[We've saved the best for last this month—one of these books is sure to be a pick for the Galactic Stars. Read on about this remarkable quartet of science fiction tales…]
Sometimes a back cover blurb sells a book. “ABE LINCOLN IN AFRICA?” the cover reads in breathless bold sans-serif type. “He was seen – and photographed – in a Tunisian bazaar.” Hooked yet? How about the mention on the cover of “an ancient Spanish galleon, fully crewed with ancient Spaniards, was taken in tow off Tampa by the Coast Guard…”
Yeah, you probably thought, take my 75¢ plus tax, because that’s a book I have to read. Especially if it’s scribed by the always delightful Keith Laumer, he of the wildly satirical Retief series. At the very least, Time Trap has to be readable, right?
Well, yes, Time Trap is readable, very much so in fact. I flew through its 143 pages in near lightspeed. But there’s just no there there. Time Trap is like a Big Mac: enjoyable at the time but utterly devoid of any nutrition.
Laumer’s latest is fun, sure, but maybe it’s too much fun. Because the novel is just too silly, too whimsical, too full of absurd wordplay and pointless tangents and the sense that Laumer was scripting little bits of this story between partying with friends and warming up for his next, more serious novel.
We are only in the second month of the new decade, but one thing seems to be clear. Women are no longer willing to be silent.
In Leeds, hundreds of women textile workers have walked out on unofficial strike. They are opposing the pay deal struck between their union and employer, claiming it is unfair that women will be getting smaller pay increases than their male co-workers.
At the other end of the social scale, the hallowed halls of Oxford is set to host the “Women’s Weekend”. Tired of being ignored and shouted down by men at other meetings, this will be an all-women conference to discuss women’s history and their current position in the world.
In a more literal sense, a woman’s voice can now be heard on British Pop Radio. After hiring an all-male team from Pirate Radio and Radio Luxembourg to start Radio 1, the BBC have finally branched out and employed their first woman DJ. Annie Nightingale is only thirty but has already had an impressive career, including working as a journalist, presenting numerous music television programmes, having a modelling career and running her own fashion boutique.
Whether this will lead to changes in British science fiction publishing remains to be seen. The Current Issue of Vision of Tomorrow’s only female representation is in its review columnists. Maybe we need to organize our own flying pickets?
However, maybe some of this atmosphere is affecting our writers, as all these stories are, in one way or another, about people trying to break out of their social circumstances. So, let’s walk through the stench of cigar smoke in this gentleman’s club and check out the contents:
[For this first Galactoscope of the month, please enjoy this quartet of diverting reviews…which are probably more entertaining than the books in question!]
No sooner had Trek left the air at the end of last year's rerun season than it reentered the airwaves in syndication. And not just at home, but abroad: the BBC are playing Trek weekly, exposing yet more potential fans to the first real science fiction show on TV.
While new episodes may not be airing on television, new stories are being created. I am subscribed to a number of fanzines devoted to Trek. There aren't quite so many these days as once there were, but there's also been something of a distillation of quality. For instance, I receive Spockanalia and T-Negative with almost montly regularity. These are quality pubs with some real heavy hitters involved. They are crammed with articles and fiction. As to the latter, a lot of it is proposed fourth season scripts turned into stories—by people who really know the show. The stories by such Big Name Fans as Ruth Berman, Dorothy Jones, and Astrid Anderson (of Karen/Poul Anderson lineage) are always excellent.
There have been few commercial Trek books to date. You had Gene Roddenberry/Stephen Whitfield's indispensible reference, The Making of Star Trek, released between the 2nd and 3rd seasons, and Bantam has published three collections of Trek episodes turned into short stories by James Blish (rather sketchily, and not overly faithfully). There was Mack Reynolds' juvenile Mission to Horatius, which wasn't very good.
