Cathy and Arnie Fenner have announced that although Spectrum: The Best in Contemporary Fantastic Art #27 has just been released by Fleskes Publications and this is traditionally the time of year when the Call For Entries for Spectrum 28 would normally open for submissions, they are postponing the submission window until 2021.
They explained in a press release:
But as we all know, 2020 has not been a normal year for anyone…and we’re not out of it yet. As announced previously, after seven great years as editor and publisher John Fleskes decided to step away from Spectrum to pursue other projects and interests; as we began work on transitioning the competition and book back to our leadership, the pandemic simultaneously began to spread around the globe. Needless to say, since March of 2020 COVID-19 has taken a toll on everyone emotionally—particularly to those that have lost family or friends to the virus—thrown a monkey wrench into logistics and planning, shuttered businesses, cost millions of jobs, and had an enormously negative financial impact on the world. And that of course all translates to a negative impact on the publishing and entertainment industries, on the arts community, on the readers and fans—on literally everyone who make Spectrum possible. Factor in social, civil, and political upheavals and it’s safe to say that everybody has struggled or been hurt or in some way experienced unhappiness in 2020 and it would be tone-deaf for us to pretend otherwise.
With all that in mind, we believe the responsible thing for us to do is to delay opening Spectrum 28 for submissions until after the first of the year. A revised website is in the works as well as updates to the social media platforms. Though we know everyone has come to expect the Call For Entries to roll around at the same time each year like clockwork, we’ve actually been talking with our Advisory Board for some weeks about changing the dates (among other things) as a way to better serve the arts community going forward: there will be more announcements forthcoming, including our Call For Entries poster artist and jury.
…To paraphrase Mark Twain, any reports of Spectrum’s demise are greatly exaggerated. Watch for the announcement and we’ll hope to see everyone’s work when Spectrum 28 opens for entries. If you have any questions or concerns, ask us: we’re not going anywhere.
Pórtico, Spain’s Science Fiction, Fantasy and Horror Association, has just launched its new visual image. They also shared the cover art for Visiones 2020, their annual collection of stories.
Blanca Rodríguez, President, and Isa J. González, Member of the Board unveiled the new logo through the association’s YouTube channel The team in charge of the new identity – Laura Soriano, graphic designer, and L. J. Salart, publicist- also took part in the presentation.
The change is aimed at boosting the historical name of the association, Pórtico, fallen into disuse in recent years. The objective is to instrumentalize a name that is catchy, easy to remember, as well as full of history, aligning it with a visual identity adapted to the times. A new logo resembling a portal has been created as a symbol of all literary genres grouped in the association: fantasy, science fiction and horror.
From a technical point of view, this new identity lends itself to different digital and printing uses, not only for publications (the collections Visiones, Fabricantes de Sueños and Sólo para Socios), but also for events (HispaCon), and for the different awards granted by the association (Ignotus, Domingo Santos, Gabriel, and the recently created Matilde Horne).
According to Blanca Rodríguez, President of Pórtico, “The new logo strengthens the association’s image, offering a unified, easy to remember and modern visual concept. It clearly transmits the idea of a collaborative community in the current world, one characterized by its great diversity. With this logo, we want all the literary genres embedded in our association to feel represented”.
Pórtico, the Spanish Association of Fantasy, Science Fiction and Horror, is a non-profit organization focused on the promotion of fantasy, science fiction and horror in Spain. For more information, visit their website.
How should we pronounce it? How should we write it?
How did he?
Another man who strained our orthoepy promised to teach us about his own name at a Lunacon once. For a while I was able to attend this New York convention (hosted by local club the Lunarians) so regularly that some thought I lived in New York. I had, but not then. I was obliged to say I do not have that honor. I was even Fan Guest of Honor one year.
Anyhow, at Lunacon XXXVIII Poul Anderson was Writer Guest of Honor. Our Gracious Host was Fan Guest of Honor. Mark Blackman, who now and then appears here, was Chairman. As he has elsewhere remarked, this year silvers the memory of that weekend.
