Warped Space/Issues 11-20

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Issues 01-10 · Issues 11-20 · Issues 21-30 · Issues 31-40 · Issues 41-50 · Issues 51-52 · Issues Compilation

Issue 11

front cover of issue #11, Jim Steele
back cover of issue #11, Marty Siegrist

Warped Space 11 was published October 8, 1975 and contains 30 pages.

Second printing: November 25, 1975, third printing: February 1, 1976, fourth ("and final") printing: April 5, 1976.

The editor notes there are a lot of letters of comment in this issue and they mostly address the Landing Party 6 stories. These LoCs are interspersed with con reports and comments regarding the Chicago Con of August 22-24.

The editor writes:

People who have ordered the second editions of WARPED SPACE 1, 2, 3, or 6 will find that the editorials in all four issues are very similar to this one. As a special attraction to the first MSUSTC meeting of the 75-76 school year, we are reprinting WS 1 & 2, 3,4, and 6 and printing WS 11; all on October 8. WS5, 7, 8, 9, and 10 are also still in print (WS7 and 8 are in their second printing).

[snipped]

We've had disparaging comments on our printer. None knows better than I how lousy a job they do! However, we are partially funded by MSU and can only afford to get as good a printer as they give us money for. Better printers cost as much as 2/3 more per issue. But there hope - new budget requests will be sent in shortly and with luck (keep your fingers crossed) WS12 just might be done at a good printer! All I can do is apologize and say to keep on hoping. We'll do the best we can to make it easier for this to be read ...

  • Editor's Nook by Lori Chapek (1)
  • Warped Communications (2)
  • The Little Beastie, filk by Karen Klinck (5)
  • The Engineer's Lament, filk by Karen Klinck (5)
  • Kirk's Lament, filk by Karen Klinck (5)
  • Trouble in River City... At Long Last, for what it's worth, the conclusion of that long story started many moons ago (not to be confused with Mooans ago.) What? Forgotten so soon? Well, don't expect me to refresh your memory with recaps. Go reread issues 9 and 10 and maybe you'll remember that I told you it was going to be a long story. Or Trouble in River City by Paula Block (McCoy finds that Sadie has been sleeping with Athos when the alien challenges the doctor to a battle for her favors. McCoy is hurt and furious and all seems to be over between them.) (6)
  • Another Opinion of the Chicago Con by Phil Foglio (11) (cartoon)
  • Secret! by Karen Klink (12)
  • Cassandra's Rebirth by Signe Jesson (14)
  • 'Ear Ye! 'Ear Ye!, filk by Karen Klink (30)
  • I Made a Mistake, filk by Karen Klink (30)
  • Enterprise, filk by Karen Klink (30)
  • The Meeting, filk by Karen Klink (30)
  • Phonics Chant, filk by Karen Klink (30)
  • Beads and Rattles, filk by Karen Klink (30)
  • art by Jim Steele (front cover), Marty Siegrist (back cover), Paula Block, Gordon Carleton, Joni Wagner

  • art from issue #11, Marty Siegrist

  • art from issue #11, Paula Block

  • art from issue #11, Marty Siegrist

  • art from issue #11, Marty Siegrist

  • art from issue #11, Marty Siegrist

Reactions and Reviews: Issue 11

[Trouble in River City]: Athos is aboard as the SCA ambassador; Sadie sleeps with him again. He feels called upon to tell McCoy that he has taken Sadie from him, to give him a chance to reclaim his honor. McCoy is not having any, refuses the fight, but is pissed off at Sadie for going behind his back, points out that sex is not a casual pastime for him, and is not much interested in hearing her excuses. He tells her to leave him alone, and she does. [1]

[zine, comments by Paula Block (author of the Faulwell stories) shortly after the zine was printed]:

Liars, assassins, and whoever else is on whatever planet this is! Gratified and joyful as I was to receive WSll, here are my constructive comments, or as that great poet once said, "Let me help."

Interesting that the print job was at it's worst in the letter column where the complaints against the print job were lodged. A demonstration for less astute readers of hard-to-read print? Or perhaps some Rod Serlingnesque revenge by the machine which prints WARPED SPACE.

For all those readers pleading that Faulwell be stoned - or at least branded with a big red A - I hope you were pleased with her "just reward" in WSll. I am very pleased, as an aspiring witer, to see you guys getting so involved with my work. It reminds me of the actors in soap operas who are always being accosted on the street by the public, who demand, "How can you do that to your sister, who's been so good to you?" Kind of losing sight of the author- directo'rs intention and blaming it all on the character.

I don't think I have to justify Faulwell's actions - only the fact that they were not out of character for her, just the reader's view of what he'd like her to be. Besides, it was important to the conflict plot I was building up to. What do you want - a relationship that's all sweetness and light, with no problems? If anything ain't real, that ain't. Enough said. I really dug all the response - filled my little writer's soul to the top of it's joybox. Keep it up. Maybe one day Bantam will publish a book called "Faulwell Lives!" It can't be any worse than some books I could mention.

I thought that Karen Klinck's "Secrets" was generally amusing. Not much makes me laugh these days (L.A. is a bummer- worse than Triskelionj. Consider that a compliment.

"Cassandra's Rebirth"- I got so sick of hearing about "Gosh, what's wrong with Cassandra" that I was ready to throw her out the window with the plomik soup. There is a lot of unnecessary dialogue in the story that could have benefited from the writer's cardinal rule- show- don't tell. And tell. And tell. And tell. Characterization was rather hokey, to say the least. I could not hear the TREK regulars saying the lines--they were supplied, and that's what counts in a TREK story. I can hear Sharon Ferraro now: "Don't make him say that!"

Marty's illos were very good- especially the back cover- moreso since I know where the source of the drawing came from. I like her McCoy on p.27, but Kirk's expression is rather ... bizarre. Besides, I don't think anyone can sleep sitting up that straight. Not even James Tiberius.

Nancy's con report was quite accurate and I enjoyed reading it but I think if I hadn't been there I would have wanted to hear a bit more about the con activi ties themselves- like what the TREK folks said on stage, and Harlan's reading of his new short story, and Leonard's readings from his new book, and of course, the famous De Kelley coin trick (instigated by a request from little old me). Of course, as a gofer, poor Nan, poor all of us, didn't have a whole lot of time to witness the con at leisure. I can honestly say I was never so exhausted in my life as when I spent those four days at the Conrad Hilton; Exhaustion promotes deep depression and if Walter Koenig ever reads this I wish to thank him for lending me a shoulder to moan on whenever I saw him. He was a sweety. I must reevaluate my opinion of Chekov ...

Lori, I hope to see your creative writing efforts show up in print soon. And whatever happened to Gordon Carleton, my favorite pickle?

Dear readers, my TREK heart is with you. California is nobody's side of paradise. Believe me. They cut and sew people like garments out here, and then they sell them at K-Mart. Needles and sutures! [2]

[zine]:

Oh. Gee. I'm sorry, I didn't know I "owed" you a Loc. Gosh. Can you ever forgive me for defaulting? Oh wow, I'm sorry, guys, I promise to do better from here on out.

Okay, on with the Loc for #11. I hate to say this Lori, but you seemed to be slipping a little with #11. A problem evident in #'s 9 and 10, to wit, dearth of illos and insufficiently interesting layout, has worsened in K#11. With the exception of Signe Jesson's "Cassandra's Rebirth," which did have fine illos, enough of them, and an imaginative layout (although please note: when placing illustrations sideways, it is standard to set them in turned to the right, so the bottom edge is on the right i.e. the opposite of the way page 15 was placed.). The rest of the zine was visually very dull. You've got Gordon, you can sometimes coral Clinkenbeard, you've had many outstanding artist floating in and out of your bullpen, why can't you garner a few more illos than you did? I suppose Gordon is busier these days on other projects, but we miss him terribly. C'mon Gordon, just a few more, for old time's sake?

The literary content has also slipped, to a level roughly comparable to that of #7. I say it as shouldn't, but you've had better writers in issues #8-10, and even your usual writers had better stories.

"Trouble in River City" was not one of P. Block's better stories. Though Paula shows her usual facility, in writing, the story was a lump conflict meaningless in itself. I see how it fits in the entire series, how it is necessary, but "Trouble" itself was not a story; there was no resolution of the conflict presented. Better if it had been presented as the beginning of a story, with "To be continued" tacked at the end. Again, she does the point of view shifts, which are unnerving in so short a space as a four page story. This was a competently written non-story.

"Cassandra's Rebirth," by contrast, was a story, but of the sort that should be shot on sight, if only to put it out of its misery. My Ghod, two Lt. Mary Sues? One a half-Vulcan, for Mr. Spock, and the other for Kirk; I see. By how I suppose it is obvious that I dislike Mary Sue stories, but I feel like belaboring the point a little further.

It certainly is amazing that Bates is Kirk's sister- in-law's sister (it's a small universe, isn't it?) and quite convenient for the plot, because otherwise I see no reason why Kirk should give a first fart about this psycho who should have been dismissed from the Academy as soon as the depth of her resentment toward toward a certain starship became plain. Further, any competent psychiatrist at the school would have stringently inveighed abasing assigning a potential nut case to the very ship she so detested. Bates might easily have snapped the other way and tried to destroy her hate-object. What is the conflict of a story when the strife is nothing more than a misunderstanding to be cleared up by Pappa Kirk seated on the naughty lit tle girl's bedside? A story should be based upon more than that.

As for Tu-Lyra, say, just what this man's Starfleet needs, another neurotic human^-Vulcan cross-breed. And she Dies Gloriously in the End, too. Gee goshwow. If poor Spock is her guardian, when did he become so? Who chose him for the job? I doubt that he would have volunteered, or that, being assigned with responsi bility, would stay on the Enterprise. Who then is her guardian while her guardian Spock is gone? I am of the impression that this brat would have a ha^ time blow ing her own nose without help. She certainly was stupid enough to get herself killed.

The plot was simple-minded, the caricature of Uhura-as-Christine-Chapel embarrassing, the conflicts shallow, and the characterization Puerile. "Therapy is one thing," once said Ruth Berman, "art is another." Some daydreams should be kept to the mental stage.

The lettercol was nice ...

Lori, you guys have shown yourselves capable of better than this. We will not tolerate backsliding.

Now behave yourselves. And ... get another printer ... [3]

[zine]: Kind of skimpy. [4]

[zine]: WS 11 was disappointing in comparison [to issue #10] , mostly because of Cassandra's Rebirth. The coincidences were the kind that even Dickens really couldn't get away with (i.e. Bate's relationship to Kirk, and Tu-Lyra's to Spock), and this story also had me chuckling, the way I do at maudlin old movies. I got the feeling that Tu-Lyra was killed off for some way to end the story, and even the full-page illo was under par for WS.[5]

[zine]: I saw in the lettercol Jean Lorrah's comments about Athos/Oliver Reed. I wonder if she's seen "Royal Flash," in which Reed plays Otto von Bismarck, somewhat evil, but sexy nonetheless. And like Sadie, I've never been one for big beefy men. Big, maybe, but never beefy. Sadie herself continued to do my heart good; being short and small myself, I tend to emphasize with short, small heroines, of whom there is a definite dearth of in ST fiction. "Cassandra's Rebirth" rather reminds me of a story I wrote when I was 14; it covers too much ground in too little space, and is just too unbelievable, particularly Cass' change of character. I find it literally incredible that one talk with Kirk could straighten her out when years of therapy obviously haven't done a thing for her. Another point: how in the world were Cass and Tu-Lyra at the same duty station during a battle if Cass in in computers and Tu-Lyra was in linguistics? One or the other of them was away from her station, methinks. [6]

Issue 12

front cover of issue #12, Joni Wagner, portrait of Lenore Karidian, reprinted as the cover of Crystal Singer #10 in 1978
back cover of issue #12, Mary Gross

Warped Space 12 was published November 6, 1975 and contains 26 pages.

Second printing: November 25, 1975, third printing: February 1, 1976, fourth ("and final") printing: April 5, 1976.

This is the first issue that included additional numeration: "vol.2 no.1."

  • Editor's Nook by Lori Chapek (1)
  • Uffizimger by Paula Smith (a long filk "to the tune of The Temperance Union Song, naturally," each verse is a in-jokey shout-out to members of the MSUSTC fan club (?).) (1)
  • Warped Communicatins (2)
  • Spock Makes a Deal by Dave Umhauer (6)
  • To Need a Friend by Carol Hydeman (Both Spock and McCoy are devastated by the death of Jim Kirk, but it is Spock who suffers the most as he tries to hide his grief. McCoy draws Spock out of his cabin and into the garden on the Enterprise. As they talk and Spock is able to finally express his grief, he realizes how much he needs the friendship of Leonard McCoy.) (9)
  • Galactic Lovecry: 4536.3, Invitation by Ingrid Cross (14)
  • Turnabout Titles, continued (see WS3)
  • Birthday Waltz II by Linda Capel and Paula M. Block (This time it is Sadie's birthday and she ends up needing treatment in sickbay just as she did when she first met McCoy on his birthday. With reluctance McCoy is drawn once again into the arms of Sadie Faulwell.) (15)
  • con reports for StarCon 4 by Signe Jesson and QuasiCon 1 by Lori Capek (24)
  • art by Cathy Alling, Paula Block, Gordon Carleton, Jane Clinkenbeard, Phil Foglio, Marty Siegrist, Jim Steele, Joni Wagner (front cover, interiors), and Mary Gross (back cover)

  • art from issue #12, by Gordon Carleton for "Spock Makes a Deal"

  • art from issue #12, by Jane Clinkenbeard for To Need a Friend

  • art from issue #12, Joni Wagner, Sadie Faulwell from "Birthday Waltz II"

  • art from issue #12, by Marty Siegrist

  • from issue #12, Sadie Faulwell, one of the Landing Party 6, illo for "Birthday Waltz II" -- illo by Joni Wagner

  • art from issue #12, by Joni Wagner

  • art from issue #12, by Paula Block

Reactions and Reviews: Issue 12

See reactions and reviews for To Need a Friend.

[Birthday Waltz II]: Sadie and McCoy have been not seeing each other for a couple of months. It's Sadie's 30th birthday; her friends are holding a party for her. Ship gardener David Keith gives her her own pair of real overalls, and she proposes to him then goes and hides in a virtual reality room where McCoy inadvertently walks in on her in the midst of a raging thunderstorm. They quarrel, Sadie breaks her hand hitting him, and McCoy inadvertently creates a tidal wave. When he takes Sadie to sickbay to fix her hand, she demands a birthday dance and despite his insistence that it's over, he puts on the tape, knowing it will play over and over... [7]

[zine]: The first thing I noticed about this was a lovely cover (Lenore Karidian) by Joni Wagner. As a matter of fact, this issue is chock-full of nice art -- one of my favorites being a 'before and after' cartoon of the Chicago ST Con gopher. It has three good stories. The first is about Spock's winning an entire planet in 'Spock Makes a Deal.' The second, 'To Need a Friend' is about McCoy and Spock having to adjust to Kirk's death. In 'Birthday Waltz II," WS's resident yo-yo, Sadie Faulwell, turns 30 -- which she considers a near disaster. All three stories are well-written. There is also a letter column, two very short con reports and assorted other wee goodies. For those who care: it's printed offset with reduced print of various sizes.[8]

[zine]: Now #12 was much better [than issue #11], guys, much. PBlock has a really and for true story here, conflict, climax, resolution. And it's a damn good story, too. (The fact that I, too, dig Illya has nothing to do with it.) There were a couple of places, particularly the storm scene, where Paula could have slipped into soap opera, but she didn't. She evidenced a firm control on the mood, and as usual, over the characters. This was much her best story of the series. Dave Umhauer's story "Spock Makes a Deal" was cute. It reads more like a plot sumnary because of the lack of dialogue and scenic details, but it is still very funny and quite enjoyable. Thank you, Gordo, the illo was highly grand. [9]

[zine]: WARPED SPACE 12 was one of the best issues I have read. The art in this one was terrific. The front cover was beautiful. Joni Wagner and Jane ((CIinkenbeard)) have gained a big fan in me. Joni's drawings of Faulwell were great even if she did draw her with an afro. Gordon Carleton's illo for Soock Makes a Deal was great.

Paula Block is without a doubt, in my mind, one of the best ST writersi have read. I thought she handled Birth Day Waltz II (I will refrain from commenting on the originality of the title) with style. If I had wanted a soap opera I would have just gone to the library and gotten a "Sweet Sixteen" book. I have to admit that I was surprised that Faulwell was depressed. I thought for sure that McCoy would have been the one moping around and Faulwell would go on like nothing had happened. I am interested to see how much more there will be of David Keith. Faulwell's proposal was funny. But as 'ancient' as Faulwell is, I don't think she is ready to get married just yet. I think hat there is an awful lot of drinking going on in those stories. There has yet to be one where someone wasn't having a drink or wasn't drunk. Once in a while is ok, but I think it is getting to the point where the Enterprise comes across as being run by a bunch of alcoholics. Why is it when Faulwell is drunk she seems the same as when she's sober?

I hate "Let's Make a Deal" with passion. I guess that is why I liked Spock Makes a Deal. I thought it was really cute, but it lacked something that I can't quite put my finger on.

To Need a Friend on the whole was good. I thought it was very touching but some of the lines rubbed me the wrong way. I don't think Kirk would put anyone down in a farewell letter and especially not McCoy. No matter how bad he wanted Spock and McCoy to be friends, I don't think he would do that.

... did you get a new printer? Or was I suffering from the delusion that I could actually read it? [10]

[zine]:

I like your magazine. To Need a Friend was one of the best STAR TREK stories I've seen, though I haven't seen many.

I like the Faulwellian epic, and I hope it keeps up, as long as it does not turn into a soaper. Keep up the good work! [11]

[zine]: WS 11 was disappointing in comparison [to issue #10] ...WS 12, however, is much more like it. I loved Soock Makes a Deal and nd while Birthday Waltz II is not my favorite kind of story, the material was well-handled. I do think that the Faulwell-McCoy thing could be set aside for a while at least, so that the other members of LP6 can be worked with. The artwork was, in general, very good; Carleton, as always, was great, and Joni Wagner's cover was really good. Also CIinkenbeard's illos on the bottom of page 13; why is it that most people have such trouble drawing Kirk with a pleasant expression? At any rate, I'm looking forward to WS 13. [12]

[zine]:

WARPED SPACE 12 was excellent. That cover was GORGEOUS, GREAT, SENSATIONAL; I can't think of enough praise for Joni except that I want to see more done by her, chain her to her drawing board if you must, but do get more contributions from her. That back cover was rather a let-down, though, for a moment I thought it was remembrances from an old "Outer Limits" program ... know which one I mean? the one with an Earth outpost on the moon finding an opaque ball - in the sand which turns out to be a civilization of aliens trying to escape their planet's tyranny ... ANYWAY, it wasn't and after that superb front cover I was hoping for something equally as nice.

TO NEED A FRIEND was a stirring account of friendship that left a lump in my throat. I HATE those kinds of stories because of the emotion they play on but they're always the first stories I read in any zine. Shirley Maiewski has a touch with them because of her deep sensitivity. Carol also hit upon the right mood with some? very well- written moments, a very unenjoyable but enjoyable story. Anyone know of any stories floating around where the tables are turned and it Is Spock or McCoy who is killed and not Kirk? I'd be very interested in seeing different approaches.

GALACTIC LOVECRY, although short, was a tribute to a character much underrated in fandom. McCoy's abuses to Spock, his leather hide, his sharp tongue are only surface masks for a man who experiences everything first on an emotional level and then sifts for reason. He is a man of profound depth and capable of the same kind of love. His loneliness and his aloneness were well caught in Ingrid's poem.

