Wide Open Spaces (multimedia zine)

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Zine
Title: Wide Open Spaces
Publisher: Poncho Press (the first ten issues), then Ashton Press (the last issue)
Editor(s): Leah Rosenthal and Roberta Rogow (issue #1-#3), then only Leah Rosenthal
Date(s): 1978-1986, then 1997
Series?:
Medium: print
Size:
Genre: Westerns
Fandom: multimedia with a Star Trek: TOS slant (see below)
Language: English
External Links: Ashton Press
Click here for related articles on Fanlore.
a 1978 flyer
a 1978 flyer
a 1980 flyer

Wide Open Spaces is a gen fanzine featuring Westerns. It was one of, if not the first, media western fiction zines published.

From Datazine #2: "... a Western-Trek genzine. Art, poetry, stories, articles by leading fan talent. Trek-type characterizations in stories ... not just for the western fan."

Editor's Comments About the Series

In 1986, Leah Rosenthal described the zine series in the tenth issue's editorial. She explained that going forward, the zine would accept material from all media sources.

Ten issues. Upon sitting back and reflecting on eight years and ten issues of producing WIDE OPEN SPACES, one thought immediately comes to mind: What am I, nuts?!! When Roberta Rogow and I first decided that fandom needed a Western media genzine back in 1978, I figured we'd be lucky to get past Issue #2.

Roberta eventually went on to devote her full attention to her own line of zines, and this danged thing kept a-comin' every year, sort of like a rash. Well, no, not exactly. We've printed some superb stuff over the past ten issues, and the best proof I can give you is that back issues of WOS are a very sought-after commodity among zine collectors.

Nevertheless, the effort of putting this sucker out almost single-handedly every year is starting to tell on me. There's been some talk of calling it quits with #10. Well, contrary to rumor, this will not be the last issue of WIDE OPEN SPACES. Starting with #11, the Wide Open Spaces will be getting even wider; we'll be graduating from an all-Western format to include select stories and art from general fannish media...and that includes Westerns as well. Our standards will be very high.

[...]

All of which is a very long, convoluted way of telling you... uh... what was I going to tell you? I forgot... Oh! That WIDE OPEN SPACES will keep going.

Despite this optimism, the next (and last) issue wasn't published for another eleven years.

General Fan Comments

I like the format. You have a good balance of serious material and humor. I particularly appreciate the cartoons and the LOC's. I'm glad to see that the typos have gone the way of the buffalo in the latter issues. [1]

Issue 1

Wide Open Spaces 1 was published in October 1978 and is 87 pages long.

cover of issue #1, Leah Rosenthal

The art is by Leah Rosenthal and Bob Eggleton.

It was edited by Leah Rosenthal and Roberta Rogow.

From the editorial by Rosenthal:

... our first issue contains characters that were offshoots (pardon the expression) of foreign and foreign-inspired Westerns. Roberta Rogow's ”Cass Haney" and "Lee" are derived from "The Magnificent 7", and The "A Man With No Name" and ”Tuco" were created in the Italian director Sergio Leone's three "Dollar” epics, "Fistful of Dollars," "For a Few Dollars More" and "The Good, The Bad and The Ugly." Be warned! All of these characters are extremely engaging and highly contageous! [sic]

[...]

”Four Guns for San Simon” is a 4-part saga that will be started here; and it's sure to surprise you...keep your eye on everybody! Roberta Rogow is the well-known, talented author of many fan’zine characters and stories, like ”Dirty Nellie” and ”Oriane”, ”Grip” etc. etc. She has a very involving style and great characterisation.

I might as well warn you now that The Man with No Name will be a regular in this ’zine, and if there are any future issues, which is up to you, there will always be at least one story on his suppressed sagas. You are even invited to write a tale or two about him...just remember that anything goes with ”Noname”, just so long as you are true to his character and authentic on the historical Western and contemporary details as much as possible. Future stories have him going East in 1876 with ”She-Wolf Jenny” in ”The Apple”, Joining a travelling circus, tracking outlaws into the high rockies in the dead of winter (”Cold Cash”) and even changing places with Clint Eastwood in time and space, after both recieve [sic] a blow on the head (”Day in the Life”). Many more tales are in the works.

One last time, let me point out that whether or not your favorite appears on these pages is up to you, so get crackin’!

From the editorial by Rogow:

Many Moons ago — I was a Western fan, I started with Roy Rogers and Gene Autry and moved up to ”Gunsmoke”, "Have Gun Will Travel", "Bonanza", "The Big Valley", "High Chapparal", and "Maverick". My favorite movies had lines like "Head them off at the Pass." In my dreams I was the buxom dance hall queen with the Heart of Gold, or the only one who could out-fight Calamity Jane. (The fact that I lived in a resolutely middle-class section of Queens in New York City did not alter the fact that I hankered after simpler times and what was, for me, an exotic locale.)

Time went by, as it has away of doing, and I got into even more exotic locales through Star Trek. And one day, at a Star Trek Con, I saw a VISION, wearing a ratty poncho, a broad-brimmed leather hat, and a cigarro. My war-whoop of recognition would have caused stampedes on Broadway. The VISION turned out to be Leah Rosenthal, a lady whose art-work I had enjoyed but whom I had never actually met. We sat for an hour during the Costume Call at that Star Trek Con, working out the story that became "Hardcase".

Then she asked the crucial question: it?" "What are we going to do with My answer was simple: "We print it ourselves. May be there are a few Western fans out there in the sagebrush.

Well -- all you Western Fans out there in the sagebrush —- I hope you like what we’ve come up with.

  • Editorials (1)
  • Tombstone (“Death and Dollars”) by Leah Rosenthal (a play in script form, includes character sketches) (3)
  • Killer of Death, poem by Leslie Sawyer (36)
  • The Hardcase by Leah Rosenthal and Roberta Rogow (Man With No Name) (37)
  • Plains Seranade: 1811 by Ellen Rowe (54)
  • Two Pair and A Joker by Roberta Rogow (Man With No Name) (55)
  • Four Guns for San Simon Part 1 by Roberta Rogow (Man With No Name) (67)

Reactions and Reviews: Issue 1

Congratulations on your first issue of Wide Open Spaces. The art work is spectacular and the stories are as good as any of the professional publications. I knew very little of westerns, watching only the early TV series of the sixties like Lone Ranger, Rifleman and occasionally Late Night Movies.

I am a devoted fan of Butch Cassidy and the Sundance Kid and would love to see some "Hole in the Wall" stories. I am now, thanks to your 'zine, a loyal western fan and a Wide Open Spaces subscriber. [2]

Wide Open Spaces is great! and I'm only a marginal Westerns fan. 'Tombstone' was excellant [sic]. It moved alone fast. Noname’s solution was a great twist. And the ending wasvery funny. I would like to see more of similar stories. 'The Hardcase' is also quite good. I think I'm becoming a Noname fan. 'Plains Serenade' is very beautiful. Please have more of Ellen Rowe's work, Does she write stories, too?