Mr. Anderson (or in Danish Hr. for Herre), addressing a crowd of us, graciously said “I’ll teach you all how to pronounce my name.”
We waited eagerly.
He said, slowly and distinctly, “ANN-der-son.”
Some time after I met the Wizard and lizards I happened to be re-reading Heinlein’s Space Cadet. I was told, as its readers are, of Tex Jarman’s Uncle Bodie. Must be the same name! I thought.
The spelling was different. That happens in English, particularly with names.
I still didn’t know what to say.
The unassisted letters for this Wizard artist are VAUGHN BODE. I felt sure his surname was bisyllabic; it didn’t rhyme with showed or hoed or Mr. Toad.
In a birthday notice here I wrote Bodé and explained,
The equipment won’t show his name as he wrote it; over the “e” shouldn’t be an accent acute (which is what you see), but a macron (horizontal line), i.e. indicating a long vowel, not emphasis: it doesn’t rhyme with “okay”. I never heard him say it; I spent years thinking it was like body, but maybe it’s like Commando Cody.
You probably know Wikipedia, the great and terrible, says
As explained by Bod?’s friend Fred A. Levy Haskell, in the collection Vaughn Bod?’s Poem Toons (Tundra Publishing, 1989),”the line over the ‘e’ in Vaughn’s signature is not an acute accent, it is a long mark. That is, it is not part of the family name, and is not pronounced as if it were a long ‘a’ – he added it to his signature to indicate that you are supposed to pronounce the long ‘e’ at the end of his name.”
I wrote to Fred today by real mail before I saw your comment.
Maybe we’ll all learn something.
Here’s what Fred said.
Vaughn’s legal surname. It is my understanding and recollection that it is “Bode”, without accent or other marking, pronounced “Boh-dee”, and that “Bod?” (with, as you say, a macron) is the form he settled on for signing his art; although he had experimented with a number of different forms before settling on that. I believe he told me once that it was because he got tired of people calling him “Baahd” and “Bohd”.
Wikipedia cites me? Li’l ol’ me? Gawrsh.
Those, as a friend of my father’s used to say, are the conditions that prevail.
John Fleskes, the current Director of the Spectrum Fantastic Art competition and editor of the resulting book, has announced he will be stepping down from both positions following the publication of Spectrum #27 in October, 2020. Spectrum Fantastic Art founders Cathy Fenner and Arnie Fenner will return as Directors and editors beginning with the 28th annual competition in the Fall.
Spectrum: The Best in Contemporary Fantastic Art was founded by Cathy and Arnie Fenner in 1994 and is the renowned international symbol of excellence for the field of fantastic art. John Fleskes became Director/Editor/Publisher of the series in 2013.
“Spectrum is an extremely time-consuming, labor-intensive project” says Cathy Fenner, “and John has many books for his Flesk Publications line that he is very passionate about but has been unable to pursue because of the energy and focus Spectrum demands. He also has some deeply personal projects outside of publishing that he needs time and attention to bring to fruition—and there are only so many hours in the day. Arnie and I greatly appreciate all of the excellent work John and his staff have put into Spectrum, SFAL, and the fantastic art community for the past seven-plus years and sincerely wish him the best of luck with all of his future endeavors.”
“It has been an absolute joy to be a part of Spectrum,” shares John. “I still have the same enthusiasm and care for Spectrum and the art community that I have always had. Both Arnie and Cathy Fenner have been wonderful to work with as mentors and friends. I can’t thank them enough for their trust in me and for their support over the years. I consider myself very fortunate to have had this experience. Being able to work with so many creative and amazing people is something that I will forever be grateful for. I’ll continue to be very active in the art world as I focus on a new line of books that I am eager to publish and I’ll be setting the foundation for a new vision that is close to my heart.”
John’s last volume, Spectrum #27 (as well as all previous in-print volumes), will be available through Flesk Publications and to the book trade via distributor Publishers Group West as usual.
The addresses for the Spectrum website and social media pages will remain the same; Spectrum 28 will open for entries in October, 2020 and the book will be available in October, 2021. Further announcements regarding the new Spectrum advisory board, additions to the Spectrum staff, and jurors for #28 will be made at a future date.
