I chose not to read the Starlog archives in any particular order—I thought it’d be more interesting to jump around to different years and understand the changes to the magazine and the fandom more gradually. I generally use the default option of ordering the individual files by views, which also gives me insight into which issues people reading the archives are interested in. Of course, early issues and especially early coverage of The Big Stuff dominate the early goings, with special anniversary issues (at one point a yearly thing for the magazine, which must have been exhausting) and the odd entry from later in the run (the second most-viewed has The Mask and The Shadow share a cover, the first and last time those two movies will ever be spoken of in the same breath) dropping in between, which only means that my fellow archive diggers are interested in the older historical artifacts, especially when they’re about things they know (not as many people reading when its Nightflyer or Brainstorm on the cover—or Suburban Commando, or Time Trax…) When it was an era of big movies (like Star Wars or Alien) or big TV shows (like Star Trek: The Next Generation), it’s pretty understandable that many are interested in seeing just how people reacted to those things when they were entirely new.
Success came to SF when it broadened itself—or, to be more accurate, when SF ideas were being draped over more broad-minded formulas, high adventures and comedies and horror stories. These combinations (and many others) had existed for as long as SF has, of course, but for whatever reason they didn’t really become the centre of the whole enterprise until the beginning of the blockbuster film era, when Star Wars, Alien, Superman and the like came and made space stuff mainstream in a way it never had been before. With a ton of money to throw around, you can have all the crazy stuff onscreen you could ever want, married to plots and characters that a general audience can get a grip on—compared to earlier of the seventies, when SF was mostly inscrutable, heady enterprises where action and romance were a rarity, and what was there was usually delivered in way that was either cheap or bizarre and off-putting. All those things made those movies feel closer to actual SF literature (although they still ended up being more clumsy than profound, generally), but maybe that was the lesson the movie business had to learn—the key to making SF a financial viability is to make it look as little like established SF as possible. In the following decades, most, if not all, of the most films that made it big that were “SF” were usually followed by a hyphen—Back to the Future is mostly a comedy, after all, as is Ghostbusters, and something like Robocop is primarily an action movie (although it’s also a comedy…man, is there anything Robocop CAN’T do?) Spielberg didn’t even want to call Close Encounters of the Third Kind SF, and in the case of E.T this may have played a part in the decision to focus the movie’s publicity entirely on mainstream media while leaving genre publications like Starlog out (which led to month after month of consternation in Starlog’s editorials in 1982.)