Doomstar (Interstellar Patrol) by Edmond Hamilton 1966 Belmont First Paperback

Description: FREE shipping for orders of 8 or more items, and multi-item orders over $100! Comes sealed in acid-free bag.. Packaged between cardboard in a padded flat mailer (all made from 100% post- consumer recycled materials), by a one-man/single father independent shop. Combined shipping discounts available! Add another comic or small book for $0.50 ($1 for bigger stuff). Use the "Request Total" link above your cart if on a computer, or checkout normally and I will provide shipping discounts via refund!Doomstar (Interstellar Patrol) by Edmond Hamilton 1966 Belmont Productions158 pages, Mass Market Paperback. By mid-afternoon the brilliant intense sun shone on barren space. It had blasted each of its four planets out of existence. Some had found a way to poison a star! Some had to be found who could prevent the takeover or destruction of the entire universe by the madman who'd engineered the disaster. The choice fell on Johnny Kettrick, banned from the Cluster World for space piracy. Now he was to be sent back there to search out the Doomstar - to find it before it burned out another world! from darkworldsquarterly website: Edmond Hamilton’s Interstellar PatrolJune 18, 2020 G. W. Thomas Adventure, artwork, Dark Worlds Quarterly, G. W. Thomas, Movies, Pulp Magazines, Science fiction, Space Opera, Television, Weird Tales 1 Space OperaThe term “Space Opera” was coined in 1941 by Wilson “Bob” Tucker, SF fan and writer. Obviously old “Bob” was not a fan of Space Opera. Before this time the sub-genre was usually called “Interplanetary Romance”. Space Opera rolls off the tongue much better. But the term is a pejorative, equating tales of spaceships and thundering stars to pedestrian fare such as the over-worked Western, a “horse opera” or the common Romance, or “soap opera”, the first to bear that title. Romantic radio programs were usually sponsored by soap companies. Today they are known as “The Soaps” and Proctor & Gamble is still a sponsor. For people living in our days, ninety plus years removed from the Pulps of 1928, this seems the norm. With franchises like Star Wars and Star Trek, who needs to worry about Space Opera. It is obviously here to stay. But what we miss is that in 1928, there was no actual Space Opera until Edmond Hamilton invented it with “Crashing Suns”. No Buck Rogers, no John Hanson, no Flash Gordon, no E. E. “Doc” Smith. None of what the 1930s were all about. Edmond HamiltonLester Del Rey’s The World of Science Fiction (1976) says : “Asimov didn’t invent this idea [the galactic empire in his Foundation stories]. Edmond Hamilton wrote about an empire of stars in the “Interstellar Patrol” series for Weird Tales in the twenties…” This isn’t to say there weren’t precursors, because there were. Even as early as 1901, George Griffiths’ A Honeymoon in Space shows signs of what is to follow. Edgar Rice Burroughs and his brand of interplanetary romance was a big influence on Ed Hamilton, who read him in the original “Soft Magazines” like Argosy. Marshall B. Tymn and Mike Ashley in The SF Magazines (1985) trace the future war story back to Sir George Tomkyns Chesney’s “The Battle of Dorking” in Blackwood’s Magazine (Spring 1871). “…One has little difficulty tracing the evolution of that basic plot from those late Victorian jingoistic narratives—emulated both on the Continent and in America—through the narratives of the “space operas” of writers like “Doc” Smith and Edmond Hamilton to the contemporary treatments of the motif, ranging from Joe Haldeman’s The Forever War (1974) to such films as Star Wars and Return of the Jedi. Indeed, one realizes the irony of how deeply a part of modern popular culture these forecasts of future struggles have become when the Newsweek cover referring to the outbreak of the Falkland Islands affair in the spring of 1982 was entitled “The Empire Strikes Back.” Assembling the Pieces Hamilton was the first to put the pieces together. As Leigh Brackett, his wife, wrote in 1977: “But Hamilton was writing other things as well: stories which earned him the nickname of World-Wrecker, or World-Saver. He was an innovator from the first, and let it be said that he did not think small. In a day when science fiction was concerned chiefly with laboratories and test tubes, he wanted the stars. And he got them. His Interstellar Patrol stories set the pattern for the many others that followed later on…He wrote about the ‘great booming suns of outer space’ — and if they don’t boom, they by God ought to! — and the readers loved it. Hamilton more than anybody opened up the horizons of science fiction, taking it out beyond Earth, out beyond the solar system, out to the farthest star, and still onward and onward to other galaxies.” (The Best of Edmond Hamilton, 1977) Hamilton began this amazing transformation in the pages of Weird Tales, a horror magazine that actually embraced horror, science fiction and fantasy. Mike Ashley in The Time Machines (2000) talks about how this innovation trickled down to Hugo Gernsback, the man who had published the first all SF magazine in April 1926: The readers soon demanded something more exciting, and they urged Gernsback to develop the type of science fiction that had been appearing in the Munsey pulps. It was the Burroughsian planetary adventure that won through, tempered slightly by the Merrittesque exotic lost world, so that within two years, Gernsbackian sf gave way to space opera, Phase 2 of its evolution. This was developed by E.E. Smith and Edmond Hamilton, and then rapidly ruined by scores of opportunist writers. Space opera was already the common denominator of sf, and in fact always remains so. It has never gone away, but in capable hands can develop into quality sf. It dominated sf throughout the thirties and did much to give it a bad image. It was typified by the hero-rescues-heroine-from- monster school, and because it gave rise to the hero-pulp style of fiction is best typified as hero sf.

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End Time: 2025-01-28T06:32:44.000Z

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