'Two Pair and a Joker' was a little slow-paced, but still good. And I can't wait for more of 'Four Guns for San Simon.' About all I can add is that I would like to see a 'Lone Ranger,' possibly 'F Troop' and maybe a 'Rin-Tin-Tin' story. [3]

Let me say that I'm thrilled to see someone do a Western 'zine. I also used to watch them with my maternal Grandpa. My TV favorites are Alias Smith and Jones, High Chaparral, Maverick and Wild Wild West. My Movie favorites are the Magnificent Seven and all the John Wayne flicks. I had once planned to do a Western 'zine myself but gave up after all the Trek hassels I've seen in the past... [...] My favorite story was 'Hardcase'. It was an interesting study of Noname. I personally dislike stories that are split up into episodes, but as I like the character of Lee, I enjoyed that story. There was also a nice mixture of art and pictures... My only comment is that I'd like to see a mixture of both TV and western movie character stories. Keep up the good works. [4]

What a great idea! A Western Fanzine! It's what we've been waiting for. And what makes it even better is the high quality of the writing and art. More! More! [5]

FANTASTIC, EXCRUCIATINGLY GLORIOUS!!! To put it simply, I loved it. I think you and Roberta did an outstanding job. The 'zine is better than I thought it would be. I really appreciate your putting in a good word for my poem at the bottom of the page...I was pleasantly surprized [sic] to see that. I just can't wait to see the next issue! [6]

The first story "Tombstone" was good, but a) I don't like that style of story, b) People who have never read (or been forced to read) plays or scripts

could have gotten totally lost.

"Killer of Death" I will only mention. I was totally turned off poetry at an early age. I'm coming around, but slowly. So as not to offend any who like it, I won't say anything about Lezlie's poem. The same thing goes for Ellen Rowe*s "Plains Serenade:1811".

I personally thought "The Hardcase" was very good, if a bit long. I know the feeling, though. My stories turn into novels, too. Great way to introduce Doc Bell! She's a wonderful person.

"Two Pair and A Joker"... page 59 goofed, giving away Cass Haney's then-unestablished sex with the line "about to take a swig of HER beer." I didn't spot it until the 3rd or 4th reading, so don't kill the proofreader. It was probably a case of the 'reader already knowing the facts too well.

"Four Guns..." is excellent, so far. I'm reserving final judgement until I finish reading. This continued story business is great...for inflicting torture on your poor helpless readers. More, more, more...and quickly.[7]

...First, I enjoyed all the stories and poems immensely. I've never been much of an Eastwood/ Noname fan, but suddenly I find myself interested and wish one or all three of the films would appear on TV. I like the original characters you and Roberta have created.

Ellen Rowe's "Plains Serenade: 1811" is lovely. I guess

the only complaint I have is the extremely poor repro on some of the artwork. It would be better to stick with your own or other fans' art if it's not possible to do justice to photographs...you can try copying by hand from a photo if you have your heart set on a particular shot... [8]

The 'zine was even better, this time around....

"Cold Spell" was my favorite story this issue, although the ending was sort of given away in the middle of the story.

"Day in the Life" was handled very well, a nice transition of two worlds.

"Four Guns for San Simon" continues to hold the interest.

"It is So" was so very beautiful and thought-provoking. Very, very nice. Two Corrections on the crossword. Etta was not Butch Cassidy's girl, but Sundance's, and McClure is is spelled with two "C's." [9]

The best part of the 'zine, for me, was the art and the cartoons. Especially the cartoons! The effect of commercial parodies in a 'zine that covers stories set in the past is disconcerting, but it adds flavor to the whole. My favorite is on page 81 — I like that picture. It is not the best art in the zine, but it

has the eyes-to-the-distance feel I like.

[...]

The stories are well-written, and even interesting, which is good, because they made sense to someone coming in cold, as I did. I can't comment on the characterization or anything like that, since I have nothing to compare it with, although from what I've heard from friends about the movies, you are,perhaps, not making Noname into the mean bastard I've heard tell of. Personally, totally mean folk turn me off, so it is just as well!

[...]

Have I taken enough whacks at your zine? Is the blood still running red? Are you still speaking to me?[10]

Issue 2

Wide Open Spaces 2 was published in March 1979, and is 88 pages long.

front cover of issue #2, Leah Rosenthal
front cover of issue #2, Leah Rosenthal, later edition without color
back cover of issue #2, Dawn Singer

The art is by Leah Rosenthal, Caroline R. Hedge, Dawn Singer, Roberta Rogow, and A. Grossman.

From the editorial by Rogow:

It looks as if Leah and I are developing our own "Universe” in Wide Open Spaces.

Here are some of the characters you may meet in our stories, from time to time:

The Man With No Name — Tall in the saddle, laconic to the point of silence, clad in a flapping poncho, leather hat, and cigarillo.

He's a Bounty Hunter, based on the character in the Spaghetti Westerns of Sergio Leone.

She-Wolf Jenny — Another Bounty Hunter, female; No-Name's sometimes partner, sometimes rival. She has a taste for poetry, a horse named Poker, and a trimming of fur on her jacket.

Cass Haney — Tall, blonde, and deadly; she alternates between cooking and killing for hire. The turning point in her life came when she met.

Richard Edmund Lee — Dapper gun-fighter, once in the Confederate Army. He was cashiered for moral reasons, and spends a lot of energy fighting his inner feelings about young boys. His relationship with Cass Haney is one of the focal points of "Four Guns for San Simon".

Dr. Elizabeth Bell — Once a pretty young thing, now a hard-bitten spinster who ministers to an out-of-the-way corner of New Mexico. She is probably the only person who has ever shaved No-Name against his Will.

Col. Douglas Mortimer — Tall, grim, and obsessed with the desire to revenge his sister's death; he appeared in the film "For a Few Dollars More" and pops up when No-Name least wants him or expects him.

The rest of the continuing cast of characters are explained in the stories that continue to pour out of typewriters in Brooklyn and New Jersey, from Leah and Me, respectively.

One more word — "Escape" presumably takes place in 1864, long before the No-Name stories begin. It is an attempt to explain some of the underlying motivations in "For a Few Dollars More". The mass migration of ex-slaves mentioned towards the end of the story is more fully explored in Alex Hailey*s "Roots".

Wide Open Spaces is branching out to include art and poetry from other sources besides Leah and me — George and Ellen Rowe are our American Indian poets (he's a full-blooded Cherokee); Caroline Hedge sends some illos from Colorado; and Anthony Citro is a young critic from Paterson, N,J, with a taste for gore.