Reading Paula Smith's Loc's are always a pleasure as she vocalizes her thoughts so well. When ideas for me always seem to be just out of reach and unaccountable, she nit-picks and exacts her way through and I respect her opinions tremendously. I like the way she started evaluating issue #12 in the same issue, something I almost over looked but was very amusing. She's got a superb sense of humor.

[Lisa Boynton] is trying to put on a NY Con SMACK in the middle of Schuster's and THE con's. She's certainly audacious! She's trying the same thing with Bjo Trimble - putting on a con a few weeks before Equicon/Filmcon. Unfortunately Lisa has money - not enough to pay the hotel bills for her staff, I hear, but what can I say? Again the reference to Lisa Boynton's convention ... I'm really enjoying these abuses Foglio and Gordon are submitting. I heard she's made a profit of $100,000 on that con, but that she's being sued for 4 million dollars on breach of contract by a few ... do you know anything about that? ... I say all the power to anyone who'll step up to her. I'm appalled that she got away with what she did ...

SPOCK MAKES A DEAL was very good! At first I figured I was reading it wrong but then I caught on— about the time of the man dressed as a martini— that it was a play on "Let's Make a Deal." The stakes were hilarious and who better to have the game played by then King Spock!!! Great! I think I may have missed the punchline though, what does "the old habit of piping the main stem" mean? A great lllo by Gordon![13]

[zine]:

WS 12 was great. Basic grouses I've heard on WS in general are the type size, the Lt. Mary Sue stories, and minor complaints about some of the stories and artwork. Plus the fact that my copy, which circulates, and I

think I've got a couple of people who will eventually subscribe, always comes late. Well, such is life. [14]

[zine]:

WS 12 was good. The Faulwell story was (as Paula Smith has already said) one of the best P. Block's written. I also do not feel that Faulwell has stepped out of character when she was with Athos. Anyway, this latest installment was great and the rec room was in genious (wish I had one).

P. Smith's "Uffizixmeger" was very interesting, to say the least. All fandom in a nutshell ( a rather long nutshell). I liked it-- has class.

"Spock Makes a Deal" read like a plot summary. Cute, tho'. Gordon's illo was the main highlight in that one (for me at least).Carol Hydeman's "To Need A Friend" was well-written. I suppose it had flaws like in the characters, etc. but I don't know. I got so caught up in It things like minor flaws escape me. Very enjoyable! The poems— Ingrid Cross, you're great. I have read some awful poems (mine among them) and so I wasn't really expecting much. I was stunned. "Galactic Lovecry: 4536.3" was delicate, beautiful ... believable (of McCoy). "Invitation" was beautiful also. Much more could be read into that one-- deeper. The first one, "Lovecry" was simpler, straightforward. Loved it. Illos: the more I stared at Jane's Kirk on p.13 the more I liked it. Esp. the eyes-- that's him alright and he's very hard to capture on paper. Skimming through I glanced at the illo for Ingrid's poem of Natira and McCoy and didn't think too much. On going back and reading everything minutely I discovered I loved the illo. The only word for it is DELICATE. Such fine, fine lines. Natira is beautiful and McCoy is perfect. Very good, Marty! Loved Gordon's gofer of Chicago con. T-shirt's a

perfect replica. (I'm a detail freak.) The "after" was about how I looked (and felt) on Sunday. A lot of work. (But fun.) Loved Quasi-con report. After I read it I felt 10 times as bad that I wouldn't make it. Had to work on that Saturday and had no transportation up there. Thanks for the invite tho'- Now if there's ever a Quasi-con II? By the way— I liked #12's cover. Thanks. Did you get a new printer? Illos were black not gray and word endings intact. Nice. [15]

[zine]:

THE POBLOCKI REPORT or WHERE IT'S AT IN NEVER NEVER LAND (NOWHERE NOWHERE).

Hello, Darlings, I had just dragged myself off the Pasadena bus, noting gloomily that the smog had returned after only a one day reprieve, and Lo! What find I? Not only letters from half the populace of East Lansing, but WARPED SPACE 12! My lucky day.

Hmm, I think, removing it from the envelope, pink, eh? That's something new. I'm very fond of Joni Wagner's art and I always liked Barbara Anderson's get-up in "Conscience of the King," so the cover made a very favorable impression. I began leafing through it, just to get a general idea of what excitement was in store for me. Then I got to page 17. Have you ever been hit in the face with a picture of yourself that you were totally unprepared for? With a Poblocki grin on its gob yet? I fell apart totally. "It's ... I ... she ... how ... GAK! And bubbles yet. Can I stand It? No, I can't, I fall off the couch in hysterics.. Berkey licks my face concernedly. All I can say, Joni (and Lori, you little sneak), is thanks. It was a neat surprise. Faulwell's hair IS curly again, by the way, Lori. at least for the time, being. She's been banging around the electric sockets again.

Now, on to more critical matters.

1. Hooray for getting down on the printers. Beautiful job. Best in my memory span. Using disrupters and mini-Dorsai really works, eh?

2. Hooray for the return of the infamous P. Smith. As I was explaining to her in a letter I am in the midst of composing along with this one, I kind of think of her as the Harlan Ellison of the fanzine world. She (like he) exudes some strange essence (no, nothing to do with the olfactory senses) that of awes me. I respect her words and her writing. When it comes to getting Into nitty gritty and gory details, she can match him one for one. They both terrify me. Her approval of BWII ranks up there in my ego boos alongside of Harlan's calling me "Pumpkin Sweety."

I enjoyed ... uh ... "Uffizixreeger" but I must admit I didn't entirely get it. Did anyone? She didn't write that during Quasi-con while under the influence of some good stuff, did she? Damn, I wish I could have been there. Sounds as if it must have been nifty. Oh, say, this looks like as good a place as any to announce: Youse is all invited to the warm-up to Equicon the week of April 12th, etc., 1976: BERKON to be held at the palatial estate of the one and only Trekkie, THE BERK [Paula's dog]

[snipped]

Back to issue 12: I was much impressed with "Spock Makes a Deal." This fits under the "Hooray for Originality" dept. label. 'Who is Dave Umhauer and where has he been hiding? I loved the bridge scene of page 5. Nice characterization of everybody, including the hot dog. The whole thing really hit home having just done the trip-out-to-Hollywood-to-see-them-tape-a-game-show bit. Even the non-hot dog members of the audience are weird. I even met Mrs. Miller.

I'm afraid "To Need a Friend" was a bit too melodramatic for my taste. I really think Spock suffered a bit too deeply, even though he does love Jim and he is half-human. Too much milksop. Other flaws; Kirk's letter to Soock was too similar to his tape in "Tholian Web." It didn't really have any new info, just repeated what he'd said before. He must think Spock really has trouble understanding him. Watch my lips, dummy. By the way, the ending of that story put me back into hysterics. Because it is so vague, it is rather, shall I say, suggestive: "McCoy rose to go, but Spock's hand on his arm stayed him ... 'I could never tell Jim just what I felt for him. Right now I think I need a friend.' Hours later (hours?), a security guard found them still in the garden. He left without being observed." Okay— what were they doing in the garden for all those hours? Holding hands? I always knew there was something funny about that Vulcan— I saw the way he enjoyed it when Kirk grabbed him in the elevator in "And the Children Shall Lead." And now he's lost Jim and turned to McCoy ... hoo boy. Somehow, Carol, I don't think that's how you meant that scene to be interpreted, did you? You do get my point though?

Other Illos Dept: Marty's illos keep improving. Really like the one of McCoy and Natira. Hubba hubba.

So WS is becoming a haven for all the closet-McCoy freaks to get their rocks off in. At least it's quality rocks, gang.

Phil's rendition of Gordon on p. 15 captures the real him. Except that I've watched Gordon draw and he usually doesn't use his knuckles.

Who drew that horrible thing on p. 18? And will you please tell me what the back cover is supposed to be? It looks like wall paper from the Night Gallery. It's giving me nightmares.

Gordon's illos were super, as always. The Chicago gofer was a more than accurate portrait (get it, get it?) of that con (get it?). I understand that he'll have a for real story in 'WS13. I shall put my really critical eyeballs in for that. 'Watch out for those chauvinist tendencies (hold down on your giggle ratio, okay?).

Golly gosh, I've been blithering for quite a while. I must have been inspired. I really enjoyed 12. It might be my favorite issue so far. If not, at least my favorite this month.

Till next month, I'm living, long-suffering and non- prosperous. TTFN [16]

[zine]: When opening 12, I immediately sensed something amiss. I COULD READ IT WITHOUT A MICROSCOPE. Joni's cover was fantastic.

'Let's Make A Deal' was hilarious, a clever treatment. 'To Need A Friend' was smoothly written and very moving. Perhaps Spock's grief was overdone; but it was developed well, as was McCoy's concern. However; all that time —just smelling the flowers, Carol? Ingrid's sense of imagery is really something! Linda's Turnabout Titles' was an incredible inclusion. Just the thing for cold winter nights.

It is touching and believable that Faulwell is reaccepted by McCoy; but her behavior is just too calculating and thoughtless to keep my sympathy. Paula's dialog and plotting were excellent.

With the exception of the Takei talk, the Quasi-con goers got the best of the deal.

Has anybody heard from Margaret Basta lately? She has either gone into hibernation, eloped, or burned her recent mail before reading.

Joni and Jane's illos were superb! They are 'artistes extraordinaires'?

[snipped]

Happy 20th, Lori. May your birthday wish come true. (Sorry, Harlan is unavailable, and besides—that would conflict with Gordon's last birthday wish.) Try again.

The Tetralubisol Special on p. 4 was clever .'Masterpiece' suffered from lack of background and character development, and Jane's illos were less detailed than usual. [17]

[zine]:

I particularly like the Faulwell-McCoy series even though I don't like Faulwell! I don't think there is ever any excuse for cheating and Faulwell didn't have one at all. It seems that Bones is about to take her back in the story in #12 and I hope that Paula Block creates another woman to take him away from Faulwell. I think that Bones deserves a woman who is FAITHFUL. [18]

[zine]:

I would like to say hew I feel about the Faulwell series (or, rather, what I've seen of it so far). I fully expect Paula not to agree with what I have to say, but it'll make me feel better just to say it. That Faulwell is a yo-yo (literally) I can't see McCoy putting up with that bullshit of Faulwell's bouncing; back and forth between yes-McCoy and No-McCoy all the time. Don't you think he'd recognize the fact that she has a very unstable personality? As the physician responsible for the mental and physical health of the crew, he'd have to recognize it and straighten her out (probably in psychiatric sessions with a strict doctor-patient relationship) or ship her out to a less sensitive post--either to Star Fleet post planetside or completely out of the service. Question: how did Faulwell by the Star Fleet psychiatrists and get into Star Fleet anyway? Did she develop these problems after she got into the Fleet? I like what I've read by Paula so far, but I think that if she continues to bore me to death and I'll end up saying, "Oh yes, another Paula Block Faulwell story— no need to read that." There are so many problems with relationships between "normal people" that I wish she'd stop wasting her talent with this Soap Trek about the doctor and the yo-yo. I'm not asking that she drop Faulwell— just make her a bit more realistic crewmember. The 2 stories by Paula that I've read have been frustrating: McCoy stories are rare and I enjoy a good McCoy story, but though the Faulwell stories are well-written, they're mostly just depressing— with just the barest hook at the end. [19]

[zine]: I liked PaulA's "Uffizixmerger" even though I don't know all the people involved and can't comment on the appropriateness of the verses. Again I liked "BWII" and after it, who says that Faulwell isn't just a little bit in love with McCoy? I liked the illos of Faulwell, too (I gather they're of Paula herself), and was struck by their resemblance to a good friend of mine.

And of course I liked "To Need a Friend." Among other things it had a lovely illo of McCoy on p.10. But I must disagree with Carol's interpretation of McCoy's understanding of Spock, I've always been under the impression that McCoy understands Spock very well indeed, because Spock is so like McCoy himself in many ways, and if Kirk told McCoy anything in that last letter, presumably it would be that. McCoy's barbs are designed more to force Spock to realize something about himself than to elicit information for McCoy; Spock has about the least self-knowledge of any member of the crew, and probably the lowest self-acceptance as well, and I suspect that at least part of McCoy's purpose is to remedy that situation. Besides, the barbs, which fly both ways, are a form of showing affection acceptable to both men. [20]

Issue 13

front cover of issue #13, Jim Steele
back cover of issue #13, Joni Wagner

Warped Space 13 was published in December 1975 (second and final printing April 1976) and contains 27 pages.

  • art from issue #13, Gordon Carleton

  • art from issue #13, Jane Clickenbeard

  • art from issue #13, Joni Wagner

  • art from issue #13, Marty Siegrist


Reactions and Reviews: Issue 13

See reactions and reviews for 100 Proof Positive.

[zine]: [Paula Block]: Faulwell's not dead — the Faulwellian epic is hibernating and recharging its batteries (in other words, for all you people who're always asking what'll happen next, that's what I'm trying to figure out). In the meantime I'm working on some other stuff that I'll tell you about one of these days, but enough public service announcements.

Back to the review biz: I was getting very bored with "the Masterpiece," but I hung in there because I know I have a low boredom threshold and am usually unfair at snap decisions. So I finished it and must admit I liked the story itself— indeed, I found the ending very touching. It was just that damn dialogue in the beginning— I have a very low melodrama threshold too, I think it could have been a very effective story with some strong revision on the first page and a half— and perhaps more info on the actual experiment. But then again, that would most likely change the tone of the story and would probably not fulfill the author's original intentions and... oh, hell, never mind. Don't listen to me. What do I know, I'm a writer, not a Harlan Ellison (?).

Gosh, glad to see the return of Erin O. Mercy. She is a witty child, wickedly wonderful, multi-faceted, an up and coming P. Smith, no doubt. The story was a delight and the illos were, to borrow a phrase, 'highly grand,' Enjoyed the man of Steele's Rumor Generator altho it suffered greatly from the print job (which I won't even start to talk about because you have enough problems) and also from the cramped space it was put in. It really needed a double-page spread, as the Script Generator had, to do it justice. Hard to follow all them little arrows. Arrrgh.

"Mind's Eye" was well-written, but I did not like the premise for the story, the old 'let's out the cloddy inferior Earth folk thru our standard initiation test for cloddy inferior type beings.' And what exactly did us cloddy Earth folk prove, anyway? That we can play esper-telephone and put a bionic arm on somebody. Interesting as a happenstance, but as an initiation test? I would have liked a bit more elaboration in the part where Kimeya Maya communicates with the Argolds, And I still don't think Isaacson should have been so chipper after losing an arm, even if the pain was pre-emoted, so to speak. And an arm is an arm, you know, I'd be mildly disturbed if I suddenly found myself lacking one. I don't think I'd be entirely thrilled with an artificial replacement either, bionic and in vogue or not. Liked the letter to Santa a lot, tho'. [21]

[zine]: I really enjoyed The Masterpiece; it was different and good. Points go to Jane for the artwork (she did in my room).

Commandra's Cruci-fiction was great! One had to read the story in WS12 to appreciate the excellent quality of the satire. As usual, the art work was great— with both Gordon and Foglio.

Bravo, Jim! You've done it again!

The letter to Santa was hilarious— and true.

I enjoyed Paula Smith's story a lot. And both the front and back covers were well-done.

By the way, in answer to the Editor's question as to whether I think Harlan is good-looking, I would have to answer in the affirmative, but it isn't so much his looks but the way he comes across in person. Is it personality? Magnetism? Well, whatever, he's got it pood. Especially in a towel. Right, Pumpkin? [22]

[zine]:
One example of the poor reproduction this fan is talking about, and a BIG topic of conversation in the zine during the early years. In "Warped Space" #15, there is an illo of Paula Smith refusing to write any more letters of comment until the problems with production are fixed. See issue #15.

I REALLY think you ought to get yourself a better printer. For the money you're spending on offset for the subscription list you probably have, you deserve a break today. Lori, you've got a terrific zine but with poor reproduction. It's a real shame and it doesn't have to be.

I couldn't read much of WS#13's LoCs, 'Commandra's Cruci-Fiction.' the rumor generator, and 'Mind's Eye.' That really hurts. Even that back illo of Joni's... that delightful reindeer pulling the Enterprise. That black background should be black. You've got a lazy printer. Why don't you, Gordon, and a few others go up to this printer, take him by the throat and SHOW HIM what black is. Tell him you want HEAVY BLACK backgrounds. It shouldn't cost extra money, it just means he has to spend more time at the presses overseeing them. You're paying for it. Demand it or get yourself another printer. You owe it to your readers but most of all you owe it to yourself. Lori, I LOVE Warped Space. I REALLY look forward to future issues. You'll have me for a subscriber till one of us declares bankruptcy or both! I want to see your zine become immeasurable popular and most, I want to see errors that are not of your doing cleared up. [23]

[zine]:

The illos are mostly marvelous and I would like, for the record, to thank Marty Siegrlst for the really fine illo of McCoy and Natira she did for my story in WS13, "A Different Way of Thinking," Very nice. Oh, yeah and speaking of that story, y'all should know that the Editor took it upon herself to cut a scene from that as well as drop a few lines here and there. I'm formulating a theory that all editors are really Klingons in disguise. Also, there is a time lapse of a few hours between the time McCoy eats the Fabrini delicacies arid Natira says, "We share the spirit as well as the touch." There is also a time lapse between the time McCoy says, "Oh, Natiraaaa" and passes out, and the time the handmaiden is mopping his forehead. Hopefully, this was obvious from the story. Anyway, I also dig Joni Wagner's stuff as well. [24]

[zine]: First of all, and you know it, the printing is back to being shit. Are you sure there is no way you can get better printing out of the University Press? Personally, even if it meant that WS came out less often, I'd like to see the printing improved. Even if it means that you go to a commercial printer and pay more.

Warped14notpaula.jpg

[Sharon Ferraro, writer of this LoC, includes a photo of Harlan Ellison and a helpful graph]

Paula Smith is not Harlan Ellison. This is Harlan Ellison, Do not be deceived by the fact they are the same height and both read comics. I hope this clears the misidentification up, Paula is the Paula Smith of Trek fandom.

"The Masterpiece" was very interesting. A bit overwritten— a little too formal. But very poignant. I wanted so much for him to decant the little centaur and hide it away somewhere.

"Commandra's Cruci-fiction" was hilarious— especially the collaboration between the artists.

I didn't read "A Different Way of Thinking" yet. Not until I can sit down with my glasses on and puzzle it out [25]. Liked the illo though,

"Mind's Eye" was excellent, but rushed. The plot was really fascinating (I even let my dad catch me reading it because I wouldn't put it down. It was a bit difficult at first keeping all the people straight— just who could see or touch or talk to who. But it was excellently well done.

The "Why Can't" thing was great. Why does my Klingon have a red phaser and Lt. Uhura have none?

"Merry Christmas, Mr. Spock" was so- so 'writing wise, but rang true emotionally.

"100 Proof Positive" was excellent and funnier than the first time I read it [in Menagerie.

Joni's back cover was interesting even if the Enterprise celles were tilted at an odd angle — this is WARPED SPACE, isn't it? —

Great stuff, gang. Keep up the good work. I really look forward to reading WS each time it appears. [26]

[zine]:

You blew it! Akk! 13 coulda had class, coulda been yer best ish to date, instead it stinks! Suppress that printer! Pinch his suppliesI Off with his trade! You get the message, I'm sure.

As for the rest of it, the content of 13 was superb, well-balanced, decently laid out with marvelous art work. Certainly is a shame it's unreadable.

Liz Druitt's "The Masterpiece" was nice English 301 stuff. A bit over-written in the beginning — the vocabulary in the first several paragraphs was overly florid. But after that, Druitt settles down and writes a decent story— nice. 301, but nice. The Clinkenbeard illos, particularly the centaur fetus, were as outstanding as usual, but they suffered inexcusably from the rotten printing.

