBM."

I'm actually surprised to see Harlan's name associated with this hackwork. From what I understand, he was so incensed with what Roddenberry did to his baby that he gave up screenwriting altogether. What I don't get is why his name is still on the byline. When an episode of his is torn to shreds, he lets the audience know it in his own particular fashion.

Anyway, the regulars do try their best with what they've got. Shatner emotes admirably opposite the vapid Collins, particularly when he loses her to the slowest car accident in history. Nimoy is brilliant, as always, and Kelley is an old pro who couldn't turn in a bad performance if he tried. The editors and set dressers earn their money, too, doing a more convincing job recreating the past than, well, most any other show on primetime.

But fer the love of Mike, don't let this be the episode Star Trek is forever remembered for.

Three stars.

War = Progress?

by Erica Frank

On the one hand: The obviously doomed romance was achingly sweet. Kirk fell in love with someone he knew has been dead for centuries. He was caught up in Keeler's idealism and hope for a starbound future, which he knows will happen. She was intrigued by a man who, while technically a criminal, is clever, charming, and speaks of Earth as one planet among many. He does not mock her for her belief in space travel, nor for faith that mankind will someday shift its resources from war to philanthropy. They resonate beautifully… and the audience knows that it cannot end well.

On the other hand: Keeler's peace movement resulting in the U.S. losing World War II is awful. It says clearly, "We should have peace someday, but that day is not today." I have questions: If her movement delayed the U.S. entry into the war, did we not react to the attack on Pearl Harbor? Or did that not happen because we were so peaceful?

"I'm sorry, Captain. My tricorder only picks up VHF."

This story could've found another way to convey the need for history to return to its original path. It did not need to imply that the bombings of Hiroshima and Nagasaki were necessary to develop starflight. The aftermath of WWII was horrible and I reject the notion that we can only reach the stars through the painful deaths of millions of people.
Other options include:

Keeler's peace movement caught on, spread widely—and had harsh opposition. A group of violent, militant fanatics went rogue and entered WWII earlier, with disastrous results.
A ship answers Kirk's call, but its captain and crew are speaking German. Because of the strong peace movement, the atomic bomb was never developed. Hitler never rose to military power—and German and Japanese technology, not American, dominated the late 20th century and eventually pushed into space. Kirk and Spock need to fix history to return to their home, but starflight itself is not in danger.
The ship that answers Kirk's call is entirely crewed by Vulcans. The peace movement spread across the Earth quickly; technology developed faster. Humans made contact with the Vulcans earlier, and the two species have a blended culture. Kirk wants to return to his normal universe but does not want Edith Keeler to die—and Spock is conflicted about whether he should stay in this "better" universe.

There are several ways WWII could have had a different outcome if the U.S. had a stronger peace-and-prosperity movement. The aftermath that Kirk discovered did not need to be, "Peace destroyed the Federation."

Aside from that: The episode had several charming moments. Kirk's attempt to explain Spock was hilarious. Spock and McCoy both complained about the "primitive" technology—I wonder if they're going to compare notes later? I give it four stars; my dislike of some of the implications doesn't make it a bad story.

Right on Time

by Lorelei Marcus

I once heard our wide array of television programming described as "a vast wasteland". While I would argue there are a few hidden gems among the muck, it is true that the majority of shows we pick up on our antennas are…not very good. A similar proportion obtains in one of the most popular genres of television: the period piece.

Westerns are so prevalent in the wasteland that they have become virtually synonymous with "television". Watch any film or show in the last ten years, and if there's a TV set on screen, I guarantee it will show a shootout involving a man wearing spurs, or a gaggle of howling Indians, or both. What amazes me about these Westerns, and historical shows in general, is not their popularity, but their wild disregard for historical accuracy. Beyond the melodramatic plots and improbably long running times of series compared to the events they are supposed to portray (how long until Saunders and Hanley get out of France, anyway?), there is an obvious lack of effort in production that makes it impossible to believe that the characters are in any other era than the modern day. Jim West's blow-dried hair in current style, the lavish cat-eyed make-up on what's supposed to be a poor woman in the 1820s, the skinny ties and modern suits on Hogan's Heroes, the outfits the costume department lifted straight from the Sears Catalog for any given episode of Time Tunnel; these are just a few examples of the egregious lack of care that breaks the illusion for historical television.

I absolutely believe this is Rudyard Kipling in 1886. Good job, Time Tunnel!

What does any of this have to do with Star Trek? The most recent episode, "City on the Edge of Forever", has more elements of a period piece than a science fiction one. And yet, in its period piece within an SF shell, it does a far better job than virtually every other historical. I could genuinely believe that Kirk and Spock had traveled to 1930's era Earth because of the extra care taken with the set and costume design. The scenes had little touches: period signs, old cars, wood-fired furnaces in the basements. Edith Keeler's hair lacked the obvious '60s stylings we see constantly in Combat! and Twelve O' Clock High. This extra attention to detail was crucial to the episode, allowing the audience to be carried through the intense emotional currents without being distracted by anachronisms. It also made Kirk and Spock seem all the more "fish out of water", with their brightly colored uniforms and pointed sideburns, which marked them as aliens even more, perhaps, than Spock's ears. They contrasted nicely with Edith Keeler's old-fashioned outfits, emphasizing the clash of eras, making the romance between Kirk and Edith all the more poignant…and tragic.

