Guin's perceptions of the Vietnam War, and both emphasized anti-technocratic fatalism instead of imperial hegemony via technology, with the New Wave later interacting with feminism, ecological activism and postcolonial rhetoric. A major concern of the New Wave was a fascination with entropy, i.e., that the world (and the universe) must tend to disorder, eventually resulting in "heat death". The New Wave also engaged with utopia, a common theme of science fiction, offering more nuanced interpretations.:74-80 Style Transformation of style was part of the basis of the New Wave fashion.:286 Combined with controversial topics, it introduced innovations of form, style, and aesthetics, involving more literary ambitions and experimental use of language, with significantly less emphasis on physical science or technological themes in its content. For example, in the story "A Rose for Ecclesiastes" (1963), Roger Zelazny introduces numerous literary allusions, complex onomastic patterns, multiple meanings, and innovative themes, and other Zelazny works, such as "The Doors of His Face, the Lamps of His Mouth" (1965) and He Who Shapes (1966) involve literary self-reflexivity, playful collocations, and neologisms. In stories like "Repent, Harlequin!" Said the Ticktockman, Harlan Ellison is considered as using gonzo-style syntax. Many New Wave authors used obscenity and vulgarity intensely or frequently. Concerning visual aspects, some scenes of J. G. Ballard's novels reference the surrealist paintings of Max Ernst and Salvador Dalí. Differences between American and British New Waves The British and American New Wave trends overlapped but were somewhat different. Judith Merril noted that New Wave SF was being called "the New Thing". In a 1967 article for The Magazine of Fantasy and Science Fiction she contrasted the SF New Wave of England and the United States, writing: They call it the New Thing. The people who call it that mostly don't like it, and the only general agreements they seem to have are that Ballard is its Demon and I am its prophetess – and that it is what is wrong with Tom Disch, and with British s-f in general... The American counterpart is less cohesive as a "school" or "movement": it has had no single publication in which to concentrate its development, and was, in fact, till recently, all but excluded from the regular s-f magazines. But for the same reasons, it is more diffuse and perhaps more widespread.:105 The science fiction academic Edward James also discussed differences between the British and American SF New Wave.