Starburst Vol.1 #3

Mar 1978. Cover price 50p.
52 pages. Colour & B&W.
Starburst Magazines Ltd.

Edited by Dez Skinn.

Photo cover.

Contents:

 2 Superman - the feature film photograph (uncredited).

 3 Editorial by Dez Skinn. / Contents / Indicia

 4 Close Encounters of the Third Kind review by John Baxter; photographs (uncredited).

 9 We Are Not Alone advertisement for Close Encounters of the Third Kind.

10 Things to Come news feature by Tony Crawley.

15 The First British Film Fantasy Convention (one third page) advertisement.

16 Special Preview Quark text feature by Tony Crawley; photographs (uncredited).

18 The Star Wars Interview Harrison Ford interview by Tony Crawley; photographs (uncredited).

23 Is it a Series? Is it a Movie? No, it's a... Star Trek text feature by Sam Deli; photographs (uncredited).

24 Superman - Choice Encounters of the Salkind text feature by Tony Crawley; photographs (uncredited).

r: cover from Action Comics (National Periodical Publications) #01 (Jun 1938) a: Joe Schuster.

r: image from UNKNOWN a: Neal Adams.

26 Superman poster; photograph (uncredited).

29 Book World reviews [Star Trek Fotonovel 1: City on the Edge of Forever, Star Trek: Planet of Judgement, Star Trek: The Price of the Phoenix, Blake's 7, Logan's World, Close Encounters of the Third Kind, So Bright the Vision, The Lavalite World, The Visual Encyclopedia of Science Fiction] by Alex Carpenter & Sam E. Deli.

30 Starburst Letters readers' mail.

32 A History of Science Fiction Films text feature by John Brosnan; photographs (uncredited).

40 Subscription Offer - Free Advertisements (half page) in-house advertisement.

41 Logan's Run Follow the Loser review by Sam E. Deli. / Logan vs. Blake review by Tise Vahimagi. / Logan's Done review by Tony Crawley. / The American View commentary by US correspondent Bill George; photographs (uncredited).

44 Close Encounters Behind the Scenes text feature by John Brosnan; photographs (uncredited).

47 Maya Merchandising advertisement.

48 Weird Fantasy (partial page) advertisement. / Hammer's House of Horror (partial page) in-house advertisement.

51 Dark They Were and Golden Eyed advertisement; illustration by James Cawthorn.

52 Star Wars - Now See the Film at Home advertisement for Leisuremail.

There's lots of ways to grab attention with a cover, yet this issue chooses to feature three photographs of lights. Admittedly, they're from Close Encounters of the Third Kind, but they aren't, by any stretch of the imagination, an attention-grabbing visual. "Never judge a book," and all that, as the contents are up to the usual high quality. John Baxter's review of the film in question is an obvious manner in which to start the issue, with four pages of analysis, facts, opinion, and photographs.

Tony Crowley's Things to Come feature, on projects stuck in development hell, award news, and then-forthcoming releases, goes some way to answering why, of all the various SF cartoons, one has maintained a position of popularity regardless of current fads in the genre:

When George first showed Star Wars to his cast and crew in Hollywood early last year, he opened his special screening with an old Warner Brothers cartoon favourite of his, Duck Dodgers in the 24½th Century.

A full year later, Lucas finally got his way in one San Francisco cinema. And now the animated adventures of Daffy Duck and Porky Pig against Marvin the Martian on Planet X are supporting Star Wars in every show...

And guess what appears in Close Encounters? When Richard Dreyfuss wakes up in his playroom and his son is watching TV cartoons? Duck Dodgers rides again... with Porky Pig handing a bomb to Marvin the Martian saying "H'h'h'happy birthday, you thing from another world, you."

Last time any of the cartoon was seen was in a CBS TV's Bugs Bunny in Space show.

It isn't difficult to draw a line from this resurgence in popularity through to Babylon 5. How long, I wonder, before someone sits down to write a full list of Warner Bros. cartoon's influences on modern SF?

For those interesting in charting the progression of a film to the screen, there's an early mention made of Greystoke (six years before its release), with an additional snippet of information regarding Denny Miller appearing in Keeper of the Wild television series. Galactica gets its first mention, as a forthcoming three-hour ABC television movie, though without any photographs - possibly being the first mention of the series this side of the Atlantic.

A feature covering Star Trek's epic transition from small screen to large, with appropriately dismissal of the cartoon, only seems to be included in order to compare the fate of the series with Star Wars. It is too brief to truly delve into the labyrinthine mess, in which various proposals (for both television presentations and feature films) were considered, leaving readers with more questions than answers.

