Southern Seven/Issue 003

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Southern Seven is a long-running gen Blake's 7 anthology of art, fiction, and poems.

See more at Southern Seven.

Issue 3

front cover of issue #3, Laura Virgil

back cover of issue #3, Leah Rosenthal

Southern Seven 3 was published in August 1988 and contains 315 pages.

The art is by Laura Virgil (front cover), Leah Rosenthal (back cover), not in reprint, Celeste Hotaling, Gayle F, Theresa Buffaloe, Aldrin Aw, Barb Johnson, Kathryn Andersen, Susann Molnar, Dani Lane, Nancy Monfette, Mary Gerstner, Karen River, and Katrina Snyder.

The editor is quite confrontational and bitter in some of her insertions to the letters of comment in this issue. In one, she responds to a fan's comment:

After reading some of the comments in the LoC section of SS#3, I can better understand Deb Walsh's B7 COMPLEX editorial about why she is no longer going to publish the zine.

[You ain't just joking, either. Read the previous letter, for example. And that's but one small example of the kind of garbage I get hit with on a regular basis. I'm beginning to feel like it doesn't matter what I do or how hard I try or how good I try to make the zine, people just aren't going to be satisfied. Deb finally gave up. And I don't blame her. Editor]

• From the Airlock...", editorial by Ann Wortham (4)
• The Blake's 7 ABCs, fiction by Kim Wigmore, Holly Hutchison, and Alicia Ann Fox (6)
• Going Nowhere, fiction by Celeste Hotaling (At the top of the story: "A depressing story told with lots of foreshadowing and one flashback, in which Anna Grant does not appear.") (13)
• Fanatic Activities, fiction by D. Beetem (Vila takes Avon to a convention in an attempt to teach him how to have fun.) (17)
• Duel, poem by Kathryn Andersen (20)
• War Leader, fiction by Jill Grundfest ("Vila is presumed dead in a bizarre accident, but Avon insists on returning to the scene to study the even further. What he and Blake discover, involves more than the fate of their intrepid thief…it involves the fate of the entire rebellion.") (21)
• Lost Opportunity, fiction by Nancy Monfette (36)
• Rappin' Roj Blake by Kim Wigmore & Holly Hutchison (filk, Rapppin' Ron Reagan) (38)
• Home by the Sea, fiction by Michele Rosenberg ("A simple infiltration job goes awry as Blake and Avon are taken over by mysterious forms. Will Vila be able to save them before it’s too late.") (40)
• Half a Loaf, fiction by Northwest Smith (49)
• Nightmares, Visions, and History, fiction by Linda Knights ("Avon has an ability which has brought him pain in the past. Will Blake’s insistence on risking himself constantly finally drive Avon away.") (52)
• Runaways, poem by Leah Rosenthal (79)
• Knight Moves, fiction by Jon Manzo (80)
• In the Shade of Sarcophagus, poem by Tyndara Meffe (86)
• Taken for Granted, fiction by Celeste Hotaling (87)
• Terminal, poem by Kathryn Andersen (100)
• Worrad, fiction by Joni Gillespie & Judy Kern ("Tarrant and Avon are missing and presumed dead. Will Dayna and Vila be able to find them before it’s too late?") (102)
• Michael, fiction D. Beetem (116)
• Poor Tom, fiction by Shoshanna ("The death of Servalan at the hands of Anna Grant topples the government of the Federation, but what of Blake’s crew now.") (119)
• Vila's Goodbye to the Liberator, poem by Nancy Monfette (130)
• A Matter of Choice, fiction by Sue Williams (alternate solution to Orbit) (132)
• No One Together, fiction by Northwest Smith ("Did Avon really mean to kill Vila over Malodaar? A mission gone wrong give Vila and Avon — and the rest of the crew — an opportunity to come to terms with one another.") (135)
• Soliloquy: Servalan, poem by Jacqueline Taero (155)
• Golden Lady, fiction by Barbara Adams (156)
• Harbinger, fiction by Laura Virgil (Little is left to Avon following Gauda Prime, but Servalan may not have the last laugh.) (160)
• What Goes Around Comes Around, fiction by Mary & Jeff Morris (Blake's 7: The Next Generation) ("In their new series, B7: The Next Generation, the tale is told of how it all began…the second time around.") (166)
• From the Log of the Spuds MacKenzie, fiction by Mary & Jeff Morris (Blake's 7: The Next Generation) (Liberator) (174)
• Curtain Call, fiction by Liz S. ("The episode "Blake" was a put-up job arranged by Blake and Avon.") (reprinted from Scorpio 5 (182)
• Gauda Prime by Mary L. Orwig (filk, On Broadway, by Benny King & the Drifters) (191)
• Deathtrap, poem by Pat Jacquerie (192)
• Avon by Nancy Monfette (filk, Vincent, by Don McLean) (194)
• Writhing Lawn Sprinklers, fiction by Vera Laster (From the Log of the Devildog; Hellhound parody) (196)
• Eyes Forward by Shoshanna (filk, London Calling, by the Clash; Hellhound universe) (199)
• Shadows of the Night (18 pages); Weeping for the Memory (10 pages); The Ghost of Cain (20 pages); The Foundling (12 pages)-- A child survivor is found in the rebel-blasted ruins of Scorbin Minor, and his parentage makes him valuable to the rebels…but even more valuable to Roj Blake; Finders Keepers (20 pages), fiction by Katrina Snyder & Susanne McGhin ("Vila finds an old friend long feared dead and an old enemy finds Blake.") These stories are not in the reprint, but in The Log of the Hellhound #3. (202-268)
• Letters of Comment (288)
• Submission Guidelines (not in reprint) (316)
• Ordering Guidelines (not in reprint) (317)
• Horizon Statement (not in reprint) (318)
• Zine ads (not in reprint) (321)

• 

  from issue #3, Gayle F

• 

  from issue #3, Celeste Hotaling

• 

  from issue #3, Theresa Buffaloe

• 

  from issue #3, Laura Virgil

• 

  from issue #3, Barb Johnson

• 

  from issue #3, Leah Rosenthal

• 

  from issue #3, Laura Virgil

• 

  from issue #3, Leah Rosenthal

• 

  from issue #3, Celeste Hotaling

• 

  from issue #3, Suzi Molnar

• 

  from issue #3, Leah Rosenthal

• 

  from issue #3, Kathryn Andersen

• 

  from issue #3, Gayle F

• 

  from issue #3, Nancy Monfette

• 

  from issue #3, Laura Virgil

• 

  from issue #3, Dani Lane

• 

  from issue #3, Laura Virgil

• 

  from issue #3, Celeste Hotaling

• 

  from issue #3, Katrina Snynder

• 

  from issue #3, Katrina Snyder

• 

  from issue #3, Celeste Hotaling, an in-joke involving Paul Darrow, Ann Wortham, and champagne

• 

  from issue #3, Celeste Hotaling, a Hellhound cartoon with Duran Duran mentions

• 

  from issue #3, Leah Rosenthal, commentary on how physically large these zines were

Reactions and Reviews: Issue 3

[Curtain Call]: Possibly the best 'they-set-up-GP' story around. The concept is simple (Blake and Avon sitting and talking till the others wake up) but the dialogue is razor-sharp and the characterisation is deeply satisfying, especially for those of us who've noticed that, fireworks aside, sometimes Our Heroes just really enjoy talking together ...

[zine]:

HELLHOUND is rapidly becoming my favorite series in B7 fan fiction. I am puzzled why people go on about it not being B7-ish. It's just another person(s) view of the characters. And the texture of the characters is so real. I too considered the character of Morten Hendricks as so much cannon fodder at first but now see him developing into a more rounded personality. Too many characters was one complaint I read— felgercarb! The HELLHOUND now has a crew of only ten plus one child. The other people that move in and out of the story are necessary for the development of the plot and background for the characters.

