Wonderworks by Michael Whelan

'Wonderworks'

Science fiction & fantasy art by Michael Whelan

 

‘Wonderworks: Science Fiction & Fantasy Art by Michael Whelan’ was published in 1979 by The Donning Company.

Starting around 1975, publishers of sf, and the growing genre of fantasy, began to turn from the abstract, figurative artwork of the New Wave era, towards a more ‘realistic’ and painterly style of illustration, for their book covers.

There were a number of talented artists whose work was seminal to this transition, among them the Brothers Hildebrandt, Chris Foss, Patrick Woodroffe, Darrell K. Sweet, Tim White, and Michael Whelan. 

The latter’s work was plentifully evident in many paperbacks released from 1975 – 1979, the interval covered by this book.

‘Wonderworks’ is divided into several chapters devoted to the genres of sf, heroic fantasy, romantic fantasy, horror, heroines, and aliens. Whelan's paintings for mass market paperbacks and hardbound books in these genres all are reproduced in large-scale, full-color format. 

Each of these chapters features an introductory essay by a well-known author or editor whose work employed a painting by Whelan, such as Poul Anderson, Michael Moorcock, Gerald W. Page, Ann McCaffrey, and Alan Dean Foster.

Many of these illustrations will evoke nostalgia among readers of the PorPor era, and probably will move them to seek out copies of the paperback for which the cover artwork was used.

I’ve posted some images from 'Wonderworks' below, along with some of the relevant paperbacks, to give you an idea of how the original images were cropped or obscured to meet the confines of paperback cover layout and sizing.

Michael Whelan continues to be active in fantastic artwork and illustration; his website is: http://www.glassonion.com/.

Brother Assassin by Fred Saberhagen, Ace Books, 1978

The Night Face by Poul Anderson, Ace Books, 1978

The Year's Best Horror Stories: Series V, edited by Gerald Page, DAW Books, 1977

 

The Year's Best Horror Stories: Series IV, edited by Gerald Page, DAW Books, 1976

Dying for Tomorrow by Michael Moorcock, DAW Books, 1978

Swords and Ice Magic by Fritz Leiber, Ace Books, 1977

Stormbringer by Michael Moorcock, DAW Books, 1977

World Without Stars by Poul Anderson, Ace Books, 1978

Gate of Ivrel by C. J. Cherryh, DAW Books, 1976

The Planet Savers by Marion Zimmer Bradley, Ace Books, 1976

'Orion' by Gray Morrow

from the March 1978 issue of Heavy Metal

'Orion' debuted in the March, 1978 issue of Heavy Metal magazine and ran in succeeding issues throughout the remainder of that year.

A compilation of the 'Orion' series is being released as a trade paperback by Hermes Press in mid-2012, and is available for pre-order at online retailers.

Book Review: 'The Winged Man', by E. Mayne Hull and A. E. Van Vogt

1 / 5 Stars

‘The Winged Man’ first appeared in print in 1944 in Astounding Science Fiction, with Edna Mayne Hull – Van Vogt’s first wife - as the sole author. An expanded version was published in 1966 with Van Vogt as a co-author; seeking to fill its early catalog, DAW Books re-issued the novel in 1980 as book No. 378; the luminous cover art is by Douglas Beekman.

The novel starts with a US Navy atomic submarine, the Sea Serpent, cruising in the darkness of the South Pacific. Officer Kenlon espies what appears to be a very large bird flying past the ship; the ‘bird’ soon turns out to be a winged man, who attaches devices of unknown design and purpose to the sub’s surface.

Kenlon and his crew succeed in capturing the winged man; no sooner is he imprisoned below decks, than the submarine is somehow transported to the Pacific Ocean of the far, far future: the year 24,999, to be exact.

It transpires that the Sea Serpent is one of a number of vessels from various centuries, all brought into the future by the winged men. It seems the winged men are losing a war being waged against an aquatic subspecies of Homo sapiens, and they believe the firepower of the submarine, and the other vessels in their unusual armada, can destroy the undersea city of their adversaries.

