…I had three works on the Hugo long list this year, but I was only credited on one of them (my novella In the Watchful City). The two graphic novels that I translated were credited only to the writer of the comic script and the writer of the original work from which the graphic novels are adapted, but who did not, as far as I know, actually write the adaptation.
My works were not the only translated works in the long list. I included a full list of translators to the best of my knowledge and search abilities in my original Twitter thread, which is archived at the end of this post.
Translation in anglophone literary spheres is an undervalued art form. So while I was unsurprised by translators not being credited, it was still a major disappointment to see my labor erased on Labor Day of all days. I made a thread on Twitter saying so and to request that translators be credited in the long list….
Lu also asked for other members of the creative teams behind works in the Best Graphics Story or Comic category to be credited:
…I also requested for interior artists, colorists, cover artists, and letterers to be credited along with translators. A comics team doesn’t consist just of the writer—the finished product is a combination of all these forms of labor…
S. Qiouyi Lu brought to our attention the exclusion of translators’ names from the written works in the “long listed” works in the detailed results for the 2022 Hugo Awards, explaining the importance of proper credit for translators in a Twitter thread included here: here. We have posted a corrected set of detailed results at https://chicon.org/home/whats-happening/hugo-awards/, in which we have included the translators for the written works and colorists for the graphic novels.
As part of the administration of the Hugo Awards, we endeavor to list all relevant creators on the final ballot presented to voters, and this includes confirming the correct ballot citations with Finalists themselves. The long list in the detailed results released after the Hugo Award ceremony is a different matter: it is required by the WSFS Constitution primarily for transparency into our processes and has the side benefit of pointing folks to works that garnered significant community interest so they can go seek them out on their own. As noted in the detailed results, we do not vet the long list for eligibility and because the primary function of the long list is transparency into the process (which requires a table that is easy to parse), we do not list out full citations with all associated names, publishers, etc. We truncate references to all the works on the long list, listing authors for the written works, author/artist for the graphic stories, and no names at all for the Best Dramatic Presentations and magazines.
Taking into account feedback from S. Qiouyi Lu and other members of the community, we have come to understand that the work of translators of written works is as fundamental to the work as the authors, and that where one is listed, both should be. We have made corrections to the translated long list works in the 2022 detailed results accordingly. For similar reasons, we are also adding the colorists and cover artists, where they are cited, to the graphic novel listings in the 2022 long list works.
Thank you to S. Qiouyi Lu and everyone else in the community who has worked with us on this issue.
The winners of the 2022 Hugo Awards, Lodestar Award for Best Young Adult Book, and Astounding Award for Best New Writer were announced on Sunday, September 4 at Chicon 8. (Detailed statistics for the nominating and final ballots are available in this PDF.)
The winners are:
A Desolation Called Peace, by Arkady Martine (Tor)
A Psalm for the Wild-Built, by Becky Chambers (Tordotcom)
“Bots of the Lost Ark”, by Suzanne Palmer (Clarkesworld, Jun 2021)
BEST SHORT STORY
“Where Oaken Hearts Do Gather”, by Sarah Pinsker (Uncanny Magazine, Mar/Apr 2021)
Wayward Children, by Seanan McGuire (Tordotcom)
BEST GRAPHIC STORY OR COMIC
Far Sector, written by N.K. Jemisin, art by Jamal Campbell (DC)
BEST RELATED WORK
Never Say You Can’t Survive, by Charlie Jane Anders (Tordotcom)
BEST DRAMATIC PRESENTATION, LONG FORM
Dune, screenplay by Jon Spaihts, Denis Villeneuve, and Eric Roth; directed by Denis Villeneuve; based on the novel Dune by Frank Herbert (Warner Bros / Legendary Entertainment)
BEST DRAMATIC PRESENTATION, SHORT FORM
The Expanse: Nemesis Games, written by Daniel Abraham, Ty Franck, and Naren Shankar; directed by Breck Eisner (Amazon Studios)
BEST EDITOR, SHORT FORM
BEST EDITOR, LONG FORM
BEST PROFESSIONAL ARTIST
Uncanny Magazine, publishers and editors-in-chief Lynne M. Thomas and Michael Damian Thomas; managing/poetry editor Chimedum Ohaegbu; nonfiction editor Elsa Sjunneson; podcast producers Erika Ensign & Steven Schapansky
Small Gods, Lee Moyer (Icon) and Seanan McGuire (Story)
Our Opinions Are Correct, presented by Annalee Newitz and Charlie Jane Anders, produced by Veronica Simonetti
BEST FAN WRITER
BEST FAN ARTIST
LODESTAR AWARD FOR BEST YOUNG ADULT BOOK
The Last Graduate, by Naomi Novik (Del Rey Books)
ASTOUNDING AWARD FOR BEST NEW WRITER
VOTING STATISTICS. There were 2235 valid final ballots (2230 electronic and 5 paper) received and counted from the members of Chicon 8. More information about the 2022 Hugo Awards, including detailed voting statistics is available on the Chicon website here.
ABOUT THE HUGO AWARDS. The Hugo Awards are the premier award in the science fiction genre, honoring science fiction literature and media as well as the genre’s fans. The Hugo Awards were first presented at the 1953 World Science Fiction Convention in Philadelphia (Philcon II), and they have continued to honor science fiction and fantasy notables for nearly 70 years.