Puns should be used sparingly, and, as a glaring one had already been slipped into the Harrison Ford interview, the Superman article really didn't need to further compound the US trend with the punniest title the title had seen so far. In the form of a rough chronology, which is very scant in detail, the history of the character in various media is recounted (without all the milestones being identified), before following the twists and turns of the production's various incarnations.

It is also a hilarious article to read, thanks in no small part to the facts which Crawley has at hand, but his skill at presenting such material is clear. There's a conspicuous lack of references to the "curse of Superman" - which would have explained much of the production woes - and The Adventures of Superpup is unfairly ignored in the history of the franchise, despite speaking directly to the problems of maintaining audiences' attention. It is a small miracle that the end product, Superman - the Movie, was so watchable.

Cramming more reader feedback into two pages than most magazines publish in a year, the first letters page for the title is a fantastic example of how disparate the views of readers can be. Wendy Richards (most likely not that Wendy Richards) amusingly points out some Trek errors in the first issue, which are probably only noticeable to the show's die-hard fans.

The most important piece is John Brosnan's A History of Science Fiction Films, which covers the period 1902 through to the time of print. It is a flawed masterpiece in miniature, hinting at the possibility of a larger, more in-depth look at the progression of the genre. It is also an almost entirely Western look at SF films, neglecting much of the madness which erupted in Japan upon the release of Godzilla.

There are numerous incredibly noticeable spelling mistakes throughout, which is excusable only as Starburst was an independent publication. Also of irritation, though likely only in retrospect, is the attention given to Close Encounters, which receives another burst of words at the close of the issue.

#02

Starburst

#04

Starburst Vol.1 #2

Mar 1978. Cover price 50p.
52 pages. Colour & B&W.
Starburst Magazines Ltd.

Edited by Dez Skinn.

Cover painting by 'South.'

Contents:

 2 'The Prisoner' explained photograph (uncredited).

 3 Editorial by Dez Skinn. / Contents / Indicia

 4 Threepio Unmasked Anthony Daniels interview by Tony Crawley; C3PO illustration by Ralph McQuarrie, photographs (uncredited).

10 Spider-Man on Screen text feature by Sam Deli; photographs (uncredited).

13 Maya Merchandising advertisement.

14 Jeff Hawke 'Here be Tygers' w:/a: Sydney Jordan.

r: Daily Express newspaper strip.

19 Star Wars - Now See the Film at Home advertisement for Leisuremail.

20 Ray Bradbury on Close Encounters of the Third Kind text feature by Ray Bradbury; photographs (uncredited).

r: Close Encounters of the Third Kind (Warren Publishing) nn (1977).

23 Close Encounters - From Privacy to Profits (side-bar) text feature by Tony Crawley. / UFOs Exist! We have seen them aided by our 'Skywatch UFO Detector' advertisement (side-bar) advertisement.

24 Space Cruiser review by Tony Crawley; stills from film.

26 Space Cruiser poster; painting by 'South.'

28 Big Screen Entertainment - Coming Soon! (half page) advertisement for Space Cruiser.

29 Spot the Spaceships Competition

30 The Prisoner text feature by Alan Grace; photographs (uncredited).

34 Patrick McGoohan full-colour pin-up.

37 Six of One (one third page) text feature on The Prisoner fan club. / Weird Fantasy Bookshop (partial page) advertisement. / Terron Enterprises (partial page) advertisement for Star Trek merchandise.

38 Jeff Hawke 'Here be Tygers' cont.

r: Daily Express newspaper strip.

42 Things to Come news feature by Tony Crawley & Sam Deli.

45 The Visitor w: Jim Starlin; p: Jim Starlin, i: Al Milgrom, lettering by Tom Orzechowsi.

r: Star*Reach (Star*Reach Productions) #02 (Apr 1975).

48 Wizards Review by Alan Jones; stills from film.

51 The Science Fiction Book Club advertisement.

52 Spider-Man pin-up; photograph (uncredited).

While the cover is of the limited-release animé Space Cruiser [宇宙戦艦ヤマト, normally referred to as Space Battleship Yamato], the manner of presentation is firmly tailored to Western audiences - a rousing painting which evokes both the runaway hit Star Wars and the kind of paintings which featured heavily on paperback covers of the era. Using the film so prominently, so early in the life of the title, is a mark of confidence in how SF fans will react to new ideas, and shows how clued-in editor Dez Skinn was about readers' hunger for new SF material.

