[June 8, 1968] Robert F. Kennedy (1925-1968)

June 8, 2023 Gideon Marcus Leave a comment

by Gideon Marcus

Robert F. Kennedy is dead.

I wasn't even a fan of Kennedy, not really. Until last week, I'd regarded him somewhat with disdain. After all, he'd stayed out of the presidential fray until Senator Gene McCarthy had cleared the way, jumping in as if to steal his lunch. He had none of the urbane wittiness of his late brother, looking rather like a bad caricature of Jack Kennedy.

But as I followed the race, I came to develop respect for the man. The newspapers did not cover his speeches in depth, for RFK's speeches were about policy, and policy is boring. I like, policy, however. I like a candidate who lays out his priorities. I like a candidate who appeals to the most downtrodden of Americans, who risks being branded a rabble-rouser or "dangerous" in his efforts to bridge the race gap.

And he clearly was resonating, from his surprise victory in Indiana, to his follow-on win in Nebraska, to his narrow loss to McCarthy in comfortable, suburban, white Oregon.

Bobby came to San Diego last week. I think McCarthy was here, too. Kennedy talked of uniting their efforts against Humphrey to take the country in a new direction. McCarthy responded, per my local newspaper, that he prefered to go it alone and see what happens.

Well, McCarthy's gotten his wish, though he can't be happy with how it happened.

I did not vote for Kennedy in last week's primary, but I would have cheerfully voted for him had he survived to win at the convention. I did not dwell overmuch about Kennedy before last week. Now, I cannot think of the man without blinking away tears.

He did not deserve to die. This is the fifth time in six years that an assassin's bullet had cut down a hero in his prime (JFK, X, Evers, King, and now RFK) At this point, I'm not sure how much more we can take. As President Johnson tearfully said in a nationwide address last week:

"Let us, for God's sake…put an end to violence and to the preaching of violence."

by Victoria Silverwolf

It has happened again.

Robert Francis Kennedy, Senator from the state of New York and Presidential candidate, was pronounced dead early on the morning of June 6, a day after being shot multiple times after speaking to supporters in the Embassy Ballroom of the Ambassador Hotel in Los Angeles, California.

The candidate addressing supporters not long before the murder.

Political assassinations are supposed to be something Americans read about in history books. Lincoln, Garfield, Mckinley. Those of us who were around three decades ago may recall the murders of Mayor Anton J. Cermak of Chicago and Senator Huey P. Long of Louisiana. Old news, or so it seemed just a few years ago.

President John Fitzgerald Kennedy: November 22, 1963.

Malcolm X (El-Hajj Malik El-Shabazz): February 21, 1965.

Doctor Martin Luther King, Jr.: April 4, 1968

Only two months after the latest of these atrocities, we once again have to ask ourselves why such horrors plague us so frequently.

I should feel sorrow. I should feel rage. No doubt I will experience these emotions very soon. Today, I am numb.

Perhaps it is best if I end with words spoken by Kennedy himself, on the day Doctor Martin Luther King, Jr., was murdered.

Senator Kennedy announces the death of Doctor King to a crowd in Indianapolis, Indiana. Some claim the wise and gentle words of this impromptu speech kept the city from exploding into violence.

What we need in the United States is not division; what we need in the United States is not hatred; what we need in the United States is not violence and lawlessness, but is love, and wisdom, and compassion toward one another, and a feeling of justice toward those who still suffer within our country, whether they be white or whether they be black.

by Victoria Lucas

The Real World Invades the Land of Make Believe

In case you haven't been watching children's TV lately, Daniel Striped Tiger is Fred Rogers' sock-puppet alter ego that he voices for his Misterogers' Neighborhood PBS program and public appearances. Daniel is mostly seen in the show's make-believe section that Rogers carefully distinguishes from the "real" parts of his "neighborhood" to help children understand the difference. But sometimes the real world enters the inner world of Lady Aberlin (Betty Aberlin) and King Friday XIII (another puppet), as it did earlier this year when an anti-war protest happened in this part of the show (as reported by me in this piece).

Lady Aberlin Comforts Daniel

A nose rub helps

After Daniel gets another worry off his chest about whether all the air could go out of someone, making them cease to exist, he gets to the real concern bothering him. He asks his friend Lady Aberlin what "assassination" means. "Have you heard that word a lot today?" asks Lady Aberlin. The answer, as you can imagine, is "yes." His friend defines the term in words a child could understand, and soon attempts to move on and talk about a picnic two other denizens of the make-believe world are about to have. But Daniel is too sad to go to the picnic–very uncharacteristic of this childish, sensitive, and highly social character.

Rogers Will Speak Frankly Tonight

In another uncharacteristic move, NET has announced a half-hour prime-time special this evening for Rogers to speak–not, as he usually does, to children, but to adults, and specifically to parents, about caring for their children during this trying time. Although I don't have children (yet), I want to learn how to be sensitive to the needs of our friends' little ones.

Fred Rogers

And I don't know about you, but I'm going to try to find a neighbor with a TV who wants to watch tonight, since Mel and I still don't have one of our own. I can hardly think of anything more soothing than the voice of Mr. Rogers, speaking slowly and deliberately, attempting to comfort and inform. In the meantime I will be thinking about Bobby Kennedy and how excited I was looking forward to voting for him.

Bobby Testifying

Rest In Peace, Mr. Kennedy. I think history will treat you kindly.

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Magazine/Anthology, Science Fiction/Fantasy

[June 6, 1968] The Stalemate Continues (July 1968 Amazing)

June 6, 2023 John Boston 4 Comments

by John Boston

This July Amazing—wait, what? You thought Amazing appeared in even-numbered months? No more. The mis-dating of the April issue as June means that what was to be the June issue has been pushed back—or at least the cover date has been—to avoid the confusion and likely loss of display time and sales had the publisher released a second issue dated June. And Fantastic is pushed from July to August to keep these bimonthly magazines in alternate months rather than in direct competition.

This issue looks a little better than the last. There’s a new and seemingly higher grade of paper; the pages look less pulpy and the magazine is a bit thinner. The cover, by Johnny Bruck, is lighter and more attractive than his usual; even though there’s a line of guys waving ray guns, for the foreground he’s borrowed another sort of cliché from Ed Emshwiller—guy with firm jaw, determined expression, and clenched fist staring out towards the viewer, like he just stepped off an Ace Double. Relatively speaking, it’s a relief.

by Johnny Bruck

Once more, all but one item of fiction are reprints, though this issue’s exception is more considerable than some: House A-Fire, by Samuel R. Delany, described as a short novel (at 33 pages!) on the cover and contents page, though editor Harrison acknowledges in the letter column that it is actually an excerpt from Delany’s new novel Nova, forthcoming from Doubleday. Delany’s name is misspelled on the cover and contents page and in Harrison’s editorial, spelled correctly on the story’s title page and in the letter column. Are you getting tired of all this nit-picking? So am I. But the persistent sloppiness of this magazine continues to irritate.

Editor Harrison, clearly chafing under the reprint regime, continues to tout the non-fiction contents (seemingly the only part of the magazine that he actually controls) on the cover—“New Feature by HARRY HARRISON” (an editorial) and “New Article by ROBERT SILVERBERG POUL ANDERSON and LEROY TANNER” (the book review column).” There are also a new “Science of Man” article by Leon Stover (see below) and a London and Oslo Letter by Brian Aldiss, recounting his travels in Scandinavia. The book review column includes Robert Silverberg’s thoughtful review of Brunner’s new novel Quicksand, Poul Anderson’s slightly celebrity-struck review of Asimov’s Mysteries, and two reviews by “Leroy Tanner,” a Harrison pseudonym. One is a perfectly reasonable review of James Blish and Norman L. Knight’s A Torrent of Faces. The other, of Algis Budrys’s The Amsirs and the Iron Thorn, spends more space (about a page!) denouncing Budrys for his review in another magazine of a book Harrison co-edited than it does on Budrys’s book. This is distasteful to read and represents notably bad judgment on the editor’s part.

Harrison’s editorial, titled The Future of the Future, picks up where last issue’s mistakenly truncated editorial left off, reiterating his division of the world into SF-1, SF-2, and SF-3, and proceeding mostly to a series of platitudes. (“SF-3. This is wide open now and there are no rules. No one school is SF-3 and no one particular style or clique is any more important than the others.”) He does amusingly recount that he asked J.G. Ballard to tell him what inner space is, and he was about to answer, but just then someone interrupted them and the answer never came. The letter column, with its traditional title Or So You Say, is back as well, for those who care.

