Canadian members will be serviced from Toronto. Offer slightly different in Canada. Miss Please print Address City. Order not valid without signature. If under 18, parent must sign. It's an honor, a thrill. It will be displayed across the nation in a graphics show. Future hardcover vol- umes to appear include a special tribute volume of 3, editions of Glory Road and Starship Troopers by Robert Hein- lein with original art by Kelly Freas; Heroes And Hobgoblins, a collection of light verse by L.
And this selec- tion is only the beginning of Heritage Press, says Richard. We want to do everything. Box , Forest Park, Georgia , for further infor- mation on this exciting new publishing venture. The publishing company began as a hobby and blossomed into a prestige house, with an exciting line of quality books and posters. After almost a decade The Avengers will be back fighting invisible men, ghosts, cyber- nauts, and various villainous types. But these Avengers are not the duo you may have previously known and loved. But that's not all, folks.
For the first time, the espionage team has gained a third member. In this case it's Gareth Hunt as ex-race car driver and crack shot Michael Gambit, adding a little macho derring-do to the trio.
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According to English sources, who have already viwed two seasons of the series. Steed is every bit as sophis- ticated as ever. Gambit adds an inter- esting dimension to the familiar formula and Purdey can kung-fu like nobody's business. Already they have taken on the televised like of vampires and ghouls — when they get to America, who knows? Not available on newsstands.
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Each volume includes a collection of rare photos from movies and from TV shows. Valuable reference data, credits, etc. A "must" for every science-fiction library. The perfect gift for any SF fan. Postage: 3rd Class— S.
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Foreign Air Mail — S2. Postage: 3rd Class— S1. Foreign Air Mail— S2. Postage: 3rd Class — S1. The Habhit, and several years of intense planning. The Lord Of the Rings is about to become a movie. The production of J. Tolkien's epic trilogy, in any form, has never been easy.
The good professor himself slaved for many years writing the three volumes and they languished just as long waiting for an industrious pub- lishing house to discover them. Lord Of The Rings' road to screen immortali- zation was just as arduous. For more than 15 years, its film pro- duction had never gone beyond the negotiation phase. In United Artists finally optioned the work along with the likes of Man Of La Mancha and Hair, taking a full page ad in Va- riety to announce their acquisitions.
Of the three, only the first was destined for immediate creation. At first, the studio proudly declared that Lord Of The Rings was to be one three-hour motion picture with John Boorman directing a live action cast. Fans and professionals alike reacted to this news with intense skepticism — one technician assigned to the project was quoted as saying, "It's like filling Death Valley with Disneyland. Bakshi and his producer. Saul Zaentz, are ready to un- leash their version of the fantasy classic.
With the two-hour film set for a Thanksgiving release, the animation studio has finally seen fit to detail its technique. Live-action footage has been used as reference in animation for years. The studio representative cleared up the point by explaining. Their use enables the animators to capture the most subtle nuances and details of each character's movements for heightened realism. The drama, based on a story by the late Paul Gallico. Elizabeth Ashley portrays Sharon Allan, owner of the city's leading tele- vision station. This is your last chance to subscribe at present rates.
August 31, is the deadline, and all orders received after that date will be returned for additional funds. Space Science Experts! New Products! His warnings go unheeded, however, and Phoenix, Arizona plays host to a very destructive intergalactic guest. Continued from page 12 sical adventure will be done by Rankin Bass productions, the folks responsible for last year's colorful The Hobhit tele- nick.
CBS is planning a horde of spec- taculars including this fall's Star Wars Holiday Special, a one-hour opus still in the planning stages which promises to deliver both science fiction and song and dance. Also scheduled for the holi- day season is a two-hour presentation from the Children's Television Work- shop.
The network has also acquired the rights to the best seller Gnomes for a full-length animated production as well as TV rights to the animated film feature version of Richard Adams' Watership Down. Brave New World. Flash Gordon and Buck Rogers! Un- fortunately, Wookies.
Jawas and Jedi Knights will not be invited. The ad copy reads: "They discovered new- worlds, but they were not alone Female aliens wear black mesh tights and stal- wart space travelers boast padded shoulders in uniforms straight out of Killer Kane's army. Stella Star, on the other hand, is a slightly more ambitious production be- ing released stateside by American In- ternational Pictures. Cozzi is aware that his film may be seen as a Star Wars rip-off but diligently states that Stella was planned nearly two continued on page 16 14 Two thugs from oufrespace aim their futuristic flashlights at unseen foes in Italian space opera The Adventures of Stella Sfar formerly StarCrash.
