Fantastic Adventures

Fantastic Adventures was an American pulp fantasy and science fiction magazine, published from 1939 to 1953 by Ziff-Davis. It was initially edited by Raymond A. Palmer, who was also the editor of Amazing Stories, Ziff-Davis's other science fiction title. The first nine issues were in bedsheet format, but in June 1940 the magazine switched to a standard pulp size. It was almost cancelled at the end of 1940, but the October 1940 issue enjoyed unexpectedly good sales, helped by a strong cover by J. Allen St. John for Robert Moore Williams' Jongor of Lost Land. By May 1941 the magazine was on a regular monthly schedule. Historians of science fiction consider that Palmer was unable to maintain a consistently high standard of fiction, but Fantastic Adventures soon developed a reputation for light-hearted and whimsical stories. Much of the material was written by a small group of writers under both their own names and house names. The cover art, like those of many other pulps of the era, focused on beautiful women in melodramatic action scenes. One regular cover artist was H.W. McCauley, whose glamorous "MacGirl" covers were popular with the readers, though the emphasis on depictions of attractive and often partly clothed women did draw some objections.

In 1949 Palmer left Ziff-Davis and was replaced by Howard Browne, who was knowledgeable and enthusiastic about fantasy fiction. Browne briefly managed to improve the quality of the fiction in Fantastic Adventures, and the period around 1951 has been described as the magazine's heyday. Browne lost interest when his plan to take Amazing Stories upmarket collapsed, and the magazine fell back into predictability. In 1952, Ziff-Davis launched another fantasy magazine, titled Fantastic, in a digest format; it was successful, and within a few months the decision was taken to end Fantastic Adventures in favor of Fantastic. The March 1953 issue of Fantastic Adventures was the last.

Fantastic Adventures
Fantastic Adventures 1940 Oct cover
October 1940 cover of Fantastic Adventures by J. Allen St. John, which was instrumental in saving the magazine from cancellation
EditorRaymond A. Palmer
Howard Browne
CategoriesFantasy, science fiction
Year founded1939
Final issue1953
CountryUnited States

Publication history

Although science fiction (sf) had been published before the 1920s, it did not begin to coalesce into a separately marketed genre until the appearance in 1926 of Amazing Stories, a pulp magazine published by Hugo Gernsback. By the end of the 1930s the field was undergoing its first boom.[1] Gernsback lost control of Amazing Stories in 1929; it was sold to Teck Publications, and then in 1938 it was acquired by Ziff-Davis.[2][3] The following year Ziff-Davis launched Fantastic Adventures as a companion to Amazing; the first issue was dated May 1939, and the editor of Amazing, Ray Palmer, took on responsibility for the new magazine as well.[4]

Fantastic Adventures was initially published in bedsheet format,[note 1] the same size as the early sf magazines such as Amazing,[6][7] perhaps in order to attract fans who were nostalgic for the larger format.[8] It started as a bimonthly, but in January 1940 began a monthly schedule. Sales were weaker than for Amazing, however, and with the June issue the schedule reverted to bimonthly. The size was also reduced to a standard pulp format, since that was cheaper to produce. Sales did not improve, and Ziff-Davis planned to make the October issue the last one. That issue carried Robert Moore Williams' Jongor of Lost Land, and had a cover by J. Allen St. John; the combination proved to be so popular that October sales were twice the August figures. This convinced Ziff-Davis that the magazine was viable, and it was restarted in January 1941—as a bimonthly at first, but switching to monthly again in May of that year.[4][8]

Howard Browne took over as editor of both Amazing Stories and Fantastic Adventures in 1950. Browne preferred fantasy to science fiction, and enjoyed editing Fantastic Adventures, but when his plans for taking Amazing upmarket were derailed by the Korean War, he lost interest in both magazines for a while.[9][10] He let William Hamling take responsibility for both titles, and the quality declined. At the end of 1950, Ziff-Davis moved its offices from Chicago to New York; Browne relocated to New York, but Hamling decided to stay in Chicago, so Browne became more involved once again, and sf historians such as Brian Stableford and Mike Ashley consider the result to have been a definite improvement in quality.[7][9] Browne's interest in fantasy led him to start a new digest-sized magazine, Fantastic, in the summer of 1952; it was an immediate success, and led Ziff-Davis to convert Amazing Stories to digest format as well. The move from the pulp format to digests was well under way in the early 1950s, and with Fantastic's success there was little reason to keep Fantastic Adventures going. It was merged with Fantastic; the last issue was dated March 1953, and the May–June issue of Fantastic added a mention of Fantastic Adventures to the masthead, though this disappeared with the following issue.[10]

Contents and reception


Fantastic Adventures 1941 Jan cover
Harold W. McCauley's cover for the January 1941 issue. These "MacGirl" covers, as they were known, began to appear from late 1940, replacing more action-oriented artwork.

