Vertex Magazine: Psychedelic 70s Sci-Fi Imagery

by G. Jack Urso

 

Vertex Vol. 1, No. 2, June 1973.

Vertex, “The Magazine of Science Fiction,” published between 1973 and 1975, by Mankind Publishing, Los Angeles, Calif., is noted in SFE The Encyclopedia of Science Fiction as one of the first glossy or “slick” Sci-Fi publications. Its content featured Science Fiction short stories and science-related news. Guided by Art Director Andrew Furr and his Associate Art Directors Monte Rogers and Bill Wright, the magazine was known for its creative, surreal, and oft times psychedelic imagery.

Contents page for Vertex Vol.1, No. 2, June 1973.

For two years, between April 1973 and 1975, it was published bi-monthly in a glossy, letter-size, saddle-stapled format for $1.50 ($10.91 in 2025). Between June and August 1975, it was published monthly but with newsprint paper in tabloid style, and a drop in price down to a dollar. The change was due in part to a paper shortage, but the magazine also faced issues in terms of costs and advertising revenue. Attracting work from such authors as Forrest J. Ackerman, Alan Brennert, William Carlson, Harlan Ellison, George R. R. Martin, Steven Utley, John Varley, and with over a dozen feature stories in each issue, publication costs must have been significant. 

Additionally, the amount of advertising seems a bit lacking, at least in this second issue. Of the 100 pages, including both front and back covers, there are only seven advertisements, all full page, six for books or magazines, including one for Vertex itself, and one for J&B Scotch. There are no half-page or smaller advertisements, none for audio or electronics, which would appeal to the target demographic — not even a Columbia House Record Club offer!  

By contrast, Analog, one of the premier Sci-Fi publications, had a similar ad-to-feature ratio, though some issues boosted revenue by including some smaller classified ads; however, with a wider circulation than Vertex, Analog could charge more for those ads. It also used much cheaper newsprint, not glossy paper, used no color, except for the spectacular cover art, and, as a digest, was half the size of Vertex. Analog also had the advantage of a stronger literary reputation and a lower cost of only 75 cents in 1975. It is still being published today.

Vertex Vol. 3, No 2, June 1975, after it switched to newsprint.

Another consideration is that Vertex did not have a broad color palette. The imagery was in black and white except for a couple monochromatic layouts, orange or green for this issue. This two-color printing process for popular publications was not uncommon at the time, but the 4-color or higher printing used in top-selling magazines increased public expectations for all periodicals. The glossy paper helped offset that a bit, as well as the quality of the art, but switching to newsprint was the harbinger of doom and Vertex lasted only three issues in that format. 

So, Vertex had some challenges from the beginning that probably contributed to its fate. Omni would pick up the torch in 1978 as the premiere glossy Sci-Fi publication with a much better ad-to-feature ratio and a full-color, more polished look thanks to publisher Bob Guiccione’s experience with Penthouse, with which Omni shared a similar look — at least in terms of design, if not in content.

Main-in subscription card for Vertex.

Yet, it is art of Vertex which continues to stand out and worth noting. Exemplative of early-mid 1970s publication imagery geared for the Counterculture, the art has a dreamlike, fantasy quality to it. It is less explanatory, as far as promoting a deeper understanding of the story, and more suggestive or even just for aesthetics, breaking up long blocks of text and providing a space for the reader to contemplate the stories’ ideas.

Below is a selection of images from Vertex Vol.1, No. 2, June 1973.

Front Cover: Tune in, turn on, and turn the page . . . 

In an overcrowded world, having children is a threat to both the world and to the parents. Art by Monte Rogers for “Three Tinks on the House,” by F. M. Busby.

 

The imagery in Vertex could be viscerally physical and erotic, as in this artwork by Monte Rogers for the short story “Three Tinks on the House,” by F. M. Busby.

Reflecting the sensory experiences of LSD, and a countercultural trope, a man sees sounds, hears colors, and becomes a guru. Art by Kevin Davidson for the short story “All the Sounds of the Rainbow,” by Norman Spinrad.

Art by Kevin Davidson for “All the Sounds of the Rainbow,” by Norman Spinrad.

Expanding one's consciousness. Art by Kevin Davidson for “All the Sounds of the Rainbow,” by Norman Spinrad.

Art by Kevin Davidson for “All the Sounds of the Rainbow,” by Norman Spinrad.

The Commander of U-999 waits to fight again long after the war has ended. Art by Alicia Austin for a short story by Edward Wellen.

Science fact article on the size of the universe. 

Dystopic stories dominated 1970s pre-Star Wars Sci-Fi.

Art by Alicia Austin for “Crash Cameron and the Slime Beast” by Steven Utley.

Art by Monte Rogers for “The Alibi Machine” by Larry Niven.

Art by Monte Rogers for “The Alibi Machine” by Larry Niven. 

Art by Monte Rogers for “The Alibi Machine” by Larry Niven. 

A very short story by Forrest J. Ackerman.

For potential alien visitors, Earth gets a big F. Things have only gotten worse.

Art by Monte Rogers for “The Jewel” by D. William Paul.

Art by Monte Rogers for “The Jewel” by D. William Paul.

A drawing showing the complexity of planetary orbits.

Cat or Kzinti? Only Larry Niven and artist Tim Kirk know for sure!

From a feature on Skylab, Vertex covered Science Fact as well as Science Fiction.

In the 1970s, the proposal to tow icebergs from Antartica to drought-stricken regions, however unfeasible, captured popular interest. Nevertheless, the idea continues to come up periodically. Art by Monte Rogers.

Back Cover: “Our Earth. Let's keep it blue and beautiful.”
In keeping with the times, Vertex had a strong ecological message.

●             ●             ●