The Terror Takes Shape
Campbell's magazine took a different tack, it was more subdued, understated, and emphasis was on logic, reason, and the scientifically plausible; and focused on how technology would impact on the average human life eventually turning the tide away from the pulps. Under Campbell's editorship, Astounding spawned a new generation of writers who also included Asimov and Heinlein, among others.
Under Campbell's influence poetic stories such as "Twilight," "Forgetfulness," and "The Elder Gods," he deliberately questioned many of science fiction's underlying assumptions, setting a precedent that has helped the field to continue to thrive ever since.
"Who Goes There?" formed part of that revolution. Although full of suspense and action, it turned science fiction away from stories that were merely suspense and action. It also posed a scientific puzzle: Faced with an alien intelligence that can take over a human body and absorb memories, how do you determine who is a monster and who is human? I thought John Carpenter's movie addressed that pretty well whereas the Hawks movie did not.
That said though The Thing from Another World remains a classic in SF that sparked off the SF/Monster movie boom of the 1950's, and remains one of the most powerful of that decade. It is full of Hawk's trademarks: fast pace, overlapping dialogue, and an ability to elicit relaxed, naturalistic performances from the cast. Hawks wisely kept the Thing (James Arness) off the screen for most of the film--something Ridley Scott also did with his film, Alien, so when you are finally confronted by it, there's a jolt. Granted the earlier film doesn't have the special effects of the Carpenter film, and it's typical of adventure films made during the Cold War, with the shoot first, ask questions later mentality. But with The Thing I thought that mentality made sense--I would have too.