Palmer's goal for Fantastic Adventures was to create a magazine that published fantasy fiction but was the literary equal of the quality magazines—the "slicks", such as The Saturday Evening Post.[4] Although mixing science fiction with fantasy was not popular with sf fans of the era, Palmer consciously promoted the magazine as containing the best of both worlds; the slogan on the cover read "The Best in Science Fiction", but Palmer also wrote blurbs in Amazing Stories for Fantastic Adventures in which he extolled the value to a reader of getting both genres in a single magazine.[8] Fantastic Adventures' competition included Unknown, which had been launched just a couple of months earlier, in March 1939, and Weird Tales, which was first published in 1923; but instead of attempting to emulate either one, Fantastic Adventures focused on adventure stories in the style of Edgar Rice Burroughs. Palmer probably acquired some fantasy-oriented material that had been submitted to Amazing Stories, which gave him an immediate stream of submissions to work with.[4] However, according to Ashley the first issue was quite weak: The cover story was "The Invisible Robinhood" by Eando Binder, and other contributors included Harl Vincent, Ross Rocklynne and A. Hyatt Verrill.[4][11] Features included a quiz, an author profile, and a comic strip, titled "Ray Holmes, Scientific Detective"; the reader was supposed to solve the mystery based on the clues given in the strip. It was a failure and disappeared after the first issue.[8] The back cover, "The Man from Mars", by Frank R. Paul, was more successful,[4] and illustrated back covers became a regular feature of the magazine.[8]

The next issue contained "The Scientists' Revolt", by Edgar Rice Burroughs, a name guaranteed to help sales. Ashley comments that the story was unimpressive; it had been written as a palace intrigue set in contemporary Europe, but Burroughs had been unable to find a buyer. Palmer eventually acquired it, and rewrote it, setting it in the future. Despite the weakness of the lead story, the second issue was a marked improvement over the first, with well-received stories by Nelson S. Bond and John Russell Fearn (as "Thornton Ayre").[8] Burroughs returned to Fantastic Adventures in 1941, with a series of novelettes in his Carson of Venus series; there were four in all between March 1941 and March 1942, each with cover art by J. Allen St. John, and the result was a significant boost to Fantastic Adventures' circulation.[8]

Robert Gibson Jones' October 1950 cover for L. Ron Hubbard's Masters of Sleep

A majority of the stories in Fantastic Adventures came from a small group of writers who often wrote under house names. The main members of the group were William P. McGivern, David Wright O'Brien, Don Wilcox, Chester S. Geier, Rog Phillips, Leroy Yerxa, Robert Moore Williams, Robert Bloch and Berkeley Livingston.[8][12] Most of this material was of little lasting value, in Ashley's opinion, but Palmer was often able to get good stories from outside this group: August Derleth sold several stories to Palmer, for example. Ray Bradbury also sold a story to Fantastic Adventures—"Tomorrow and Tomorrow", which appeared in 1947, was his only appearance in the magazine, but Ashley regards it as "among the best stories [Fantastic Adventures] published in the 1940s".[8] An early contributor was Nelson S. Bond, whose story "The Judging of the Priestess" appeared in the April 1940 issue. This was the second in a highly regarded series of three stories about a priestess in the future, after civilization has collapsed; the first and third in the series appeared in Amazing Stories and Astounding Stories respectively.[4] Bond also wrote a humorous short story called "The Amazing Invention of Wilberforce Weems", which appeared in the September 1939 issue and described the consequences of a potion that allowed the instant absorption of knowledge from any book. Palmer encouraged his stable of writers to follow up with more whimsical ideas, and the resulting offbeat stories gave Fantastic Adventures a reputation for light-hearted and entertaining fantasy.[4] These stories often had absurd names; early examples include "The Quandary of Quantus Quaggle", "Sidney, the Screwloose Robot" (both by McGivern), and "The Weird Doom of Floyd Scrilch", by Robert Bloch—one of his series of stories about Lefty Feep, almost all of which appeared in Fantastic Adventures between 1942 and 1945.[4] Robert Moore Williams contributed two sequels to his successful Jongor of Lost Land: The Return of Jongor appeared in 1944, and Jongor Fights Back in 1951.[8]

