'The Bus' by Paul Kirchner

Book Review: The Trial of Billy Jack

Book Review: 'The Trial of Billy Jack', by Howard Liebling

3 / 5 Stars

It’s 1974 and the hippie movement of the 60s has fast dwindled to nostalgia. The remnants of the counterculture retreat to communes and group living, while everyone else sells out to the hedonism and self-absorption of the 70s (perhaps hosting a ‘key party’ like the one depicted in the movie ‘The Ice Storm’).

For the half-breed Billy Jack, his girlfriend Jean, and the groovy kids of the Freedom School in the rural southwest, things aren’t going well in their struggle against the Establishment. Billy is tried for the murder of a redneck townie (which took place in the previous movie ‘Billy Jack’, 1971) and sentenced to four years in prison.

In his absence Jean and the Freedom kids embark on a campaign to record and document acts of corruption by the town and state governments, whose elected officials are intent on closing down the school and driving all those troublesome hippies out of the state.

Jean and the kids also must confront acts of bigotry and malfeasance waged against the vulnerable Indians of the surrounding territory by the White Man. When Billy Jack is released on parole, it’s time for rejoicing, as the school’s mentor and hero is back on the scene with new words of wisdom, and assurance, gained from a Vision Quest in the surrounding desert.

However, the Men in Power aren’t going to let Billy’s return deter them from their plans. It’s only a matter of time before the rednecks and Billy have a series of confrontations…and however much Billy wants to renounce violence, he’s going to have to defend the School and its pupils if they are to have a future…

‘The Trial of Billy Jack’ is a novelization of the film’s script (written by its star and director, the actor Tom Laughlin, who first portrayed Billy in 1967’s ‘The Born Losers’). The book contains an insert of black and white stills from the film.

‘Trial’ was a big hit back when it was released. Laughlin’s outfit of a black, wide-brimmed hat with a Navajo band around the crown, and a cropped-length denim jacket, was the perfect uniform for a counterculture hero who took his shoes off (?!) before launching karate kicks at nonplussed rednecks.

The Freedom School kids of either gender all have shoulder-length hair parted in the middle, and washed daily with Herbal Shampoo. They sport bell-bottomed polyester trousers or jeans, and pursue 'mellow' pastimes such playing acoustic guitar and singing treacly folk tunes.

While the film’s plot may have wandered, it never strayed far from its theme of confrontation between the pure people – exemplified by Billy and his followers - and the loathsome Establishment bigots.

But I suspect contemporary audiences are going to find the film unimpressive. Too much camera time is devoted to the antics and speeches of the school kids, which will seem dated and downright corny to modern viewers. The action sequences are few and far between, and while the movie’s climactic battle is memorable and effective, the viewer is forced to sit through a lot of tedium before things start to come together script-wise.

This novelization is a good way to experience the Billy Jack scene without having to sit through the entire film in all its flawed glory.

'Heavy Metal' magazine: July 1980

The July 1980 issue of ‘Heavy Metal’ features a front cover illustration by Carol Donner titled ‘Invaders From Mars: Part II’ and a back cover by Tito Salomi, titled ‘And the Children Play’.

This issue contains some major advertising (at least by the historical standards of the magazine); Kawasaki bought an inside front cover ad for their KE100 dirt bike, and the opening page of the magazine has a full-page ad from Bic cigarette lighters. ‘Starlog’ magazine purchased the inside back cover ad space. Things were looking promising for the sales and marketing staff of Heavy Metal…

The contents of this issue include a new story by Bilal titled ‘Progress’,  the first part of a mediocre strip by Moebius called ‘Shore Leave’, another installment of ‘The Alchemist Supreme’ by Ribera and Godard, and ‘Kraoo’ by Sokal. 

Among the more visually interesting short pieces was ‘A Message from the Shadows’ by Druillet. Its striking orange-and-red color scheme loses some intensity when scanned thirty years after being printed, or at least when using a bright-setting LCD monitor to view things, but (hopefully) my tinkering with the ArcSoft Photo Studio app should correct things a bit…..

Book Review: Them Bones

Book Review: 'Them Bones' by Howard Waldrop

4 / 5 Stars

‘Them Bones’ was among the first of the ‘new’ iteration of Ace Science Fiction Specials that saw print in 1984 (others being ‘Neuromancer’ by Gibson, ‘The Wild Shore’ by Robinson, ‘Green Eyes’ by Shepard, and ‘Palimpsests’ by Scholz and Harcourt). The cover art for ‘Them Bones’ (225 pp.) is by Marvin Mattleson.

The novel's overarching plot deals with time travel; specifically, the US in 2003 seeks to change the course of history and avoid the wars and destruction that have turned the nation into a radiation-soaked wasteland. By sending a force of scientists and soldiers back into early 20th century America, the hope is to alter the timeline so as to prevent the advent of armageddon.

Subsumed within this plot are three main storylines. One concerns the adventures of Madison Yazoo Leake, a time traveler who is sent into the past….but too far into the past, as it turns out. Leake winds up in what at first glance seems to be Louisiana, at the time before the Europeans colonized North America. But the mound-building Indian tribe that adopts him is clearly not lodged in the same timeline of Leake’s future, for there are Arabs sailing the Mississippi and woolly mammoths roaming the countryside.

Another storyline deals with the detachment of 147 troops and scientists sent through the time portal to rendezvous with Leake. Something has gone wrong and they have missed the target time and place; to make things worse, the local Indian population soon turns decidedly unfriendly.

A third storyline deals with a team of archeologists, who in 1929 are excavating mounds in Louisiana, in territory alongside the Mississippi river. When a laborer discovers a horse skull displaying what appears to be a rifle bullet wound, the excavation team realizes that they may find artifacts within the mounds unlike anything before encountered in a pre-Columbian dig….