I worried about how Avon's child would eventually be introduced but no more. The authors have a real handle on how a child would act. Sevran insisting that Blake listen to him as he read brought back memories of other small munchkins. I thought age four was a little too old until I sat down and figured it out.

Avon had maybe a month or two at Weaver's, perhaps two years with Jules, at least another year to a year and a half building the HELLHOUND, and then six months to a year finding Blake and curing him of his amnesia. It works. But why is the child too young to be considered Tarrant's? There couldn't have been more than six months between "Sand" and "Blake.” It was after "Blake" that the child was conceived. With the exact age of the child not known (or I don't remember the boy saying he was only four), why the immediate assumption that it was Avon's? I would have liked to see Tarrant sweat out possible parentage however briefly. Also really looking forward to Servalan's reaction to losing her child. Comparisons to a lioness whose cub is threatened come to mind.

Other impressions and questions on Book III of HELLHOUND in no particular ordering (in other words— ramblings): Why refer to Tarrant's taking too many pills as poisoning rather than an overdose? (Not a complaint, just curious.) Why does Blake assume that Jenna didn't get away? Was there only one life capsule on the ship they were on? And Avan's reaction when confronted by the brother who molested him was chilling in its accuracy. The skillful way the author's handled this is to be oomended. The characters in HH cure people you can identify with—whether you like or hate them—they exist as complete, three-dimensional personalities. Seven more books in the HH series? Terrific!

Ex-mutoid (Soolin?), werewolves, Aurons (Franton & Patar?) in future HELLHOUNDS? Looking forward to it. Frankly. I'm curious about what happened to the one mutoid that used an escape pod to get away during the Intergalatic War. I sense a story there.

Laura's cover art (HH's Lost Boys) was superb. I was one of those bidding on the original at SCORPIO VI (along with two other HH pieces). Thank you so much for making it available to the public at large.

A first!! The filk "Eyes Forward” was excellent! I almost never care for filks but here is a truly exceptional case. Liked the HH Avon art that went with it, too.

[...]

The first thing I read, after the editorial (why would Leah be annoyed by the photo?) was "The Blake's 7 ABC's". I received many odd looks as I chuckled, snickered and choked my way through it. My favorite letters are: A, F, K, 0, P, and T. Go back and read them to see why.

Remember what I said earlier regarding poetry? Well there were four pieces that struck that responsive chord: "Duel," "Runaways" (is there nothing that woman ((Leah)) can't do well?),

"In the Shade of Sarcophagus," and "Deathtrap" (Karen's art was beautifully appropriate for this last one).

"Going Nowhere" with [Gayle F's] artwork was excellent. I like moody pieces interspersed with the fun ones. Gayle's work is familiar to me from the STAR TREK days of long ago.

"Half a Loaf" was very good. So was "Worrad" although Dayna and Vila got the needed part so easily it almost seemed an insult after all the pain and suffering Avon and Tarrant had gone through. Would have liked to have seen more of this type of interaction between the two men on the show.

Is "Nightmares, Visions, and History" going to be a series? I've always felt that Avon had it in him to be a psi sensitive. But precog is one psi ability that most authors don't utilize. (Though I remember the one with Vila's visions of Gauda Prime in a more humorous vein.) It could be very interesting.

Virgil's Once & Future King (Avon with the sword) on page 37 is a favorite (and not just because I own the original). The story that went with it was a little odd. It was like a great set-up that was suddenly cut down in its prime. There's a comedic style like that but I've forgotten what it's called. Laura's Avon on page 82 is another one I liked. Interesting story "Knight Moves ." Jon Manzo must play chess! It was easy to visualize each move as it was described.

With a few simple lines, Leah captured the vision of Servalan's beauty in the picture that went along with the poem "Terminal." I also loved her portrayal of Avon and Vila as children in the artwork presented with the LoCs! Would like to see more of them. Perhaps with an accompanying story.

The cartoons were fantastic! Favorites were: Celeste's "definitive fashion statement," Flight of the Hellhound with its complimentary peanuts (must have flown on the same airlines I have), Die Fleder-Bubbles, Travis in a pink dress, Virgil's 'lame excuses' (how many times have you had your luggage lost, flights delayed or canceled or other such calamities), the Delta barf bag (has anyone ever used one of these?) and, of course, Blake saved by a copy of SS which stopped the projectiles when Avon shot him.

"Michael" and "Poor Tom" were two disturbing pieces. One doesn't like to think of one's heroes as being ruthless villains or that the crew would break up and go their own aimless ways. Still, I thought they were good though "Poor Tom's ending was rather abrupt. "Michael" gives yet another reason for the growing insanity of the fourth season Avon. Admired Leah's Avon and Vila drawing that went with this story (does she have a fan club?). She manages to convey the feeling of, I don't know, affection, loyalty, friendship or whatever. It's there.

Good! Someone finally had the idea of tossing Orac out the airlock over Malodaar in "A Matter of Choice." Still, I want to know why they just didn't try to land in the swamp and have someone teleport down with bracelets once they were stationary. (But then there would be no angst—no story, as Terry said.)

"No One Together" was one of the best 'dialogue1 stories I've read. It fleshed out each of the characters and had them grow. Vila's exchanges with Tarrant and Soolin revealed some of the things that drove each of them. As this takes place between “Orbit” and “Warlord," I was left wondering if this change in their relationships—this easing of tension—would affect future events. In other words, would “Blake" still happen? Avon seemed more relaxed. I didn't think Avon would react the same as the televised one when he met Blake. Vila's crack about Servalan gaining weight and the reference to Dayna liking to watch Avon sleep because of his eyelashes were funny and believable because they were also in character.

Last, but not least, "Devildog" by V. Laster captured the essence of HH in the title illustration. The part about which words in the dictionary Steffany should avoid was hilarious. And who can forget those immortal words "Die, you miserable X-Chromosome!!" Something you can incorporate into your daily conversation. Right. [And ten extra points to those of you who figured out (it wasn't hard, was it?) that V. Laster is also known as Rosenthal & Wortham. Editor]

All-in-all another great issue. You say you're going to publish it more often? Hurrah!! But have you consulted your doctor lately? This could be hazardous to your sanity. I'm not worried about mine — it's already gone.

I like the LoCs (as most of them do). LOG OF THE HELLHOUND seems to be generally adored, some with reservations and a few hate it. All those comments make me rethink about what I thought of it. Because it is a 5th season story, the authors can take the characters where they want, provided their stepping-off is valid. And theirs is. I don’t like their Avon as a person, though by the end of Book II, I can see some redeeming features peeping out; but the point is that he doesn’t have to be made to fit the surroundings of the Actual Series, since he is one step beyond them. LoH is a story by itself, with its roots in B7, but taking its own way. And it is a story I enjoy reading.

On the other characters the Tarrant is a good development — but let us remember that his relationship with Bev is not (should not be) a static thing. There is one thing about troubles, and that is that they either make you or break you — you can grow or die from them. And that goes for relationships, too.

A number of people were complaining about Steffany White's character — "Mary-Sue" being one ward that was dropped. Now, is that true, or is it because she is so easy to identify with? In the midst of all these cold-blooded killers, with a sprinkling of young idealists, isn’t a "normal" person a bit of a relief? She is a professional whose life up to now had been placid and shallow, who is suddenly snatched away by these terrorists. The last thing she should do is get hysterical, and she doesn't. As for [Carol M's] complaint [in a letter of comment in the previous issue] that she isn’t good enough for Avon — get real! If she had been a revolutionary, she would probably be dead, or otherwise unlikely to be a psychotherapist (which is what Avon kidnapped her for, remember?).