Palmer enjoyed hoaxes, such as printing a photograph of a writer when in fact the name in question was a pseudonym. In the February 1944 issue of Fantastic Adventures, he printed a letter in which the writer claimed to be a time-traveling scientist born in 1970, whose time machine was inspired by a story in the magazine. Palmer pretended to take the letter seriously, and printed an appeal to readers to find the scientist.[13] Palmer's most successful hoax was the "Shaver Mystery", a series of stories in which the author, Richard Shaver, explained all the wrecks and accidents on Earth as the result of interference by ancient machinery hidden underground. The series was enormously popular; all the Shaver Mystery stories were published in Fantastic Adventures' companion magazine, Amazing Stories (which led Ashley to describe Fantastic Adventures as a "haven" from the Shaver stories) but Shaver did also publish some competent fantasies in Fantastic Adventures.[8][13][14] The increased circulation enabled both Amazing and Fantastic Adventures to return to monthly publication in the late 1940s.[15]


Fantastic Adventures 1949 Mar cover
Alexander Kohn's cover for the March 1949 issue. Phallic spaceships were common on SF magazine covers, but here a submarine plays that role.[16]

When Browne took over at the start of 1950, William Hamling was doing most of the editorial work. Browne did not fully take control of the magazine until the end of the year, when Hamling and Palmer both left Ziff-Davis; the quality of the fiction promptly improved at that point, and the first year or two of Browne's tenure are regarded as the high point of Fantastic Adventures' run.[7][8] Theodore Sturgeon's novel The Dreaming Jewels appeared in February 1950, and Lester del Rey, William Tenn and Walter M. Miller all published notable material.[7] In April 1950, Mack Reynolds' first story, "Isolationist", appeared in Fantastic Adventures. Reynolds became more strongly associated with Astounding Science Fiction than with the Ziff-Davis magazines, but some of the radical political themes of his later work are evident in "Isolationist". The story describes helpful alien visitors abandoning Earth to atomic war because of the hostility of the first Earthman they encounter.[17] John Jakes also debuted in Fantastic Adventures that year, with "The Dreaming Trees", in November 1950.[8]

Overall the quality was low, but according to sf historian Brian Stableford, "sf writers given carte blanche to write pure fantasy for [Fantastic Adventures] did often produce readable fiction with a distinctive whimsical and ironic flavour".[7] Critic John Clute's assessment was that it was inconsistent, "but there were some terrific tales in it. Not enough, but some."[18] Notable stories from the post-war era include Theodore Sturgeon's "Largo" and Raymond F. Jones' "The Children's Room". The artwork was generally of higher quality than the stories; Ashley describes Fantastic Adventures as "one of the best-illustrated magazines around". Regular artists included Virgil Finlay, Henry Sharp, Rod Ruth, and Malcolm Smith.[8] In Palmer's words, "It has been our experience that covers sell magazines—simply because they attract attention."[8] For the first year the cover art, while dramatic, was more likely to show an action scene with a male hero than a damsel in distress, but in August 1940 H.W. McCauley's cover showed a glamorous woman in a sparkling dress. Similar covers followed with increasing frequency, with readers and editors giving the various heroines the name of "MacGirl". Science fiction historian Paul Carter, commenting on the change from action scenes to alluring women on the covers, suggests that "surely the war had something to do with this".[19] Science fiction art often included spaceships as phallic symbols; author and critic Brian Aldiss remarked on a Fantastic Adventures cover, from March 1949, that included a submarine as a phallic symbol instead.[16] Readers' letters often objected to the attractive women and the implied sexual content, but the stories themselves were quite tame.[8]