From the essay about "Easy Rider":

EASY RIDER was a perfectly deplorable 'modern western' and the undernourished brainchild of Dennis Hopper and Peter Fonda, It was a movie which exemplified everything the 1960's were: inhuman, mature and just plain ugly. Of course, there were good highlights of that decade, healthy anyway, but if an attempt was fashioned to glorify them in this movie, it was a thwarted one. After viewing RIDER, and staggering ever so ambitiously towards the bathroom, I realized that the film was an unfortunate stab at the avante-garde realism for which the sixties were so noted. [...] EASY RIDER is too sparse in conception and too harsh in execution to expound on a theme, and Mr. Hopper accomplishes nothing in the way of keeping true to the Western genre. In his usage of the West as a setting, he only manages to abuse it, depicting it as a cold, lonely place and a haven for weirdos. [...] ...although RIDER became a cult movie and garnered a myriad of awards, it remains the worst movie of 1969 and the greatest setback to the modern Western since LONELY ARE THE BRAVE. It may well be the worst film ever.

  • Editorials (2)
  • Via Pony Express (LOCS) (5)
  • Escape by Roberta Rogow (8)
  • Prairie Fire and Lord Bison, two poems by E. Rowe (26)
  • Cold Spell by Leah Rosenthal and K. Smithline (Man With No Name/She-Wolf) (28
  • "And Now a Word from Our Sponsor" by Leah Rosenthal and the Fairlawn Gang (46, 48, 68)
  • Excerpts from Cass's Receipt Book (47)
  • It Is So by George Rowe (64)
  • Kriteek... Easy Rider, essay by Anthony Citro (66)
  • Western Crossword Puzzle (67)
  • Four Guns For San Simon Part 2 by Roberta Rogow (Man With No Name) (69)
  • Day In The Life (Man With No Name) (15 pages)

Issue 3

front cover of issue #3, Laura Virgil
back cover of issue #3, Gordon Carleton
a 1980 flyer for issue #3, printed in Warped Space #43

Wide Open Spaces 3 was published in Fall 1979 and contains 76 pages.

It was edited by Roberta Rogow and Leah Rosenthal.

The art is by Laura Virgil, Bob Eggleton, Shona Jackson, Dave McCoy, Anita Grossman, Phil Foglio, Gordon Carleton (back cover, "Spaghetti Encounters"), Leah Rosenthal, Caroline Hedge

Stories, articles and artwork based on Wanted, Dead or Alive, Alias Smith & Jones, The Man With No Name, Bad Company (Man with No Name based series) and more.

  • from issue #3, Roberta Rogow's comments on "Four Guns for San Simon"

    from issue #3, Roberta Rogow's comments on "Four Guns for San Simon"

  • from issue #3, Bob Eggleton

    from issue #3, Bob Eggleton

  • from issue #3, Phil Foglio

    from issue #3, Phil Foglio

  • from issue #3, Shona Jackson

    from issue #3, Shona Jackson

  • from issue #3, Dave McCoy (Bad Company/The Prisoner)

    from issue #3, Dave McCoy (Bad Company/The Prisoner)

  • from issue #3, Shona Jackson

    from issue #3, Shona Jackson

  • from issue #3, Leah Rosenthal

    from issue #3, Leah Rosenthal

Reactions and Reviews: Issue 3

I am not sure I liked the "Lullabye" in Issue #3. It was somehow eerie and I think that I would have nightmares if it was ever sung to me, but eerie or not, I can't forget it. Perhaps 'haunting' is a good way to describe it. [11]

Issue 4

cover of issue #4, Leah Rosenthal

Wide Open Spaces 4 was published in February 1980 and contains 85 pages. Color cover (of Hannibal Heyes) by Leah Rosenthal.

Reactions and Reviews: Issue 4

The artwork is one of the many features in WOS that I find impressive, especially Dawn Singer's beautiful works and the Buffalo by Lipanovich in Issue #4...it was so real. The "TV West" listing in Issue #4 made me quite envious. So many of them! You people over there will never realize just how lucky you are.

When it comes to Bad Company stories, I am not at all sure what to say. To start with, it was my strong opinion that Noname smelled! But then I read "The Carpathian Crown Jewels" and had to revise my opinion. I have now got so far I would think I would even dare to meet Noname, under circumstances. For example that it was in daylight and in the open street with a lot of people about, and that Jenny and Snorty were there.

I truly like and admire Jenny, but with Snorty it is something quite else. He is not just fuzzy, funny, furry, lovable, cute, sweet, adorable and one of the most truly original characters I have ever found in a fanzine (not that I have read very many, but just the same, I have got this feeling that the figures appearing either are the fan-objects or some sort of copies of persons the fan-object has already met). He also has charm or charisma or 'it' or whatever you call it when a character has something that really captures your heart and imagination. I really loved FURBALL EXPRESS but there just wasn't enough of it! Please write Mr. Lucas and tell him to remake THE RETURN OF THE JEDI with a nice, large role for Snorty in it. Thanks to you, I will be looking for him next time I see that movie even if I know that I have seen it twice before and that he just isn't there. [12]

Issue 5

cover of issue #5, Shona Jackson

Wide Open Spaces 5 was published in Summer 1980 and is 97 pages long.

It contains art by Laura Virgil, Leah Rosenthal, Shona Jackson and perhaps others.


Issue 6

cover of issue #6, Laura Virgil

Wide Open Spaces 6 was published in 1981 and contains 102 pages.

Issue 7

cover of issue #7, Paulie Gilmore

Wide Open Spaces 7 was published in 1982 and is 119 pages long.

The art is by Jenn Bills, T.J. Burnside, Jerry Collins (back cover), Paulie Gilmore (front cover), Shona Jackson, Ruth Kurz, Gordon Carleton, Signe Landon, Judy Low, Gee Moaven, Melody Rondeau, Leah Rosenthal and Mike B. Smith.