The physical Hugo Award consists of a rocket mounted on a base that is designed specifically for that year’s awards. The base for the 2022 Hugo Award trophy was designed and created by Brian Keith Ellison, while the 2022 Lodestar Award was designed and created by Sara Felix. More information on this year’s designs can be found here.
A full list of past finalists and winners can be found on the official Hugo Awards website here.
(1) CHICON 8 ATTENDANCE UPDATE. Registration Area Head Elayne Pelz reported on Facebook that as of 11:15 a.m. Saturday there were 3,308 attendees present at Chicon 8.
(2) HUGO LIVESTREAM. Chicon 8 announced that the Hugo Awards ceremony will begin livestreaming September 4 at 7:45 Central on YouTube. This is the link: Chicon 8 Hugo Awards Ceremony – YouTube. (The ceremony will not be streamed on Airmeet.)
(3) IN GLORIOUS B&W. The Eaton Collection rounded up some of Jay Kay Klein’s photos from Chicon III, the 1962 Worldcon:
(4) KEEPING THEM DOWN ON THE FARM. Cloudflare.com has done a 180 and kicked Kiwi Farms off the service: “Blocking Kiwifarms”. Kiwi Farms is a forum for discussing figures it deems “lolcows” (people who can be “milked for laughs”), and the targets of threads are often subject to doxing and other forms of organized group trolling, harassment, and stalking, including real-life harassment by users.
We have blocked Kiwifarms. Visitors to any of the Kiwifarms sites that use any of Cloudflare’s services will see a Cloudflare block page and a link to this post. Kiwifarms may move their sites to other providers and, in doing so, come back online, but we have taken steps to block their content from being accessed through our infrastructure.
This is an extraordinary decision for us to make and, given Cloudflare’s role as an Internet infrastructure provider, a dangerous one that we are not comfortable with. However, the rhetoric on the Kiwifarms site and specific, targeted threats have escalated over the last 48 hours to the point that we believe there is an unprecedented emergency and immediate threat to human life unlike we have previously seen from Kiwifarms or any other customer before….
In August, Twitch streamer Clara Sorrenti, known as Keffals, was the target of transphobic raiding and swatting—the dangerous internet harassment tactic involving prank calls to authorities that prompt police to send a SWAT team to someone’s home. Sorrenti alleges that Kiwi Farms members organized this attack, and has been campaigning for Cloudflare, the internet infrastructure company that protects Kiwi Farms from DDoS attacks among other services, to drop the website as a customer….
I have been exonerated by Balticon for all of the bullshit that just happened. I feel that this letter to me is … I don’t know…more about them covering their asses and there still is no real apology to me or to the people who have been dealt with in this manner by the con before… It may be a bit of a reach but this is how I feel.
They say I can come back as a program participant but I am never going back. The thought of going back gives me the shakes and the start of panic attacks. I can never go back. I will miss a lot of my friends and family who are there, but I have to think about my mental health, the lies that were spread about me, and how I was treated. This could happen to anyone at any given time so I say everyone proceed with caution at cons. This was a life-changing experience for me and not in a positive way….
(6) NEW JMS B5 COMMENTARY. After J. Michael Straczynski’s full-length sync-up Babylon 5 commentaries have been offered exclusively on his Patreon page for a while, he releases them on YouTube. Here’s the latest, for “Point of No Return”, the middle of the Messages from Earth trilogy.
(7) ANTICI-PATION. JMS also revealed there is a completed Babylon 5 project that will debut next year at San Diego Comic-Con. Wait for it.
…So, by my calculations, that’s another 22 books I need to get written [with various collaborators] to wrap up my current series plans.
I’m 70 this October. I sold the first novel thirty-three years ago. Since then, I have published (or have currently turned in, awaiting production) 74 solo and collaborative novels, which works out to roughly 2.24 per year. That doesn’t count the anthologies, of course.
I lost roughly 2 years to the concussion, and about a year and a half to the Covid, so let’s call it 30 years, not 33, which brings the production up to 2.5 per year. And let’s assume that I write for another ten years, which (at the moment, and barring any anticipated encounters with mortality) seems entirely plausible. By my calculations, that comes to another TWENTY-FIVE solo and collaborative novels, in the process of which I will be working with some of my collaborators to establish them firmly in the existing universes going forward.
People, like the characters in Richard Adams’ PLAGUE DOGS, I’ll probably still be writing “when the dark comes down.” That means, obviously, that I won’t be “finished” when I leave, but don’t go around thinking that you’re getting rid of me next week!
(9) TAKEI. Look who’s reading the Unofficial Hugo Book Club twitter feed.
(10) MEMORY LANE.
1977 – [By Cat Eldridge.] Doctor Who’s “Horror Of Fang Rock” (1977)
Doctor Who: “Why am I standing here wasting my time trying to work out its size? If Reuben’s seen it, he can tell us.’”
Leela: “That is what I thought, but of course I am only a savage.’”
Doctor Who: “Come on, savage!”
BritBox streams these so naturally I watched before writing this up. It was every bit as great as I remembered it. Ahhh the sacrifices I make for all of you here!
This Fourth Doctor story with the much loved Tom Baker in that role, obviously, and Louise Jameson as Leela the barbarian. (See quote above if you think I’m disparaging her.) It was first broadcast in four weekly twenty-five minute episodes on BBC1 from the third to twenty-fourth of September forty-five years ago.