Here is the definitive guide to information from "Space: The removable pages are organized in strict military fashion and include complete data on the Commlock, Stun Gun, Laser Cannon, Communications Post, Uniforms, and several fold-out blueprints of the various levels and areas of Moonbase Alpha. Alan Carter, Tony, Maya, etc. There is also a complete Timeline and Episode Guide section with photos, credits, and plot synopses for all 48 TV adventures. This limited edition publication each one will be registered to the owner is the one and only authorized version approved by Gerry Anderson Pro- ductions and ETC Entertainment.
The original title. Mine is science fantasy. The space ele- ments in the George Lucas film are quite scientific. My film has many space elements but also includes dream people, monsters and lots of fantasy. Our heroes are a trio composed of an Amazon girl, a Robot and a humanoid from outer space — all search for a mis- sing spaceship. Caroline Munro and Christopher Plummer with special effects handled by both Italian technicians and American supervisors. Before authorities have a chance to react, a slithering mound of protoplasm makes its way down a gigantic landing ramp while muttering something in English.
As people flee for their lives, the inter- galactic globule declares solemnly: "One small step for a znargh — a giant stride for znarghkind. For Wilson, who has achieved infamy via his grotesque pen and ink outings found within the pages of The Magazine Of Fantasy And Science Fic- tion, Playboy, The New Yorker and The National Lampoon, this carnivorous caucus represents his favorite works culled over the last decade.
Present and accounted for are such Wilson regulars as prune-faced spinsters, bumbling mad scientists, sur- real aliens, equally surreal business- men, man-eating plants, rebellious "Good heavens — this must mean we've practically finished him off! Originally declared stillborn, young Gahan was revived by an old-fashioned doctor who tossed him into a bowl of ice- water.
Arnold Bud- dy Gillespie. Gillespie entered the movie industry almost by accident. After studying art at Colum- bia University and, later, the Art Stu- dents' League in New York, he got his first job at Metro studios in as an architectural draftsman. Working seven days a week for twelve hours a day, Gillespie found himself doing every job under the sun for a grand sum of S25 per week. Since unions were virtually unheard of in Hollywood's in- fant days', the youthful artist began try- ing his hand at every type of artistic function possible. Eventually, the craftsman began working on movie miniatures.
From there, he expanded his terrain to include every type of special effect possible. He retired from MGM in , a special effects tech- nician' on over films and an art director for more than Once asked to describe his craft, the consummate SFX designer remarked: "I think peo- ple in our profession are a combination of engineer, inventor and dreamer. Not on the weekly fall roster, however, is fellow Marvel comic book hero Spider-Man. Apparently, network brass didn't feel the limited series shown this season had enough time to prove itself with viewers. But web-slinging fans need not fear for Spidey's future, CBS has ordered eight Spider-Man "spe- cials" for airing in the fall.
During his lifetime, he proved himself a master of evoking chills from his audiences via both his compositions for Alfred Hitchcock North by North- west, Vertigo. It's Alive. Happily, the plot of the new thriller closely resembles Alive's story- line killer babies on the prowl , so Herrman's musical genius aided Harryhausen magic in The 7th Voyage of Sinbad. Herrmann's original musical moods fit like a glove Writer-director-producer Larry Cohen is responsible for both films and made the decision to re-use Herrmann's murderous melodies himself. It was a labor of love for all concerned. Here's a special offer to Starlog readers— the com- pletely new and original musical version of H.
Wells' "War of the Worlds. The double-album set also includes a lavishly illustrated paqe, full-color booklet featuring com- plete scri pt, l yrics, and ei ght magnilicent illustrations. To save C. Presented to you by an all-star cast ' War of the Worlds" is narrated by RICH- each complete double-album, 8-track, or cassette. Box , Terre Haute, Ind. To: Name. Phil Lynott appears courtesy of Phonogram. That un- derstatement of the year led to the birth of the Davis baby, a hearty little devil who immediately slaughtered all the doctors in the delivery room, then went on a rampage of crawling terror un- parallelled in cinematic history.
It's Alive proved to be a Warner Brothers success and the nation's most potent advertisement for Planned Parenthood yet. Even with such a viable and unique concept, the movie was unsuccessful during its initial release but enormous success in Europe warranted a new dis- tribution and publicity plan.