Now Bantam has released the first "real" Trek novel, one aimed at adults. It is also by James Blish, who liberally sprinkles footnote references to prior episodes he has novelized. The basic premises are two-fold:
Let’s be up front. That is, the front of the March 1970 Amazing, depicting a space-suited person with outstretched arms following or yearning after or paying homage to an apparently departing spacecraft. The contents page says it’s by Willis, illustrating a story called “Breaking Point.” However, Ted White’s editorial says, first, that he’s contacted some “promising young artists” whose work will appear on future covers, but right now they’re “sifting” the European covers that they apparently buy in bulk and having stories written around them “whenever possible,” like Greg Benford’s “Sons of Man” a couple of issues ago. And this issue’s “Breaking Point” was written around the present cover, so the story illustrates the cover rather than vice versa.
by Willis
And now that we have that straight, who’s this Willis guy? Well, informed rumor has it that the cover is actually by our very familiar friend Johnny Bruck, from the German Perry Rhodan #201 from 1965. The style and subject matter certainly look like Bruck’s.
Moving on to more straightforward matters: the contents look much like the previous White issues, with a serial installment, several new short stories plus a reprint, editorial, book reviews, fanzine reviews, and letter column.
A recent film has made many of us aware of the first year of the next century. But what about the last year of this century?
(You do know that 2000 will be the last year of the twentieth century and not the first year of the twenty-first century, right? I thought so.)
A new anthology of original science fiction stories attempts to offer a glimpse of that evocative year to come.
The Year 2000, edited by Harry Harrison
Cover art by Pat Steir.
Obviously, all the stories take place three decades from now. Other than that, they have a wide range of themes and styles, from old-fashioned tales of adventure to commentary on social issues to New Wave experimentation. Let's take a look.
[New to the Journey? Read this for a brief introduction!]
by Gideon Marcus
A pleasant Escapade
Little fan conventions are popping up all over the place, perhaps thanks to the popularity of Star Trek. The first adult science fiction show on the small screen, Trek not only thrilled existing fans (who have been putting on conclaves since the '30s), but has also galvanized millions of newfen who previously had lived outside the mainstream of fandom.
Last weekend, I went to a gathering of Los Angeles fans called "Escapade". It differs from most fan conventions in that it focuses almost exclusively on science fiction and fantasy on the screen rather than in print. Moreover, the emphasis is not on the SFnality of the works, but on the relationships and interactions of the characters. This is the in-person culmination of the phenomenon we've seen in the Trekzines, where the stories and essays are about Spock or Kirk or Scotty—the people, not so much the adventures they go on.
Another distinction is that most of the attendees were women. Most SF conventions, while not stag parties, are male-dominated. The main difference I noted was that panels were less formal, more collaborative. Instead of folks sitting behind a table and gabbing with each other, they were more like discussion groups…fannish teach-ins, if you will. I really dug it.
If Escapade represents the future of fandom, then beam me up. I'm sold!
And since the photos are back from the Fotomat, here's a sample of what I snapped:
That's David, holding up the latest issue of The Tricorder (#4) and Melody dressed as a Starfleet lieutenant
And here's Melody again in sciences blue—who says you can't make a Vulcan smile?
If you can't recruit a fan…make one! (this one isn't Lorelei's…but it's probably giving her ideas)
Lincoln Enterprises had a stall in the Huckster Hall—I got this clip from The Enemy Within!
The New Thing in America
It's been eight years since folks like Ballard and Aldiss started the New Wave in the UK. It's leaked out across the Pond for a while, but this is the first time an issue of a Yank mag has so embraced the revolutionary ethos. The latest issue of Galaxy was a surprise and delight that filled my spare moments (not many!) at the aforementioned convention. Let's take a look.
When reading my morning paper, it can feel like the whole world is determined to blow itself up.
Vietnamese peace talks are going nowhere, with American “help” possibly reaching its nadir when a US helicopter killed friendly South Vietnamese forces by mistake. Israel is once again fighting its Arab neighbours with both Communists and Capitalist countries pouring in military aid to their favoured sides. There is not even goodwill within their respective camps, with the Soviets and Communist China continuing to sabre rattle over the border. And this doesn’t even count the civil wars going on in places like Rhodesia.
Closer to home, British troops in Northern Ireland’s attempts to keep the peace so far seem to be counter-productive. Whilst we are also learning more of the atrocities committed by British troops during the so-called “Malayan Emergency” from the official enquiry.