Last issue, in this editorial we promised we'd be around for a l-o-n-g time. Looking at all the hastily-assembled rip-off s-f magazines that have appeared since then, none of which appear likely to reach their second issue, makes it seem a long time already!

In a missed trick Dez doesn't actually name any of the titles playing follow-the-leader, and a quick search through titles of the era failed to unearth more than a handful of cheap-looking titles. Here's a hint: when mocking it is always better to go ahead and do a full review of competitor's wares, rather than merely indulging in snarky off-hand references. Go big. Use a four-page feature to do an in-depth analysis of the shortcomings of other publishers. This hesitation in full coverage of the SF landscape is one of the drawbacks of the title - there's style, intelligence, and definite opinion, but a lack of merciless criticism of start-ups whose hopelessly optimistic recycling of press releases were intended to capture a slice of the audience.

As for being around for a l-o-n-g time... Yeah. Under different publishers, perhaps, but always a welcome sight on the shelves.

Anthony Daniels' interview highlights his life before Star Wars' phenomenal success changed everything for him, and wisely provides enough anecdotes and trivia to allow his personality to shine through the C3PO persona. This is, of course, a snapshot of a particular moment in time, and the relaxed manner in which Tony Crawley teases out details is refreshingly free of the rehearsed answers which the actor seemed to provide a few years later. Quite happy to reveal the tortuous preparations, and problems with the suit while filming, Daniels is on fine form here. When he criticizes his performance, or parts of it, his pride in craftsmanship shines through, enhancing his likability.

You see, to be frank, Star Wars wasn't that pleasant to make. It was a rather uncomfortable experience. The thing that is mainly rewarding is the reaction of people. The fan-mail I get. I'm amazed that people want to take time to write to me.

C3PO was - and is - one of the best aspects of the original trilogy, his appeal being an innate humanity.

Coverage of the Spider-Man television series always used such unfortunate photographs, resulting in the show's legacy largely consisting of criticism of cheap-looking effects, and (obviously) The Sound of Music jokes. This article, outlining the character of Spider-Man, and providing some hint of the production problems which plagued Superman's journey from page to screen, is optimistic about the then-forthcoming cinematic release of the pilot, though it is clear from the images reproduced here that high quality entertainment was probably expecting a bit much.

Tony Crawley's review of Space Cruiser is remarkably comprehensive in delineating the films flaws, registering visual inspiration shared with Lucas' film, noting the televisual feel (while not quite stating that the source material began there), and mentions the manga. Or, rather, suggests "the story emanates from a popular Tokyo newspaper strip," which isn't quite accurate, but surely close enough to satisfy readers of the late-seventies. Dismissing the film as a farce, in the final line, is a bit harsh, considering the complete saga had not, at that time, been seen in the UK.

In isolation, the film isn't brilliant - the criticisms hold water, not unlike the real Yamamoto, but there's more to the series that this cinematic outing. Had a collection of the original strip been acquired, in order to compare and contrast the differing presentations of the story, then the review might have been less dismissive of the story as a whole. Knowing how difficult acquiring tankōbon was in the nineties, one can only imagine the logistical problems in acquiring them twenty years earlier.

The article on The Prisoner covers the premise, outlines the themes so resonant throughout, and identifies important plot points for newcomers to the series, developing theories about the deeper meaning behind some of the almost expressionistic elements only in the final couple of pages. It is always interesting to see people stumble over the plots and characters, attempting to weld one definitive reading onto the narrative whole, when it works better as a personal journey for each viewer to take from it what they want.

Not receiving clear answers doesn't mean a story has failed.

Things to Come spends a page outlining the Byzantine rules which US television networks, production companies, and the stars of hit television series', operate under. It is unsurprising, with so many restrictions imposed upon the creative end of the process, that much of American television from the seventies is almost unwatchable now. There are behind-the-scenes photographs of Damnation Alley, which makes the film look more interesting than it turned out to be.

One of the saddest things about creating something, anything, is if it doesn't work. When it's got terrific potential, but doesn't realise it. Be it the fault of money, time or talent, it frightens off the whole field, does irreparable damage to the genre.

Alan Jones' review of Wizards covers the immense difficulties which Bakshi's film had stacked against it, and it is difficult to reappraise the film with more enthusiasm all these years later. If anything, the dated look of the animation has made it less interesting than it was on release. Ralph Bashi's never had a wholly-satisfying film, with each of his directorial releases suffering some form of deficiency. For a director with such a strong sense of vision, it is painful to see what eventually ended up on screen in comparison to his stated intentions.