With the aid of a clever commercial campaign, the film has since grossed over twenty- five million dollars.
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Not surprisingly, the prolific filmmaker's position is sub- ject to the interpretation of his aud- ience, who clamor for his horror films God Told Me To, also known as Demon , the studios he works for, who like the money his other exploitation films bring in Hell Up In Harlem , and even his actors. John Ryan, who played Frank Davis, the mutation's father in the original ver- sion, concurs with Cohen's vision but also sees the films as spiritual dramas.
It may even come to a point where we will be so poisoned in our thinking that our very genes may be- come so corrupted that we would give birth to the very things we are. Except that instead of the one mutated monster the Davis' bore in the initial film, diaper clothed demons are springing up all over the country. The U. Government, ever the fashionable heavy these days, sets out to destroy the warped fetuses before birth 18 while Frank Davis sets out to save the beastly babes.
But when you start dealing with the Lord, people get very touchy about it. It Lives Again, despite its other as- pirations, remains a horror film first. According to its creator, it attempts to recreate the same thrills and chills as its predecessor. Aiding in that effect is makeup maestro Rick Baker, who made 3 mutant babies from the same mold that gave birth to the frightening first. The 3 kids of It Lives Again were built from the same mold.
The method used in the baby's close-ups was a little closer to home however. Meantime Cohen contends that the lack of intricate detail has a place in his film duo. Or what I expect or fear to see. When you see a thing clearly then it becomes a special effect. The more clearly the babies are shown, the less frightening they would have been. After the sequel has its initial run, the producer wants to run them as a double-feature.
Cohen sees them as important to one another. After that? Both the films' star and backstage technician have their own answer. We need to see the fruits of this evolutionary course that's been set. The guide will be seen and saved by hundreds of thousands of science-fiction fans and professionals — a fabulous opportunity to advertise your products and services to an eager audience, and make valu- able business contacts in the SF field. Deadline for all listings: Must be in our office by August For complete infor- mation, rates and forms. Space Art No. Eagle Blueprints.
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Bakshi, George Pal No. Computer Games. The Supermen movie. Incredible Shrinking Man. SP FX. The Makeup Man. SF Comics. Computer Ani Laser Blast. Art by Bo Makeup Men. This Island Earth. Episode Guide "TheTwilightZone". Sound Eflecis. Oavid Gorrold ' Death Beast", chap. For super-quick service, include yertir own self-addressed 9"x12" envelope stamped with 1st Class postage.
Ameri- can stamps only please. We will process these orders the same day they are received, and you should have them within 10 days. Incorrect postage will cause a delay in shipment. Above rates do not apply. Enclose cash, check, or money order. Name Address City State, Zip. Note: If you don't want to cut up this magazine, please print your order on a separate piece of paper. A Fan News Column by Susan Sackett For all of you who have called our office recently asking to talk to Gene Roddenberry and were told that he was in a meeting and that's just about all of you. I have some bad news.
Our entire staff is in a meeting. Right now. As you read this. This is a recording. With production still set to begin this summer, the crunch is being felt in all departments and Gene and Bob Wise, along with a number of members of our creative staff, can usually be found behind closed doors.
Harold Livingston, who originally teamed with Gene Roddenberry to write the script, returned to our offices to complete the final screenplay. The S15 million budget announced earlier gave us more latitude in the area of art direction, and we have signed Harold Michaelson as our new art director. Harold's previous credits in- clude Maine, Two People. Johnny Got His Gun, and Caich He is presently working on new designs for some areas of the Enterprise sets, including wider corridors, and we'll see parts of the En- terprise never seen before, adding to the big-screen look.
We've signed Phil Rawlins as Unit Production manager. He is responsible for coordinating the budget with all areas of the production. Phil's latest films include California Suite, Coma. Little did I realize that I would receive so many, and I've had to begin a file just for these letters! One of the most fre- quently asked questions was -"What about the new Vulcan character, Lt.
Strangely enough, this sec- tion of the console was built for the never-produced second TV series. When plans were finalized for the fifteen-million-dollar movie, Gene Roddenberry and crew started from scratch to produce sets their legion of fans could only imagine.