With all this violence going on, it makes you wonder if there could be another way. Well Peter Watkins has come up with one, albeit not necessarily the most pleasant option:
[New to the Journey? Read this for a brief introduction!]
by Gideon Marcus
When you talk about destruction…
Two months ago, Jim Dunnigan started a revolution. He took over the wargame fanzine, Strategy and Tactics, and not only worked to revitalize it, he started the novel practice of releasing a new wargame in it every issue! Avalon Hill, the previous, undisputed king of the wargame publishers, comes out with one or two new games a year, whereas S&T plans to put out six to twelve (there are two in the current issue) of these magazine inserts in the same time—plus a whole line of regular releases. In fact, a number of them are already out as limited series test prototypes, which some of my friends are playing. Once they get through this round of testing, we should see some or all of them in a more finished form on our hobby store shelves.
Wow!
Last issue's wargame was Crete, which I was well pleased with. The two games in this issue are Bastogne, which looks very cumbersome, and a cutey called Anzio Beachhead, which we've had a lot of fun with. Let's take a look.
Reconnaissance
If the name strikes a chord, it's because we've already played a game with "Anzio" in the title—namely Anzio, which billed itself as "A Realistic Strategy Game of Forces in Italy… 1944"!
Which is funny because the game actually covers from the Salerno landings in September 1943. Anzio is a strategic game that covers the entire Italian campaign in WW2, with invasions treated very abstractly. The invasion of Anzio in January 1944 was planned as a flank of the Germany "Gustav Line", against which the Allies had stalled. The hope was that the Allies could pierce through at a weak point and destabilize the German front. Instead, the Allies were bottled up for four long months. The front didn't move again until the Allies bashed headlong into the Gustav Line, and General Mark Clark took the Anzio forces to Rome, claiming the Italian capital concurrently with the invasion of Normandy.
(This was the wrong move, strategically—by going for glory instead of providing an anvil for the Allied hammer, against which the retreating Germans would be smashed, it meant that the Italian campaign remained an agonizing meatgrinder until the end of the war.)
But that's neither here nor there. Anzio Beachhead depicts the landings and initial expansion at an operational level, covering the early part of the campaign. In fact, it's by the same fellow who designed Anzio, Dave Williams. Here's what Jim Dunnigan has to say about it:
"Anzio Beachhead was seen as another situation like the Bulge, where the attacker had a rapidly declining edge. The original American commander was not bold, and lost. So the idea with Anzio Beachhead was to explore the what if's. At that time, I had been working on designing games for about eight years (since I first discovered the Avalon Hill games.) Before that, I was always interested in the details of history, and how they were connected. Avalon Hill wargames were the first time I saw someone else thinking the same way, and doing it in a novel way. I was always building on that."
"I had been designing a similar game, called Italy, which incorporated the rest of the Italian theater, with a smaller scale map of the Anzio area (ie, two interrelated games, one strategic and the other operational). But when Dave's game came in I thought it did a better job of the Anzio section. We had come up with some of the same solutions, and his game was more compact and suitable for the magazine."
[New to the Journey? Read this for a brief introduction!]
by Gideon Marcus
Rows and floes of angel's hair
Woody Allen likes to quip that being "bi-sexual" (liking both men and women) doubles of your chance of getting a date on the weekend.
NASA has just doubled the amount of weather they can look at in a single launch. TIROS-M (does the "M" stand for "Mature"?) was launched from California on January 23rd into a two-hour orbit over the poles. 12 times a day, it circles the Earth, which rotates underneath. Unlike the last 19 TIROS satellites, TIROS-M can see in the dark. That means it gets and transmits a worldwide view of the weather twice a day rather than once.
More than that, the satellite is called the "space bus" because it carries a number of other experiments, measuring the heat of the Earth as well as solar proton radiation. Launched "pickaback" with TIROS-M was Oscar 5, an Aussie satellite that broadcasts on a couple of bands so ham radio fans can track signals from orbit. Maybe Kaye Dee will write more about that one in her next piece!
