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Publication Year:1949
Series Title:PLANET STORIES
Type:Comic
Artist/Writer:VARIOUS
Format:DVD
Character:SCI-FI
Era:Golden Age (1938-55)
Tradition:US Comics
Universe:PULP FICTION
Publisher:Fiction House
Genre:Science-fiction
Country/Region of Manufacture:Unknown
PLANET STORIES FULL RUN OF 71 ISSUES VOL 1 #1-12 VOL 2 #1-12 VOL 3 #1-12 VOL 4 #1-12 VOL 5 #1-12 VOL 6 #1-11 CONTAINS EVERY ISSUE PUBLISHED RARE VINTAGE GOLDEN AGE SCIENCE-FICTION PULP MAGAZINE BOOKS ON DVD ROM CONTAINS A FULL RUN OF PLANET STORIES PULP MAGAZINES PUBLISHED BY FICTION HOUSE FROM 1939-1955 FREE POSTAGE AND PACKING (UK ONLY) BOOKS COME IN ECOMIC (CBR/CBZ) FORMAT ON 2 FULLY PRINTED DVD-ROM’S IN A CLEAR PLASTIC WALLET FOR SAFE KEEPING AN ECOMIC READING PROGRAM (COMICRACK) IS ALSO INCLUDED ON THE DISC Planet Stories was an American pulp science fiction magazine published by Fiction House, based in New York. It ran between November 1939 to May 1955 for a total of 71 issues.It featured adventure stories based in space or on other planets. One of the writers most associated with Planet Stories is Ray Bradbury who submitted an early story from his ‘Martian Chronicles’ work.The artwork also centred on attractive women, with scantily clad damsels in distress or alien princesses on almost every cover. Planet StoriesIn the early 1940s, science fiction pulp magazines began to place a renewed importance on scientific extrapolation and social commentary in their stories. Many readers desired a return to the fantastic worlds and the interplanetary adventures that, in large part, had defined scientific romances of the previous decades, however, and this desire was answered, in the winter of 1939, with the premiere issue of Planet Stories.Planet Stories was published by Fiction House, a company that, with titles that included Action Stories (1921) and Wings (1928), already held some ground in the pulp arena, under the guidance of publisher Thurman T. Scott. Fiction House went dormant for several years at the height of the Great Depression, but it resumed activity in 1934. Following this rebound, the company sought not only to reestablish itself in the pulp market, but also to stake out a claim in the burgeoning comic book field. Thus, Planet Stories was launched alongside Planet Comics, just as Fiction House pulps Jungle Stories (1938) and Fight Stories (1928) later spawned Jungle Comics and Fight Comics, respectively.Planet Stories’ first (and throughout most of the title’s run, senior) editor was Malcolm Reiss. With the help of assistant Julius Schwartz (best-known for his own sf writings, and his role in the birth of comics’ Silver Age at DC Comics), Reiss presented stories that, while science fiction in genre, played to an audience mostly interested in interplanetary escapism and exotic alien worlds, rather than any die-hard dedication to scientific prophecy. This is not to say that Planet Stories did not offer “real sf” to its readers. Many great authors of the genre – past, present and future – contributed to its pages.Early on, Planet Stories’ illustrations were provided by sf art legend Frank R. Paul, who had defined much of the genre’s appearance and feel during the 1920s in the pages of the first sf magazine, Hugo Gernsback’s Amazing Stories; shortly after its debut, artists such as Hannes Bok, Kelly Freas, and Alexander Leydenfrost helped Planet Stories forge an identity all its own.Literary works by Ray Cummings, Clifford Simak, Theodore Sturgeon, and other veterans also appeared, as did early works by Leigh Brackett, Isaac Asimov, Ray Bradbury and Poul Anderson. Throughout the 1940s and early 50s, seventeen stories by Brackett appeared first in Planet, along with two of the components that would later be collected in Bradbury’s The Martian Chronicles; Philip K. Dick’s first professionally-published work appeared in Planet Stories in the summer of 1952. The magazine’s letter column, titled “The Vizigraph,” provided an international forum for discussion, criticism, and correspondence nearly as important to the formation of early sf fandom as any of those in the earlier Gernsback titles.Planet Stories was published on a quarterly basis for most of its existence, with a brief bi-monthly experiment in 1943 (which was cut short by wartime paper shortages), and again from January of 1951 to May of 1954. Back to its original quarterly publication schedule, Planet Stories lasted longer than many other pulp titles, which by then had transformed into either men’s mags or “slick magazines;” simply disappeared; or, in the case of sf titles such as Astounding Stories, had transitioned into smaller, digest-sized formats. In the summer of 1955, Planet Stories ended, with 71 issues to its name.Planet Stories was an American pulp science fiction magazine, published by Fiction House between 1939 and 1955. It featured interplanetary adventures, both in space and on some other planets, and was initially focused on a young readership. Malcolm Reiss was editor or editor-in-chief for all of its 71 issues. Planet Stories was launched at the same time as Planet Comics, the success of which probably helped to fund the early issues of Planet Stories. Planet Stories did not pay well enough to regularly attract the leading science fiction writers of the day, but occasionally obtained work from well-known authors, including Isaac Asimov and Clifford D. Simak. In 1952 Planet Stories published Philip K. Dick’s first sale, and printed four more of his stories over the next three years.The two writers most identified with Planet Stories are Leigh Brackett and Ray Bradbury, both of whom set many of their stories on a romanticized version of Mars that owed much to the depiction of Barsoom in the works of Edgar Rice Burroughs. Bradbury’s work for Planet included an early story in his Martian Chronicles sequence. Brackett’s best-known work for the magazine was a series of adventures featuring Eric John Stark, which began in the summer of 1949. Brackett and Bradbury collaborated on one story, “Lorelei of the Red Mist”, which appeared in 1946; it was generally well-received, although one letter to the magazine complained that the story’s treatment of sex, though mild by modern standards, was too explicit. The artwork also emphasized attractive women, with a scantily clad damsel in distress or alien princess on almost every cover.
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