House A-Fire, by Samuel R. Delany

Delany’s excerpt House A-Fire is about a bunch of overprivileged kids who are seemingly able to gallivant around the galaxy at whim. We first meet Lorq von Ray, son of a mining magnate in the Pleaides Federation (Earth is in Draco), as a child. Lorq’s parents are big shots in local politics. They vacation (or something) on an off-the-map world called Brazillia where things are a little primitive; one of the local amusements is a variation on cockfighting. There, he meets two other children, Prince Red and his sister Ruby Red; their father, Aaron Red, is a hyper-wealthy spaceship mogul from Earth, proprietor of Red-shift Ltd. (I guess Acme was taken.) Prince has an artificial right arm and is belligerently sensitive about it.

by Gray Morrow

Young Lorq is of course brilliant and among other things, when he’s a little older, has his own spaceship, which he races in the New Ark regatta, coming in second, before heading off to a party thrown by Prince on Earth—in Paris, at the Ile St. Louis. (“Caliban can make Earth in three days.”) He and his crew arrive and Prince immediately recruits them to rescue Che-ong, “the psychodrama star,” and her hangers-on, who have gotten stuck in a snowstorm in the Himalayas and upon rescue, prove to be a bunch of stereotypically air-headed teenagers.

At the party, everyone must have masks, and Prince has prepared an elaborate pirate mask for Lorq. Delany has hinted to the reader, but kept Lorq in the dark, about Lorq’s father being involved in piracy. A bit later, Lorq encounters Ruby Red, who has gotten pretty grown up since last seen, and who lets him in on the joke. Prince shows up and tells Lorq to get away from his sister, they have a fight, and Prince lays Lorq out and messes up his face with his prosthetic fist. Lorq’s crew carries him away and Ruby shows up on the river in her skimmer-boat and takes them all to the spaceport. Later, in a final scene, we see Lorq, now back home, rich, and scarred, and contemplating his future.

This all sounds in summary like an overripe pulp space opera, but it is framed in some striking visualization and writing, as one would expect from Delany. Like Lorq’s first glimpse of the mature Ruby Red:

“Then there was this: her eyes were smashed disks of blue jade, her cheek bones angled high over the white hollows of her wide face. Her chin was wide, her mouth thin, red, and wider. Her nose fell straight from her forehead to flare at the nostrils (she breathed in the wind—and watching her, he became aware of the river’s odor, the Paris night, the city wind); these features were too austere and violent on the face of a young woman. But the authority with which they set together would make him look again, he knew, once he looked away; make him remember, once he had gone away. Her face compelled in the way that makes the merely beautiful sick with jealousy.”

Yeah, a bit hokey, but it’s good hokum, suitable to our modern age. And keep in mind that this is obviously all stage-setting for what one can hope are more substantial doings in the novel it is mined from. Four stars, optimistically.

Locked Worlds, by Edmond Hamilton

Next up, straight from the September 1929 Amazing Stories Quarterly, is Edmond Hamilton’s Locked Worlds, all 50 pages of it. It’s a sort of mad scientist story. Dr. Adams, head of Physics at Northeastern University (a real place!), brilliant but widely disliked, discovers that the seemingly loose electrons sometimes found in atoms are really evidence that matter partakes of two worlds; our world’s electrons going around in one direction, the other world’s going in opposite directions. Room for everybody!

The rest of the profession isn’t having it and mocks Adams, who is determined to show them and get his own back. Shortly he disappears, leaving his apparatus and a pile of bluish clay behind. His assistant Rawlins comes to narrator Harker with an awful suspicion—and the newspaper clippings to prove it, sort of—that Adams has fled to the other world and that he’s planning his revenge there (the clippings refer to large and small piles of blue clay found at various places around the Earth). So what to do for Rawlins and Harker but reconstruct Adams’s apparatus, follow him into whatever world he’s gone to, and thwart him?

And so they do, finding themselves on a mostly barren world with a blazing white sun overhead and blue clay under their feet. And then—the giant spiders attack!

by Frank R. Paul

Now Hamilton does not seem just to be trading on arachnophobia here. Going forward, he refers to these giant spiders as spider-men, and shows them with a fairly advanced civilization. But still, they signify that a cliched plot is about to take off, featuring captivity, aerial escape, pursuit, return in force with Earth’s new allies the bird-men (the birds and spiders engage in a dogfight), confrontation with the mad Dr. Adams, some literal cliff-hanging, and the ultimate triumph of good over evil.

Well, that was tedious. It’s not for lack of enthusiasm on Hamilton’s part. A sample, as our heroes escape the spiders with Nor-Kan, the bird-man, in the latter’s aircraft:

“He whirled to the craft’s controls, opened its speed lever to the last notch, and sent the air-boat racing on toward the south in a burst of added speed. The great flying-platforms swiftly leapt after us, hurtling through the air at immense speed and slowly drawing ever closer toward us moving obliquely toward our own course. Closer they came, and closer, air-boat and flying-platforms cleaving the air at a velocity unthinkable; now we saw from the foremost of the platforms behind us a shaft of brilliant orange light that burned toward us at the same moment. Nor-Kan swerved the air-boat to avoid it. He turned toward us, motioned swiftly toward the long tube-like projector mounted on a swivel at the stern of our own air-boat, and which I had already noticed.

“ ‘The static-gun!’ he cried. ‘There are a few charges left in it—try to stop them with it!’ ”

Back in 1929 that would have been enough to get everyone’s blood up. But in this decadent age, hot pursuit by ray-bearing airborne spiders just doesn’t seem to make it any more. Or maybe it would take Delany to bring the spider-men to life. Two stars.

The Genius, by Ivar Jorgensen

Uncredited

The other reprints in this issue are all from the 1950s, which is not necessarily good news. Ivar Jorgensen is present with The Genius, from the September 1955 Amazing, except that Mr. Jorgensen is not really present because he doesn’t exist, being a house name used variously by Howard Browne, Harlan Ellison, Paul W. Fairman, Randall Garrett, Robert Silverberg, and Henry Slesar. It is alleged in some circles that Randall Garrett is the mystery guest this time. The story is a caveman epic, about old Zalu, who is trying to prove he’s still worth feeding so his grandson Cabo won’t bash his head in to get rid of him. His plan doesn’t work, but Zalu does something rather significant en route to getting his head bashed in. It’s short, readable, and mildly amusing. Three stars.

The Impossible Weapon, by Milton Lesser

by Julian S. Krupa

None of the above can be said about Milton Lesser’s The Impossible Weapon (Amazing, January 1952), which is the kind of silly finger-exercise fluff that filled the back pages of the lower-level SF magazines in the 1950s. Earth is losing a war to the League (League of what? I forget), and our hero Stokes has figured out how to counter their super-weapon, but no one will listen to him, so in cahoots with a spaceman he meets in the wake of a barroom brawl, he commandeers a spaceship and takes off and proves he can do it. Yeah, that oversimplifies a bit, but mercifully. Stokes’s invention is silly, as is the supposed scientific rationale for it, as are all the other events from the beginning of the story to the end, so much so that I can’t bear to recount them. Read the damn thing yourself if you must. One star, too generously.

This Is My Son, by Paul W. Fairman

by Tom Beecham

Paul W. Fairman’s This Is My Son is from Fantastic for October 1955, during his two-year absence from the editorial masthead of that magazine. It too is pretty dreadful. Protagonist Temple, a young physicist with a fixation on getting a son, and his new wife are trying to reproduce, without success. Temple has a great career opportunity and signs a contract taking him to South America for five years. Jill is not pleased. She wires him four months later that his son is due in five months. But he can’t go back under his contract and if he breaks it he’ll be blacklisted. After the five years he heads home to meet his son, and everybody’s happy, until he finds the manufacturer’s receipt for the android child, and reacts xenophobically. Jill slaps him across the chops and then leaves after telling him, double-edgedly, that the child is as human as he is. So he’s miserable for years, finally begins to see the error of his ways and sends the kid a gift. Then the kid lands in the hospital after saving a couple of other kids from a fire. Temple beats it to the hospital, the kid’s on the brink, so he offers an “old-fashioned blood transfusion” instead of the bottled plasma the nurse is about to give him. Curtain, music swells, everything’s going to be fine. It’s ridiculously contrived, sentimental, and manipulative, but at least demonstrates a little more craft than The Impossible Weapon. Grading on the curve, barely two stars.