Barbed is beautiful. Gordo, your artstyle is totally incompatible with Phil's, especially when 'tis done, as this was, by mail. The illos were almost funnier for the scuffling between the artists than for the content.

Mona Delitsky did a pretty good job in "A Different Way of Thinking." The characterization of McCoy was generally cruddy ('wow" "hmm ... hey?"), but the alien mindlink itself was rather well done. It may be compared to Gordo's job in "Mind's Eye." While this story also has a mindlink, it is not as convincing as it might be. Tho' "Mind's Eye" has a good plot line, it is not well told. It tends to be banal, when it wants to be mystic. The full page illo was the more evocative of this desire than the story itself; the illo was very fine indeed. (No, Gordon, I did not catch the echo of the tree branches in that broken background pattern. Sorry.)

I liked Ingrid Cross's story. It's totally improbable, silly-ass and absolutely pointless. It's also completely right. The story, its words, could go away and we'd be all the better for it, but the feeling behind it is so right, it s beautiful. It's them last four paragraphs, folks.

As for comment on the last piece (ahem), really, Chapek, my modesty. [27]

[zine]:

I'm a newcomer to all of STAR TREK fanzines ... I've recently read ... SHOWCASE I & II, SPOCK ENSLAVED, DELTA TRIAD I, and 12 issues of T-NEGATIVE ... None of these zines can outclass WARPED SPACE, and, in fact, none can match your consistently terrific illos.

... the content was probably the best over-all ((in WS13 & 14)} since you started ... "To Need a Friend," by Carol Hydeman, "Birthday Waltz II (Whoopee! Faulwell strikes again!) by Paula Block, and the "Masterpiece" by Liz Druitt. I had never read any of the stories in which either Jim dies or Spock dies, so "To Need a Friend" carried quite an impact. I thought it was very well done. I loved seeing Sadie with curly hair and bubbles! Somehow seems totally appropriate! Thank Heaven she's gotten over (Oh, Ghod, I hope!) Athos. That business always bothered me, not so much the affair, but that she could have done it on the ship under McCoy's nose, so to speak. I felt she had a little more regard for Bones and wouldn't have done something she knew would wound him when he found out about it. (And she couldn't have thought she could keep it a secret on the ship! It is too much like a small town— everyone knows who's sleeping with whom.) ... "The Masterpiece" was beautiful. I just re-read it and the lump in my throat is too big to say anything else.

I don't know who Erin O. Mercy is (however, with all the puns flying about— it sounds a lot like Gordon Carleton) but whoever is the author— give 'em a kiss and an extra helping of plomik soup! I darn near got hysterical over "Commandra's Cruci-fiction." I'd just recovered my composure and I took another look at those BEE-UTIFUL illos— and I was sunk ... what is that duck doing in the one picture?

... The zine is so good, why must you try and ruin what little eyesight I have left with that beastly printer who hates all readers out here in fandom?

(Ed: (Erin O. Mercy is a community name— the only prerequisite to writing an Erin O. Mercy story is that it must be well-written, funny, and end with someone getting hit in the face with a custard pie. Oh, and we had the idea before someone actually did hit Bill Shatner with a pie at the January 23-25, 1976 New York City con-- but we were innocent! And about the ducks-- MSU has an ubiquitous duck population.)) [28]

[zine]:

"Mind's Eye" was good. If you weren't paying strict attention tho 'twas very easy to get lost. Everyone was somewhere but no-one knew where, everyone was in the building but not— some could communicate (in certain ways) and others not at all. Complicated and very well done.

Liked the questions along the binding on p. 23. I have been in shock a long time now over $4.95 ... [29]

[zine]:

... Those cartoons on p. 1 really hit home, especially the ST lunchbox! (Substitute t-shirt for lunchbox and I can sympathize even more!)

"The Masterpiece"— somehow the mercy killing aspect seemed almost anti-climatic. I fear that the current emphasis on questions such as euthanasia will result in a plethora of stories involving similar events. Perhaps I've been overwhelmed by the media ... The story itself frustrated me somehow; the essential idea was intriguing, but Liz's treatment of it was too abbreviated. She seemed to be cramming too much into too little space.

Gordon and Phil's illos for "Commandra's Cruci-fiction" were hilarious! Erin O. Mercy— that was a NASTY satire ... but funny.

What is this eternal fascination with [the episode] For the World is Hollow? As a McCoy fan, I resent that episode— it reeked of 2nd-rate sci-fi (priestesses and oracles) and poor soapbox (the ole fatal illness routine). I seethe at poor Bones being the unfortunate protagonist in such a disaster! He has a lot of integrity and dignity, and the episode that emphasized his character positively hasn't been invented yet! ... And Mona, somehow I can t picture an old-fashioned guy like Bones lying around while his 'fiancé' undresses HIM! (I say, where is Southern gallantry when ya need it, huh?

... "Mind's Eye"— I enjoy EVERY LP6 epic, much regardless of the subject. I got a little entangled in the numerous mind connections ... but the object of the Argosian's test was certainly a valid one. Gordon's puns are really getting out of hand ...

Haven't I seen "100 Proof Positive" some where before? [30] No matter — it's just as good the second time around. Some of the first ST zine fiction I ever read was Paula Smith's, and It's damn good, CONSISTENTLY. [31]

[zine]:

... Nothing more frustrating than looking forward to an issue for literally weeks and having the printer foul up your reading. Awkl

Does anyone but me think that some of the dialogue in "The Masterpiece" read like the end teaser for a soaper?

[snipped, much about professional wrestling]

Plot for the "Masterpiece:" impressive! The ending? Sad, but true. I just wish there hadn't been so much melodrama!

"Commandra's Cruci-fiction" ... Loved it! Giggled myself sick! And the illos were terrific. I do hope everyone who read it got to read "Cassandra's Rebirth" first. If they didn't, I'm wondering whether they found it hysterical, or just weird. By the way, I loved the soap ending. Somehow, wen it comes to face, a little soap is okay.

Illo on page 12. My favorite, Marty, but something about Natira's face bothers me. I don't know what.

"A Different Way of Thinking." Interesting. Somehow at the end I felt dumpted. Waiting for more, I guess.

Always a fan of Gordon's illos. I was really anxious to read his story "Mind's Eye." The plot was a little old— strange things happen to Enterprise landing party, landing party struggles through victorious, strange voice comes out of nowhere to tell landing party that Federation is everything it's cracked up to be and they will be proud to become members. Not all hopeless though, Gordon, you handled it well, and even with an old plot I enjoyed the story.

... "Merry Christmas, Mr. Spock" ... Left me feeling kind of vague.

"100 Proof Positive"— terrific! Special! Happy! Even I was worried Spock wouldn't find Santa Claus and I've been so good ... If Spock hadn't found him, Paula, there'd have been a riot! Thanks for the story! [32]

Issue 14

silkscreened front cover of issue #14, Marty Siegrist. Fans were impressed at the art medium, some saying that, aside from Interphase, they'd never seen silkscreen before. One fan complains the cover curls up. And from another in the LoCs: "The cover was beautiful -- I like the silkscreening, but the ink gets on your fingers. I had blue on my fingers for days after reading it."
later version, the non-silkscreened front cover
back cover of issue #14, Gordon Carleton

Warped Space 14 was published January 19, 1976 (second "and final" printing: April 5, 1976) and contains 31 pages.

This issue notes that it is "the official publication father Michigan State University STAR TREK Club, printed by the University Press -- this publication is partially funded by SMAB."

From the editor:

Gripes with this ish is the difficulty of finding (on a campus the size of MSU [Michigan State University]) a decent typewriter. Suffice it to say this issue was typed on two different manuals and two different electrics. I apologize for inconsistencies of ribbon darkness, clarity, or readability. In some cases, we're using the typewriter under stealthy conditions, and I couldn't get a fresh ribbon.

This issue has a long letter by Sharon Ferraro regarding the Star Trek Chicago on where Ferraro was the gofer head. In this letter, Ferraro both criticizes and defends the con. See the con page for her comments.

  • Editor's Nook by Lori Chapek (1)
  • a review of Menagerie #7/8, see that page (1)
  • Warped Communicatins, LoCs (2)
  • The Plague by Diane Scott (6)
  • And Now for Something Completely Different ("a man with a starship up his nose!") by L.R. Yesterdaise (13)
  • Ayok [spelled that way in the table of contents] Time ("an eleventh hour Paula Block story, with additions, corrections and sections by Gordon Carleton") by Erin O. Mercy (This is a Landing Party 6 story.) (23)
  • art by Gordon Carleton (back cover), Jane Clinkenbeard, and Joni Wagner, Marty Siegrist (silkscreened front cover)

  • from issue #14, the zine's dedication to Bjo Trimble and the reference to seeing her in April is to Equicon, artist is Jane Clinkenbeard

  • from issue #14, a helpful photo and table for the confused, "Paula Smith is not Harlan Ellison" [33] [34]

  • from issue #14, art by Joni Wagner for "The Plague"

  • from issue #14, art by Gordon Carleton for "Ayok Time"

Reactions and Reviews: Issue 14

[zine]: It seems that 3rd class mail now takes a minimum of 15 days. Many of the readers may be interested in that bit of news as one can't help feeling their issue has been lost when it takes over half a month to arrive. As for my self, I am requesting all issues be sent to me 1st class as of now. For those of you who can't afford this, I suggest you organize some sort of campaign or petition aimed at the big Post Office in the sky. There seems to me no excuse for 3rd class mail to have been slowed since the rate increase. 3rd class mail used to take 5-8 days. Mow, as I said, it takes at least twice that long. Are we going to put up with higher rates and crummier service? Probably. Tis human nature. Ah well, don't say I didn't try to spark some bicentennial revolutionary spirit into you.

Gordon— thank you for your advice, consent, and illos for "Ayok Time," especially your interpretation of Sheld'N and Milt'N on p. 30. Beautiful. Not to mention the infamous sehlat lacking an olfactory organ. I was pleased to hear that my 'dream came true' and somebody finally did attempt to assassinate Shatner with a pie in New York. I thought sure when I first heard the news that Gordon had done it.

Overall quality of 14, I felt, was good. The cover was a noble 'attempt , "not bad for a first try," as Connie Faddis would say. Connie, by the way, is probably a good person to talk to about silk-screening techniques, as one can judge by INTERPHASE. Marty, my dear, I still liked yours, though, especially the actual drawing of the thing. Nice Romulan. My favorite drawing this ish tho, was Jane's dedication to Bjo, altho Joni draws a mean microscope.

I notice the current trend is towards long er stories in WARPED SPACE. A good idea— although there's not as much room to hedge your bets ... if a long story stinks, it will weigh heavily on the quality of the whole issue. Fortunately, no stinkers in 14.

"The Plague" was interesting story. It is always nice to read about Romulans and non- Enterprise folks. The plot was good. The only aspect I found a little light was the characterization. I liked Celeste and Alec; I liked their interactions together. I liked Klea. But I would have liked the whole story better if their characterization was just a bit stronger. I am really glad Scott stayed away from the Enterprise characters. The little we got to see of Kirk was more than enough. Even then, he was untypically ... uh ... can't find the word ... how about flippety-jibbet? His lines didn't read strong enough for Kirk ... ("Are both of you ok?") , nor formal enough. But I did enjoy the story.

I also enjoyed "And Now for Something Completely Different." (A TREK-zine that's turning into Monty Python's Flying Zine). Quite a let of good lines in there, altho' I think the story would have benefited from trimming and pruning here and there to make it more compact.

I think that's about all I have to say. The photo of Paula Smith [35] on p. 5 was lovely. I always thought Harlan's eyes were robin's egg blue though ... no? Had another Harlan Ellison dream last night (I average one a month). We m.et at a convention, and decided to run off together and be hoodlums. I had to keep telling Harlan to put away his butter knife because he was scaring people. Eventually Harlan turned into Kris Kristofferson and I turned into some one ... couldn't quite make her out but it looked like .. could it have been ... Paula Smith? [36]

[zine]:

... Gordon Carleton, your drawings are so funny! ... If there was some way to get them out of the zine without losing part of a story I'd wallpaper my room in them.

The cover was beautiful— I like silkcreen-ing, but the ink gets on your fingers. I had blue on my fingers for days after reading it. I also dropped it in snow and now it is all blotched up (not to mention how I felt chasing it down our hilly driveway ... ).

Okay, who is Erin O. Mercy? I want to know who the real brains are behind "Ayok Time" and L.R. Yesterdaise's "And Now for Something Completely Different." They were both fantastic! I laughed 'til my stomach hurt. All that 'my sehlat has no nose ... ' stuff reminded me of an old George Burns and Grade movie.

... I really enjoy the LoC's; they're interesting. I think that Paula Block was right when she said that WS is becoming a haven for us McCoy fans. ... the majority of us readers like the Faulwellian epic but don't like Faulwell, ... because she is a bedhopper. ... Paula B. is a good writer ... she writes interesting stories and her character is believable ... [37]

[zine]:

I've enjoyed your zine's humor and irreverence and high standards of writing, Ingrid Cross' Christmas story and Connie Faddis' "Not Bad ... " coming to mind. However;

1. The Landing Party stories are now a bore. The very genuine humor and the almost-realism would work better if there was less Faulwell. She might be believable as someone's room-mate in their sophomore year in college, but on a starship?

2. Re: Paula Block's letter in #13 and M. Bayard's in #14. I liked Hydeman's "To Need a Friend." The description of Spock's grief was too physical, possibly. Possibly a massive outbreak, like the end of Amok Time, as catharsis, would be better, but I think Spock would react very badly to Kirk's death. In the actual episodes, the only time Spock comes close to losing control (when not infected, etc.) is when Kirk is in danger. Spock wanted to kill the Horta! And he has no emotional outlets. Kirk being the only person Spock ever had a give-and-take relationship with. It all adds up to a severe emotional crisis— and with Kirk's insistence on doing dangerous things himself— one likely to occur. Block's and Bayard's DOB ((Dirty Old Broad, re: GRUP)) tone about the ending was rather unsophisticated. Spock and McCoy's being alone for several hours might be interpreted many ways, but varying interpretations are part of the fun of reading and writing fiction. And if they weren't just smelling the flowers, so what? Using Diane Marchant's words, in their emotional state, it wouldn't be setting a precedent. [38] [39]

[zine]:

And Now for Something Completely Different" was GREAT!!! Beeeautiful satire on The Alternative Factor. Loved Lazurus/Jason illo on p. 18. And I went wild over the trio on p. 22. Gordon, that was superb of Leonard, and I hope everyone noted the different drinks everyone had.

"Ayok Time" was very good too, 'tho it didn't flow quite as smoothly as did the other satire. One of the best LP6 stories to date. Come on, Gordon, fess up you're Erin O. Mercy!

... Liked the front cover even tho' it did have a tendency to curl. First silk-screen try I've seen. [40]

[zine]: The first thing about this issue that you'll notice is the beautiful cover. This illo is a composite piece of offset work of a Romulan Centurion and the Bird-of-Prey ship, with the stars and Warped Space logo printed over a blue background with silver ink. Compared with Connie Faddis' work in Interphase this is only poor serigraphy with fade-out borders, overly thick and blotchy ink, and terrible looking stars. It is rare, however, to even find someone who will silk-screen a cover. This is a beautiful first try for the Warped Space people and I hope they will attempt another cover like this. I still have my doubts about the editor of WS including so many LoCs in each issue. The letters generally abound with praise, many of who are repetitious, and Halkan Council has a much better position to handle frequent letters and they edit their letters better. WS, I suspect, uses them as filler and could do with trimming their LoCs down to size or including pertinent ones. This continues to be a stumbling block in WS's format. The first story. ' The Plague' is by Diane Scott. This concerns the delivery of a Romulan plague by two Federation doctors, and their efforts to find a cure. For some strange reason, the past few stories I've read dealing with the Romulans have been excellent, and this is no exception. The person writing this story has a very good grasp of the actual procedures doctors would use and the story is resolved beautifully. The illos accompanying by Joni Wagner are good, but not her best. 'And Now for Something Completely Different... A Man with a Spaceship Up His Nose ' not only qualifies a one of the longest titled stories but is a hilarious parody of 'Alternate Factor,' with great illos by Gordon Carleton. 'Ayok Time' is a warped parody of 'Amok Time' written with WS's own cast of characters from the LP6 gang. Although some spots are bogged down and it does not flow as quickly as the first parody, it is still excellent... If you are cursed with hyperopia or can't read fine print, you'll still go blind reading parts of this. The printing fades out in spots but not nearly as much as issue #13. Otherwise, this is probably one of the BEST issues of WS that I have seen, but get a new printer, gang. [41]

[zine]:

Ya shouldna gone and told us ya used two manual and two electric typers for WS14. If a person has any kind of eye for type differences he can tell what parts were typed with the manuals and what was typed with the electrics. Having gotten that far he naturally comes to the conclusion that the material typed on the electrics are by FAR the clearer of the two. Hence my plea you use electrics at all times (please try— I think l'm going cross-eyed.) Please note Linda Cappel's LoC of which 90% was aimed at your rotten printer. Also please note you could not read the letter itself.

At this point let me say to Karen Fleming— raspberries! Block-Faulwell stories are NOT soap trek, and just what the hay does she consider to be a 'normal' person? I think she's normal but then again I think I'm normal and I have friends and relatives who do not agree. Maybe her problem is she has only read two such stories. Read 'em all, Karen, in rotation. [42]

[zine]:

If 10 was the porno ish, maybe this was the satire ish? I'm afraid that for my taste there was too much parody for one issue, and "And Now for Something Completely Different" was itself too long. I was looking for the end after the third page; up 'til that point it was humorous, but after that it was only tedious.

"Ayok Time" was a trifle heavy-handed, too. "The Plague" however was quite good; I was glad to see good Romulans after the spate of stories featuring the Romulans as first-class baddies. Some how the Romulans and the Klingons have switched places in the attitudes of fen, which puzzles me, because I have always preferred the Romulans to the Klingons. It seems to me that in aired ST the Klingons were generally the beasties one wouldn't bring home to Mama, while the Romulans were possessed of a modicum of honor. [43]

Issue 15

front cover of issue #15, James B. Steele. The toroidal space station is based on a 2001: A Space Odyssey poster, but with a Star Trek shuttlecraft added in. A fan coments: "The front cover. What can I say? You hit me where I live, and I bet you didn't know it. It happens that the scenes of the waltzing ship and station in 2001, with music of course, have the pcwer to transport me as high and far and wide as my heart can stand, so the confluence of STAR TREK and 2001 right there as the first thing for my eyes to register was beautiful." [44]
back cover of issue #15, Anita Nordstrom. A fan comments: "Very, very good. I'm hesitant to comment on artwork because I am not in any way an artist. I cannot look at a drawing and tell if it was difficult to create; I cannot comment on technique, as perhaps I could with writing. All I know is when a picture is pleasing to my eye, and this portrait of McCoy is very pleasing." [45]

Warped Space 15 was published in March 1976 and contains 28 pages.

This is the first issue that had too many LoCs to print. The editor wrote:

To borrow a bit of HALKAN COUNCIL'S format [46], I wish to instigate now the abbreviate WAHF, meaning 'we also heard from' followed by the names of people from whom LoCs were received, but which did not see print. Just a way of acknowledging the trouble you took to write. A WAHF designation does not preclude the inclusion of your LoC in the following issue, however, if it was so burningly good that I had to print it!

WAHF: Joan M. Verba, Michael N. Amaden, Kitty Bamett, Priscilla Pollner, Leah Rosenthal, Kathleen Porter, Dixie G. Owen, Joyce K. Quackenbush, Vivian Sheffield, and Leslie Fish.

