1.
Science Fantasy (magazine)
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Walter Gillings was editor for the first two issues, and was then replaced by John Carnell, the editor of New Worlds, as a cost-saving measure. Carnell edited both magazines until Nova went out of business in early 1964, the title was changed again to SF Impulse for the last few issues. Science Fantasy ceased publication the following year, when Roberts & Vinter came under pressure after their printer went bankrupt. Fantasy stories began to more frequently during the latter half of the 1950s. Under Bonfiglioli more new writers appeared, including Keith Roberts, Brian Stableford, in early 1946, British fan John Carnell launched a new science fiction magazine titled New Worlds, published by Pendulum Publications. The first issue appeared in July 1946 and failed to sell well, the second issue, in October of that year, sold better, but Pendulum went out of business before the end of 1947 with only one more issue released. A group of sf fans, including Carnell and Frank Cooper, decided to restart the magazine under their own control, the fourth issue appeared in April 1949. At the same time that the first issue of New Worlds appeared, a separate British magazine called Fantasy was launched by Walter Gillings, a science fiction fan and a reporter by profession. Fantasy lasted for three issues before dying in 1947, but Gillings had accumulated a substantial inventory of stories—enough to fill nine issues. Gillings followed the demise of Fantasy by publishing a fanzine, titled Fantasy Review, in 1950, with New Worlds on a stable quarterly schedule, Nova Publications decided to launch a companion, Science Fantasy. They chose Gillings as the editor, and his fanzine, which had been retitled Science Fantasy Review in 1949, was incorporated in the new magazine as a department, the first issue was dated Summer 1950, but printing disputes meant that the second issue was delayed until winter. According to Carnell, there were fundamental differences of opinion that led to the decision to replace him. After the Spring 1953 issue Nova Publications decided to switch printers, in order to cut costs, maclarens legal department was helpful in resolving the dispute with The Carlton Press, and the seventh issue of Science Fantasy finally appeared with a cover date of March 1954. In 1958, Nova decided to launch a British reprint of the American magazine Science Fiction Adventures, the British Science Fiction Adventures lasted until May 1963, when it was felled by declining sales. S. In early 1964, David Warburton of Roberts & Vinter, a publisher, heard from the printer of Science Fantasy. Warburton gave Moorcock the choice of which magazine to edit, Moorcock chose New Worlds, Roberts & Vinter changed the format from digest to paperback, and the first issue under Bonfigliolis control was number 65, dated June–July 1964. The schedule was initially irregular, with each issue dated with two months even when two issues were only a month apart—for example, June–July 1964 was followed by July–August 1964. From March 1965 a regular schedule was begun
2.
Science fiction
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Science fiction often explores the potential consequences of scientific and other innovations, and has been called a literature of ideas. Science fiction is difficult to define, as it includes a range of subgenres and themes. Author and editor Damon Knight summed up the difficulty, saying science fiction is what we point to when we say it, a definition echoed by author Mark C. Glassy, who argues that the definition of science fiction is like the definition of pornography, you do not know what it is, in 1970 or 1971William Atheling Jr. According to science fiction writer Robert A, rod Serlings definition is fantasy is the impossible made probable. Science fiction is the improbable made possible, Science fiction is largely based on writing rationally about alternative possible worlds or futures. Science fiction elements include, A time setting in the future, in alternative timelines, a spatial setting or scenes in outer space, on other worlds, or on subterranean earth. Characters that include aliens, mutants, androids, or humanoid robots, futuristic or plausible technology such as ray guns, teleportation machines, and humanoid computers. Scientific principles that are new or that contradict accepted physical laws, for time travel, wormholes. New and different political or social systems, e. g. utopian, dystopian, post-scarcity, paranormal abilities such as mind control, telepathy, telekinesis Other universes or dimensions and travel between them. A product of the budding Age of Reason and the development of science itself. Isaac Asimov and Carl Sagan considered Keplers work the first science fiction story and it depicts a journey to the Moon and how the Earths motion is seen from there. Later, Edgar Allan Poe wrote a story about a flight to the moon, more examples appeared throughout the 19th century. Wells The War of the Worlds describes an invasion of late Victorian England by Martians using tripod fighting machines equipped with advanced weaponry and it is a seminal depiction of an alien invasion of Earth. In the late 19th century, the scientific romance was used in Britain to describe much of this fiction. This produced additional offshoots, such as the 1884 novella Flatland, the term would continue to be used into the early 20th century for writers such as Olaf Stapledon. In the early 20th century, pulp magazines helped develop a new generation of mainly American SF writers, influenced by Hugo Gernsback, the founder of Amazing Stories magazine. In 1912 Edgar Rice Burroughs published A Princess of Mars, the first of his series of Barsoom novels, situated on Mars
3.
Fantasy
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Fantasy is a fiction genre set in an imaginary universe, often but not always without any locations, events, or people from the real world. Most fantasy uses magic or other elements as a main plot element, theme. Magic and magical creatures are common in many of these imaginary worlds, in popular culture, the fantasy genre is predominantly of the medievalist form. In its broadest sense, however, fantasy works by many writers, artists, filmmakers. Fantasy is studied in a number of disciplines including English and other studies, cultural studies, comparative literature, history. The identifying trait of fantasy is the reliance on imagination to create narrative elements that do not have to rely on history or nature to be coherent. This differs from realistic fiction in that whereas realistic fiction has to attend to the history and natural laws of reality, an author applies his or her imagination to come up with characters, plots, and settings that are impossible in reality. Fantasy has often compared with science fiction and horror because they are the major categories of speculative fiction. Fantasy is distinguished from science fiction by the plausibility of the narrative elements, a science fiction narrative is unlikely, though seeming possible through logical scientific and/or technological extrapolation, whereas fantasy narratives do not need to be scientifically possible. The imagined elements of fantasy do not need an explanation to be narratively functional. Authors have to rely on the suspension of disbelief, an acceptance of the unbelievable or impossible for the sake of enjoyment. Despite both genres heavy reliance on the supernatural, fantasy and horror are distinguishable, horror primarily evokes fear through the protagonists weaknesses or inability to deal with the antagonists. Beginning perhaps with the earliest written documents, mythic and other elements that would come to define fantasy. MacDonald was an influence on both J. R. R. Tolkien and C. S. Lewis. The other major fantasy author of this era was William Morris, lord Dunsany established the genres popularity in both the novel and the short story form. Many popular mainstream authors also began to write fantasy at this time, including H. Rider Haggard, Rudyard Kipling and Edgar Rice Burroughs. Indeed, juvenile fantasy was considered more acceptable than fantasy intended for adults, nathaniel Hawthorne wrote fantasy in A Wonder-Book for Girls and Boys, intended for children, though works for adults only verged on fantasy. Political and social trends can affect a societys reception towards fantasy, in the early 20th century, the New Culture Movements enthusiasm for Westernization and science in China compelled them to condemn the fantastical shenmo genre of traditional Chinese literature
4.
Analog Science Fiction and Fact
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Analog Science Fiction and Fact is an American science-fiction magazine published under various titles since 1930. The first issue, titled Astounding Stories of Super-Science, was dated January 1930, published by William Clayton, Clayton went bankrupt in 1933 and the magazine was sold to Street & Smith. At the end of 1937, Campbell took over editorial duties under Tremaines supervision, the period beginning with Campbells editorship is often referred to as the Golden Age of Science Fiction. By 1950, new competition had appeared from Galaxy Science Fiction, in 1960, Campbell changed the title of the magazine to Analog Science Fiction & Fact, he had long wanted to get rid of the word Astounding in the title, which he felt was too sensational. At about the same time Street & Smith sold the magazine to Condé Nast, Campbell remained as editor until his death in 1971. Ben Bova took over from 1972 to 1978, and the character of the magazine changed noticeably, Bova won five consecutive Hugo Awards for his editing of Analog. The title was sold to Davis Publications in 1980, then to Dell Magazines in 1992, Crosstown Publications acquired Dell in 1996 and remains the publisher. Schmidt continued to edit the magazine until 2012, when he was replaced by Trevor Quachri, in 1926, Hugo Gernsback launched Amazing Stories, the first science-fiction magazine. Amazing was very successful, quickly reaching a circulation over 100,000, Clayton was unconvinced, but the following year decided to launch a new magazine, mainly because the sheet on which the color covers of his magazines were printed had a space for one more cover. He suggested to Harry Bates, a newly hired editor, that start a magazine of historical adventure stories. Bates proposed instead a science-fiction pulp, to be titled Astounding Stories of Super Science, Astounding was initially published by Publishers Fiscal Corporation, a subsidiary of Clayton Magazines. The first issue appeared in January 1930, with Bates as editor, Bates aimed for straightforward action-adventure stories, with scientific elements only present to provide minimal plausibility. In February 1931, the original name Astounding Stories of Super-Science was shortened to Astounding Stories, the magazine was profitable, but the Depression caused Clayton problems. Normally a publisher would pay a printer three months in arrears, but when a credit squeeze began in May 1931, it led to pressure to reduce this delay. The financial difficulties led Clayton to start alternating the publication of his magazines, some printers bought the magazines which were indebted to them, Clayton decided to buy his printer to prevent this from happening. As it turned out, enough stories were in inventory, and enough paper was available, to one further issue. In April, Clayton went bankrupt, and sold his titles to T. R. Foley for $100, Foley resold them in August to Street & Smith. Science fiction was not entirely a departure for Street & Smith, the first Street & Smith issue was dated October 1933, until the third issue, in December 1933, the editorial team was not named on the masthead
5.
Hard science fiction
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Hard science fiction is a category of science fiction characterized by an emphasis on scientific accuracy. The term was first used in print in 1957 by P. Schuyler Miller in a review of John W. Campbell, the complementary term soft science fiction, formed by analogy to hard science fiction, first appeared in the late 1970s. The term is formed by analogy to the distinction between the hard and soft sciences. The heart of the hard SF designation is the relationship of the content and attitude to the rest of the narrative. Later discoveries do not necessarily invalidate the label of hard SF, as evidenced by P. Schuyler Miller, there is a degree of flexibility in how far from real science a story can stray before it leaves the realm of hard SF. Readers of hard SF often try to find inaccuracies in stories, the same book famously featured a devastating inaccuracy, the eponymous Ringworld is not a stable orbit and would crash into the sun without active stabilization. Niven fixed these errors in his sequel The Ringworld Engineers, films set in outer space which aspire to the hard SF label try to minimize the artistic liberties taken for the sake of practicality of effect. Factors include, How the film accounts for weightlessness in space, how the film depicts sound despite the vacuum of space. Whether telecommunications are instant or are limited by the speed of light, cosmic Engineers, A Study of Hard Science Fiction. Hard Science Fiction Exclusive Interviews Kheper Realism scale Science Fiction Stories with Good Astronomy & Physics, the Ten Best Hard Science Fiction Books of all Time, selected by the editors of MITs Technology Review,2011 Low-Level Science fiction, Sci-fi with hard science and a literary slant
6.