Artist Lee Moyer (The Doom That Came to Atlantic City, Starstruck) and author Seanan McGuire (Middlegame, Every Heart a Doorway) have joined forces to bring you icons and stories of the small deities who manage our modern world in their new series Small Gods to Enlighten the Homebound.
Gods yearn to be believed in, that they might become powerful and influential. Belief is everything to them, and without it, they may stay small forever. From the God of Social Distancing to the God of Finding a Parking Space, some Gods find their own niches and fill the Belief Economy for many years undisturbed – Others want it all.
The series will continue each week on Monday, Wednesday, and Friday and can be accessed from these internet platforms —
“The [early] Roman gods were kind of crap, you know – Geoff, the god of biscuits, and Simon, the god of hairdos….” — Eddie Izzard “Dress to Kill”
“All the sweetness of religion is conveyed to the world by the hands of storytellers and image-makers. Without their fictions the truths of religion would for the multitude be neither intelligible nor even apprehensible.” — George Bernard Shaw
By JJ: To assist Hugo nominators, this post provides information on the artists and designers of more than 660 works which appeared in a professional publication in the field of science fiction or fantasy for the first time in 2019.
These credits have been accumulated over the course of the year from dust jackets, Acknowledgments sections and copyright pages in works, as well as other sources on the internet. This year, Filer Goobergunch also collected this information, and though we had a lot of overlap, his extra entries have greatly increasead the information we are able to provide you. My profound thanks go to Goobergunch for all of his hard work.
You can see the full combined spreadsheet of Editor and Artist credits here (I will be continuing to update this as I get more information).
In this post I will display up to 8 images of artworks for each artist for whom I have identified 3 or more works which appeared in a professional publication in the field of science fiction or fantasy for the first time in 2019.
3.3.12: Best Professional Artist. An illustrator whose work has appeared in a professional publication in the field of science fiction or fantasy during the previous calendar year.
3.2.11: A Professional Publication is one which meets at least one of the following two criteria:
(1) it provided at least a quarter the income of any one person or,
(2) was owned or published by any entity which provided at least a quarter the income of any of its staff and/or owner.
3.10.2: In the Best Professional Artist category, the acceptance should include citations of at least three (3) works first published in the eligible year.
Under the current rules, artwork for semiprozines and fanzines is not eligible in this category. You can check whether a publication is a prozine or a semiprozine in this directory (the semiprozine list is at the top of the page, and the prozine directory is at the bottom).
Please be sure to check the spreadsheet first; but then, if you are able to confirm credits missing 2019-original works and the names of their artists from Acknowledgments sections, copyright pages, or by contacting authors and/or artists, go ahead and add them in comments, and I will get them included in the spreadsheet, and if the artist is credited with at least 4 works, in this post. If you have questions or corrections, please add those also. Please note that works may or may not be added to the list at my discretion.
PLEASE DON’T ADD GUESSES.
Artists, Authors, Editors and Publishers are welcome to post in comments here, or to send their lists to jjfile770 [at] gmail [dot] com.
(warning: this post is heavily image-intensive, and will probably not work well on mobile devices: flee now, or prepare to meet your doom extremely slow page download)
Judges Alice A. Carter, Craig Elliott, Anthony
Francisco, Courtney Granner, Forest Rogers and Chie Yoshii debated the merits
of hundreds of pieces of art before finalizing this list on Saturday, February
8 at the Flesk Publications offices in Santa Cruz, California.
Established in 1993 by Cathy and Arnie Fenner, the first Spectrum annual appeared in 1994 from Underwood Books;
for over a quarter of a century it has attracted participants from around the
world and has set the standards for excellence in fantasy and science fiction
art. John Fleskes became the Director and Publisher of Spectrum
in 2014 with volume 21.
The recipients will be announced at the Spectrum
27 Awards Ceremony that will be held at the Grand Ballroom of the Kansas
City Convention Center in Kansas City, MO on Friday evening, March 20. The 2020
Spectrum Grand Master Award honoree will also be announced during the ceremony.