From the editor, who says they have been selling reprints of the zines and some other club materials to pay off some debts of Ourcon.

art from inside #15, kudos from boojums Press

The editorial:

Have you heard the latest word on WARPED SPACE'S reprinting plans? We're slowly phasing out reprints; WARPED SPACE 1&2 and 3 - 14 are being readied for one more reprinting run each (ideally to last through EquiCon) in the hopes that we'll sell enough copies to pay off the remnants of the Ourcon debt. We sold an extraordinary number of WARPED SPACES, The Omnipotent Third Season STAR TREK Script Generator, The Official STAR TREK Rumor Generator, and The Transporter Malfunction of the Month at STAR TREK Convention. February 12-16 in New York City, and paid off all but one of the remaining four speakers we had still owed fees.

And we'd like to print only the initial, first-run copies of all issues beginning with this one and continuing onwards indefinitely. That means no more reprints, gang! And it al so means that only subscribers will be guaranteed a copy of the issue they put their names down for— so keep subscribing.... So, please spread the word to all potential WARPED SPACE collectors that our early issues may not exist in their present form for too much loncer.

Which brings me to another interesting point— several people at the NYC Con mentioned that they'd like to see a portfolio of WARPED SPACE artwork. While thinking about the reprint phase-out process, t wondered how people would react to eventual "reprints" in a new format. I.e., let's say WARPED SPACE 1 & 2, 3-14 are out-of-print. Some people inquire about the availability of aforementioned issues. So, yen brilliant editor says to herself, aha, them peoples will pay for, ahem, THE BEST OF WARPED SPACE, vol. J the best of issues 1-97 with newly commissioned artwork to fit in with the re-edited stories and stuff), projected price unknown. Or, perhaps, thinks I, they might also pay for THE FAULWELLIAN EPIC/LANDING PARY SIX: Or, even, WARPED SPACE— For Adults Only; Well, whaddya think? Keep in mind that these are still only ideas in my head— most of them will take printed form in the far future (you know, next year or so), if ever. I need feedback, ideas, suggestions. Etc.

About this issue ... Sorry, Po, I just couldn't fit all of your story in this issue— so I cut it in the middle, as it originally was. Joanna Cantor's and Paula Smith's stories both preceded yours. I apologizes to yez fennish readers, as well. I hate to segment stories into one-and-two-parters almost as much as I hate the suspense and frustration of having to wait to read the next half. (But P. Block's story is well worth the wait;)

I have the distinct impression that nearly half of WS16 is taken up already— a fine Sarek-and-Amanda story by Jean Lorrah, part two of Poblocki's story, some fine poetry by as sorted readers-cum-writers, and hopefully, some new artists;

Keep your LoC's coming; Due to the volume of LoC's received, I will not be able to print most of them, much as I'd like. Your LoC stands the best chance of being printed if it is thoughtful and very analytical-- see the ones included in this issue for examples of what I mean. I wish I could print them all — they're all highly amusing and useful; Live Long and Prosper.

  • inside #15, Paula Block, titled "Bones Hits the Beach" -- the artist later commented: "I am very embarrassed by the illo on p.14. I swear it looked better in pencil. I wish I could show you guys the original. Somehow, inked and compressed, it got to be that travesty. Yucck. He looks like Cannon with a toupee. Forgive me." [47]

  • inside #15, Marty Siegrist

  • inside issue #15, illo by Jane Clinckenbeard

  • inside issue #15, illo by Jane Clinckenbeard: "Why didn't someone choke her until she took MAD out of the illo on p.13, though? That kind of corniness does not go with the delicacy of the story, or the sensitivity of the Spock illo." [48]

  • inside #15, Marty Siegrist, from "A Matter of Trust"

  • inside #15, Marty Siegrist, from "For Sale, Must Sacrifice"

  • inside #15, Marty Siegrist, from "For Sale, Must Sacrifice"

  • inside #15

  • inside #15

Reactions and Reviews: Issue 15

See reactions and reviews for For Sale, Must Sacrifice.

See reactions and reviews for A Matter of Trust.

[Pasadena Blues I]:

The crew is enjoying shore leave on balmy planet Pasadena - except Faulwell, who finds it too hot, and goes back to the ship in a sulk despite tentatively renewing her relationship with McCoy on the planet. The planet suddenly takes off out of orbit of its own volition - it seems to be an organism - and the folks downplanet start to get chilly. [49]

[zine]: Okay, I forgive ya for not printing part 2 of "Pasadena Blues," even tho I think it's the better part of the story. I shall look forward to issue #16.

Meanwhile ... review-wise ... illos first ... I am very embarrassed by the illo on p.14. I swear it looked better in pencil. I wish I could show you guys the original. Somehow, inked and compressed, it got to be that travesty. Yucck. He looks like Cannon with a toupee. Forgive me.

As for the other illos (in "Pasadena Blues"), I weren't disappointed, Marty. My favorite is the one on p. 17 of McCoy outside the shower stall with Faulwell's eyeballs looking on. ""Cute. " De"" looks appropriately cowboyish, which is what I intended.

Anita Nordstrom: FANTASTIC backcover: Has to be the best McCoy I've seen since Jane Clinkenbeard's backcover in WS 9. Lovely, lovely eyes. Jane's illo on p.8, by the way, of Spock is an oldie but nevertheless a goodie. I always did like it. Gordon's work was scant this issue — sigh — but I loved his new interpretation of the Editor's Nook. And yes, I noticed the round eyes. I did not love his illo on p.23 of Harlan and the spectre spectator, but I suppose that is the way I tend to look to Harlan. No wonder he never looks my at legs. Yecch.

Oh yes — I liked Ms. Smith's self-portrait on p.28. She's got a definite point tho. Oh yes #2-- liked Jim Steele's cover too. Nice detail there, Jim.

On to scribal type fluency: I must apologize to P. Smith. P. showed me "For Sale, Must Sacrifice" in December & I did not take the time to read it with care. I did today and that is why I apologize, for this is a very interesting story in more ways than one. PaulA has written a nice 'alien culture' tale that is, for once, told from the alien culture's point-of-view, rather than from the usually biased 'Earthnocentric' point-of-view. This style is conveyed not only through the action & dialogue, but also thru the narrative. Certain lines there, well, I just really liked them. "Green flowed onto red and it was vepy unusual." A certain subtle elegance that reminds me of someone's writing ... can't quite place who ... maybe Gertrude Stein... As I was reading it I found myself thinking there wasn't enough characterization in terms of Kirk and Spook, that there was some in-depth in volvement needed, some lines anyway. Like, why don't we see what happens when Kirk gets Spock back to the ship & why in Ghod's name don't we get Spock's point-of-view while he's being carved up & why doesn't he say anything, or try to communicate? But somehow, by the time I finished the story I had made up my mind that PaulA was right not to put those things in. Oddly enough, this isn't Spock's story, nor is it Kirk's. It is the Norvadi's. Both Spock's silence and Kirk's lack of 'appropriate response' at the climax heighten this fact. It is for this reason, I suppose, that PaulA insists this is not a 'get-Spock' story. If it had been, it would have been basically from Spock's point-of-view & it might well have ended up another "Spock Enslaved." I have the feeling some folks won't like this tale - but I do. Nice job, P.

To contrast it, we have "A Matter of Trust." There were some good things going for this story -- specifically our insight in 'the early Spock' from the time of BALANCE OF TERROR, an alien rather unsure of his acceptance aboard an all-human ship. There were problems tho — I didn't quite understand Spock's long illness. The show itself did not indicate such & thus I was disturbed by Spock's convalescence. Why wasn't Stiles likewise affected? Also, this was not one story — it was two. At least, it seemed that way to me. Neither one was especially climatic tho, so I suppose each needed the support of the other. They both concentrated

on the same theme, Vulcans among humans, an interesting theme, certainly, but something was lacking ... I haven't quite put my finger on it yet will you take my word for it now? [50]

[zine]: I received my copy of WS 15 a couple of days ago, and swept along by the euphoria of the first issue of any fanzine I've ever received as a subscriber (as opposed to ransacking the dealers' rooms at cons', which anyone can do, and which, incidentally, is a good way to waste money on inferior zines), I'm plunking myself down at the typewriter to peck out a nice long letter of comment.

Page by page seems the logical way to proceed. The front cover. What can I say? You hit me where I live, and I bet you didn't know it. It happens that the scenes of the waltzing ship and station in 2001, with music of course, have the pcwer to transport me as high and far and wide as my heart can stand, so the confluence of STAR TREK and 2001 right there as the first thing for my eyes to register was beautiful. Editor's Nook. If I weren't a subscriber to WS and if I were to find myself at a ST con next year, I would leap at the chance to buy myself a WS art portfolio, or a Best of WS or an anthology of Faulwell/TP 6 stories. In other words, I think it's a great idea, and I hope for all those out there who haven't yet discovered WS, that you do find the time and money to go ahead with the project.

"For Sale, Must Sacrifice." Reasonably good development of an alien culture, within the space limitations of a short story; I particularly liked the of use of 'the insane people' and 'the evil star,' and other phrases dropped without heavy-handed explanation; after all, they know who they are and what they're about, and when the story is presented from the perspective of the alien, explanations designed for us would be out of place. There is a danger with this type of presentation, however; a reader may well be very skeptical and impatient at first, thinking, "Well, here's all this weird stuff — am I going to be able to tell what's going on, or is it all going to seem like gobbledygook?" I think PaulA Smith avoided that trap very nicely, and I'm impressed that she could do it so compactly. I liked the idea that the Federation know-it-alls don't always knew what they're doing, as when Bhargava assures Kirk that they have been 'much too careful' to make contact with the natives. And if anyone retorts that they didn't talk to the natives, or deliberately present themselves, we must say that contact takes many forms; I think this is one point of the story. And if this isn't a 'get-Spock' story, what is? Smith does like to see green blood flow, witness "The Logical Conclusion." One last not-too-important comment — I'm not sure I like the juxtaposition of a cutesy title and a not-so-cutesy story.

"A Matter of Trust." This is my definite favorite entry in this issue. Have I seen Johanna Cantor's name before? If this is a first effort it is even more remarkable. The characterizations are excellent, particularly Spock. At New York con last month I listened to a panel of fanzine editors discuss the typical problems of fan fiction, lumped under the heading "Don't make him say that!" Well, in this story, to mi' mind, we see a lot of people saying just what they would say. That's perceptive characterization. Perhaps Spock is a trifle too humanized — he is concerned about human reactions, thinking about humans, concerned about his own reactions This is a valid interpretation, and, I suppose, the one I favor, but it is not the only one. In the book I AM NOT SPOCK, Leonard Nimoy quotes Spock: " ... you want me to be like you. TO value the things you value and to give support and credence to your life style." Spock goes on to explain that he sampled love and happiness, much as a foreigner samples an American hamburger, but that doesn't mean" he has to react to the experience the way an American or a human would. Whenever I read that passage, I must confess my resistance, my pain, if you like. We do want Spock to approve of us; we can't help it. Anyway, in this story Spock's dealings with humans, whatever we think of them, are nicely balanced by his interactions with Vulcans. And I must commend Jane Clinkenbeard's illustration on p.8, it was truly beautiful: an incredible mixture of pain and peace on Spock's face.

"Pasadena Blues." I gather that Paula Block has relatively recently moved to the West Coast, and it is interesting to see an author work her awn experiences into a story. You never know what bits of your own life you might find applicable to a story; anybody up to a shore leave planet that has a working replica of New York's subway system? I do some of my best thinking about STAR TREK riding the rails. As far as Faulwell stories go, I think this some gives more ammunition to those critics who believe Faulwell should never have been assigned to a starship — too unstable, and therefore unreliable. She admits 'he knew my history of psychosomatic disorders.' Would an officer with a history like this be permitted to remain on a starship? What if she weren't on leave, but instead immersed in a vital assignment when her body started flashing 'time to get out of here and hide' signs? It would seen logical that an officer repeatedly passed over for promotion might be assigned less demanding duty, on a base perhaps, where she could grow. I think the Faulwell Epic is getting a little bogged down. If you're going to write a long piece, you can't keep going around in circles, as the Faulwell/McCoy relationship seems to be doing. You have to have a constantly evolving world, where things happen and stay that way; time marches on, and last week is never going to be here again. On the technical side, I am distressed that no explanation was given for why Spock couldn't just transport the crew on the planet surface back to the Enterprise. Apparently the ship is in close proximity to the runaway planet, being dragged along with it, as it were; no statement that he transporter is out of order. Maybe this will be cleared up in the next installment, but I kinda doubt it. An off-the-cuff comment: I wonder if Paula Block has dreams of southern California breaking off from the mainland and running away into the sea?

"Death be not Proud." I like the concept, and it is reasonably well-realized, although a couple of the rhymes are weak, such as the lines ending with 'key' and 'end.' The illustration is very good.

"Once ... " Not bad, a little light-weight. Compare it to "Sonnet from the Vulcan: Omicron Ceti III" by Shirley Meech published in STAR TREK: THE NEW VOYAGES. I thought that was a beautiful, haunting evocation; maybe it comes down to whose point of view you'd rather realize, and how formally constructed you like your poetry.

"How Much is That ..." I'd like to mention a bookstore in New York City called The Science Fiction Shop. You could describe it exactly the way Paula described A Change of Hobbit — so it's not a complete rarity. And I can walk into that store and part with $10 at the drop of a hat. I am a Harlan Ellison fiend; why doesn't he live in New York so he can play his publicity games here? On the other hand, I know I would react with profound ambivalence to the prospect of meeting him (again) in person. I spoke to him briefly at what's-her-name-from-Chicago's-New-York-con, and I still curse inwardly every time I remember how doltishly (I think) I behaved. The scintillating things we find to say in our minds never come out that way. About recordings of Harlan reading his stories; I heard him read "Seeing" at the con and "Shatterday" at the Foundation Church, and I most assuredly agree that Harlan is brilliant when he reads his own works ...

"The Addict." How true. And how easy it is to recognize the early symptoms of addiction in oneself ... I freely and joyously classify myself as a budding addict who chooses to embrace the addiction.

Warped Communications. In general, I want to applaud you for publishing lots of LoCs, it's very nice to feel the community of readers out there, to have vicarious contact with people who have shared your experiences; and it must be gratifying for the authors to get the feedback.

Karen Fleming's letter — good constructive comments about the Faulwell Epic.

Jean Lorrah's letter — I like her open appreciation of a writer who has something to say, even if she hasn't perfected how to say it. Which brings me to my own comment about the Cassandra story; I'm sorry I made it, not that my opinion has changed, but because I did not temper it at the time with consideration for the author. It can not be an easy thing to expose for general criticism something you've written, and at least one could hope for specific, constructive comments, which mine were not ... This is a delicate line I'm tracing here, because just as I would hope to empathize with the beginning writer (I'd to publish someday myself), I still commend you for publishing the Comandra parody.

Annie Brown's letter — just goes to show you how much of our own culture we bring to what we read and what we write. Being Jewish, and therefore never having hung up a stocking, or trimmed a tree, or listened for the sound of reindeer hooves on the roof, I couldn't bring any degree of anxiety or trepidation to my own reading of "100 Proof Positive"; but, as they say: Infinite Diversity in Infinite Combinations.

The back cover. Very, very good. I'm hesitant to comment on artwork because I am not in any way an artist. I cannot look at a drawing and tell if it was difficult to create; I cannot comment on technique, as perhaps I could with writing. All I know is when a picture is pleasing to my eye, and this portrait of McCoy is very pleasing. [51]

[zine]:

A few comments on WS 15.

"For Sale, Must Sacrifice" — o.k, I do see why PaulA Smith says it's not really a 'get-Spock' story; the real point is a look at religious superstition ... a fairly understanding look, I think. Spock gets it because his heart isn't where it should be (physically, for a change!). It also helps the impact that his blood is green (and it's reassuring to those of us who care that Spock is more likely to survive such treatment than any one else). He is incidental to the main point of the story, however, and is uncharacteristically ineffective; it seems that PaulA is downplaying his part to put the emphasis where she wants it. The end result is that Dickson's expedition, and Spock and Kirk in particular, bring about a change in the religious beliefs of the people of Ashanti — "the old ways do not hold ... any more." Human sacrifice is no longer appropriate — their god wall provide the sacrifice. And who is to say, after all, that their god Jensh did not use the outworlders to bring this new truth to the Norvadi? ... there is a certain schizophreniz in the Enterprise's mission to seek out new life and new civilizations' under the Prime Directive; obeying both at once verges on the impossible.

"A Matter of Trust" was also good — a helpful view of the growth of trust and understanding between Kirk and Spock — Kirk must have learned from the Stin-Svev episode to be always completely frank with Spock; off the top of my head, I can't remember him keeping Spook in the dark for 'his own good' as the either captain did ... ... the case of Snov's brain tumor shows an interesting view of the early development of the Spock-MoCoy relationship. Dr. Piper is certainly shown as a disagreeable cuss (a little overdone, perhaps, unless he was getting irascible in his old age!)

Poblocki's latest is well-written and offers more action than "Birthday Waltz II." Off to a good start and I'm anxious to see the rest of it.

The 'poultry' and short pieces were all good — interesting and/or fun, as appropriate. And the art was fantastic, as usual. Especially loved Clinkenbeard's Vulcan boy reading MAD and Spock with tin-can-and-string. Covers were great, too! All in all a fine ish! [52]

[zine]:

WS 15 is great! This zine is so far above most of what is printed that I wonder uneasily about its future. Out of my reading in the old issues, catching up, I believe I got the idea this is your last year at Michigan, and since editing cannot be a full-time job or income, speculate as to what will happen to it if you leave. I can just see the complete series of zines new, regarded as a great classic (in the fashion of so many others that sprang to life, flashed across the scene, and died with few traces), and the fond, memories of 'when Lori was editing.' And well taken. Your choice of fiction is very good indeed, bearing out my theory that the best zines attract the best material ... [53]

[zine]:

Just received WS 15. The cover is terrific — the elephant bringing forth a mouse. Absolutely brilliant idea.

"For Sale, Must Sacrifice" — GAAAAH! PaulA Smith, you lied to us. You are Harlan Ellison.

Talk about warped space — SPACE 1999 strikes the Enterprise at little old new Pasadena! Do you think the moo was from the cow that jumped over? Say, you don't think the man in the moon is really ... ?

Faulwell bugs me sometimes. She is the realest character I've seen introduced into the ST universe, but sometimes I could just shake her. But she gets Bones into the sack fairly regularly, and if he's happy, who am I to complain?