It was directed by Paddy Russell, she also did those honors for another favorite of mine, “Pyramids of Mars”. (Paddy, by the way, was a well-known and much beloved SJW.) In all, she directed parts or the entire of six Who serials. It was written by Terrence Dicks, not at all surprisingly as this was the period in which he was heavily involved in the series.
HERE IN THE FOG BE SPOILERS! GO AWAY!
The Doctor and His Companion land along the coast of England, find a dead body and a erratic light in, errr, a Lighthouse. He being he decides to investigate. One of the Keepers, Reuben, tells them about the Beast of Fang Rock (Britain is lousy with such folktales. Really it is.)
Ahh but being the Doctor soon Aliens abound as they always do, don’t they? And more humans will die. What will the Doctor do? Well he will prevail in the end of course.
END OF SPOILERS. I THINK. MAYBE.
Now this serial was the only one of the original series to have been produced at any BBC studios outside of London.
Dicks based his script off a poem, “Flannan Isle” written by Wilfrid Wilson Gibson, which The Doctor quotes from at the end of the Story.
(11) TODAY’S BIRTHDAYS.
[Compiled by Cat Eldridge.]
Born September 3, 1810 — Theodor von Holst. He was the first artist to illustrate Shelley’s Frankenstein; or, The Modern Prometheus in 1831. The interior illustrations consist of a frontispiece and title page engraved illustrations. To my knowledge, this is his only genre work. (Died 1844.)
Born September 3, 1943 — Mick Farren. Punk musician who was the singer with the proto-punk band the Deviants. He also wrote lyrics for Hawkwind. His most well-known genre work was the The Renquist Quartet about an immortal vampire. The Renquist Quartet is available at the usual suspects. Not at all genre, he wrote The Black Leather Jacket which details the history of the that jacket over a seventy-year span up to the mid-eighties, taking in all aspects of its cultural, political and social impact. (Died 2013.)
Born September 3, 1943 — Valerie Perrine, 79. She has uncredited role as Shady Tree’s sidekick is Diamonds Are Forever in her first film appearance. Her first credited film role is as Montana Wildhack in Sluaughterhouse-Five. She’s Eve Teschmacher in Superman and Superman II.
Born September 3, 1954 — Stephen Gregg. Editor and publisher of Eternity Science Fiction which ran 1972 to 1975 and 1979 to 1980. It had early work by Glen Cook, Ed Bryant, Barry N Malzberg, andrew j offutt and Roger Zelazny. (Died 2005.)
Born September 3, 1959 — Merritt Butrick. He played Kirk’s son, David, in The Wrath of Khan and again in The Search for Spock. Note the very young death. He died of AIDS. Well, he died of toxoplasmosis, complicated by AIDS to be precise. (Died 1989.)
Born September 3, 1969 — John Picacio, 53. Illustrator who in 2005 won both the World Fantasy Award for Best Artist and the Chesley Award for Best Paperback Cover for James Tiptree Jr.’s Her Smoke Rose Up Forever. He’s also won eight other Chesley Awards. He was the winner of the Best Professional Artist Hugo in 2012, 2013, and 2020.
Born September 3, 1971 — D. Harlan Wilson, 51. Author of Modern Masters of Science Fiction: J.G. Ballard, Cultographies: They Live (a study of John Carpenter) and Technologized Desire: Selfhood & the Body in Postcapitalist Science Fiction. No, I’ve no idea what the last book is about.
Born September 3, 1974 — Clare Kramer, 48. She had the recurring role of Glory, a god, or perhaps demon, from a hell dimension that was the main antagonist of the fifth season of Buffy the Vampire Slayer. She’s been a lot of horror films including The Skulls III, The Gravedancers, The Thirst, Road to Hell, Road to Hell, Big Ass Spider! and Tales of Halloween.
(12) COMICS SECTION.
La Cucarachalistens in as a character tells Trump why he needs to return a box of classified stuff.
Tom Gauld helps you enrich your vocabulary.
(13) SNAPSHOT. JJ sent along this photo of Cora Buhlert from her Table Talk yesterday at Chicon 8.
While a member of a school debating society in the early 1900s, a teenage J.R.R. Tolkien reportedly delivered a lengthy speech in which, according to his biographer Humphrey Carpenter, he “poured a sudden flood of unqualified abuse upon Shakespeare, upon his filthy birthplace, his squalid surroundings, and his sordid character.” Opinion is divided over whether or not Tolkien upheld these opinions as an adult, but his letters offer up a number of clues: In one, dated 1944, he dismissed reading and analyzing Shakespeare’s works as “folly,” while in another from 1955, he recalls that he “disliked cordially” studying his work at school.
… In a 1951 letter to his editor Milton Waldman, Tolkien wrote that he had recently invented two new languages to be spoken by the elves in his novels, before adding in a footnote that he intends “the word [elves] to be understood in its ancient meanings, which continued as late as Spenser—a murrain on Will Shakespeare and his damned cobwebs.”
(15) ELVISH HAS LEFT THE BUILDING.[Item by Soon Lee.] Mike Godwin (yes, *that* Godwin) tweeted an Elvis/h filk. And it is delicious. Thread starts here.
