First Person Shooter: You’re looking out the front of your

Starship 1 provides examples of: Asteroid Thicket: Hyperspace is full of planets and asteroids coming at you. Steer the ship to dodge them. Attract Mode: The ship flies through space as planets and asteroids go by while it waits for someone to insert a coin. First Person Shooter: You’re looking out the front of your spaceship, shooting enemies as they come towards you, and lining them up as they try to maneuver away from you. It’s primitive, and no one is shooting back at you, but still recognizable as an ancestor of today’s FPS games. One Bullet at a Time: Your phasors fire out into space and explode when they reach the end of their range. Then you get to fire again. 1 Up: At 3500 points you get 30 seconds of extra fuel. Scoring Points: The enemy ships are worth between 50 and 500 points. One of the targets is a side view of the Enterprise with the engine nacelles moved down, while another looks like a front end view of a Klingon D7 cruiser. Your weapons are the Enterprise’s phasers (called “phasors” here) and photon (“photon”) torpedoes. And you’re fighting for The Federation, even though you’re shooting at both Star Trek Federation and Klingon ships. Smart Bomb: Photon torpedoes that destroy every enemy on screen. You get five of them. Timed Mission: You start with three minutes of fuel, and can get an extra 30 seconds.

The other players are the curators and the gallery dealers: Walter “Chico” Hopps and Henry Hopkins, Irving Blum, Virginia Dwan, Nicholas Wilder again, the names are familiar. And the handful of pioneer collectors, among them Fred and Marcia Weisman, Stanley and Elyse Grinstein, Ed Janss, and my own in laws, Dorothy and Michael Blankfort, whose excellent adventure with the Yves Klein “Immaterial” is accurately recorded in Drohojowska Philp’s book. Even for one familiar with much of the material, there’s plenty here that’s new, refreshing, and often titillating, particularly when it comes to shifting personal relationships and slightly scurrilous detail. Still, she does manage to balance out the purely entertaining “who slept with whom” scuttlebutt with a useful chronology of biographical and other factual information. She establishes the context of a cultural scene in which rock music and its musicians and entertainment industry notables like Dennis Hopper freely intermingle with the city’s artists. How much of the latter is colored by nostalgia, self interest or simple forgetfulness is anybody’s guess, but it certainly makes for a lively read.

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