Jim Shull has won the Rotsler Award for 2023, given annually for long-time artistic achievement in amateur publications of the science fiction community.
He wasn’t just prolific, but one of the most talented fan artists to ever grace science fiction fanzine fandom, being nominated for the Best Fan Artist Hugo no less than five times: 1973, 1975, 1976, 1977, and 1978.
As well, he was nominated for the Best Serious Fanartist in the classic fanzine FAAn Awards (set up by a committee of peers that included well over a dozen well-known faneditors and fanzine fans; I was the administrator of the very last iteration — sort of)….
Shull was a FAAn Awards nominee in 1975, 1976, 1977, and was a winner in 1978.
Around that time Shull became a Disney Imagineer and worked on their international theme park developments for more than three decades, retiring in 2020. He blogs about his experiences at “Jim Shull: Creative City. Random Musings on Disney & More”.
An exhibit honoring Shull’s work was displayed at Loscon this weekend.
Exhibit of 2023 Rotsler Award winner Jim Shull’s art at Loscon 49. Photo by Richard Man.
I love old abbeys, old castles, all that kind of thing. But I had never been to [the ruins of Whitby] Abbey until I was in my early 20s. I crossed the threshold of the abbey, and it was like stepping into Narnia. The world just changed. You know when some people talk about the skin of the Earth being thin in some places, this sense of immanence? It was like that for me.
I read in a tourist pamphlet about St. Hilda of Whitby, who founded the abbey, and I wanted to learn more, but there were no books about her.
My question was, why is this woman, from a time when we’re told that women had no power, no influence, no significance whatsoever, still remembered 1,400 years later? Nobody could tell me. I was on fire to find out; I thought what we knew of history must be wrong. This could not have happened if what we think of as history is actually true. So I basically started this enormous controlled experiment. I rebuilt the seventh century. I mean, I researched before I even wrote a word.
I’d been researching that book [“Hild”] for 20 years. I’d been reading everything you could possibly think of, all the medieval plants, everybody’s lists of grave goods. I followed all the archeology magazines and blogs and journals, and I read about the weather. I researched the flora, fauna, jewelry, making textiles. And then the day before my birthday, I thought, I cannot start another year without having done this book. So I sat down and said, I’m going to write one paragraph. And so I did. And there was Hild. And she was 3 years old and sitting under a tree. And I thought, that’s how I’m going to do it. She’s going to learn the world along with the reader.
(2) LE GUIN VIDEOS PART FOUR. The Journey That Matters is a series of six short videos from Arwen Curry, the director and producer of Worlds of Ursula K. Le Guin, a Hugo Award-nominated 2018 feature documentary about the iconic author.
In the fourth of the series, Khadija Abdalla Bajaber introduces “There I Am on the Page,” in which Ursula and other writers—including Nisi Shawl and adrienne maree brown—reflect on Ursula’s decision to make many of her characters people of color. Watch “Ursula K. Le Guin on Writing Characters of Color” at Literary Hub.
(3) KGB. Fantastic Fiction at KGB reading series hosts Ellen Datlow and Matthew Kressel present David D. Levine and Robert Levy on Wednesday, October 11 at 7:00 p.m. Eastern. Where: KGB Bar, 85 East 4th Street, New York, NY 10003 (Just off 2nd Ave, upstairs)
DAVID D. LEVINE
David D. Levine is the author of Andre Norton Nebula Award winning novel Arabella of Mars, sequels Arabella and the Battle of Venus and Arabella the Traitor of Mars, and over fifty SF and fantasy stories, some collected in the award-winning Space Magic. His story “Tk’Tk’Tk” won the Hugo, and he has been shortlisted for awards including the Hugo, Nebula, Campbell, and Sturgeon. His latest novel is The Kuiper Belt Job.
ROBERT LEVY
Robert Levy’s novel The Glittering World was nominated for the Shirley Jackson Award and the Lambda Literary Award. Shorter work has appeared in The Magazine of Fantasy & Science Fiction, Nightmare, Black Static, and The Best Horror of the Year. He teaches at the Stonecoast MFA Program, and his collection No One Dies from Love: Dark Tales of Loss and Longing is out now from Word Horde.
(4) NOBEL PRIZE FOR LITERATURE. Jon Fosse has won the 2023 Nobel Prize for Literature “for his innovative plays and prose which give voice to the unsayable.”
(5) LAURIE HALSE ANDERSON DONATES $100K TO PEN AMERICA’S FIGHT AGAINST BOOK BANS. The 2023 Astrid Lindgren Memorial Award laureate, American writer Laurie Halse Anderson, is donating $100,000 of her prize money to PEN America’s fight against book bans.
…Many of Laurie Halse Anderson’s books are frequently found on lists of banned books: books that, in some states or districts in the United States, are not allowed to be read in schools or bought by public libraries because of their subject matter or plot. Earlier this year, Anderson received the Astrid Lindgren Memorial Award, the world’s largest award for children’s and YA literature. The prestigious award comes with a cash prize of SEK 5 million ($452,000).
“Public libraries and schools have a duty to offer a broad range of books to the communities that they serve. People who find a book that they don’t like don’t have to read it. They do not have the right to dictate what books other people, or other people’s children, can read. I am proud to support PEN America and their fight against book banners and others bent on destroying our freedom to read. Remember: censorship is the child of fear and the father of ignorance”, says Laurie Halse Anderson….
When Planet of the Apes opened in cinemas in 1968, its box-office success was surprising even to the filmmakers themselves. After all, the film featured an astronaut survivor named Taylor (played by Oscar winner Charlton Heston) facing off against a planet of actors wearing elaborate ape makeup.