Reactions and Reviews: Issue 7

The story "Gunslinger" in Issue #7 was fantastic. Perfectly professional and with such illustrations. The artwork is one of the many features in WOS that I find impressive. [13]

This is a nice mixture of stories, poetry, and features, all of which are well written and illustrated. In fact, the art in this zine is excellent. Only a few of the cartoons are an exception. My one complaint with WOP is the typos. I’ve yet to read a zine without typos, but I’m not talking about one or two. In one story, ‘Gunslinger’ (my favorite), they were bad enough to interupt [ironic sic] the flow of the story. I was extremely annoyed. To be fair enough, though, there aren’t quite as many per page as in that story. Clint Eastwood’s character, ‘No Name,’ is in two stories. One is a look at She-Wolf’s past Christmases; the other a cute mix up story involving the crown jewels of Carpathia, which at first, I thought, was going to take place in No Name’s bath. Bonanza has two stories also. The first is serious and deals with family ties, short and to the point. The second is Bonanza in the Twilight Zone, featuring Hoss, and it is funny and creepy at the same time. Bonanza has two articles about its timeline and the Cartwright’s ages, both entertaining and useful for anyone writing in this universe. Gunsmoke has a short on what it would take to make Matt and Kitty finally decide to get married. Kid Curry and Hannibal Heyes get their fantasy to be ordinary citizens for a day. Wild Wild West is represented by a short story which deals with Jim reflecting on his life while waiting to die. Then there are two meaty pieces you can sink your teeth into. One is the third segment of a three part story. I didn’t recognize the characters so I’m assuming they’re made up. I have only read part three, but just that much was enough to make me happy. ‘Guardian Angel’ was about a man who is hanged, doesn’t die, and is now immortal. How he deals with his new life and love makes for some very interesting reading. The second one is a story based on the short-lived Gunslinger series. This is my favorite. Although I have not seen the show, the characters were so well-drawn that the story flowed so smoothly as to feel real. All in all, this is a very good buy. [14]

Issue 8

cover of issue #8, Mark Thorner
flyer for issue #8

Wide Open Spaces 8 was published in 1983 and contains 97 pages.

  • Editorial (1)
  • Smoke Signals (4)
  • At the Sound of the Tone by Rosnalen ("Just what the heck was that funny-looking box on their train...and why was it threatening to destroy itself?") (Wild, Wild West) (8)
  • All That Glitters by Leah Rosenthal ("Noname and the She-Wolf find themselves on a bounty hunt that's actually a trap...one that's waited ten years to spring..") (Bad Company) (13)
  • Receipts (27)
  • The Real Story... by Sallijan Snyder (Alias Smith and Jones) (28)
  • Joe, poem by Alice Robbins (30)
  • Last Capture by Helen Woolverton (Bad Company) (31)
  • Night of Too Many Wests by Cathy Schlein [15] ("Someone is accusing Jim West of a lot of terrible deeds...and they're all true. Can Artie stop him?") (Wild, Wild West) (33)
  • And Now, a Word from our Sponsors (30)
  • Archeological Notes from Devil's Hole by Michele Rosenberg ("A collection of authentic documents about a very strange dig in Wyoming...") (Alias Smith and Jones) (43)
  • The Critter with the Tail, poem (49)
  • Million Mile Reflections by Kelly Hill ("Tom Guthrie finds his new haven in Sweetwater haunted by images of his past.") (Bret Maverick) (51)
  • Them Words, series song lyrics (53)
  • To Watch for a Legend by Bruce Melton ("An original Western fantasy about a new variation on a myth.") (Fantasy) (56)
  • Calvary Retreat by Leah Rosenthal (" Our intrepid bounty hunter finds him self helpless at the hands of Fort Courage's finest!") (F Troop/Bad Company) (61)
  • Stallion, poem by Deborah Busse (68)
  • The Carbine Trail by Christine Jeffords ("Who is the mysterious Johnnie Clayfield...and why does she look so much like the man she wants to see hang? Jim Crown and Angus MacGregor find out in this atmospheric action yarn.") (Cimmaron Strip) (70)
  • art by Jerry Collins, Cheyl Fint, Shona Jackson, Ruth Kurz (back cover), Wanda Lybarger, Melody Rondeau, Irma Rosenthal, Leah Rosenthal, Dawna Synder, Mark Thorner (front cover)

Reactions and Reviews: Issue 8

I particularly liked "The Carbine Trail", even though I didn’t even know that CIMMARON STRIP existed before I read the story. There is a lot of good detail, as well as an excellent plotline.

"Night of Too Many Wests" was also very good. I've always liked Artemus Gordon and James West, and I think the author did a good job of catching the strength of the friendship between them.

"All That Glitters" is my second favorite of all the Bad Company stories I've seen. ("It Tolls For Thee" is top on that list). I had to stop and catch my breath after reading this one. In fact. I've already read it twice. Between the inherent humor of Noname and Jenny posing as bride and groom, and the drama and tension of their capture and struggle in the water, the story was well-balanced and the pacing was impeccable.

"The Last Capture", "The Real Story" and "Archeological Notes from Devil's Hole" left me snorgling in an undignified manner on the bus while people stared at me and muttered about straight jackets. I still giggle at odd moments thinking about Wheat Carlson's sock. And I have one question for Sallijan Snyder: Which one was Cable and which one was Conover?

The rest of the zine was okay, although the only other piece which drives me to commentary is the poem "Joe". It's to be hoped that you will continue to print some of the poems from "Poems that Never Die", especially if they are up to the quality of this one. Among my other faults is a weakness for Kipling, Tennyson and oddball late Victorian poetry—the sort of stuff they never make you read in school.[16]

I finished #8 in one night. In the past I've been successful in staying away from fanzines in general — I just didn't think I would be interested. But I'm really hooked on this one! I'm a great fan of WILD, WILD WEST and the Eastwood Westerns. I'd like to compliment Mark Thorner on his front cover piece, because frankly, if it hadn't been for that, I would never have looked closer at WOS, nor bought it. I really enjoyed the stories "Night of Too Many Wests", "All That Glitters" and "Cavalry Retreat." The cartoon clips with ET were delightful. I'm eagerly awaiting WOS #9. Thank you for the nice introduction to the wonderful world of fanzines. [17]

The plural of "story" is stories, not "storys".

The cartoons are great, as in LEAPIN' JEEPS. I especially the two ET ones on pages 1 and 99. Neat! "At the Sound of the Tone": AAAUGHHH!!! Mr. Phelps, your mission, should you decide to accept it...Never mind, this one's beyond even the IMF.

"All That Glitters": My first introduction to the She-Wolf, and the first time I've enjoyed a story about Noname. Spaghetti Westerns were among my least-favorite forms of entertainment, but now I find myself hoping that the local TV channels will start running these. An excellent story, with the false ghosts a good use of one of the few weapons —superstition- available to the couple (Minor quibble, unless you're as much of a language freak I am-- "Senor" would be more accurately transliterated as "Senyor.").

"Night of Too Many Wests": A very good as story, and I don't even care that it was a Western. This is the kind of friendship story that transcends the genre it's written in, and I enjoyed it very much indeed,

"Archeological Notes From Devil's Hole": The only word I can think of to describe this one is "fun".

"To Watch for a Legend": Excellent! I knew early in the story what was going to happen, but it was so well written I didn't care.

"Cavalry Retreat": Prejudice showing again, but no thanks. F-TROOP was—like GOMER PYLE and GILLIGAN'S ISLAND--one of the shows I turned off automatically.