Clouds got in my way
If the distinctive feature of the Earth as viewed from space is its swaddling blanket of clouds, then perhaps the salient characteristic of this month's Analog is its conspicuous degree of padding. Almost all of the stories are longer than they need to be, at least if their purpose be readability and conveying of point. Of course, more words means more four-cent rate…
Theatrical poster for An Evening of Edgar Allan Poe
An Evening of Edgar Allan Poe is an hour-long film in which four Edgar Allan Poe stories are recited by Vincent Price. Originally made as a television play (and in a way which suggests it was based on a theatrical production, albeit with the addition of some new visual effects), it’s reminiscent of the BBC’s A Ghost Story For Christmas segment, and I was recently asked to view it as a possible acquisition as a teaching tool by my university’s English Literature department.
The Cask of Amontillado
The programme is split into four segments, in each of which Price recites a different Poe short story. Fairly predictably, these are “The Tell-Tale Heart”, “The Sphinx”, “The Cask of Amontillado” and “The Pit and the Pendulum”. Each segment is performed with Price in character as the narrator of each story, with appropriate costuming and sets. Although Price does show a decent range in playing different characters, they’re all very much within Price’s repertoire as an actor, so, although none of the performances are bad, there are no real surprises to be had here.
The Sphinx
I felt the best segment was “The Cask of Amontillado”. Price really seems to relish the role of Montressor and plays him with a wicked twinkle in his eye, surrounded by luxurious draperies and furniture and a banquet-table of food. The weakest for me was “The Sphinx,” which struggled to hold my attention, though it did have an effective use of special effects when we briefly see a skull overlaid over Price’s face at a crucial moment.
The Pit and the Pendulum
By contrast, “The Pit and the Pendulum” was a good enough dramatization of an exciting story, but the problem was that the producer seemed to feel it needed jazzing up with effects shots of Price falling into the pit, Price helpless before the pendulum, Price faced with colour separation overlay ("chroma-key" to yanks) flames, and so forth. The rats were far too cute, with inquisitive little faces and glossy fur, for me to find them horrific.
Finally, “The Tell-Tale Heart” was a good choice as the opening story, told simply with the set a bare garret, with Price steadily ramping up the hysteria as the narrator follows his path into murder and madness.
The Tell-Tale Heart
One great benefit I can see from this production is a chance to show audiences who may just know Poe from the cinematic productions loosely based on his work, just how skilled a horror writer Poe was in real life. The issue with something like “The Pit and the Pendulum” is that one can’t really get an entire 90-minute film out of it without adding a lot of material, which, while it can work as a movie, means you lose the terrifying economy of the original story (although if anyone wants to adapt “The Cask of Amontillado”, I think one could spend at least 90 minutes exploring the buildup of resentment in the two characters’ relationships that led up to the final murder). For this reason, I’m recommending that the English Literature department acquires a copy, and would also say that, if it turns up on TV in your region, it’s worth a watch.
3 out of 5 stars.
by Victoria Silverwolf
There's A Signpost Up Ahead . . .
Two films I caught recently reminded me of Rod Serling's late, lamented television series Twilight Zone. Let's take a look.
The Moebius Flip
Less than half an hour long, this skiing film is the sort of thing that might be shown at a college campus, before the main feature in a movie theater, or to fill up time on television in the wee hours of the morning. The brief running time isn't the only thing that reminds me of Serling's creation.
We begin with scenes of people skiing, edited in a jumpy way. Jazz, rock, and folk music fill up the soundtrack. The skiers also fool around in the snow, eat some fruit, and so forth.
Suddenly, we see a news announcer. He tells us that scientists have determined that every subatomic particle in the universe has reversed polarity. I'm not sure what that means, but let's see what happens.
Somehow, this is supposed to change the way people perceive things. That means the film turns into a negative of itself.
This goes on for a while, then the movie goes back to normal. Once in a while, it turns back into a negative. I guess that's a Moebius Flip. Along with more skiing, we get folks at an amusement park and eating in a restaurant. This part of the film features some pretty impressive and scary scenes of dangerous winter sports. People ski over huge crevasses, wind up on top of a tower of snow, and hang from cliffs.