The possibility that the film would seem a giant joke to audiences had already crossed the minds of the suits at 20th Century Fox. The studio had set up an audience screening before they greenlit the project. Producer Arthur Jacobs was commissioned to film a 15-minute short film that would include some actors in ape makeup; if one person in the audience laughed, there would be no movie. No one laughed, and a legendary science fiction film was born.
To kids (I first saw the film at age six), Planet of the Apes seemed a basic movie about an astronaut landing on a planet run by a different species. But when the film arrived, many adults got the film’s multilayered jokes and running commentary: screenwriters Rod Serling and Michael Wilson (adapting Pierre Boulle’s novel) packed every imaginable bit of baggage that would fit into their carefully crafted Trojan horse. As New Yorker critic Pauline Kael immediately intuited, Planet of the Apes was a hate letter to America, full of commentary about slavery, manifest destiny, religious fundamentalism, creationism versus evolution, colorism and racism generally. The extensive medical experimentation done on the humans by apes is a clear reference to the Tuskegee Experiments. That some thought the apes were meant to represent Black Americans was a fundamental misreading of the film; the ape society is clearly a parody of American society, with all of its contradictions (especially the purported separation of church and state).
(7) WRITING POEMS, AND WAITING TO BE ARRESTED. [Item by SF Concatenation’s Jonathan Cowie.] With Chengdu Worldcon in mind, it is worth checking out today’s BBC World Service programme on the life of a Uyghur artist (poet, film and documentary maker) in China.
The programme is very Orwellian.
Tahir Izgil is one of the most highly respected living Uyghur poets. Tahir was born near Kashgar, in Xinjiang province, and from an early age he was immersed in the poetry of his culture. When the Chinese state clamped down on the Uyghur community, he lived under constant threat of arrest, and says he couldn’t even perform his poems. So he decided to try and escape his homeland…
(8) 24TH FANTASIC SHORT STORY CONTEST. [Item by Ahrvid Engholm, contest administrator.] Results are in for the “24th Fantastic Short Story Contest” or “Fantastiknovelltävlingen”, probably the oldest running writing contest in Sweden, organized by writing E-mail list SKRIVA. (The term “fantastik” is here often used for sf, fantasy and horror, the “fantastic” genres.)
1st prize: “Der Berliner Underwellen”, by Kristian Schultz
2nd prize: “Cladosporium¨, by Isak Laestander
3rd prize: “The Cleaning Day”, by Kristian Schulz
There also were five “honorable mentions”.
A total of ca €200 is handed out in prize money plus a diploma and a secret prize… The Google English translation version of the result announcement
The winner 2023 Kristin Schultz also grabbed 3rd place, and despite having a German sounding title — it’s set in Berlin — the short story was in Swedish. An edited summary of the jury’s comments, authors P Lindestrand, K Bjällersted-Mickos and N Krog:
“…well-balanced description of a relationship in disintegration…Very eerie environments and Lovecraftian abominations that dwell in dark cellars…exciting and evocative story about…an underground tunnel populated by a hungry monster. The ending is dramatic, well written and classic…Wonderfully well-written and well-thought-out story about a Mathias and Klara who go on group sightseeing in the Berlin underground…Soon total chaos breaks out. The short story is well structured…A pleasure to read.”
Next contest starts in spring 2024. It will be the 25th and a silver jubilee!
(9) FAN HISTORY ZOOM: EVOLUTION OF FAN ART. The Fan History Project has another great FANAC Fan History Zoom session coming up coordinated by webmaster Edie Stern.
Evolution of Fan Art with legendary fan artists Grant Canfield, Tim Kirk, Jim Shull and Dan Steffan.
Sunday, October 15, 2023. Time: 4 pm EDT, 1 pm PDT, 9 pm BST (UK) and 7 am (Oct. 16, Melbourne, AU)
Born October 5, 1945 — Judith Kerman, 78. Can we call her a polymath? She’s a translator, publisher, academic, anthologist and poet. All of her poetry, collected in Uncommonplaces: Poems of the Fantastic, is well worth your time. She did two non-fiction works of which I’m recommending one, “Retrofitting Blade Runner: Issues in Ridley Scott’s Blade Runner and Phillip K. Dick’s Do Androids Dream of Electric Sheep”, as I’ve a Jones for that literature.
Born October 5, 1949 — Peter Ackroyd, 74. His best known genre work is likely Hawksmoorwhich tells the tale of a London architect building a church and a contemporary detective investigating horrific murderers involving that church. Highly recommended. The House of Doctor Dee is genre fiction as is The Limehouse Golem and The Casebook of Victor Frankenstein. I thought Hawksmoor had been turned into a film but it has not. But he has a credit for The Limehouse Golem which is his film work.
Born October 5, 1952 — Clive Barker, 71. Horror writer, series include the Hellraiser and the Book of Art, which is not to overlook The Abarat Quintet which is quite superb. Though not recent, The Essential Clive Barker: Selected Fiction published some twenty years ago contains more than seventy excerpts from novels and plays and four full-length short stories. His Imaginer series collects his decidedly strange art. There has been a multitude of comic books, both by him and by others based on his ideas. My personal fave work by him is the Weaveworld novel.
Born October 5, 1959 — Rich Horton, 64. Editor of three anthology series — Fantasy: Best of The Year and Science Fiction: Best of The Year, merged into The Year’s Best Science Fiction & Fantasy in 2010. He wrote a review column for Locus for twenty years, signing off this past February. His Strange at Ecbatanblog includes reviews, criticism, and a well-received series that proposes Hugo finalists to fill in the old years when only winners were announced, or even before the award was created.