YES, THE PRINT JOB IS BEAUTIFUL ... Godd-looking issue — is it the beginning of a trend? I'm gonna miss all the nasty letters to the printer, tho.[54]

[zine]:

It's really remarkable who these folks in E. Lansing manage to put together such a good zine every six weeks -- and now a copy that doesn't send the reader off to the eye doctor. Three main stories in this one: 'A Matter of Trust,' is a sort of 'after' story for 'Balance of Terror' and a 'before' story for 'Amok Time' and rather hard to follow; 'Pasadena Blues' is the first half of another LP6 story -- and it will be interesting to see the second half; the best one is 'For Sale, Must Sacrifice.' in which Paula Smith again brings new meaning to the phrase, 'you always hurt the one you love.' It's a very believable get-Spock in which the Merry Men of the Big E once again run afoul of the Prime Directive. For some reason, it just seems like the kind of a thing that would REALLY happen to them. This is a bloody (and green one, at that) tale, but not sickeningly so, and there's a pun in the title... Other features include an interview with H. Ellison (while he's in a bookstore window); LoCs, poetry, and nice illos by Gordon Carleton and Marty Siegrist. Front cover by Steele of a shuttlecraft leaving a 2001-looking space station. Bacover by Nordstrom is a very close-up portrait of McCoy/Kelley. [55]

[zine]:

Alleluia! The WS editors have finally managed to put out a completely readable issue... No fade-out and unreadable reduced print. The illos also print without graying out in the heavier black areas. Leading off the fiction this time is 'For Sale, Must Sacrifice' by Paula B.G. (Blood and Guts) Smith. This is another in the series of Paula-gets-her-rocks-off with Spock as the subject... again. As you might remember, Paula killed off Spock five times in her novella The Logical Conclusion. In this happy go lucky story, Spock meanders unsuspectingly beneath a tree, is attacked, and finds himself the unfortunate victim scheduled for sacrificial surgery at dawn. Through the whole gory mess, Spock makes nary a sound of protest and blithely allows his captors to ostracize him from the Enterprise and Osterize his body. It all served a purpose in TLC but its almost pointless in this story and makes me wonder why the editor included it in WS. The only way Paula could profit by this story is to sell Star Trek barf bags with each copy. Need I say more? Following back to back is a story by Cantor about Vulcans in general. The first part of the story concerns the legalities of a Vulcan who kills another Vulcan dying of the linger death in Pon Farr. The action then suddenly shifts to a Vulcan boy who will suffer optical nerve damage unless operated upon and Spock must help convince the child's guardian to consent. The characters in this story are a little too cardboard, the plot shifts half-way through with no subtlety or reason, and the first part is very choppy and hard to read through. A good try, and it would have made a nice study of the Vulcan character (although there are already hundreds of those around), yet this story looks more like an outline or first draft than a finished product. Ever ask for a rewrite, Lori? 'Pasedena Blues' is the only half-way decent piece in this issue. First, I am not overly impressed by the LP6 stories in WS which this is one. LP6 is a group of weird characters on the Big E who compromise [sic] one of the standard landing parties on board ship. The characters are far too flighty to have ever passed a Star Fleet exam unless they signed up as ETs. With this kind of character, the only kind of story vehicle that works well is light, tongue-in-cheek style, yet many of these stories are attempted as serious and the characters just aren't meant to appear in a serious story. Nevertheless, WS continues to use the LP6 gang because almost any half-wit can write an LP6 story with those characters. This is good for WS which will try to publish anything in order to get their issues filled and mailed within 6 weeks or so. If you can accept the characters, fine. If you can't, WS will probably continue to publish LP6 stories so you have no choice. Paula Block has at least done something respectable with the raw material at hand in writing 'Pasadena Blues.' Faulwell, a linguist, is the major character in this story. It's portrayed well and seeing events thru her eyes is entertaining and interesting. The plot is in the vein of Big-E-meets-a-strange-new-life-form... nothing new. The ending promises to be good but will appear in issue #16, get that issue, and you won't be missing a helluva lot by not buying issue #15. The remainder of this issue is filled with little snippets and vignettes of stories and the lettercol, all of which is occasionally interesting but fills more paper than brain capacity. The front cover is by James B. Steele and is an illo of the Galileo shooting out of Space Station #5 a la 2001. It looks good from a distance but the details are poor, and it's not overly abundant on creativity. Bacover is by Anita Nordstrom and is a huge (but good) close-up of McCoy... if it would have been a little smaller, it would have been excellent. A few respectable illos by Marty Siegrist appear within and Jane Clinkenbeard had the only outstanding piece of art inside, which is a picture of Spock, asleep. All in all, this isn't quite the issue of WS you'll want to spend money to gold plate, but it'll pass a good 45 minutes if you read it slow, especially Block's story. [56]

[zine]: WARPED SPACE is one of the best and more vital ST fanzines around. It contains mainly fiction and letters by/from many of the more prolific and capable writers in ST fandom. Though layout assistance is sorely needed, artwork is good and quality of writing makes up for any lack of professionalism. Unfortunately, past issues have been poorly, almost unreadably reproduced, and perhaps two of the short stories in this issue suffer from poor plots.

One piece of news is that WS is not going to be reprinting and more of #'a 1-14. There is a tendency among many of the better fanzines to reprint past issues for the convenience of collectors and admirers. But WARPED SPACE will instead print a volume of The Best of Warped Space, Volumes 1 and 2. With the next WARPED SPACE I get to review (and especially if I get a BEST volume) I will have a much longer review. But space and time limitations prevent it this issue. [57]

[zine]: ...oh, what an improvement in your serious tales, particularly Johanna Cantor's "A Matter of Trust." Cantor and I both seem to be working on the question of why Vulcans are so hung up about sex that they'd rather die than let humans know about Pon Farr — possibly the most illogical thing we know about Vulcans. Tying it in with the whole concept of trust between races, with the story beautifully done from Spock's point of view, is a marvelously logical explanation of the problem. And the illo by Clinkenbeard on p.8 is perfection. Why didn't someone choke her until she took MAD out of the illo on p.13, though? That kind of corniness does not go with the delicacy of the story, or the sensitivity of the Spock illo.

PaulA Smith can claim what she likes, but "For Sale, Must Sacrifice" is a get-Spock story, a little long for what it has to say, and sadly mistitled. It's an interesting idea; I can't put my finger on precisely what is wrong with It. Why do I feel that the story, same plot, would somehow move me more if interpreted by C.R. Faddis? The Siegrist illos of this story were particularly nice, too.

I didn't start the Block story, as I hate to have to wait a month or so to see the end of it. I'll read it all of a piece. Did look at the pretty pictures, though — in fact, for the first time it seems that the serious illos in the whole issue are excellent (you've consistently had fine comic illos, being blessed with Gordon Carleton, but serious illos have before frequently left something to be desired). [58]

[zine]:

I agree with the LoCs in 16 about the title of "For Sale, Must Sacrifice;" it's jarring to find such a cute title on a serious story, and I find myself a little offended by it. The story itself I like, although I shudder at the thought of what was done to Spock, and also wonder why he did not do something in his own behalf; perhaps he could have fooled the natives with a Vulcan trance? Spock does not usually seem that resigned to his fate. I know that in "The Logical Conclusion" PaulA advanced as one of the premises of the story that Spock had an unconscious death-wish, and I wonder if this is part of her general conception of Spock, in or out of "The Logical Conclusion." The Spock in "For Sale, Must Sacrifice" was very similar to the one in "The Logical Conclusion" in his impotence and fatalism; in fact, this^ story could have been one of the death illusions from the longer work. For "For Sale ... " is not a get-Spock story in my opinion, for the simple reason that Spock and his suffering are not the main points of the story, 'though its effects on the reader are similar to those of a full-fledged get-tale. Instead of focusing on Spock and his suffering, PaulA adopts a slightly abstract, almost mythical tone and rather successfully views the action through the eyes of the native. This is the stuff of which myths will be made in the future.

The other stories, well, another Faulwell story; what can I say except 'great'? I missed one in #14. But a "Matter of Trust" bothered me; it was pointless and rambling. There were some interesting incidents, but I didn't see how they added to form a cohesive whole.

Lovely McCoy bacover. I am turning into a real McCoy fan, and you folks have a great deal to do with it. There's something about Paula's McCoy that melts the heart; she treats him with tenderness, I think it is, and we read him with the same affection, and a little bit of maternalism (for us females; I don't know about the men.) [59]

[zine]:

Oh, what an improvement in your serious tales, particularly Johanna Cantor's "A Matter of Trust." Cantor and I both seem to be working on the question of why Vulcans are so hung up about sex that they'd rather die than let humans know about pon farr — possibly the most illogical thing we know about Vulcans. Tying it in with the whole concept of trust between races, with the story beautifully done from Spock's point of view, is a marvelously logical explanationoftheproblem.And the illo by Clinkenbeard on p.8 is perfection. Why didn't someone choke her until she took Mad out of the illo on p.13,though? That kind of corniness does not go with the delicacy of the story,or the sensitivity of the Spock illo. blowing a fuse or two.

PaulA Smith can claim what she likes, but "For Sale, Must Sacrifice" is a get-Spock story, a little long for what it has to say, and sadly mistitled. It's an interesting idea; I can't put my finger on precisely what is wrong with it. Why do I feel that the story, same plot, would somehow move me more if interpreted by C.R. Faddis? The Siegrist illos of this story were particularly nice, too.

... For the first time it seems that the serious illos in the whole issue are excellent (you've consistently had fine comic illos, being blessed with Gordon Carleton, but serious illos before frequently left something to be desired).

Great improvement in printing--just realized I was able to read two whole stories and all the letters, and had to squint in only two places. An anomaly, or have you laid down the law? [60]

Issue 16

front cover of issue #16, Jane Clinkenbeard is the artist. Fans in letters of comment pointed out the centaur looked like Gordon Carleton. One fan said the centaur looked "too Vulcan."
back cover of issue #16, Joni Wagner. It portrays "Salish" the jilted betrothed of Miramanee.

Warped Space 16 was published in April 1976 and contains 29 pages.

"This issue is dedicated to Mark Lenard -- gentleman that he is."

[from the editorial]: To reply to Dixie's fears— ye olde editor will remain. Tentatively, I should graduate from MSU within two years (I'm finishing up my third year now), but WARPED SPACE moves with me, when and if I should move: Thanks for the compliment, tho', it's always nice to know one is appreciated: WS 17 is nearly full— we've got stuff for 18, too: Keep it coming — I love it all: Just think, we're getting awfully close to 20 — our second porn issue.

  • Editor's Nook by Lori Chapek (1)
  • Warped Communications, (eight letters of comment were printed, there were sixteen WAHF listed -- the editor wrote: "Just go straight to the LoC's — we've got a bunch of literate readers: Guys, I'm really sorryI couldn't print all the other fantastically well-writtem, scathingly brilliant, sparkling and bristly witty LoC's that came in, but space ran out, as did time (you guys have got to write those LoC's earlier ... yeah, I know, it's all the Post Awful's fault ... ). So, anyhoo, enjoy Miriam Diesendruck's LoC especially; it's far, far too long, but I couldn't hardly edit anything out — I enjoyed it so much I had to share it with all of you: And the other LoC's are great, too: Enjoy, enjoy.") (1)
  • Pasadena Blues, Part II The Mad Experiment, fiction by Paula M. Block (Star Trek) (4)
  • In Defense of Faulwell, two testimonial essays about Sadie Faulwell, one by Vivian Sheffield and one by Pat McCormack (12)
  • Enterprising Lady, poem by Laurie Haldeman (14)
  • Holmes, Sweet Holmes -- a review of the play "The Private Life of Sherlock Holmes" as presented by the Fisher Theater in Detroit, review by Vivian Sheffield (16)
  • Space 1999, filk and cartoon by Anonymous (17)
  • The Ambassador’s Nightmare, fiction by Jean Lorrah (Sarek and Amanda) (also in The Best of... and NTM Collected #2) (18)
  • Cheron, fiction by Jane Clinkenbeard (original science fiction, centaur, likely related to the front cover) (28)
  • art by Jane Clinkenbeard (front cover), Joni Wagner (back cover), Paula Block, Gordon Carleton, Phil Folio, Leah Rosenthal, Marty Siegrist, and Jim Steele

  • inside art from issue #16, Sadie Faulwell, illo by Joni Wagner, reprinted from "Warped Space" #12

  • inside art from issue #16, baby centaur by Jane Clinkenbeard

  • inside art from issue #16, Gordon Carleton

  • inside art from issue #16, Gordon Carleton

  • inside art from issue #16, Joni Wagner

Reactions and Reviews: Issue 16

[Pasadena Blues II]: A Sadie Faulwell story from pov of gardener David Keith, who generally tries like hell to stay off the bridge. He participates in a meld with the plant life which lives in symbiosis with the planet-creature, and learns that when the planet goes traveling, the plantlife creates a mist which functions as a protective shield. That mist is now threatening the crew on leave by preventing transport back to the ship. David and the plants manage to contact the planet-creature and talk it into stopping so the humans can get off. David, however, has some trouble pulling out of the meld - it takes both Spock and Sadie to pull out his roots. A pleasant story, with a charming visualization of David becoming a palm. [61]

[Ambassador's Nightmare]:When I got to. "The Ambassador's Nightmare" I thought to myself, "oh, no, another one of those stories," for I am not very fond of Sarek-and-Amanda stories, and in all these years of reading fanzines, have seen only one that I liked. But I read it anyway. And after reading it, I must say it IS one of the most delightfully impressive ST stories I've seen. Everything fit. Everything blends. The aliens are consistent ("Gosh, wow he broke my arm. How neat."). And poor Sarek: the fellow who's trying to show these aliens by example that a male can be gentle and manly at the same time while trying to impress them so he can get a treaty signed, is very believable. And Amanda is great— the very embodiment of the Sensible Feminist. She knows what's pulling off! And it all comes through very well. Thanks for including it; it was a pleasure. [62]

[Pasadena Blues II]: "Pasadena Blues" ... was enjoyable ... but I identified it as being a Lt. Mary Sue story. It is not a blatant Mary Sue story, but it does have some of the trappings—brilliant junior officer practically tells senior officer what is going to be done, accomplished task single-handedly (almost), successfully braving all obstacles, etc. To me, there is a line between giving a superior suggestions and telling the superior what to do, as well as a line between taking independent initiative and being successful at it and doing everything yourself perfectly to the exclusion of everyone else. Yes, Spock had to get into the mind link (but why bring Faulwell in? That seemed a bit artificial), and Keith comes across as having more to him than a typical Mary Sue. And, as I said, it wasn't blatant. But it did seem to be there, nonetheless. [63]

[zine]:

This zine alternately makes me want to laugh and cry. The two latest issues have had me a little bit on the melancholy side, I must admit. The front cover of issue #16, the shoddy layout and lettering, especially on the contents page -- somehow, it doesn't make for an personal zine anymore, just an unprofessional one. Maybe zine readers (and reviewers) will never be satisfied. The first thing that stuck in my mind after finishing this issue was the obsequious character of the lettercolumn this time and another part of the zine called 'In Defense of Faulwell.' which is an article thinly disguised as a two-letter lettercol, or is it the other way around? In any event, take care to avoid the sugary spots lest you finish this issue in a fit of diabetic shock. 'Pasadena Blues part 2' is the major feature of this issue. A disappointing note is that the editor did not put a synopsis of part one in this issue. Zines like Babel and prozines... use synopses of their sequels to preface the later parts. Think someone could pass the word on to WS? One of the major pieces of action in this story involves a mind meld with a plant... from orbit, and over Mr. Spock's initial objections. Hookay... The way in which it is handled, however, makes up for the implausibility of the premise. There is a good build up to the climax and the story resolves itself rather well in the end. Later on in the issue is a review of Leonard Nimoy's performance in Sherlock Holmes, a hilarious page, uh -- dedicated {?) to Space: 1999, and an almost mythical-style story about a centaur which is a sequel to Jane Clinkenbeard's first such story. Another major story, and perhaps the best one in this issue, is called 'The Ambassador's Nightmare,' by Jean Lorrah. Here is an interesting study of Amanda and Sarek, and although some may disagree with me violently, I am ecstatic as all hell to see a refreshing new story about Vulcan that doesn't have Spock in it. This story concerns Sarek in his role as Ambassador on a potentially dangerous diplomatic mission, one in which Amanda must come along if he is to proceed with it. Jean does a splendid job describing the culture of the new world, and shows a side of Amanda and Sarek during their early marriage that we have rarely seen. Although this story is mainly concerned with showing the characters, it turns out as one of the few high points in this otherwise ho-hum issue of WS. This, and the excellent bacover by Joni Wagner, were the only real features that make it worthy of a place on the bookshelf. [64]

[zine]:

"The Mad Experiment" seemed more like an acid trip than a mind-meld1 (David Keith running like a sap through the palm trees!) It was nicely written but why does Kirk always have to be a clod? And I still don't understand how Bones could grow a mustache in two days. ((Paula Block said that he had the beginnings of a fine mustache; the illos were misleading.))

"The Ambassador's Nightmare"... I liked the insight into Sarek's and Amanda's relationship. I also thought it was neat that Amanda could do the nerve pinch—but it was corny that she ... happened to be the inventor of the universal translator.

"Cheron" was kind of fairy-tale neat ...I didn't read the first one and normally don't like sequels, but I liked the sad-ending-turned-happy-ending.

I'm still wondering why Pat McCormack devoted time and effort to write a defense of a ((fictional)) character ... she may be believable, but that doesn't mean I have to like her. Let's just say she is insecure and leave it at that. [65]

[zine]:

I received WS 16 in the mail scant days after buying it at Equicon, so I sat down and read it again. The cover still looks as if either Girc'N or Gordon Carleton ((!)) had a terrible accident.

... A few remarks on the material in WS 16—LoCs in Space, you might call it ... Re the Faulwell controversy, I suspect that if anyone actually met Sadie Faulwell, she would turn out to be one of those people who can't help knocking themselves in print, every chance they get. A lot of her 'flakiness' is probably just shyness. And as far as Athos goes—she only slept with one person per episode, which is all McCoy can say.

I enjoyed "The Ambassador's Nightmare" just immensely. After eight years, I have realized that it takes more than saying, "I am a logical, pacifistic, emotionally-controlled Vulcan" to be one. But I disagree with Jean Lorrah's sociology, for the same reason that I disagreed with Claire Gabriel's in QUARTET PLUS ONE — the usage of the contemporary feminist controversy. (Feminist as a term unnerves me, the way American flag decals on pickup trucks do, it's so seldom meant literally.)

Star Trek takes place two hundred years or ten generations from now. Social mores will not have remained static; if the current struggles about male chauvinism, sexism, "a woman's place is in the home" are still going on, unchanged, then the movement's lost, period. Take down the banners, girls, an start baking cookies. Remember that ten generations of mothers will have had their change to raise their kids up right.

I prefer to think that Kirk's strange little habits are chiefly courtship game-playing, not unlike the medieval "courtly love" which also had little to do with the realities of the hard, cruel world.

Dr. Beauforth's "I knew her when" is easier to extrapolate from current trends, unfortunately. It will take a little more loosening of the cultural mores, of course, before a man of sold reputation would be willing to say, "I used to sleep with Nancy Kissinger."

On the other hand, who knows? Maybe Amanda's remarks about human male supremacists were a gentle hint. [66]

[zine]:

Yes, yes, gleaming black ink is worth its weight in dilithium. I love it. Let us hope that your new printer's work is consistent. You have saved the lives of many eyes. Thanky.

Thanky, too, to Vivian Sheffield and Pat McCormack for their defenses of Faulwell. I am touched—but then, so is Faulwell, I suppose.

"The Ambassador's Nightmare." Hmm. An interesting story which I have very mixed feel ings about. What bothered me the most was the characterizations. 1 will allow that it is my own personal bias that I really can't picture Amanda as the type to have invented the universal translator. I mean, perhaps I am just think ing chauvinistically. Then again, perhaps not. I can believe a female invented the translator. But not Amanda. From the little we have ever seen of her in "Journey to Babel" and "Yesteryear" I got the impression of a warm, emotional human being--but not one who possesses the skill and technology to create said gizmo.

Amanda's understanding of Sarek's personality in this story seems much deeper than it was in the aforementioned recipes and that doesn't quite click, considering that this story supposedly takes place before either story. Mad this level of communication existed then, you wouldn't think that Spook would have had the rough child hood he did. No, I'm sorry, I just don't believe Sarek and Amanda ever were able to under stand each other this well. I think their marriage had always been a difficult one, that Amanda was rarely able to change Sarek's views about personal-cultural things. And Spock most likely balanced their relationship as both a binding point and a source of dissension. Re call that in "Yesteryear," that if Spock had died during the Kahs-wan, Amanda would have left Sarek.

Amanda is therefore much too patient and resolved in her acceptance of the Vulcan way in "this story. She finds her opposite in Sarek, who is equally unbelievable in the amount of human emotion he experiences. Defend Amanda he may have done in such a situation—but there was no need for him to have responded so ... irrationally. Saw green? Not likely. Perhaps during Pon-farr—but that was five months before.