To see all the nominated art, click here
and scroll past the text-only nominee list.
Anna and Elena Balbusso Twins – The Magic Flute Backstage
Brom – Lilith
Bartos Kosowski – The Shining
Alessandra Pisano – The Part You Throw Away
Bayard Wu – Fighting in the Harpy Nest
Sam Araya – Arthur Jermyn
Rovina Cai – Ivywood Manor
Dan dos Santos – Penric’s Progress
Sija Hong – The Three Lords of Shambhala
Yuko Shimizu – The Wind Up Bird Chronicle
Thomas Campi – L’éveil, page 25
Jessica Dalva – The Dollhouse Family #1
Tim Probert – Lightfall 1: Walk in the Woods
Claudya Schmidt – Myre: Flora
Leif Yu – Rainforest
CONCEPT ART CATEGORY
Ian Chiew – Island Woodblock
Te Hu – la Marcarena
Finnian MacManus – Xulith
Andy Park – Captain Marvel Binary Powers Concept Design
Wu Qinghao – Devourer of Ghosts
Michihiro Matsuoka – Philosopher From The Past Coelacanth
Lucas Pina Penichet – Guardian of the Forest
Kristine and Colin Poole – Spinner of Dreams
Dug Stanat – Space Madness
David Zhou – Harpy
Sam Araya – The Forest Yell
Galen Dara – Many Hearted Dog
Angi Pauly – Blue Moon Harvest
Red Nose Studio – Truth, Lies & Uncertainty: Truth
Tooba Rezaei – Blue Hope
Tyler Jacobson – The Broken Sword/Throne of Eldraine
Iain McCaig – Claim the Firstborn
Mike Miller – Quest
John Jude Palencar – The Stranger: The Seventh Faith
[Thanks to Science Fiction World, China’s most influential sci-fi magazine, for providing this post. I feel the competition is newsworthy and the beautiful art is something you’ll want to see. However, running the item is not intended as an endorsement of the Chengdu Worldcon bid.]
What does Chengdu look like 100 years later?
Sci-fi works are mind-blowing!
China (Chengdu) International Science Fiction Conference kicked off on November
22, in which the list of winners for “Chengdu After 100 Years” Global Science
Fiction Works Collection sponsored by Chengdu Association for Science and
Technology was officially published and a grand award ceremony was held. These
eye-opening sci-fi works greatly intrigue our expectations for Chengdu 100
100 Years” offers a stage for people to picture the future Chengdu city. It
collected science fiction works from across the world, and set awards of four
groups: Sci-Fi Literature, Sci-Fi Video, Sci-Fi Fine Arts (Adult) and Sci-Fi
Fine Arts (Children), having drawn universal attention from sci-fi fans
worldwide. During the last three months, a total of 431 literary works, 418
fine art works and 21 videos were received from the US, Italy, Japan, South
Korea and other countries and regions. Among them, Images: City of Taste or Taste of City by Yang Wanqing won the
First Prize of Sci-Fi Literature, Chengdu
after 100 Years by Qiu Yuan won the First Prize of Sci-Fi Fine Arts (adult)
and Life in the Air in Chengdu after 100
years by Ji Shuyu won the First Prize of Sci-Fi Fine Arts (children). The
First Prize of Sci-Fi Video remained vacant.
According to He
Xi, Director of the Review Committee of “Chengdu After 100 Years” Global
Science Fiction Works Collection, this one-of-a-kind event in China fully
reflected Chengdu’s imaginative and innovative spirit and demonstrated the city
charm of Chengdu as China’s “capital of science fiction”. Centering on the
theme of science fiction, this global cultural dissemination activity would not
only benefit the international publicity of Chengdu’s city image, but also
promote Chengdu’s construction into “three cities and three capitals” (famous
city of culture & creativity, tourism, and competition, and capital of
delicacy, music, and convention and exhibition), thus significantly pushing the
gathering of global science fiction resources to Chengdu. According to the
organizing committee, the above-mentioned award-winning works will be stored
for at least 100 years after being digitized. Chengdu people 100 years later
will also learn today’s Chengdu people’s imagination of the future through
these outstanding works.