"Nothing to see here, folks! Just a couple of fellas hanging around."

While I don't think this episode is perfect, I do believe that out of all the historicals in this wasteland called TV, it is a diamond in the rough…as opposed to a cowpat in the road. I hope it inspires other show creators to pay a little more attention to the historical accuracy they bring to their works.

Four stars.

A Mixed Manipulation

by Jessica Dickinson Goodman

All of us, when we dive into fiction, are looking to be manipulated. We're looking for emotions to experience, fears to heal through catharsis, fantasies to live out. Good fiction is a massage for the brain. But most of us don't enjoy crude manipulation, any more than we'd enjoy laying down on a leather massage table only to be punched in the back of the head.

Some threads of "The City of the Edge of Forever" felt like crude manipulation; as Erica points out, the bizarrely binary nature of time travel was a particular disappointment. Why must a good woman die for the world to go on? Couldn't she have come to the future with Kirk? Perhaps to live with her fellow pacifists on Vulcan? And while I agree with Lorelei that the costuming and stage setting were convincingly period, the virtual lack of Black, Jewish, Latino, or Asian characters in 1930s Brooklyn was startling; WASP-y crowd after WASP-y crowd filled the street. California accents abounded. The extras in this episode didn't sound or look like the New York City I know.

The demographic melting pot that is The Big Apple

Some threads in this episode were beautifully subtle. The delicate domestic dance between Spock and Kirk as they set-up their Depression-era household was tender and sweet. The mutual courtship between Edith and Kirk, with each laying claim to the other in soft and clever ways, was heartfelt and poignant. The doomed nature of their love only made each spare moment they had together that much more precious. The careful, realistic challenges that Kirk and Spock faced upon their arrival drew me in completely: scrounging for money, making trade-offs between tools for the future and bread for tonight, picking up odd jobs as they came – we haven't seen our crew dive into these kinds of workaday lives before and it provided a deeply satisfying sense of their characters. These moments felt like the best manipulation a viewer could ask for.

Kirk and Spock reliving their dorm days at Starfleet Academy

On the balance, I very much enjoyed this episode. I feel as if I know Kirk and Spock far better than I did a week ago and am excited to see more of their partnership develop. If only it could not be at the expense of the women around them, I would be an entirely happy gal.

Four stars.

Next episode takes us to Space Park in Redondo Beach! Come join us tomorrow at 8:00 PM (Eastern and Pacific) for a show and fanzine readings…

Here's the invitation!

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Fashion, music, politics, sports

[April 10, 1967] A Queer Dream (the CBS "documentary" The Homosexuals)

April 10, 2022 Jessica Dickinson Goodman 7 Comments

There is something profoundly queer in enjoying science fiction and fantasy. The genre asks us, again and again, to imagine worlds fundamentally different to the one we live in every day. Worlds with equality of the sexes in a workplace, fair and accountable courts, ends to unjust wars – and of course, pointy-eared aliens, impossible spaceships, and lithesome green women.

Still of an green-bodies Orion dancer from Star Trek: The Original Series episode The Cage — As queer a dancer as I ever saw outside of the Tenderloin.

For many of us, these science fictional spaces are a refuge, a place that is not only safe for imagining, but safe from discrimination, casual cruelty, and doubt as to our welcome. Fan communities, at their best, can be places where fairness, open mindedness, and creativity reign over entrenched biases, reflexive bigotry, and the dishwater-dull thinking of corporate life.

Last month, I felt myself yearning for Ursula K. Le Guin's shapeshifting wizards, the science fictional poetry of Adrienne Rich, the spinning worlds of Star Trek–the direct result of having watched CBS News's deeply cruel, intellectually lazy, and poorly reported documentary piece "The Homosexuals."

Over the course of an hour, reporter Mike Wallace managed to repeat nearly every stereotype, false scandal, and ignorant opinion of this group from the past decade, along with tossing tinder onto the fire of at least two witch-hunts whose scarring cinders had barely cooled. From San Francisco to Washington DC, with law enforcement layovers in Idaho and Los Angeles, this documentary gave platform and voice to faux expert after faux expert who pathologized, medicalized, and generally generalized about a population they are not from and whose membership they only come into contact with during extreme criminal or psychiatric crises.

1955 editorial headline from the Idaho Statesman "Crush the Monster" — Editorial headline "Crush the Monster," referring to homosexuality in Boise, ID. November 3, 1955, *Idaho Statesman.*

It was a bit like watching a reporter interview a panel of ax murderers about about the lives of modern lumberjacks and taking their words on lumberjacks' needs, lives, and values based on their shared experiences wielding an ax.