"The Carbine Trail": Too much of a straight Western for me. [18]

As for WOS 18, I loved every inch of it! My favorites were "The Real Story" by Sallijan Snyder (How imaginative and a perfect ending for our boys, Heyes and Curry!) and "Archeological Notes from Devil's Hole", by Michele Rosenberg...! laughed so hard, I nearly rolled off the sofa! Your "Cavalry Retreat" captured our bumbling F-TROOP friends to a "T" and putting the Man With No Name in their midst was a bit of masochistic (or is it sadistic?) inspiration.

All in all, the entire issue was entertaining. [19]

I’m writing to you about WOS #8...First off. I'd like to say that you have a very wicked wit! Where do you come up with such funny cartoons? I love them! And who writes the little asides in the LOC's? I flipped over Indy Jones asking Noname for a loan—and being told his brother had taken it for a new drive on his starship. What a hoot! I really appreciate a zine with a sense of humor.

All of the stories and poems were enjoyable, too. I especially liked "Night of Too Many Wests" by Cathy Schlein; it seemed like 'true to form' WILD WILD WEST. Oh, and "Archeological Notes from Devil's Hole" was wonderful. Indiana Jones descended from Kid Curry? Now that's quite a concept. "Stallion" was a lovely poem--I really liked the accompanying illustration, also. Your rider zine ECHO 1 is certainly unique. I sure like Snorty, but just what is he (it?) I thought I'd die laughing when he killed Darth Vader with Coke! And when Yoda said, "There is an Earther...!" Gimme a break, my friends think I've lost it when I sit and giggle so much.[20]

"Cavalry Retreat" made me wonder: If the US Cavalry was just one bit like you describe the F-TROOP, how did you ever win the West? It seems incredible. The stories about Doctor Bell fascinate me. I especially like her way to stand up for what she believes in and her near-sightedness. I am very nearsighted myself and very tired of all these people in all kinds of fiction with 20/20 eyesight.

I have recently found myself trying to memorize "The Critter With The Tail" and "Snorty's Opinion of The Baby and I can't believe it. I usually hate reading poetry...it just messes up the storyline.[21]

I just finished reading WOS #8, which I borrowed from my friend. I really liked it, especially the AS&J story about after the amnesty, the WWW stories, your wonderful satire of F-Troop and Michele Rosenberg's "Archeological Notes from Devil's Hole." Great Stuff! I can't say anything about the BAD COMPANY stories. No offense, but I just don't like Spaghetti Westerns, and I've never watched one all the way through. For that reason, I'm not in the least interested in reading the stories...but I liked the other stuff! [22]

Issue 9

cover of issue #9, Laura Virgil
back cover of issue #9, Mary Otten
from issue #9, the You Are Receiving This Zine Because
ad for issues #9 & 10 found in Southern Seven #1, click to read

Wide Open Spaces 9 was published in May 1985 and is 118 pages long.

The art is by Jerry Collins, Shona Jackson, Ruth Kurz, J. Collins, Wanda Lybarger, Gee Moaven, Mary Otten, Melody Rondeau, Leah Rosenthal, Michael B. Smith, Catherine Schlein, Laura Virgil, and Martynn Walter.

This issue was dedicated to Beth Nugteren, "who supported us when it all started, and who will be missed by all whose lives she touched."

From the editorial:

You're holding in your hot little hands the largest issue of WOS ever...and one of our best! Most of this issue has been reduced, making for longer storys [sic] and more of them, and we're really excited about the tales and illoers we snagged for you this time around! Getting right down to business, we've got two picaresque FRISCO KID epics, both of which mix universes and both of which are superbly written and illoed.

There seems to be a general concensus [sic] among Western mediafen that FK's opening 'crawl' date is at least 20 years off, evidenced by costume, props and other historical detail. Interestingly, there also seems to be a concensus between authors Chris Jeffords and Beth Lentz as to what career would best suit Tommy Lillard, once he quit robbing banks! Wanda Lybarger and Martynn Walter have shown us here that they can do a great job of tackling characters they've never done before, in their own inimitable styles. Not everyone necessarily agrees about the 20 year discrepancy on the date. I'm obliged to point out, but it sure is more fun to cross universes this way. I'm sure you'll see...We also have what is probably the first published WILDSIDE zine story. Although this series was superb and had fantastic possibilities, Disney/Touchstone has shown an absolute indifference to renewing it next season, and it is not scheduled to be continued. What a pity! Anyway, Michele's usual absolutely-at-the-last-second-submission is at her humorous high standard...

Our readers may have read a copy of the recent Star Trek novel ISHMAEL, and enjoyed the numerous SF/Western cross-universe references. No, I had nothing to do with it, but that's just the kind of think I was fishing for for WOS #10, so if you still have some ideas for it, now's the time to submit...

Lorraine Beatty's THE NIGHT THEY MADE ME AN OFFER will give you some insight into Artie Gordon's early motivation into spying...We've got a dandy, juicy AS&J 'Get 'Em' by Cindy Dye. with illos by Cathy Schlein, who just keeps getting astronomically better and better...Kay Crayton and Denise Walters have Heyes and Curry in a lighter mood for Christmas time...Leslie Fish, Roberta Rogow and Brian 'Blondie' Klaus have teamed up for a delightful adventure with Noname, Jim West, Artie Gordon and Tuco Ramirez in NIGHT OF THE FLIGHT, and finally, the long-promised Bad Company story, THE EMBER. We've also got some lovely portraits by Ruth Kurz, great illos by Mary Otten, who came through to save my neck and demonstrate her unique, steadily-growing talents, some frankly hysterical cartoons by Mel Rondeau who prints a zine out in San Jose called whats-it's-name (can't quite recall, at this second...BOAT GLIDERS? APPLE CIDERS? GHOST BUSTERS?) anyway, thanks Mel...and the usual great features, poetry and a probing interview with actor Charles Gray by JeanAnn Berger...all in all, this should keep you busy.

Reactions and Reviews: Issue 9

First off, I'm so glad I picked WIDE OPEN SPACES #9 up at MEDIAWEST and regret I didn't get numbers 1-8. Can you let me know if you're selling copies of back issues? Secondly, I'd forgotten how many Westerns I used to watch and really enjoy. It was refreshing to read your zine, almost like taking a walk down memory lane. The artwork was, overall, excellent. My favorite had to be Catherine Schlein's portrait of Peter Dual on Page 62. I think she captured the essence of the man, the doubt in not only himself but his craft as well.

The spacing of the artwork was also well done, not the least bit intrusive to the fiction or poetry. Another kudo to you, kiddo. As for the cartoons—you're sick, Leah. Sick, sick, sick—I loved 'em all!

Now, for the fiction. It was all very good. I especially liked the story you wrote with Helen Woolverton, "THE EMBER". As you know, I'm not a big Clint Eastwood/Spaghetti Western fan, but this story makes me want to read more about the adventures of Noname and those associated with him. The only thing I have to complain about was Christine Jeffords' piece, "THE FRAME-UP". Not that it wasn't good—it was, and not that she didn't have the principals in character— she did. It's just that, at times, she goes into so much detail that it—it got boring and confusing. Where one or two clear-cut sentences would do just fine, she gave us whole paragraphs. I realize that this is her style, but I think she, perhaps, underestimates our intelligence.