…I first took on “The Lord of the Rings” at the age of eleven or twelve; to be precise, I began it at the age of eleven and finished at the age of twelve. It was, and remains, not a book that you happen to read, like any other, but a book that happens to you: a chunk bitten out of your life….
… In a photograph of the star WR140, as pointed out by citizen scientist Judy Schmidt who reposted the image from the automated @JWSTPhotoBot on Twitter, a spiral of rings and rays fan out from the star’s bright white center. The rings aren’t perfectly circular, but look more like rounded squares, and not even astronomers seem to know what to do with it….
(18) HELPING JOHN WILLIAMS CONDUCT. Some of my daughter’s relatives were at the Hollywood Bowl waving along! And they say during last night’s concert Williams even debuted a piece from the upcoming Indiana Jones movie.
[Thanks to John King Tarpinian, Andrew Porter, Chris Barkley, Soon Lee, Daniel Dern, Andrew (not Werdna), Michael Toman, Cat Eldridge, Mike Kennedy, Martin Morse Wooster, and JJ for some of these stories. Title credit belongs to File 770 contributing editor of the day Daniel Dern.]
Chicon 8, the 2022 World Science Fiction Convention, displayed the 2022 Hugo Award base and the 2022 Lodestar Award during Opening Ceremonies.
The 2022 Hugo Award base was designed by Brian Keith Ellison, owner of BKE Designs, Inc., a company local to Chicago. Ellison is academically trained as an architect and is also a life-long fan of science fiction. He says the stars on the base were inspired by the Chicago city flag.
The 2022 Lodestar Award was designed by Sara Felix, a mixed media artist who lives in Austin, Texas. She is the current president of the Association of Science Fiction and Fantasy Artists. She also created the 2018 WSFS Young Adult Award, the 2018 and 2016 Hugo Award bases, and the Lodestar Award for 2019-2021.
By Nicholas Whyte: Way back in 2017, my then Deputy Hugo Administrator and I proposed that a study committee should be set up by the WSFS Business Meeting to revise the Best Professional Artist and Best Fan Artist categories, which are difficult to understand and hugely out of date. The Business Meeting amended our resolution, with our consent, to create a Hugo Award Study Committee (HASC) with a broad remit to “study revisions to Article 3 (Hugo Awards) of the WSFS Constitution, including any such proposals for amending Article 3 as may be referred to it by the Business Meeting or suggested by others; [and] make recommendations, which may include proposing constitutional amendments, to the 2018 Business Meeting.”
In the last five years, the HASC has changed precisely two words of the Constitution. (Since you asked: adding the words “or Comic” to the title of the “Best Graphic Story” category.) The HASC’s defenders will complain that we had two years of pandemic, and that the committee switched to Discord rather than email only this year, and that there are lots of proposals this year. But the fact remains that so far the practical impact has been slower than I imagined when I first proposed the Committee.
There is now a detailed report of its activities in the last year and proposals for the coming WSFS Business meeting in Chicago. (Pages 56-77 of the Business Meeting agenda., with individual proposals discussed on pages 33 to 44.) Individual areas are broken out into separate headings with a named set of subcommittee members and a Chair and Sub-Chair. I am one of the signatories to the report, but I have also several dissents, as I will explain below.
My first point of dissent is in the introduction. Unfortunately, I did not feel that discussion was always respectful or effective, and it felt at times like a closed group of people which should have found a better way of reaching out to wider fandom. I do not think that the Committee’s mandate should be extended for another year, and if it is, I would like to see new leadership. The first draft of the report called for the current Chair to continue, but after much wrangling, that recommendation was deleted by a formal majority vote of the Committee. I am grateful to the current leadership for their work, but I think a change of tone will be healthy. Volunteers interested in facilitating inclusive and constructive discussions will be very welcome. (Assuming that the Business Meeting ignores my advice and renews the Committee; more on that later.)
Going through the subcommittees:
BEST RELATED WORK
Here the HASC makes no recommendations, and I agree. I certainly prefer when this category goes to prose non-fiction commentary, but I can’t find it in my heart to say that the voters got it wrong in the last three years when they chose other things. (Archive Of Our Own, Jeannette Ng’s Campbell Award acceptance speech, and Maria Dahvana Headley’s Beowulf translation.) And if we carved off non-fiction prose into its own category, as some would prefer, I don’t really think that there is enough other material to reliably populate an “everything else” category.
BEST DRAMATIC PRESENTATION
Here the HASC also makes no recommendations, and I also agree. Any further split will mean an increase in the number of Hugo categories, to honour winners who do not always show a lot of interest in our process. The discussion did not really seem to reflect the proposals I have seen from wider fandom.
Here the HASC again makes no recommendations, and again I agree. For any new Hugo category proposal, I would like to see evidence (1) that it’s responding to the demands of a significant market share of fandom, (2) that it’s redressing an injustice in the current set-up for works loved by fans which are not getting on the ballot in existing categories, and (3) that it would be an appropriate thing for Hugo voters to vote on. I don’t see a problem here with the third of these criteria, but there is no clear case for the first two.
This was business referred to the HASC by the 2021 Business Meeting. It would have been preferable to give the Audiobook proposal a clean death in 2021, rather than sentence it to suffocation by committee.