Dying Earth (subgenre)
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Dying Earth is a subgenre of science fantasy which takes place in the far future at either the end of life on Earth or the End of Time, when the laws of the universe themselves fail. Themes of world-weariness, innocence, idealism, entropy, exhaustion/depletion of many or all resources, the Dying Earth genre differs from the apocalyptic subgenre in that it deals not with catastrophic destruction, but with entropic exhaustion of the Earth. The genre was prefigured by the works of the Romantic movement, jean-Baptiste Cousin de Grainvilles Le Dernier Homme narrates the tale of Omegarus, the Last Man on Earth. It is a vision of the future when the Earth has become totally sterile. Lord Byrons poem Darkness shows Earth after the Sun has died, another early example is La Fin du Monde, written by Camille Flammarion and published in France in 1893. The first half of the deals with a comet on a collision course with earth in the 25th century. The last half focuses on Earths future history, where civilizations rise and fall, humans evolve, and finally Earth ends as an old, dying, and barren planet. Another early and more science fiction work to utilize the familiar Dying Earth imagery was H. G. Wellss famous novella The Time Machine. At the end of work, the unnamed time traveller travels into the far future. He then returns to his own time to relate his tale to a circle of contemporaries, two brooding works by William Hope Hodgson would elaborate on Wellss vision. The House on the Borderland takes place in a house besieged by unearthly forces, the narrator then travels into a distant future in which humanity has died and then even further, past the death of Earth. Hodgsons The Night Land describes a time, millions of years in the future, the last few millions of the human race are gathered together in a gigantic metal pyramid, the Last Redoubt, under siege from unknown forces and Powers outside in the dark. A work by the early French science fiction author J. -H, rosny aîné, La Mort de la Terre, deals with the last, scattered generation of an evolved humankind on an exhausted, desert earth and their encounter with a new type of mineral-metallic life. In some ways it reads like the inversion of his earlier Les Xipéhuz, in early humans encounter and battle an utterly alien. From the 1930s onwards, Clark Ashton Smith wrote a series of stories situated in Zothique, the last continent of Earth. Smith said in a letter to L. Sprague de Camp, dated November 3,1953, Zothique, vaguely suggested by Theosophic theories about past, the continents of our present cycle have sunken, perhaps several times. Some have remained submerged, others have re-risen, partially, the science and machinery of our present civilization have long been forgotten, together with our present religions. But many gods are worshipped, and sorcery and demonism prevail again as in ancient days, oars and sails alone are used by mariners
7.
Mad scientist
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Some may have benevolent or good-spirited intentions, even if their actions are dangerous or questionable, which can make them accidental villains. Frankenstein was trained as both an alchemist and a modern scientist, which makes him the bridge between two eras of an evolving archetype. The book is said to be a precursor of a new genre, science fiction, rotwangs laboratory influenced many subsequent movie sets with its electrical arcs, bubbling apparatus, and bizarrely complicated arrays of dials and controls. Rotwangs appearance was also influential—the characters shock of hair, wild-eyed demeanor. Mad scientists were most conspicuous in popular culture after World War II and that the scientific and technological build-up during the Cold War brought about increasing threats of unparalleled destruction of the human species did not lessen the impression. Mad scientists frequently figure in science fiction and motion pictures from the period, boffin Crank Creativity techniques Creativity and mental illness List of mad scientists Megalomania Steins, Gate Garboden, Nick. Mad Scientist or Angry Lab Tech, How to Spot Insanity, from Faust to Strangelove, Representations of the Scientist in Western Literature. Christopher Frayling – Mad, Bad and Dangerous, the Scientist and the Cinema ISBN 1-86189-255-1 Junge, Torsten, Doerthe Ohlhoff. Wahnsinnig genial, Der Mad Scientist Reader, the Insanity Hoax, Exposing the Myth of the Mad Genius. Shrinktunes Media ISBN 978-0-98369-824-1 Schneider, Reto U,100 Amazing Experiments from the History of Science. Monsters and Mad Scientists, A Cultural History of the Horror Movie, nuclear Fear, A History of Images
8.
Space opera
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Space opera is a subgenre of science fiction that emphasizes space warfare, melodramatic adventure, interplanetary battles, as well as chivalric romance, and often risk-taking. Set mainly or entirely in space, it usually involves conflict between opponents possessing advanced abilities, futuristic weapons, and other sophisticated technology. The term has no relation to music, but is instead a play on the soap opera and horse opera. Space operas emerged in the 1930s and they continue to be produced in literature, film, comics, notable space opera novels include the Foundation series by Isaac Asimov, the Lensman series by E. E. Smith and the Enders Game series by Orson Scott Card. An early notable space opera film was Flash Gordon created by Alex Raymond, in the late 1970s, the Star Wars franchise created by George Lucas brought a great deal of attention to the subgenre. Space opera is defined as an adventure science-fiction story, the term space opera was coined in 1941 by fan writer and author Wilson Tucker as a pejorative term in an article in issue 36 of science fiction fanzine Le Zombie. At the time, serial dramas in the United States had become popularly known as soap operas because many were sponsored by soap manufacturers. Tucker defined space opera as the science fiction equivalent, a hacky, grinding, stinking, outworn, even earlier, the term horse opera had come into use as a term for Western films. Still, during the late 1920s and early 1930s, when the stories were printed in science-fiction magazines, beginning in the 1960s, and widely accepted by the 1970s, the space opera was redefined, following Brian Aldiss definition in Space Opera as the good old stuff. Yet soon after his redefinition, it began to be challenged, for example, by the practice and marketing of Judy-Lynn del Rey and in the reviews of her husband. In particular, they disputed the claims that space operas were obsolete, by the early 1980s, space operas were again redefined, and the label was attached to major popular culture works such as Star Wars. The term space opera began to be recognized only in the early 1990s as a genre of science fiction. It often deals with war, piracy, military virtues, and very large-scale action, early works related to but preceding the subgenre contained many elements of what would become space opera. They are today referred to as proto-space opera, defontenay and Lumen by Camille Flammarion. Not widely popular, proto-space operas were nevertheless occasionally written during the late Victorian and Edwardian science fiction era, examples may be found in the works of Percy Greg, Garrett P. Serviss, George Griffith and Robert Cromie. One critic cites Robert William Coles The Struggle for Empire, A Story of the Year 2236 as the first space opera, the novel does depict an interstellar conflict between solar men of Earth and a fierce humanoid race headquartered on Sirius. Despite this seemingly early beginning, it was not until the late 1920s that the opera proper began to appear regularly in pulp magazines such as Amazing Stories. In film, the genre began with the 1918 Danish film
9.
Sword and planet
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Sword and planet is a subgenre of science fantasy that features rousing adventure stories set on other planets, and usually featuring Earthmen as protagonists. Although there are works that herald the genre, such as Percy Gregs Across the Zodiac, gullivar Jones, His Vacation, the prototype for the genre is A Princess of Mars by Edgar Rice Burroughs originally serialized by All-Story in 1912 as Under the Moons of Mars. The genre predates the popularity of science fiction proper, and does not necessarily feature any scientific rigor. Native technology will often break the laws of physics. The genre tag Sword and planet is constructed to mimic the terms sword and sorcery and sword and sandal. The phrase appears to have first been coined in the 1960s by Donald A. Wollheim, editor of Ace Books, there is a fair amount of overlap between Sword and planet and planetary romance although some works are considered to belong to one and not the other. In general the alien planet will seem to be more medieval and this leads to anachronistic situations such as flying ships held aloft by anti-gravity technology, while ground travel is done by riding domesticated native animals. In A Princess of Mars, John Carter, a Confederate officer and soldier, has taken up prospecting in Arizona after the war to regain his fortune, under mysterious circumstances, he is transported to Mars, called Barsoom by its inhabitants. There he encounters savage and monstrous aliens, a princess. Burroughs Pellucidar series could arguably be considered sword-and- planet, as it follows most of the plot conventions described below, Burroughs established a set of conventions that were followed fairly closely by most other entries in the Sword and Planet genre. The transportation may be via astral projection, teleportation, time travel, or any form of scientific magic. The Earthman thus finds himself the representative of his own race on an alien planet. This planet is at a pre-modern, even barbaric stage of civilization, a lower gravity may be invoked to explain such things as large flying animals or people, or the superhuman strength of the hero, but will otherwise be ignored. Not long after discovering his predicament, the Earthman finds himself caught in a struggle between two or more factions, nations, or species and he sides, of course, with the nation with the prettiest woman, who will sometimes turn out to be a princess. Before he can set about seriously courting her, however, she is kidnapped by a villain or villains. The Earthman, taking up his sword, sets out on a quest to recover the woman, stories in the Sword and Planet genre fall primarily into two chronological classes. The first includes the stories of Burroughs himself and his early imitators, the second and larger group includes authors who began to write Burroughs pastiches from the mid-1960s to early 1970s. Such authors included Lin Carter and Michael Moorcock, except for continuations of the extended Dray Prescot and Gor sequences, and occasional parodies of earlier series, not many new works in the genre have appeared from major publishers since 1980
10.
Alternate history
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Alternate history or alternative history, sometimes abbreviated as AH, is a genre of fiction consisting of stories in which one or more historical events occur differently. These stories usually contain what if scenarios at crucial points in history, the stories are conjectural, but are sometimes based on scientific fact. Alternate history can be seen as a subgenre of fiction, science fiction, or historical fiction. Another term occasionally used for the genre is allohistory, cross-time, time-splitting, and alternate history themes have become so closely interwoven that it is impossible to discuss them fully apart from one another. In French, Italian, Spanish, Catalan and German, the genre of history is called uchronie / ucronia / ucronía / Uchronie. This neologism is based on the prefix ου- and the Greek χρόνος, a uchronia means literally no time. This term apparently also inspired the name of the history book list. Several genres of fiction have been misidentified as alternate history, Science fiction set in what was the future but is now the past, like Arthur C. Clarkes 2001, A Space Odyssey or George Orwells Nineteen Eighty-Four, is not alternate history because the author did not make the choice to change the past at the time of writing, Alternate history is related to, but distinct from, counterfactual history. The earliest example of history is found in Livys Ab Urbe Condita Libri. Livy concluded that the Romans would likely have defeated Alexander, another example is Joanot Martorells 1490 epic romance Tirant lo Blanch, which was written when the loss of Constantinople to the Turks was still a recent and traumatic memory for Christian Europe. It tells the story of the knight Tirant the White from Brittany who travels to the remnants of the Byzantine Empire. He becomes a Megaduke and commander of its armies and manages to fight off the invading Ottoman armies of Mehmet II and he saves the city from Islamic conquest, and even chases the Turks deeper into lands they had previously conquered. In the English language, the first known complete alternate history is Nathaniel Hawthornes short story P. s Correspondence, the first novel-length alternate history in English would seem to be Castello Holfords Aristopia. While not as nationalistic as Louis Geoffroys Napoléon et la conquête du monde, 1812–1823, in Aristopia, the earliest settlers in Virginia discover a reef made of solid gold and are able to build a Utopian society in North America. A number of alternate history stories and novels appeared in the late 19th, in 1931, British historian Sir John Squire collected a series of essays from some of the leading historians of the period for his anthology If It Had Happened Otherwise. In this work, scholars from major universities turned their attention to questions as If the Moors in Spain Had Won. The essays range from serious scholarly efforts to Hendrik Willem van Loons fanciful, among the authors included were Hilaire Belloc, André Maurois, and Winston Churchill
11.