Born October 5, 1971 — Paul Weimer, 52. Writer, Reviewer, and Podcaster, also known as @PrinceJvstin. An ex-pat New Yorker living in Minnesota, he has been reading science fiction and fantasy for over 40 years and exploring the world of roleplaying games for more than 35 years. A three-time Hugo finalist for Best Fan Writer (2020-2022), he is a prolific reviewer for Nerds of a Feather and contributes elsewhere, including Tor.com, The Skiffy and Fanty Show, A Green Man Review, and here at File 770. He also contributes to the Hugo-nominated fancast The Skiffy and Fanty Show and the SFF Audio podcasts. He was the 2017 Down Under Fan Fund delegate to the Australia and New Zealand National Conventions, and his e-book DUFF trip report, consisting of more than 300 pages of travel stories and stunning photographs, is still available here.
Born October 5, 1974 — Colin Meloy, 49. He’s best known as the frontman of the The Decemberists, a band that makes use of folklore quite a bit, but he has also written the neat and charmingly weird children’s fantasy Wildwood chronicles which is illustrated by his wife, Carson Ellis.
(11) COMICS SECTION.
Reality Check shows the rebellion is not going well.
(12) GET READY FOR LIFE DAY. Marvel comics will publish four Life Day variant covers in November – in time for the Wookiee celebration of Life Day on November 17.
Each November, the galaxy far, far away celebrates family, joy, and harmony on Life Day, and this year, Marvel Comics will commemorate this longstanding Wookiee tradition by reflecting these values in all-new variant covers!
Gracing the covers of STAR Wars, Star Wars: Darth Vader, Star Wars: Doctor Aphra, and Star Wars: Bounty Hunters, the four new Life Day Variant Covers come from artists Mike Del Mundo and Rod Reis and feature characters from throughout various eras of Star Wars storytelling, including nods to the original Star Wars Holiday Special. Fans can enjoy heartwarming moments like young Anakin Skywalker sharing a meal with his mother Shmi, Han Solo and Chewie decorating, Chef Gormaanda whipping up a delicious feast, and Doctor Aphra and Krrsantan reuniting for the season!
I love Eating the Fantastic’s lightning-round donut episodes, for which I park myself in a heavily trafficked area of a con with a dozen donuts and chat with anybody who’s up for trading five minutes of talk for a freebie. It’s a fun contrast to my usual well-researched one-on-one conversations, in that it’s completely spontaneous, since I never know the identities of my guests until their eyes alight on my donuts and they choose themselves.
Because Capclave — which ended the day before yesterday as this episode goes live — not only has a patio, but this year, unlike last, had weather warm enough for us to gather there, I was able to bring back that tradition. On Saturday afternoon, I sat down out on the patio with two boxes of donuts from Donut King in Kensington, Maryland, and waited for potential guests to materialize.
So join us during the lightning-round Capclave Donut Carnival, where you’ll hear R. Z. Held and me bond over rejection, David Hacker explain his love of listening to writers read, Michael Dirda recall why Orson Scott Card once kneeled before him on an elevator, James Morrow share his fascination with Charles Darwin, how Katy Lewis found her husband through Dungeons and Dragons, Michael Walsh’s favorite moment as a con chair (which involved Howard Waldrop, Gardner Dozois, and George R. R. Martin), Bill Lawhorn clarify the creation of the bronze dodo, Sarah Pinsker reveal how and why her first science fiction convention was Capclave, Adeena Mignogna explain why space is cool but space travel gets really hot, Mike Zipzer’s memories of Terry Pratchett’s surprise visit, Sarah Mitchell’s arranging of a secret con wedding, Sunny Moraine opine on how the world’s response to COVID-19 changes our ideas of what would happen in a real-world zombie apocalypse, John Pomeranz chat about how the infamous Disclave Great Flood thrust him into being a hotel liaison — and much more!
(14) WOOF 2023. [Item by Rich Lynch.] WOOF(the Worldcon Order Of Faneditors) will have a collation at the upcoming Worldcon in Chengdu. This year’s Official Editor (OE) is Don Eastlake.
WOOF is an amateur press association (apa) that has been a feature of Worldcons since 1976 thanks to its originator, the late Bruce Pelz. For those who will be attending this year’s Worldcon, there will be a WOOF collection box at the Worldcon for printed fanzines. Alternatively, you can email your WOOFzine as a PDF to <[email protected]>. Your contribution must be received by October 22, Chengdu time. After the deadline passes, the OE will collate all fanzines received into a single PDF document and this assembled mailing will then be made available for download and viewing at efanzines.com, where several previous mailings of WOOF are now archived. (It’s not yet known if there will be any printed copies.)
Following on from recent items, File 770 commenter Adaoli has documented the process that (Chinese?) supporters of the Chengdu site selection bid have to go through, in order to enter the lottery to attend any of the main ceremonies. (I don’t think this particular quirk was mentioned in those earlier updates, because I didn’t — and still don’t — fully grok all the details.) In my understanding, anyone who had Chengdu membership through supporting that bid — as opposed to buying a new membership or ticket — doesn’t have the purchase number that is necessary to fill in the lottery application, and so they have to go through this process. Amongst other things, this involves calling a telephone helpline.
Some initial Weibo comments about the apparent lack of foreign/Western guests
Via Google Translate. Poster’s identities have been removed, as have the names of authors, which has involved some minor editing for readability. There are multiple comments from certain posters, so I wouldn’t claim that this is a representative sample of Chinese fandom by any means.