Killer Apes—Not Guilty! , by Leon E. Stover

After the last two I am definitely in the mood for the contentious Dr. Stover, whose “Science of Man” article, Killer Apes—Not Guilty!, is suitably abrasive. He takes on Robert Ardrey’s best-selling African Genesis from a few years ago, and he clearly has been waiting for his chance. Ardrey attributed the bloody-minded and -handed character of homo sapiens to the apes from whom we descended. Not so, says Stover; the apes were peaceful vegetarians (though not averse to the occasional grub or worm mixed in with their roughage), and the next step up (homo erectus) were carnivorous browsers, not carnivorous hunters. We sapiens achieved our predatory status all on our own.

Along the way Stover asserts with confidence a great deal about such subjects as the effect of domesticating fire on prehistoric social life, though without much explanation of how the dots were connected. But he is also happy to patronize those of a different view, such as Ardrey’s favorite, the distinguished Professor Raymond Dart, late of the University of Witwatersrand: “Everybody is more than willing to let the old gentleman play with his pet theory that Australopithecus stood up to adult baboons and clouted them with humerus bones taken from antelopes. Few take it seriously.” Good times! Three stars.

Summing Up

Once more, business as usual at Amazing: signs of editorial vitality struggling to be seen beneath the clammy wet blanket of the publisher’s reprint policy, against the backdrop of negligent or indifferent production. The stalemate continues.

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[June 4, 1968] (Doctor Who: The Wheel In Space [Part Two])

June 4, 2023 Jessica Holmes 1 Comment

By Jessica Holmes

Here we are at the end of another serial and another series of Doctor Who. For sure, it’s had its ups and downs, but does the series end on a high note? Let’s look at the ending of Doctor Who: The Wheel In Space.

Continue reading [June 4, 1968] (Doctor Who: The Wheel In Space [Part Two]) →

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Magazine/Anthology, Science Fiction/Fantasy, Serial

[June 2, 1968] Necessary Evils (July 1968 IF)

June 2, 2023 David Levinson 2 Comments

by David Levinson

The Baltimore Nine

You may recall one of the more spectacular draft protests last October when Father Philip Berrigan and three other men forced their way in a Selective Service office in Baltimore, Maryland and poured blood into filing cabinets containing draft records. Father Berrigan has acted again, this time along with eight others. The group included Tom Lewis, who was also part of the earlier protest, Berrigan’s brother Daniel, also a priest, and two women.

The Baltimore Nine shortly after their arrest. Fr. Philip Berrigan is 2nd from the left in the back row.

On Friday May 17th, the group entered the Selective Service office in Catonsville, Maryland and began stuffing several hundred A-1 draft records into wire incinerator baskets. Clerk Mary Murphy tried to stop them, but was restrained by one of the protestors. They then made their way back outside and set fire to the records using home-made napalm while quietly reciting the Lord’s Prayer. A short time later, they were arrested, and firefighters extinguished the fire. The following Monday, they sent flowers and a letter of apology signed “The Baltimore Nine” to Mrs. Murphy and the other clerks.

On one hand, the escalation to fire is concerning. Imitators may be less inclined to ensure that no one is harmed. On the other hand, the sight of a group including two priests and a monk defying what they call an unjust war and an unjust law may make people think, especially Catholics. These aren’t a bunch of hippies and long-haired college students who just don’t want to fight in a war.

Of war and women

Two themes run through this month’s IF: war as a necessary evil and female characters who are present solely as motivation for male characters. To be fair, there are as many female protagonists as there are plot pawns, but the latter outweigh the former.

Abbott and his men are the first to reach the Sleeper’s chamber. Art by Gray Morrow

Continue reading [June 2, 1968] Necessary Evils (July 1968 IF) →

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Magazine/Anthology, Science Fiction/Fantasy, Serial

[May 31, 1968] Euler's Issue (June 1968 Analog)

May 31, 2023 Gideon Marcus 3 Comments

by Gideon Marcus

Constants

The universe is based on a host of magic numbers. Without them, the cosmos would be entirely different and probably uninhabitable. Some of these "constants" are familiar to the layman, Pi perhaps being the most so. Engineers are familiar with electron-Volts and atomic masses. Chemists know Avogadro's number, the relationship between atomic mass and metric mass. Mathematicians know e.

e is a truly fascinating number. Roughly equal to 2.71828, it is the fundament of exponential growth. For example, if you have a $1 compounded annually at 100% interest, at the end of a year you'll have $2. If you have $1 compounded monthly at 100% interest, at the end of the year you'll have $2.62. If you have $1 compounded continuously (i.e. over an infinite number of instants), you will have $2.71828 at the end of the year.

In calculus, if you integrate the function e to the x power, you get… e to the x power! Conversely, of course, the derivative of e to the x is e to the x. That means that e to the x is the one function whose rate of change is the same as its position is the same as its acceleration.

What does this have to do with Analog Science Fiction, particularly this latest issue?

by Kelly Freas

Well, when you have the same editor for 30 years, and he hires the same writers every issue, and he has a rigid editorial policy that eschews innovation and prioritizes certain pseudo-scientific fetishes, you end up with a certain kind of consistency. Not necessarily a desirable consistency, but consistency nevertheless. Read on, and you'll see what I mean.

e gad

The Royal Road, by Christopher Anvil

by Kelly Freas

You know you're in trouble when Chris Anvil gets the cover. Actually, this continuan of the saga of Captain Roberts and his crew of two isn't so bad. Previous installments had the trio serendipitously developing a mind-control ray and using it to wrest a planet from a despotic computer. Then the three posed as nobility to sway said planet further. It was all very glib and distasteful, and I didn't like it.

This story spends two thirds of its length rehashing the events of those stories for new readers and then bringing the trio back, making it a quartet (with Bergen from a story in the December 1967 issue), and unleashing them on a new problem. A somewhat primitive planet is fractured into more than a dozen petty kingdoms, and the Interstellar Patrol needs a majority of them to agree in order to establish a base. In the last third of Royal Road, we get the solution to this conundrum. It mostly involves creating an economic catastrophe that only kingdoms favorable to the Imperial Patrol are equipped to address, thus putting these kingdoms on top. Anvil does note that the gambit could have killed millions, so at least things aren't quite so glib as before.

At least now the quartet of Captain Roberts has been transformed into a sort of Retief series. Anything's an improvement. Anyway, I didn't hate it. A low three stars, I guess.

No Shoulder to Cry On, by Hank Davis

by Leo Summers

After the vastly superior alien federation shows up on Earth, a sociologist is brought back to see what he assumes will be their advanced technology. Instead, it turns out that humans have been quite a bit more successful than the ee-tees, at least in one vital field.

A Twilight Zone episode writ small, but inoffensive. Three stars.

Duplex, by Howard L. Myers

by Kelly Freas

Kent is a person with a literal split personality. His left half is under the control of a silent partner, dubbed "Pard", while Kent, nominally the "dominant" personality, runs the right half. Together, they lead a pleasant life as an extremely successful concert pianist. That is until Pard gets them both tangled up in a spy conspiracy that threatens not just the world…but themselves!

I liked the story's handling of mental handicaps, and it's a pleasant piece overall. Three stars, but the highest three stars in the issue.

It's RIGHT Over Your Nose!, by Ben Bova

by Kelly Freas

In this science-ish article, Bova suggests that quasars, highly red-shifted quasi-stellar radio sources, may in fact be Bussard ramjets run by aliens. Thus, rather than being natural phenomena of tremendous power far outside the galaxy, they are artificial phenomena of middlin' power within.

I tend to prefer natural over artificial solutions to problems. Plus, why is every star-drive in the galaxy going away from us?

Still, it's readable, if breathless. Three stars.

The Mind Reader, by Rob Chilson

by Leo Summers

Robot mini-planes prove to be decisive in the next Southeast Asian war. This story is told mostly in dialogue between two people in a sort of "As you know, Bob…" fashion.