Rod Serling
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Serling was active in politics, both on and off the screen, and helped form television industry standards. He was known as the young man of Hollywood, clashing with television executives and sponsors over a wide range of issues including censorship, racism. Serling was born on December 25,1924, in Syracuse, New York and he was the second of two sons born to Esther and Samuel Lawrence Serling. Serlings father had worked as a secretary and amateur inventor before having children, sam Serling later became a butcher after the Great Depression forced the store to close. Rod had a brother, Robert J. Serling. Serling spent most of his youth 70 miles south of Syracuse in the city of Binghamton after his family moved there in 1926 and his parents encouraged his talents as a performer. Sam Serling built a stage in the basement, where Rod often put on plays. His older brother, writer Robert, recalled that, at the age of six or seven, Rod often talked to people around him without waiting for their answers. On a two-hour-long trip from Binghamton to Syracuse, the rest of the family remained silent to see if Rod would notice their lack of participation and he did not, talking nonstop through the entire car ride. In elementary school, Serling was seen as the class clown, however, his seventh-grade English teacher, Helen Foley, encouraged him to enter the schools public speaking extracurriculars. He joined the team and was a speaker at his high school graduation. He began writing for the newspaper, in which, according to the journalist Gordon Sander. He was also interested in sports and excelled at tennis and table tennis, when he attempted to join the varsity football team, he was told he was too small at 5 feet 4 inches tall. Serling was interested in radio and writing at an early age and he listened to various radio programs, especially thrillers with a fantasy or horror feel. Arch Oboler and Norman Corwin were two of his favorite writers and he also did some staff work at a Binghamton radio station. He was accepted into college during his year of high school. As editor of his school newspaper, Serling encouraged his fellow students to support the war effort. He wanted to leave school before graduation to join the fight, War is a temporary thing, Gus Youngstrom told him
12.
Supernatural
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One complicating factor is that there is disagreement about the definition of natural and the limits of naturalism. Concepts in the domain are closely related to concepts in religious spirituality. Sometimes we understand by nature the established course of things, as when we say that nature makes the night succeed the day, nature hath made respiration necessary to the life of men. Sometimes we take nature for the universe, or system of the works of God, as when it is said of a phoenix, or a chimera. And sometimes too, and that most commonly, we would express by nature a semi-deity or other kind of being. Parapsychologists use the term psi to refer to a unitary force underlying the phenomena they study. Views on the supernatural vary, for example it may be seen as, from this perspective, some events occur according to the laws of nature, and others occur according to a separate set of principles external to known nature. For example, in Scholasticism, it was believed that God was capable of performing any miracle so long as it didnt lead to a logical contradiction, others believe that all events have natural and only natural causes. They believe that human beings ascribe supernatural attributes to purely natural events, such as lightning, rainbows, floods, the supernatural is a feature of the philosophical traditions of Neoplatonism and Scholasticism. In contrast, the philosophy of Metaphysical naturalism argues for the conclusion that there are no supernatural entities, objects, most religions include elements of belief in the supernatural while also often featuring prominently in the study of the paranormal and occultism. Process theology is a school of thought influenced by the process philosophy of Alfred North Whitehead. It is not possible, in process metaphysics, to conceive divine activity as an intervention into the “natural” order of events. Process theists usually regard the distinction between the supernatural and the natural as a by-product of the doctrine of creation ex nihilo, in process thought, there is no such thing as a realm of the natural in contrast to that which is supernatural. On the other hand, if “the natural” is defined more neutrally as “what is in the nature of things, in Whiteheads words, “It lies in the nature of things that the many enter into complex unity”. It is tempting to emphasize process theisms denial of the supernatural, dreams as a Source of Supernatural Agent Concepts. Riekki T, Lindeman M, Raij T. T, Supernatural Believers Attribute More Intentions to Random Movement than Skeptics, An fMRI Study. CS1 maint, Multiple names, authors list Purzycki Benjamin G, the Minds of Gods, A Comparative Study of Supernatural Agency. Unresolved Mourning, Supernatural Beliefs and Dissociation, A Mediation Analysis, vail K. E, Arndt J, Addollahi A
13.
Pulp magazine
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Pulp magazines were inexpensive fiction magazines that were published from 1896 to the 1950s. The term pulp derives from the wood pulp paper on which the magazines were printed, in contrast. The typical pulp magazine had 128 pages, it was 7 inches wide by 10 inches high, the pulps gave rise to the term pulp fiction in reference to run-of-the-mill, low-quality literature. Pulps were the successors to the penny dreadfuls, dime novels, although many respected writers wrote for pulps, the magazines were best known for their lurid, exploitative, and sensational subject matter. The first pulp was Frank Munseys revamped Argosy Magazine of 1896, with about 135,000 words per issue, on paper with untrimmed edges. In six years Argosy went from a few thousand copies per month to over half a million, Street & Smith, a dime novel and boys weekly publisher, was next on the market. Seeing Argosys success, they launched The Popular Magazine in 1903, due to differences in page layout however, the magazine had substantially less text than Argosy. Haggards Lost World genre influenced several key pulp writers, including Edgar Rice Burroughs, Robert E. Howard, Talbot Mundy and Abraham Merritt. Street and Smiths next innovation was the introduction of specialized genre pulps, with each focusing on a particular genre, such as detective stories, romance. At their peak of popularity in the 1920s and 1930s, the most successful pulps could sell up to one million copies per issue, in 1934, Frank Gruber says there were some 150 pulp titles. The most successful pulp magazines were Argosy, Adventure, Blue Book and Short Stories, although pulp magazines were primarily an American phenomenon, there were also a number of British pulp magazines published between the Edwardian era and World War II. Notable UK pulps included Pall Mall Magazine, The Novel Magazine, Cassells Magazine, The Story-Teller, The Sovereign Magazine, Hutchinsons Adventure-Story and Hutchinsons Mystery-Story. The German fantasy magazine Der Orchideengarten had a format to American pulp magazines, in that it was printed on rough pulp paper. During the Second World War paper shortages had a impact on pulp production, starting a steady rise in costs. Beginning with Ellery Queens Mystery Magazine in 1941, pulp magazines began to switch to digest size, in 1949, Street & Smith closed most of their pulp magazines in order to move upmarket and produce slicks. The pulp format declined from rising expenses, but even more due to the competition from comic books, television. In a more affluent post-war America, the price gap compared to slick magazines was far less significant, in the 1950s, mens adventure magazines began to replace the pulp. The format is still in use for some lengthy serials, like the German science fiction weekly Perry Rhodan, many titles of course survived only briefly
14.
Robert A. Heinlein
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Robert Anson Heinlein was an American science-fiction writer. Often called the dean of science writers, his controversial works continue to have an influential effect on the genre. Heinlein became one of the first science-fiction writers to break into mainstream magazines such as The Saturday Evening Post in the late 1940s. He was one of the best-selling science-fiction novelists for many decades, and he, Isaac Asimov and he also speculated on the influence of space travel on human cultural practices. Heinlein was named the first Science Fiction Writers Grand Master in 1974 and he also anticipated mechanical Computer Aided Design with Drafting Dan and described a modern version of a waterbed in his novel The Door into Summer, though he never patented or built one. In the first chapter of the novel Space Cadet he anticipated the cell-phone,35 years before Motorola invented the technology, several of Heinleins works have been adapted for film and television. Heinlein was born on July 7,1907 to Rex Ivar Heinlein and Bam Lyle Heinlein, in Butler and he was a 6th-generation German-American, a family tradition had it that Heinleins fought in every American war starting with the War of Independence. His childhood was spent in Kansas City, Missouri, Heinleins experience in the U. S. Navy exerted a strong influence on his character and writing. He graduated from the U. S. Naval Academy in Annapolis, Maryland with the class of 1929 and he was assigned to the new aircraft carrier USS Lexington in 1931, where he worked in radio communications, then in its earlier phases, with the carriers aircraft. The captain of this carrier was Ernest J. King, who served as the Chief of Naval Operations and Commander-in-Chief. Heinlein was frequently interviewed during his later years by historians who asked him about Captain King. Heinlein also served aboard the destroyer USS Roper in 1933 and 1934, reaching the rank of lieutenant. His brother, Lawrence Heinlein, served in the U. S. Army, the U. S. Air Force, and the Missouri National Guard, in 1929, Heinlein married Elinor Curry of Kansas City in Los Angeles, and their marriage lasted about a year. His second marriage in 1932 to Leslyn MacDonald lasted for 15 years, in 1934, Heinlein was discharged from the Navy due to pulmonary tuberculosis. During a lengthy hospitalization, he developed a design for a waterbed, Heinlein supported himself at several occupations, including real estate sales and silver mining, but for some years found money in short supply. Heinlein was active in Upton Sinclairs socialist End Poverty in California movement in the early 1930s, when Sinclair gained the Democratic nomination for Governor of California in 1934, Heinlein worked actively in the campaign. Heinlein himself ran for the California State Assembly in 1938, but was unsuccessful, while not destitute after the campaign—he had a small disability pension from the Navy—Heinlein turned to writing in order to pay off his mortgage. His first published story, Life-Line, was printed in the August 1939 issue of Astounding Science-Fiction, originally written for a contest, it was instead sold to Astounding for significantly more than the contests first-prize payoff
15.
Magic, Inc.
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Magic, Inc. is a science fantasy novella by Robert A. Heinlein. It was originally published in Unknown Fantasy Fiction of September 1940, in the story, magic is a commonplace profession used by businessmen in various fields. A small business owner fights off an attempt to force magic under the control of an association called Magic. The story is included in the book Waldo & Magic, Inc, Archie Fraser is a building contractor whose business is thriving. Despite the common use of magic in other professions, Archie has relatively little use for it, since so much of his work involves cold iron, which defies magic. He does have a sideline in instant temporary structures, such as bleachers and tents, all made of wood with no iron in them, the work is done by magicians operating as independent contractors. Occasionally mistakes are made – at one point a fragment of a house is used by mistake, Archie creatively puts a sign outside the out-of-place structure saying Display model. One day Archie is the subject of a shakedown by a character who seems to be operating a protection racket based on magic. After scaring the criminal off by exploiting his obvious superstitions, Archie goes to see his friend Jedson, Jedsons specialty is one season clothing which is not intended to be hard-wearing. As Archie arrives, he is auditioning a teenage medium who can produce clothing from ectoplasm, Jedson is disappointed to find that the result is simply a copy of an existing design owned by somebody else, so he cannot use it. Jedson and Archie are able to grab the would-be gangster as he lurks near Archies storefront, there Jedson draws a magic circle around the miscreant, imprisoning him. He then makes a doll and uses it to strike fear into the criminal. The criminal breaks down and babbles some information, most of it useless in finding out who runs the racket and they kick him out of the store, believing him to be just a small-time hood. Archie protests Jedsons tactics, but Jedson replies that he didnt really do anything, the circle and the doll were just symbolic. It was the mans own misguided beliefs which caused his body to react as if he really were being imprisoned and tortured, at that point there is a scream outside. They discover the body, ripped from shoulder to groin as if by the talons of a huge bird. Slowly Archies business begins to suffer, there are mysterious accidents and problems with his workers who are scared by hex symbols which appear around the business. One morning the business is destroyed, apparently by elementals of fire, earth
16.