And those people [Carol M] cites -— well, they weren’t born that way, were they? They grew through trouble -- and Steffany will grow or break from it (unless Snyder & McGhin are worse authors than I think). Avon has withered from his troubles, but who knows, Katrina & Susanne my allow him healing. And if that is so — what a marvel! The thing that I like about Avon is his intelligent strength and potential — the flashes one sees of all that could be, if he would let go his bitterness.

I agree that having Steffany fall in love with Avon is dangerous: she could see that herself. It is a knife-edge: much good could come of it as well as much bad. There is always a potential for abuse in a relationship — on both sides. It is not Steffany I am afraid of abusing her power — it is Avon. I must assume that Steffany is competent and responsible adult.

Back to [Carol M's] comments: I don’t think Steffany is looking for a relationship to give her life meaning—she just happens to love the guy!

I don't think this is a case of victim-rescuer? though I see the danger if it were so. Steffany does not want Avon to be dependent on her — and I can't see Avon allowing himself to be a "victim." He is too strong. This affair could be the best thing that happened to him — or the last straw. Not that I approve of affairs, anyway.

[...]

FROM THE LOG OF THE HELLHOUND — BOOK 3 by Katrina Snyder & Susanne MoGhin: Da, Gut, Or,..yes, I like it but..,(uh,oh). In a way, I am tired of this going on and on and on, like a soap opera; and likely to go on and on and on (ten books, wasn't it?) [Yes, much like the aired show went on and on for 52 episodes. Editor] I know Bryn Lantry wanted it to go on forever, but there is also a wish for resolution, instead of endless more complications and characters to get lost over. It is time I read it all again, but my copy of Book 2 is still being borrowed! I am a fish jerking on the line, resenting the hook caught in my mouth: now could they hurry up and do something instead of just introducing more characters?

The authors are so good, one starts to judge them by professional standards, and they just don't measure up to what a good book (as distinct from a published book) is. The minute descriptions of places and clothing have finally gotten to me. It just feels like a boring waste of time, and totally lacks atmosphere. Now I see why people were calling this a comic strip! I don't mean they shouldn't be described, but please try to do it with more feeling than a store catalogue!

I congratulate the authors for planning their plot so all-enocmpassingly — some people stare at blank paper and think plots get inspired...but now I think the authors have been striving so much to get the plot right, the characters right, the dialogue right—they just didn't get everything right. Congrats for what they did get right. They should take a break now and then, or they will get utterly sick and tired of the whole thing—that that will reflect in their writing, which will make us unhappy. [I'll tell you a secret: the HELLHOUND stories are not written in the order they are published in. They are written as the authors feel inspired to do them and many of the stories for later Books are already finished. Editor]

I feel sorry for Sevran — if he ever finds out Avon is his father, oh dear! Sevran adores his mother, and his father is determined to kill her. Both Sevran's parents are terrible people — so whether he loses his parents or finds them, it is tragic. No wonder Avon called him doomed. Could Avon ever give up his revenge for the sake of his son? Certainly not at this point in time.

I guessed Fen Payne was one of those victims of the Federation. People tend to forget about that phase of Blake's existence — there would certainly have to be people who believed the propaganda — and the "victims" would be the most certain of all. This could make things interesting — as if things weren't interesting enough already! The coincidence level is getting rather high, though. No matter. I don't believe in coincidence anyway.

Summing up... kudos for Celeste Hotaling, Northwest Smith (what kind of name is that?), Jen Manzo, [Shoshanna G], Jacqueline Taero, Nancy Monfette, "Vera Laster',"Snyder & McGhin anyway, and all those artists who did the good pictures: Leah, Laura, Karen, to name a few. And you, for putting it all together!

[zine]:

Any letter of comment on SOUTHERN SEVEN #3 has to begin with the cover. For some reason I didn't like it much at Scorpio; I remember standing in front of the painting kibitzing about Avon's haircut. But when I took the zine out of its envelope I sat and stared at the cover for several minutes before I even opened it, the artwork held me. It's the background, the blue, that I seem to be drawn into, a sense of the figures suspended, waiting. Avon's foot kicking absently at the air. Perhaps reproduction changed the quality of the color slightly, or perhaps I was just too wired at Scorpio to appreciate it. I find it now very powerful and moving.

Getting on to the fiction, which I always find the meat of a zine (my own bias), I found the quality a bit spotty this time, but some really good things stand out. D. Beetem's "Michael" was particularly effective at producing chills. B7 always seems to bring out my taste far the cruelly cynical. "Harbinger" was an excellent treatment, although I didn't find too much new in it; still, the characters were drawn very well. I must admit that I expected the worst from "Curtain Call" — "Oh, God, another 'yes, I set all this up and it's really just an elaborate stage play so let's link arms again in friendly camaraderie1 scenario." But I was more than pleasantly surprised. Those scenarios usually leave me disappointed by failing to show the characters dealing with the quite genuine anguish and terror they have borne, even if the GP denouement is sanitized. Liz gave us pages of believable, non-whitewashed coming to terms. Thank you, Liz. Also rising above its plot was "No One Together"; I'm developing something of an allergy to Avon-in-a-coma stories, but the excellent character interaction kept me involved.

"Nightmares, Visions, and History" had some interesting ideas, but felt to me as though it should have been about half the length. Tighter, leaner, it would have been excellent. On the lighter side, "Taken for Granted" was delightful, and "B7: The Next Generation" was painful.

You know that feeling you get when you keep wincing, but somehow you're enjoying yourself? And as for the DEVILDOG...well, it had to be done, we all knew it would be done, and now it has been done and maybe we can just ignore it and go on... Actually, I laughed all the way through. And I'm seriously considering getting a t-shirt that says "rebel fodder." (Perhaps Lois should consider them...)

I missed BIZARRO. Not that you've been busy or anything, I know...

Most of the art was very nice, although nothing really grabbed me the way the cover did. I'd like to see more of Aldrin Aw's work. I'd also like to thank both Leah and you for her illo for "Poor Tom." I like it very much. Interestingly, she pictured the moment somewhat differently from how I envisioned it; this led to much rewarding cogitation on my part.

I've left HELLHOUND for last, and it really is in a class by itself. As a continuing series it is setting out to do something quite different from what the rest of the contributions are about.

The first two stories seemed to be a little lacking in the lush descriptions so prevalent in the earlier books. I began to fear that Katrina and Susanne were paying too much attention to (ill-considered, in my opinion) accusations of MIAMI VICE-ness. Personally, I am impressed with their skill at creating a mood by creating a setting, and some of my own writing reflects how much I've learned from them. I was glad to see the lavish detail return in the later stories.

The two successive flashbacks got the book off to a slow start; though they did fill in some blank background, there was nothing we couldn't have guessed pretty well already. I'm glad that Vila's story was not included too; it would have been just too much. But once everybody got caught up again, I was on the edge of my seat. And Blake's and Avon's confrontation? re-acquaintance? at the end of "Weeping for the Memory" was riveting. Katrina and Susanne have such a needle-sharp skill at selecting exactly the words, the overtones, which will most reveal a character, which fill him out to solid, living, flawed humanity. I stand in awe.

It certainly was child-abuse week in HELLHOUND, though. Having Avon molested by his brother is a powerful idea, adding yet another angle from which to see this tortured man. I anticipate quite a confrontation when Payne makes whatever move he finally works up the guts for.

And my God, the homophobia of the society they paint! Marc's having made a pass at an adult, if young, man is immediately accepted as grounds for his summary killing (Morten said nothing about rape, just "he went for my arse!"), and not only that, but the mere revelation that Marc was bi/gay sends Chloe into panic for her children (as if every man oriented toward men is a child molester)! No wonder Avon has always been so closely barriered! "Weight of a Feather" established that the society was homophobic, but nothing this blood-chilling. Brrr. And there are seven books yet to come — I am dead and gone to heaven.