I can understand that Lorrah was attempting to build up pressures to a situation where a man, filled with insecurity about the fidelity of his 'wife, might snap—but that is a man's response, and not a Vulcan's. Particularly the Vulcan Sarek. If he had this much uncontrolled emotion within him he would have surely had a better relationship with Spock. Sarek in "Journey to Babel" is an unyielding roan, strict in his fol lowing of Vulcan tradition. Could the Sarek of Lorrah's story have allowed the eighteen-year rift between himself and his son? I think not.

That bit with Dr. Beauforth and Amanda bugged me. Highly illogical, and towards the end, highly contrived. We get hints at the opening of the story that Amanda was fairly experienced when she married Sarek. I doubted that, but you never know. Then, at the end, we get 'Sorry, whoa, Charlie, no such stuff went on.' And we get some very contrived dialogue to prove it. Uggh.

Why doesn't someone write a Sarek-and-Amanda story that shows all the real problems they must have had throughout their relationship? Now that would be interesting.

"Cheron" started out well enough, but the second page, aside from the lovely illo, was a cheat. It was a gloss, not a story, and the time should have been taken to develop it more fully, even it it would have meant delaying its appearance to some future issue. Saying that Cheron grew and prospered without giving any idea of how he and the world learned to cope with each other avoided the whole issue of the original story, and why Jasper originally at tempted to destroy the infant centaur. On the positive side, there was something in Jane's tone when she was explaining the babe's first moments of life that I enjoyed—a fanciful quality that might work very well in a fantasy story, even a children's tale. Perhaps Jane would work on something like that?

Having just caught a performance of the play SHERLOCK HOLMES at the Shubert in L.A., I very much enjoyed Vivian Sheffield's review. Sheffield has a nice non-fiction essay-type style and I look forward to seeing more from her. Gordon's illo was a lovely complement to it. In fact, all his illos in 16 were super, -although I did think the space lady on p.15 might have been better suited to issue 20. But, hell, why not in issue 16? Are we prudes or are we nice, normal red-(green?)blooded perverts? Fweep, fweep.

Marty, ta for the illos for "Pasadena Blues Part II." Loved the one of David Keith and Spock on p.12.

Joni's illos were, as always, glorious. The way she works with tiny particles amazes me, character. shading dots, particles of hair. It's incredible. Berk-Con, in case any of the readers care, was a smashing success. So much so that there will be another (Berk-Con II) sometime this summer. Watch for details in your WS and/or News-" letters.

Enough LoCs. Now pass the bagels. [67]

[zine]: I like WARPED SPACE and I think the stories have enough variety to hold the interest of several types of readers ... but when it comes to stories concerning the character of Captain Kirk, they all seem to show a certain amount of prejudice. In this way the writers are showing their own inability ho see more than one side of a personality, and therefore, ((are)) killing their own creativity. Why don't they show the many positive traits of the Captain?[68]

[zine]: Bravo for not printing any LoCs. One or two letters aren't bad, but four-five pages is ridiculous! My suggestion would be to print 'unique' comments and let the authors read comments on their stories from the letters themselves and/or give them copies of the comments. I d much rather see the space taken up by stories and/or more artistry) [69]

[zine]:

Jane's cover reminds me of something in a mythology class. Is that centaur supposed to be Pan? Quite a change from last ish's cover. Oh well. Infinite Diverity in Infinite Combination, eh?

Waht is it with all us LoCers? We enjoy commenting on each other's letters now, don't we? WARPED SPACE's lettercol is turning into a mini-HALKAN COUNCIL in both format and contents. Nothing wrong with that a-tall, guys. I intend to join in.

What is it with Paula Block's LoC that when she mentions PaulA Smith's name, the last A In 'PaulA' is capitalized? Is it an inside joke, or some kind of recurring typo? ((PaulA Smith types her own name that way.))

If you've noticed, folks, PaulA Smith hasn't sent any letters since her protest sign in 15. Eatin' yer words, eh, PaulA? Now that you can read it, you can have your 'zine and eat it, too.

The Faulwell story was one of your best, Paula. 'Though not as mushy as "Birthday Waltz," it has a more complex plot, and better characterizations of Faulwell and the others. Nice to see that there is more to this series than Faulwell's sex drives. Personally, I think that Sadie would make a cute plant. What would McCoy think? I wish there were more stories about other Landing Party members, too. ((Gordon is working on a couple now.)) One line in the story ... struck me as being a joke. "I am in sound bodily and mental health." I began to wonder, seeing he was one of_Faulwell's good friends. Had Sadie herself said that line, I think it would have been a hundred times funnier.

Paula Block's illo for her story was not up to par. I would've much preferred something more detailed with a smaller span of what's being shown. I also noticed that you don't have as many ills as you used to. What happened?

The Faulwellian debates are accurate and entertaining. I'd really like to see how someone with a degree in psychology tackle Faulwell, though. There may be treaties on Faulwell, now that there is an interest being shown in her character.

I though the Space: 1999 song was hysterical! Why didn't you mention that the tune for it is "The Caissons Go Rolling Along"? Not everyone is as brilliantly perceptive and musically knowledgeable as we are, y'know. Jean Lorrah's story ... ahhh ... sigh ... KILL because she's so damn talented. Fascinating ... enlightening ... realistic ... logical ... romantic ... beautiful ... makes me want to ring her neck and steal her notes.' Her ideas are sometimes a bit farfetched (having Amanda as the inventor of the universal translator ... well, why not? And Amanda being able to do the nerve pinch ... possible, but not probable. But for the story's sake ... okay.). Jean, you've got a talent for writing ((that)) I admire very much. Your characterization of Sarek is a bit emotional, but then again, Sarek himself fits that part well. Exposure can result in a certain degree of contamination, right?

In short, one of your best issues. Keep the quality up, and the print readable, and you'll have more LoCs than you'll know what to do with![70]

[zine]:

Is the centaur supposed to look like Gordon Carleton, or it that my imagination? I only met/was in his presence briefly, at the Affirmation in Amy Falkowitz's room at Equicon, but he sure seems to resemble that centaur, from what I remember of him.

"Pasadena Blues, Part II" was pretty good, although I found the shifting point of view con fusing at times. But the best part- of this story was the evocation of the consciousness of a plant; that was very well done, to the point where I found myself believing that Keith actually was the plant. Paula, have you got talents you're not telling the rest of us poor mortals about?

I also enjoyed "The Ambassador's Nightmare," but I can't decide whether Sarek's reaction to Malko's attempted seduction of Amanda is in character or not. On the one hand, it seems most unVulcan, except for a male going into pon farr, but on the other, Sarek is a rather unVulcan Vulcan. Even in "Journey to Babel," he had an air of rigidly controlled violence and strength, not the subtle, fairly evil strength that lay beneath Spock's surface, but a brute force that made him a likely suspect in the murder despite his professed Vulcan pacifism. So his violent defense of Amanda is not quote out of character. Yet it seems so, especially there is the obvious explanation that he really was going in to pon farr, but somehow I don't think that's the case.

Hey, what happened to the lettercol this ish? It's one of my favorite features; I hope its absence is not permanent. [71]

[zine]:

Just received WS16. Beautiful cover, and beautiful throughout. Especially the sketch of Cheron.

But there is one thing I just can't let go without comment. Paula Block is a terrific writer, otherwise I wouldn't bother.

Was it so necessary to be so vicious in the portrayal of Kirk [in Pasadena Bluess II]? The lower-ranking crewmembers may not have stars in their eyes about their hero-Captain, but did you have to castrate him? In public. There is at least one person in the audience out there who wishes you'd have let the Captain keep his balls. The story really needs one or more lines at the end. Something about that slow slightly lecherous grin spreading on Kirk's face and him asking, "Is it a private party, or can anyone join?" No way would he take such a put-down lying down... The rest of the story was beautiful . As I think about it, though, it's evident Faulwell (or Paula) doesn't like authority figures. Heavens, she may not even like Bones! There's just a tad too much knife twisting.

You knew I'd love Fish's Kirk story -- just you knew it. If fanzine awards ever became reality, there should be a category for "best unfinished sentence by a character in a fan-written story, and I'd nominate "If I had a credit for every time..." For my money, it's the equal of Henoch's "There once was a Vulcan..." That is my Captain, all right. This ole Kirk fan out in the boonies thanks you. [72]

Issue 17

front cover of issue #17, Joni Wagner, the Landing Party 6
back cover of issue #17, Joni Wagner

Warped Space 17 was published in June 1976 and contains 38 pages. This issue contains no letters of comment.

  • The Editor's Nook (1)
  • The Other Side of Paradise by Pat McCormick (2)
  • In the Beginning by Annie Brown (5)
  • The Future Crew of the Enterprise and Other Illustrations by Leah Rosenthal (6)
  • Star Truckkin' (Or, The Adventures of C.W. Kirk) by Jim Steele (11)
  • The Mind Rape by Paula M. Block (We experience the forced mind meld by the mirror universe Spock on Dr. McCoy) (12)
  • The Weight: The Lighthouse-Keeper and the Cannibal Train," or, "You're Probably Wondering Why I'm Here by Leslie Fish (part 1) (12)
  • art by Joni Wagner (front and back covers), Kimeya Maya, Girc'N, Fred Shippe, Sadie Faulwell, Mitya Razumov, Anne MacCormack, Gordon Carleton, Leslie Fish, Leah Rosenthal, Jim Steele

  • from issue #17, from "The Weight," Sparks Vanderhoof by Leslie Fish

  • from issue #17, from "The Weight," Ann Bailey by Leslie Fish

  • from issue #17, some 1970's CB radio a la Starfleet, Gordon Carleton

  • from issue #17, Leah Rosenthal, some of the Enterprise crew as children

Reactions and Reviews: Issue 17

There is a longish story of a harrowing mission which finds the ·Enterprise in an alternate world where Kirk falls in love with a strong-willed woman who turns out to be his alternate universe self! [73]

[The Weight]: Kirk & co. get a weird message, originating well outside the galaxy, asking them to send a starship to "Chicago" at the signal's point of origin to verify historical data. For untidy reasons, they embark into the past to find out what it's all about. (In this universe, the Earth was set back into an agrarian, anarchic society by biological war and the melting of the ice caps; industrialization survived only on the Moon, from whence conquerors later took back the Earth and the Federation was born.) Now a new crop of Enterprise cadets turn out to be plotting to change history and keep Earth agrarian. One gets a phaser to an engineer, resulting in Earth defeating the Lunar invasion and remaining agrarian. Spock and McCoy, meantime, are stranded in dead Chicago - but get inadvertently scooped with up with the city by extra-galactic archaeologists who put them in hibernation until their own time. They disappear before they get there. Enterprise returns to her own time, where: there is no Federation; they find McCoy a true country doctor. All but Kirk beam down to live out their lives; he resolves to stay aboard and single-handedly fend off the Klingons when they come. [74]

[The Other Side of Paradise]: "The Other Side of Paradise" was an excellent idea to show the story behind the story, i.e., how Kirk's various adventures affect certain members of the crew. Personally, the only member of LP6 I can stand is Faulwell. Perhaps that is because the only other one shown in depth is Girc'N, who is exactly like a good friend of mine with the minor exception of having worse puns (Girc'N, that is). 1 see enough of this friend, anyway. Try emphasizing other members of LP6, if only for variety.[75]

[zine]: Well, the folks at MSU have done it again -- this issue's a real winner and thicker than usual. The art is great; for those wondering what the heck the members of LP6 look like, now you know. The front cover features their likeness, drawn by Joni Wagner. Inside, we find the Editor's Nook detailing future plans for the zine, and then a short LP6 story by Pat McCormick titled 'The Other Side of Paradise' -- now why does that sound familiar? It is, ah ha, you guessed it, that group's reaction to the goings on of that Trek episode, with illos by Carleton. Next is a short story by Annie Brown, her version of creation. Then a cartoon section penned by Leah Rosenthal, which (*giggle*) a look at the crew of the Big E a 'few' years before they took on their respective positions. Hmmm.... cute little Star Truckkin' illo by Jim Steele, poking fun at the current CB craze. Now we come to the nitty-gritty: Paula Block pioneers a new genre of Trekfic with her story, 'Mind Rape,' which is elaborations of parts with the episodes -- her's is of the mind meld scene from 'Mirror, Mirror,' and it lent considerable insight to the whole televised episode (nice illo by Wagner -- McCoy's eyes -- brrrr...). The remainder of this ish is devoted to the beginning of Leslie Fish's Kirk saga -- and a finely written one it is, too. The plot is systematically developed along with several absorbing sub-plots. Mainly, it's a serious investigation of Kirk, the man -- his reactions to guilt feelings over the crew being inadvertently stranded in the past -- a past in which science has never been allowed to develop, i.e., an alternative timeline. A possible criticism could be the crew's treatment of Kirk -- ostracizing him to life alone aboard the Big E because they blame him for their predicament, but this is attempt (shades of AU4!) to see how Kirk rebuilds his shattered life. By the end of the first segment, he has already banded with a group of pro-science anarchists and discovered some VERY intriguing circumstances. I reached the end of the tale feeling the need for more... more! This is a good 'un, so snatch it up! [76]

[zine]: The cover of this zine is enough to make me want to throw up cry. It seems that the WS fans -- whoever and wherever they are, remain in a rut with enthusiasm over LP6 and the accompanying series of stories. I am at a loss to understand the depths of this enthusiasm. The cover is, gak, a picture of LP6, or at least their alter-ego counterparts dressed for the role. It is done by Joni Wagner, and it isn't even one of her better pieces of art. The faces are fair to good but the composition and lettering are frankly bad. Immediately inside is the first of the stories called 'The Other Side of Paradise.' Nothing like originality, hey what? This story puts that famous episode in perspective of the LP6 group, and sees it all through their eyes. The story is short, and about as original as the title... 'In the Beginning' is a very, very short, choppy and confusing vignette of a story concerning advanced beings and the creating of life. It has been done before, notably by Isaac Asimov in his story 'Eyes Do More than See,'... and his version is infinitely better. 'The Future Crew of the Enterprise' is a good selection of cartoons by Leah Rosenthal depicting the bridge crew of the Big E as they were in their childhood. A very charming and entertaining section. Jim Steele also has a single page illo of 'Star Truckers.' It is interesting but rather pointless without much else to refer to about the piece. 'Mind Rape' is a very intriguing vignette and hopefully the beginning of a line of stories by others concerning the details of various scenes implied or not shown from Star Trek. Paula chose the scene where the Mirror, Mirror Spock probes McCoy's mind for information. It was only done so-so. Since these scenes will be so short, it will be hard to pick one that can be constructed with any kind of normal climax, but perhaps the techniques will be perfected more somewhere down the line.

'The Weight' by Leslie Fish is the major feature of this issue. It concerns a mission the Enterprise has had in the past. Somehow, something goes wrong, the past is changed and the ship is left without enough power to return to the present. Kirk is left alone on his ship and after 3 1/2 months, he's ready to go off the deep end from simple isolation. Then he finds evidence of the last vestiges of technology on the planet and helps them in their fight against the barbarism that is now rampant over the planet because of the mistake the Big E has made in the time line. Leslie hasn't mastered the technique of playing temporal parcheesi. There are a few inconsistencies. One major fault is that her own characters far outweigh Kirk. This isn't a Star Trek story, but a temporal science fiction story thinly disguised to fit into a Trekzine. The Kirk she shows is plausible but Leslie hasn't taken the time to develop the situations or character so that he is believable. It ends with a good twist but the weaknesses and construction of the story keep it from becoming a truly great pice of fanfic. The issue is illustrated adequately for the most part. The only good pieces are the bacover and the one illustrating Block's story, both illos by Wagner, and the illos with Fish's story. This issue of WS is better than the preceding few but I don't think it's their best. Keep tryin', gang. [77]

[zine]:

17 was, on the whole, very good. However, "This Side of Paradise" was not one of my favorite episodes. Therefore, Pat's "The Other Side of Paradise" left me cold.

On the other hand, "The Future Crow...", "Mind Rape," and "The Weight" were all quite good.

"The Future Crew" had a few really good shots; Dr. Capel's little girl, for example.

I also enjoyed "Open Frequencies," "Mrs. Amanda," and "Cute Kid."

"Mind Rape" has some good possibilities, but the whole thing looked like it was skipped over. There were a lot of deeper areas in both minds that were merely hinted at.

On the other hand, I loved "The Weight" even if I can't stand Leslie Fish's choice of music. One line that hit me, since it sounds so much like a con, "I took pictures till my film ran out..." Of all the tormented-Kirk-I-did-it-all-wrongs" I've had the misfortune of reading, it stands out head and shoulders. More, more! [78]

[zine, from "Mary Sue Parker" aka Paula Smith, who is making fun of vapid letters of comment]:

I just read WARPED SPACE 17 and I think it is really great! I really liked all of it, but I liked Leslie Fish's story the best, it was the longest. I liked Gordon Carleton's art the best! I really liked Leslie Fish's art! T also liked really well Pat McCormack's story, and Gordon Carleton's art, which was really great! 1 think Paula Block is a really great writer, too, as well. I liked your cover, too, which was drawn. It was really great! I really like your fanzine, it is a great fanzine! I hope you will continue to do it, for a long time.

Live Long and Prosper! [79]

[zine]:

"Mind Rape"—story and illo—was the cream of the issue. That is probably Joni's best cream of the issue. That is probably Joni's best much more (ahem) logical types for Spock's par Spock to date, and the McCoy looks better (I think) than the photo of the same scene in the ST calendar. Paula Block's writing is improving, too ... it won't be long now before she goes pro. (I think if this story hadn't been about TREK characters it could've been published profession ally.) She's getting more and more story into fewer pages—the line "Spock, the son of a whore" intrigued me—how would Vulcans behave toward Pon-farr in a universe with inverted morality? They would've had to discipline themselves at least to a point of coexisting with other races, so would they still be driven to a 7-year out let? And if Spock's mother was a whore, who was his father? (Or what, at least?) That's my own scale for how good a story is—am T still wondering about it after I've read it? This one still has me thinking.

And now to "The Weight." I was extremely annoyed with the ending of "The Sixth Year" in WS3, but figured it was way too late to write a LoC on it. If the only two vital crewpeople the Big E was missing were Spock and McCoy, why the hell didn't Kirk and Scotty simply flip the ship back into time again and fix things? Sure, they'd have to track down the alien ship with Spock and McCoy aboard, but that's no problem. The time-space loop might've been a trifle difficult with out Spock, but we all know that Scotty can handle technical disasters the way Bones handles medical ones. The ending was dramatic, but unsatisfying. We saw how the crew reacted to Kirk's 'losing' their world in "City on the Edge of Forever." They sympathized. Leslie's epic is very interesting. Her Kirk is quite good, and so is the peek into an alternate future, but I'm a little dubious about some of her premises. First of all—I don't think a ship can function on a town-meeting basis. OK, the crew trusts the Coordinator to make decisions, they talk it over afterwards, but I have an un comfortable feeling that there would be a point where one person or another wouldn't agree, wouldn't be willing to let her decide. (If it was a situation where lives were at stake and the other individual sincerely believed the Braider was making a terrible mistake ... ) And Jenneth comes to the same conclusion herself on p.29—"Screw the town's paranoia—it's my responsibility and my crew" and there i_s time to ask her crew, but she doesn't!

Oh, well. I'm just rather unsure about the Anarchists. From what I've read, anarchy is a total absence of rule of any kind, at best "co operation of free men" and at worst a philosophical justification for terrorism. Leslie's anarchist society sounds more like the Greek republic to me, where every Citizen (her honorific to Kirk) had a say. I cannot believe that a society under siege would be so loosely run as to be called Anarchistic. I personally doubt the human animal is a creature who can cope with anarchy very well. There are just too damn many people who want to be told what to do, who refuse to be responsible for their own actions. In an underpopulated world, ok, but not where you have 4 billion people rubbing elbows. It would mean survival of the most vicious, no holds barred ...