L. Ron Hubbard
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Lafayette Ronald Hubbard, better known as L. Ron Hubbard and often referred to by his initials, LRH, was an American author and the founder of the Church of Scientology. In 2014, Hubbard was cited by the Smithsonian magazine as one of the 100 most significant Americans of all time, as one of the eleven religious figures on that list. After establishing a career as a writer, becoming best known for his fiction and fantasy stories. He subsequently developed his ideas into a set of doctrines and practices as part of a new religious movement that he called Scientology. The Churchs dissemination of materials led to Hubbard being listed by the Guinness Book of World Records as the most translated and published author in the world. The Guinness World Record for the most audio books published for one author is also held by Hubbard, although many aspects of Hubbards life story are disputed, there is general agreement about its basic outline. Born in Tilden, Nebraska, he spent much of his childhood in Helena, Montana. He traveled in Asia and the South Pacific in the late 1920s after his father and he attended George Washington University in Washington, D. C. at the start of the 1930s, before dropping out and beginning his career as a prolific writer of pulp fiction stories. He served briefly in the United States Marine Corps Reserve and was an officer in the United States Navy during World War II and he was removed both times when his superiors found him incapable of command. The last few months of his service were spent in a hospital. After the war, Hubbard developed Dianetics, which he called the science of mental health. He founded Scientology in 1952 and oversaw the growth of the Church of Scientology into a worldwide organization. During the late 1960s and early 1970s, he spent much of his time at sea on his fleet of ships as Commodore of the Sea Organization. His expedition came to an end when Britain, Greece, Spain, Portugal, at one point, a court in Australia revoked the Churchs status as a religion, though it was later reinstated. Hubbard returned to the United States in 1975 and went into seclusion in the California desert, in 1978, a trial court in France convicted Hubbard of fraud in absentia. Others convictions from the trial were reversed on appeal. In 1983 L. Ron Hubbard was named as an unindicted co-conspirator in an international information infiltration and he spent the remaining years of his life on his ranch, the Whispering Wind, near Creston, California, where he died in 1986. A small group of Scientology officials and physician Dr. Eugene Denk attended to him before his death, in 1986, he died in a 1982 Blue Bird motor home, which was situated on his property, at age 74
17.
Slaves of Sleep
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Slaves of Sleep is a heroic fantasy novel written by L. Ron Hubbard. It was first published in form in 1948 by Shasta Publishers. The novel presents a story in which a man travels to a universe ruled by Ifrits. The protagonist takes on the identity of a human in this dimension, the novel concerns Jan Palmer, a young millionaire, who surprises a prowler who is attempting to burgle his collection of antiques. The prowler opens a jar that bears the seal of Sulayman releasing an Ifrit, named Zongri, the Ifrit kills the thief and curses Palmer with eternal wakefulness. The story later published in format, was first released in July 1939 in the United States. Its first book publication was in 1948 in the U. S. by Shasta Publishers in a hardback format, the first edition of the book contained a publication of 3,500 copies, of which 250 were signed by Hubbard. It was published in Germany in 1963 in hardback format by Utopia-Kriminal and it was re-published in the U. S. in a paperback format in 1967, by Lancer Books. Actor René Auberjonois performed audio reading for the 1993 adaptation of the book in spoken format, as a release with its sequel, titled together. In 1993 actors Michelle Stafford, Sisu Raiken, Jim Meskimen, Christopher Smith and Tait Ruppert performed segments from the book with Interplay, the 1993 edition by Bridge Publications was part of re-released fictional works by L. Ron Hubbard. In its entry on L. Ron Hubbard, The Houghton Mifflin Dictionary of Biography identified Slaves of Sleep as among the classics within the genre of science fiction, writing in authors Frank M. Robinson and Lawrence Davidson placed Slaves of Sleep among Hubbards finest novels. In a 1993 article, The Columbus Dispatch recommended an edition of the book together with its sequel The Masters of Sleep. In 1994, Roland J. Green of the Chicago Sun-Times noted, a further reminder of the late Hubbards talent. San Francisco Chronicle reported in 2003 that writer John Baxter retained a first edition copy of Slaves of Sleep in his collection of rare books. In 2008, a first edition copy of the book was estimated to be worth between US$400 to $600
18.
Fletcher Pratt
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Murray Fletcher Pratt was an American writer of science fiction, fantasy and history. He is best known for his works on history and on the American Civil War. According to de Camp, Pratt was born near Tonawanda, New York, during the 1920s he worked for the Buffalo Courier-Express and for a Staten Island newspaper. In 1926, he married Inga Stephens, an artist, in the late 1920s he began selling stories to pulp magazines. Again, according to de Camps memoir, when a fire gutted his apartment in the 1930s he used the money to study at the Sorbonne for a year. After that he began writing histories, Pratt was a military analyst for Time magazine, as well as a regular reviewer of historical nonfiction and fantasy and science fiction for the New York Times Book Review. Wargamers know Pratt as the inventor of a set of rules for naval wargaming before the Second World War and this was known as the The Fletcher Pratt Naval War Game and involved dozens of tiny wooden ships, built on a scale of one inch to 50 feet. These were spread over the floor of Pratts apartment and their maneuvers were calculated via a mathematical formula. Noted author and artist Jack Coggins was a frequent participant in Pratts Navy Game, Pratt established the literary dining club known as the Trap Door Spiders in 1944. The name is a reference to the habits of the trapdoor spider. The club was later fictionalized as the Black Widowers in a series of stories by Isaac Asimov. Pratt himself was fictionalized in one story, To the Barest, as the Widowers’ founder and he was also a charter member of The Civil War Round Table of New York, organized in 1951, and served as its president from 1953-1954. His solo fantasy novels The Well of the Unicorn and The Blue Star are also highly regarded, Pratt wrote in a markedly identifiable prose style, reminiscent of the style of Bernard DeVoto. One of his books is dedicated To Benny DeVoto, who taught me to write, several of Pratts books were illustrated by Inga Stephens Pratt, his wife. A book on the Fletcher Pratt Naval Wargame was printed in 2011. S, ballard, introduction by Pratt The Monitor and the Merrimac Ordeal by Fire, an Informal History of the Civil War Stanton, Lincolns Secretary of War America and Total War The U. S. The Lost Battalion with Thomas M. Johnson Muscle-power Artillery The City of the Living Dead with Laurence Manning, secret and Urgent, the Story of Codes and Ciphers OCLC795019 My Life to the Destroyers with L. A. Net
19.
L. Sprague de Camp
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Lyon Sprague de Camp, better known as L. Sprague de Camp, was an American writer of science fiction, fantasy, non-fiction and biography. In a career spanning 60 years, he wrote over 100 books, including novels and works of non-fiction and he was a major figure in science fiction during the genres heyday in the 1930s and 1940s. De Camp was born in New York City, one of three sons of Lyon de Camp, a businessman in real estate and lumber, and Emma Beatrice Sprague and his maternal grandfather was the accountant, banker, pioneering Volapükist and Civil War veteran Charles Ezra Sprague. De Camp once noted that he rarely used pen-names, partly because my own true name sounds more like a pseudonym than most pseudonyms do. De Camp began his education at the Trinity School in New York, then spent ten years attending the Snyder School in North Carolina, a military-style institution. His stay at the Snyder School was an attempt by his parents and he was awkward and thin, an ineffective fighter, and suffered from bullying by his classmates. He would later recall these challenging childhood experiences in the semi-autobiographical story and he earned his Master of Science degree in Engineering from the Stevens Institute of Technology in 1933. De Camp was also a surveyor and an expert in patents and his first job was with the Inventors Foundation, Inc. in Hoboken, N. J. which was taken over by The International Correspondence Schools. De Camp transferred to the Scranton, PA division and he was Principal of the School of Inventing and Patenting when he resigned in 1937. His first book Inventions and Their Management resulted and was published in July 1937, on August 12,1939, de Camp married Catherine Crook, with whom he collaborated on science fiction and nonfiction beginning in the 1960s. During World War II, de Camp served as a researcher at the Philadelphia Naval Yard along with his fellow writers Isaac Asimov, de Camp eventually rose to the rank of lieutenant commander in the U. S. Navy as a reserve officer. De Camp was a member of the literary and dining club the Trap Door Spiders in New York City. De Camp himself was the model for the character named Geoffrey Avalon and his ashes were inurned, together with hers, in the Arlington National Cemetery in Virginia. De Camps personal library of about 1,200 books was acquired for auction by Half Price Books in 2005, the collection included books inscribed by fellow writers, such as Isaac Asimov and Carl Sagan, as well as de Camp himself. De Camp was a materialist who wrote works examining society, history, technology and he published numerous short stories, novels, non-fiction works and poems during his long career. De Camp had the mind of an educator, and a theme in many of his works is a corrective impulse regarding similar previous works by other authors. A highly rational and logical thinker, he was disturbed by what he regarded as logical lapses and absurdities in others writings. Some, like Asimov, felt de Camps conscientiousness about facts limited the scope of his stories, when he was not debunking literary conventions he was often explaining them
20.
Harold Shea
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De Camp and Stasheff collectively oversaw the continuations. The series is known as the Enchanter series, the Incomplete Enchanter series or the Compleat Enchanter series. In the original stories, psychologist Harold Shea and his colleagues Reed Chalmers, Walter Bayard, in the later continuations, the most notable additions to the cast are the recurring villain, Malambroso, and Voglinda, the young daughter of Shea and Belphebe. The protagonists utilize a system of logic to project themselves into the worlds they visit, but it is an inexact science. For example, in the first story, The Roaring Trumpet, Shea intends to visit the world of Irish Mythology, most of the worlds visited have systems of physics different from ours, usually magical, which the heroes devote a considerable amount of effort to learning and applying. Much of the series stems from the interaction of the psychologists logical. Their attitudes provide something of a deconstructionist look at the basic rationales of these worlds, essentially, they allow the reader to view these worlds from a fresh viewpoint. With The Green Magician the original ended, Pratts early death precluding any additional entries. A final planned story set in the world of Persian mythology was never written, reviewing the 1950 edition of The Castle of Iron, Boucher and McComas described the series as a high point in the application of sternest intellectual logic to screwball fantasy. Damon Knight characterized the series as relaced, ribald adventure, priceless, saying that no fantasy reader should be without them. In 1977, Richard A. Lupoff described the series as whole planes above the hackneyed gut-spillers and skull-smashers that pass for heroic fantasy. De Camp was reluctant to continue the series on his own, holly Lisle, John Maddox Roberts and Tom Wham were among the authors who recreatied the original formula. Ron Hubbards borrowing of Harold Shea for use in his novel The Case of the Friendly Corpse, both of these goals he accomplished in Sir Harold and the Gnome King. When the decision was made to continue the series further, this story was revised slightly to reconcile it with the new stories. After Florimel is finally recovered, a similar effort must be made to recover Shea and Belphebes daughter Voglinda, a final tale sends Shea and Belephebe on an unrelated adventure precipitated by the foolishness of Sheas colleague Polacek. Return to Xanadu was first published in The Enchanter Completed, A Tribute Anthology for L. Sprague de Camp edited by Harry Turtledove, the original publication of the first three Pratt and De Camp collaborations was in Unknown Magazine during its brief run. The remaining two appeared in Beyond Fantasy Magazine and Fantasy Magazine a few years later, Sir Harold and the Gnome King first appeared in the World Fantasy Convention program book in 1990 and as a chapbook the following year. It was later revised and appeared with the remainder of the later continuations in regular trade books, in the original story a character in a jail comes to the bars every hour on the hour to announce that Yngvi is a louse
21.