About LoCs: I'm glad to see that you'll be following popular sentiment and continuing to print them, although I trust your integrity if space limitations begin to force you to print only a selection. [Space limitations in one of my zines? Be real. I like 'em big. Editor] Although having letters appear in print months after they are written can lead to embarrassing gaffes, such as mine in #3. One excellent reason to print them (at least, I think so!) — if not for reading Katrina's letter in S7#2, in which she plaintively wished that someone would filk The Clash, I would never have written "Eyes Forward," which has given me more satisfaction than any other piece of B7 writing I have done.

All in all, another excellent zine. Thank you.

[zine]:

SS3 came today. I just finished reading it. I think it is the best issue of SOUTHERN SEVEN so far.

I know the "ABC's" are going to be compared to Celeste Hotaling's "Wild Child's Guide" in B7 COMPLEX, but there is no connection. The "ABC's" was submitted in early '87 [I can attest to that! Editor] and "Wild Child's Guide" came out around May 1987. It's just coincidence, really. I liked Celeste's cartoons for the "ABC's" — just as twisted as what they illustrated.

HELLHOUND: it's kind of depressing to know that I could never write anything this good, but I'm having a wonderful time being depressed! Seven parts to go...can't wait. Incidentally, my favorite moment of part 3 was when Fen Payter [sic] showed up. Complication upon complication.

The front and back covers were gorgeous.

"Fanatic Activities": Unique.

"war Leader": Theresa Buff aloe had sane nice illos, particularly P. 34. It would have been nice to see what Jenna and Cally were doing as they searched for news of Vila.

"Rappin' Roj Blake": I still say 'ouch.'

"Half a Loaf": my favorite humor piece. It was inspired.

"Worrad": I'm not much for trash stories, I'm afraid.

"Poor Tom": I love alternates. But sheesh, this one sure was sad. Loved Leah's illo on page 129.

"No One Together": another alternate! Yay! There has to be more to this, though. It sounds like it's part of a series, a series I'd like to read.

"Golden Lady": nice to see something about Soolin, for a change.

"Curtain Call": I really liked the way Avon and Blake just...chatted, for once. The emotional stuff is more common to fan fiction, but lighter pieces like this are balancing. In fact, I think this is my favorite story in the zine. (HELLHOUND doesn't count. It's a series.)

Kathryn Andersen had some nice art.

[zine]:

Since it's impossible for me to receive a zine (indeed, any reading matter) and not try to read it immediately, I was appalled at the LoC in SS3 in which a fan said she'd had a SS for ten months before even attempting to read it!! And at that, only in "desperation"?!? And because of "the awful artwork" (I beg your pardon!) and she had "heard" HH wasn't "B7". [Well, frankly, as to any allegations of "awful artwork" — I'm a consumer, too. In fact, there aren't many B7 zines in print that I don't own a copy of. I think I can say without any reservations that my zines carry the most art and the best art in the fandom. Anyone out there disagree with me? If so, tell me where to get my hands on the zine you think has more and better. I want a copy. Editor] Excuse me, but I find that attitude pathetic. That's something I'd expect to hear from a total mundane — but coming from an alleged fan, it's unbelievably unenlightened. How can you not read a zine that's right there living with you? And just because you'd "heard" parts of it might not be to your liking? And you admit this to general fandom?!? Where is your head? We have a long tradition of self-determination in this country. Use it!

And that brings me to the LoC in which the writer claimed to have skipped reading "Common Ground" because he'd been "told" he wouldn't like it. Dislike a story, if you will, but please dislike it on its own merits because you read it yourself and made your own informed decision. There are authors I don't generally like — but I will, at least, always skim a new story. Even a "bad" author can turn out a gem and I don't want to miss it.

Well, on to SS3 in general: no one story really stands out this time. Something I attribute more to Annie's editorial consistency — good writing across the board.

"Michael" almost missed my attention. I found the title and the first few sentences dangerously "cute." But I forged ahead (I rarely stop after I've started a story, even awful ones (this one wasn't!!). Not a bad concept here.

HH is still my overall favorite but I oust admit I'm becoming mildly annoyed with Steffany. Her lack of "professionalism" (i.e. going to bed with a maniac) just doesn't ring true. She seems to spend a good deal of time watching Avon with 1. detached curiosity and 2. just analyzing him — she knows he's dangerously on the edge and she's probably the only one qualified enough to help him — so she falls in love with him. It's my personal view here that Avon needs some purely objective help and Steffany is much too close to his forest to see any falling trees. [Everybody seems to have totally lost sight of the fact that. Steffany was brought on board the ship to help Blake not Avon. Avon became her "patient" much later and not really of his own free will. At which point she was already falling in love with him. And it's not like they have any other psychotherapists around who could take over the job, is it? Just a thought. Sorry, Linda. Editor]

Psychoanalyzing someone "close" just doesn't work because 1. you're too apt to overlook too much and 2. loved ones don't take you seriously or get incensed because 3. they're not in a paid session with a "professional."

I mean, I just can't see Steffany "analyzing" Avon after a night in bed. How would you react to that?

And now — Avon's son!?! Again!?! Sigh. What is this fascination in fandom with giving Avon a 1. child and 2. most always a son? (I mean, goodness, doesn't poor Blake ever get any nookie? Or is he just more "careful" when he does?). [Your own biases are showing here, Linda. How quickly they forget. Didn't Blake have nookie with Jeanine? Multiple times? Spread out over two books? Didn't Blake, for God's sake, have an affair with Chloe in Book 3? (Okay, a tryst—it was still nookie). I could just as easily scream how come Vila doesn't get any nookie — I mean, Vila hasn't even had a girlfriend. And what have you got against people having sons? There are only two sexes to choose from, y'know. If you want to see a story about Blake having a son so badly why don't you sit down and write it? (And you know where to send it, too, right? Smile.) Editor] Personally, I don't enjoy children (I don't dislike them, I just don't enjoy their company. I don't mind them in a playground or across the room). And I don't particularly like them showing up in fan stories — not unless they are presented extremely well, realistically, and for damn good solid reasons which will advance the plot.

As the HH authors are damn good solid writers, and as this installment of HH reads much like the middle of a trilogy in which there is lots of character development but little plot And how many more stories are we going to get in which Avon is 1. forgiven for his actions in [the episode] ORBIT, 2. Orac is blamed and/or 3, it never happened? I fully blame Avon for his actions. Orac merely answered a question. [Right. And if you'd been on that shuttle you would have selflessly thrown yourself out the airlock. Be real. I love Vila but I wouldn't be overjoyed to die for him. Editor]

So far the best version of this hasn't been written/published yet and was proposed during the Angst Panel at SCORPIO: Orac is leading Avon during most of 4th series as an experiment to see how he'll react. But Orac doesn't seriously believe (think?) that Avon will really go after Vila or really shoot Blake, then Orac has to deal with it—that he's broken all three Laws of Robotics. Computer angst! Wow. I told him to send [this proposed story] to Annie....

[zine]:

I just finished SOUTHERN SEVEN #3. Once again you've managed to publish a truly excellent zine. (Well worth waiting for — even as much as I loathe waiting.) How do you get all those talented people to contribute to the same zine?

"The Blake's 7 ABC's" had me laughing as soon as I opened the package.

I enjoyed "War Leader" and "Home by the Sea". I've always maintained that Vila could adapt to situations the others would be lost in. Each of these stories was, in their own ways, excellent examples.