Bibliographic details

Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec
1939 1/1 1/2 1/3 1/4
1940 2/1 2/2 2/3 2/4 2/5 2/6 2/7 2/8
1941 3/1 3/2 3/3 3/4 3/5 3/6 3/7 3/8 3/9 3/10
1942 4/1 4/2 4/3 4/4 4/5 4/6 4/7 4/8 4/9 4/10 4/11 4/12
1943 5/1 5/2 5/3 5/4 5/5 5/6 5/7 5/8 5/9 5/10
1944 6/1 6/2 6/3 6/4
1945 7/1 7/2 7/3 7/4 7/5
1946 8/1 8/2 8/3 8/4 8/5
1947 9/1 9/2 9/3 9/4 9/5 9/6 9/7 9/8
1948 10/1 10/2 10/3 10/4 10/5 10/6 10/7 10/8 10/9 10/10 10/11 10/12
1949 11/1 11/2 11/3 11/4 11/5 11/6 11/7 11/8 11/9 11/10 11/11 11/12
1950 12/1 12/2 12/3 12/4 12/5 12/6 12/7 12/8 12/9 12/10 12/11 12/12
1951 13/1 13/2 13/3 13/4 13/5 13/6 13/7 13/8 13/9 13/10 13/11 13/12
1952 14/1 14/2 14/3 14/4 14/5 14/6 14/7 14/8 14/9 14/10 14/11 14/12
1953 15/1 15/2 15/3
Issues of Fantastic Adventures, showing volume/issue number, and color-coded
to show who was editor for each issue. The editor was Raymond Palmer from the
beginning until the end of 1949; Howard Browne took over in January 1950 and
remained in that role till the magazine folded.

The editorial succession at Fantastic Adventures is usually given as follows:[7][8]

However, the editorial responsibility did not always reside with the named editor on the masthead. The editor-in-chief was senior to the managing editor, but at some points in the magazine's history it was the managing editor who was primarily responsible for the magazine. The following table shows who held which title, at which point:[8]

Start month End month Editor-in-Chief Managing Editor Number of issues
May–39 Jan–47 B.G. Davis Ray Palmer 59
Mar–47 Oct–47 Ray Palmer Howard Browne 5
Nov–47 Dec–49 William Hamling 26
Jan–50 Feb–51 Howard Browne 14
Mar–51 Mar–53 Lila Shaffer 25

Fantastic Adventures was initially bedsheet-sized and had a page count of 96, which increased to 144 when the publication was reduced to pulp-size in June 1940. It was initially priced at 20 cents. With the April 1942 issue the price increased to 25 cents, where it remained for the rest of the magazine's run, and the page count went up again to 240. From June 1943 to July 1945 there were 208 pages, and the count dropped to 176 with the October 1945 issue; then to 160 in July 1948, and only two issues later, in September 1948, the page count went down to 156. It dropped again to 144 with the June 1949 issue, but rose to 160 from September 1949 to August 1950. The September 1950 issue had 148 pages, and all the remaining issues had 130 pages.[8]

The magazine began as a bimonthly, but switched to a monthly schedule in January 1940, though this only lasted six issues. June 1940 was followed by August and October 1940 and January and March 1941. The May 1941 issue inaugurated another monthly period that lasted until August 1943, when the schedule switched back to bimonthly until the June 1944 issue. Fantastic then went on a quarterly schedule, beginning with the October 1944 issue; in October 1945 it became bimonthly again, though there was a gap between February and May 1946. From September 1947 to the end of the run the magazine was monthly. The volume numeration was regular, with a new volume starting at the beginning of each calendar year; the result was a variable number of issues in each volume, from a low of four in 1944 to a full twelve when the magazine was monthly, as it was for the last few years of its life. The last issue was volume 15 number 3.[8]

There were two British reprint editions. The first consisted of two numbered and undated issues, which appeared in May and June 1947 from Ziff-Davis in London. This was pulp-sized and 32 pages long; it contained stories from the wartime U.S. edition. The second series was published by Thorpe & Porter, in Leicester, and consisted of 24 undated issues, all but the first two of which were numbered. These began at 160 pages, and decreased, first to 128 and then to 96 pages. They were released between June 1950 and February 1954, and were abridged versions of U.S. editions dated from March 1950 to January 1953, as follows:[6][8]