Is it worth twenty-odd minutes of your time? Well, if you like psychedelic images or are a big fan of skiing, it could be. The science fiction premise is just an excuse to reverse the colors of the film, and there's no real plot at all. I've never been on a pair of skis, so I can only appreciate the athleticism on display here as an outsider.
Two stars.
Sole Survivor
This is a made-for-TV movie that aired on CBS stations in the USA earlier this month. It begins with five men in World War Two uniforms standing around a wrecked American bomber of the time. They seem to be in pretty good shape, given that they're in a desert wasteland. Things get weird when we find out they've been waiting to be rescued for seventeen years.
The crew of the Home Run.
It quickly becomes clear that they are ghosts, waiting for their bodies to be found so they can stop haunting the wreck.
I should note here that the premise is inspired by the case of the Lady Be Good, a bomber that crashed in the Libyan desert in 1943 and was not discovered until 1958.
The real wreck.
Fans of Twilight Zone will remember the episode King Nine Will Not Return, which was also inspired by the fate of the Lady Be Good. That tale goes in a different direction, however.
Two men in an airplane discover the wreck. (By the way, the fact that the ghosts have been waiting for seventeen years means that the movie takes place in 1960 or so. There's no other indication that it's set a decade ago.)
The discoverers, who look more 1970 to me.
This leads to an official investigation by the United States Army. (Remember that the Air Force was part of the Army, and not a separate branch of the service, until a few years after World War Two.) Two officers are in charge of the mission.
William Shatner, fresh from Star Trek, as Lieutenant Colonel Josef Gronke and Vince Edwards, best known as Ben Casey, as Major Michael Devlin.
They pay a visit to the sole survivor of the Home Run. This fellow parachuted out of the plane and landed in the Mediterranean Sea, managing to make it out alive to continue his military career. (More details of what happened later.)
Brigadier General Russell Hamner, as played by Richard Basehart, recently the star of the TV series Voyage to the Bottom of the Sea.
Hamner agrees to accompany the two officers to the North African desert. He claims that all of the crew of the Home Run bailed out into the ocean, so the plane must have continued without them for several hundred miles before it crashed. Unlikely, but possible. Flashbacks tell us the real story.
Hamner as the navigator of the Home Run during the war.
The bomber was damaged in an attack by the enemy. The captain ordered Hamner to plot a course back to base, but he panicked and bailed out against orders. Without a navigator, the crew went off course and the plane crashed.
Tension builds as Devlin casts doubt on Hamner's story, and Gronke tells him not to make waves, lest he ruin his career. Both officers have their own concerns about their pasts, adding depth of character. Without giving too much away, let's just say that the truth comes out because of a harmonica, a rubber raft, and Hamner's guilty conscience. There's a powerful and poignant conclusion.
The last ghost faces an eternity playing baseball alone.
This is quite a good movie, particularly for one made for TV. I like the fact that the ghosts appear as ordinary men, rather than being transparent or something. The actors all do a good job. You'll never hear the song Take Me Out To The Ball Game again without having an eerie feeling.
Four stars.
by Brian Collins
Over the past several years, AIP has adapted stories by H. P. Lovecraft for the big screen—or at least the drive-in. The results have been mixed, but they could certainly be much worse. The first and still the best of these was The Haunted Palace (adapted from The Case of Charles Dexter Ward) back in '63, directed by Roger Corman, with a script by the late Charles Beaumont, and starring an especially tormented Vincent Price. It was a very fine picture. Now we have the latest entry in this "series," The Dunwich Horror, taken from the Lovecraft story of the same name, although it's a pretty loose adaptation.
The Dunwich Horror
One warning I want to give about this movie, one which has nothing to do with sex or violence, is that, aside from being generally a pretty strange film, there are several scenes featuring flashing lights, or a color filter changing rapidly to give one the impression of a strobing light. Some people (thankfully not many) are susceptible to epileptic fits if subjected to such stimuli.
