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Fantasy Aspects, issue 2, November 1947
Page 24
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of the worker's mad actions is that the water mains burst and begin to flood the subterranean city. All the children's lives are endangered. The real Maria escapes, makes her way to the underground city to rescue the children. Freder finds her there. Together they direct the exodus from the doomed worker's world, which is rapidly flooding. After being driven by the robot to destroy the machines, the workers are suddenly brought to realize the result of their rash action. Where are the children? Drowned, no doubt! And who is responsible? Maria! "Death to the witch!" The robot (believed by all to be a real woman) is dragged to a city square. A number of autos are piled up and the "witch" tied to a stake atop them. The cars are set afire. Rowtang watches from a hidden corner of a cathedral. Suddenly he spies Maria. If the crowd sees two of them, he believes, they will realize the deception, turn on him. He attempts to capture her. She flees to the top of the church. As the flames mount about the robot-Maria, the synthetic flesh burns away to reveal the metallic body. The crowd draws away in fright. Suddenly attention is attracted to the top of the church, where the real Maria is menaced by the inventor. John Fredersen is now in the crowd, watching all. His son runs to the rescue. A breathless fight high above, and Rowtung is at last flung to the streets far below. Last scene of all: Freder acts as the "heart" between his father -- the "head" -- and the machine superintendant -- "The Hands" -- in a scene symbolic of the new understanding that has been born between the workers and the rulers of Metropolis. ------------------------------------ REPRINTED FROM THE ALCHEMIST Vol. 2, No. 2; edited and published by Charles Ford Hanson at 1301 Ogden Street in Denver 3, Colorado ---------------------------------- CONTINUED From Page 10 THE STAR OF LIFE By Thomas S. Gardner From FAN-TODS #16 ---------------------------------- visions is a farce from beginning to end. It is stated that the normal human population of the galaxy would refuse to accept immortality because their children would be the Third Men. But under the condition obtaining in the story such a reason is entirely invalid! Since to attain immortality the people had to journey to the Star Of Life to be exposed to its radiations, there is no reason at all to deter the billions of normal men on other planets from first marrying and having their children of normal, first men, genetic make-up, and then, after this period of reproduction, making the pilgrimage to the Star Of Life. Instead of this turn of the plot, the one Hamilton offers is simply that of having the entire galaxy renounce the Star Of Life. This is very much a let-down, since it is so needless. It does, in a way, parallel the story of Kirk Hammond, who loves and loses a girl of the Second Men. The one story is symbolical of the other. ----(Page 24)----
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of the worker's mad actions is that the water mains burst and begin to flood the subterranean city. All the children's lives are endangered. The real Maria escapes, makes her way to the underground city to rescue the children. Freder finds her there. Together they direct the exodus from the doomed worker's world, which is rapidly flooding. After being driven by the robot to destroy the machines, the workers are suddenly brought to realize the result of their rash action. Where are the children? Drowned, no doubt! And who is responsible? Maria! "Death to the witch!" The robot (believed by all to be a real woman) is dragged to a city square. A number of autos are piled up and the "witch" tied to a stake atop them. The cars are set afire. Rowtang watches from a hidden corner of a cathedral. Suddenly he spies Maria. If the crowd sees two of them, he believes, they will realize the deception, turn on him. He attempts to capture her. She flees to the top of the church. As the flames mount about the robot-Maria, the synthetic flesh burns away to reveal the metallic body. The crowd draws away in fright. Suddenly attention is attracted to the top of the church, where the real Maria is menaced by the inventor. John Fredersen is now in the crowd, watching all. His son runs to the rescue. A breathless fight high above, and Rowtung is at last flung to the streets far below. Last scene of all: Freder acts as the "heart" between his father -- the "head" -- and the machine superintendant -- "The Hands" -- in a scene symbolic of the new understanding that has been born between the workers and the rulers of Metropolis. ------------------------------------ REPRINTED FROM THE ALCHEMIST Vol. 2, No. 2; edited and published by Charles Ford Hanson at 1301 Ogden Street in Denver 3, Colorado ---------------------------------- CONTINUED From Page 10 THE STAR OF LIFE By Thomas S. Gardner From FAN-TODS #16 ---------------------------------- visions is a farce from beginning to end. It is stated that the normal human population of the galaxy would refuse to accept immortality because their children would be the Third Men. But under the condition obtaining in the story such a reason is entirely invalid! Since to attain immortality the people had to journey to the Star Of Life to be exposed to its radiations, there is no reason at all to deter the billions of normal men on other planets from first marrying and having their children of normal, first men, genetic make-up, and then, after this period of reproduction, making the pilgrimage to the Star Of Life. Instead of this turn of the plot, the one Hamilton offers is simply that of having the entire galaxy renounce the Star Of Life. This is very much a let-down, since it is so needless. It does, in a way, parallel the story of Kirk Hammond, who loves and loses a girl of the Second Men. The one story is symbolical of the other. ----(Page 24)----
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