Number British release date Corresponding U.S. issue
1 (unnumbered) June 1950 Mar 1950
2 (unnumbered) August 1950 Apr 1950
3 October 1950 May 1950
4 December 1950 September 1950
5 January 1951 October 1950
6 March 1951 August 1950
7 April 1951 February 1951
8 November 1951 January 1951
9 February 1952 February 1950
10 March 1952 November 1950
11 April 1952 December 1950
12 July 1952 March 1951
13 September 1952 April 1951
14 October 1952 May 1951
15 November 1952 August 1951
16 January 1953 June 1951
17 February 1953 September 1951
18 April 1953 October 1951
19 June 1953 April 1952
20 July 1953 June 1952
21 August 1953 July 1950
22 September 1953 January 1953
23 October 1953 December 1951
24 February 1954 December 1952

The contents were initially identical to the U.S. editions, but starting with issue #13 at least one story was dropped.[6][8]

Starting in 1941, unsold issues of Fantastic Adventures were rebound, three together, with a new cover, titled Fantastic Adventures Quarterly. There were eight of these quarterly issues between Winter 1941 and Fall 1943; they were priced at 25 cents and given a volume numbering from volume 1 number 1 to volume 2 number 4. Another similar series was started in Summer 1948, for 50 cents; there were eleven of these, running from volume 6 number 1 to volume 9 number 1, finishing with the Spring 1951 issue and omitting Spring 1949.[6][8]

In 1965, Sol Cohen acquired both Amazing Stories and Fantastic from Ziff-Davis, along with reprint rights to all the stories that had appeared in the Ziff-Davis science fiction magazines, including Fantastic Adventures.[20] Cohen published multiple reprint titles, and frequently reprinted stories from Fantastic Adventures. In particular, the following issues took their contents mostly or completely from Fantastic Adventures:[8][21]

  • Fantastic Adventures Yearbook. One issue in the summer of 1970, no number, dated only with the year. Reprinted six stories from Fantastic Adventures that had originally appeared between 1949 and 1952.
  • Thrilling Science Fiction. Issues 16 and 20 (Summer 1970 and Summer 1971).
  • Science Fiction Adventures. January 1974 issue.
  • Science Fantasy. All four issues, from 1970 to 1971.
  • The Strangest Stories Every Told. One issue, Summer 1970.
  • Weird Mystery. There were four issues of this magazine between Fall 1970 and Summer 1971; the contents were drawn largely from Fantastic Adventures.


  1. ^ Bedsheet magazines were approximately 8.5 by 11.75 inches (216 mm × 298 mm).[5]


  1. ^ Malcolm Edwards & Peter Nicholls, "SF Magazines", in Clute & Nicholls, Encyclopedia of Science Fiction, pp. 1066–1068.
  2. ^ Ashley, Time Machines, p. 76.
  3. ^ Ashley, Time Machines, p. 115.
  4. ^ a b c d e f g h i Ashley, Time Machines, pp. 142–146.
  5. ^ Peter Nicholls, "Bedsheet", in Clute & Nicholls, Encyclopedia of Science Fiction, p. 102.
  6. ^ a b c d "Fantastic Adventures", in Tuck, Encyclopedia of Science Fiction and Fantasy, Vol. 3, pp. 558–559.
  7. ^ a b c d e f Brian Stableford, "Fantastic Adventures", in Clute & Nicholls, Encyclopedia of Science Fiction, p. 404.
  8. ^ a b c d e f g h i j k l m n o p q r s t u v w x Mike Ashley, "Fantastic Adventures", in Tymn & Ashley, Science Fiction, Fantasy and Weird Fiction Magazines, pp. 232–240.
  9. ^ a b Ashley, Transformations, p. 7.
  10. ^ a b Ashley, Transformations, pp. 48–50.
  11. ^ See the individual issues. For convenience, an online index is available at "Magazine:Fantastic Adventures — ISFDB". Al von Ruff. Retrieved 28 January 2011. An index to the British reprints is at "Visco navigation". Terry Gibbons. Archived from the original on 24 July 2011. Retrieved 28 January 2011.
  12. ^ de Camp, Science-Fiction Handbook, p. 120.
  13. ^ a b Ashley, Time Machines, p. 178.
  14. ^ Ashley, Time Machines, p. 183.
  15. ^ Ashley, History of the Science Fiction Magazine, Vol. 3, p. 24.
  16. ^ a b Aldiss & Wingrove, Trillion Year Spree, pp. 222, 463, 464.
  17. ^ Ashley, Transformations, p. 6.
  18. ^ Clute, Science Fiction: The Illustrated Encyclopedia, p. 101.
  19. ^ Carter, Creation of Tomorrow, p. 183.
  20. ^ Ashley, Transformations, p. 228.
  21. ^ Mike Ashley, "Fantastic Adventures Yearbook", in Tymn & Ashley, Science Fiction, Fantasy and Weird Fiction Magazines, pp. 240–241.