BEST GAME OR INTERACTIVE WORK
A new Hugo category is proposed. I think this is very good, and despite my general dislike of new categories, it clearly meets my three criteria above (that it’s responding to the demands of a significant market share of fandom, that it’s redressing an injustice in the current set-up for works loved by fans which are not getting on the ballot in existing categories, and that it would be an appropriate thing for Hugo voters to vote on). This is something that both fans and the wider public can get excited about. Procedurally, it should be noted that this was largely the work of one activist supported by an ad hoc committee, refined by discussion with HASC members.
This is one of three discussions where the HASC seriously lost its way. Best Series very narrowly survived an attempt to sunset it in 2021 by 35 votes to 30. The report declares, contra all evidence other than wishful thinking, that the “fundamental problem” with the category is “the possibility of a work being nominated for both Best Novel/Novella/ Novelette/Short Story and for Best Series (as a component), leading to reduced chances for other works to be nominated or win”, and therefore proposes two amendments.
The first of these amendments disqualifies from Best Series any series any of whose component parts has ever won a Hugo in any written category. The second makes it against the rules for the same material to appear on the same year’s ballot both on its own and as part of a series.
The immediate impact of both of these amendments will be to increase headaches for Hugo administrators, who will have to disqualify popular works that people have actually voted for, just because the 2021-22 Best Series subcommittee thinks that voters have been Doing It Wrong. There will also be some interesting judgment calls about exactly what works fall into or out of a particular series.
Both amendments also decrease the pool of eligible nominees by eliminating the ones that are too popular or too long-running. If either of these is passed, when the statistics come out and it becomes clear which nominees have been disqualified, it’s not the 2021-22 Best Series subcommittee who will get the blame, it will be that year’s administrators.
Cards on the table: I opposed the creation of Best Series at the time, and I’d have voted to kill it if I’d been in DC last year, and I’ll vote to kill it again if I ever get a chance. But this is not the moment to re-hash those arguments; we are where we are, and I would prefer that if we are to have a Best Series award at all, voters get to decide what works they want to honour, with no more intrusion from the rules than is strictly necessary. Both amendments should be rejected.
BEST PROFESSIONAL ARTIST AND BEST FAN ARTIST
This is the bit that I wrote, with much welcome input from others, on an issue that was core to the founding of the Committee and has been referred back more than once by WSFS Business Meetings. The old definitions of the Artist categories are very out of date. Professional Artist basically means “Illustrator”. “Fan Artist” has a long list of eligible venues for publication which however is not exhaustive. I have had some pushback that the proposed Fan Artist amendment does not explicitly mention fanzines or conventions; the fact is that categories that are defined by place of publication or display will always run the risk of becoming outdated. So we have looked instead at the economics.
The proposal is to define Fan Art as art that is not produced for professional profit, and Professional Art as art that is produced for professional profit. If you’ve done three or more pieces of art in the last year that weren’t paid for at the time (might have been sold subsequently), then you will be eligible for Best Fan Artist. If you’ve done three or more pieces of art in the last year that were paid for at the time, then you will be eligible for Best Professional Artist. And if you’ve done both, you will be eligible for both. Selling your fan art after it’s been first displayed at a convention doesn’t make you eligible for Pro Artist in itself, because it was created for the convention, not directly for sale.
We went back and forth on this quite a bit, but the artist community indicated that they were happy with where we ended up. I am sure that it is capable of further refinement, but it’s a huge step forward from the status quo. The proposal opens up both categories to artists who were previously excluded, and decreases the burden on Hugo administrators to make tricky eligibility calls. (Or, for instance, to try and explain the concept of Semiprozines to artists who speak no English and have no connection to Worldcon fandom.) It will continue to be possible that an artist could qualify in both categories. I for one can live with that, if it is what fans choose to vote for.
FAN VS PRO
I did not understand this discussion, and I still don’t. It was supposedly driven by an incorrect perception that for the Artist categories, “at the root of the issue is a lack in the Constitution of a single definition for ‘Professional’, ‘Non-Professional’, or ‘Fan’.” I did not pay too much attention to the internal discussion, as I didn’t see the point of it, and also we were told that no new constitutional amendment on this would be formally proposed by the HASC.
Then suddenly at the last moment it turned out that such an amendment had been proposed by the HASC leadership, without the HASC as a whole being informed that this was happening. This proposal in particular went down like a lead balloon in some quarters of fandom, and the way it was handled was not appreciated by a number of HASC members, including me.
A minority opinion has been posted in the HASC report, expressing the entirely correct view that this should never have been proposed without wider community consultation. (In fact, the minority is rather close to being a majority.) I agree with most of it, and have co-signed, with a caveat: I am not certain that the problem (if there is one) should be addressed in this way at all, i.e. with a global definition of Fan and Pro. My instinct is that, if changes are needed, it may be better to do that category by category, as is proposed with Best Professional Artist and Best Fan Artist.
Even if this or something similar is passed, the specific definitions in the Best Artist categories (both as they currently are, and if my proposed amendments are passed) will take precedence for those categories, as will any other specific definitions elsewhere; and that nullified the supposed basis for the whole discussion.
This is the third category where the HASC seriously lost the run of itself. Two amendments are proposed, and I have signed a minority report opposing both. The current rule is that the total first preference vote for finalists in a particular category is less than 25% of the whole Hugo poll, that category is No Awarded. The first proposed amendment changes that to the lesser of 25% or 200 votes.