Part of award-winning fine art
works (adult group)
Chengdu after 100 Years
Qiu Yuan, Akita
University of Art
Author’s conception: 100 years later, in Chengdu, the setting sun kindles the sky and a girl is strolling on the street. High buildings tower around in the distance where the light rail runs away. A sea of shining lights shows a bustling world…
Central Core of Chengdu after 100 Years
Li Jun, Beijing Zenjoy
Technology Co., Ltd.
Author’s conception: 100 years later, AI completely replaces human intelligence, and it seems to have evolved Chengdu into a giant and intelligent creature. Urban transportation, public security, pollution, defense, and even human’s job are all coordinated by a central core. Life in such a city is like a game. A human being just needs to receive one or two tasks per day, and the rest of the time is completely free to arrange by self.
? Chengdu, the city of the future?
Zhu Wenlong, Beijing
Wenlu Culture Media Co., Ltd.
Author’s conception: In order to preserve the 3,000 years of cultural history of Chengdu, the king in Bashu cultural mythology has been transformed into a “cuckoo”, the sunbird totem. Folk artists doing magical face-changing and fire spitting are also included in the picture, implying that the cultural inheritance will be immortal and exist in Chengdu 100 years later. Landmarks such as Yuanyang Taikoo Li Street, Radio & TV Tower and De Men Ren Li still stand in the technology-dominated Chengdu 100 years later, and the national treasure panda is still the symbol of the city. Super green antimagnetic buses, light energy-driven delivery robots, light speed trains and AI pandas offering consulting service everywhere bring us to the street scene of Chengdu 100 years later.
Huang Qin, Sichuan
Conservatory of Music
Author’s conception: I’m always thinking-what is the world like when the popular cyberpunk culture shows up with Chengdu landmark buildings? In the future 100 years later, clean energy will provide inexhaustible electricity, and beautiful starry sky at night is also visible in Chengdu. The cutting-edge holographic and AI application incisively showcases the aesthetics of modern science and technology against the night scene, and the lofty Chengdu Tower demonstrates the super advanced material science of Chengdu 100 years later. Though boasting so leading technology, Chengdu people remain true to their original heart, and landmark buildings built by the predecessors are kept intact and even further evolved and created.
Chengdu, City of Purity – Light of Globe
Zhang Xudong, Sichuan
Robin Times Film & TV Media Co., Ltd.
Author’s conception: 100 years later, Chengdu sees epoch-making breakthrough in the field of sci-tech and ecological environment, where AI and nanotechnology get widely used. White nanomaterials are extensively applied to building surfaces to absorb solar energy and also purify the air for their better photosynthesis with plants. Vehicles are all powered by magnetic levitation and electricity, free of gasoline pollution. Chengdu becomes a truly oxygen-rich and pure city. In regard to AI application, small panda carriers serve for transportation, improving the express industry and facilitating the human life. At the same time, AI robots are in widespread use, pushing Chengdu into an era of science fiction. Light of Globe, a high-tech tower developed by artificial intelligence in the Southwest China, constantly updates various core technologies and is the core to control artificial intelligence as well. People in the future are looking forward to sending AI machines into space to continue exploring the universe.
City of Hot Pot
Pan Zhonghao, Beijing
Zenjoy Technology Co., Ltd.
Author’s conception: When it comes to Chengdu, you can’t help but think of Sichuan hot pot. 100 years later, eating hot pot is still a part of people’s life. Chengdu will have developed into a hot pot city… A giant two-layer hot pot circled with a dragon becomes the new landmark of Chengdu. The smoky city is full of waterways that transport hot pot water, and people will take cruise ship to enjoy hot pot in various restaurants… 100 years later, Chengdu is full of cheerful air…
An Ideal City of Ease
Luo Ya, Sunny Day Studio
Author’s conception: 100 years later, Chengdu boasts time-honored and enduring historical heritages (hot pot, Sichuan opera, Taoist culture, Taikoo Li, statue of Chairman Mao, TV Tower, landmark buildings, etc.). We never stop the pace to explore the world and update cognition (the picture shows high-dimensional space-timers, shuttles, high-speed traffic, new forms of energy transmission, etc.). Pandas stand for people living in Chengdu, fun, playful, with trueness. Technology and wisdom are achieved through games. The true meaning of the universe is constantly explored by Chengdu people.