Now, as for the film itself, once we get past what I was surprised to find is an animated (as in a cartoon) opening credits sequence, we start with what seems to be a flashback of a woman giving birth, surrounded by two elderly sisters and an old man. We then flash forward to Miskatonic University, that college of the occult and Lovecraft's making, in Arkham. Nancy Wagner (Sandra Dee) is a student who, in the college's library, meets a good-looking but unusual young man named Wilbur Whateley (Dean Stockwell), who is terribly interested in the Necronomicon. I'm sure his interest in the accursed book and his strange deadpan way of talking are perfectly innocuous. A certain professor at Miskatonic, Henry Armitage (Ed Begley), gets a bit of a hunch that Wilbur is up to no good, but for now does nothing about it.
The Necronomicon, kept in a cozy glass case.
"The Dunwich Horror" is one of Lovecraft's most celebrated stories, but it's also one of his trickiest. As with "the Call of Cthulhu," Lovecraft wrote "The Dunwich Horror" as if it were a report or an essay, a work of journalism or academia, rather than a fiction narrative. There's no protagonist, properly speaking, although Wilbur is certainly the story's nucleus. This remains sort of the case with the film, although Nancy and Armitage now serve as our eyes and ears, or rather as normal people in what becomes an extraordinary situation. However, it's not Sandra Dee or Ed Begley who caught my attention, but Dean Stockwell as Wilbur, who gives almost what could be considered a star-making role (to my knowledge his most high-profile roles up to now were film adaptations of Sons and Lovers and Long Day's Journey into Night), if not for the movie that surrounds him. Unlike his short story counterpart Wilbur here is not physically deformed, but instead talks in a strangely deadened tone, as if human emotions are foreign to him. Stockwell as Wilbur manages to be uncanny simply through how he talks and acts, which is a major point of praise.
Dean Stockwell as Wilbur Whateley and Sandra Dee as Nancy Wagner.
Director Daniel Haller and his team of screenwriters have opted to streamline Lovecraft's story while giving it a sort of romance plot, as well as a dose of sex and violence. Sex and Lovecraft have always been uneasy bedfellows, even in something like "The Shadow Over Innsmouth" which explicitly involves sex in its plot. Wilbur is one of two twins, the other having supposedly died in childbirth, with the father being unknown, and his mother having been kept in an asylum for the past two decades. Wilbur lives with his grandfather, Old Man Whateley (Sam Jaffe, who some may recognize as that one scientist in the now-classic The Day the Earth Stood Still), who seems convinced his grandson is also up to no good, but arbitrarily (the film does nothing to explain this) does nothing about Wilbur being a scoundrel. For his part, Wilbur sees Nancy as a pretty fine girl—for a dark ritual, that is. The idea is that if he can steal the Necronomicon and impregnate Nancy (the implication, via a mind-bending scene, is that he rapes her), he can bring one of "the Old Ones" into the human world.
Sam Jaffe as Old Man Whateley and Ed Begley as Professor Henry Armitage.
As this point the plot splits in two, with one half focusing on Wilbur and Nancy's "romance" while the other sees Armitage tracking down the mystery of Wilbur's birth, since it becomes apparent the young man and the Necronomicon are somehow connected. One of the strangest (sorry, "far-out") scenes in the whole movie is when Armitage goes to see Wilbur's mother (Joanne Moore Jordan), who apparently had lost her mind many years ago upon giving birth to Wilbur and his dead twin. When it comes to this movie, there are two types of strange: that of the unnerving sort, and that of the cheesy sort. There are parts (sometimes moments within a single scene) of this movie that do a good job of spooking the audience, and others where it's rather silly. With that said, the nightmarish effect of Jordan's performance combined with the changing color tints in this scene make it one of the most effective. This is a movie that generally shines brightest when it focuses on Stockwell's performance and/or the Gothic cliches (including a creepy old house) that clearly also influenced Lovecraft's writing. Maybe it's because they didn't have the budget for it, but the lack of an on-screen monster for the vast majority of the film's runtime also works in its favor.
Joanne Moore Jordan as Wilbur's mother, who's spent the past two decades as a mental patient.