Love is generally treated much more gently in science fiction and fantasy. There are any number of cruel, debasing, woman-hating or family-hating or love-hating works of fiction available on the average public library shelf, but it is far easier to find acceptance and warmth and a curiosity about all the ways there are to be alive in our shared universe between the covers of a book than on the nightly news. Perhaps that is because those of us who love science fiction and fantasy are used to being seen as queer by the wider world, we can find it within ourselves to accept queerness in others. Perhaps the experience of imagining different languages and cultures and lifeways makes us more open to allowing others to live as makes them happiest.

I think this shared hobby certainly makes us more comfortable trying on new language for size. For example, in the program mentioned above, Mr. Wallace doggedly uses the word "homosexuals," even while one of the several men he spoke to used the term "gay." Once, Mr. Wallace used the term "bisexual," but swiftly dropped it.

A still of Mike Wallace speaking from the 1967 CBS News Report "The Homosexuals." — "Some are bisexual: they marry, have children, and keep their homosexual contacts to the side."

Now, there is no word for this community that is not soaked in blood. I have friends who call themselves saphists or faggots or queers or lesbians or fairies or dykes or homophiles or queens or gays or homosexuals, and that is their right; I'll call anyone what they ask to be called. I use "queer" for myself because I had four years of high school Latin and can't really square calling myself "man-sexual" when what I am is a woman who is plumbing agnostic. Bisexual is a fair enough descriptor too and one I sometimes use in the wilds, but there is something juicy in taking back a word so often used in violent insult, so "queer" is what I use.

It is also how I think of my collection of friends here in California, queer as to their sexual orientation or their genders or just their worldview. It is a wide and colorful umbrella we all crouch under, holding each other close out of the storms of social opprobrium like those given a megaphone in this documentary.

It did not have to be like this. Mike Wallace could have spoken to members of the Janus Society or ONE Magazine, rather than merely filming their doors for shock value; he could have followed in the footsteps of his fellows reporters at my own local station, KQED, who produced a much better documentary on this same subject six years ago titled "The Rejected." If he wished to speak to bisexuals, to women or anyone who isn't a man, to people of color, to people outside of the middle class, all he had to do was pick-up a copy of Tangents or The Phoenix or Vanguard Magazine or ring up the editors.

Song from Vanguard Magazine, 1966 — "The Fairytale Ballad of Katy the Queen" from the August 1966 edition of Vanguard Magazine.

Cover of Tangents Magazine, Dec 1966, covered in anti-war and pro sexual liberation buttons — Cover from the December 1966 edition of Tangents Magazine. Pins include: "Equality for homosexuals," "It's a gay world," and "Be peculiar."

Mr. Wallace could have done what an anonymous congressional aide did nearly 20 years ago in one of the most sympathetic federal reports on queer people; he could have represented our experiences with compassion and care. In 1949, while the United States Congress was debating a change to the U.S. military's approach to discharges, an aide serving the House of Representatives' Committee on Veterans Affairs compiled report entitled: “History of the Phrase 'Discharged Under Conditions Other Than Dishonorable’ and Present Discharge Criteria for Three Services.”

Now, this report title has none of the thrill of Mr. Wallace's headlines from Boise ("Crush the Monster") or the brutal audio he included of a 19-year-old soldier begging police not to tell his mother they'd caught him with another man and near weeping when they taunted him with the threat of telling his commanding officer. But I find the best stories are sometimes tucked away, not behind flashy titles but in tomes deep enough to hide the truth. No one would accuse Professor J.R.R. Tolkien of being flashy, but I find more truth in his writing of the world than many a jazzier author.

Imagine cracking open the Congressional Record of 1949 like we're opening up your well-loved edition of The Lord of the Rings. Find your way to the report, where a staffer explains how extraordinary it is that the committee has received any formal complaints about the blue discharge ticket process – the process by which the U.S. military removed tens of thousands of soldiers, sailors, marines, and airmen from the armed services during World War II. Flip your way past the harsh realities of finding a job with blue ticket discharge and references to reports with names like The Pervert Records (1947), and you will find this impossibly poignant and beautiful paragraph:

“It should be borne in mind that even a moderate amount of complaint in a matter of this sort is significant. For a person to make such a complaint in his own case implies that, he feels, a sense of injustice so great that he is willing to risk publicizing the stigma of having been discharged from the Army under circumstances which savor of disgrace. For each complainant there are many more persons who feel the same sense of injustice but prefer to bury their hurt in as much oblivion as possible.”

Today, most people who I would call queer "bury their hurt in as much oblivion as possible," making the brave few who raise their voices worthy of our shared pride. Most people who I would call queer seek to protect themselves and the ones they love from the stigma and disgrace and frequent injustices that Mr. Wallace's program did nothing to address or to heal. Most of us fantasize about a day when we will be free to be who we are. Of living fully in communities where fairness, open mindedness, and creativity reign.

I think we can get there. I dream about it. I hope you do too.

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55 years ago: Science Fact and Fiction