The concept is interesting and unique. The story is not compellingly told. Two stars.

Satan's World (Part 2 of 4), by Poul Anderson

by Kelly Freas

Finally, we have the next installment in Satan's World, which started last month. The crew of Muddlin' Through was split up when David Falkayn was abducted by Serendpity Inc., a galactic information clearing house. This provoked Polesotechnic League magnate Nicholas Van Rijn to take a personal hand in things, sending Adzel the saurian centaur to retrieve the poor lad.

Turns out Falkayn (predictably) had been brainwashed. It also turns out that Serendipity is working with, perhaps in the thrall of, a race of mysterious aliens known as the Elders. The ulterior motive of this ostensibly neutral organization suggests some new power may be planning some kind of galactic conquest.

Meanwhile, Chee Lan the foul-mouthed Cynthian and Falkayn head to the world Serendipity told him about in part one–the frozen world in a cometary orbit that is closing in on its star, Beta Crucis. This will cause its cryosphere to melt, revealing a mother-lode of precious metals. But Van Rijn's team isn't the only one interested in the world, aptly dubbed "Satan". Twenty UFOs have just dropped out of hyperspace in the vicinity, and they don't look friendly…

Anderson has a lot of tics I don't like, particularly his drawing of characters as…well, assemblages of tics. Adzel is a placid Buddhist, Falkayn is a cipher, Chee Lan is a salty Little Old Lady from Pasadena, and Van Rijn is a lustier, more Dutch version of Raymond Burr's Ironside.

The author also devotes lots of ink to the physical descriptions of his astronomical creations, which I'm sure are fascinating to some, but perhaps are most gratifying for the three cents a word they earn him.

That said, just as I start to get bored, I find myself turning the page and reading on. So, another three star segment.

Less than Three

So, just like the constant "e", Analog clocks in at just under three. Indeed, that's how I feel about the magazine as a whole lately. Sure, there are better issues than others, and sure, there are some standout pieces, but for the most part, I find myself doing anything–cleaning the bathroom ceilings, cataloging my 45s, sorting stamps–rather than read Analog. Not that I hate the experience when I get to it. It simply doesn't give the thrill of anticipation that Galaxy still gives me after all of these years. Even F&SF, which hasn't been terrific since 1962, retains residual goodwill.

Of course, this month's Analog clocks in at 2.9 (rounding up 2.85), which is better than Fantasy and Science Fiction (2.6). But it's worse than Galaxy (3.1) and IF (3.3).

It was a really thin month for magazines, and out of the four that were published, the better-than-three-star stories would barely fill one of them. At least women wrote 11% of new fiction pieces, which is on the higher end lately.

Well, here's hoping that next month's Analog picks a different constant to ape, if it can. And let's hope it's not Planck's Constant!

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Movies, Science Fiction/Fantasy

[May 28, 1968] Danger: Diabolik is the Grooviest Spy Movie of the Year So Far

May 28, 2023 Jason Sacks 2 Comments

by Jason Sacks

Danger: Diabolik is the epitome of a comic book movie: it has a wild, often surreal plot. It features outlandish lead characters who could never exist in real life. It includes absurd twists and turns. It has a surreal visual style.

And yeah, Danger: Diabolik is an absolutely wild groovy gas of a film.

It seems appropriate for this to feel like a comic book movie because Danger: Diabolik is adapted from an Italian comic strip which has been running since 1962. One of my favorite comics zines, the Rocket's Blast Comicollector, recently ran an article that talks about how Diabolik is massively popular for its wild spy hijinks, its beautiful lead characters, and for its convenient small size that makes it easy to carry on a train or bus.

Diabolik was created by a woman named Angela Guissani, a former fashion model turned founder and editor at the Astorina publishing house. Astorina started with board and card games, but Guissani hit the jackpot when she invented an idea for a magazine that commuters to Milan could read on their way to work. With insipration from the French character Fantômas, Angela invented a masked criminal who always seemed to escape the law, an anti-hero who could be embraced by the average middle class reader.

And so Diabolik was born, chased by Inspector Ginko, monthly. Within seven issues, the comic was a smash hit as readers fell in love with the masked rogue who could do almost anything, wearing his black suit or special masks as he robbed from the rich, loved his beautiful girlfriends, and traveled between his own secret lairs. He and his women also dressed in gorgeous, of-the-moment fashion, which seemed to sparkle off the page.

All of which makes it a natural to adapt Danger Diabolik to the big screen, especially under the direction of Mario Bava, a man who loves to use color and fashion to tell a story.

And what a wild, wonderful, groovy story this is.

Diabolik the film is true to its comic book roots. Diabolik himself, played with gusto by John Philip Law, is a lover and a fighter. He's a man who clearly can't do anything halfway: during the film we watch him commit not one, not two, but three different heists–plus he blows up a tax building. After one of the heists we watch him make love to his partner Eva Kant, played by the glorious Marisa Mell, on a bed covered with $20 bills, and it's hard to tell if their orgasmic ecstacy is due to Diabolik's superhuman lovemaking or because the couple's lust for cash is satiated at last.

But any satiation only lasts until the next opportunity comes their way, and Diabolik soon is on the trail of the most valuable emerald necklace in the world, stored high in a tower. This set of scenes allows us to watch Diabolik scale high towers, smartly elude guards with diversions and sleight-of-hand, and bring home the jewels to a loving girlfriend.

Even that isn't enough, and in the film's wild and wonderful ending set piece, Diabolik goes from underwater scuba craft to train to steal a giant gold ingot worth more than many small countries which he can use for his own reasons which might involve more sexual relations or might involve building even more elaborate structures for him to live in.

Of course Diabolik is a zillionaire, so that means he has all kinds of gadgets even James Bond would envy – Ferraris and Maseratis of course, the aforementioned scuba craft, fog jets and knockout pills, white action suits and black action suits, groovy showers and an amazing Batcave-like place and wow really doesn't this all sound a little like a world even Bond's nemesis Blofeld would envy?

Honestly, it's all a bit over-the-top at times, like drinking three Italian droppio shots all at once. Diabolik is hyperkinetic, absurdly colorful, ridiculously dynamic and wonderfully silly. Of course it is; with famed British comedian Terry-Thomas as one of the Diabolik's nemesis, it's no suprise this film sometimes veers close to Batman style camp, and even goes over it.

Director Mario Bava does his best to keep this movie on some kind of even ground. He's one of the finest action/horror directors working right now in Italy. I had high praise for Bava's'65 flick Planet of the Vampires, which was spookier and weirder than it had any right to be, and Danger: Diabolik is sillier and wackier than it has any right to be.

The film seems saturated with primary colors, so saturated at times that it almost seems to glow from the brilliant color pallette. The sets, too, seem selected not for their utiliarian use but for their garish weirdness. The chairs and tables in this movie look great, and that's all we need as viewers to suspend our disbelief and glory in the near neon glow of Bava's wild creation.

I should mention that the music in this film is composed by the great Ennio Morricone, whose unprecedented score for 1967's grand epic The Good, the Bad and the Ugly was one of the greatest media events of last year. His work here doesn't match those unbelievable heights, but it's charming how, for instance, we get a little guitar riff every time Diabolik's car appears on screen, or how occassionally the soundtrack would riff on 1960s surf music.

The spy genre seems a little played out in 1968, with Sean Connery walking away from the Bond role after You Only Live Twice, the Matt Helm movies playing as NBC network movies, and TV shows Man from UNCLE and I Spy soon to be off the air. But if Danger: Diabolik is one of the last of a dying genre, spy films are going out with a kiss kiss bang bang.

3.5 stars

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Science / Space Race

[MAY 26, 1968] EUROPA AD ASTRA (EUROPEAN SPACE UPDATE)

May 26, 2023 Kaye Dee Leave a comment

by Kaye Dee

The recent launch of the ESRO 2B scientific satellite on 17 May (more on that below) reminds me that it has been a while since I wrote anything about the European launcher development programme being carried out in Australia. There have also been major developments in Europe’s space plans over the past few months, which look like they will significantly change the future of the European space programme.

For readers in the United States and other parts of the world, who may not be familiar with the European space programme, let me take a few moments to introduce the major players and provide a bit of background before talking about recent developments.