John W. Campbell
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John Wood Campbell Jr. was an American science fiction writer and editor. As editor of Astounding Science Fiction from late 1937 until his death, isaac Asimov called Campbell the most powerful force in science fiction ever, and for the first ten years of his editorship he dominated the field completely. As a writer, Campbell published super-science space opera under his own name and moody stories under his primary and most famous pseudonym, Campbell also wrote under the pen names Karl Van Kampen and Arthur McCann. He stopped writing fiction after he became editor of Astounding and his novella Who Goes There. was adapted as the films The Thing from Another World, The Thing, and The Thing. Campbell was born in Newark, New Jersey in 1910 and his father was a cold, impersonal, and unaffectionate electrical engineer. His mother, Dorothy was warm but changeable of character and had a twin who visited them often. John was unable to tell apart and was frequently coldly rebuffed by the person he took to be his mother. Campbell attended the Massachusetts Institute of Technology, where he was befriended by the eminent mathematician Norbert Wiener and he began writing science fiction at age 18 and sold his first stories quickly. From January 1930 to June 1931, Amazing published six of his stories, one novel. Thus he was a pulp writer at 21 – but he had failed German. After one year at Duke University, he graduated with a Bachelor of Science in physics in 1932, Campbell and Dona Stewart married in 1931. They divorced in 1949 and he married Margaret Winter in 1950 and he spent most of his life in New Jersey and died at home of heart failure. Editor T. OConor Sloane lost Campbells first manuscript that he accepted for Amazing Stories, when the Atoms Failed appeared in January 1930, followed by five more during 1930 in that monthly and in Amazing Stories Quarterly, also edited by Sloane. Three were part of an opera series featuring the characters Arcot, Morey, and Wade. The early work for Amazing established Campbells reputation as a writer of space adventure, when in 1934 he began to publish stories with a different tone he wrote as Don A. Stuart, a pseudonym derived from his wifes maiden name. From 1930 until the part of that decade, Campbell was prolific. Three significant stories published under the pseudonym are Twilight, Night and it was published in Astounding almost a year after Campbell became its editor and it was his last significant piece of fiction, at age 28. Campbell held the radio call sign W2ZGU, and wrote many articles on electronics
22.
Unknown (magazine)
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Unknown was an American pulp fantasy fiction magazine, published from 1939 to 1943 by Street & Smith, and edited by John W. Campbell. The leading fantasy magazine in the 1930s was Weird Tales, which focused on shock and horror. Unknowns first issue appeared in March 1939, in addition to Sinister Barrier, it included H. L. Golds Trouble With Water, Golds story was the first of many in Unknown to combine commonplace reality with the fantastic. In May 1923, the first issue of Weird Tales appeared, Weird Tales was a pulp magazine that specialized in fantasy stories and material that no other magazine would accept. It was not initially successful, but by the 1930s had established itself and was regularly publishing science fiction as well as fantasy, Weird Tales was the first magazine to focus solely on fantasy, and it remained the pre-eminent magazine in this field for over a decade. In the meantime, science fiction was starting to form a separately marketed genre, with the appearance in 1926 of Amazing Stories, a pulp magazine edited by Hugo Gernsback. In 1930 pulp publisher Clayton Publications launched Astounding Stories of Super Science, the title was shortened to Astounding Stories, and it became the leading magazine in the science fiction field over the next few years under the editorship of F. Orlin Tremaine. At the end of 1937 John W. Campbell took over as editor, by 1938, Campbell was planning a fantasy companion to Astounding, Weird Tales was still the leader in the fantasy genre, though competitors such as Strange Stories were also being launched. Campbell began acquiring stories suitable for the new magazine, without a launch date in mind. When Eric Frank Russell sent him the manuscript of his novel Sinister Barrier, the first issue of Unknown appeared in March 1939. It was a monthly at first, but poor sales forced a switch to a bimonthly schedule beginning in February 1941. When wartime paper shortages became severe in late 1943, Campbell made the choice to keep Astounding monthly and cancel Unknown, the last issue was dated October 1943. Campbells plans for Unknown were laid out in the February 1939 issue of Astounding and he argued that it has been the quality of the fantasy that you have read in the past that has made the very word anathema. Will offer fantasy of a quality so far different from that which has appeared in the past as to change your understanding of the term. Campbell asked Russell for revisions to the story to emphasize the fantastic elements and this became a defining characteristic of the fiction published in Unknown, in Ashleys words, Campbell brought the science fiction rationale to fantasy. Under Campbells editorial supervision, the element in Unknown stories had to be treated rigorously. L. Ron Hubbard, Theodore Sturgeon, and L. Sprague de Camp were among the most prolific, de Camp, in collaboration with Fletcher Pratt, contributed three stories featuring Harold Shea, who finds himself in a world where magic operates by rigorous rules. The title of one of these, The Mathematics of Magic, is, according to sf critic John Clute, perfectly expressive of the terms under which magic found easy mention in Unknown
23.
The Magazine of Fantasy & Science Fiction
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The Magazine of Fantasy & Science Fiction is a US fantasy and science fiction magazine first published in 1949 by Fantasy House, a subsidiary of Lawrence Spivaks Mercury Press. Editors Anthony Boucher and J. Francis McComas had approached Spivak in the mid-1940s about creating a fantasy companion to Spivaks existing mystery title, Ellery Queens Mystery Magazine. The first issue was titled The Magazine of Fantasy, but the decision was made to include science fiction as well as fantasy. F&SF quickly became one of the magazines in the science fiction and fantasy field, with a reputation for publishing literary material. Mills was responsible for publishing Flowers for Algernon by Daniel Keyes, Rogue Moon by Algis Budrys, Starship Troopers by Robert Heinlein, and the first of Brian Aldisss Hothouse stories. The first few issues featured cover art by George Salter, Mercury Presss art director, but other artists soon began to appear, including Chesley Bonestell, Kelly Freas. In 1962, Mills was succeeded as editor by Avram Davidson, at the start of 1966 Edward Ferman was listed as editor, and four years later he acquired the magazine from his father and moved the editorial offices to his house in Connecticut. In 1991 he turned the editorship over to Kristine Kathryn Rusch, in the mid-1990s circulation began to decline, most magazines were losing subscribers and F&SF was no exception. Gordon Van Gelder replaced Rusch in 1997, and bought the magazine from Ferman in 2001, but circulation continued to fall, charles Coleman Finlay took over from Van Gelder as editor in 2015. The first magazine dedicated to fantasy, Weird Tales, appeared in 1923, it was followed in 1926 by Amazing Stories, by the end of the 1930s, the genre was flourishing in the United States, nearly twenty new sf and fantasy titles appearing between 1938 and 1941. These were all pulp magazines, which meant that despite the occasional high-quality story, in 1941, Ellery Queens Mystery Magazine appeared, edited by Fred Dannay and focusing on detective fiction. The magazine was published in digest format, rather than pulp, Dannay attempted to avoid the sensationalist fiction appearing in the pulps, and soon made the magazine a success. In the early 1940s Anthony Boucher, a writer of fantasy and sf and also of mystery stories. Boucher also knew J. Francis McComas, an editor who shared his interest in fantasy, by 1944 McComas and Boucher became interested in the idea of a fantasy companion to Ellery Queens Mystery Magazine, and spoke to Dannay about it. Dannay was interested in the idea, but paper was scarce because of World War II, in January 1946, Boucher and McComas went to New York and met with Spivak, who let them know later in the year that he wanted to go ahead. At Spivaks request they began acquiring material for the new magazine, including a new story by Raymond Chandler, lovecraft, John Dickson Carr, and Robert Bloch. Spivak initially planned the first issue for early 1947, but repeatedly delayed the launch because of poor sales of digest magazines. He also suggested that it should be priced at 35 cents an issue, in May 1949 Spivak suggested a new title, The Magazine of Fantasy, and in August a press release announced that the magazine would appear in October
24.
Operation Chaos (novel)
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Operation Chaos is a 1971 science fantasy fixup novel by American writer Poul Anderson. A sequel, Operation Luna, was published in 1999, together, they fight against the demon and incidentally fall in love with each other. After the end of the war the two of them continue and deepen their liaison and have various additional adventures. Among other things they stop an elemental summoned as a student prank which had gone amok, confront a succubus/incubus on their honeymoon and their alternative history never had a Nazi Germany. Another part of the features a magical analogue to the counterculture of the 1960s. In his werewolf form, Matuchek does not suffer many of the liabilities of a werewolf of folklore or, indeed, the werewolf of Andersons Three Hearts and Three Lions. He remains himself while turning into a wolf, and is able to use his four-leg incarnation to fight various enemies. However, his invulnerability to silver is limited, conservation of mass makes him a rather large wolf, although other weres in the book, taking far more drastic forms, have more serious problems. - a similar fantasy world by Robert Heinlein The Case of the Toxic Spell Dump - a similar fantasy world by Harry Turtledove Operation Chaos title listing at the Internet Speculative Fiction Database
25.
Poul Anderson
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Poul William Anderson was an American science fiction author who began his career during the Golden Age of the genre and continued to write and remain popular into the 21st century. Anderson also authored works of fantasy, historical novels. He received numerous awards for his writing, including seven Hugo Awards, Poul Anderson was born on November 25,1926, in Bristol, Pennsylvania, of Scandinavian parents. Shortly after his birth, his father, Anton Anderson, an engineer, moved the family to Texas, following Anton Andersons death, his widow took her children to Denmark. The family returned to the United States after the outbreak of World War II, the frame story of his later novel Three Hearts and Three Lions, before the fantasy part begins, is partly set in the Denmark which the young Anderson personally experienced. Anderson married Karen Kruse in 1953 and moved with her to the San Francisco Bay area and their daughter Astrid was born in 1954. They made their home in Orinda, California, over the years Poul gave many readings at The Other Change of Hobbit bookstore in Berkeley, and his wife later donated his typewriter and desk to the store. He died of cancer on July 31,2001, after a month in the hospital, a few of his novels were first published posthumously. Anderson was a member of the Society for Creative Anachronism in 1966 and of the Swordsmen and Sorcerers Guild of America. The latter was a group of Heroic Fantasy authors led by Lin Carter, originally eight in number. He was the sixth President of Science Fiction and Fantasy Writers of America, robert A. Heinlein dedicated his 1985 novel The Cat Who Walks Through Walls to Anderson and eight of the other members of the Citizens Advisory Council on National Space Policy. Anderson is probably best known for stories in which larger-than-life characters succeed gleefully or fail heroically. His characters were nonetheless thoughtful, often introspective, and well developed and his plot lines frequently involved the application of social and political issues in a speculative manner appropriate to the science fiction genre. He also wrote some works, generally of shorter length. Much of his fiction is thoroughly grounded in science. A specialty was imagining scientifically plausible non-Earthlike planets, in many stories, Anderson commented on society and politics. This is graphically expressed in the short story Welcome. By the end of the story, rebels have established themselves at another stellar system—where their descendants, while horrified by the prospect of the Soviets winning complete rule over the Earth, Anderson was not enthusiastic about having Americans in that role either
26.
Henry Kuttner
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Henry Kuttner was an American author of science fiction, fantasy and horror. Henry Kuttner was born in Los Angeles, California in 1915, Henry Kuttners great-grandfather was the scholar Josua Heschel Kuttner. Kuttner grew up in relative poverty following the death of his father, as a young man he worked for the literary agency of his uncle, Laurence DOrsay, in Los Angeles before selling his first story, The Graveyard Rats, to Weird Tales in early 1936. Alfred Bester told this anecdote about Kuttner, Mort Weisinger introduced me to the informal gatherings of the working science fiction authors of the late thirties. I met Henry Kuttner, whom Bester described as medium-sized, very quiet and courteous, once I broke Kuttner up quite unintentionally. I said to Weisinger, Ive just finished a story that takes place in a spaceless, timeless locale where theres no objective reality. Its awfully long,20,000 words, but I can cut the first 5,000, apart from the flesh-eating animals, Masson eventually comes face-to-face with a burrowing zombie-like creature. This often-anthologized tale made recent appearances in The Gruesome Book, edited by Ramsey Campbell, other Kuttner stories are also tinged with Lovecraftian horror. Rats was also adapted as part of the anthology film Trilogy of Terror II. Kuttner was known for his prose and worked in close collaboration with his wife. They met through their association with the Lovecraft Circle, a group of writers and their work together spanned the 1940s and 1950s and most of the work was credited to pseudonyms, mainly Lewis Padgett and Lawrence ODonnell. Both freely admitted that they collaborated in part because his page rate was higher than hers, in fact, several people have written or said that she wrote three stories which were published under his name. Clash by Night and The Portal in the Picture are sometimes attributed to her, according to de Camp, it was typical for either partner to break off from a story in mid-paragraph or even mid-sentence, with the latest page of the manuscript still in the typewriter. The other spouse would routinely continue the story where the first had left off and they alternated in this manner as many times as necessary until the story was finished. These stories were collected in Robots Have No Tails. In her introduction to the 1973 Lancer Books edition, Moore stated that Kuttner wrote all the Gallegher stories himself, in 2007, New Line Cinema released a feature film loosely based on the Lewis Padgett short story Mimsy Were the Borogoves under the title The Last Mimzy. In addition, The Best of Henry Kuttner was republished under the title The Last Mimzy Stories, marion Zimmer Bradley is among many authors who have cited Kuttner as an influence. Her novel The Bloody Sun is dedicated to him, roger Zelazny has talked about the influence of The Dark World on his Amber series
27.