Remaining interesting after so many years is a remarkable feat, and Starburst holds a special place in SF history.

#01

Starburst

#03

Starburst Vol.1 #1

Jan 1978; Cover price 50p.
52 pages. Colour & B&W.
Starburst Magazines Ltd.

Edited by Dez Skinn.

Cover by Brian Lewis.

Contents:

.2 Artoo-Detoo and See-Threepio photograph.

.3 Editorial by Dez Skinn. / Contents / Indicia

.4 The Writers of Star Trek text feature by Christopher Wicking & Tise Vahimagi.

10 Litterbug! w:/a: Dave Gibbons.

12 Star Wars - Buccaneers of Space text feature by Sam Deli.

20 Jeff Hawke Here be Tygers w:/a: Sydney Jordan.

r: Daily Express newspaper strip.

25 Star Wars - Now See the Film at Home advertisement.

26 Things to Come news text feature by Tony Crawley.

29 Andromeda Bookshop advertisement.

30 Pass the Book text story by Harry Harrison; illustrated by UNKNOWN.

35 Jeff Hawke Here be Tygers (cont.)

36 The Making of Star Wars text feature by John Brosnan.

41 Fantastic Filmbooks (one third page) advertisement

42 The Writers of Star Trek (cont.)

46 Advertisements (two thirds page)

47 The Writers of Star Trek Episode Guide

48 Maya Merchandising (two thirds page) advertisement for Maya Merchandising.

51 Spaceburst w:/a: Brian Lewis.

A rendition of (more or less) Star Wars' main cast by Brian Lewis hints at the aspirations of Starburst, while a hastily-added photograph of Mr. Spock hints at what was to become of the title for much of the run - a compromise between innovation and commercial necessity. The first issue is a powerful package of intelligent articles and well-chosen strips, which doesn't pander to the tendency for infantile jokes so predominant in contemporaneous genre magazines from the US. A breath of fresh air.

The opening comments about television in The Writers of Star Trek are interesting to read forty years on:

While the galloping hoofbeats, blazing sixshooters, screeching brakes and barking machine-guns to which the small screen quickly resounded indicate that TV's debt to cinema was the importation of genre (westerns, detective/gangster shows, etc. etc.). Indeed it can be argued that, unique among the media/arts, TV--worldwide--has still to define its true, unique personality.

We have since seen television's true, unique personality in the form of exploitative "reality" television, cruel gameshows, merciless "talent" shows and late-night sex chat programming. Television is the unpleasant guest at the dinner table when not properly kept in check, and only long-form storytelling has redeemed the medium from the gutter to which it gravitates so readily and eagerly.

It is slightly disconcerting that the focus of the article is American television specifically, ignoring the early live broadcasts of Shakespeare's works (unquestionably fantasy), and the groundbreaking performances of R.U.R., Quatermass and 1984 in favour of the juvenile SF across the Atlantic. It is a minor mis-step in overstating the importance of our transatlantic cousins in providing genre material for the medium, and frames the rest of the article in respect to the quality of material being broadcast.

A run-down of the major players in Star Trek's small-screen incarnation follows, and Wicking and Vahimagi do an excellent job of condensing the information down into a manageable number of pages. The piece on Harlan Ellison is incredibly polite given that the man could be so unpleasant, and several writers are grouped together at the end of the article despite having impressive credentials outside of Star Trek. It is the kind of article which would be attempted in several places over the years, but which is best explored in book-form where attention can be drawn to the links between the authors and their other works.

Dave Gibbons' Litterbug! is a clever, and perpetually timely, warning, with beautiful artwork. It shares a lot in common with the Future-Shock one-off strips in 2000 A.D., but is so good that it doesn't really matter.

Star Wars - Buccaneers of Space retells the plot of Star Wars in excitable prose, as if Deli has had four or five mugs of coffee before being sat in front of the film for the first time. With the small paperback collection of comic strips, the already-released **** novel and the weekly comic (published a couple of months later) doing much the same thing, it feels redundant.

It is always a pleasure to read Jeff Hawke, and the reproduction of the strip here fits remarkably well.

Harry Harrison's story Pass the Book is a welcome break from the non-fiction material, accompanied by an interesting illustration. It is unusual to see such variety sharing the pages of a single title, and the sense of love for the material comes through clearly - perhaps a little too much focus on Star Wars, though understandably so. The closing one-page strip by Brian Lewis is genuinely funny, gently mocking the seriousness endemic to SF circles, and is the perfect way to close the first issue out.

What was I saying about a breath of fresh air...