Starlog magazine was published from 1976 through 2009, primarily by O'Quinn Studios (eventually renamed Starlog Group), though it went through two sales in the last few years of its life, first to The Creative Group and then, upon that company's bankruptcy, to The Brooklyn Company, which continues to publish sister magazine Fangoria.
In 1976, Norman Jacobs and Kerry O'Quinn -- owners of a small periodicals publishing firm in Manhattan (Daily TV Serials, Beatles Forever, Screen Greats) -- put together a one-shot magazine devoted to the long-dead science fiction TV series Star Trek. As O'Quinn explained in later issues, their distributor didn't think there was a big enough audience to make the one-shot a success, so Jacobs and O'Quinn went back to the drawing board and added non-Trek articles to make it a general (though still Trek-heavy) science fiction media magazine. There were no ads in this first issue; the pages were a mix of full-color coated (glossy) stock and mostly black-and-white uncoated pages. The August 1976 issue was an immediate success, and within a year the quarterly magazine doubled its annual frequency to eight issues. Issue #1, along with the other first nine or 10 issues, would eventually be reprinted for sale by Starlog as back issues; in the 1990s, around the time of the magazine's 20th anniversary, the company produced 10,000 numbered copies in a special reprint, all on heavy glossy stock. (Yes, I have one.)
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From the front cover Star Trek painting by Jack Thurston to the back cover photo from The Bionic Woman, the premiere issue of Starlog magazine truly reflects the era in which it was born. Trek, Space: 1999, Dino DeLaurentiis' King Kong remake, bionic people, etc.
With the same staff as the first issue, the team produced a magazine that was a good preview of the content mix that would carry the title to untold heights of success in the science fiction publishing world in the next few years. Interviews with active SF luminaries, editorials and columns, articles on current SF TV shows, short news about various topics (first news about the Star Trek movie!), retrospectives of classic productions, and lots of good color and black-and-white photos. It's all there. Also added, on the contents page, is the magazine's slogan, which it would retain for many years: The magazine of the future.
A number of names crop in in Starlog's fourth issue that will play big roles in the magazine's future. First is the author David Gerrold, who signs on as a regular columnist. Also joining the party is David Hutchison as a production assistant. He will eventually become the magazine's special effects editor, producing a series of special effects trade paperback books and editing sister magazine Cinemagic after that magazine is purchased by Starlog in a couple years. Starlog #4
68 pages (including covers)
Cover price: $1.50
There are no major leaps with this issue, but we do see the solidifying Starlog approach (its article mix, page designs, etc.) and reader appreciation for a magazine that was clearly filling a niche in the SF world. One item of note is the first appearance of fiction in this magazine; fiction would only appear a handful of times in Starlog, but it was well-chosen when it did appear.
David Houston uses his editorial to herald David Gerrold's inaugural column; Log Entries is filled with reports on upcoming productions (The Island of Dr. Moreau), Hugo award winners, an "SF Resurgence in Comics," and books news (which seems to have migrated to this section from its previous Sci Fi Library location); James M. Elrod writes a "newsflash!!!" on Wade Williams' effort to release classic SF films. In his first column for the magazine, David Gerrold describes his antipathy toward critics -- and irony that he has just become one. The Communications letters page has the first, I believe, appearance of the "Sci Fi vs SF" controversy, an argument in which Starlog would eventually choose "SF" -- until it published Sci Fi Teen and Sci Fi TV magazines in the late 1990s.
Regular contributor Isobel Silden interviews Richard Anderson (Oscar Goldman from The Bionic Woman and The Six Million Dollar Man); David Hutchison writes about "Science-Fiction Movies in 3-D," covering a topic that would be a recurring passion of his; there's no author listed for a two-page filmography of 3-D movies from the 1950s, but it's there nonetheless; Star Teasers has two pages of games; the centerfold of the magazine appropriately features the two-page opening spread of "Arena," a reprint of a classic Fredric Brown short story (that had been adapted as a Star Trek TV episode in the original series), and the centerfold art is by the great Boris Vallejo, showing an alien blob meeting a naked man (I said it was appropriate for the centerfold -- you've got to trust me on these things); there's also a two-page color spread of images and descriptions of the Trek episode adaptation of Brown's story; Jim Burns interviews Space: 1999's Nick Tate, who played Alan Carter in that series; Gary Gerani gives the background to "The Inner Mind of The Outer Limits," which is followed by a complete episode guide to the series; we've got the first appearance of "Classified Information" advertising, and the Visions column wraps it all up with a look at robots in sci fi -- er, SF.