C. L. Moore
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Catherine Lucille Moore was an American science fiction and fantasy writer, who most often used the pen name C. L. Moore. She was among the first women to write in either genre, Moores work paved the way for many other female speculative fiction writers. She and her first husband Henry Kuttner were prolific co-authors under their own names, Moore was born on January 24,1911 in Indianapolis, Indiana. She was chronically ill as a child and spent much of her time reading literature of the fantastic and she left college during the Great Depression to work as a secretary at the Fletcher Trust Company in Indianapolis. Both series are named for their lead characters. One of the Northwest Smith stories, Nymph of Darkness, was written in collaboration with Forrest J Ackerman, the most famous Northwest Smith story is Shambleau, which was also Moores first professional sale. It originally appeared in the November 1933 issue of Weird Tales, netting her $100 and her most famous Jirel story is also the first one, Black Gods Kiss, which was the cover story in the October 1934 issue of Weird Tales, subtitled the weirdest story ever told. Moores early stories were notable for their emphasis on the senses and emotions, Moores work also appeared in Astounding Science Fiction magazine throughout the 1940s. Moore met Henry Kuttner, also a fiction writer, in 1936 when he wrote her a fan letter under the impression that C. L. Moore was a man. In this very prolific partnership they managed to combine Moores style with Kuttners more cerebral storytelling and their works include a classic, Mimsy Were the Borogoves, the basis for the film The Last Mimzy, and Vintage Season, the basis for the film Timescape. They also collaborated on a story that combined Moore’s signature characters, Northwest Smith and Jirel of Joiry, after Kuttners death in 1958, Moore continued teaching his writing course at the University of Southern California but wrote almost no fiction. She did write for a few shows under her married name. Moore was the author guest of honor at Kansas City, MOs fantasy and science fiction convention BYOB-Con 6, E. van Vogt, and others, as well as many visiting writers and speakers. She developed Alzheimers disease but that was not obvious for several years and that caused dismay among the former SFWA presidents, for she was a great favorite to receive the award. Moore died on April 4,1987 at her home in Hollywood, the Science Fiction and Fantasy Hall of Fame inducted Moore in 1998, its third class of two deceased and two living writers. It was filmed in 1992 as Timescape, L. F. Fantasy, Horror. and Sex, The Early Stories of C. L. Science Fiction and Fantasy Hall of Fame
28.
Startling Stories
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Startling Stories was an American pulp science fiction magazine, published from 1939 to 1955 by publisher Ned Pines Standard Magazines. It was initially edited by Mort Weisinger, who was also the editor of Thrilling Wonder Stories, Startling ran a lead novel in every issue, the first was The Black Flame by Stanley G. Weinbaum. Friend was replaced by Sam Merwin, Jr. in 1945, clarkes Against the Fall of Night, and several other well-received stories. Much of Startlings cover art was painted by Earle K. Bergey and he was known for equipping his heroines with brass bras and implausible costumes, and the public image of science fiction in his day was partly created by his work for Startling and other magazines. In mid-1952, Standard attempted to change Startlings image by adopting a more sober title typeface and reducing the sensationalism of the covers, but by 1955 the pulp magazine market was collapsing. Startling absorbed its two magazines, Thrilling Wonder and Fantastic Story Magazine, in early 1955, but by the end of that year it too ceased publication. Ron Hanna of Wild Cat Books revived Startling Stories in 2007, by the end of the 1930s the field was booming. Standard Magazines, a publishing company owned by Ned Pines, acquired its first science fiction magazine, Thrilling Wonder Stories. Mort Weisinger, the editor of Thrilling Wonder, printed an editorial in February 1938 asking readers for suggestions for a companion magazine, response was positive, and the new magazine, titled Startling Stories, was duly launched, with a first issue, dated January 1939. Initial pay rates were half a cent per word, lower than the magazines of the day. Startling was launched on a schedule, alternating months with Thrilling Wonder Stories. The first editor was Mort Weisinger, who had been a fan in the early 1930s and had joined Standard Magazines in 1935. During Friends tenure Startling slipped from bimonthly to quarterly publication, Friend lasted for a little over two years, and was replaced by Sam Merwin, Jr. as of the Winter 1945 issue. Merwin succeeded in making Startling popular and successful, and the schedule was resumed in 1947. At the start of 1952 Startling switched to a schedule, this was unusual in that Startling was notionally junior to Thrilling Wonder, its sister magazine. Merwin left shortly before this switch, in order to more time on his own writing. He was replaced by Samuel Mines, who had worked with Standards Western magazines, street & Smith, one of the longest established and most respected publishers, shut down all of their pulp magazines in the summer of 1949. The pulps were dying, partially as a result of the success of paperbacks, Standard continued with Startling and Thrilling, but the end came only a few years later
29.
Romanticism
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Romanticism was characterized by its emphasis on emotion and individualism as well as glorification of all the past and nature, preferring the medieval rather than the classical. It was embodied most strongly in the arts, music, and literature, but had a major impact on historiography, education. It elevated folk art and ancient custom to something noble, Romanticism assigned a high value to the achievements of heroic individualists and artists, whose examples, it maintained, would raise the quality of society. It also promoted the individual imagination as a critical authority allowed of freedom from classical notions of form in art, there was a strong recourse to historical and natural inevitability, a Zeitgeist, in the representation of its ideas. In the second half of the 19th century, Realism was offered as a polar opposite to Romanticism, the decline of Romanticism during this time was associated with multiple processes, including social and political changes and the spread of nationalism. Defining the nature of Romanticism may be approached from the point of the primary importance of the free expression of the feelings of the artist. The importance the Romantics placed on emotion is summed up in the remark of the German painter Caspar David Friedrich that the feeling is his law. Samuel Taylor Coleridge and others believed there were laws that the imagination—at least of a good creative artist—would unconsciously follow through artistic inspiration if left alone. As well as rules, the influence of models from other works was considered to impede the creators own imagination, so that originality was essential. The concept of the genius, or artist who was able to produce his own work through this process of creation from nothingness, is key to Romanticism. This idea is called romantic originality. Not essential to Romanticism, but so widespread as to be normative, was a strong belief, however, this is particularly in the effect of nature upon the artist when he is surrounded by it, preferably alone. Romantic art addressed its audiences with what was intended to be felt as the voice of the artist. So, in literature, much of romantic poetry invited the reader to identify the protagonists with the poets themselves. In both French and German the closeness of the adjective to roman, meaning the new literary form of the novel, had some effect on the sense of the word in those languages. It is only from the 1820s that Romanticism certainly knew itself by its name, the period typically called Romantic varies greatly between different countries and different artistic media or areas of thought. Margaret Drabble described it in literature as taking place roughly between 1770 and 1848, and few dates much earlier than 1770 will be found. In English literature, M. H. Abrams placed it between 1789, or 1798, this latter a very typical view, and about 1830, however, in most fields the Romantic Period is said to be over by about 1850, or earlier
30.
Weird Tales
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Weird Tales is an American fantasy and horror fiction pulp magazine founded by J. C. Henneberger and J. M. Lansinger in March 1923, Henneberger sold his interest in the publisher, Rural Publishing Corporation, to Lansinger and refinanced Weird Tales, with Farnsworth Wright as the new editor. The first issue under Wrights control was dated November 1924, the magazine was more successful under Wright, and despite occasional financial setbacks it prospered over the next fifteen years. Under Wrights control the magazine lived up to its subtitle, The Unique Magazine, Lovecrafts Cthulhu mythos stories first appeared in Weird Tales, starting with The Call of Cthulhu in 1928. These were well-received, and a group of associated with Lovecraft wrote other stories set in the same milieu. Other well-liked authors included Nictzin Dyalhis, E. Hoffman Price, Robert Bloch, Edmond Hamilton wrote a good deal of science fiction for Weird Tales, though after a few years he used the magazine for his more fantastic stories, and submitted his space operas elsewhere. In 1938 the magazine was sold to William Delaney, the publisher of Short Stories, Weird Tales ceased publication in 1954, but since then numerous attempts have been made to relaunch the magazine, starting in 1973. The longest-lasting version began in 1988 and ran with a hiatus for over 20 years under an assortment of publishers. In the mid-1990s the title was changed to Worlds of Fantasy & Horror because of licensing issues, as of 2016, the most recent published issue was dated Spring 2014. In the late 19th century popular magazines typically did not print fiction to the exclusion of content, they would include non-fiction articles. In October 1896, the Frank A. Munsey companys Argosy magazine was the first to switch to printing only fiction and this is now regarded by magazine historians as having been the start of the pulp magazine era. Other titles that specialized in particular fiction genres followed, starting in 1915 with Detective Story Magazine, with Western Story Magazine following in 1919. C Henneberger, a journalist and magazine editor who had been publishing College Humor and Magazine of Fun, formed Rural Publishing Corporation of Chicago and their first venture was Detective Tales, a pulp magazine that appeared twice a month, starting with the October 1,1922 issue. It was initially unsuccessful, and as part of a refinancing plan Henneberger decided to publish another magazine that would allow him to some of his costs between the two titles. Henneberger had long been an admirer of Edgar Allan Poe, so he created a magazine that would focus on horror. Henneberger chose Edwin Baird, the editor of Detective Tales, to edit Weird Tales, Farnsworth Wright was first reader, and Otis Adelbert Kline also worked on the magazine, assisting Baird. Payment rates were low, usually between a quarter and a cent per word, the budget went up to one cent per word for the most popular writers. Sales were initially poor, and Henneberger soon decided to change the format from the standard size to large pulp
31.