Guest of honor Lukyanenko did not appear (understandably). The willingness of foreign science fiction people to participate in the conference is indeed too low (visible to the naked eye). (I suspect that last bit would be more accurately translated as “invisible to the naked eye”.)
Many authors who have been inactive for many years have been brought up to make up the number. Foreign guests invited many cartoonists and artists who are not well-known in China. There were only four well-known foreign writers. Yes, this is really embarrassing.
There is no publicity outside. When I helped distribute flyers at the Japan Science Fiction Convention in August, many people who sold doujinshi didn’t know it was held in Chengdu. (FWIW, this poster has Korean hangul characters in their username, and Weibo indicates they posted that comment from a Japanese IP address.)
[In] 1991, there were 45 foreign guests at the WSF conference in Chengdu.
Let’s not talk about European and American writers. I didn’t see the writers from neighboring Japan, [Names of 8 Japanese writers omitted.] It feels not much different from domestic science fiction conventions.
I checked that there were probably more than 120 foreign guests attending the event in Yokohama 2007. There were approximately 1,210 foreign participants at that conference (the total number of participants was 2,788)
At time of submitting this item, I’ve not seen any general reaction to the schedule – although as the announcement on Weibo went out at 22:52 local time, I’m hoping there’ll be more commentary tomorrow.
Chengdu-based KanDu News posted this 2:42″ video to Weibo, which is the best look yet at the interior of the con venue. The opening captions indicate it was filmed yesterday (October 3rd), and there’s clearly a lot of interior construction work still underway.
From 0:30 to 0:55 shows the “Hugo Hall”, which is 4000 square meters. The guy talking indicates there’s something special about the video wall; it looks to be translucent and/or visible from both sides? The area shown between 0:55 – 01:10 is (I think) the area for the press and media, and is 1000 square meters.
The structure shown between 1:35 and 2:20 seems like it’s a reproduction of something from the Wandering Earth 2 film, although I haven’t seen that, so I’m unclear what exactly it is.
Via the Weibo account of Chengdu SF publisher 8 Light Minutes, (what I assume is) the October issue of the in-flight magazine of Tibet Airlines has a 6-page interview with Best Editor (Short Form) finalist Yang Feng, with various photos relating to the history of Chinese SF and the upcoming Worldcon
(16) WE APOLOGISE FOR ANY INCONVENIENCE. [Item by SF Concatenation’s Jonathan Cowie.] A time-loop, Groundhog Day-type audio play on BBC Radio 4, “We Apologise for Any Inconvenience.”
The being-trapped-in-a-repeating-time-loop trope has an early exemplar film in Groundhog Day (1993) but that was decidedly fantasy.
The SF version was 12:01 (1993) in which the loop was caused by technology. However, the trope’s provenance does not begin there: there was the earlier, Oscar short-listed, short film, 12:01 (1990) which in turn was based on the short story ’12:01 P.M.’ (1973) by Dick Lupoff (who sadly died in 2020).
Alas, challenging Hollywood as to potential plagiarism is arguably hard: it has deep pockets. But you can’t keep a good trope treatment down, and the idea of being stuck in a recurring time loop has been used in a fairly recent Star Trek series as well as an episode of Stargate as well as elsewhere.
And now the BBC has just gotten in on the act with a play on Radio 4 this week: We Apologise for Any Inconvenience, only this time, the principal protagonists are not those actually stuck in the loop themselves but others who happen to encounter the hapless looper that day…
Sebastian Baczkiewicz’s drama takes us to an anonymous northern station at the heart of the rail network on the day everything grinds to a halt. Hundreds of lives go into limbo but one person claims to have been stuck there longer than anyone else. Will his groundhog day ever end?
In September 2021, U.S. Geological Survey researchers and an international team of scientists announced that ancient human footprints discovered in White Sands National Park were between 21,000 and 23,000 years old. This discovery pushed the known date of human presence in North America back by thousands of years and implied that early inhabitants and megafauna co-existed for several millennia before the terminal Pleistocene extinction event. In a follow-up study, published today in Science, researchers used two new independent approaches to date the footprints, both of which resulted in the same age range as the original estimate.
The 2021 results began a global conversation that sparked public imagination and incited dissenting commentary throughout the scientific community as to the accuracy of the ages.
“The immediate reaction in some circles of the archeological community was that the accuracy of our dating was insufficient to make the extraordinary claim that humans were present in North America during the Last Glacial Maximum. But our targeted methodology in this current research really paid off,” said Jeff Pigati, USGS research geologist and co-lead author of a newly published study that confirms the age of the White Sands footprints….
In addition to the pollen samples, the team used a different type of dating called optically stimulated luminescence, which dates the last time quartz grains were exposed to sunlight. Using this method, they found that quartz samples collected within the footprint-bearing layers had a minimum age of ~21,500 years, providing further support to the radiocarbon results…
[Thanks to John King Tarpinian, Chris Barkley, Cat Eldridge, Kathy Sullivan, Scott Edelman, Joe Siclari, Rich Lynch, SF Concatenation’s Jonathan Cowie, Mike Kennedy, Andrew Porter, and Ersatz Culture for some of these stories. Title credit belongs to File 770 contributing editor of the day Soon Lee.]
Half a million Duolingo users are currently learning High Valyrian. But how do you make a language out of nothing? The linguists behind top fantasy TV shows and films explain:
If a language offers clues to the culture of its speakers, then the experience of learning Game of Thrones’s High Valyrian on Duolingo conjures visions of a bustling historic civilisation in which owls stalk the skies, magic abounds, and the spectre of death forever haunts the imaginations of the living. You learn to say “The woman is sweating” before that most basic greeting, “Hello”. An incongruously cheerful cartoon asks you to translate “All men must die, goodbye.” And, of course: “Ñuhyz zaldrīzesse gevī issi.” (“My dragons are beautiful!”).