I loved "Knight Moves." I enjoy strategy games, and I've seen similar situations enough to believe Jon Manzo recorded it exactly the way it happened on Liberator.

"Taken for Granted” was simply hilarious — no other comment necessary.

"Michael" has become my all-time favorite piece of short B7 fanfic. As excellent as D. Beetem's story was, it couldn't have had the impact it did without Dani's portrait. Together they produced a whammy that made me revise my opinion of Vila. Excellent work!

"Curtain Call" was a good alternate interpretation of BLAKE the episode. I've heard the idea before, but Liz Sharpe handles the characters much better than most authors. The art as usual was excellent. My favorites were both covers and pages 34, 69, 82, 101, 117, 121, 129, 151, 153, 154, 158, 163, 183 and 193. I also liked the cartoons in the LoCs.

And now for my favorite 5th season series LOG OF THE HELLHOUND. More!! Please write more!

What you say there's stuff written that I haven't read — Mail it to me! More! Okay, okay I've calmed down (somewhat). I used to claim B7 was addictive — HELLHOUND is more so. Yes, Avon is bisexual in HELLHOUND. Yes, it has a depressing view of the world. Yes, it is B7 goes punk. HELLHOUND is also some of the best writing I've seen, with new characters who are truly alive, old characters obviously emotionally affected by events, foreshadowing, etc. Why aren't you two writing professionally??? When you start your names alone will be sufficient to get me to buy the book. Anyway, just keep doing what you're doing and I'll keep going off the deep end when the next LOG reaches me. (Addictions are a terrible thing. I skipped Physics 331 to read HELLHOUND. Have you ever tried to understand someone else's physics notes?!) ...Keep up the good work. You produce excellent zines.

[zine]:

The cover is terrific. I'd say that even if it wasn't my series being illustrated by it. The use of the colored paper, the delicate, painstaking detail of the faces, Avon's expression: what is he thinking? What is Vila looking at? Laura did a wonderful job. There was quite a lot of impressive art; it would be wrong to leave it at a roll call of page numbers. Naming the artists would be too much like a fan artists hall of fame! Karen River's two poetry illustrations are stunning; Laura Virgil's Avon with Excalibur is wonderful; Dani Lane's illos for "Golden Lady" show how well she can create a recognizable character with a few lines; Celeste Hotaling's cartoons were just right (how did she get that perfectly dead look on Dead Avon?); and then there's Leah Rosenthal, the best renderer of Blake on this planet...but does she know about this Vera Laster-person cribbing her BIZARRO style for some of that strange HELLHOUND stuff?

I did indeed miss BIZARRO, and hope it returns soon. Mind you# I don't want you to drop dead from overwork, but the absence of that duck-molesting Roj Blake and his crew of psychos weighed heavy. I did enjoy the other two humor series; there's a lot one can do with Anna Grant, and the TV in-jokes in "Taken for Granted" were well aimed. "The Next Generation" was good, too. Benito and Evita were a scream. But where's Kerr Junior? Is he off being the "boy in the plastic bubble," having inherited all his father's fan-induced allergies? "Rappin' Roj" was hilarious; I'd love to hear someone do it. And did I fail to mention "The Blake's 7 ABC's"? Hah, hah, silly me!

"Going Nowhere" was a good vignette, and I generally don't like vignettes. The atmosphere was excellent, it gave the reader a good idea of what a dome might really be like. Read from our vantage point, it's incredibly poignant; we know what's to become of this attempt to flee.

"Home by the Sea" was an interesting blend of parapsychology and BLAKES SEVEN. I'm not one to believe in ghosts myself, but I enjoy a spooky tale now and again and this one fit the bill... suspenseful with a clever ending.

"Nightmares, Visions and History" gave me a problem because I'm also skeptical about pre-cognitive powers and "ghosts from the past" arriving to set things straight, so the ending seemed to me to be a little pat. However, the details were well thought out, and the part with the mines and Blake's well-intentioned mistake struck me as being right on target, as did the characterizations.

The brutal realism of "Poor Tom" might be a little hard for some to swallow, but I found its portrayal of what could happen if the Federation fell without a viable government to replace it a fine antidote to those "Blake becomes president and everything's hunky dory" stories. Consider the French and Russian revolutions, for example. Sometimes it doesn't turn out the way we feel it should. An excellent story, if very depressing. After that last line, there seems to be nothing more to say. I prefer a more optimistic ending myself, but the bitter irony of this one appeals to me as well.

It was a happy coincidence that, in the very same zine where I wonder what it would have been like had Vila been a Federation spy, there's the story "Michael". It was handled neatly, too, and I particularly like the way the ending fit the facts of fourth season... although I think Avon went nuts all on his little own.

"Harbinger": if it has to end badly, this is the way to do it, dragging Servalan down as well. Too bad, bitch!

And now, a short position paper entitled "Steffany White: Mary Sue, Wimp, Weinie, or What?" I've always understood that a Mary Sue occurs when a female writer writes herself into a story as the hero's sweetheart usually a woman too wonderful for words. Well, the bitter truth is: there is a HELLHOUND character with elements of this affliction, in the respect that same of her experiences have paralleled that of one of the authors, and her name is...Bev Hastings! But that's as far as it goes. As far Steffany "fixing the Liberator with a bobby pin," she does nothing outside her stated abilities as a physician, and by now Jeff Morris (gee, you seemed so nice at DSV, guy!) knows she didn't fix Tarrant's leg, and that Avon and Blake aren't going to "get it on,” much less get it together.

[Carol M] seems critical of the fact that Steffany is not the perfect mate for Avon. No, she's not, and that's the point. Would a fully mature, self-actualized woman go for a man like Kerr Avon in the first place? Not on a bet. The whole idea behind Steffany and Avon's relationship is that "a casual, short term relationship with Steffany White might be beneficial to Avon's emotional health." Couldn't have said it better myself! [Besides, if she was perfect for Avon, not to mention not having all those faults, she would be a Mary Sue! Real, live, functioning people have faults and what makes a "Mary Sue" is a character (male or female) who is not made to seem real because they are unbelievably perfect! ed.) Likewise, the Jeanine Orly character was designed to be a serious hindrance in Blake joining up with Avon again, although I question whether a woman who drives a loader into a gun battle can be called a "wimp ." As for Steffany's knowledge of Federation abuses: remember, she was in private practice on a Federation colony, not Earth, and she did have some knowledge of said abuses, to the point of turning down a posting to Omega Three.

If a Federation lawyer (Blake's council in THE WAY BACK) can be ignorant of the true nature of the Federation, why can't Steffany? What about Docholli and Lurgen?... but that's another story. No, Steffany's not perfect, not in [Carol M's] book, or in ours, but a fictional character doesn't have to perfectly embody our own individual value systems in order to be human and believable. To tell the truth, we find Steffany hard to write because she gives in too much to Avon; we'd tell him to get off! One more thing, before I leave Steffany to her fate, and that's her "philosophy." Ironically enough, it was published in SOUTHERN SEVEN 3, page 226: "It's not professional to inject your personal beliefs. But what I believe in, Roj, is that there should be a world where people have a chance to be all they can be, to be healthy in mind and soul. To be appreciated far what they are. To be loved. I'm an idealist, you see." And earlier: "You can blame your past, your genes, and the Federation all you want. With reason, yes. But in the end, your life is your own. Your decisions are your own." Then to Avon's claim of being "king of pain": "Then abdicate. Don't wait for a successor or a coup. Abdicate. That's the only way out." Sounds like Steffany's trying to get Avon to rescue himself, instead of doing the dirty deed for him. True, her falling in love with a patient is questionable (part of her imperfection) but "who zoomed who?"