Douglas J. Zimmer of Spokane. A lot of people are curious to hear what Gene Roddenberry. Will we get a chance? However, they will be covered in the book. Ban- tam Books has given him an extension in completing this because of the pro- duction of the film, which is a full-time effort. Darrell Montz of Anderson. Mis- souri would like to know if the sets will be constructed to the same specifi- cations as in the Enterprise blueprints. The new Enterprise sets were designed by our art department to best suit the needs of this motion pic- ture, and were not based on Franz Joseph's designs. We had to consider such things as camera access, lighting the sets, mobility of actors, overall ap- pearance, etc.
Craig Melcher of Magicam revealed that Magicam will be building a brand new model of the Enterprise for the forthcoming film because the old "new" model constructed last year for the proposed syndicated TV series simply wasn't detailed enough for the widescreen opus. Also under con- struction will be a new Klingon vessel. William Blair of Ft.
We have no knowledge of any plans by Ballan- tine Books for revised editions of either of these. No doubt there will be many new books and novelty items de- veloped when the motion picture re- aches the theatres, but at this time the only book planned is "The Making of. Today the 31 -year-old wunderkind traipses regularly through the literary realms populated by Star Trek 's crew, Luke Sky walker and loyal minidrags.
Robert Heinlein, Arthur C. Le Guin will cer- tainly be included within the litany of tried-and-true writers currently in favor with SF fans. And so will Alan Dean Foster. At age 31, Alan Dean Foster is on his way to becoming one of the most widely-read writers of science fiction in the world. He's already a cause celebre in fandom because of both his half- dozen successful novels and his ten Star Trek Log books.
His next two projects, however, are almost certain to catapult him into the brightest of literary spot- lights, bringing his work to the attention of millions of additional readers and moviegoers alike. Foster's most publicized new venture to date is his sequel novel to George Lucas' fantastically popular Star Wars. Michael Cassutt is an Arizona-based freelance writer and disc jockey. He has just finished his first novel. The novel was developed by Foster in collaboration with Lucas and written by Foster. Although Splinter is officially being tagged as being the sequel to Star Wars, it is not the story that is already in pro- duction for the film Star Wars II.
Although Foster has been out of the movie this time around, his Star Wars contract does allow Splinter to be filmed in the future, perhaps as one of the nine planned sequels to the original film. Foster has mixed feelings about that project. But as a fan there are many things that are not present in the book that I would like to see present in a film. George didn't know, no- body knew, that he was creating a social phenomenon, and not just another movie. So we sat down to consciously design a book which could be filmable on a low budget.
Now, George no longer has to worry about that. I'd like to see the Imperial home world and the Emporer's palace. His original story "In Thy Image," once scheduled to be the two-hour pre- miere episode of the "new" Star Trek television series, is currently in produc- tion as the basis for the new Star Trek feature length film. Oddly enough, however, his phenomenally successful career started out as a goof. The worse, he who majors in English. During 23 his senior year he decided to take a grad- uate course in screenwriting before going on to law school.
He was accepted, had a wonderful time writing stories and watching movies, then de- cided to take on Hollywood. I imm ediately wrote about fourteen scripts 'on spec,' which means someone pro- mises you half of Los Angeles and all the money in the world when the movie is made. And the film never gets made, and you never wind up with the price of a cup of coffee. I never did, out of any of those fourteen scripts.
He also had an earlier close en- counter with comic books he's still par- ticularly fond of those written and drawn by Carl Barks , but never tried writing fantasy or science fiction ser- iously until He had discovered the stories of that master of horror H. Lovecraft and sent a tongue-in-cheek letter to the late August Derleth, a talented writer and poet whose one-man publishing company, Arkham House, was the first and for many years the only company to put Lovecraft into print.
Derleth offered to publish Foster's letter in a little magazine called The Arkham Sampler. When a second story sold to the pres- tigious Analog, Foster decided to try writing a novel. He did, and sent it off to John W. Campbell, the editor of Analog, ' 'he being one of the few people who had not rejected everything I had sent in. It was my novel manuscript. Camp- bell said, 'I think you've got a pretty good yarn here. It's definitely saleable. Dickson, and Harry Harrison as three-part serials. It was, to put it mildly, a tough market to crack, especially for a new writer.
Foster says, "So I had the option of hanging onto it for a year and a half, and resubmitting it to Campbell at a future date, or sending it to somebody else. I sent it to Doubleday, Doubleday rejected it with a written letter. I sent it to Ballantine Books, Betty Ballantine bought it.