  • Aldiss, Brian; Wingrove, David (1986). Trillion Year Spree:The History of Science Fiction. London: Gollancz. ISBN 0-575-03943-4.
  • Ashley, Michael (1976). The History of the Science Fiction Magazine Vol. 3 1946–1955. Chicago: Contemporary Books, Inc. ISBN 0-8092-7842-1.
  • Ashley, Mike (2000). The Time Machines:The Story of the Science-Fiction Pulp Magazines from the beginning to 1950. Liverpool: Liverpool University Press. ISBN 0-85323-865-0.
  • Ashley, Mike (2005). Transformations: The Story of the Science Fiction Magazines from 1950 to 1970. Liverpool: Liverpool University Press. ISBN 0-85323-779-4.
  • Carter, Paul A. (1977). The Creation of Tomorrow: Fifty Years of Magazine Science Fiction. New York: Columbia University Press. ISBN 0-231-04211-6.
  • Clute, John (1995). Science Fiction: The Illustrated Encyclopedia. New York: Dorling Kindersley. ISBN 0-7894-0185-1.
  • Clute, John; Nicholls, Peter (1993). The Encyclopedia of Science Fiction. New York: St. Martin's Press, Inc. ISBN 0-312-09618-6.
  • de Camp, L. Sprague (1953). Science-Fiction Handbook: The Writing of Imaginative Fiction. New York: Hermitage House.
  • Tuck, Donald H. (1982). The Encyclopedia of Science Fiction and Fantasy: Volume 3. Chicago: Advent: Publishers, Inc. ISBN 0-911682-26-0.
  • Tymn, Marshall B.; Ashley, Mike (1985). Science Fiction, Fantasy and Weird Fiction Magazines. Westport CT: Greenwood Press. ISBN 0-313-21221-X.

External links

Beachheads in Space

Beachheads in Space is an anthology of science fiction stories edited by American writer August Derleth. It was first published by Pellegrini & Cudahy in 1952. Many of the stories had originally appeared in the magazines Astounding Stories, Fantastic Adventures, Science Fiction Adventures, Amazing Stories, Startling Stories, Weird Tales, Planet Stories and Blue Book. Seven of the stories were reprinted again in Derleth's 1964 anthology From Other Worlds.


The bedsheet format (also known as large pulp) was the size of many magazines published in the United States in the first quarter of the 20th century. Magazines in bedsheet format were roughly the size of Life but with square spines. While the bedsheet size varied slightly from magazine to magazine, a standard bedsheet size is usually 9¾" x 12".Dick Eney's Fancyclopedia II gives the following entry:

Bedsheet: A prozine size; 9x12. At various times Amazing, Wonder, Fantastic Adventures, ASF and Unknown Worlds attempted this size. The two latter, at least, were cut down by wartime paper shortage, and possibly by the keening of collectors who found these dimensions accident-prone.The first science fiction magazine, Amazing Stories, was published in a bedsheet format. Later, most magazines changed to the pulp magazine format, roughly the size of comic books or National Geographic but again with a square spine. Now, many magazines are published in digest format, roughly the size of Reader's Digest, although a few are in the standard roughly 8.5" x 11" size, and often have stapled spines, rather than glued square spines. Knowledge of these formats is an asset when locating magazines in libraries and collections where magazines are usually shelved according to size.

Sometimes the description "bedsheet" has been applied to magazines of the bedsheet size but with stapled rather than square spines.

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Edd Cartier

Edward Daniel Cartier (August 1, 1914 – December 25, 2008), known professionally as Edd Cartier, was an American pulp magazine illustrator who specialized in science fiction and fantasy art.

Born in North Bergen, New Jersey, Cartier studied at Pratt Institute. Following his 1936 graduation from Pratt, his artwork was published in Street and Smith publications, including The Shadow, to which he contributed many interior illustrations, and the John W. Campbell, Jr.-edited magazines Astounding Science Fiction, Doc Savage Magazine and Unknown. His work later appeared in other magazines, including Planet Stories, Fantastic Adventures and other pulps.