In closing: thank you, Annie, for dedicating SOUTHERN SEVEN 3 to us. We appreciate it tremendously and feel honored. An editor like you: someone who's willing to put the semicolons where they belong and to encourage and defend your authors' creations, is one to be prized as both editor and friend. I'd also like to thank those who wrote about their enjoyment of our series, including those who offered well-considered and helpful criticism: we'll be sure to take it all into account, and I promise Jeff Morris that later stories will make clear Avon's motivation. (You are a nice guy, Jeff, and don't take the letter bomb seriously!) I'm looking forward to SOUTHERN SEVEN #4, partially so I can read more of THE PHOENIX PROJECT and find out what happens to Bram Drew!

[zine]: Ah, yes, HELLHOUND—Part One I didn't quite know what to make of it. Part Two I got mildly sarcastic, and now here's Part Three and at last I know how to deal with this Magnum Opus (short flightless waterfowl in Hawaiian shirt and Ferrari!)— It's a soap opera!! And soap operas I can handle. Which means that any strange, warped, twisted, sick, sadistic, unbelievable, off-the-wall behavior and/or events are not only tolerable but completely acceptable within the defined parameters! And I can sit back and enjoy the unfolding saga... The only criticism I can offer regarding Part Three is in the pacing. Too many important events occur too quickly. Especially Avon's brother. We meet him, discover Avon hates him, discover why Avon hates him, and Avon blows him away! All inside maybe ten pages! I mean, really! What's-Her-Name lasted through most of Part 1 and part of Part 2 —and she wasn't really essential to the plot! Yet the prime betrayer of Avon's trust only gets one chapter? Arrrgghhh!

[zine]:

"Going Nowhere" by Celeste Hotaling is approximately the most convincing "how Avon got his exit visas" scenario I've read yet. It's well-written enough to make me wish for the rest of Avon's pre-series story from this author.

Is "War Leader" by Jill Grundfest the one where Vila gets to be the hero? 'Cause he does. There's rather a lot of action, but it's more interesting than just running and shooting; this includes a fair dose of devious thinking from the characters as well. The story has the kind of ramshackle planetary society that the show often included, though I can't decide if that's good or bad overall. But it's very enjoyable reading.

"Half a Loaf" by Northwest Smith is a cute bit of extrapolation, no longer than it needs to be. "No One Together" by the same author is a much fuller story, with a good role for Vila relating to the whole of the 4th season crew, for a change. Kathryn Andersen's delicate portrait illos are very attractive on that, too.

"Nightmares, Visions and History" by Linda Knights contains a lot of interesting material, including some reasonable accounts of Blake's crew wrangling over his decisions, cooperating in crises and supporting his ideals only partially but loyal to the group absolutely—except in Avon's case, of course. Strong accounts of 1st or 2nd season crew action as interaction aren't as common as I'd like, in current B7 writing, since more gripping opportunities exist later in the show, but it can be done. The story as a whole could be smoother, since the various episodes aren't particularly well connected, but each makes good sense in itself, and Avon's precognitive dreams do give a unifying theme to finish off the story.

"Knight Moves" by Jen Manzo is fascinating if you know chess and delightful anyhow if you don't: the characters presented through an intellectual problem, accurately and in revealing detail.

"Home by the Sea" by Michele Rosenberg also takes the characters to a specific situation, with more emphasis on action and less on pure character. I'm dubious about ghosts in the B7 universe, but the Addams-esque plotline had some appeal, no matter what the larger setting.

In the realm of jokes, "Fanatic Activities" is far too cute to be real, though it's a well-constructed story on its own terms.

"Taken for Granted" (aha, Celeste Hotaling again. She's making a good showing in this zine) is similarly farcical in concept and so well realized that it goes beyond a joke to the realm of high comedy. This romp through a very alternate Liberator history has the kind of dizzying consistency that creates and justifies its own twisted version of reality. This is only augmented by the illos, which have the kind of wicked detailing that keeps providing double-takes on the third and fourth examination.

"Worrad," unfortunately, does not succeed in presenting a convincing action plot, largely because none of the characters act intelligently enough to be believable in their roles. The grievous pain and injury inflicted on Tarrant and Avon, who keep going past all likely human limits, doesn't really improve the situation.

"Poor Tom" is also very much a downer story, but based on Avon's self-destructive psychology, it's more likely Avon would fall into despair on his own (that is, with no Blake or Servalan to play off of) than allow anyone or anything to trash him physically.

"Michael" and "A Matter of Choice" are both interesting reversals of events, alternate to [the episode] "Orbit" and reinterpretation of Vila's whole role in very few pages. Hie concise twist on the universe is still an effective technique.

"Golden Lady" is less effective as simple memoirs instead of any kind of developing storyline, though such experiments in format are worth trying out. There's nothing so arresting about Soolin's character (except the fact, apparently not visible to some fans, that she has a character) that restating several views of it tells us anything new.

"Harbinger" by Laura Virgil. The dream conversation during coma or death is an old convention that seldom reveals anything too new, nor does this one, but it's a good if familiar view of Avon's relationship with Blake's and Vila's memories, and the mystery of just what situation calls them together lasts long enough to give this piece some structure.

"The New Generation" by Jeff & Mary Morris. Yaay! A story where the first significant action is Avon going toes up! A comedy! Actually, the undergraduate atmosphere of the story was irritating at first (I like B7 because it's not about undergraduates), but the thing is so funny in spite of this — another of those comprehensive jokes that are too good to judge by "realistic" standards—that I soon began cheering for Duwop Tarrant. Gilligan's Starship, anyone? The Hotaling illos in this one are also hilarious.

Other stuff around the zine: the occasional River art was truly stunning. I'm too stunned to say anything coherent about it, except admire the large solid black areas that reproduced perfectly. Especially appropriate far Servalan, as was everything else about the picture... The rest of the repro showed faded streaks, which distracted from sane of the other art. Even so, Leah's frequent quite serious views of the characters invariably looked exactly right for the situation. I am also enamored of her notion of flamingo punk, on the title page. The color cover is beautiful. I assume it has something to do with Hellhound, though it looks like Miami Vice to me... what's life without a little comment on stylistic similarities?

"Curtain Call" by Liz Sharpe is as cogent, well-written, and reasonable as one expects from her. It's fun to read something you don't know the ending of, but can trust to have a satisfactory ending. Or ongoing conclusion.

Speaking of ongoing conclusions and trusting an author without knowing the ending, there is Hellhound. Wow. Snyder and McGhin have set up a new wave cosmos that inexplicably contains too many points of similarity to our own sad world, and every one of them works. Every time some character did something too much like the 20th-century norm (like shop far make-up), it tied into something in the series, or something already set up in the HH series. (Where did Dayna get all that pink eyeshadow, in the show? She sure didn't bring it with her from Sarran.) Elements like women being relegated to the kitchen and resenting it, psychological therapist being a normal civilian profession, and a society full of homophobic attitudes, are each shown in enough self-conscious detail to indicate that the authors chose them deliberately (rather than picking up their own default social values) to exist in the same universe with space pirates, galactic revolutionaries, and a diet in which meat is a luxury, not a staple. The background varies with the locale, another good point, but the ongoing characters' assumptions are consistent enough, despite their different origins, to show the society as a whole. This never lets up, and the series overall is incredibly rich-textured because of it.

If the series is as long as we're premised, it has time to develop the Blake vs. Avon theme which, in the scope Hellhound likes to use, is just beginning to show up as more than a character quirk of Avon's.