Described in George RR Martin’s books as the language of the dragon-taming rulers of a once-great empire, Old Valyria has been compared to the Roman Republic, and High Valyrian to classical Latin. The language only assumed full life when linguist David J Peterson took it on for season three of the television series in 2012. Working from the few High Valyrian phrases mentioned in the book – names, places, and the infamous strapline, “Valar Morghūlis” (“All men must die”) – Peterson created an entire language. The Duolingo course was launched in 2017….
(2) HUGO ANALYSIS. Cora Buhlert has posted “Some Thoughts on the 2023 Hugo Finalists”. Cora also says she is “Still trying to hunt down information on some of the Chinese finalists, but it’s difficult due to multiple spellings and multiple people with the same names. But I’ve made friends with the two Chinese fan writer finalists.”
Speaking about the Best Series category:
… Personally, I’m sad that Elric by Melniboné by Michael Moorcock did not make the ballot, because not only is it a seminal sword and sorcery series, it’s also the longest running series written by a single author ever, as far as I know. The first Elric story “The Dreaming City” appeared in 1961, The Citadel of Forgotten Myths in 2022, i.e. the series has been going for a whopping 61 years. Plus, Michael Moorcock has never won a Hugo due to the longstanding anti-fantasy bias of the Hugos and the undeserved dominance of John W. Campbell’s Analog in the 1960s, when he was editing New Worlds. That said, a new Elric story will appear later this year in New Edge Sword and Sorcery No. 1, so maybe we can rectify this oversight next year….
(3) SWORD SLINGER. Marion Deeds has a nice overview of the Jirel of Joiry stories by C.L. Moore in her latest “WWWednesday” column at Fantasy Literature.
Jirel of Joiry is arguably the first pulp-fiction sword-and-sorcery female protagonist. The creation of C.L. (Catherine Lucille) Moore, Jirel first appeared in Weird Tales in 1934. Did she pre-date Red Sonya? Well, yes and no. Also in 1934, Robert E. Howard (creator of Conan) wrote a historical fantasy “The Shadow of the Vulture” featuring a woman called Red Sonja of Rogatino, of Ukranian-Polish ancestry, who wielded pistols, not swords. In the 1960s, the chainmail-bikini- clad woman-warrior named Red Sonja emerged, but it’s hard to look at her and not see Moore’s tempestuous, red-tressed warrior—actually, probably staring in smirking disbelief at Sonja’s bikini….
(4) MAGIC KINGDOM. Former Disney Imagineer Jim Shull regularly tweets photos and history about the several international Disney theme parks he worked on. Here are some recent examples. (DCA = “Disney California Adventure”.)
In 20/20 the train near the entrance of DCA wasn't all that bad as it has been made out to be. There was an idea behind it, and it featured a real engine. There has been worst. #dca2023#Disneylandpic.twitter.com/EexT9jSSw3
One lesson learned while providing creative direction on global projects is that construction in different countries use different method to achieve the same objectives. In France a electric vault was made from pre cast concrete, where in China it was built brick by brick. pic.twitter.com/LDnKrYht26
Once the model for Toy Story Playland was complete, the question arose where the review for the model would occur? The image documents the scale of the model and so moving it would be no easy task. #ToyStory#Disneylandparispic.twitter.com/3BKFiyZtAI
The answer of how to move the Toy Story Playland model was to load it into this truck and drive the 6 1/2 hours up I 5 from Glendale to Emeryville. Harris Ranch was around the half way point and served a good lunch. #ToyStory#WDIpic.twitter.com/16pvt1fkGw
Our job complete and the model approved we drove back to Glendale picking up even more bugs on the 6 1/2 drive from Emeryville. The life of a Imagineer is filled with glamorous stories such as this one. #bugs#insects#WDW#Imagineerpic.twitter.com/6DfooTH74n
…Okay, time for the caveat. I’m not going to be participating in programming at Worldcon this year. (To be clear, I have not been invited to do so yet, not having an attending membership. And I have never attended before, though that hasn’t been by choice, simply logistics. Every year I say, “maybe next year I’ll be able to travel again… ah well.” So this isn’t as much of a sacrifice as I know it will be for others making similar decisions….
(6) NOW ON THE SHELVES. Lisa Tuttle’s “The best recent science fiction, fantasy and horror – reviews roundup” in the Guardian covers The Centre by Ayesha Manazir Siddiqi; Ink Blood Sister Scribe by Emma Törzs; Silent City by Sarah Davis-Goff; Silver Nitrate by Silvia Moreno-Garcia; and Red Smoking Mirror by Nick Hunt.
It’s become tradition for my family to spend the Fourth of July watching a vaguely patriotic movie in which things are blown up in pursuit of a common good. Independence Day, both National Treasure movies, Team America: World Police … you get the idea. This year, we chose the Tim Burton film Mars Attacks!, in which an overstuffed cast must fend off an army of killer Martians. Released in late 1996, the film drew on the legacy of cheesy alien-invasion and disaster movies, and culminated in a couple of major musical reveals.
[This missive contains several Mars Attacks! spoilers. Stop reading now if you wish to remain in the dark about this 27-year-old film and the fate of its bloodthirsty villains.]
