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Scientifictionist, v. 1, issue 6, August-October 1946

Page 8

worth noticing: For Eando Binder's I ROBOT, on page 9, Bob Fuqua (Joe Tillotson) uses a background of odd buildings -- cylindrical with a cone peak and sphere on top, topped with pole and spiral, and other unusual combinations. And on the Back Cover, H.W. McCauley includes in the bottom left corner a modernistic little structure with a sphere surmounting its roof.
   More architectural oddities are available in the Feb. 39 ish -- Fuqua presents a futuristic city on pages 8-9 for Warner van Lorne's (F. Orlin Tremaine) WANTED: 7 FEARLESS ENGINEERS. And for Binder's VALLEY OF LOST SOULS, Krupa possibly has some unusual buildings on pages 52-53 and 71, which specialize in towers.
   And more Krupan (!) odd architecture appears on page 100-101 of the April 39 Amz for Brad Buckner's (Ed Earl Repp) REVOLUTION ON VENUS, whose buildings feature projecting discs.
   The May 39 Amazing has quite a stock of architectural illustrations. The cover (by Fuqua) has some slightly modernistic buildings; but the Krupa pic on page 6 (for the same story, Fearn's SECRET OF THE BURIED CITY) presents much that is unusual and hard to describe: all from a viewpoint high above the scene.
   A rather top-heavy appearing type of buildings in the process of proving their weakness appears in Krupa's effort on p. 56, for Brad Buckner's THE CITY OF OBLIVION; same ish.
   Tall spires with decorative disks are used by the same artist on p. 98 for F.A. Kummer Jr.'s THE FOREIGN LEGION OF MARS. One even has three spires projecting above the disk which surmounts the single column base.
   More multiple spires, but upon a sturdier foundation appear on p. 111 to illustrate Asimov's THE WEAPON TOO DREADFUL TO USE1 -- by the same artist, of course.
   Moving on, to the June 39 ish, we find on p. 6 another Krupan edifice with a sort of chair-like effect (minus the seat, of course) framing the building's dome. This is the only unusual architectural effect in the ish, and is for Polton Cross' (J.R. Fearn's) WORLD WITHOUT DEATH.
   Modernitic but undetailed, because of the distance, are the skyscrapers in the background of Fuqua's pic for Edwin K. Sloat's WHEN TIME STOOD STILL. (July 39 Amz, page 77) On page 85, however, the buildings are lower and apparently round. (Same story and artist).
   The back cover of the Oct. 39 ish gives us Howard Duffin's attempt to imagine an atomic power plant. Housed in a huge low streamlined building, part of the plant projects beyond the roof. In the background is a city composed of low, unimaginative buildings crowding close to the power plant. It is hardly necessary to remark how unlikely it is for such an installation as here depicted ever to exist other than as a decoy, and even that is doubtful.
   Pn page 80 of the Dec. 39 Amz, H.R. Hammond portrays the tops of some cylindrical buildings with trident pinnacles above a couple of smaller spheres. These buildings are also top-heavy. The illustration is for the second and concluding installment of Ralph Milne Farley's (Roger Sherman Hoar) THE HIDDEN UNIVERSE.
   A queer assemblage of pyramids, elevated roads and sloping structure make up the Lemurian city pictured on the back cover of the May 40 Amazing drawn by H.R. Hammond.
   The previous issue's back cover was devoted to a Julian Krupa portrayal of rounded and very streamlined undersea architecture. Naturally everything is enclosed including the routes from place to place.
   Jay Jackson tries his skill with unusual style buildings on p. 111 of the June 40 Amz for EERepp's PLANET OF BLACK TERROR. Spheres, curves and ramps seem well represented.
   Dwellings on Jupiter's satellite, Europa are depicted by Frank R. Paul on the back cover of the Sept. 40 Amazing. They are represented as circular segments of narrower and narrower diameter in a cone shaped arrangement and braced by six struts of the same green material. Surmounting all, is a green prism for catching the sunlight. There are also smaller edifices of upright capsule form.
                  page 8