Each character (and we do seem to run into an inordinate amount of Blake's and Avon's past) is so well detailed, and this is accomplished without obvious stops for exposition in the narrative, that there's no way of knowing who'll become a major part of the storyline and who has a brief role, however essential it may be. This skill on the authors' part has more advantages than the obvious one of keeping the reader interested in the whole story, minute by minute. The major characters revolving around the two centerpieces are well enough developed to illustrate aspects of those two's dilemmas. Most notable is Steffany White: she is aware, in far more detail than any layperson, how hopeless and stupid her falling in love with Avon is. Yet knowing and being able to trace the emotional process does not halt it, any more than Avon's self-knowledge eases his own emotions and how they run his life, in spite of his intellectual brilliance. I'm fascinated. I want to read the rest of it.

Thanks very much for the variety and frequent good writing in the zine overall. Even the locs were fun. Even the flyers in the back and the guidelines for writers. Even the comb binding, which went with the front cover. Even the envelope it came...well, actually the vanilla envelope was kinda routine. You have to stop someplace.

Fly low and carry a big stick.

[zine]: SS#3 was pretty good. HH seems to be turning into a soap, and boy do I dislike those! Still, I'll probably keep reading it (curiosity, mostly).

[zine]:

In many ways, this (S7#3] is the most depressing issue you have published, "Michael" was chilling, sickening, horrifying because it provides one explanation for season 4 and for Vila's hidden strengths as revealed in "Terminal," for instance. What a nightmare of a story!

The post-ORB IT story by Northwest Smith made up for a lot, and "The Log of the Devildog" was a scream!

I utterly reject the what-if story, ["Poor Tom"] concerning Servalan's death in that basement on Earth during Anna Grant's coup... because Avon just isn't that fragile! The man's a complete bastard and that's the way he should be! And Dayna's behavior was completely out of character as well—ugh!

On the other hand, the post-GP story ["Harbinger'] concerning Avon's being haunted in a prison cell by Vila and Blake had me in tears, and that doesn't happen very often. A wonderfully bittersweet story, and what a kicker of an ending! I haven't finished #3 yet, I haven't even started on the HELLHOUND series or the LoC's: with luck, #3 will last for the rest of the month.

[zine]:

LOG OF THE HELLHOUND continues to be incredibly insightful and refreshing, and I look forward to future installments. I am one who believes Katrina and Susanne should go pro. A word about Katrina's much-maligned artwork, from one artist to another: keep up the fabulous work, Katrina!

For those who don't understand the difficulties involved in producing illustrative artwork as opposed to portraiture, and for those who complain that such illustrative artwork is inappropriate, or non-representational , or just plain not realistic enough, why don't you try to produce some yourself before you complain? Illustrative art is much more difficult to accomplish and I, for one, admire those such as Katrina, Theresa Buffaloe, Dani Lane and Leah Rosenthal, among others, who possess this much-envied talent. Katrina's art has a sort of fashion-illustrative feel to it. I don't know if that's intentional or not, but it is not easy to do.

I do not understand why fandom's readership is continually making disparaging remarks against editors who do not have illustrations for a particular piece when the general bent of criticism after publication leans toward the obscure. E.g., "Oh, and the art's nice too,” "the art's okay," or "I liked most of their art," or worse, no commentary at all. Artists need constructive input too, you know.

I adored "Blake's 7: The Next Generation," but then I had the advantage of seeing it just as it had been peeled out of its envelope at Annie's some time ago (thanks, Annie, for the preview). I didn't think I'd stop laughing. Jeff and Mary have the most wicked senses of humor, individually or collectively, of just about anyone I've ever known. (Thanks for introducing me to them, Annie. I'll get you for it. No matter how long it takes...)

I really enjoyed "Curtain Call" by Liz Sharpe. She has a gift for an incredible turn of phrase and she should also be writing professionally. (Hear that, Liz?)

I am somewhat...bemused... by [Carol M's]s assessment of writers in general. Her indictment of being sick of amateur and professional writers as having no firm grasp on grammar or syntax is rather abysmal and narrow-minded, and is certainly unfair. Not everyone can have the advantage of a formal education in English, journalism and/or grammar, and that does not necessarily render an uneducated writer incapable of creativity. Perhaps they do not write technically correct, however, not having that ability does not necessarily mean their ideas aren't valid or interesting. A person who can balance their checkbook need not necessarily be a CPA to do so. Therefore, I contend that writers shouldn't be dismissed out-of-hand on this basis. If, as Carol infers, these writers are bad, then part of the blame lies with the editors, especially in the professional field, who are paid to look for and correct such errors.

In the amateur field, well, the key word there is "amateur." Quite a few editors in fandom know what they’re doing and do a very good job. However, this is a hobby for the greater majority of those involved, and though it has been, on a few occasions, a breeding and testing ground for future professional writers, for most it is an otherwise unavailable outlet far creativity. The majority of fan editors are individuals with lives outside of fandom, who have full time jobs (sometimes two, or who go to school in conjunction with full time jobs), and many have husbands or wives to cater to and families to raise. In my opinion, these people should be praised for their achievements rather than condemned for what they allegedly aren’t accomplishing. The same is true of writers (and artists for that matter) who give it a shot, regardless of the result:and lay themselves open for this kind of unfair, prejudicial and quite snobbish criticism. At least they are trying to accomplish something and should be given credit for doing so. I cannot believe that the values and importance of “positive reinforcement” aren’t taught in at least one psychology course in a person's degree plan.

I, for one, do not appreciate the condescending inferences that fandom is full of illiterate idiots. Perhaps there are those who are not experts in grammar, syntax and psychology (a degree or printed certificate does not an expert make), however, that does not make them simpering fools, either.

Everyone is, of course, entitled to their own opinions concerning HELLHOUND, or anything else for that matter, but why don't the people who are so opposed to the premises, story lines and relationships involved in HELLHOUND do us all a cosmic favor and incite their own Pulitzer Prize winning versions? In case any of the complainers are missing the point, this is Susanne and Katrina's universe and they can write it any damned way they please </ref>, regardless of who does and doesn't read it - or like it, for that matter.

[...]

I agree wholeheartedly that people who have not read the HELLHOUND series (or any other for that matter) shouldn't make comments about it (or them). It's silly to ignore a story because you've heard it's bad. These people should read the stories themselves and then make up their own minds and not let someone else rake up their minds for them. If you were to listen to every film critic on the face of the earth and trusted their opinions implicitly, you'd never see a film because there's always going to be a critic somewhere who doesn't like a film. I have to admit that it took three readings of the original HELLHOUND stories before I ever came to like it, but I do like it now. Ignore the critics in fandom, open your minds and try something a little different. There aren't any laws that say you can't enjoy an alternate universe. And if there are, no one has bothered to inform me.

[zine]:

My favorite thing in this issue is "From the Log of the Devildog: Writhing Lawn Sprinklers." A fan story of a fan story!

I also really love "Harbinger," which is an extremely sad PGP Avon story; it can make you cry if you're the susceptible sort (as I am in certain moods).

This issue is especially good for adventure-type stories. "Worrad" has nice A-T interaction; they both get hurt. :) "No One Together" shows the fourth-season crew becoming closer to each other in the time between "Orbit" and "Warlord." Are there other stories in this series, and if so, where are they?

An unusual story is "Knight Moves," in which Vila and Avon play chess -- an actual game, with details of the moves.

[zine]:

"Going Nowhere" -- Avon goes to pick up his letters of passage in a Delta speakeasy, more Cagney than Casablanca. Avon is unnerved by the turn of events but copes. Fairly predictable but well written, getting Avon exactly right.

"Fanatic Activities" -- Vila, posing as a medical experiment - nice idea - gets to attend a Fantasy convention. He meets an uptight Avon carrying a three and a half foot model of the Enterprise, and tries to get him to have a good time. Emma Peel is there too, but who is she really?

"War Leader" -- Avon has lost Vila on a mission and is somewhat upset over it. But has he really been lost? Rather enjoyable story showing another side of Vila, and using Jenna'a smuggling background.