Given that parts of Mars Attacks! take place in Las Vegas, it wasn’t a huge surprise that Tom Jones, already an established presence in three decades of movies and TV, would pop up in several scenes — first performing “It’s Not Unusual” and later as part of a small band of heroes who make their escape from a city under siege. The bigger surprise was the identity of the musician whose voice, when blared through a loudspeaker, vibrated at a frequency that caused Martian heads to explode. His name was Slim Whitman, and he was one of the best-selling musicians of the 20th century. As we watched the film, we quickly realized that I was the only person in the room who’d heard of him….
(8) MEMORY LANE.
1996 – [Written by Cat Eldridge from a choice by Mike Glyer.]
One of the joys of doing these Beginnings as a collaboration with Mike is that I get to discover writers such as Gill Alderman.
She had a short genre career with just four novels, two in her Guna sequence – The Archivist: A Black Romance and The Land Beyond: A Fable, plus two others, Lilith’s Castle and The Memory Palace, plus two stories in a career that lasted about a decade starting in the Eighties.
And she’s done some screenplay writing including for HBO’s The Undoing mystery series. Outside of the genre, she has written are Gone Girl, Sharp Objects, Dark Places and the “The Grownup” novella.
The Memory Palace (Voyager, 1996) which is what Mike selected for our Beginning was nominated for British Science Fiction Award the year Kim Stanley Robinson’s Blue Mars won.
And now for this Beginning…
His hands ached badly, as they often did at the end of a long keyboard session. He flexed his fingers while he looked out, beyond the screen, into the twilit garden of the old rectory. It was a little cooler; he thought the rosebushes trembled slightly. There might be a breeze, one zephyr only: just a breath of air to end the stifling day. The lawns merged with churchyard and field and, in Humfrey’s Close, the Norman castle mound looked bigger than it was, worn down by nine hundred years of weather, rabbits and grazing sheep. A mile or so away, Karemarn’s dark slopes were beginning to merge with the night sky.
The sun had set. The only light in the room came from the screen of the computer before the window, a luminescent shield which occulted the world outside as effectively as the steep hill hid the rising moon. It was covered with words, the conclusion of his newest novel and–as necessary an adjunct to his storytelling as the hallowed and familiar phrase ‘Once upon a time’–with his authorial adieu to the reader, that essential phrase with which he always signed off at the finish of the task: ‘THE END’. Then, his last words, his hand upon the creation: ‘Guy Kester Parados, The Old Rectory, Maidford Halse, June 24th 1990’.
He stretched, reaching high, yawned wide. A grisaille light as glamorous as that cast by his mind-mirroring screen filled the garden and the small field beyond it. It was time to be gone. He clicked the mouse under his right hand and saw his work vanish into the machine. He would leave it now, to settle and sift out of his mind; when he returned after the break, he would come to it refreshed. Then, one or two readings, a little tweaking (especially of the unsatisfactory last chapter) and a punctuation check should suffice and he could be rid of it for ever, in the future seeing it only as an entity given public birth by others, separate from him, one more title on the shelf–He made a copy and, reaching up, hid the floppy disk in the customary place in the cracked mullion.
‘You may now switch off safely.’ He read the prompt and, reaching for the switch, said ‘I shall, I shall.’ It had been a long haul, this one, through the fifteenth. The landscape of the novels was so familiar that he no longer had to consciously invent it, only travel the road with his chosen company, as used to his fictional country of Malthassa as to the hedged and crop-marked fields of the rural Midlands outside his study window. It was an old picture, this place outside the house; he no longer needed to look at it to remember it, but only inwards, into his mind, where those more perilous places, the dangerous rocks, the wild steppes and untameable floods he had created called him persistently.
If I had gone in for the Church, he thought, would it have made me any happier? Would that honest life have felt more just, more true, than this of spinning the thread, weaving the cloth, cutting and stitching the garment of the storyteller? Would Helen have avoided me, or seen me as a greater challenge? I was a pushover for her after all, most eager to co-operate.
(9) TODAY’S BIRTHDAYS.
[Compiled by Cat Eldridge.]
Born July 8, 1914 — Hans Stefan Santesson. Trifecta of editor, writer, and reviewer. He edited Fantastic Universe from 1956 to 1960, and the US edition of the British New Worlds Science Fiction. In the Sixties, he edited a lot of anthologies including The Fantastic Universe Omnibus, The Mighty Barbarians: Great Sword and Sorcery Heroes and Crime Prevention in the 30th Century. As a writer, he had a handful of short fiction, none of which is available digitally. His reviews appear to be all in Fantastic Universe in the Fifties. (Died 1975.)
Born July 8, 1933 — Michael Barrier, 90. One of the few actors not a regular crew member on the original Trek who shows in multiple episodes under the same name. He was DeSalle in “The Squire of Gothos”, “This Side of Paradise” and “Catspaw”. While he has the same name each time, he does not have the same shipboard job as he serves as a navigator in the first episode, a biologist in “This Side of Paradise” and assistant chief engineer in “Catspaw”.
Born July 8, 1942 — Otto Penzler, 81. He’s proprietor of The Mysterious Bookshop in New York City who edits anthologies. Oh does he edit them, over fifty that I know of, some of genre interest including The Big Book of Sherlock Holmes Stories, Zombies! Zombies! Zombies! and The Black Lizard Big Book of Black Mask Stories which an original Lester Dent story in it. Back in the Seventies, with Chris Steinbrunner, he co-wrote the Encyclopedia of Mystery and Detection for which they won an Edgar Award.
Born July 8, 1944 — Jeffrey Tambor, 79. I first encountered him on Max Headroom as Murray, Edison’s editor. Later on, he’s Mayor Augustus Maywho in How The Grinch Stole Christmas. Finally I’ll note he was in both of the only true Hellboy films that there was playing Tom Manning, director of the Bureau of Paranormal Research and Defense.