‘Them Bones’ is a well-written SF adventure novel. Waldrop uses a clean, fast-moving narrative prose style and short chapters to keep his three intersecting storylines untangled and coherent. The Madison Leake story thread is the major one of the novel and features plenty of dry humor; in the last fifth of the book, it involves an exciting chase sequence that Mel Gibson may have ripped off for his 2006 film ‘Apocalypto’.

‘Them Bones’ continues to be one of the best entries in Terry Carr’s Ace SF Specials from the mid-80s.

Sabre image by Paul Gulacy

'Sabre'

from the 1978 comic book by Don McGregor and Paul Gulacy

 'Questar' magazine June 1980

Questar was a 8 x 11"  magazine published from 1978 to 1981 by MW Communications of Pittsburgh, with William Wilson serving as editor. The magazine was a 'slick', printed in color on higher quality paper stock, with a newstand / magazine rack distribution that placed it alongside more mainstream publications like 'Time' and 'Car and Driver'.

The runaway success of 'Star Wars' in 1977 had made possible the commercial viability of a new generation of SF magazines devoted to covering the genre in film and television. The leading publication of this type was Starlog, which debuted in 1976 and soon achieved a respectable circulation. The magazine Omni, first issued in October 1978, was aimed at a more sophisticated audience and was also enjoying financial and critical success. Questar was designed to fall somewhere in between the two types of magazines. It did not achieve the economic success of its competitors, however, and the magazine folded after issuing its 13th and final issue in 1981.

The June 1980 issue features a fawning interview with author A. E. Van Vogt. There's another interview, this one with uber-SF geek Forest J. Ackerman, and coverage of the upcoming big budget movie 'Conan'. I've excerpted an ad for various groovy sci-fi soundtracks:

There's a 'cheescake for geeks' section focusing on British SF and horror movie actress Caroline Munro:

There's a review of the movie 'Saturn 3', a great example of a cheesier late 70s -  early 80s sci-fi film:

There's also a worshipful in memorium piece about the mask-maker Don Post, Jr., who died in 1979, and whose company (coincidentally) bought a lot of ad space in 'Questar' :

'Going to Pieces' by Francois Schuiten
(from the May 1978 issue of 'Heavy Metal' magazine)

Book Review: The Overman Culture

Book Review: 'The Overman Culture' by Edmund Cooper

3 / 5 Stars

‘The Overman Culture’ (191 pp) was published by Berkley in 1972; the cover artist is uncredited, but according to the ISF database is Paul Lehr.

Michael Faraday is a young boy growing up in middle-class surroundings in London during the latter half of the 20^th century. But it’s a strange sort of London. 

The entire city is surrounded by an enormous, transparent force field; there is a world war going on, marked by ineffective, but frequent, bombing runs against the city by fleets of biplanes and zeppelins. Queen Victoria and Winston Churchill are alive and well and amble about the city on hovercars, while the cinemas show outdated films like ‘Gone With the Wind’. 

The population of the city is unusually small, and the overwhelming majority of its inhabitants, such as Michael’s parents, are oddly emotionless and prone to vapid moralizing. Michael’s classmates at grammar school are named Horatio Nelson, Ellen Terry, and Emily Bronte; the significance of these names is lost to him because he is not expected to learn to read.

As Michael grows into a teenager he becomes increasingly aware that there is something artificial, even duplicitous, about the world he lives in. Against the admonitions of his parents and other ‘drybones’ in authority, Michael and his small group of friends embark on a covert campaign to learn all they can about the true nature of the city and their place within it. But every discovery they make only raises new questions, and as the scrutiny of the drybones grows more intense, Michael and his friends realize they are running out of the time they need to uncover the reality of their existence...........

 ‘Overman’ will call to mind recent films like The Matrix, which also uses the theme of a protagonist struggling to break the confines of a world that seems artificial, and, without giving too much away, the ending of Overman will echo that of The Matrix. 

The novel unfolds with deliberate pacing and reader is induced to continue as author Cooper, through the vehicle of the main character Michael Faraday, gradually discloses more revelations about the world of the Overman culture. 

The novel’s main drawback is that the narrative begins to drag well before the climactic Revelation is presented within the last 30 pages, and the Revelation itself is rather clichèd. Nonetheless, ‘Overman’ will be appreciated by readers looking for a slower-paced SF novel with a more contemplative tenor.

'The Bus' by Paul Kirchner

Killraven: 'Amazing Adventures' No. 29

(March 1975)

‘Amazing Adventures featuring Killraven’ No. 29 (March 1975) appeared on newsstands in the Christmas / New Years season of 1974. 

This issue, ‘The Hell Destroyers’,  continues the ‘Death Breeders’ storyline involving Killraven's quest to free what used to be Chicago from control of the Martians and their human lackeys. The script is by Don McGregor and the art and colors by Craig Russel. 

Things improve page-wise with this issue, as the number of pages devoted to the Killraven story goes up to 19, with no filler material (such as reprints from Marvel stories from the 1950s). The reason for the return to the page counts routine for comics of previous years is unclear; perhaps the beleaguered Marvel staff is beginning to catch up with their workload. Or maybe Stan Lee came to his senses and canceled a bunch of books and assigned the artists to existing titles.   


Unfortunately, despite the increased pages given to him to work with, MacGregor can't help stuffing too much awful dialogue and text boxes into each panel, essentially overwhelming the decent art by Russell. There are also too many characters vying for attention - Killraven's crew has grown too big for its own good. Nonetheless the story does work up some momentum, and features some gruesome revenge upon the servants of the Martians.