Edgar Rice Burroughs bibliography

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Fantastic Dizzy

Fantastic Dizzy (The Fantastic Adventures of Dizzy outside Europe & Australia) is a 1991 video game developed by Codemasters. It is part of the Dizzy series. It was published to several platforms, including Sega Mega Drive/Genesis, Sega Master System, Sega Game Gear, Nintendo Entertainment System, Amiga and MS-DOS.

The game was originally intended to be released in time for Christmas in 1990, but because of a legal action between Codemasters and Nintendo over the Game Genie the title was released in April 1991, making it miss the Christmas rush it was originally slated for. Furthermore, only sold 125,000 units instead of the expected 500,000. Despite this, the game was awarded the 'NES Adventure Game of the Year 1991' by Game Players Magazine and given the coveted 'Parents Choice Award'.

Mack Reynolds

Dallas McCord "Mack" Reynolds (November 11, 1917 – January 30, 1983) was an American science fiction writer. His pen names included Dallas Ross, Mark Mallory, Clark Collins, Dallas Rose, Guy McCord, Maxine Reynolds, Bob Belmont, and Todd Harding. His work focused on socioeconomic speculation, usually expressed in thought-provoking explorations of utopian societies from a radical, sometime satiric perspective. He was a popular author from the 1950s to the 1970s, especially with readers of science fiction and fantasy magazines.Reynolds was the first author to write an original novel based upon the 1966-1969 NBC television series Star Trek. The book, Mission to Horatius (1968), was aimed at young readers.

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Rabbah bar bar Hana (Rabbah bar Rabbah bar Hana) does not seem to have enjoyed high regard in his adopted country, for it was taken as a matter of course that Rav Shimon ben Lakish should not do him the honor of addressing him in public. After a somewhat prolonged sojourn in Palestine he returned to Babylonia, residing both at Pumbedita and at Sura. In the former city he at first refused to attend the lectures of Rav Judah ben Ezekiel, but he soon became his friend, and was consulted by him in difficult cases. Judah and his pupil Rabbah b. Naḥmani once visited Rabbah, who was ill, and submitted a halakhic question to him. While they were there a Zoroastrian priest ("geber") suddenly appeared and extinguished the lamp, the day being a festival of Ormuzd, on which Jews were forbidden to have fire in their houses. Rabbah thereupon sorrowfully exclaimed: "O God, let us live either under Thy protection, or at least under the protection of the children of Esau [the Romans]".The persecutions of the Babylonian Jews by the Sassanids caused Rabbah to resolve to return to Palestine, although it is nowhere said that he carried out that intention. During his residence at Sura he wished to introduce the recitation of the Ten Commandments into the daily prayer, but was dissuaded by Rav Chisda. Later he visited Maḥoza, and he tells of the wonderful feats he saw performed there by a juggler.

The Dead Don't Die (1975 film)

The Dead Don't Die is a 1975 American made-for-television neo-noir horror thriller film set in the 1930s, directed by Curtis Harrington from a teleplay by Robert Bloch, based upon his own story of the same title that first appeared in Fantastic Adventures, July 1951. The film originally premiered on NBC on January 14, 1975. The film uses the traditional Haitian concept of zombies, as resurrected slaves of the living.

The Eye of Tandyla

"The Eye of Tandyla" is a fantasy story by American writer L. Sprague de Camp, part of his Pusadian series. It was first published in the magazine Fantastic Adventures for May, 1951, and first appeared in book form in de Camp's collection The Tritonian Ring and Other Pusadian Tales (Twayne, 1953). The story has also appeared in the magazine Fantastic for November 1965, the anthologies Time Untamed (1967), The Magic of Atlantis (1970), Wizards (1983), and The Mammoth Book of Seriously Comic Fantasy (1999) (also published as The Mammoth Book of Comic Fantasy II), and the de Camp omnibus collection Lest Darkness Fall/Rogue Queen/The Tritonian Ring and Other Pusadian Tales (2014). It has also been translated into French, Spanish, Italian, German and Russian.