To have a 25% threshold makes the lower-participation categories very vulnerable to a future year when loads of people join Worldcon to vote for the previous year’s howling commercial success in Best Novel or Best Dramatic Presentation, and nothing else. As for the 200 votes option, I am leery of hardwiring numerical thresholds into the constitution, given that it will take two years to change if we turn out to have got the wrong number.
Really, it would be better (as others outside the HASC have proposed, and as the minority report recommends) to simply abolish the threshold. It has never been used. No Award has on occasion won the preference ballot, most recently in 2018; and there is also a provision that if a majority of voters prefer No Award to the candidate which would otherwise have won, the category is No Awarded. The threshold is superfluous to those provisions, and brings unnecessary risk.
The second and final proposed amendment sets conditions under which the Business Meeting would consider the abolition of low-participation Hugo categories. I simply don’t think it is appropriate for the Constitution to direct and potentially constrain future Business Meetings in that way. If the point ever comes that we need to abolish a category, we’ll know it without the constitution telling us so. I’ll have more to say on that once this year’s award cycle is over.
As I said at the start, I do not think that the Hugo Awards Study Committee should be continued. Despite five years of existence, no new proposals have emerged on Best Related Work, Best Dramatic Presentation, or Best Audiobook, and those discussions should now return to the wider community. Good proposals have been made this year on Best Game / Interactive Work and (cough) the Best Artist categories, but bad proposals have been made on Best Series (two of them!), thresholds (another two!), and the supposed need to hardwire definitions of Fan and Pro into the constitution (proposed without the approval of Committee members).
The risk of establishing a separate Study Committee for a body like WSFS is that a few vocal participants will use it to promote their own hobby-horses, and present them to the Business Meeting with the veneer of committee support. There’s no easy way to prevent this, in what is, after all, a volunteer body. Appointing new leadership will be helpful, but is probably not sufficient.
I believe that it would be better to disband the Study Committee, now that the job has been done on Best Game and the Artist categories (and, years ago, the title change to “Best Graphic Story or Comic”). In future the Business Meeting can and should set up ad hoc specialist groups to look at particular issues as required, just as it has done in the past, without the overthinking that has happened recently as a result of silo-ing the discussion, and with more openness to stakeholders outside the Business Meeting itself.
(1) F&SF COVER REVEAL. Gordon Van Gelder has shared the July/August 2022 cover for the Magazine of Fantasy and Science Fiction. The cover art by Mondolithic Studios illustrates “Starblind, Booklost, and Hearing the Songs of True Birds” by Rudi Dornemann.
Macmillan, which closed yesterday because of “a security incident” on Saturday that involved its servers and internal system, is remaining closed “virtually and physically” today, Tuesday, June 28. The company said it is “making progress,” but it is still unable to process, receive, place or ship orders.
Details of the incident have not been publicized. Publisher’s Lunch (behind a paywall) commented:
…Network “security incidents” — generally some kind of hacking and/or ransomware — have become all too commonplace in recent years, and each one serves as a cautionary tale to all of us. Some are handled quietly and never acknowledged, but among the known incidents with publishing-related companies in recent years, the Barnes & Noble ransomware hack was the most prominent and had the biggest effect on customers, ultimately taking weeks to fully resolve….
… At the time of its establishment and for the first few years of its existence, the award categories clearly reflected the interests and aspects of SF Fandom that were considered important to its future existence: fiction, the “raison d’etre” of the culture, the magazines that published the fiction and/or the editor’s who managed them, the artists who realized its visions and the people who made and reinforced that culture, the Fans.
Seven categories were initially offered. That’s now expanded to 17 and I’ll submit that the reason(s) some categories may be under-represented and might be eliminated is not because they’ve lost importance over the years, but because the awards themselves have focused on becoming more commercially appealing, rather than on focusing on serving their original purpose, that of self-congratulation and recognition within a fan community.
The Hugo Awards need to reduce the number of categories it covers and refocus its efforts on the writing and Fan categories. (Why Fan categories? Two primary reasons: The body of critical analysis offered by Fans through reviews and essays, commentary and yes, even ridicule and sarcasm, is what continuously redefines and elucidates the field. These efforts sustain the genre and the community that engages with it and should therefore be supported….
In 1949, George Orwell received a curious letter from his former high school French teacher.
Orwell had just published his groundbreaking book Nineteen Eighty-Four, which received glowing reviews from just about every corner of the English-speaking world. His French teacher, as it happens, was none other than Aldous Huxley who taught at Eton for a spell before writing Brave New World (1931), the other great 20th century dystopian novel.
Huxley starts off the letter praising the book, describing it as “profoundly important.” He continues, “The philosophy of the ruling minority in Nineteen Eighty-Four is a sadism which has been carried to its logical conclusion by going beyond sex and denying it.”
Then Huxley switches gears and criticizes the book, writing, “Whether in actual fact the policy of the boot-on-the-face can go on indefinitely seems doubtful. My own belief is that the ruling oligarchy will find less arduous and wasteful ways of governing and of satisfying its lust for power, and these ways will resemble those which I described in Brave New World.”…
(5) PRIDE Q&A’S. The Horror Writers Association blog continues their “Point of Pride” theme in these interviews with Crystal Romero and Damian Serbu.
Do you make a conscious effort to include LGBTQ material in your writing and if so, what do you want to portray?