Cousins Rather Than Siblings: ELDO, ESRO and CETS
The two most important space bodies in Europe are the European Space Research Organisation (ESRO) and the European Launcher Development Organisation (ELDO). ESRO’s focus is on developing scientific satellites for space research. ELDO looks to develop an independent satellite launch capability for Europe through the Europa rocket, conducting its test flights from the Woomera Rocket Range in Australia.

The French acronym CERS stands for Conseil Européen de Recherche Spatiale

These roles would appear to be complementary, and I have occasionally referred to ELDO and ESRO as “sister” institutions in previous articles, since they have grown up in parallel and have several member states in common. However, I’ve come to think that they are perhaps best considered as “cousins”, as they operate and forward plan quite separately from each other, resulting in a lack of co-ordination across Europe's space activities. While ELDO was established with an assumption that ESRO would be one of the customers for its launch services, ESRO has not waited for a European launcher to become available from ELDO: ESRO 2B has been launched under NASA’s auspices on a Scout vehicle from Vandenberg Air Force Base and for the foreseeable future all planned ESRO satellite launches will be on US rockets.

The French acronym CECLES stands for Conseil européen pour la construction de lanceurs d'engins spatiaux

Mention also needs to be made of the European Conference on Telecommunications by Satellites (CETS), the third space organisation in Europe, which is playing a role in pushing for some of the proposed changes in Europe’s space plans. Unlike ESRO and ELDO, CETS is not active in developing space technologies and vehicles, but provides a forum for European Post, Telegraph and Telecommunications agencies (PTTs) to consider the role of communication satellites and discuss the European role in the INTELSAT global telecommunications satellite system.

ESRO and ELDO: Parallel Lives
Stemming from initiatives taken in 1959 and 1960 by a small group of scientists, led by Italian Prof. Edoardo Amaldi and French physicist Prof. Pierre Victor Auger, ESRO was set up in the early 1960s. Like ELDO, it formally came into existence in 1964. ESRO’s member countries are Belgium, Denmark, West Germany, France, Italy, the Netherlands, Sweden, Spain, Switzerland, and Britain, and the organisation’s focus has been on strictly civil scientific research. Four ESRO members (Britain, France, Italy and West Germany) also have their own national space programmes.

ESRO has already developed a number of technical facilities: the European Space Research and Technology Centre (ESTEC) in the Netherlands, is the newest, opened on 3 April. ESRO has also begun to establish its own space tracking network, ESTRACK, and has its own sounding rocket launch facility, ESRANGE (established in 1964), near Kiruna, Sweden.

The opening of ESTEC on 3 April by HRH Princess Beatrix and her husband Prince Claus included the royal couple being presented with a model of the ESRO 2B satellite

ELDO, on the other hand, was very much a British initiative in 1960-61, seeking partners in Europe for the development of an independent satellite launcher that would use as its first stage the UK’s then-recently cancelled Blue Streak missile. ELDO’s member states are Britain, France, West Germany, Italy, Belgium and the Netherlands. Australia, despite being a non-European country, is also an ELDO member because of its role providing the test launch facilities at Woomera.

The first Blue Streak launch from Woomera in 1964, designated as ELDO F-1, the inaugural test flight of the Europa rocket's first stage

Both organisations operate with a policy of “juste retour” – allocating work to industry in member countries in proportion to their share of financial contribution to the organisation.

So you can see that, unlike the US civilian space programme, under the control of NASA, and the Soviet programme, under central control from the Politburo, there are many fingers in the European space pie, with many complementary and yet competing interests and national agendas.

Not Going Up from Down Under
When I last reported on the ELDO programme, it was to cover the loss of the ELDO F-6 launch in August last year. At the time, I mentioned that a reflight – designated as F-6/2 – was already in planning. Scheduled for December 5, 1967, the first attempt to launch F-6/2 was aborted just 12 seconds before lift-off due to a power failure.

Although successfully launched at 6 a.m. the following morning, the second stage failed to ignite after separation from the first stage. The vehicle then crashed down into the upper reaches of the Simpson Desert, repeating the failure of Europa F-6/1. This was the second failure of an active French Coralie second stage, and an investigation is still underway to determine the cause.

Despite this failure, the next Europa launch – designated F-7 – is still planned for October or November this year as the first test flight with three active stages. Let’s hope that the issues with the second stage have been resolved by then!

Has Britain Lost Its Way in Space?
Since coming to power in the October 1964, the Wilson Labour Government has shown itself to be considerably less enthusiastic about European space activities than its Conservative predecessor. This would appear to be in large part due to the struggling UK economy, but also a response to the lack of success of Britain’s attempts to join the European Economic Community in 1963 and 67, for which UK participation in European space was supposed to be a sweetener.

In 1965, when the cost of completing the original ELDO programme had already climbed to twice the early estimates, France began to call for a revised – and more expensive – programme to develop the Europa vehicle into a launcher capable of placing satellites into geostationary orbit. Calling the Europa I launcher “obsolete”, as it can only place satellites into polar orbit, France has proposed a more sophisticated and powerful Europa II vehicle that would enable Europe to launch communications and other applications satellites without reliance on the United States (which has already given indications that it will take measures to protect its monopoly on the use of geostationary satellites).

Applications satellites, especially for international communications (as demonstrated by INTELSAT), are almost certainly the way of the future in space developments outside human spaceflight, and West Germany, Belgium and the Netherlands have agreed with the French view. This resulted in a July 1966 proposal to complete ELDO’s Europa I programme and add a Europa II development programme.

The British Government, however, began to express severe doubts about the “technological use and the economic viability” of the ELDO programme and opposed the French-led changes. In 1966, it signalled that Britain would not participate in any further financing of ELDO programmes after present projects were completed. Britain also reduced its financial contributions to ELDO from 38.79% (the largest contribution to ELDO’s budget) to 27%, with the difference being made up by the other four paying members (Australia being a non-paying member, on the basis of providing the Woomera facilities).

The reduction in the British financial clout within ELDO, and the desire for an equatorial launch facility, has been a factor in ELDO planning to move away from Woomera to France’s national launch facility in Kourou, French Guiana, at the completion of the ELDO I programme, anticipated in 1970. This has greatly disappointed my friends at the WRE, who spent considerable effort in preparing plans for a launch facility near Darwin, in the Northern Territory, to support an equatorial launch capability in Australia for the Europa II programme.

The first launch from France's Kourou facility, the future home of the ELDO programme, took place on 9 April this year, with the firing of a Veronique sounding rocket

British Space Industry Weighs In!
In November last year, a report from the National Industrial Space Committee, which represents the space interests of British industry, recommended that the British Government should not reduce, but expand its spending on space research and development, in order to stop the brain drain from the UK and obtain a share in what is already being seen as the lucrative space technology business. It recommended that spending on space-related R&D should be increased by around a 25% increase from the present $A60 million to between $A75 million and $A87.5 million said the committee.

Comments at the time from Mr Kenneth Gatland, vice president of the British Interplanetary Society, indicated that a major row was looming between industry and Government over Britain's failure to lead Europe into the commercial field of communication satellites. Although the Post Office, which controls British telecommunications, has expressed “severe doubts” about the commercial benefits of space-communication, this seems a bit strange when the Post Office is also the British signatory to INTELSAT, and the UK is the consortium’s second largest shareholder. “Government advisers”, Mr. Gatland said, “were being accused of leaving Britain high and dry through inept policies, allowing France and West Germany to benefit at Britain's expense.” Instead of the “national scandal” of Britain having spent an estimated $A124,707,500 on ELDO without any tangible end project in view, Mr. Gatland has suggested that Britain should give ELDO a target which would bring a return for the large capital investment.

A European Symphonie?
Whatever Britain’s misgivings regarding satellite communications, France and Germany are eager to move into the field of communications satellites to break INTELSAT’s monopoly on international satellite telecommunications. They have embarked on their own joint communications satellite project, known as Symphonie. As this project has taken options on two Europa II launches for its two satellites, it is, at present, ELDO's only customers! Mr Gatland has urged Britain to join France and Germany in the Symphonie project, which will promise a satellite in three to five years.

An early design for the Symphonie communications satellite, which is intended to be three-axis stabilised

Italy has decided to go it alone on the development of a telecommunications satellite known as Project Sirio. The design will apparently be based on the experimental telecommunications satellite that Italy was originally going to develop for ELDO, before that aspect of the programme was cut to reduce overall costs.