The book was The Tar-Aiym Krang, my first novel. Only then did Foster consider trying to write for a living. You have no idea how dull writing can be until you have to think up a new way to describe prime rib every two weeks. City College, where he taught film his- tory and writing. He also lectured on writing and the works of H. Love- craft at UCLA. He was writing all this time, selling books and stories in his spare hours, and wonder of wonders, he began getting assignments.
He began doing "novelizations" of scripts from movies like Dark Star and Luana. Suddenly, by "accident," Alan Dean Foster was a full-time professional writer of science fiction. There was another accident. We just write travelogues to places we just can i travel to — vet. I had gotten a reputation as somebody who knew how to adapt screenplays, and they told me, 'Adapt them any way you want.
But I didn't want to put eight or nine scripts in a book, because that would fill two books and that would be the end of the series. So I ended up putting three stories in a book. The practice came in handy since the last four Log books were in- deed based on single scripts. It wasn't a real problem for Foster, though. You should get something extra for your money. If you want the movie, go see the movie. If you just want a written record of the movie, take a tape recorder. Through a series of decisions probably known only to Paramount Television, Foster's story, as of the latest reports, will be the basis for the Star Trek movie.
He has no illusions about his fortune, however. I'm hoping enough will survive so that it's recognizable. Who knows, they may decide to do the whole thing as a West- ern next week. And you'd have an easier time selling a novel you've written in Spanish to a Spanish publisher than you would trying to crack Hollywood. They all want to make the cover of People magazine. They forget they're going to be buried in the same dirt as everyone else. George Lucas lives up in San Francisco. He's the last person you'd pick to be a major motion- picture director.
He's a quiet, un- assuming gentleman. Foster finds Big Bear a much healthier environment and is working steadily, writing from one in the afternoon to early evening, taking a break only to watch MGM cartoons on TV around dinner. How quickly he gets back to work depends only on "whether or not there are some Chuck Jones or Bob Clampett cartoons on afterwards.
If I wanted to write nine to five, five days a week, I could turn out a book every ten days to two weeks. Able to work, he insists, on only one project at a time, he'll spend anywhere from six weeks to two months on a book, with an Continued on page 74 U. For the first time, you'll see plans for every button, every switch, every instrument, and every station from STAR TREK's famous Enterprise Bridge, and you'll discover the exact functions of everything shown.
Send today!!! South 8th floor New York. Send order on another piece of paper. The result is the sharpest look when you're in the mood for the most fun! Order yours today. Be sure to pick the one that's right for you! It's a fair ques- tion in this time of alien scientists who spout eclectic mathematical jargon as they prepare for the jump to hyper- space, flicking switches and computing binary research to pinpoint target co- ordinates.
Invasion Of The Body Snatchers, as the vociferous fans of Don Siegel's classic will agree, is a science- fiction horse of a different shade of green. It's terrify- ing, not cute. And not friendly. It is whatever organic is, and whatever sur- vival means. This creates a frightening plague of insidiously alien humans, a theme represented since by paranoiac parables like Night Of The Living Dead, Shivers, and Rabid.
The theme of the ever-encroaching tide of evil is a potent one, and director Kauf- man and producer Robert Solo felt the time was right to adapt this powerful, twenty-year-old tale for the seventies. The fact that remakes are often pro- duced under questionable circum- stances, artistically speaking, was not lost on the filmmakers. Although our film has certain structural similarities, it is really quite different from the original— more of a science-fiction film. In the original the science-fiction part was just sort of thrown in; the explanation as they looked at the pod was, 'Could it have been that creatures from outer space have arrived here?
It is still a horror film, but we have made it much more a science-fiction film. Right: One of the things he saw through the camera — a police sanctioned pod attack on Ca. And the fact that Kevin McCarthy and Don Siegel, respectively the star and director of the film, both appear in cameo roles in the version is as strong an endorsement as could be hoped for.
Though the original Body Snatchers was virtually devoid of optical effects, they will play a role in the remake, albeit a minor one. According to Kaufman, "It's not a big special effects movie; it's more involved with characters and a story. There are not, really, elaborate special effects.
We don't want to talk about them because we don't want people to say, 'I read this article, and I know what changes were made, so I don't have to see the picture. We have organic effects that happen within the movie. We've done some of those from the original, and more — optical effects, special work.
We've worked on the pods-in-the-greenhouse effect, too, but we've done it differently. That is one of the things we're keeping under wraps. I think we've taken some very bold lib- erties with the original story, and we have a lot of surprises. The ending is a total surprise. Many of the people who worked on the film do not know the ending to this day. Only the people involved in the shooting of the ending know it. The set was cleared, and every- one was sworn to secrecy. There are a number of dif- ferences in this film, and a number of things that are currently relevant — esp- ecially to people who are into science fiction.