My absolute favorite pieces in the zine are "FRESH OUT OF ACES" by Cindy Dye and "CHRISTMAS AT DEVIL'S HOLE" by Kay Crayton and Denise Walters. Like I told you at MEDIAWEST, I hold AS&J very close to my heart as do most Rochesterians who remember it...Peter was a hometown boy who left, made good and returned in a pine box. Both these writers did the actors, the show and script writers credit.

Their stories were credible and believable; they easily and simply told their tale and were able to convey the deep caring and concern between the two men without falling into the "my buddy" syndrome. Bravo ladies, bravo.

The poetry was, well, very good. I liked "Make Me a Cowboy Again, For a Day." It kind of made me wish I could experience for just a couple of days—'course, I'd need hot & cold running water, electricity for my hair blower and of course central heat for those cold nights. May a helluva cowboy, wouldn't I?!!...WOS #9 was more than well worth the money spent—can't wait for #10! [23]

I really enjoyed your 'zine. I haven*t seen from, because they aren't playing up here in both great and make me feel like I'm missing hope I can get a hold of issues #1-8. I was in particular...keep up the good work. [24]

What can I say about WOS? Only one word comes to mind—fascinating! Honestly, I have managed to collect all the issues, except for numero uno (if you come across anyone wants to sell theirs, I would love to buy it. Love every single story, photo, poem, cartoon and song...my favorite stories are about Noname and the She-Wolf, but I love them all. [25]

WOS gets better with every issue.

I picked up #9 at MEDIAWEST, and thoroughly enjoyed myself. As a HUGE fan of crossover universes, I was tickled to find THE FRISCO KID, AS&J, BONANZA and MAVERICK crammed into one story, with a cameo WWW appearance to finish.

Poor Tommy does have rotten luck, doesn’t he? Then he gets entangled in "The Frame-Up," with the unyielding Dan Troop hot on his trail. During THE LAWMAN'S 1st. run on TV, I was rather scared of Troop, but I fell in love with the boyish Peter Brown as his deputy (a love that carried over to LAREDO).

More crossovers—LARAMIE, yet! I loved it. Loved Martynn’s illos, too.

Try to get a story by Lorraine Beatty or Catherine Schlein in every issue, please! I'm a WWW fanatic, and I have yet to read a story by either of these estimable ladies that I haven't enjoyed. Great to find out, via "The Night They Made Me An Offer," how Artie came to be a spy (and I love his rather egotistical attitude). As a WWW fan, of course, I enjoyed "Night of the Flight," particularly the Indiana Jones cameo and Artie's splendid campaign-hot-air-balloon, though it dragged in parts.

Many Christmas stories are rather pointless and/or schmaltzy, but I quite enjoyed "Christmas at Devil's Hole." Ho, ho, ho, yourself.

Finally, it was GREAT seeing Linda Littletrees return in Michele Rosenberg's "Forwarding Address." The first WILDSIDE story in print! Fantastic! Even though the show has been cancelled, I hope fans keep writing stories. William Smith is still a handsome devil. Let's see a real LAREDO/WILDSIDE team-up in a future issue, okay?[26]

WOS #9 boasts a neat layout, good solid print, fewer typos, excellent reproduction values...it really looks like a pro effort. You should be proud. Ya done good.

Even though I only saw FRISCO KID once, and am not really an H. Ford fan, I really did enjoy "Tommy Lillard and the Holy Book." It was well written with a good, solid plot, fine dialogue, and lots of creative myth-mixing. Tommy's concern over the book was played well and the little hook at the end of the story was a nice little touch.

Pappyisms—more! More I In "The Night They Made Me An Offer" Lori tackled a question that's been bugging me for some time, and she answers it so well I'm inclined to believe her. Artie is a restless genius as well as a ham, and as such he's perfect as an operative for the Secret Service. Malone strings him right along and gets him to snap up the bait and then reels him in. Marelous little gem of a character study.

"The Ember" is one of the most well-written BC stories yet. You and Helen Woolverton are really maturing as a team of writers. I found this story taut, but with humorous touches at just the right places to break up the tension without changing the track of the story. The relationship between Mortimer and Noname had a nicely comfortable but wary feeling to it, and I warmed up to Doc Bell a bit, too. My favorite story illo of the year is your chow time on page 44 and I loved the references made to a 'little Indian trouble'. However, one thing does puzzle me a bit, did Doc Bell actually murder the child or did she just speed up a process that was already in motion—ie, would the child have died shortly after birth? I want to know you made me cry openly with that last line of the story.

Following on the footsteps of such an emotionally charged tale, it was a very comical relief to get "Forwarding Address." I LOVED it! Michele has Linda Littletrees down pat and she is, if nothing else, one determined lady. The characters all rang true.and Sutton's moment of horror in the barn was almost palpable. I of course loved the 'cameo' appearance by Reese at the end. Boy, oh, boy, is Joe in for a surprise. Heeheehee.

Cindy Dye did a wonderful job with "Fresh Out of Aces," and she really knows the characters and how to write for them. She treats them like adults and adult men at that. Terrific touches of character showed through in Curry's stubborn determination to remain self-sufficient, and Heyes' willingness to back off even though he's fairly bristling with concern for the Kid. I think the most chilling aspect of the story was Heyes trying to deal with Curry slipping away and the Kid not even being aware that he's slowly bleeding to death, and Heyes is virtually helpless.

Now there's a real horror story for you. My only negative comment would be that the last two lines should have been dropped from the MS to tighten up the emotions at the ending... although I understand the author was trying to say everything was back to normal.

I'm always a little afraid when I see a Christmas story, since most turn out to be quite sappy, but Crayton and Walters avoided the syrup and went right into a heartwarming little story which treated the characters as a group of men who ate living without even the simplest of luxuries, and to whom Christmas is usually just another snowy day. Heyes' wide-eyed innocence was captured so perfectly and his glib lines about Santa really had me howling. They really should try to recruit Santa into the gang—think of the possibilities! (heehee) I enjoyed "The Frame-Up," especially in light of seeing some old friends in the persons of Johnny McKay and Dan Troop. The pacing was good, the plot feasible, even if not an altogether new idea, the 'cast of thousands' universe mixing never got out of hand and the scenes with Tommy elaborating on Avram's strange behavior were priceless. It was an excellent twist and a definite credit to Chris for letting Tommy come up with that one. What a line of demented psychology he handed them—gads I even I started to believe it!