ESRO is also reported to be interested in moving beyond scientific satellites into the applications satellite area, in conjunction with CETS, which has expressed interest in the development of a satellite for television distribution.

Whither or Wither, Europe?
With all this history in mind, Europe’s space plans for the future have undergone considerable change in the past few months. According to a report released in March, Europe's space club has mapped out an ambitious programme for the next 10 years that would include telecommunications satellites for television, broadcasting and telephone calls, meteorological, air traffic control and Earth resources satellites, and large numbers of astronomical and other scientific satellites. This programme, which involves a 10 per cent annual increase of expenditure on European space projects, is intended to be discussed when Science Ministers from the 17 member states of ELDO, ESRO and CETS, meet in Bonn, West Germany, in June.

However, the ambitious proposals released in March evolving as originally anticipated is now unlikely, given the most recent events. On 18 April, Britain's Labour Government announced cuts in spending on space research and cast further doubts on the future of ELDO. Although the Government indicated that it would maintain its contribution to the current ELDO programme at the existing level, it could “see no economic justification for undertaking further financial commitments to ELDO after the present programme,” which is due to conclude in 1970.

This (not totally unexpected news) was followed by an announcement from ESRO on 26 April that it was cancelling its plans for its two largest satellites scientific satellites – a major blow for European space co-operation. The two massive TD 1 and TD 2 satellites (the TD stands for Thor Delta, the intended launch vehicle), each weighing 990 lbs, were to have been built under a 100 million franc (about Aus$17,800,000) contract by an international consortium including Hawker Siddeley Dynamics of Britain, the French firm Matra, the West German group ERNO, and Saab of Sweden.

TD1, scheduled for launch in 1970, was designed to study the relationship between earth and sun. TD2, planned for launch the following year, was focused on research into solar ultra-violet radiation and electromagnetic phenomena in the upper atmosphere. The reason for the satellites’ cancellation seems to be connected with disagreements within ESRO in regard to the juste retour allocation of work for the project.

ESRO’s First satellite in Orbit!

Despite the uncertainties about its future space plans, Europe is currently celebrating the launch of the first ESRO satellite to make it to orbit! ESRO-2B was launched 17 May from Vandenberg Air Force Base in California on a Scout B rocket.

This flight occurred almost exactly one year after the loss of its predecessor ESRO 2A on 29 May, 1967. Also launched from Vandenberg on a Scout B, ESRO 2A was lost due to a malfunction of the rocket’s fourth stage, which prevented the satellite from reaching orbit. These first European satellites were launched on Scout vehicles due to an offer from NASA to launch the ESRO's first two satellites free of charge as a ‘christening gift’ for the organisation (and no doubt to woo ESRO towards continuing with US launchers even when ELDO's Europa rockets become operational!)

ESRO 2B, also known as Iris (International Radiation Investigation Satellite), Iris 2 and ESRO 2, is an astrophysical research satellite developed to study solar and cosmic radiation and their interaction with the Earth and its magnetosphere. This will provide continuity to the solar radiation observations of earlier satellites and continue similar particle measurements carried out by the UK’s Ariel 1 satellite. It is the first mission controlled by teams at the European Space Operations Centre (ESOC) in Darmstadt, Germany.

ESRO 2B being prepared for launch

Placed into a highly elliptical near-polar orbit, with an orbital period of 98.9 minutes, ESRO-2B is about 33.5 inches in length, with a diameter just on 30 inches. It weighs 196 lb and is spin-stabilised, with a spin rate of approximately 40 rpm. The satellite is powered by 3456 solar cells on the outer body panels, supplemented by a nickel/cadmium battery. The satellite carries the same seven instruments as its lost predecessor: to detect high-energy cosmic rays, determine the total flux of solar X-rays, measure trapped radiation, investigate Van Allen belt protons and cosmic ray protons. And if you’re wondering why ESRO 2B is the first European satellite and what happened to ESRO 1, the simple answer is that ESRO 1 has yet to be launched! Difficulties in the development of the payload for the polar ionospheric satellite ESRO 1, designed to study how the auroral zones responded to geomagnetic and solar activity, meant that it was eventually agreed to launch ESRO-2 ahead of it. ESRO 1 is due for launch around October this year, so we here at Galactic Journey will cover its story soon.

ESRO 2B being tracked at the ESOC mission control centre

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Movies, Science Fiction/Fantasy

[May 24, 1968] How Low Can You Go? (Battle Beneath the Earth and The Astro-Zombies)

May 24, 2023 Victoria Silverwolf 1 Comment

by Victoria Silverwolf

Notes From Underground

The English have a great hunger for desolate places.
— Alec Guinness as Prince Faisal in Lawrence of Arabia

And I have a great hunger for the desolation of cinematic wastelands.

Need evidence? Consider my interest in things like Teenagers From Outer Space, The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies, Frankenstein Meets the Space Monster, and Women of the Prehistoric Planet.

I rest my case, although I could name many more.

I recently dived deep down into the abyss of Z-grade filmmaking with a pair of inept science fiction films. Grab your flashlight and come spelunking with me into the bottomless cavern of movie malfeasance.

Dig We Must

And it can stay there!

Battle Beneath the Earth

This subterranean smorgasbord of silliness begins with stock footage of the casinos in Las Vegas. Two cops drive by and get a call to investigate a listening disturbance [sic]. That's a situation I don't recall ever appearing on Dragnet.

"Be sure not to help this guy, everybody! Just stand around and stare at him!"

In what is very clearly a set, and not Las Vegas, we see a fellow with his ear to the ground. He's raving about something that sounds like ants underground. Understandably, the cops drag him away as a kook, and he winds up in a mental hospital.

(By the way, the sanitarium has slot machines, for use by compulsive gamblers. At this point, I had to wonder if the film was a deliberate spoof. Unfortunately, I don't think so.)

Then they tell you what movie you're watching, in case you wandered into the theater by accident.

Our hero is a naval officer, recently assigned to lab duty on land after an experimental underwater habitat was destroyed in an earthquake. (Hint: It wasn't a natural disaster.) The sister of the listening guy happens to be his assistant. She tells him that her brother keeps asking to talk to him.

Peter Arne, as Arnold Kramer, in bathrobe, and Kerwin Mathews, as Commander Jonathan Shaw, in uniform. "Before I listen to your crazy story, allow me to remind you that I was the star of The 7th Voyage of Sinbad, which was a much better film."

It turns out that the guy isn't a paranoid nut, but a seismologist who has figured out that (wait for it) a Chinese general and his minions have dug their way under the Pacific Ocean and most of the way across the United States. The plan is to fill the tunnels with atomic bombs and, I don't know, rule the world, I guess. (We find out he's planted similar bombs under Peking, so he's working on his own, like any proper megalomaniac.)

A minion inside a Chinese digging machine. "Peek-a-boo!"

After a few skirmishes underground (excuse me, I mean a battle beneath the Earth), the good guys figure out that the general's supplies are coming from some place in the middle of the Pacific. They use their own digging machine to raid the place.

Carefully labeled, in case some swabby thinks it's a tank or something.

Along for the fun is our Good Girl, a Hawaiian geologist. She doesn't do much, really, except look pretty and fall into the arms of our hero.

"Gee, Miss Yung, you're beautiful without your glasses!" The character has a Chinese last name, but is played by Viviane Ventura, a British/Colombian actress. A small hint of casting problems to come.

The raid is a fiasco, with a bunch of Marines getting killed. Our hero gets captured by the bad guys.

Martin Benson as General Chan Lu. "Before I explain my sinister plan, in the proper manner of any James Bond villain, allow me to remind you that I had a small role in Goldfinger, which was a much better film."

At this point, our movie's Bad Girl enters. She hypnotizes our hero, using what is very obviously one of those little battery-operated handheld fans you use to cool yourself off on a hot day. She recites this bit of doggerel over and over, in order to wash the hero's brain thoroughly.

Red is green
Green is red
The East is sunrise
The West is dead

I don't think Robert Frost has any competition to worry about.

"I will control your mind through the power of a refreshing breeze!"