Northwest Smith
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Northwest Smith is a fictional character, and the hero of a series of stories by science fiction writer C. L. Moore. Smith is a pilot and smuggler who lives in an undisclosed future time when humanity has colonized the solar system. The stories are set in a common to science fiction stories of the pulp era. All of the planets of the system are able to support life and have their own civilizations, many of the intelligent races living on the planets have comparatively primitive cultures. The relationship of the planetary primitives to the colonists is analogous to the situation of Native Americans, Africans. Exceptions to this rule are the planets Mars and Venus which Moore depicts as having ancient and decadent cultures and this general milieu was shared by a number of other writers, including Moores friends Edmond Hamilton and Leigh Brackett. By profession, Smith is an outlaw who lives by a variety of criminal means, by nature, he is an anti-hero, ruthless, self-serving, and cynical. Despite this, he has a core of goodness and often does the thing in spite of himself. Smith is described as a dark haired man with space bronzed skin and pale eyes and his ship, the Maid, is small and unspectacular but surprisingly fast and agile. His closest ally is the equally amoral Venusian, Yarol and his stories often involve ancient alien beings who have been worshipped as gods. This theme is similar to the tales of H. P. Lovecraft though, unlike Lovecrafts tales, the classic Northwest Smith story is Shambleau in which Moore plays with themes of sexuality and addiction in Smiths encounter with a strange female alien. The story Quest of the Starstone is also worth noting because it connects Smith with Moores other most famous character, Moore originally created Smith as a western character and kept the name when she switched to science fiction. She reportedly liked the absurdity of a character named Northwest in space, Moore traced the origin of the characters name to the typing work which she was doing for a living while writing Shambleau and which included a letter addressed to a Mr. N. W. The Northwest Smith stories include the following, Shambleau, on Mars, Northwest rescues a strange, beautiful girl from the Lakkdarol mob. A Minga woman invites Northwest into the forbidden Venusian fortress where she lives and it turns out to be even larger than expected. An oddly-patterned shawl that Northwest picks up in Lakkdarol gives him unpleasant dreams, Northwest and Yarol take a job searching for the physical remnants of a dead god in northern Mars. Northwest takes a turn in the ruins of Vonng, Venus. In the polar city of Righa on Mars, Northwest meets a Venusian lady who isnt quite herself, Northwest and Yarol go looking to capture slave-women on one of Jupiters moons and find out more about themselves
32.
Ace Books
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Ace Books is an American specialty publisher of science fiction and fantasy books. The company was founded in New York City in 1952 by Aaron A. Wyn and began as a publisher of mysteries. It soon branched out other genres, publishing its first science fiction title in 1953. This was successful, and science fiction titles outnumbered mysteries and westerns within a few years. Other genres also made an appearance, including nonfiction, gothic novels, media tie-in novelizations, Ace became known for the tête-bêche binding format used for many of its early books, although it did not originate the format. Most of the titles were published in this Ace Double format. Ace, along with Ballantine Books, was one of the science fiction publishers for its first ten years of operation. With the death of owner A. A. Wyn in 1967, however, two prominent editors, Donald A. Wollheim and Terry Carr, left in 1971, and in 1972 Ace was sold to Grosset & Dunlap. Despite financial troubles, there were further successes, particularly with the third Ace Science Fiction Specials series, further mergers and acquisitions resulted in the company becoming a part of Berkley Books. Ace then became an imprint of Penguin Group, editor Donald A. Wollheim was working at Avon Books in 1952, but disliked his job. While looking for work, he tried to persuade A. A. Wyn to begin a new paperback publishing company. Wyn was already a well-established publisher of books and pulp magazines under the name A. A. Wyns Magazine Publishers and his magazines included Ace Mystery and Ace Sports, and it is perhaps from these titles that Ace Books got its name. Wyn liked Wollheims idea but delayed for months, meanwhile, Wollheim was applying for other jobs. Pyramid mistakenly called Wyns wife Rose for a reference, thinking Wollheim had worked for her, when Rose told her husband that Wollheim was applying for another job, Wyn made up his mind, he hired Wollheim immediately as an editor. The first book published by Ace was a pair of mysteries bound tête-bêche, Keith Vinings Too Hot for Hell, backed with Samuel W. Taylors The Grinning Gismo, priced at 35 cents, with serial number D-01. A tête-bêche book has the two titles bound upside-down with respect to other, so that there are two front covers and the two texts meet in the middle. This format is regarded as an innovation of Aces, it was not. Books by established authors were often bound with those by lesser-known writers, the main drawback of the Ace Double format was that the two books had to fit a fixed page length, thus one or both novels might be cut or revised to fit
33.
The Encyclopedia of Science Fiction
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The Encyclopedia of Science Fiction is an English language reference work on science fiction, first published in 1979. In October 2011, the edition was made available for free online. The first edition, edited by Peter Nicholls with John Clute, was published by Granada in 1979 and it was retitled The Science Fiction Encyclopedia when published by Doubleday in the United States. Accompanying its text were numerous black and white photographs illustrating authors, book and magazine covers, film and TV stills, a second edition, jointly edited by Nicholls and Clute, was published in 1993 by Orbit in the UK and St. Martins Press in the US. The second edition contained 1.3 million words, almost twice the 700,000 words of the 1979 edition, the paperback edition included an addendum. Unlike the first edition, the print versions did not contain illustrations, there was also a CD-ROM version in 1995, styled variously as The Multimedia Encyclopedia of Science Fiction and Grolier Science Fiction. This contained text updates through 1995, hundreds of covers and author photos, a small number of old film trailers. The companion volume, published after the print edition and following its format closely, is The Encyclopedia of Fantasy edited by John Clute. All print and CD-ROM editions are out of print. The beta text of the third edition launched online on 2 October 2011, with editors John Clute, David Langford, Peter Nicholls, the encyclopedia is updated regularly by the editorial team with material written by themselves and contributed by science fiction academics and experts. It received the Hugo Award for Best Related Work in 2012, the online edition of The Encyclopedia of Science Fiction was released in October 2011 with 12,230 entries, totaling 3,200,000 words. The Encyclopedia of Science Fiction, An Illustrated A to Z, St Albans, Herts, UK, Granada Publishing Ltd. p.672. The Multimedia Encyclopedia of Science Fiction, Clute, John, Langford, David, Nicholls, Peter, Sleight, Graham
34.
Star Trek
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Star Trek is an American science fiction media franchise based on the television series created by Gene Roddenberry. The first television series, simply called Star Trek and now referred to as The Original Series, debuted in 1966 and it followed the interstellar adventures of Captain James T. Kirk and his crew aboard the starship USS Enterprise, an exploration vessel. The Star Trek canon of the franchise include The Original Series, a series, four spin-off television series, its film franchise. In creating Star Trek, Roddenberry was inspired by the Horatio Hornblower novels, the satirical book Gullivers Travels and these adventures continued in the short-lived Star Trek, The Animated Series and six feature films. The adventures of The Next Generation crew continued in four feature films. In 2009, the franchise underwent a reboot set in an alternate timeline, or Kelvin Timeline. This film featured a new cast portraying younger versions of the crew from the show, their adventures were continued in the sequel film. The thirteenth film feature and sequel, Star Trek Beyond, was released to coincide with the franchises 50th anniversary, a new Star Trek TV series, titled Star Trek, Discovery, will premiere in May 2017 on the digital platform CBS All Access. Star Trek has been a phenomenon for decades. Fans of the franchise are called Trekkies or Trekkers, the franchise spans a wide range of spin-offs including games, figurines, novels, toys, and comics. Star Trek had an attraction in Las Vegas that opened in 1998. At least two museum exhibits of props travel the world, the series has its own full-fledged constructed language, Klingon. Several parodies have been made of Star Trek, in addition, viewers have produced several fan productions. As of July 2016, the franchise had generated $10 billion in revenue, Star Trek is noted for its cultural influence beyond works of science fiction. The franchise is also noted for its civil rights stances. The Original Series included one of televisions first multiracial casts, Star Trek references can be found throughout popular culture from movies such as the submarine thriller Crimson Tide to the animated series South Park. As early as 1964, Gene Roddenberry drafted a proposal for the series that would become Star Trek
35.
Gene Roddenberry
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Eugene Wesley Gene Roddenberry was an American television screenwriter and producer. He is best remembered for creating the original Star Trek television series, born in El Paso, Texas, Roddenberry grew up in Los Angeles, where his father was a police officer. Roddenberry flew 89 combat missions in the Army Air Forces during World War II, later, he followed in his fathers footsteps and joined the Los Angeles Police Department, where he also began to write scripts for television. As a freelance writer, Roddenberry wrote scripts for Highway Patrol, Have Gun–Will Travel, in 1964, Roddenberry created Star Trek, which premiered in 1966 and ran for three seasons before being canceled. He then worked on projects, including a string of failed television pilots. The syndication of Star Trek led to its popularity, this, in turn, resulted in the Star Trek feature films, on which Roddenberry continued to produce. He continued to consult on the series until his death in 1991, years after his death, Roddenberry was one of the first humans to have his ashes carried into earth orbit. The popularity of the Star Trek universe and films has inspired films, books, comic books, video games, and fan films set in the Star Trek universe. Roddenberry was born on August 19,1921, in his parents rented home in El Paso, Texas, the family moved to Los Angeles in 1923 after Genes father passed the Civil Service test and was given a police commission there. During his childhood, Roddenberry was interested in reading, especially magazines, and was a fan of stories such as John Carter of Mars, Tarzan. Roddenberry majored in science at Los Angeles City College, where he began dating Eileen-Anita Rexroat. He obtained a license through the United States Army Air Corps-sponsored Civilian Pilot Training Program. He enlisted with the USAAC on December 18,1941, and he graduated from the USAAC on August 5,1942, when he was commissioned as a second lieutenant. He was posted to Bellows Field, Oahu, to join the 394th Bomb Squadron, 5th Bombardment Group, of the Thirteenth Air Force, which flew the Boeing B-17 Flying Fortress. On August 2,1943, while flying out of Espiritu Santo, the plane Roddenberry was piloting overshot the runway by 500 feet and impacted trees, crushing the nose, the official report absolved Roddenberry of any responsibility. Roddenberry spent the remainder of his career in the United States. He was involved in a plane crash, this time as a passenger. He was awarded the Distinguished Flying Cross and the Air Medal, in 1945, Roddenberry began flying for Pan American World Airways, including routes from New York to Johannesburg or Calcutta, the two longest Pan Am routes at the time
36.
Q (Star Trek)
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Q is a fictional character in Star Trek, The Next Generation, Star Trek, Deep Space Nine, and Star Trek, Voyager, as well as in related media. In all of these programs, he is portrayed by John de Lancie, like his fellow Q, he is said to be nigh-omnipotent, and he is continually evasive regarding his true motivations. The true nature of the realm is said to be beyond the comprehension of lesser beings such as humans, beginning with the pilot episode Encounter at Farpoint of The Next Generation, Q became a recurring character, with pronounced comedic and dramatic chemistry between Jean-Luc Picard and himself. He serves as a major antagonist throughout The Next Generation, playing a role in both the first and final episodes. Other times, notably during Deja Q and Voyager, Q appears to the crew seeking assistance, gene Roddenberry chose the letter Q in honor of his friend, Janet Quarton. Q later inspired the My Little Pony, Friendship is Magic antagonist Discord, in Qs debut Encounter at Farpoint, he puts Picard and the Enterprise crew on trial, arguing that humanity is a dangerous race and should be destroyed. When they later save the life of an alien, Q agrees to defer judgement. Qs next appearance was later in the first season, in the episode Hide and Q, Q believes that humanity has the potential to one day evolve beyond the Q, and he wants to understand how. He settles on Picards first officer, Commander Riker, but Q fails to trigger the evolution, thereby losing a wager with Picard, Q is bound by the terms of the wager to stay out of humanitys path forever. Q instantly vanishes, but continues to appear in episodes as if the wager never occurred. In Q Who, he offers to divest himself of his powers and guide humanity through uncharted regions, Picard argues that Qs services are unneeded, and Q rebuts him by teleporting the USS Enterprise to a distant system for their first encounter with the Borg. Unable to resist the Borg, Picard must ask Q to save the ship, Q returns the Enterprise home and tells Picard that other men would rather have died than ask for help. The Star Trek, The Next Generation Companion states that the Borg already knew about Earth and were en route. The Star Trek, Enterprise episode, Regeneration, explains that the encounter in system J-25 intensified the Borgs interest in humanity, Qs actions stabilized the time stream by creating a different cause for the Borgs awareness of the Federation. In the original reality, Cochranes warnings go unheeded, in Déjà Q, Q is punished by the Q Continuum by being made mortal, his committing of an uncharacteristically selfless act garners the return of his powers. In the same episode, Q says that Picard is the closest thing in this universe that I have to a friend. Toward the end of The Next Generation, Q is less antagonistic toward Picard, even, in Tapestry, apparently saving Picard, in the series finale, All Good Things. Q gives Picard a helping hand in saving humanity by helping him figure out what is causing antitime to flow into the universe which will inevitably stop humanity from ever being born
37.