When Old Man Whateley finally decides to take action, Wilbur kills him for his troubles, along with imprisoning one of Nancy's friends and turning her into some kind of abomination. Meanwhile Wilbur gives his grandfather a heathen burial and in so doing provokes the wrath of the Dunwich townspeople, who never liked the Whateleys anyway. It's revealed, or rather speculated, that Wilbur's twin may not have died after all, but instead gone to the realm of the Old Ones while Wilbur got stuck on Earth as a human. Armitage and the townsfolk succeed in stopping Wilbur from completing his ritual with the unconscious Nancy, Armitage being well-versed enough in the Necronomicon to use the book against Wilbur, killing him with a blast of lightning. So the last of the Whateley men is dead. Unfortunately, the final shot, eerily showing a fetus growing inside Nancy (which is odd, because she's probably only been pregnant a day or two), implying an Old One may be born after all.
Dean Stockwell at his most devilish.
Lovecraft purists will surely be much disappointed with this movie, and even as someone who is not exactly a Lovecraft fan, I have to admit it's by no means perfect. Even at 90 minutes it feels a bit overlong, and it tries desperately to contort one of Lovecraft's more unconventional stories into having a three-act structure. I also get the impression that the addition of blood and breasts was to appease those (people my age and younger) who are suckers for AIP schlock. Not too long ago we had Roger Corman's so-called Poe cycle, which for the most part did Edgar Allan Poe's (and in one case Lovecraft's) fiction justice on modest budgets. I would say The Dunwich Horror is on par with one of the lesser of Corman's Poe movies.
A high three stars.
[New to the Journey? Read this for a brief introduction!
![[February 18, 1970] <i>Time Trap</i>, <i>This Perfect Day</i>, <i>Whisper from the Stars</i>, and <i>The Incredible Tide</i>](https://galacticjourney.org/wp-content/uploads/2025/02/700220covers-672x372.jpg)
![[February 16, 1970] Unassailable Fortresses? A Full-Five pair of issues: (<i>Vision of Tomorrow #6</i>)](https://galacticjourney.org/wp-content/uploads/2025/02/VOT6d-446x372.png)
![[February 14, 1970] <i>Spock must Die!</i>, <i>Starbreed</i>, <i>Seed of the Dreamers</i>, and <i>The Blind Worm</i>](https://galacticjourney.org/wp-content/uploads/2025/02/700214covers-672x372.jpg)
![[February 12, 1970] Up Front (March 1970 <i>Amazing</i>)](https://galacticjourney.org/wp-content/uploads/2025/02/amz-0370-cover-672x372.png)
![[February 10, 1970] Thirty Years To Go (<i>The Year 2000</i>, a science fiction anthology by Harry Harrison)](https://galacticjourney.org/wp-content/uploads/2025/02/THEYEARF51970.jpg)
![[February 8, 1970] Boldly going to the Region Between (March 1970 <i>Galaxy</i>)](https://galacticjourney.org/wp-content/uploads/2025/02/700208galaxycover-653x372.jpg)
![[February 6, 1970] All We Are Saying Is Give The Peace Game A Chance (<i>The Peace Game, AKA The Gladiators</i>)](https://galacticjourney.org/wp-content/uploads/2025/01/PG10.jpg)
![[February 4, 1970] To Rome, with love (SPI's wargame, <i>Anzio Beachhead</i>)](https://galacticjourney.org/wp-content/uploads/2025/01/700204art-672x372.jpg)
![[January 31, 1970] Both sides now (February 1970 <i>Analog</i>)](https://galacticjourney.org/wp-content/uploads/2025/01/700131analogcover-631x372.jpg)
![[January 28, 1970] Cinemascope: Just a Poe Boy (<em>An Evening of Edgar Allan Poe</em>, <em>The Moebius Flip</em>, </em>Sole Survivor</em>, and <em>The Dunwich Horror</em>)](https://galacticjourney.org/wp-content/uploads/2025/01/12970-an-evening-of-edgar-allan-poe-0-460-0-690-crop-2830000383-460x372.jpg)
Theatrical poster for An Evening of Edgar Allan Poe
The Sphinx
The Pit and the Pendulum
The Tell-Tale Heart