But as office Kenlon soon discovers, there is more to the story than a war among two races of a future mankind. He and the crew of the Sea Serpent will find themselves forced to make a decision with consequences for the fate of the entire galaxy….

Aware that ‘Winged’ originated as a pulp novel, I had no major expectations upon reading it. Even so, it was a chore to finish.

It’s difficult to tell if Van Vogt’s contribution to the expanded version made the original story worse, or better. But as it stands, ‘Winged’ spends the greater part of its narrative belaboring the interactions between the crews of the various ‘kidnapped’ sea vessels. Indeed, not until the final 11 pages of the book, does the battle promised in the back cover blurbs come to fruition. 

As a novel, ‘Winged Man’ is tedious and unremarkable, particularly for a novel re-written in 1966, by which time the prose skills of  Van Vogt, at least, should have showed some signs of advancement.

Starting in 1956 with Damon Knight’s essay ‘Cosmic Jerrybuilder’, Van Vogt became the target of increasing disparagement by other sf writers. 

I can’t say if the limited set of Van Vogt fiction that I’ve read over the years is of sufficient magnitude to allow me to agree with Knight, particularly in light of the fact that an awful lot of the New Wave content I’ve waded through has represented sf at its worst. 

But ‘The Winged Man’ is easily forgettable.

'Surprise Party' by Brenda Jackson and Serge Clerc

from Heavy Metal, March 1982 

Starsky and Hutch: The 'Lightbulb' Killer

Starsky and Hutch: The 'Lightbulb' Killer 

('Vendetta')

November 27, 1976

While the show may seem cheesy to today's audiences, back in the mid-70s 'Starsky & Hutch' was a highly-rated series, and we never passed up a chance to catch it on the little 22" black and white TV at our house in upstate New York.

One of the creepiest episodes I remember seeing first aired on November 27, 1976, and was officially titled 'Vendetta', although I will always remember it as the 'Lightbulb' killer episode.

The killer is a young man named Tommy (played by Gary Sandy, who two years later would be cast as 'Andy Travis' in WKRP in Cincinnati). 

Tommy is seriously, seriously fucked up; he lies on a dirty mattress all day, in a squalid apartment, staring at a naked light bulb dangling from the ceiling (!)

When sometime friend Jimmy Shannon comes calling...

...Tommy appears, maniacal and wielding a baseball bat....!

His erstwhile friend kisses this world goodbye.

Assigned to the murder of Jimmy Shannon, Starsky and Hutch check out the corpse at the city morgue: broken skull, shoulders, and legs.....

It turns out that Tommy is being manipulated into serving as a 'hit man' by a sleazy, middle-aged bellhop named Artie.

Next on the Hit List: a middle-aged business man (played by M. Emmett Walsh), who needs to be beaten up, but not killed.

As Starsky and Hutch pursue their investigation, the increasingly nervous Artie decides it's best to eliminate Hutch's girlfriend Abby (Ann Foster). 

While Tommy gazes at his lightbulb, the order for murder is given. [These 'lightbulb' sessions featured an eerie - sounding synthesizer background track.]

Wearing Sunglasses At Night (like all stylish Psycho Killers are apt to do) Tommy makes his way to Abby's apartment....

Will Abby survive ? Will Starsky and Hutch catch the lightbulb killer and his evil mastermind Artie ? 

I won't reveal any spoilers, but you can watch 'Vendetta' for $2 at amazon Prime video.

Book Review: The Orange R

Book Review: 'The Orange R' by John Clagett

4 / 5 Stars

‘The Orange R’ (256 pp) was published in May 1978 by the Popular Library; the identity of the cover artist is not provided.

With the one-year anniversary of the Fukushima disaster at hand, a novel about the dangers of nuclear power seems appropriate reading.