I should note that this character (Dr. Arnn) is played by Paula Li Shiu, a Chinese actress. All the other Chinese characters (except a few minor nonspeaking roles) are played by Occidentals. This kind of casting is embarrassing, but if Christopher Lee can play Fu Manchu, I guess anything goes.

The general in the tube gizmo he uses to descend to the underground tunnels. "The next wise guy who says 'Beam me up, Scotty' is going to get it!"

The bad guy has all kinds of supposedly Chinese stuff decorating his underground headquarters, just in case you forget what nationality he's supposed to be. He also has a pet hawk, just to show you how evil he is.

"The next wise guy who says 'This movie is for the birds' is going to get it!"

Will the good guys win? Oh, come on, you know the answer to that already.

Nothing like an atomic bomb for a happy ending.

Quality of film: Two stars.
Level of derisive amusement: Four stars.

All the Way Down to the Bottom

What happened to the word "The" and the hyphen between "Astro" and "Zombies"?

The Astro-Zombies

This cheapskate epic begins with a woman driving down the road. Get used to this kind of thing, because we'll have plenty of scenes that go on and on where people do ordinary things. Eventually, she winds up in her garage, where she's killed by a guy in a skull mask.

This, ladies and gentlemen, is an astro-zombie.

We then get our opening titles, oddly filmed over scenes of toy robots.

Nothing says quality like dime store special effects.

Cut to some science types and some government types talking in an office. Long and confusing story short, it seems there was a project to transmit thoughts from folks on Earth to brains in artificial bodies in spacecraft.

Government guy, played by Wendell Corey, looks concerned. He had a similar role in Agent For H.A.R.M.

It seems that one of the scientists working on the project got kicked out, and is now on his own. He's played by John Carradine, of course.

"You want me to play another Mad Scientist? How much does it pay?"

Naturally, Carradine has a hunchback for an assistant. Believe it or not, his name is Franchot.

"My parents could have named me 'Fritz' or 'Ygor,' but no . . ."

Franchot grabs a dead guy out of a car wreck and drags him back to the lab. If I've managed to follow the plot correctly, he wants to put a brain into his body and create another astro-zombie. Apparently, the previous one had a murder's brain and went on a killing rampage.

There's also a woman in a bikini strapped down on a table in the lab. She has nothing to do with the plot.

Meanwhile, foreign spies are after Carradine's secret. A lot of the running time is spent with the good guy spies and the bad guy spies fighting each other. The leader of the bad guys is played by the amazing Tura Satana, so memorable in Faster, Pussycat! Kill! Kill!

Tura and one of her minions.

I have to say something about Tura's appearance here. She wears tons of makeup, including gigantic false eyelashes. Her fingernails look like daggers. There's a special credit for her costume designer, who really did an interesting job.

Tura in pink. Is she auditioning for Star Trek?

No opportunity is lost to put her remarkable body on display.

A little something for the leg men in the audience.

Anyway, let me get back to the plot. We've got a couple of heroes, of a sort, as well as a heroine/potential victim.

Here they are, in a time-killing scene at a nightclub in which they watch a topless dancer covered in body paint. Is it really cricket for a guy to take a woman out to see a stripper?

They come up with a plan to have the heroine act as bait for the astro-zombie who's slaughtering women left and right.

"Uh, guys? I don't think that's such a good idea. And which one of you is supposed to be my boyfriend, anyway?"

Stuff happens. The funniest scene is when the astro-zombie runs out of energy, and has to hold a flashlight to his head in order to charge his photoelectric cells.

"Thanks, Eveready!"

Boy, this is a dreary little movie. Only the presence of Tura Satana makes it watchable.

One more cheesecake shot for the road.

Quality of film: One star.
Level of derisive amusement: Five stars.

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Movies

[May 22, 1968] Finding a New Way: Witchfinder General

May 22, 2023 Fiona Moore 3 Comments

by Fiona Moore

Witchfinder General is a real game-changer not just for British horror but for horror films in general. This is a movie without monsters, ghosts, psychopathic killers or, even, witches (at least real ones). The terror comes from people’s belief in witches, and what that belief makes them do to other people, and, in making that change, this film is an artistic statement that transcends genre.

The story is set, as a clunky (and rather unnecessary, since the same information is conveyed in the first few scenes) voiceover at the start tells us, in 1645, the height of the English Civil War. It is ostensibly based on the life of a genuine historical figure of the time, Matthew Hopkins, the so-called “Witchfinder General”. He is a minor landowner who made his career travelling around Southeastern England identifying witches using bogus techniques and confessions extracted under duress. In fact, the story bears almost no resemblance at all to the known facts of Hopkins’ life, barring his name, that of his assistant Stearne (in real life their roles were reversed), the location (East Anglia) and the methods used to extract confessions from witches. This is a minor complaint, however—and might not even be a complaint, as the story the movie tells is possibly more disturbing than Hopkins’ actual biography.

The film’s main positive figure, at least at the outset, is Richard Marshall, a young Roundhead soldier engaged to Sarah Lowes, the niece of a small-town Church of England priest. Sarah’s uncle is accused of witchcraft by his neighbours (we never learn the specific reason for this, which chillingly suggests that it’s a fairly banal local conflict that escalates to horrific extremes) and Hopkins and Stearne arrive, arrest and torture the accused. Sarah, desperate to save her uncle, sleeps with Hopkins; when Stearne, envious and sadistic, rapes her, Hopkins discards his promises to Sarah and has her uncle executed. Richard, hearing of the tragedy but arriving too late to stop it, marries Sarah and swears vengeance on Hopkins. Matters escalate, leading eventually to a bloody confrontation which clearly brings home that violence only begets more violence, and that no one in this story is going to escape without severe damage.

The civil war backdrop is sketched in matter-of-factly. Perhaps surprisingly, given that subsequent British popular culture tends to dislike the Parliamentarians (in Sellars and Yeatman’s phrase, the Cavaliers were Wrong but Wromantic, and the Roundheads Right but Repulsive), the film resists the temptation to lay the blame for the witch hysteria at Cromwell’s door. Richard and his men are more or less positively portrayed, as is Cromwell himself when he turns up for a brief cameo after a successful military campaign. Some of the film’s power arguably lies in the fact that they, and Hopkins, are all ostensibly on the same side, and, while we see very little of the atrocities of the war itself, it is clearly part of what is fueling the communities’ drive to turn on their own. The viewer is also left to fill in some details themselves: for instance, the absence of a lord of the manor in the village where Sarah and her uncle live suggests he was a Royalist, possibly also hinting at why relationships have broken down between the villagers and why Sarah’s uncle is now accused of heresy.

In casting terms, Vincent Price is credibly chilling as Hopkins, largely because of the way he underplays his role: he talks about torture and murder in the same banal tones as one might discuss a land boundary dispute, and he pretends hypocritically to be serving the public interest. Robert Russell as Sterne is a much more familiar figure from horror films, loathsome and sadistic, but provides a necessary contrast to Price, acting as a kind of expression of Hopkins’ id. Newcomers Ian Ogilvy and Hilary Dwyer, as Richard and Sarah, are very pretty to look at, but they also have the acting chops to handle their characters’ descent as they are subjected to increasing torment and degradation.

Michael Reeves’ direction works well, contrasting the beautiful scenery of Southeast England with the awful behaviour of its inhabitants. His best, albeit hardest to watch, efforts come in the film’s climactic scene. In it, Hopkins escalates his method of execution from simply hanging witches to burning them—not at the stake, but strapped to a ladder slowly lowered into the fire. As this takes place, the camera turns its pitiless gaze around the crowd, showing a variety of different reactions: from religious rapture, to horror, to fear, to pleasure. Most horrifyingly, it also shows children absorbing the violence around them. We later see the same children roasting baked potatoes in the execution fire, a detail that is terrifying in its matter-of-fact presentation.

The story’s contemporary relevance is also clear. Sexism visibly fuels the witch-hunting activities, and prejudice against women and fear of their sexuality in the wider culture allows the likes of Hopkins and Stearne to flourish. Desensitisation to war, as we are seeing in America and elsewhere, allows people to condone and commit acts of violence in their own communities. Revelations after the collapse of the Nazi regime, and reports from behind the Iron Curtain, show clearly how petty grievances between neighbours can, under totalitarian rule, lead to arrests and torture. The viewer can’t leave the cinema thinking it could never happen here: clearly it not only can–it has.