As to "Night of the Flight", I have a few minor gripes about the aspects of ballooning as presented here (I worked with hot air balloons for 2 years, so I know where of I speak), but I'm willing to overlook them for the sake of moving the story along. However, I did have a real problem with the portrayal of Artemus as being so totally obsessed with making a scientific discovery that's going to put him on the books that he throws all caution to the wind and ends up endangering himself, Jim, Noname and Tuco for the sake of his enthusiasm. Yes, Artie is a genius and a restless one and has almost Vulcan curiosity, but he's also levelheaded enough to keep his emotional response in check and keep a clear head while on an 'assignment'. Well, gripes aside, I did enjoy the story. Tuco was properly conniving. Noname menacing and mildly amused by it all, and West was in character, something fairly rare even in WWW fiction! The good far outweighs the bad (or the Ugly) in this story. Good adventure yarn and it coulda been an episode, I think.

Art was plentiful throughout and terrific. I really enjoyed Mary Otten's work and her Noname illo for "Night of the Flight" was extremely well rendered. Glad to see Cathy branch out with the AS&J gang...don't want her to become pidgeon-holed as 'the WWW illoer', and your 'toons were as always, hysterical. Especially funny was the Maverick photo gag...hohoho. That one worked on a lot of levels—very amusing. Keep up the good work, pard! [27]

I just finished devouring WOS #9, and it was delicious. The fiction was good to great ("The Night They Made Me An Offer" was good; "Night of the Flight" was great.)

The characterizations in "Tommy Lillard and the Holy Book" was good. Despite its length, it seemed a bit of a vignette... not enough substance, I think. The characterizations were good but everybody seemed a little too nice. I like a little salt to my bread, I fear. Something tells me this author is going to improve. (I hope so; she's got a good hand with dialogue already). This story places Lillard in the 1860's, considering the articles in WOS #8 about BONANZA, and Maverick doesn't come off as quite the complete cynic, yet.

"The Night They Made Me An Offer" is one of the better pieces. It contradicts the pilot of the show, I think.- If my memory is working is working. West found Artie himself. Mind you, I only saw parts of the pilot, once, and that was five/ten years ago.

"Forwarding Address"—I'll pass on it. I'm unfamiliar with LAREDO, and WILDSIDE unfortunately was here and gone in a flash, dammit. I agree with you, it's a shame that it won't be back.

"Fresh Out of Aces" is a get-um, plain and simple, the partner/friendship between Heyes and Curry isn't as highlighted as much as Heyes' desperation. Still a good read, though I'm not fond of get-ems.

"Christmas at Devil's Hole" is cute. I like. The the authors down until they write some more.

"The Frame-Up" is the better FRISCO KID story, I think. Shame on Avram, though, for thinking such things about his good friend Tommy. I especially liked the way Tommy got Underwood to talk.

"Night of the Flight" is wonderful. The characterizations are on target. The plot is highly improbable. In short, it's a wonderful romp.

The cartoons scattered throughout the zine are, as always, marvelous. Is the dude who shares the page with the Contents 'Captain Noname' or 'Blondie Harlock'? Whoever he is, he ought to go after you for that pun on page 66. I mean, can we talk?[28]

WOS 9 was the first zine I read when I got back from MEDIAWEST. I even started reading it there. It was great. My favorite story was "The Ember"—it helps that I'm a Lee Van Cleef fan and enjoy seeing Col. Mortimer again, too, as well as Doc Bell. I like cross-universe stories and was glad to see a couple of them in this issue along with some old familiar faces. I hadn't thought of LAWMAN in years.

As for "Tommy Lillard and the Holy Book"—I howled at all the in-jokes. I never watched AS&J when it was on, but the more I read the fan fiction, the more I wish I had. As a new fan of WILDSIDE and an old fan of LAREDO, I loved "Forwarding Address." I liked "The Frame-Up." Nice to see Avram appear in a FRISCO KID story—more often than not he only gets a passing reference and I get a kick out of him and Tommy together.

"Night of the Flight" was good, too. It was nice to see Tuco make an appearance. In fact, there was so much nostalgia that- I'm glad I started getting interested in Westerns again (thank you, Mr. Van Cleef). All I can see is let's have more issues, please. [29]

Reactions and Reviews: Issue 9

First off, I'm so glad I picked WIDE OPEN SPACES #9 up at MEDIAWEST and regret I didn't get numbers 1-8. Can you let me know if you're selling copies of back issues? Secondly, I'd forgotten how many Westerns I used to watch and really enjoy. It was refreshing to read your zine, almost like taking a walk down memory lane. The artwork was, overall, excellent. My favorite had to be Catherine Schlein's portrait of Peter Dual on Page 62. I think she captured the essence of the man, the doubt in not only himself but his craft as well.

The spacing of the artwork was also well done, not the least bit intrusive to the fiction or poetry. Another kudo to you, kiddo. As for the cartoons—you're sick, Leah. Sick, sick, sick—I loved 'em all!

Now, for the fiction. It was all very good. I especially liked the story you wrote with Helen Woolverton, "THE EMBER". As you know, I'm not a big Clint Eastwood/Spaghetti Western fan, but this story makes me want to read more about the adventures of Noname and those associated with him. The only thing I have to complain about was Christine Jeffords' piece, "THE FRAME-UP". Not that it wasn't good—it was, and not that she didn't have the principals in character— she did. It's just that, at times, she goes into so much detail that it—it got boring and confusing. Where one or two clear-cut sentences would do just fine, she gave us whole paragraphs. I realize that this is her style, but I think she, perhaps, underestimates our intelligence.

My absolute favorite pieces in the zine are "FRESH OUT OF ACES" by Cindy Dye and "CHRISTMAS AT DEVIL'S HOLE" by Kay Crayton and Denise Walters. Like I told you at MEDIAWEST, I hold AS&J very close to my heart as do most Rochesterians who remember it...Peter was a hometown boy who left, made good and returned in a pine box. Both these writers did the actors, the show and script writers credit.

Their stories were credible and believable; they easily and simply told their tale and were able to convey the deep caring and concern between the two men without falling into the "my buddy" syndrome. Bravo ladies, bravo.