One last thing I take exception to: "Cannon-ball-sized breasts." D'you have any idea how LARGE a cannonball is? Poor Jenneth. No wonder she calls it "the weight." [80]

[zine]:

I very much enjoyed "The Ambassador's Nightmare," which, to my mind, gave a very appealing look at an early Sarek and Amanda— much more (ahem) logical types for Spock's parents than the brief look we had at them in "Jour ney to Babel."

... of some of the fiction that stands out in my mind—"To Need a Friend" and some of the briefer pieces. You have so much of the humor that to read something poignant is a treat, especially since you get such good ones. Loved the whole of 10—especially Connie Faddis' piece. (But then Connie is always special.).

"Mind Rape" in 17 was one of those brief pieces that manage to shake you in just one page— beautiful. And Paula Block's invitation to other writers to follow suit is certainly a nifty idea.

But the great piece in 17 (no pun reference to its size intended) is Leslie Fish's "The Weight." Marvelous. I, too, had been dissatisfied with the way "The Sixth Year" had concluded, 'though I thought it good at the time. But Leslie did something with her dissatisfaction and it came out beautifully. I didn't want it to end, and then was very much relieved to read that this is part of her "Kirk series." Finally, I sprang to my feet applauding wildly at the note in your editorial that there will be some serious Spock stories in upcoming issues. Yes, I_am one of the millions who feels keenly any slight upon the Vulcan Marvel ...

Finally, thank you so very much for all of WS. It's very impressive and deliciously frequent. [81]

[zine]:

As for your belief that #17 is the best issue to date, I can only append: damned straight! It is the best—from cover to cover (Joni Wagner's art~rs a continual delight), and everything in between!

I've come to view the LP6 stories with a sort of bemused affection—and great enjoyment—and "TOSOP" (ahem!) is no exceptxon. Just one thing— anybody out there got the proper pronunciation for Girc'N? No matter how I verbalize it, it still winds up sounding like something off a Vlasic label. Loved "The Future Crew ... " and "Star Truckkin'" (though I've only the haziest notion of how all that CB jargon translates into English). Paula Block has set a fine precedent with her ST 'moments,' and I hope other contributors will take her up on the suggestion. They'll have to go some to beat her example, though. "Mind Rape" is a marvelous vignette, especially in PAula's depiction of the alternate-Spock. I think that in "The Weight" we've gotten as definitive a portrayal of James Kirk's character as we are ever likely to get. Add to this a story' that far surpasses in quality and interest the one which served as its basis, and who could ask for more? (Except the next installment, ASAP!)

Nice illos, too.[82]

[zine]:

Aside from Sarek coming across as a refugee from Ringling Bros, Lorrah's "The Ambassador's Nightmare" wasn't bad. Amanda was no feminist, but she was a better diplomat than her husband. As well as a better Vulcan. This is all I need; space barbarians from Ann Arbor. College life will do that to you, I guess. Actually, "The Weight" was an excellent story--and I look forward to more in the series, if series it be. Fish has done a remarkably good job on characterization, which, tho' it off- times fringes on the incredible, yet never is unbelievable, if ya catch my meaning, if you get my drift. The italics and caps might have been a bit overused, for it is a sneaky and barely legitimate way to get plot points in. It worked, but I wish she could have found a way around all that logging and Kirk-soliloquizing. Fish's own drawings were more suited to the piece than Siegrist's (or even Gordon's viewscreen scene); they had the same meaty, alive quality of the story. However, the one Siegrist illo on p.13 was fantastic--pensive, haunting. It fit the opening mood perfectly.

On "Mind Rape": very well written, Po, but, as admitted, it is only a fragment, a vignette. And yet, it tells a tale not in terms of plot, but in characters—and in only 13 paragraphs, yet. Amazing. And hooray for good old Joni. "The Other Side of Paradise" didn't make a whole lot of sense as a story. It got started, sorta, rambled on, and didn't go much of anywhere. Nevertheless, I must say, McCormack properly captured a feeling of banananess that was appropriate to the working of the spores. "The Future Crew of the Enterprise" ... marvelous. I am undecided whether Rosenthal can draw or not—but it's probably just the effect of being a sketch collection, nu? Great stuff, just lovely.

But no LoCs? Why the hell should I have to write this one, then? I ought to do these things on commission, Lori, the way you keep nattering for them. No editorial taste 'soever. [83]

[zine]:

Wha' hoppen to the good 'ol lovable LoC page? 'Twas like losing an old friend!

Really enjoyed Leslie Fish's story. That girl can write as well as she can draw! Another budding Faddis, maybe?

And Paula Block's little excerpt was fine. [84]

[zine]: Pasadena Blues: Sadie might be bored with the bridge, but to be in character she should be more competent. Any well-run starship would drill every possible contingent including linguast's ability to handle communications without blowing a fuse or two....

Star Truckin' was very good, but it could have been better. Uhura and Scotty, for example, did not come off well. I love the Mrs. Amanda in the corner. They should all be like that, or the haystack on the following page with Bones, Jr. Or better.

The Weight: very interesting speculation. Kirk comes off in character most of the time, though I don't think he would go to pieces that much. Either more or less, but not that much. Jenneth should have been prettier in the picture.

The Other Side of Paradise was good for a nonBlockian LP6 story, but should have longer. Lovely covers. Both of them....

Don't think we don't love y'all just 'cos every second word is in criticism. [85]

[zine]:

Johanna Cantor's story is too fine to inject a hint of uncalled-for excretory humor— anybody with access to the computer banks could find the colloquial term 'innards' with no more trouble than I did in my Webster's Collegiate. The rest of the story is so well-handled, deftly plotted, giving more tantalizing glimpses into Vulcan tradition and culture that such a theme of embarrassing Spock is not needed--the humor is forced. It goes curiously from slapstick to great dignity, as befits our Mr. Spock properly. ... glowing words for Jane Clinkenbeard's gentle and lovely story about the little centaur—the loss of that beautiful baby hurt all of us, and this perfectly logical—sort of— explanation puts it in the class with the best of our racial myths. Thank you, Jane.

... while I could never in this world or that one accept the fact that Kirk's highly specialized crew would desert him in his dutiful task and repair to Earth to live in bucolic bliss— least of all Scotty, who would be right there nursing along his babies to get the last smidgen of power out of them, it does place Kirk in a sad, lonely situation, prone to brooding and actually in danger of deteriorating mental health. ... I await the next chapter with greatest anticipation—this is the finest thing to enter fanfic in many a moon. [86]

[zine]:

"The Other Side of Paradise" was too brief. It started out well, another crazy LP6 story ... nicely detailed, but once MacCormack et al. hit the planet, it sort of fizzles out and becomes vague, just like the party. "The Future Crew of the Enterprise" was funny—even my non-TrekCan sister enjoyed it, which is all to the good; I'm trying to convert her.

"The Weight, Part I": I like it, but at this point I'm not sure why; perhaps because it's well-written, and Jenneth is a good character, though I wonder why Kirk alone should have an alter-ego of the opposite sex, and what bearing this fact might have on the deliberations about changing universes, especially since Jenneth's people are concerned with the moral and philosophical aspects of the change. I do hope we see some more of the Anarchists and their way of life; actually they seem to be semi-Anarchists, like the ones in LeGuin's THE DISPOSSESSED.

I have one quibble about the story: I cannot go along with Leslie's idea that the crew of the Enterprise would blame Kirk so much for the disaster that they refused contact with him. After all, it wasn't really his fault, though he blames himself, and the Enterprise people are fair. The reaction Leslie shows is childish, and not very useful, either. The crew might blame Kirk for a while, until the shock wore off, but I hardly think they would abandon him so completely, nor abandon the Enterprise itself so quickly; they're not the type of people to despair easily, or they wouldn't be on the Big E at all. It's perfectly plausible for Kirk to blame himself; he does it all the time, even when he isn't totally at fault; in this case, much of what happened was beyond his control, except in retrospect. He sees his actions as reflecting errors of judgement, but he can only so suppose in retrospect; at the time he had no way of knowing what would happen, and could only act in his usual fashion, as presumably he did—i.e., there would normally have been nothing wrong with Pennington going off on her own for a bit. The situation seems especially ironic because a solution apparently exists ... Had the crew stayed around long enough to calm down and get over its despair, somebody surely would have thought of it, probably Scotty ...

Ah well, but this is Leslie's story, and I'll have to wait for the next WS to see how she will handle things. [87]

Issue 18

front cover of issue #18, Linda Cappel and Marty Siegrist
back cover of issue #18, Gordon Carleton, Man from UNCLE

Warped Space 18 was published in July 1976 and contains 34 pages.

The zine had come a long way from only having one, two or three letters of comment. This issue prints 26 letters and includes 38 WAHF.

From the editorial: "Somebody called me on May 29 at approximately 4:50 pm from a pay phone in Chicago. I got billed $4.51 for that call. Does anyone what to confess? Evidently it was a collect call., and somebody at [address redacted] accepted the charges. And I don't remember doing so..."'

  • The Editor's Nook by Lori Chapek (1)
  • Warped Communicatin (3)
  • Those were the Days by Carol Hanson (12)
  • Reflections by Laurie Haldeman (15)
  • Logical Conclusion by Laurie Haldeman (15)
  • Loser by Laurie Haldeman (15)
  • Sweet Maiden by Clark Van Kekken (15)
  • And To the Man on the Street by Carol Hydeman and Nancy Svenson Reibiling (16)
  • Limericks by Nancy Lewis (17)
  • My Reason for Not Re-Enlisting by Karen Klinck (18)
  • Captain Mine by Erin Duffey (18)
  • The Final Affair by Paula M. Block (This is the first Man from UNCLE story published in a zine. It is reprinted in The Wolves and the Lambs Affair & The Final Affair. (A sequel to this story is "A Hawk and a Handsaw" by Eileen Roy in Syndizine #1. A follow-up by Block to this story is in Syndizine #2 and called "Finale.") (19)
  • art by Linda Cappel and Marty Siegrist (front cover), Gordon Carleton (back cover), Gee Moaven, Leah Rosenthal, Joni Wagner, Maryann Walther

  • art from issue #18, Leah Rosenthal

  • art from issue #18, Gee Moaven

  • art from issue #18, Martynn

  • art from issue #18, Leah Rosenthal


Reactions and Review: Issue 18

See reactions and reviews for The Final Affair.

[zine]:

[snipped, comments on "The Final Affair," see that page]

Onward. I was reading over old WS LoC's last night. I see why Andrea Wingo was so upset with the tone and tenor of Sharon's and my old letters in WS1-5. Read today, they are awfully high-handed for what WS is. But they weren't written today; they were written nearly two years ago, and written for what WS was then. And I still stand by what I said. Clyde Whatsisface's script still stinks, Ed's stories still read somewhat disjointed, and PBlocki still has the talent she evinced from the start. So sue me. [88]

[zine]: First I want to publicly thank the MSU gang for their help in many ways in Toronto. Block & Myers for the slave labor I got out of them on the gofer squad and Lori & Gordon and others for taking care of the boojums stuff we were too busy to handle. Also, for those of you poor derelict souls out there who have never seen Gordon's incredible "City on the Edge of Whatever" -- do try. We hope that it can go to several cons in the sometime future. It rather rakes Harlan and "City..." over the coals, but nonetheless, one of the most enjoyable experiences of the convention for me, was watching Harlan alternately pointing at the screen and guffawing, and oozing gout of his chair, weak from laughter. Maybe WS would publish it as a special edition? The "City on the Edge of Whatever" coloring book.

[snipped]

On to 18—The art you've been printing is getting so good that the only comment is 'excellent. ' Granted on this entire issue—'specially Marty's Elaan on the cover.

I suppose you are expecting a comment from Smith and myself on the WARPED COMMUNICATIONS. I love to read LoC's—to see those places where other fans' perceptions differed from my own. I am always pleasantly surprised when 'SMoF #3' agrees with my own opinions—especially when I have not written a LoC—that way I figure she has said what I would. And also. Smith often says the same thing I would have—only not quite the same way. I do agree with Andrea Wingo—some of our comments in the early WS's were snotty, presumptuous, and incredibly nit-picky. (Perhaps we felt an obligation as the first two issues were collated at least in part on my living room floor.) Personally, I was entering that maturing stage In fandom and editing known as the 'I know everything' stage. With the vast experience of four MENAGERIES behind me and a con that lost $$$, perhaps I was feeling a bit too much Importance. Lori didn't hurt my ego by inviting Smith and I as Fan Guests to Ourcon and letting us have 2 hours of insanity of our own at the con. The letters wore uppity and straight from the shoulder honest. Tact was something I, as a BNF, didn't need. I have since learned different. Perhaps something else that is missing in those letters is this: there were many more suggestions made, ideas, batted about, and discussion done about WS outside of the LoCcol. By the time I actually got around to writing a letter, I was (how you say) petered out and the letters were dry and harsh. Perhaps between the bitter words of criticism, Andrea and other readers and re-readers of WS's will note the words of praise. And, as I did point out in one letter, I don't take the time to write long nit-picky letters of comment to 'zines that don't parry my thrusts. Onward. Basically, I want to tell you folks to keep plunging onward. WS has a delightful variety of subjects, stories and humour that I do read and anticipate every issue ... [89]

[zine]:

You finally proved you are human. In other words, you goofed. Don't get me wrong, I LOVE WS and I think Paula Block is a fantastic writer, but devoting half your ST 'zine to a MAN FROM U.N.C.L.E. story was a mistake; a good sf story I could understand. With a story like Paula's, you have to know something about the show. I NEVER watched U.N.C.L.E.

I really tried to get into Paula's story, but I didn't know who was who, just faces. The problem is that I buy WS to read ST fanfiction. So in that vein I was disappointed. You saved yourself by having a lot of LoCs. [90]

[zine]: What have they done to my 'zine, Ma? What happened to the Trekzine I used to know and love? Someone has been watchinq those 1 a.m. reruns aqain. Paula Block's story was as mysterious as Prisoner and as convoluted as some of the worst episodes of "The Man From U.N.C.L.E." -- although I love both shows. I just don't see why that particular story got into WARPED SPACE. I sincerely hope WS19 gets back into the groove ... [91]

[zine]: ... I am also fond of the stokers-eye-view, were ' there such a creature on the Big E, of ship, command crew, mission, etc., and for that reason am passing fond of LP6 and Faulwell. They can be tedious at times, but I find their relationships realistic, and its so nice to find someone neither related to nor in love with Kirk ((or Spock?)). I've followed the Faulwell controversy with interest, and beinq an elderly enthusiast, am quite surprised to find her criticised for her behaviour sexually. Why d'you think all those birth-control methods are advocated? And imagine what the crew of a starship would be like if each encounter was filled with romance, and people got unduly hung up about who sleeps with whom. Remember, they're supposed to be up there for months at a time, probably either bored with the routine or working in life-and-death stress situations. Ask any nurse—either of those things can be quite horny-making. (And there's nothing quite like the touch of flesh to flesh to help!} Faulwell as Paula writes her may not be the person I'd choose as my best friend, but I can really believe in her, and as a character I love her. That actually goes for all of Paula's stuff— and thanks for introducing me to McCoy. You give him a dimension I missed—I guess that's what love is for. A mild word in defence of the Mary Sue story, if not of the Lt. herself. It lurks in all of us and needs to be exorcised, perhaps, pen to paper, in the way writers do such things. To mangle Harlan Ellison, peoole write what they want to, must write also want they want to read, hence, Mary Sue. I can live with the occasional one, if it falls trippingly off the pen, but Mary Sue complete with dangling participles and containing the same five adjective over and over again I can live without, repeatedly! [92]

[zine]: The content of WS is always one that has bothered me. I still feel that it has the potential to be one of the best and moat viable 'zines in fandom, but its potential is wasted, a beached and dying whale on the shores of STrek fan publishing. The material inside is inconsistent ..., sometimes beautifully constructed and marvelously portrayed, and sometimes cob-web ridden plots and thin, boring action. It's hard to see how the content can jump around so much without stabilizing in any one spot.

LP6 is the worst part of the 'zine. They really I would not be so bad, they would be tolerable, a nice easy going series of fan stories that belong to WS and make it special, but it isn't. You've tried to blow it up into something that it isn't. It almost seems sacrilegious to see a serious, even melodramatic story performed by LP6 like "Pasadena Blues." ((Ed: Ahem. "Pasadena Blues" was part of the Faulwellian Epic, which is separate from LP6, although Faulwell is also part of the LP6,)) The LP6 crew is set against the crew of the Big E —right? Fine. BUT the very nature of the LP6, the people and their characters define the limits to the type of stories they can be contained in. For the most part—the people in LP6 are flakes! How you or anyone else can expect them to be credible in a serious drama is beyond me. Those stories in which bizarre things take olace, the ones played out with a light and whimsical tone are the best LP6 stories around, for those are formats that LP6 fit into. Casting LPS in a story like "Pasadena Blues" was like casting Conan into the role of Hamlet ... he might have worked in a different story construct ("Midsummer's Night's Dream" maybe) but nothing serious. "Pasadena Blues" was a mediocre story to begin with ... the premise had been used before and tha technicalities of it were a hit hard to swallow, but it could have been worked up to a nice story. It's major flaw was using LP6 ... it should have used some other crewmen.

And ... to add insult to injury, LP6 is praised. Yes, PRAISED, almost deified! I don't believe I would mind if LP6 were accepted for what it is, just sit back and let it be an integral part of WS. In due time the fans would praise it for you. Yet LP6 is brought up constantly, their roles are adulterated, prostituted. The letters in the lettercol are almost invariably in favor of LP6 and some of the comments are just sickening. The worse offense of all was 'that blasted article "In Defense of Faulwell" which was in actuality a sniveling little lettercol that had been expanded and thinly disguised as an article, complete with re-run artwork. LP6 is not great. Only a few individual stories have ever had any merit. The whole group is a bunch of loonies and the only way they could have possibly gotten past the Starfleet examinations is to qualify as ETs and claim minority discrimination against Starfleet. Sometimes, if they went any farther off the deep end they might qualify as something engendered by Monty Python's Flying Circus, yet, after all of this-- LP6 is only so-so. The stories have their moments, but they aren't spectacular. In the pages of WS I see LP6 pushed all over the place, trying to hype it, sell it to the readers. I don't appreciate that, but I don't know if you, or anyone else, does it consciously ...Doesn't anyone have negative comments on WS or LP6? " It seems that only speculative letters or ones of praise get into that column ... ((Ed: It has always been my policy to be especially careful to include the critical letters. Jeff, I can't help it, but most readers actually do not send in critical letters. Critical letters actually do stand the best chance of being printed ... )) [93]

Issue 19

front cover of issue #19, V.M. Wyman
back cover of issue #19, V.M. Wyman

Warped Space 19 was published in August 1976 and contains 44 pages.

The editor writes that she was planning to take both #19 and #20 to the printers at the same time and collate them at Bi-Centennial Con.

This issue printed, as usual, many LoCs, including two by Paula Smith and Sharon Ferraro apologizing (sort of) for the tone and content of their earlier letters of comments.

The WAHF section: (We Also Heard From): Gerry Downes, Carol Andrus, Cheryl Pice, Shelly Olsen, Jan Rigbv, Elan Jane Litt, Patti Thompson, Lucy M. Hitzfelder, Jeanne Noga, Pat McCormack, Sandy Yingling, Joan M. Verba, Kelly Hill, Nan Lewis, Vivian Sheffield, Debra Fennell, Jeanne Powers, Rebecca R. Hoffman, Kathy Resch, Paula Steinker, Mac Machisak, Steve Czapla, Amy Hartman, Kathleen Porter, Eileen Roy, Jane Leavell, Mary Carson, Lorna Toolis, Beth Thompson, Patricia Wood, Carol Frisbie, Anne Robinson, and Charles J. Goering.