The film makes the most of its economical 86 minutes, and is definitely not for the faint-hearted. By mining British folk culture and history, and by focusing on human evil itself rather than monsters and spirits, Reeves has opened up the possibilities of a whole new kind of horror movie and paved the ground for a new, artistic subgenre; I can’t wait to see what this new pioneer of British cinema will come up with next. Five out of five stars.

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Magazine/Anthology, Science Fiction/Fantasy

[May 20, 1968] Dying, deflating, and deorbiting (June 1968 Fantasy and Science Fiction)

May 20, 2023 Gideon Marcus 6 Comments

by Gideon Marcus

Fading Echoes

It sometimes astounds me how long Galactic Journey has been around. Eight years ago, we covered the launch of Echo 1, a big balloon shot into orbit so that NASA eggheads could use it as a cosmic message relay. More importantly, it was an artificial beacon, proof at a time when the Americans were losing the Space Race, that we had established a visible presence in outer space.

In just a few days, Echo 1 will be no more. Though the air at Echo's altitude is, to terrestrial standards, a fine vacuum, there is enough there to pull at the satellite. For the past eight years, the tug has slowed down Echo, and this month, it will fall out of orbit, plunging into the atmosphere, where it will burn up.

All things must pass, and Echo had a good run, but still, it's a little sad.

Which brings us to this month's issue of The Magazine of Fantasy and Science Fiction.

Last month, we lost Anthony Boucher, who helmed F&SF for much of the '50s. His term was excellent, and he also wrote some great stories, too, my favorite being The Quest for St. Aquin He was only 56.

Since Boucher's tenure, F&SF has been an inconsistent magazine. There have been good issues of F&SF, and there have been less than good ones. The latest is one of the latter kind, and its underwhelming quality serves only to make us pine all the more for what we've lost.

by Ronald Walotsky

The Consciousness Machine, by Josephine Saxton

Zona Gambier is a mental technician, proficient in the usage of WAWWAR, a device that has revolutionized psychotherapy. It dredges the animus of one's mental dysfunction, bares it to the possessor, and in doing so, cures the ailing person of any psychological malady. It is thus a matter of great consternation when she finds that her patient, Thurston Maxwell's, animus does not seem to correspond to his condition–namely a predilection for sexual assault.

The imagery WAWWAR produces is the story of a teenage boy living ferally, hiding from all of humanity, until he comes across a newborn, still attached to her just-dead mother. He raises the child, somehow providing for it, until she is old enough to be an adoptive sister. Later, as an adult, they become lovers. Finally, they have a child together, completing a kind of circle.

Ultimately, we find out what this story means, and whose animus it actually is. The writing is rather nice, but the explanation at the end is ad hoc, and I certainly wouldn't call the piece science fiction. Science-esque, perhaps.

Three stars.

Of Time and Us, by David R. Bunch

Better poetry than some, worse than others. I'm not sure I care for the sentiment, espousing the futility of humanity against the infinity of chronology.

Three stars.

by Gahan Wilson

The People Trap, by Robert Sheckley

Overpopulation stories have been de rigeur for more than a decade now, to the point where the genre is a bit overripe. Especially given that, according to articles I've been reading lately, the population growth rate has been steadily declining in the First World for most of the '60s. Now, will that continue? There are an awful lot of Baby Boomers coming of age, and perhaps the trend will reverse itself. But it does seem that large families, at least in the West and other developed areas, are falling out of fashion.

Which is why Sheckley's satire of overpopulation stories, in which a mild-mannered father, tired of sharing his one-room flat with five others (with five more on the way), enters a deadly competition, is a breath of fresh air. Along with 60 other participants, he must complete a foot-race through the wilds of New York City, populated by the lowest forms of humanity. His prize: one of the last free-standing acres of land on the continent.

Very quickly, you see that the thing is a lampoon, and as such, it's quite tolerable. Indeed, it's the closest thing to an old-style Sheckley story I've read in a long time, and old-style Sheckley is one of my favorites.

Four stars.

Settle, by Ann MacLeod

A couple buys a fixer-upper. Soon, the man of the house starts losing pieces of himself. First a toe, then a foot, onto his leg and torso, until he is just a head. Still, he goes on repairing elements of the home, determined to make it livable. Eventually, he is just a set of teeth and a bit of brain, mowing the lawn by mouth, until he is crushed under the knee of his toddler son. The end.

Per the editor's preface, this story is about how a money pit takes its toll in flesh from its owners. I'm glad that was explained to me, because otherwise, I'd have no idea.

One star.

Backtracked, by Burt Filer

Author Burt Filer is apparently married to Settle's author, Ann MacLeod. His tale is the superior of the two.

A man in his mid-30s wakes up to find his body ten years older. Apparently, he has "backtracked"–a decade from then, he swapped physical forms with his younger self (which apparently destroys the future incarnation so as to prevent paradoxes). He has no memory of the next ten years, nor why he chose this particular date to come back to.

All he knows is that his polio-crippled leg is now reasonably robust, and that his wife is not altogether happy with his new, somewhat weathered, appearance.

Eventually we do find out what would motivate a man to give up a decade of life, and it's a reasonable justification.

Three stars.

At the Heart of It, by Michael Harrison

This is both an old tale and an old-fashioned tale. It details the tragic story of a bookseller who discovers a profane book, one that teaches the reader the art of transferring one's soul into an inanimate object.

There are no surprises, and the kicker comes at the end, like all its Weird Tales brethren. I imagine this would have been humdrum in the 30s and it certainly doesn't cut the mustard now.

Two stars.

Counting Chromosomes, by Isaac Asimov

The Good Doctor explains the relatively new science of genetics and the role chromosomes, which are essentially punch cards that govern cell reproduction, have in them. He spends a good deal of time on sex chromosomes, and the effects that mutated sex chromosomes have on human beings.

Fascinating stuff, but there is an air of eugenics about his discussion, particularly in calling chromosomally abnormal human beings "defectives" and describing the recent exclusion of Ewa Klobukowska from women's sports on the basis of an extra Y chromosome as a positive development, ensuring competitions remain "sportsmanlike", rubbed me the wrong way.

Three stars.

The Secret of Stonehenge, by Harry Harrison

In this vignette, archaeologists armed with a time-traveling camera send it back to find out why and when Stonehenge was created. Turns out that the camera leaves chronological echoes, afterimages that last long after the camera has departed. Of course, it is these images, that, to primitive Britons, could only have been a sign of the gods, that spurred the creation of Stonehenge.

Harry should know better. We've known since 1963 that Stonehenge was an astronomical calculator, able to predict eclipses and solstices. It was built where it was because it needed to be to function properly.

In any event, the far more exciting (and dangerous) discovery is that long-range time travel can be used to communicate with the past, but this was not touched upon.

Two stars.

Sea Home, by William M. Lee

The first long-term permanent underwater residence has been completed. However, it quickly becomes apparent that Sea Home has a problem: its five long-term crew, already at depth, are undergoing physiological changes. It appears to be linked to the special air mixture they're breathing to alleviate pressure issues; their blend includes oxygen, helium, and sodium hexaflouride–the latter two ingredients serving as a kind of buffer, one very light, and one very heavy.

There's a lot wrong with this story. For one, it's a novelette for a one-gimmick story. Lee tries to add color and reasonably competent writing to hide the fact, but there are simply no mysteries to keep you intrigued beyond the central one.

And the central one is stupid. The premise is that the absence of nitrogen triggers all sorts of biological miracles. Free from the shackles of nitrogen, our bodies become more efficient, our brains get smarter, our skin sprouts tiny fields of gills fer Chrissakes. It reminds me of the early stories about long-term weightlessness, when, because we had no data, sf writers filled in the blanks any way they wanted.

Except we do have data. Gemini 7 was in space for 14 days, its crew breathing a pure, 5psi oxygen atmosphere. None of them got any smarter or developed vacuum-breathing gills or what-have-you.

Dumb. Two stars.

Cithaeronion farewell

As you can see, this issue is sort of like the work of a taxidermist. It looks like F&SF, many of its contents are familiar, but the breath of life is missing. Would that someone new could come along and instill the esteemed publication with the vigor it enjoyed under its past master.

Lest all we have left is fading echoes…

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55 years ago: Science Fact and Fiction