Yes, inclusion or lack of it, is what encouraged me to begin writing. I’ve always wanted to see more people who were like me. So when I began to write original work, I made a conscious effort to include characters of all orientations, but especially lesbians. Not only do I make an effort to include LGBTQ characters in my work, but I also include people of color. In an upcoming short story, I’m including a female bi-racial lesbian and Filipino gay male character. In the story that will follow this one, I’ll be introducing a transgender female character.
What was it about the horror genre that drew you to it?
I love the creative expression of horror writing. I find horror liberating in a way other genres don’t allow. With horror, there are no rules about what can or cannot happen! The notion of generating a unique monster, plague, demon, or source of evil fascinates me. I wonder what caused the horror to exist. And I ponder how people can over come it. I also think horror writing prompts a writer to get into the raw emotion of being human and in community. Fear is such a base human emotion and at the center of so much of what we think and do. Horror digs into that feeling to reveal the soul of a person.
…Meanwhile in SF we can look to the work of Philip K Dick, so often marked by ambiguity and uncertainty, calling into question the nature of reality. Technology’s increasing ability to create artificial things not only returns us to the territory of Frankenstein, it also brings back the essential Gothic quality of the uncanny. This became a familiar mode of SF in the wake of works like Neuromancer and Blade Runner—both of which, incidentally, also draw heavily on crime tropes. (Perhaps the most obvious, and successful, combination of all three is The X Files, which itself draws on key Gothic crime texts like The Silence of the Lambs and Twin Peaks.)…
(7) SQUARING THE CIRCLE. In the Washington Post, Dave Eggers discusses how the Rapid City, South Dakota school system had removed his sf novel The Circle and four other books, including Alison Bechdel’s graphic novel Fun Home from the high school curriculum and were threatening to destroy the books. He talks about how he worked with an independent bookstore in that city to make the books available and to have the school system do something with the books rather than pulp them. “South Dakota schools banned Dave Eggers’s novel. He investigated why.”
… When the book ban made national news, I talked with Amanda Uhle, my colleague at the publishing company McSweeney’s, about making the banned books available to Rapid City high school seniors.We called Mitzi’s Books, an independent bookseller in Rapid City, and we made an arrangement whereby we would buy books for any seniors who had been deprived access to them. So far more than 400 copies of the five banned books have been provided free to these students….
I love how our world is drawing closer every day to some of the amazing futures that science fiction has spread before us. I’ve written before about the importance of satellite communications in connecting this divided planet. Just two days ago, 24 countries around the globe were linked together in the first world-spanning live satellite broadcast, titled – appropriately enough – Our World….
(9) MEDIA BIRTHDAY.
2015 – [By Cat Eldridge.] In the usual manner that such things happen, the Humans series debuted here two weeks after it first aired seven years ago on BBC. It was based on the Swedish SF series Real Humans which involved the creation of synths. (Yes, Picard would later use that term.) Channel 4 and Kudos in the United Kingdom, and AMC in the United States were the companies that underwrote it.
It was created by Sam Vincent, largely a voice actor, and Jonathan Brackley who had nothing to his name previous to this. I suspect a ghost writing staff was definitely involved but I cannot prove it. It was produced by Chris Fry who has executive produced a lot of Spooks so it had an experienced hand there.
It had a huge cast including Carrie-Anne Moss and William Hurt. Seriously it did.
It had three seasons of eight episodes each. It did not get a proper conclusion as it was simply cancelled. Ahhh welll.
Too bad, as the British critics really liked it. Mind you the ratings kept slip sliding away.
The Guardian said, “Humans itself won’t compete with Westworld on wild ambition or imagination, and certainly not on budget. But I like it better; it’s more pressingly relevant. And more human.”
And the London Evening Standard said that it provides “a smart and stylish exploration of the joys and perils of putting your very existence into the hands of artificial intelligence… If episode one delivers on its promise, then the journey into the unknown will be a profoundly interesting one.”
Audience reviewers at Rotten Tomatoes give it a brainy eighty-five percent rating.
(10) TODAY’S BIRTHDAYS.
[Compiled by Cat Eldridge.]
Born June 28, 1926 — Mel Brooks, 96. Young Frankenstein (1974) (Hugo and Nebula winner) and Spaceballs (1987) would get him listed even without The 2000 Year Old Man, Get Smart and others. Here is an appreciation of Mel on YouTube. (Alan Baumler)
Born June 28, 1946 — Robert Lynn Asprin. I first encountered him as one of the co-editors along with Lynn Abbey of the most stellar Thieves’ World Series for which he wrote the superb “The Price of Doing Business” for the first volume. I’m also very fond of The Cold Cash War novel. His Griffen McCandles (Dragons) series is quite excellent. I’m please to say that he’s well stocked on both at the usual suspects. (Died 2008.)
Born June 28, 1947 — Mark Helprin, 75. Author of three works of significance to the genre, Winter’s Tale, A City in Winter which won the World Fantasy Award for Best Novella and The Veil of Snows. The latter two are tastefully illustrated by Chris Van Allsburg. I know Winter’s Tale was turned into a film but color me very disinterested in seeing it as I love the novel.
Born June 28, 1951 — Lalla Ward, 71. She is known for her role as the second actress to play Romana (or Romanadvoratrelundar in full) on Doctor Who during the time of the Fourth Doctor. She has reprised the character in Dimensions in Time, the webcast version of Shada, and in several Doctor Who Big Finish productions. In addition, she played Ophelia to Derek Jacobi’s Hamlet in the BBC television production. And she was Helga in an early horror film called Vampire Circus.