From the editorial:

It looks like this might be our serious issue. Congratulations to those of our readers who have patiently been wading through our humor. Condolences to those of our readers who get WS solely because of the humor. It also looks as if this is heavily our serious-Kirk issue. Surprise! Pat McCormack has contributed a nice, short, non-STAR TREK science fiction short. Or is it speculative fiction, Pat?

Part One of Part Two of Leslie Fish's "The Weight" takes up a goodly portion of this issue. Part Two of Part Two of the series is scheduled for WS21, and the final part of Part Two is scheduled for WS22. Leslie's story does not end with Part Two, either ... If I sound semi-confused in these natterings, please bear with me. Like I said, WS20 is currently being typed up, so I'm going from my lay-Spocks (or vise verse) to Joan Verba's story to lay-Kirks or vice cress to V. McLen's story to lay-the-entire-crew-of-the-ENTERPRISE to... I' m I'm happy to announce the coming (ahem) attraction of a special supplement edition of WS20, currently scheduled to fall between WS25 and 26 in production. WS20 got out of, er, hand, guys, and the overflow material is going to be in the special porn issue. Already scheduled is a loverly story (Part Two in a series) by [Gayle F], to be illustrated by Connie Faddis.

And for all of you who wanted to contribute to WS20 but were afraid to try why not try now? Heh-heh.

Welcome, if you will, the artistic talents of V.M. Wyman and Connie Faddis, and the return of the pens of Leslie Fish and Joni Wagner. Kudos (and not the wild African wild life type, either).

WS20 (to whet your appetites) includes provocative artwork by Siegrist, Maryann Wal ther, Faddis, Wagner, Carleton, and Fish, etc. Oops, Landon, etc. And Moaven. And a host of talented writers. Sometimes I wonder how much is imagination ... How much do you guys pay your models, anyway? And if you haven't guessed it by now, yes, I am running chronically short of sleep. (Iiife would be easier if I were an insomniac.) Got a headache, too. Am not looking forward to typing the rest of this blasted thing. Or to answering the rest of the mail that piled up during my all-too-short-honeymoon. Sigh. (Dear Diary ... )

  • Editor's Nook (1)
  • Only a Child by Pat McCormack (2)
  • The End by Gerry Downes (reprinted from the SF zine, "Karmic Runes" -- April/May 1976 issue) (4)
  • Command Decision by Joan M. Verba
  • Shadows by V. McLean (The editor notes that this is the first story the zine has received from a non-American, and that the author resides in England.) (12)
  • The Weight, part 2, section 1 ("We're Jim Kirk, Fly Us") by Leslie Fish (The editor heads this section with: "I forgot to mention in EDITOR'S NOOK that Leslie Fish expressed some concern about criticisms several readers of "The Weight" had. Seems they are blaming Leslie for certain situational set-ups. Most notable for having the crew of the Enterprise abandon Kirk and the ship. If you will go back and read Ed Zdrojewski's The Sixth Year in WARPED SPACE3, you will find that it was Ed, and not Leslie who originated the deserted of the crew. Leslie was stuck with the situation she inherited, in starting "The Weight." Is this good enough mention, Leslie?") (19)
  • Warped Communications (includes a review for Spock, Messiah!, see that page) (40)
  • art by V.M. Wyman (front and back covers), Gordon Carleton, Connie Faddis, Leslie fish, Marty Siegrist

  • art from issue #19, from "The Weight," Leslie Fish

  • art from issue #19, from "The Weight," Leslie Fish

  • art from issue #19, Connie Faddis

  • art from issue #19, Marty Siegrist

  • art from issue #19, from "The Weight," Leslie Fish

  • art from issue #19, from "The Weight," Leslie Fish

  • art from issue #19, from "The Weight," Leslie Fish

  • art from issue #19, from "The Weight," Leslie Fish

  • art from issue #19, from "The Weight," Leslie Fish

  • art from issue #19, from "Shadows," V.M. Wyman

  • art from issue #19, from "Shadows," V.M. Wyman

  • art from issue #19, from "Shadows," V.M. Wyman

  • art from issue #19, from "Shadows," V.M. Wyman

  • art from issue #19, from "Shadows," V.M. Wyman

Issue 20

front cover of issue #20, Gordon Carleton
back cover of issue #20, Mark Askran

Warped Space 20 was published in October 1976 and contains 110 pages. It has explicit het material as well as non-explicit slash. The front cover: Gordon Carleton; back cover: Mark Askran. Art & illustrations: Mark Askren, Paula Block, Linda Cappel, Gordon Carleton, C.R. Faddis, Gayle F., Leslie Fish, Leah Rosenthal, Marty Siegrist, Paula Smith, and Joni Wagner.

This issue is dedicated to Gayle F: "bright new star in the celestial fandom field."

This issue is unique in that it contains no letters of comment.

It includes four foldout centerfolds, one of a naked McCoy lounging at the side of a woodsy creek (Marty Siegrist, "Bones"), one of Spock (Martynn, "Ask the Girl Who Owns One"), one of a naked Uhura, bound to a wall, Kirk nearby with a key on a chain around his neck (Joni Wagner, "Uhura's Fantasy... Or... Hailing Frequencies Open?") and of Kirk, naked just getting into or out of bed with a woman (Gordon Carleton).

"The Degenerator" by Paula Smith, slash, gen and het solutions to "Mr. Spock goes into pon farr & "Captain Kirk has a case of the hornies"
  • Logical Solution by Lora Rene. Having bonded with Spock to save him in pon farr, Christine now faces the frustration of his long celibate period. (1)
  • Shelter by Leslie Fish and Joanne Agostino, though Fish is the primary author. "This story is probably the first fully-developed K/S short story that was actually published. In it, Kirk, Spock, and McCoy are stranded on a planet when their shuttlecraft lands and explodes. Spock suffers from a blow to the head and is unconscious when they take shelter in a convenient cave. (Convenient caves are an amusing cliché used by many K/S writers over the past twenty-five years.) During his delirium, Spock expresses and acts on his deeply-suppressed desire for a sexual relationship with Kirk. McCoy feigns sleep, and Kirk, though initially confused, goes through with the encounter, presumably willingly. But the question is, will Spock remember when he regains consciousness?" [1]) There is a sequel titled Poses, first published in Obsc'zine #1 in 1977. (6)
  • A Time Out Of Fragment; Oedipus Sex; Eat It Raw by Paula Smith. Short shorts - Chapel/Uhura (The first one is a non-explicit parody of A Fragment Out of Time, the last lines: "The door glided open; Christine's heart sped. She could never mistake that body; it was her love. The slender form approached as Christine reached out for the dusky hands and said lovingly, 'Uhura.'") (15)
  • Oedipus Sex by Paula Smith (a erotic short-short about Amanda breastfeeding two-month old Spock.) (15)
  • Eat It Raw by Paula Smith (Dieting Jim Kirk finds great pleasure in eating a rare steak.) (16)
  • It's In the Blood by Pat McCormack (A virus sends all the Rh positive crew into sexual frenzy.) (17)
  • Limericks (23)
  • You Get What You Pay For by Gordon Carleton (The Big Three visit a museum with a whorehouse exhibit.) (25)
  • Circles & Cycles by Erin O. Mercy (Virginal Mary Sue gives virginal Spock a blow job to save him in pon farr.) (26)
  • There are Worse Things by Johanna Cantor (Post- Lorelei Signal, Spock goes into pon farr and Kirk & McCoy prevail on Theela to assist while Spock has intercourse with a woman.) (also in The Best of...) (30)
  • A Lesson in Perspective by Connie Faddis (also in Relay #3) Connie extrapolates on what effect being confined to Janice Lester’s body would have on someone as caught up in being male as Kirk. Physical and psychological trauma from the transference and Janice Lester's hatred sends Kirk spiraling into depression and impotence. McCoy makes matters worse by plying him with aphrodisiacs on Wrigley's, sending him in search of relief he eventually finds in a drug den and causing a complete breach between Kirk and McCoy. Kirk ends up spending shore leave on secluded New Seattle with middle-aged, lively nurse Sajis Caffrey (who is a very appealing new character). All manner of things go wrong, but Kirk comes out of it right again. (37)
  • The Degenerator by Paula Smith (A chart of "all the Kirk-Spock relationship stories you never wanted to know.") (80)
  • Free Man by Mone Delitsky (A Spock/Leila vignette.) (82)
  • Chronic of Our Times by Paula Block (A Sadie/Bones spoof.) (86)
  • Mating Call by Roberta Rogow. (An Enterprise orgy story.) (89)

  • art from issue #20, Signe Landon, art from "Logical Solution" -- Spock and Zarabeth

  • We Are Three, original art print for art by Leslie Fish used Shelter

  • art from issue #20, Leslie Fish, from "Shelter"

  • art from issue #20, Leslie Fish, from "Shelter"

  • art from issue #20, Connie Faddis

  • art from issue #20, Gayle F., art from "A Lesson in Perspective"

  • art from issue #20, Gayle F., art from "A Lesson in Perspective"

  • art from issue #20, Gayle F., art from "A Lesson in Perspective"

  • art from issue #20, Gayle F., art from "A Lesson in Perspective"

  • art from issue #20, Gayle F., art from "A Lesson in Perspective," Jim and Sajis Caffrey, "What is woman? Why is sex? When is love?"

  • art from issue #20, Gee Moaven, art from "Avant-Propos"

  • art from issue #20, Gee Moaven, art from "Avant-Propos"

  • art from issue #20, Gee Moaven, art from "Avant-Propos"

  • art from issue #20, Signe Landon

  • art from issue #20, Gordon Carleton

  • art from issue #20, Gordon Carleton

  • art from issue #20, Gordon Carleton

  • art from issue #20, Marty Siegrist (one of the four foldouts)

  • art from issue #20, Gordon Carleton

  • art from issue #20, Mark Askren

  • art from issue #20, Gordon Carleton

  • art from issue #20, Martynn

  • art from issue #20 Joni Wagner (one of the four foldouts) "Uhuru's Fantasy... Or... Hailing Frequencies Open?"

  • art from issue #20, Joni Wagner

  • art from issue #20, Gordon Carleton (one of the four foldouts)

Reactions and Reviews: Issue 20

See reactions and reviews for Shelter.

See reactions and reviews for A Lesson in Perspective.

See reactions and reviews for Avant-Propos.

[Chronic of Our Times]: Odd and, I thought, not very funny bit of silly dialogue for Sadie & McCoy, married, with Thurber-esque drawings of the pair, with someone building an ark outside the ship and water coming in the window. [94]

[zine]: ... stories include a Spock/Christine "marital adjustment" story, a pon farr parody, a post-"Lorelei Signal" (the animated episode) pon farr story, and an erotic chapter from the Mandi Schultz and Cheryl Rice DIAMONDS AND RUST. And there is "A Lesson in Perspective" by Connie Faddis, an excellent story in which Kirk is suffering from the strong after affects, including impotence, of his unpleasant sojourn in Janice Lester's body. McCoy's attempted cure only exacerbates Kirk's problems, but all eventually is worked out with the aid of some curative shore leave and a motherly nurse. It is well illustrated by Gayle F in a style not recognizably hers, but lovely nonetheless. There are also various limericks and vignettes, including an Uhura/Christine one. In another Sadie Faulwell story, by Paula Block, she marries McCoy. In another Dirty Nellie story by Roberta Rogow, a plant specimen causes horniness in the Enterprise's crew. Most of these share the peculiar irreverent and somewhat snide WARPED SPACE brand of humor. There are illustrations and cartoons by thirteen artists, including Gee Moaven, Signe Landon, Joni Wagner, and Connie Faddis, with various nudes and foldouts of Kirk, Spock, McCoy, and Uhura. But the only other K/S-related item is... (The Degenerator all the Kirk-Spock relationship' stories you never wanted to know") by Paula Smith, which is a kind of chart or diagram in which you can follow various plot alternatives, beginning either with "Mr. Spock goes into pon farr", or "Capt. Kirk has a bad case of the hornies." It shows, if nothing else, how much K/S has evolved since 1976. [95]

[zine]:

I was appalled by Paula Block's comment on someone finally fulfilling her dream when they hefted a pie at Shatner at one of the cons. That kind of behavior is not only plebeian of the first order, but shows a dangerous lack of responsibility and a disgraceful disrespect for the man. It's also quite evident from Paula's remark and the stories of hers I've read that she is imminently hostile to the Kirk character and the man who portrayed him, Ghu only knows why. Regardless of her right to like or dislike any character or person, such a comment should never be publicly aired.

It could serve to encourage someone with even more deeply ingrained hostilities to launch something more injurious or deadly the next time around. Besides, with the rarity of Shatner's appearances at the cons, it's a wonder after that incident that he even deigns to consider attending. Let's grow up a little and keep our pathological tendencies to ourselves. How would you like to be standing before a crowd of thousands of seemingly adoring fans and be the target of some anonymous practical joker? It could just as easily be a bullet as a pie, and I think this generation's seen enough of this kind of violence, don't you? [96]

References

  1. ^ Halliday’s Star Trek Zinedex (TOS) - Title Index, Archived version
  2. ^ from Paula Block in "Warped Space" #12
  3. ^ letter of comment by Paula Smith in "Warped Space" #12
  4. ^ from an LoC in "Warped Space" #13
  5. ^ from an LoC in "Warped Space" #13
  6. ^ from a LoC in "Warped Space" #18
  7. ^ Halliday’s Star Trek Zinedex (TOS) - Title Index, Archived version
  8. ^ from The Halkan Council #14
  9. ^ letter of comment by Paula Smith in "Warped Space" #13
  10. ^ from an LoC in "Warped Space" #13
  11. ^ from an LoC in "Warped Space" #13
  12. ^ from an LoC in "Warped Space" #13
  13. ^ from an LoC by Linda Cappel in "Warped Space" #13
  14. ^ from an LoC by Karen Klinck in "Warped Space" #13
  15. ^ from an LoC by Joni Wagner in "Warped Space" #13
  16. ^ from Paula Block's letter of comment in "Warped Space" #13
  17. ^ from an LoC by Melissa Bayard in "Warped Space" #14
  18. ^ from an LoC in "Warped Space" #14
  19. ^ from an LoC in "Warped Space" #14
  20. ^ from a LoC in "Warped Space" #18
  21. ^ from an LoC by Paula Block in "Warped Space" #14
  22. ^ from an LoC by Cindy Myers in "Warped Space" #14
  23. ^ from an LoC by Linda Cappel in "Warped Space" #14
  24. ^ from an LoC by Mona Delitsky in "Warped Space" #14
  25. ^ A reference to the poor printing quality.
  26. ^ letter by Sharon Ferraro in "Warped Space" #14
  27. ^ letter by Paula Smith in "Warped Space" #14
  28. ^ from Laurie Haldeman in "Warped Space" #15
  29. ^ from an LoC in "Warped Space" #15
  30. ^ Yes. It was reprinted from Menagerie #6.
  31. ^ from an LoC in "Warped Space" #15
  32. ^ from a LoC by Cathy Alling in "Warped Space" #15
  33. ^ Regarding Ellison's height: Isaac Asimov describes meeting him in 1953: "At that same convention I met another personage, not a professional author yet, but destined to become one, and a more colorful one, perhaps, than anyone else in science fiction, even myself.... He was a little fellow. He insists he is five feet, five inches tall, but that is, I think, by a specially designed ruler. He is five feet, two inches tall by the internationally accepted yardstick. Either way he had sharp features and the livest eyes I ever saw, filled with an explosive concentration of intelligence - Asimov, Isaac. In Memory Yet Green: the Autobiography of Isaac Asimov, 1920-1954. New York: Doubleday, 1979. Avon Books, 1980. p. 690.
  34. ^ Harlan Ellison stated that he is "(1) he is 5'5" and not 5'4"" -- How Much is that Harlequin in the Window?
  35. ^ This fan is having fun with the supposition that Harlan Ellison and Paula Smith are the same person, a running in-joke in this zine.
  36. ^ from a LoC by Annie Brown in "Warped Space" #15
  37. ^ Loc by Jean Sellar in "Warped Space" #15
  38. ^ The phrase this fan uses, "it wouldn't be setting a precedent" is a reference to the first line in the 1974 Kirk/Spock slash story, A Fragment Out of Time, which begins with “Shut up…we’re by no means setting a precedent.” -- A Fragment Out of Time
  39. ^ from Pat McCormack in "Warped Space" #15
  40. ^ from a LoC in "Warped Space" #15
  41. ^ from Spectrum #23
  42. ^ from a LoC in "Warped Space" #15
  43. ^ from a LoC in "Warped Space" #18
  44. ^ an LoC by Miriam Diesendruck from "Warped Space" #16
  45. ^ an LoC by Miriam Diesendruck from "Warped Space" #16
  46. ^ While the editor of "Warped Space" borrowed this term from Halkan Council, that zine, in turn, borrowed if from much older science fiction zines.
  47. ^ from an LoC by Paula Block in "Warped Space" #16
  48. ^ from an LoC by Jean Lorrah in "Warped Space" #16
  49. ^ Halliday’s Star Trek Zinedex (TOS) - Title Index, Archived version
  50. ^ an LoC by Paula Block in "Warped Space" #16
  51. ^ an LoC by Miriam Diesendruck from "Warped Space" #16
  52. ^ an LoC by Audrey R from "Warped Space" #16
  53. ^ an LoC by Dixie G. Owen from "Warped Space" #16
  54. ^ an LoC by Gerry Downes from "Warped Space" #16
  55. ^ from The Halkan Council #18
  56. ^ from Spectrum #24
  57. ^ Stardate #9
  58. ^ from an LoC by Jean Lorrah in "Warped Space" #16
  59. ^ from a LoC in "Warped Space" #18
  60. ^ from a letter of comment in "Warped Space" #18
  61. ^ Halliday’s Star Trek Zinedex (TOS) - Title Index, Archived version
  62. ^ an LoC by Audrey R from "Warped Space" #16
  63. ^ an LoC by Audrey R from "Warped Space" #16
  64. ^ from Spectrum #25
  65. ^ an LoC from "Warped Space" #16
  66. ^ an LoC from "Warped Space" #16
  67. ^ an LoC from "Warped Space" #16
  68. ^ an LoC from "Warped Space" #16
  69. ^ an LoC from "Warped Space" #18
  70. ^ an LoC from "Warped Space" #18
  71. ^ an LoC from "Warped Space" #18
  72. ^ an LoC by Gerry Downes in "Warped Space" #18
  73. ^ from Stardate #10 (August 1976)
  74. ^ Zinedex
  75. ^ from a letter of comment in "Warped Space" #18
  76. ^ from The Halkan Council #20/21
  77. ^ from Spectrum #26
  78. ^ from a letter of comment in "Warped Space" #18
  79. ^ from a letter of comment in "Warped Space" #18
  80. ^ from a letter of comment in "Warped Space" #18
  81. ^ from a letter of comment in "Warped Space" #18
  82. ^ from a letter of comment in "Warped Space" #18
  83. ^ from a letter of comment in "Warped Space" #18
  84. ^ from a fan in "Warped Space #18
  85. ^ from a fan in "Warped Space #18
  86. ^ from a fan in "Warped Space #18
  87. ^ an LoC from "Warped Space" #18
  88. ^ from an LoC by Paula Smith in "Warped Space" #19, see Wingo's response in "Warped Space" #21
  89. ^ LoC by Sharon Ferraro in "Warped Space" #19, see Wingo's response in "Warped Space" #21
  90. ^ from Cathy Alling in "Warped Space" #19
  91. ^ from Roberta Rogow in "Warped Space" #19
  92. ^ from Ruth Jansons in "Warped Space" #19
  93. ^ comments by Jeff Johnston in a LoC in "Warped Space" #19
  94. ^ Halliday’s Star Trek Zinedex (TOS) - Title Index, Archived version
  95. ^ from Not Tonight Spock! #6
  96. ^ from a letter of comment in "Warped Space" #21
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