The poetry was, well, very good. I liked "Make Me a Cowboy Again, For a Day." It kind of made me wish I could experience for just a couple of days—'course, I'd need hot & cold running water, electricity for my hair blower and of course central heat for those cold nights. May a helluva cowboy, wouldn't I?!!...WOS #9 was more than well worth the money spent—can't wait for #10! [30]

I really enjoyed your 'zine. I haven*t seen from, because they aren't playing up here in both great and make me feel like I'm missing hope I can get a hold of issues #1-8. I was in particular...keep up the good work. [31]

What can I say about WOS? Only one word comes to mind—fascinating! Honestly, I have managed to collect all the issues, except for numero uno (if you come across anyone wants to sell theirs, I would love to buy it. Love every single story, photo, poem, cartoon and song...my favorite stories are about Noname and the She-Wolf, but I love them all. [32]

[33]

[34]

[35]

[36]

[37]

[38]

[39]

[40]

[41]

[42]

[43]

[44]

[45]

[46]

[47]

[48]

[49]

[50]

[51]

[52]

[53]

[54]

[55]

Issue 10

front cover of issue #10, Bob Eggleton
back cover of issue #10 by Laura Virgil

Wide Open Spaces 10 was published in May 1986 and contains 100 pages.

flyer for issue #10

The art is by Guy Brownlee, Ginny Daye, Bob Eggleton, Wanda Lybarger, Mary Otten, Melody Rondeau, Leah Rosenthal, Cathy Schlein, Virginia Lee Smith and Laura Virgil.

It was edited by Leah Rosenthal and proofread by Linda Deneroff.

This was an issue focusing on SF/Horror/supernatural crossovers with Western TV universes.

It was also the last issue to have a totally-Westerns focus, and would accept material from any fannish media source. See some of Leah's editorial

  • from issue #10, Wanda Lybarger (Frisco Kid fusion with Star Wars)

    from issue #10, Wanda Lybarger (Frisco Kid fusion with Star Wars)

  • from issue #10, Cathy Schlein (Wild Wild West)

    from issue #10, Cathy Schlein (Wild Wild West)

  • from issue #10, Mary Otten (Alias Smith and Jones)

    from issue #10, Mary Otten (Alias Smith and Jones)

  • from issue #10, Virginia Lee Smith (Catlow)

    from issue #10, Virginia Lee Smith (Catlow)

  • from issue #10, Guy Brownlee (Doctor Who fusion with Bad Company)

    from issue #10, Guy Brownlee (Doctor Who fusion with Bad Company)

  • from issue #10, Leah Rosenthal (Bad Company/Blake's 7)

    from issue #10, Leah Rosenthal (Bad Company/Blake's 7)

  • from issue #10, Ginny Daye (The High Chaparral)

    from issue #10, Ginny Daye (The High Chaparral)

  • from issue #10, Wanda Lybarger (Frisco Kid)

    from issue #10, Wanda Lybarger (Frisco Kid)

Issue 11

issue #11

Wide Open Spaces 11 is 86 pages long. It was published in 1997, many years after the previous issue. The artwork is by Leah Rosenthal (Lonesome Dove), Kelly Taylor (ASJ) and Laura Virgil (ASJ).

  • Roswell by Catherine Siemann ("Yeah, that Snarkathon woman again ;-) -- a "sort of" Alias Smith and Jones/X-Files crossover ("Heyes and Curry have found steady work in a nice, peaceful New Mexico town until two federal agents involve them in the investigation of some unearthly phenomena.")
  • One Good Turn by Irene Shafer ("The guys encounter an old friend, in more than one sense of the word, in this charming tale") (Alias Smith and Jones)

References

  1. ^ from a letter of comment in "Wide Open Spaces" #9
  2. ^ from a letter of comment in "Wide Open Spaces" #1
  3. ^ from a letter of comment in "Wide Open Spaces" #1
  4. ^ from a letter of comment in "Wide Open Spaces" #1
  5. ^ from a letter of comment in "Wide Open Spaces" #1
  6. ^ from a letter of comment in "Wide Open Spaces" #1
  7. ^ from a letter of comment in "Wide Open Spaces" #3
  8. ^ from a letter of comment in "Wide Open Spaces" #3
  9. ^ from a letter of comment in "Wide Open Spaces" #3
  10. ^ from a letter of comment in "Wide Open Spaces" #3
  11. ^ from a letter of comment in "Wide Open Spaces" #9
  12. ^ from a letter of comment from a Swedish fan in "Wide Open Spaces" #9
  13. ^ from a letter of comment in "Wide Open Spaces" #9
  14. ^ from Datazine #24
  15. ^ This was mistakenly credited to Lorraine Beatty, something the editor apologizes for in the next issue.
  16. ^ from a letter of comment in "Wide Open Spaces" #9
  17. ^ from a letter of comment in "Wide Open Spaces" #9
  18. ^ from a letter of comment in "Wide Open Spaces" #9
  19. ^ from a letter of comment in "Wide Open Spaces" #9
  20. ^ from a letter of comment in "Wide Open Spaces" #9
  21. ^ from a letter of comment in "Wide Open Spaces" #9
  22. ^ from a letter of comment in "Wide Open Spaces" #10
  23. ^ from a letter of comment in "Wide Open Spaces" #10
  24. ^ from a letter of comment in "Wide Open Spaces" #10
  25. ^ from a letter of comment in "Wide Open Spaces" #10
  26. ^ from a letter of comment in "Wide Open Spaces" #10
  27. ^ from a letter of comment in "Wide Open Spaces" #10
  28. ^ from a letter of comment in "Wide Open Spaces" #10
  29. ^ from a letter of comment in "Wide Open Spaces" #10
  30. ^ from a letter of comment in "Wide Open Spaces" #10
  31. ^ from a letter of comment in "Wide Open Spaces" #10
  32. ^ from a letter of comment in "Wide Open Spaces" #10
  33. ^ from a letter of comment in "Wide Open Spaces" #10
  34. ^ from a letter of comment in "Wide Open Spaces" #10
  35. ^ from a letter of comment in "Wide Open Spaces" #10
  36. ^ from a letter of comment in "Wide Open Spaces" #10
  37. ^ from a letter of comment in "Wide Open Spaces" #10
  38. ^ from a letter of comment in "Wide Open Spaces" #10
  39. ^ from a letter of comment in "Wide Open Spaces" #10
  40. ^ from a letter of comment in "Wide Open Spaces" #10
  41. ^ from a letter of comment in "Wide Open Spaces" #10
  42. ^ from a letter of comment in "Wide Open Spaces" #10
  43. ^ from a letter of comment in "Wide Open Spaces" #10
  44. ^ from a letter of comment in "Wide Open Spaces" #10
  45. ^ from a letter of comment in "Wide Open Spaces" #10
  46. ^ from a letter of comment in "Wide Open Spaces" #10
  47. ^ from a letter of comment in "Wide Open Spaces" #10
  48. ^ from a letter of comment in "Wide Open Spaces" #10
  49. ^ from a letter of comment in "Wide Open Spaces" #10
  50. ^ from a letter of comment in "Wide Open Spaces" #10
  51. ^ from a letter of comment in "Wide Open Spaces" #10
  52. ^ from a letter of comment in "Wide Open Spaces" #10
  53. ^ from a letter of comment in "Wide Open Spaces" #10
  54. ^ from a letter of comment in "Wide Open Spaces" #10
  55. ^ from a letter of comment in "Wide Open Spaces" #10
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