Chengdu in New Century
Author’s conception: With the rise of cutting-edge technology in 100 years, those future scenes in fantasy movies which seem distant have become reality. Chengdu influenced by Chinese culture has a free-spirited personality. Boating on the Nanhe River and feeling the lively night market on the banks of the river, you know that even in the distant future, the inner of Chengdu will remain unchanged.
City of Pandas: A Future with Cate
Yang Hui, Freelancer
Author’s conception: After 100 years, it might be possible to see pandas everywhere! At that time, the tradition of lining up for food is still maintained in the leisure city of Chengdu, and it is no wonder even if two or three alien tourists appear in the queue!
List of Winners for “Chengdu After 100 Years”
City of Taste or Taste of City– by
Flowers Blossom – by Jia Yu
Other – by Wang Yuan
Has Already Been Here – by Liu Wei
Ghost and Fireworks – by Li Huayi
End of Chengdu in 2119 – by Song Ruiyang
Shrugs – by Jia Tianyuan
After 100 Years – by He Jixuan (Zhong Tuiyi)
with Human Face – by Jiang Tian
II. Fine Arts (Adult
after 100 Years – by Qiu Yuan (pen name: Qiu Yuan)
Tower – by Huang Qin
in New Century – by Yang Shu
the city of the future – by Zhu Wenlong
Core of Chengdu after 100 Years – by Li Jun
of Hot Pot – by Pan Zhonghao
Chengdu, City of Purity – Light of Globe – by Zhang Xudong
An Ideal City of Ease – by Luo Ya
City of Pandas: A Future with Cate – by Yang Hui
III. Fine Arts
(Children Group) Works
in the Air in Chengdu after 100 Years – by Ji Shuyu
of Anshun Bridge after 100 Years – by He Jiheng
2119 Shuhan Road – by Xing Bojun
Healthcare, Health Chengdu – by Cai Yifei
after 100 Years – by Zhou Sichen
Dream of 100 Years ? Chengdu in My Heart – by Xiao Yaqi
Space Station – Zhan Bochao
with Air Rails Decorated with Hibiscus after 100 Years – by Li Zihan
City of Hibiscus in 100 Years – by Mou Boyasi
IV. Video Works
– by Li Yong
in Chengdu – by Zhang Zirui
Visual – by Luo Yingqi
of Everything – by Li Xiudan
and Mole 2119 – by Li Yi
– Wu Jiaxun
Green – by Tan Yu
Sichuan Opera, Cyberpunk – by Cao Qinyu
Bashu – by Quan Hui (South Korea)
I Meet You Here – by Kazuhiro
The original text does not include a First Prize for Video Works.]
By John Hertz: There is
a down town Los Angeles – somewhat. I hasten to add I’ve lived in
Chicago and Manhattan.
At 7th. & Figueroa
Sts. between two office buildings is one of those shopping malls (715 S.
Figueroa St., L.A. 90017). After various names it’s currently called
FIGat7th. There’s underground parking, bus and light-rail lines, and
If you’re within reach in
the next couple of days you can see four giant humanoids by Amanda Parer of
Australia hanging out. They have no faces or clothes or
detail. They’re illuminated at night.
She calls them Fantastic
Planetwhich she says is an homage to the 1973 René Laloux
– Roland Topor stop-motion film. But these are quiet gentle visitors who
only wonder what we are. They don’t twinkle so much as glow.
Pacing off the length
of a reclining one I made it about twelve standlees.
A man and a woman under
a canopy were taking questions and offering to write down E-mail addresses (or
as the late great Harry Warner, Jr., so well termed it, eekmail). So
I conversed with them. They didn’t know about Loscon
XLVI or fanzines or this here Weblog (oops, sorry, Brother Farey). So I invited
them. It seemed the fannish thing to do.