I hope it is an improvement over the original, though I respect that film in all ways. Many even saw the tale as an allegorical treat- ment of the feared "red tide:" the en- veloping reach of heartless, godless communism into this land where "we" were the only ones with any feelings. Both Phil Kaufman and Don Siegel, whom Kaufman consulted about this, minimize the accuracy of that interpre- tation. According to Kaufman, "if there is an allegory to this film, it is that we are in danger of losing our humanity and our feeling.
There is a line from the film, as there was in the original, 'They're here! They're already here! It does validate paranoia. Tragedy is a highly elevating thing; it stirs you deeply. Fear can be a healthy thing, and the dramatization of fear can be good. Paranoia is really only a bad thing when there is no basis for it. I feel that this color film has another dimension that the original didn't have, in terms of reality. Kevin McCarthy, in particular, is an intense and talented performer, respectful of a role that others may have disdained.
Though this film is Phillip Kaufman's first foray into the nether world of speculative film fiction, it was supposed to be his second. Kaufman was to be the director of the on-again-off-again Star Trek feature film. The Star Trek story, classic example of illogical corporate foolishness, certainly wreaked havoc in the life of Phil Kaufman. At that point, as everyone knows, there was a couple of years of announc- ing that the Star Trek feature was being made, then not having the picture.
At first, Paramount wanted to do a small, three-million-dollar rip-off, cashing in on the phenomenon. In the six or eight months that I was involved, it was raised to ten million. Executive producer Jerry Isenberg and myself said 'You just don't know how big Star Wars is going to be. They thought that was so preposterous. I was ready to move with my family to London in a couple weeks. They gave us a definite go-ahead, and then, one week later, 'Forget it. It could still be a grand -project.
Picard could feel the Enterprise bump slightly as the phasers fired. A small section of the alien ship's shields flared bright red. The alien weapons cut through the redness, pounding the Enterprise hard. The inertial dampers fought to stop the rocking and shaking the impact had caused. As he had been doing for hours, Picard held onto his chair with both hands, keeping himself seated. It was a monster, more than fifty times bigger than the Enterprise , and at least as deadly.
It was round, like a small moon, and its surface was covered with what looked to be some type of control housing. Two smooth rings circled the outer hull of the ship, each attached to the surface at only four places. The rings were as thick as the Enterprise saucer section and twice as wide, with one ring circling around the alien ship's equator, while the other ring went around the ship's poles.
Picard had no idea what the rings were for. Or who had built this strange ship. Or what powered it. Or even, for that matter, what was the front, back, top, or bottom of it. The sensors could tell when the alien ship was powering weapons, but little else. The alien shields had blocked every attempt they had made to find out more.
He stared at it, studying the black, equipment-covered surface of the alien ball, trying to come up with any way at all to put that ship out of commission. They had been able to punch through its shields in small areas, but the damage they had done to the surface of the ship seemed to make no difference at all. And the shields reacted like no shields he had seen before. It was almost as if they were alive, healing damaged areas like water flowing back into a depression.
Picard would give anything to learn how they worked. An hour ago, he had even attacked one of the intersections where the two rings met, hoping that would cause the alien ship problems. They had managed to punch through the alien shields twice, hitting the surface of the ship's rings and blowing hunks out of one area of one ring.
The alien shields quickly healed. Nothing changed. The alien ship attacked, they attacked back. Over two long hours of the same thing. However, for the residents of Blossom IV, the fourth planet of this system, the Enterprise had to win. The Enterprise had been nearby when the distress call had come in from the agricultural colony. The message said they were under attack from a massive black ball, and taking heavy damage. It had only taken the Enterprise fifteen minutes to be on the scene, but Picard didn't want to think about the damage the alien ship had caused to those farmers in those minutes.
The Enterprise had come in firing, and the alien ship had turned its attention away from the planet. But if the Enterprise was forced to retreat, or was defeated, there was no other help for those colonists. No other Federation ship that could stand up to this monster was nearby. Picard also couldn't figure out why it had attacked this planet. Blossom IV had no resources, nothing worth taking from the two hundred thousand people farming the rich soil. Yet this unknown ship had suddenly appeared and started to fire on the colony. It made no sense at all. Nothing about any of this made any sense.