Arthur C. Clarke
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Sir Arthur Charles Clarke, CBE, FRAS was a British science fiction writer, science writer and futurist, inventor, undersea explorer, and television series host. He is perhaps most famous for being co-writer of the screenplay for the 1968 film 2001, A Space Odyssey, Clarke was a science writer, who was both an avid populariser of space travel and a futurist of uncanny ability. On these subjects he wrote over a dozen books and many essays, in 1961 he was awarded the Kalinga Prize, an award which is given by UNESCO for popularizing science. These along with his fiction writings eventually earned him the moniker Prophet of the Space Age. His other science fiction writings earned him a number of Hugo and Nebula awards, for many years Clarke, Robert Heinlein and Isaac Asimov were known as the Big Three of science fiction. Clarke was a proponent of space travel. In 1934, while still a teenager, he joined the British Interplanetary Society, in 1945, he proposed a satellite communication system, an idea which won him the Franklin Institutes Stuart Ballantine Medal in 1963, and other honours. Later he was the chairman of the British Interplanetary Society from 1946–47, Clarke emigrated from England to Sri Lanka in 1956, largely to pursue his interest in scuba diving. That year he discovered the ruins of the ancient Koneswaram temple in Trincomalee. Clarke augmented his fame later on in the 1980s, from being the host of television shows such as Arthur C. He lived in Sri Lanka until his death and he was knighted in 1998 and was awarded Sri Lankas highest civil honour, Sri Lankabhimanya, in 2005. Clarke was born in Minehead, Somerset, England, and grew up in nearby Bishops Lydeard, as a boy, he grew up on a farm enjoying stargazing, fossil collecting, and reading American science fiction pulp magazines. He received his education at Huish Grammar school in Taunton. Early influences included dinosaur cigarette cards, which led to an enthusiasm for fossils starting about 1925, in his teens, he joined the Junior Astronomical Association and contributed to Urania, the societys journal, which was edited in Glasgow by Marion Eadie. At Clarkes request, she added an Astronautics Section, which featured a series of articles by him on spacecraft and he moved to London in 1936 and joined the Board of Education as a pensions auditor. Clarke spent most of his wartime service working on ground-controlled approach radar, as documented in the semi-autobiographical Glide Path, although GCA did not see much practical use during the war, it proved vital to the Berlin Airlift of 1948–1949 after several years of development. Clarke initially served in the ranks, and was an instructor on radar at No.2 Radio School. He was commissioned as an officer on 27 May 1943
38.
Fantastic art
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Fantastic art is a broad and loosely defined art genre. It is not restricted to a school of artists, geographical location or historical period. Fantasy has been a part of art since its beginnings. In French, the genre is called le fantastique, in English it is referred to as visionary art. It has had a deep and circular interaction with fantasy literature, the subject matter of Fantastic Art may resemble the product of hallucinations, and Fantastic artist Richard Dadd spent much of his life in mental institutions. Salvador Dalí famously said, the difference between me and a madman is that I am not mad. Some recent Fantastic Art draws on the experience, or purported experience. The term Fantasy Art is closely related, and is applied primarily to recent art inspired by, or illustrating, the term has acquired some pejorative overtones. Fantastic art has traditionally been confined to painting and illustration. Fantastic art explores fantasy, imagination, the state, the grotesque, visions. Genres which may also be considered as Fantastic Art include the Symbolism of the Victorian era, religious art also depicts supernatural or miraculous subjects in a naturalistic way, but is not generally regarded as Fantastic Art. Many artists have produced works which fit the definition of fantastic art, others again such as René Magritte are usually classed as Surrealists but use fantastic elements in their work. It is therefore impossible to give an exhaustive list of fantastic artists and this led to a movement of science fiction and fantasy artists prior to and during the Great Depression, as anthologised by Vincent Di Fate, himself a prolific SF and space artist. In the United States in the 1930s, a group of Wisconsin artists inspired by the Surrealist movement of Europe created their own brand of fantastic art. They included Madison, Wisconsin-based artists Marshall Glasier, Dudley Huppler and John Wilde, Karl Priebe of Milwaukee and their art combined macabre humor, mystery and irony which was in direct and pointed contradiction to the American Regionalism then in vogue. Major imagists include Roger Brown, Gladys Nilsson, Jim Nutt, Ed Paschke, non-European art may contain fantastic elements, although it is not necessarily easy to separate them from religious elements involving supernatural beings and miraculous events. Sculptor Bunleua Sulilat is a notable contemporary Asian Fantastic artist, dream art Outsider art Society for the Art of Imagination Surrealism Vienna School of Fantastic Realism Gruyères Castle Coleman, A. D. Fantastic illustration and design in Britain, 1850-1930, day, Holliday T. & Sturges, Hollister
39.
Fantasy comics
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Fantasy comics have been around as long as the medium itself. Fredric Werthams book Seduction of the Innocent which directly led to a Senate hearing of the influence of comics on juvenile violence, though fantasy comics were able to survive in this new atmosphere though in a diminished capacity compared to its much stronger output in these early years. In the 1970s, Conan the Barbarian, created by Robert E. Howard, after some changes of publishers, it continued to be published in the 2010s. In the 1990s, The Sandman, created by Neil Gaiman, Sam Kieth, the Seven Deadly Sins, Trinity Seven and Akatsuki no Yona
40.
Fantasy film
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Fantasy films are films that belong to the fantasy genre with fantastic themes, usually involving magic, supernatural events, mythology, folklore, or exotic fantasy worlds. The genre is considered a form of speculative fiction alongside science fiction films and horror films, Fantasy films often have an element of magic, myth, wonder, escapism, and the extraordinary. Several sub-categories of fantasy films can be identified, although the delineations between these subgenres, much as in literature, are somewhat fluid. The most common fantasy subgenres depicted in movies are High Fantasy and Sword, both categories typically employ quasi-medieval settings, wizards, magical creatures and other elements commonly associated with fantasy stories. High Fantasy films tend to feature a more richly developed fantasy world, often, they feature a hero of humble origins and a clear distinction between good and evil set against each other in an epic struggle. Many scholars cite J. R. R, to some, the term Sword and Sandal has pejorative connotations, designating a film with a low-quality script, bad acting and poor production values. Another important subgenre of films that has become more popular in recent years is contemporary fantasy. Such films feature magical effects or supernatural occurrences happening in the world of today. Fantasy films set in the afterlife, called Bangsian Fantasy, are less common, other uncommon subgenres include Historical Fantasy and Romantic Fantasy, although 2003s Pirates of the Caribbean, The Curse of the Black Pearl successfully incorporated elements of both. As noted above, superhero movies and fairy tale films might each be considered subgenres of fantasy films, as a cinematic genre, fantasy has traditionally not been regarded as highly as the related genre of science fiction film. Since the late 1990s, however, the genre has gained new respectability in a way, tolkiens The Lord of the Rings and J. K. Jacksons The Lord of the Rings trilogy is due to its ambitious scope, serious tone. These pictures achieved phenomenal commercial and critical success, and the installment of the trilogy became the first fantasy film ever to win the Academy Award for Best Picture. The Harry Potter series has been a financial success, has achieved critical acclaim. Following the success of ventures, Hollywood studios have greenlighted additional big-budget productions in the genre. These have included adaptations of the first, second, and third books in C. S and this is in contrast to science fiction films, which are often released during the northern hemisphere summer. The huge commercial success of these pictures may indicate a change in Hollywoods approach to fantasy film releases. Fantasy films have a history almost as old as the medium itself, however, fantasy films were relatively few and far between until the 1980s, when high-tech filmmaking techniques and increased audience interest caused the genre to flourish
41.
Fantasy literature
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Fantasy literature is the body of written works that employ the motifs, themes, and stylistic approaches expected in the fantasy genre. Historically, most works of fantasy were written pieces of literature, since the 1960s, a growing segment of the fantasy genre has taken the form of films, television programs, graphic novels, video games, music and painting. Stories involving paranormal magic and terrible monsters have existed in spoken forms before the advent of printed literature, homers Odyssey satisfies the definition of the fantasy genre with its magic, gods, heroes, adventures and monsters. Fantasy literature as a distinct type emerged in Victorian times, with the works of such as Mary Shelley, William Morris. J. R. R. Tolkien played a role in the popularization and accessibility of the fantasy genre with his highly successful publications The Hobbit. Rarely does one consider modern fantasy without conjuring the memory and image of Tolkien, Tolkien was largely influenced by an ancient body of Anglo-Saxon myths, particularly Beowulf, as well as modern works such as The Worm Ouroboros by E. R. Eddison. Tolkiens close friend C. S. Lewis, author of The Chronicles of Narnia, the tradition established by these predecessors of the late nineteenth and early twentieth centuries has continued to thrive and be adapted by new authors. Tolkiens fiction has—particularly over the genre of high fantasy—prompted backlash, at the turn of the millennium, the Harry Potter novels of J. K. Rowling achieved widespread popularity. R. Martin in 2005, and 2011, Neil Gaiman in 2005, authors often engage in worldbuilding, constructing a framework or entire world against which the narrative plays out. Symbolism often plays a significant role in literature, often through the use of archetypal figures inspired by earlier texts or folklore. Some argue that fantasy literature and its archetypes fulfill a function for individuals and society, le Guin, in her essay From Elfland to Poughkeepsie, presented the idea that language is the most crucial element of high fantasy, because it creates a sense of place. She analyzed the misuse of a formal, olden-day style, saying that it was a trap for fantasy writers because it was ridiculous when done wrong. Brian Peters writes that in various forms of fantasy, even the villains language might be inappropriate if vulgar. The fantastical details of the series fade away by the installment, revealing that the wizarding community of the Harry Potter books is just as bad, if not worse. Farah Mendlesohn argues the world of literature is broken up into four categories, the portal quest, the immersive, the intrusive. How the fantastic enters the world is what determines how a story fits into these categories. In a portal quest such as C. S. Lewis The Chronicles of Narnia, The Lion, The Witch, in the intrusion fantasies like Bram Stokers Dracula, the fantastic invades the fictional world. With liminal fantasy, for example Phillip Pullman’s His Dark Materials, The Subtle Knife, tolkiens The Hobbit for example, allows the reader no escape from the fantastic
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Fantasy fiction magazine
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A fantasy fiction magazine or fantasy magazine is a magazine which publishes primarily fantasy fiction. Not generally included in the category are magazines for children with stories about characters as Santa Claus. Also not included are adult magazines about sexual fantasy, many fantasy magazines, in addition to fiction, have other features such as art, cartoons, reviews, or letters from readers. Some fantasy magazines also publish fiction and horror fiction, so that here is not always a clear distinction between a fantasy magazine and a science fiction magazine. For example, Fantastic magazine published almost exclusively science fiction for much of its run
Media related to Science fantasy at Wikimedia Commons