Born July 8, 1951 — Anjelica Huston, 72. I’m going to single her out for her performance as The Grand High Witch of All The World, or Eva Ernst in The Witches, a most delicious film. She was also wonderful as Morticia Addams in both of the Addams Family films, and made an interesting Viviane, Lady of the Lake in The Mists of Avalon miniseries.
Born July 8, 1953 — Mark Blackman, 70. Mark has often written about the Fantastic Fiction at KGB and New York Review of Science Fiction readings series for File 770. He was a member of Lunarians and chaired Lunacon 38 in 1995. He was a member of the New York in 1989 Worldcon bid. (OGH)
Born July 8, 1955 — Susan Price, 68. English author of children’s and YA novels. She has won both the Carnegie Medal and the Guardian Prize for British children’s books. The Pagan Mars trilogy is her best known work, and The Sterkarm Handshake and its sequel A Sterkarm Kiss, will please Outlander fans.
Born July 8, 1988 — Shazad Latif, 35. If you watched Spooks, you’ll remember him as Tariq Masood. (Spooks did become genre.) He was Chief of Security Ash Tyler in Discovery,andDr. Jekyll and Mr. Hyde in Penny Dreadful. He voiced Kyla in The Dark Crystal: Voice of Resistance. And he was in the Black Mirror episode “The National Anthem” as Mehdi Raboud.
(11) OPPENHEIMER ACTOR. [Item by Steven French.] There’s some marginal genre interest here insofar as Cillian Murphy was the central character in the zombie apocalypse flick 28 Days Later but I was also struck by this comment regarding his role as Oppenheimer: “I had dinner with all these geniuses. I’ll never understand quantum mechanics, but I was interested in what science does to their perspective.” “Cillian Murphy on Oppenheimer, sex scenes and self-doubt: ‘I’m stubborn and lacking in confidence – a terrible combination’”: a profile in the Guardian.
…I raise method acting and Murphy tilts his head and frowns. “Method acting is a sort of … No,” he says, firm but with a half smile. Oppenheimer had many defining characteristics, not least walking on the balls of his feet and a vocal tic that sounded like nim-nim-nim, but Murphy didn’t want to do an impression. Nolan was obsessed with the Brillo-texture hair, so they spent “a long time working on hair”. And the voice. The real question for Murphy was what combination – ambition, madness, delusion, deep hatred of the Nazi regime? – allowed this theoretical physicist to agree to an experiment he knew could obliterate humankind. “He was dancing between the raindrops morally. He was complex, contradictory, polymathic; incredibly attractive intellectually and charismatic, but,” he decides, “ultimately unknowable.”…
(12) IT IS YOUR DESTINY. [Item by Dann.] Ryan George dropped a new Pitch Meeting for Indiana Jones and the Dial of Destiny. Selling that concept had to be super easy! Barely an inconvenience!
(13) JEOPARDY! [Item by David Goldfarb.] The Thursday episode had three clues in the single Jeopardy round, and (at least arguably) the Final Jeopardy.
A TV Series, $200: Captains of the Enterprise: William Shatner; This man from 1987 to 1994; then Scott Bakula
Challenger Carol Oppenheim identified this as Patrick Stewart.
So I’m Reading This Book, $400: A novel, writing the clue for us: “The is a story of how a Baggins had an adventure”
Challenger Alex Gordon knew this one.
A TV Series: $1000: This big fella on “Game of Thrones”: Conan Stevens, Ian Whyte, Hafthor Julius Bjornsson
Returning champion Anji Nyquist responded: “Who is the Mountain?”
Ken Jennings said, “Gregor Clegane, well done.”
Final Jeopardy: Squashing the allegory theory, the daughters of the author of this novel say it’s “just a story about rabbits”
I watched Eurovision and this awesome Finnish dude with a bowl cut, a lime green bolero, and a name that’s a multi-level pun (Käärijä = wrapper) reminded me why I love performing and gave me some desperately needed inspiration with a song called “Cha Cha Cha.” If by some small chance, Käärijä himself hears this/sees the lyrics, I hope that he laughs and enjoys what we managed to accomplish. Despite how nerdy and funny the language is that I’m singing in, we always push for good musical arrangements. We had a fun day in the recording studio and I hope that fans of Käärijä, of which I am one, will catch the small details musically, in the translation effort, and in the accompanying lyric video. It’s my sincere hope that Käärijä fans who know nothing about Star Trek or Klingon enjoy this acoustic cover as much as my nerdy Trekkie fans.
[Thanks to Chris Barkley, Michael Toman, Cat Eldridge, SF Concatenation’s Jonathan Cowie, Steven French, David Goldfarb, Cora Buhlert, Dann, Mike Kennedy, Andrew Porter, and John King Tarpinian for some of these stories. Title credit belongs to File 770 contributing editor of the day Xtifr.]
Jim Shull’s cover for Mike Glyer’s fanzine Prehensile 8.
By Gary Farber: Holy mother of Ghu-Ghu, Foo-Foo, and Roscoe!
I sent Jim Shull a Friend Request a few years ago after noticing him on Facebook and realizing that he must be the great fan artist of the 1970s, whose work filled fanzines such as Energumen, Xenium, Outworlds, The Spanish Inquisition, and so many other fanzines of that era that it seems as if he must have given “fillostrations” to nearly every quality fan publisher of the time.
Best known then as “James Shull.”
He also graciously sent me illos that I used in my crappy little fanzines when I was a teenager.