"Lost Opportunity" -- One page story. Avon almost meets the Lady of the Lake, but has second thoughts. Sensible man.

"Home by the Sea" -- Vila, Blake and Avon break into a mysterious house on a cliff on a deserted coastline; I forget why, something to do with information from Avalon, a rebel who certainly gets around, at least in fandom. Needless to say, once our heroes are inside all sorts of supernatural nasties come out of the woodwork, but Vila saves the day, not once but twice. He gets no thanks, so what else is new?

"Half a Loaf" -- Sort post-Gambit story. Cally, Jenna and Blake have heard rumours about sensational happenings at the casino, but how much do they know? And who has forgotten to remove his teleport bracelet?

"Nightmares, Visions, and History Substantial" -- Blake/Avon story involving pre-cognition and lots of guilt. At the start, it's Avon's turn to have nightmares. Then Blake orchestrates an anti-Federation strike that doesn't go to plan, and life gets worse. Ultimately we discover the origins of Avon's dreams, which may not be what you think. Cleverly written, interesting story.

"Knight Moves" -- I thoroughly enjoyed this one. Vila takes on Avon at chess. Delightful account. Taken for Granted B7 goes to Hollywood and meets Dynasty. Servalan is there, Sula is there, and life gets complicated. Worried, Avon and Tarrant are at loggerheads (must be the most frequent destination in Blake's 7). They teleport down for a vital component, meet danger, injury and bad weather. One of those stories whose plot devices are overly familiar, but which handles the basic relationship pretty well. Avon and Tarrant ring true, even though their situation doesn't.

"Michael" -- I admit to approaching any story featuring the name of one of the actors with some misgivings. This one has Vila as a Federation agent, and is set just before Rumours of Death.

"Poor Tom" -- Alternative events after Rumours of Death. Avon is already desolated, and life gets worse. Ultimately Vila is left trying to cope with Avon. The ending is inconclusive but optimistic. Avalon is there, too. The woman is indispensable.

"A Matter of Choice" -- Short Malodaar story which sees the events on the shuttle as a misunderstanding on Vila's part.

"No-one Together: a Sparks of the Tempest" story. I don't know this series, so I may have missed some of the story's references. Vila convinces himself that Avon had had no real intention of killing him over Malodaar, but they don't get to communicate until the crew go to deliver some components to a rebel group. Vila and Avon get to talk, Servalan intervenes, Avon ends up back on board but hors de combat. By the end Vila and Avon are sorted out, and the crew get to hear a few home truths. Harbinger A gem of a story. Blake and Avon try to comfort Avon, and it's only gradually that we realise what his situation truly is.

"Blake's 7: the Next Generation" -- Two longish humorous stories about the crew's descendants.

"Curtain Call" -- Blake and Avon have carried through the Gauda Prime scenario, and are talking until the others regain consciousness.

"From the Log of the Devil Dog..." writhing lawn sprinklers -- To appreciate this one, you have to be familiar with the Hellhound series, and as I'm not, I'm not qualified to make any comments. From the Log of the Hellhound - Book III Not having read the first two parts of Hellhound, I'm saving this for later. I've read so many series in the wrong order I thought it would make a nice change to be chronological. As the Hellhound series is widely recognised as excellent, I'm presuming the wait will be worth it. Is Avalon in it?

[zine]:

As most readers of B7 fan fiction will know by now, Annie Wortham publishes a lot of zines: big, thick juicy zines with small (but clear) print and margins, stuffed with stories from epic length to vignette, seasoned with poetry and filks, garnished with luscious artwork, and topped off, invariably, with unexpected but apt covers. The SOUTHERN SEVEN zines are for general purpose Blake's 7 material, and issues #3 and #4 are two prime examples of the quality, volume, and variety these publications offer. The zine covers all seasons, including the fifth, and doesn't shy from fantasy or alternative versions of the series, though the bulk of the offerings are about the show more or less as aired. This is perhaps the quintessential fanzine, which carries some of everything that might appear in any but the most specialized fannish publications. The writing and art as well as the zine production tend strongly toward the high end of the scale, though the occasional oddity or mistake appears from time to time, just to prove that fandom (and editors) are human.

The cover of #3 shows some of the Hellhound characters from the story series of the same name that appears in several issues of SOUTHERN SEVEN (and other Ashton Press publications). Laura Virgil's cool pastel picture is unusually evocative and subtle, as well as unusually good art.

About Hellhound. The story series has been reviewed before, but it bears repeating that it's hard-edged, complex, well-written; it develops the characters -- old and new -- considerably; and it contains concepts and material suitable for the mature, not to say fortified mind. This is an extrapolation of B7 for the 80's, and may dismay those looking for a familiar or sentimental read. (Incidentally, I mean 'mature' in its dictionary sense here; look outside SOUTHERN SEVEN for explicitly detailed sex. Not that I, the authors, or the characters, have anything against sex)......

SOUTHERN SEVEN #3 also includes a good selection of stories of all flavors......

Stuff around the zine includes poems, cartoons (some by Leah Rosenthal, portraits (two by Karen River), the inevitable 'Orbit' twist story -- another B7 tradition -- and a punk flamingo on the title page.

[zine]: I haven't worked my way completely through SOUTHERN SEVEN #3 yet, but it is great so far. And I'd like to retract my earlier statement about HELLHOUND), The first part I didn't care for, but I've since become very hooked on it, I won't go into all the current arguments about whether it's B7 or not. It's good writing the characters are done very well, especially the new ones. I usually don't like new faces, but these fit in very well. Most of all, I like the HH Tarrant — he's Tarrant the way he should be and I can't wait for more! Thanks for one of the very few zines I'm continuing to get on a regular basis.

[zine]:

Issue 3 certainly has lots of lovely art, especially works by River, Virgil, Buffaloe and Rosenthal. As for the stories, my favorites were: "War Leader" is a well-written, action-packed story with a clever plot that has more than a couple of twists in it. Very nicely done, "Lost Opportunity" was delightful. The image of Avon taking pot shots at the Lady of the Lake is inspired! "Knight Moves" was very satisfying. Her complex strategies and motivations of the players and the drama created by the conflict, made it a riveting story (never mind that it centers around something as trivial as a game of chess). It had an excellent ending that felt true to the characters.

"No One Together" is a marvelous story! Many of the elements that attract me to the show are here in abundance. It is a fast moving tale that heals the rifts between the characters with a natural ease (made possible respecting the characters and presenting them whole — not flattened and one-dimensional like the born-losers some writers insist on making them). The humor and intelligence of the piece make it very enjoyable to read. And, of course, it contains the best line of the zine (Vila's remark about Servalan's dress — brilliant I) And lastly, "Golden Lady" was a refreshing and thoughtful glimpse of the much overlooked Soolin. Told in a cool, passionless style that adds to the overall ambience, the story is a reflective lode at the turbulent characters and relationships of the crew of the Scorpio.

[zine]:

I borrowed SOUTHERN SEVEN #3 from a friend mainly because I wanted to read Book III of LOG OP THE HELLHOUND, Instead, I found myself sitting up all night reading the whole thing. In one word, it was FANTASTIC! I laughed at the funny parts, cried at the sad ones, and couldn't put it down.

[snipped]

Keep the good work. I liked the picture of you and Leah with the editorial. It's nice to see how normal you both look.

[zine]: I don't have a copy of SOUTHERN SEVEN #3 yet, but I got a chance to read It from a friend. I enjoyed it thoroughly. I left the "Next Generation" for last because It looked silly, but enjoyed it when I actually read it. 1 especially enjoyed the HELLHOUND), of course. I just hope "Writhing Watersprinklers" [sic] wasn't foreshadowing. I like the doctor.