Picard glanced at Data, then turned around to look at Number One. Picard nodded. None of them had any more idea what to do with this ship than he did. They just didn't have enough information about the alien ship to even try to come up with a plan, and the alien ship's shields were blocking all but the most basic surface scans. Because my experience with Star Trek has been visual — TV shows and movies — having stories in printed form seemed to be a diminishing of Star Trek. Nevertheless, earlier this year I somehow came across a series of books called Star Trek: Starfleet Corps of Engineers.
As you will read below, the 74 stories of this series were originally published as short novels or novellas in electronic format. Later, batches of novellas were grouped together and published in a series of 13 omnibus editions in both paper and electronic formats. In May of this year I bought the first omnibus volume, containing the first four novellas, in Kindle format. By the time I finished reading it, I was totally hooked!
Star Trek: Invincible Book Two
Fortunately, I found a Wikipedia page which clearly catalogued the entire series and all the editions available. Because I wanted to make a PDF of that Wikipedia article, adding my own notes about which books I had purchased and read, I downloaded that Web page to my computer, even though I almost never do that with any other Web pages. After all, why save a Wikipedia article when you can just bookmark it and return to it at any time?
Because the article might disappear, that's why! And that is exactly what happened to the Starfleet Corps of Engineers article on Wikipedia! Someone decided that it wasn't useful information, so they deleted it! I was so shocked that I just could not believe it! Even though much of the information in that article can still be found on other Web sites — see the Additional Resources section at the end of this article — I still think it was a very useful article that presented a lot of valuable information all in one place.
Therefore, because I had saved a copy, I have decided to resurrect it on this Web site. Starting with the original Starfleet Corps of Engineers Wikipedia article as a foundation, I have put a lot of work into improving it by double-checking the content for accuracy, correcting any mistakes, adding additional information, and providing a TON of links to related Web pages.
I believe that the result is an even more valuable resource than was the original. Just a few notes before we proceed to the main event. The information presented below is accurate, as far as I can tell. But I tried! I've provided Amazon. All of the omnibus editions are available in both paperback and Kindle formats. During mid when I purchased them, the Kindle version was usually cheaper, except in four cases where the paperback version was cheaper. The links I have provided are to the versions I purchased.
If you want the book in a different format, I'm sure you can navigate around Amazon to find what you're looking for. Caveat Emptor Be aware that for omnibus volumes 3 through 12, the title of the omnibus book is taken from one of the novellas in that edition.
Even though all of the novellas are still available for purchase individually, you'll save a LOT of money buying the omnibus editions. But be careful! It is easy to confuse the omnibus with the novella of the same title. I made this mistake when I wanted to buy the third omnibus, Some Assembly Required. I didn't pay close enough attention, and I accidentally purchased the novella Some Assembly Required instead.
Seeing that the omnibus version costs exactly the same as the single novella, even though the omnibus edition contains three additional novellas as well, you'll really want to steer clear of the individual novellas — except for the last 8 novellas, for which no omnibus editions exists.
Star Trek: The Belly of the Beast
I've just finished the 44th novella, which puts me exactly two-thirds of the way through the 13 omnibus volumes. After all of that reading, I can report that these stories have a minimum of profanity, sexual immorality, and violence. The crew is on a science ship, not a battle cruiser or starbase brothel! Even though the 74 novellas in the series were written by 41 different authors, there is a remarkable consistency in tone and style among them.
If you didn't know better, you could believe that they were all written by the same person. But because of this huge variety of authors, I think there is a richness of imagination which might be harder for a single author to attain. All in all, I've been very impressed with the series and enjoying it very much. So, without further ado, here is my modified version of the now-defunct Wikipedia article Like other Star Trek books, the books are officially licensed, but not considered canon. DeCandido and John J. Including these two founders, the 74 stories of the series were written by 41 different authors, over a period of seven years.
The S. Most of these novellas have subsequently been reprinted in paperback and eBook omnibuses, with anywhere from three to eight stories per volume. The number of eBooks published per year would be reduced from twelve to six, to allow other series to be developed. Jens Deffner wrote: Did this unfortunate timing ever make editor Keith R.
However, the characters have made cameo appearances in other novels set in the 24th century. Scenario S. The stories mainly concern a special Starfleet division called the Starfleet Corps of Engineers, stationed aboard the U. Captain David Gold, commanding officer of the da Vinci.
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Commander Sonya Gomez, first officer and chief of the S.