Readers of Starlog for most of its first two and a half decades of life quickly came to recognize (and, I think, appreciate) a signature factor in the magazine's content and character: the "reach for the stars" philosophy and encouragement of co-publisher Kerry O'Quinn, and here we get the first of umpteenth number of editorials by O'Quinn in that spirit. This issue, O'Quinn also takes over as editor-in-chief in the wake of founding editor David Houston's departure (Houston would soon be named the West Coast editor of the magazine). Other staffbox changes include co-editorship by James M. Elrod and Howard Zimmerman. This issue sees the first ad for a Starlog Photo Guidebook, Spaceships; in the coming years, Starlog would publish dozens of these high-quality and lavishly illustrated trade paperback books on a variety of SF topics (Aliens, Special Effects, Space Art, etc.)
David Hutchison continues his extensive look at 3-D science-fiction movies; Robert M. Hefley puts together a "Science Fiction Address Guide" for television productions; David Houston interviews spacescape painter (and cover artist) Don Dixon, in an article illustrated with many of Dixon's beautiful SF paintings; in the magazine's first foray into controversial political topics, writer Frank Gilstrap looks at how an episode of the live-action Star Trek was censored by a Texas television station on religious grounds (a nice live-action complement to Gerrold's animated column this issue, eh?); Howard Zimmerman examines the Gerry and Sylvia Anderson UFO TV series; Tom Rogers contributes a complete episode guide for that UFO series; Starlog publishes an episode guide to the final six episodes of Space: 1999's second and (wait for it...) last season; a selection of reader letters on Space: 1999 are published in a special article; Star Teasers has some movie anagrams; and the Visions column looks at the search for extra-terrestrial life.
More staffbox changes occur in the sixth issue of Starlog, including the appearance of underground cartoonist Howard Cruse as a contributor (Cruse would soon join the company as an art director, and he would contribute comic art to the Starlog family of magazines for years). Former editor David Houston is listed for the first time as West Coast editor, and Howard Zimmerman is now listed as sole editor (under editor-in-chief Kerry O'Quinn), with James M. Elrod moving to assistant editor from the co-editor position he had held the previous issue with Zimmerman. Musical chairs.
For the first time, Starlog uses a photograph on its cover, and from here on, paintings would only be rare exceptions to the standard photo treatment. The magazine also boosted its page count with a special eight-page center section, printed on yellow paper (again, a practice the magazine would use occasionally for years when it included episode guides or other reference specials).
The arrival of Star Wars in theaters changed cinema forever, and it also changed the science fiction media magazine world forever. Numerous magazines (Fantastic Films, Questar, Star Warp, etc.) were launched in the wake of Star Wars mania in the late 1970s, and for Starlog, which had begun a year earlier and rode Star Trek fandom to success, a whole new fan base joined its readership. Starlog would never be the same, and it was for the better. Also coming aboard with this issue is Assistant Editor Ed Naha (who replaces James M. Elrod). Naha would be a big player in the Starlog world for many years, co-editing Future Life magazine, being the founding editor (under pseudonym Joe Bonham) of Fangoria, and writing many, many articles and columns.
Starlog isn't the only magazine to use the above photo on its cover of a TIE fighter shooting at an X-wing, but it's the only magazine that ended up with an iconic cover with it. Go back and look at all of the covers for Starlogs one through six. Nice and colorful, yes, but number seven had action, space opera, adventure; the same elements that made Star Wars such a refreshing jolt to the moviegoing public in 1977 also makes this cover leap out from other early Starlog covers.
Actual behind-the-scenes special-effects photos rarely took the cover spot at Starlog, despite the large role played by SFX at the magazine. This cover is probably a good reason why. Despite giving you a neat idea of how the dinosaur scenes were shot on the Saturday morning fantasy series Land of the Lost, it's simply not a cover that jumps off the newsstands. e24fc04721
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