‘Orange R’ is set in an alternative USA, circa 2000. Nuclear energy has emerged as the major source of power, and the industry wields unprecedented economic and political muscle. The NRC and AEC act to advance the interests of the fission energy consortiums, and deter any efforts by the public to lessen the influence of the nuclear mandarins.

The advent of ‘clean, cheap, and plentiful’ energy has not been without cost. Vast tracts of the northern US have been contaminated with fallout from reactor accidents, and the botched disposal of nuclear waste. Those areas of the US free from fallout are encased in enormous transparent domes, and the air and water entering these environs is decontaminated in order to maintain the health of the dome-dwellers.

The population of the US is divided into two groups, all identified by the state of a dosimeter implanted in the backs of their hands. Once too many rads have been received, the dosimeter is permanently altered to present a glowing orange R, as reflected in the book’s title. Those unfortunates with this modern Scarlet Letter are designated as ‘Roberts’, and forced to don contamination suits when entering cities and buildings otherwise free of fallout. Roberts are forced to live in the contaminated zones of the country and face discrimination from the ‘Normals’, the non-irradiated segment of the population.

‘Normals’, whose dosimeters display no orange R, are free to live without protective gear within their own cities; however, when stationed in the fallout zones, Normals must wear transparent rad suits. Normals are allowed so many minutes per week or month of exposure to the air, and are monitored for their dosage of radionuclides; too many rads, and there is a danger of developing the dreaded orange R, and permanent banishment to Robert country.

As the novel opens Kirk Patrick, an earnest (if not particularly imaginative) young man employed by the power company, is assigned to duty at a plant in Vermont – Robert country. Once on the job at his new workplace, Kirk befriends the local Roberts, including a pretty young woman named Anne.

As Kirk spends more time among the Roberts – always in his protective oversuit –he comes to appreciate the their unadorned take on life. As well, Kirk becomes aware of the prejudice against the Roberts casually displayed by the dominant Normals.

Will Kirk experience a revelation and join the Roberts in their struggle against the despoilment of their lands at the hands of the Nuclear Bloc ? Or will he remain a faithful Company Man, secure in his status as a Normal and the inheritor of the ‘modern’ US ?

‘The Orange R’ is not an action-centered novel along the lines of Swanwick’s ‘In the Drift’, or Robinsons and Scortia‘s ‘The Prometheus Crisis’. Rather, ‘The Orange R’ is a contemplative polemic against nuclear power.

Author Clagett makes clear from his opening chapter that he regards nukes as one of the biggest calamities to befall modern civilization. He makes his argument through the juxtaposition of the natural splendor of the New England countryside (at times the novel reads like a piece from ‘Field and Stream’ magazine), with the ecological 'atrocities' committed by the rapacious power industries.

‘The Orange R’ stands as an interesting premonition, coming as it does from the era prior to Three Mile Island and Chernobyl. Readers looking for a thoughtful, if slow-paced, novel about nuclear power and its discontents, will want to search for a copy.

Heavy Metal magazine March 1978

'Heavy Metal' magazine March 1978

 

It's March, 1978, and the disco sounds of the Bee Gees are ruling the top 40 charts, with 'I Go Crazy' by Paul Davis, and 'Emotion' by Samantha Sang, also elbowing into the Billboard Top 10.

The March issue of Heavy Metal is on the stands, with a wraparound cover by Jim Burns titled 'Colonel Killing'. 

It's the end of its first year of HM's publication, and a very successful year it has been. Stoners and sf fans everywhere have discovered a 'slick' magazine that features comics, some of the them R-rated, printed with top-quality process color on good paper stock. All of a sudden, all of the Marvel and DC comic books, and even the Warren magazines, look outdated and passe.

The March 1978 issue ably showcases the printing technology on display in HM, with Jean-Michel Nicollet's 'The Abracax Effect'. 

As with most of Nicollet's strips, the plot is surreal, while the artwork is above and beyond most anything American comics fans have ever seen before....

There are a number of other memorable stories in the March issue, and I'll be posting them as the month unfolds.