Conceptually, The Illustrated Man is brilliant from the get-go, including its novel premise of 18 stories as told through the moving tattoos on a man's body; in addition to weaving intricate webs, the Illustrated Man's body art predicts the future. And, oh, what stories are told. As a science fiction writer, it is no surprise that the majority of Bradbury's stories have to do with space and the future (heck, all of space was in the future when these stories were written in the early 50s). Additionally, the majority of the tales are pretty bleak, dealing with dark themes of revenge, futile searches for paradise, and Armageddon. However, save for their near-universal excellence, thought-provocation, and prescience, the similarities end there.
Among them: Mars is colonized by black people who have left Earth's prejudices, and await with apprehension the arrival of a white-piloted rocket ship from their former homeland; another planet's soldiers attack Earth and are surprised at the warm welcome they receive, only to learn that they can be conquered by Earth's lousy diet, sedentary ways, and shallow culture as easily as by the planet's military; an assembly of priests travels to Mars to learn about Martian sins, so as to spread God's word and earn converts of the Red plant; an entire city is built with the concept of vengeance in mind, by its citizens who were to perish before being able to exact that revenge themselves; the authors of classic tales of horror, whose works are banned on Earth, are themselves exiled to Mars and only kept alive by the few remaining copies not burned for censorship.
There are a couple of lame ducks herein, but even those are salvaged by the beauty of Bradbury's writing. His metaphors and descriptive devices flow from the pages and grant a macabre beauty to even the most desolate of landscapes.
"Prologue: The Illustrated Man" and "Epilogue" are used as a binding element for this short story collection, linked together by images on the Illustrated Man's skin.The name of "The City" was and is Revenge, upon the planet of Darkness - and after 20 millennia of waiting, Earthmen have come calling.
"The Concrete Mixer" Ettil objects to the Martian invasion of Earth - he's been reading illegally imported Earth fiction, and knows how all such invasions end.
Meet "The Exiles" - the reverse image of Bradbury's "Usher II".
"The Fire Balloons" Father Peregrine and his colleagues have come to Mars as missionaries to the Martians. But there are two species of Martians - the dying race of the Martian Chronicles, and a species of fire globes that humans can't communicate with yet.
"The Fox and the Forest" Fleeing from a war-torn future, two time travellers have taken new identities in 1938.
"The Highway" provides occasional windfalls for Hernando and his family - tourists driving south into Mexico who want to photograph him as a picturesque poor farmer, for instance. The drivers always complain - until today, as they flee the atom-bombing of the cities.
"Kaleidoscope" Although the crew were spacesuited when the ship was torn open, none had propulsion units - so here they are, falling, scattered so that they mostly can't see each other, unable to do anything except talk to pass their last few hours. (One twist is that they aren't all caught by Earth's gravity - some go one way, some another.)
On "The Last Night of the World", all the adults *know*, from having had the same dream, that the end has come. 'You don't scream about the real thing.'
"The Long Rain" Bradbury's Venus is a jungle suffering near-perpetual rain - in this story, rain that *never* ceases. The planet's only continent has been seeded with Sun Domes for lost spacemen - but the natives occasionally manage to destroy them. The survivors of a rocket crash are trying to make it to shelter before the endless water torture cracks them up...
"The Man" Hart, Martin, and the crew of their rocket have discovered a new world - but none of the inhabitants take any notice, because something *really* big has just happened - a messiah appeared the day before. Hart's first reaction is to ask if his competitors have beaten him here. :) ('I sympathize, Martin. I overlook your petty insubordination.' 'I don't overlook your petty tyranny.') Hart is driven to go on and on, so much so that he can't quite recognize what he's been looking for.
"Marionettes, Inc." Unlike _I Sing the Body Electric!_, here robots are illegally sold as replicas of specific people. Braling wants to escape his marriage, but gets more than he bargained for.
Hitchcock lives only in the moment, rejecting the pain of both memory and anticipation. But in space, it's "No Particular Night Or Morning".
"The Other Foot" - In _The Martian Chronicles_' "Way Up High in the Middle of the Air", African-Americans left Earth's segregation for Mars' freedom. Now the first rocket for 20 years brings the first white men the children have ever seen, while their parents aren't feeling charitable to these survivors of an atomic war. But Hattie Johnson doesn't want to see her husband turn into everything he hated.
"The Rocket" - The Bodonis dream of Mars - but have money for only one ticket.
Doug's childhood memories of his father, "The Rocket Man", are of a man gone for months at a time without a word, for fear he'd want to be with his family, "home" for three days or so, then gone again. Doug's mother treats space as though it doesn't exist, wanting her husband to stay and have a life with his family - hard, knowing that you can see all the places where he's been, while they're forever out of reach.
"The Veldt" - The Hadleys live in the kind of automated-to-the-max house seen in "There Will Come Soft Rains" in _The Martian Chronicles_. The adults worry that the nursery, with its full-sensory storytelling experiences, has supplanted them in their children's hearts - and what with the African stories they've been reading lately, the screams coming from the lions' kills are unnerving.
"The Visitor" - Victims of 'blood rust' are permanent exiles quarantined on Mars, and they suffer most from homesickness. When a newcomer displays a gift for creating illusions of home, though, whose home will it be?
"Zero Hour" - Children under nine have suddenly taken up a new game: invasion. It's creepy how Mrs. Morris' friends across the country *all* say their kids are pretending that the Martians are coming...