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The Night Side is an anthology of fantasy and horror stories edited by American writer August Derleth and illustrated by Lee Brown Coye. It was first published by Rinehart & Company in 1946. The stories had originally appeared in the magazines Amazing Stories, Collier's Weekly, Weird Tales, Saturday Review, The London Mercury, Unknown, Astounding Stories, Esquire, The Briarcliff Quarterly, Cosmopolitan, Blue Book, Top-Notch and Fantastic Adventures or in the collections The Clock Strikes Twelve, The Children of the Pool, Fearful Pleasures, Nights of the Round Table and My Grimmest Nightmare.

The Outer Reaches

The Outer Reaches is an anthology of science fiction stories edited by August Derleth. It was first published by Pellegrini & Cudahy in 1951. The stories had originally appeared in the magazines Fantasy & Science Fiction, Astounding Stories, Blue Book, Maclean's, Worlds Beyond, Amazing Stories, Fantastic Adventures, Thrilling Wonder Stories and Galaxy Science Fiction or in the anthology Invasion from Mars.

According to Derleth, the stories were selected as "favorites" by the authors involved, who provide short explanations for their choices. P. Schuyler Miller, although noting the stories "aren't all deathless prose," characterized them as "examples of the editor's good taste in writers and the authors' good taste in the difficult job of screening their own writings."

The Time of Infinity

The Time of Infinity is an anthology of science fiction stories edited by American writer August Derleth. It was first published by Consul in 1963 and collects nine stories from Derleth's earlier anthology The Outer Reaches. The stories had originally appeared in the magazines Fantastic Adventures, Astounding Stories, Thrilling Wonder Stories, Galaxy Science Fiction and Amazing Stories or in the anthology Invasion from Mars edited by Orson Welles.

The Tritonian Ring and Other Pusadian Tales

The Tritonian Ring and Other Pusadian Tales is a 1953 collection of stories by American science fiction and fantasy author L. Sprague de Camp, first published in hardcover by Twayne Publishers. An E-book edition was published as The Tritonian Ring and Other Pasudian [sic] Tales by Gollancz's SF Gateway imprint on September 29, 2011 as part of a general release of de Camp's works in electronic form. The pieces were originally published between 1951 and 1953 in the magazines and anthologies Two Complete Science Adventure Books, Fantasy Fiction, Imagination Stories of Science and Fantasy, and Fantastic Adventures. The title story, the novel The Tritonian Ring has also been published separately.

The book is a collection of de Camp's early Pusadian tales, all of which are set in an antediluvian world patterned after Robert E. Howard's Hyborian Age.


Unico (ユニコ, Yuniko) is a manga and anime character by Osamu Tezuka. Unico is a baby unicorn with white fur, a pink mane, and little cinnamon bun-shaped ears, who was born with the very special gift of making all living creatures lighthearted and happy.

His friends in the various manga and anime incarnations of his story include Beezle, the young Devil of Solitude from Scottish Mythology (part of Celtic Mythology); Chao (or "Katy" in the English anime), a naive little kitty who longs to be a human girl, and to learn magic from a real witch; a spunky little Sphinx (in the second film), and a warm-hearted human girl named Cheri.

Wolfgang Völz

Wolfgang Otto Völz (16 August 1930 – 2 May 2018) was a German actor. He is known for his roles in theatre plays, TV shows, feature films (especially German films based on Edgar Wallace works) and taped radio shows. He was also a very prolific voice actor.

Völz studied acting and consequently worked as a stage actor. After more than ten years of acting including a great deal of supporting roles in feature films and TV shows he became a popular cast member ("Lt. Mario de Monti") of Space Patrol – The Fantastic Adventures of the Spaceship Orion. He continued being successful on the TV screen by playing Ioan (German: Johann), the driver and bodyguard of Graf Yoster (and afterwards many other characters).

As a voice actor he dubbed American stars such as Walter Matthau, Peter Falk and Mel Brooks and people or animals in animated films like Impy's Island.

Worlds of Tomorrow

Worlds of Tomorrow is an anthology of science fiction stories edited by American writer August Derleth. It was first published by Pellegrini & Cudahy in 1953. Many of the stories had originally appeared in the magazines Worlds Beyond, Fantastic, Fantasy, The Magazine of Science Fiction, Fantasy and Science Fiction, If, Fantastic Adventures, Future, Startling Stories, Astounding Stories, Weird Tales, The Fantasy Fan and Thrilling Wonder Stories. Abridged editions were published by Weidenfeld & Nicolson in 1955, Berkley Books in 1958 and Four Square Books in 1963.

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