He wasn’t just prolific, but one of the most talented fan artists to ever grace science fiction fanzine fandom, being nominated for the Best Fan Artist Hugo no less than five times: 1973, 1975, 1976, 1977, and 1978.
As well, he was nominated for the Best Serious Fanartist in the classic fanzine FAAn Awards (set up by a committee of peers that included well over a dozen well-known faneditors and fanzine fans; I was the administrator of the very last iteration — sort of) in 1975, 1976, 1977, and 1978. (Technically the “Fanzine Activity Achievement Awards.” And not to be confused with the FAAN Awards subsequently given out by the CORFLU convention; these were earlier.)
Sometime after that he seemed to disappear from fandom.
I never noticed him posting on Facebook and more or less forgot that he was on here. His entire set of posts to this day consists of only a handful of photos.
He has “only” 243 Friends on FB and we have only two mutual Friends, Hank Luttrell and Leah A. Zeldes, which did help confirm for me that he was the Jim Shull I knew from fandom when I first noticed his FB presence, many years ago now.
And around the 30th ‘graph, I read: “The intense experience created a niche audience for the Starcruiser, said former Imagineer Jim Shull, who retired in 2020 after more than three decades.”
And I thought: No! I couldn’t be! Could it? Could that be OUR Jim Shull? The former fan who was so esteemed in science fiction fandom, who sent little old me fan illustrations when I was barely a kid? The fan artist so renowned and appreciated in our little world of science fiction fanzines almost fifty years ago?
Was he now Twitter Jim Shull, the Disney “Imagineer for 33 years”?
The Jim Shull whose barebones entry (as so many entries are) in Fancyclopedia III says:
(March 9, 1952 – ) James Shull, a fan artist, was particularly active in the 1970s. His distinctive and well-executed art seemed like it appeared in nearly every major fanzine. He published the fanzine Crifanac and was co-editor of The Essence.
The Jim Shull so modest that there’s no entry whatsoever for him in Wikipedia?
I found his website, https://jimhshull.com/ titled “Creative City: Random Musings On Disney And More.”
And… no, it wasn’t our Jim Shull.
Aww, who am I kidding? OF COURSE IT TURNED OUT to be “our” Jim Shull!
While his small blog is filled with entries and photos of Disney parks, his entry from September 22nd, 2022 gave it away:
The Name Change.
Sharp eyed readers will note that the name of this blog has changed. No, the purpose of the blog didn’t change, just the name, because I have embraced the spirit of adaptive reuse. I have resurrected the name used decades ago for one of my fanzines. And, for those of you who don’t know or recall fanzines they were a form of communication among fans (thus the name) in the age before the internet.
Mimeo, ditto or hectograph these self made and self distributed publications connected people before social media. And some of the people connected went on to careers in the industry that they wrote about. The image here is by Tim Kirk, a person who enjoyed an important and productive career at Walt Disney Imagineering. Tim’s art work is the cover to an even earlier fanzine of mine entitled ‘Esoteric’, and makes word play on my name.
So, the title has changed but not the purpose.
And his first post on his blog, dated January 22nd, 2022, includes:
…and I was lucky to be a participant or be a witness during a period of over three decades when The Walt Disney Company extended their theme park resort locations from four to twelve standing on the sites during construction of Euro Disneyland through Shanghai Disneyland Resort. In my career I’ve been a theme park designer, animation story director, a syndicated comic strip writer, and other ‘stuff’.
This is my place to delve deeper into the stories of projects and my experiences being part of bringing them to life. We’ll begin shortly.
A Tweet of his from September 21st, 2021:
Before social media there were amateur magazines or 'fanzines' as forums for comics, sf, film. "Guts" dated 9/1968 featured articles by Ray Bradbury, Forrest Ackerman and art by Tim Kirk. #Fanzinepic.twitter.com/Tv7GwjkxEp
So: OH MY FUCKING GOD, nice to see you, Jim Shull! How the hell are you?
And thanks for those fillos!
I can’t help but be reminded of 1976, when I started sending mail — “snail mail” was the only kind of mail of our day, if you weren’t on DARPA-net — to Richard Bergeron at the Dakota apartment building in Manhattan, began getting mail back, and then went by his apartment to drop off two large boxes of sf fanzines of the last five or so years, hoping to tempt him back into active fanzine fandom. Which worked, and resulted in Bergeron’s resuming publishing, including the massive 500-page-plus volume of Warhoon collecting most of the works of Walt Willis.
Classic fanzine fandom was always a small world, and its remnants are even smaller, but it was and is — or at least can be — a proud and lonely thing to be a fan.
The intense experience created a niche audience for the Starcruiser, said former Imagineer Jim Shull, who retired in 2020 after more than three decades. The ideal guest had to be a Star Wars fan who was willing to drop a wad of cash on less-than-luxury accommodations. Some visitors found windowless rooms, bunk-bed setups and the lack of a pool unappealing.
“No matter how good the product is, no matter how good the hotel was, there just aren’t enough people who could come night after night to make that a success financially,” he said.
… Shull said that based on his decades of experience at the company, he would estimate investments in Galactic Starcruiser reached nearly $1 billion between construction, tech development and operation. Disney has not said how much the project cost and declined to address the $1 billion estimate. The company acquired the Star Wars rights in a $4.5 billion deal for Lucasfilm in 2012….
… Shull said the company would have examined every option before shutting down such a major enterprise. He also said that if the Starcruiser were losing money now, the company would not want it to lose money in the next fiscal year, which starts in October….
What to do with Star Wars Hotel? Well, since there are no fabric drapes and cloth furnishings, turn it into a boarding hotel for cats. #Catspic.twitter.com/2jqGrU4R7K
