While there have been numerous books on the great sci-fi classic, 2001 a Space Odyssey, one of the best must surely be “The 2001 file” by Christopher Frayling. Published two years ago this large volume contains the rediscovered artwork by concept designer Harry Lange who was responsible for much of the “look” of this film. From early drawings and concepts the book shows the development of Lange and Kubrik’s ideas, up to their final fruition on the screen.
It covers the evolution all the spacecraft, satellites and spacesuits in minute detail and is a beautifully produced volume.
Looking at the early sketches and models for the Discovery, before it took on its final familiar form, I was reminded of my post from 23 July 2015 entitled “Hawke’s spaceship – The Aristarchus” in which I pointed out the basic similarities between Hawke’s Jupiter ship and the Discovery . The early concept models of Discovery in “ The 2001 file” before it evolved into its final elongated shape look even closer in appearance to the Aristarchus. Sydney comments that he himself was inspired by the work of Chesley Bonestell, the pioneer of sci-fi art who worked with such luminaries as Willy Ley and Werner von Braun, and his influence can be seen in both the Aristarchus and the seminal drawings of the Discovery by Lange. Skipper Prossitt
A view of a 3D model of the Aristarchus from the Hawke story OVERLORDOne of Chesley Bonestell’s spacecraft illustrations from Colliers magasineHarry Lange’s early concept model of the Discovery from THE 2001 FILE
Many of the stories in the JEFF HAWKE series use a storytelling technique which might be described as a “Tipping point”. It is used to great effect in the strip and might be explained as follows: The stories start off in our familiar world , its familiarity enhanced by the depiction of accurate and realistic technology and familiar landmarks, such as London scenes or English high streets . The narrative proceeds and develops as we would expect until suddenly this familiar matrix is violently intersected by another stranger one and our perspective is suddenly shifted from the quotidian to the cosmic . A good example is OVERLAND which starts with a fairly straightforward story of an attempt to recover an ancient plesiosaur preserved in the Antarctic ice. From discussions in the British museum to working out the mission logistics, all proceeds as one would expect. As the mission develops and the tractors locate the creature and attempt its extraction, our belief that this is a realistic story set in our own real world is cleverly re-inforced . Then suddenly the “Tipping point “ occurs . Our reality is shattered as an enormous spacecraft hovers above the expedition, and the story is seen from a new and vast perspective. It is revealed that the plesiosaur is merely bait in a vast cosmic power play, a struggle for hegemony of the Galactic federation , for which Hawke and co are to be used as negotiators.
The plesiosaur expedition is discussed by Navy experts – from OVERLAND
Probably the most visually dramatic example of the “Tipping point” is in the classic ANTI-GRAVITY MAN. Again – a seemingly routine story of an attempt to launch a cylinder of nuclear waste into orbit and the problems which occur when the rocket motors fail to achieve sufficient thrust for orbital velocity. Again the technology is realistic and the attempts to safely retrieve the cylinder involving docking procedures etc re-inforce our belief that this is happening in a familiar world. Then suddenly the “Tipping point” occurs , summed up visually in what is probably the most famous image in the whole JH series. A 60’s mini cooper with a few modifications suddenly appears in orbit alongside the stricken space capsule and our perspective is suddenly changed. In contrast to the first part of the story, where even putting a spacecraft into orbit has been achieved with huge difficulty, we now have an incredible alien technology with capabilities of reaching all the planets of our Solar system and beyond with baffling ease.
The “Tipping point” can be discerned in many of the Hawke stories especially those where Willie Patterson was at the helm and usually divides the stories into two distinct halves. It is by no means unique to Jeff Hawke of course ( Rupert the bear stories use it frequently!) but it is used to great effect by Messrs Patterson and Jordan. Building up this everyday, familiar world in such a careful fashion emphasizes the strangeness and shock of the aliens or their technology when they do finally appear, and serves as a foil against which the strange and alien worlds appear in sharp and shocking focus. Skipper Prossitt
The most famous and visually dramatic example of the “Tipping point” in Jeff Hawke – from ANTI-GRAVITY MAN
I have just received the news that JEFF HAWKE JUNIOR, a book containing all the collected Jeff Hawke strips from Junior Express weekly is due to be published next month ( December 2016). It will be of the same large format as the COSMOS magasine, but in full colour throughout and will contain around 128 pages. In addition to the strips themselves the book will include biographical information on the various artists and writers that created it together with articles on the Jeff Hawke collector cards and club , with contributions from astronomer Duncan Lunan and the writer Jeremy Briggs among others. Price will be around £26 and for ordering information contact jeffhawke@williamrudling.co.uk. Skipper Prossitt
Below are the next three strips from Asset strippers, which appeared in the Scottish Daily Record but were absent from all subsequent publications, all of which had a shortened introduction. Skipper Prossitt