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worth noticing: For Eando Binder's I ROBOT, on page 9, Bob Fuqua (Joe Tillotson) uses a background of odd buildings -- cylindrical with a cone peak and sphere on top, topped with pole and spiral, and other unusual combinations. And on the Back Cover, H.W. McCauley includes in the bottom left corner a modernistic little structure with a sphere surmounting its roof. More architectural oddities are available in the Feb. 39 ish -- Fuqua presents a futuristic city on pages 8-9 for Warner van Lorne's (F. Orlin Tremaine) WANTED: 7 FEARLESS ENGINEERS. And for Binder's VALLEY OF LOST SOULS, Krupa possibly has some unusual buildings on pages 52-53 and 71, which specialize in towers. And more Krupan (!) odd architecture appears on page 100-101 of the April 39 Amz for Brad Buckner's (Ed Earl Repp) REVOLUTION ON VENUS, whose buildings feature projecting discs. The May 39 Amazing has quite a stock of architectural illustrations. The cover (by Fuqua) has some slightly modernistic buildings; but the Krupa pic on page 6 (for the same story, Fearn's SECRET OF THE BURIED CITY) presents much that is unusual and hard to describe: all from a viewpoint high above the scene. A rather top-heavy appearing type of buildings in the process of proving their weakness appears in Krupa's effort on p. 56, for Brad Buckner's THE CITY OF OBLIVION; same ish. Tall spires with decorative disks are used by the same artist on p. 98 for F.A. Kummer Jr.'s THE FOREIGN LEGION OF MARS. One even has three spires projecting above the disk which surmounts the single column base. More multiple spires, but upon a sturdier foundation appear on p. 111 to illustrate Asimov's THE WEAPON TOO DREADFUL TO USE1 -- by the same artist, of course. Moving on, to the June 39 ish, we find on p. 6 another Krupan edifice with a sort of chair-like effect (minus the seat, of course) framing the building's dome. This is the only unusual architectural effect in the ish, and is for Polton Cross' (J.R. Fearn's) WORLD WITHOUT DEATH. Modernitic but undetailed, because of the distance, are the skyscrapers in the background of Fuqua's pic for Edwin K. Sloat's WHEN TIME STOOD STILL. (July 39 Amz, page 77) On page 85, however, the buildings are lower and apparently round. (Same story and artist). The back cover of the Oct. 39 ish gives us Howard Duffin's attempt to imagine an atomic power plant. Housed in a huge low streamlined building, part of the plant projects beyond the roof. In the background is a city composed of low, unimaginative buildings crowding close to the power plant. It is hardly necessary to remark how unlikely it is for such an installation as here depicted ever to exist other than as a decoy, and even that is doubtful. Pn page 80 of the Dec. 39 Amz, H.R. Hammond portrays the tops of some cylindrical buildings with trident pinnacles above a couple of smaller spheres. These buildings are also top-heavy. The illustration is for the second and concluding installment of Ralph Milne Farley's (Roger Sherman Hoar) THE HIDDEN UNIVERSE. A queer assemblage of pyramids, elevated roads and sloping structure make up the Lemurian city pictured on the back cover of the May 40 Amazing drawn by H.R. Hammond. The previous issue's back cover was devoted to a Julian Krupa portrayal of rounded and very streamlined undersea architecture. Naturally everything is enclosed including the routes from place to place. Jay Jackson tries his skill with unusual style buildings on p. 111 of the June 40 Amz for EERepp's PLANET OF BLACK TERROR. Spheres, curves and ramps seem well represented. Dwellings on Jupiter's satellite, Europa are depicted by Frank R. Paul on the back cover of the Sept. 40 Amazing. They are represented as circular segments of narrower and narrower diameter in a cone shaped arrangement and braced by six struts of the same green material. Surmounting all, is a green prism for catching the sunlight. There are also smaller edifices of upright capsule form. page 8