content of either one. An influential non-fiction initiative was the creation of the Science Fiction League, an organization that brought together local science fiction fan clubs across the country. Gernsback took the opportunity to sell items such as buttons and insignia, and it was undoubtedly a profitable enterprise for him as well as a good source of publicity. It was ultimately more important in becoming one of the foundations of science fiction fandom.Peter Roberts, "Science Fiction League", p. 1066. Hornig When Hornig took over from Lasser at the end of 1933 he attempted to continue and expand Lasser's approach. Hornig introduced a "New Policy" in the January 1934 issue, emphasizing originality and barring stories that merely reworked well-worn ideas. He asked for stories that included good science, although "not enough to become boring to those readers who are not primarily interested in the technicalities of the science". However, Astounding was moving into the lead position in the science fiction magazine field at this time, and Hornig had difficulty in competing. His rates of payment were lower than Astounding'''s one cent per word; sometimes his writers were paid very late, or not at all. Despite these handicaps, Hornig managed to find some good material, including Stanley G. Weinbaum's "A Martian Odyssey", which appeared in the July 1934 Wonder and has been frequently reprinted. In the December 1934 – January 1935 issue of Hornig's fanzine, Fantasy Magazine, he took the unusual step of listing several stories that he had rejected as lacking novelty, but which had subsequently appeared in print in other magazines. The list includes several by successful writers of the day, such as Raymond Z. Gallun and Miles Breuer. The most prominent story named is Triplanetary by E. E. Smith, which appeared in Amazing. Both Lasser and Hornig printed fiction translated from French and German writers, including Otfrid von Hanstein and Otto Willi Gail. With the rise of Adolf Hitler in Germany in the 1930s a few readers (including Donald Wollheim) wrote letters complaining about the inclusion of German stories. The editorial response was a strong defense of the translations; Gernsback argued that events in Germany were irrelevant to the business of selecting fiction. The covers for almost every issue of Air Wonder, Science Wonder, Wonder Stories and Wonder Stories Quarterly were painted by Frank R. Paul, who had followed Gernsback from Amazing Stories. The only exception was a cover