Born June 28, 1954 — Deborah Grabien, 68. She makes the Birthday list for her most excellent Haunted Ballads series in which a folk musician and his lover tackle the matter of actual haunted spaces. It’s coming out in trade paper and ebook editions soon. It leads off with The Weaver and the Factory Maid. You can read the first chapter here. Oh, and she makes truly great dark chocolate fudge. And she sent me miniature palm tree seeds which are growing here now.
Born June 28, 1954 — Alice Krige, 68. I think her first genre role was in the full dual of Eva Galli and Alma Mobley in Ghost Story. From there, she plays Mary Shelley (née Godwin) in Haunted Summer before going onto being Mary Brady in Stephen King’s Sleepwalkers. Now it’s in Star Trek: First Contact in which she first plays the Borg Queen, a role she’ll repeat in the finale of Star Trek: Voyager, “Endgame”. She’s had a number of other genre roles but I will only note that she was Eir in Thor: The Dark World.
Born June 28, 1979 — Felicia Day, 43. She was Vi in Buffy the Vampire Slayer, a rather fascinating Dr. Holly Marten in Eureka, and had a recurring role as Charles Bradbury on Supernatural. She also appears as Kinga Forrester in Mystery Science Theater 3000.
(11) COMICS SECTION.
Baldo might be considered a biography instead of a punchline by the average Filer!
Drac is said to introduce a new and contemporary mythology around the origins of the iconic goth villain Dracula that will resonate with multicultural and youth audiences alike. The narrative follows Dante, an eerie, flute-playing immortal who finds himself drawn to the human condition against the natural order and better judgment of his species. Dante follows this obsession no matter how much trouble it gets him into — but a conflict for the ages erupts when his monstrous son Drac chooses a human bride….
(13) THE WITCHING HOUR. Hocus Pocus 2 comes to Disney+ on September 30.
Bette Midler, Sarah Jessica Parker and Kathy Najimy reunite for the highly anticipated Disney+ Original Movie “Hocus Pocus 2.” The live-action, long awaited sequel to the perennial Halloween classic, which brings back the delightfully wicked Sanderson sisters for more comedic mayhem, will debut on Disney+ on September 30. It’s been 29 years since someone lit the Black Flame Candle and resurrected the 17th-century sisters, and they are looking for revenge. Now it is up to three high-school students to stop the ravenous witches from wreaking a new kind of havoc on Salem before dawn on All Hallow’s Eve.
(14) TRADING OLD TROUBLES FOR NEW. Fantasy author and podcaster Richard H. Stephens continues his work within the Soul Forge Universe with Dragon Sect: Highcliff Guardians Series Book Two.
The Dragon Witch Wraith has returned.
With the Grim Duke in his place, and a tentative pact with the wizard’s guild, the Queen of the Elves’ only real concern is for her rebellious daughter. Or so she is led to believe.
Buoyed by the news of unrest in the land’s largest city of Urdanya, Duke Orlythe’s new wizard attempts to convince him that a path to the coveted Willow Throne lies within reach of someone bold enough to seize the opportunity.
The return of the Dragon Witch Wraith prompts the ailing high wizard to find a way to thwart his arch nemesis before everything South March has fought for is lost.
Oblivious to the dangers of the world, Princess Ouderling sets out on a quest to locate an ancient dragon, in a desperate attempt to save her mother from an inevitable fate.
Should she fail, the Grim Duke will ascend the throne.
At age 17 author Richard H. Stephens left high school and for the next twenty-two years worked as a shipper at a local bakery. At the age of 36, he went back to high school and graduated with honors. He became a member of the local Police Service, and worked for 12 years in a Canadian provincial court system. In early 2017, he left the Police Service to write full-time. Learn more about Richard H. Stephens at his website.
How can a film as disarmingly simple as this inspire deep feelings about loss, connection, and the meaning of family? I’m not sure I have the answer; all I know is that I was fighting back tears at the end of Marcel the Shell with Shoes On. My daughter Jessie got to see the movie at the Telluride Film Festival last year and has been a proud proselytizer ever since.
I wouldn’t want to burden this charming film with descriptors like “existential” but it’s not misapplied here. At a time when so many of us are feeling disoriented—or disconnected—a movie like this is especially welcome….
(16) VIDEO OF THE DAY. [Item by Martin Morse Wooster.] In “Honest Trailers: Obi-Wan Kenobi,” the Screen Junkies say that Disney, having brought back Han Solo as a “broke, divorced dad,” and Luke Skywalker as a “gross recluse,” they brought back Obi-Wan Kenobi as a “sad fishmonger whose new mission is to stare at a ten-year-old boy all day.” While they liked Vivian Blair’s work as a young Princess Leia, the series becomes “another round of ‘grumpy man brings a cute, sassy kid to safety’: just like The Mandalorian, Terminator 2, and Aliens.
[Thanks to JJ, John King Tarpinian, Chris Barkley, Andrew Porter, Daniel Dern, Michael Toman, Cat Eldridge, Mike Kennedy, and Martin Morse Wooster for some of these stories. Title credit belongs to File 770 contributing editor of the day Daniel Dern.]
By Olav Rokne: Over the past several weeks, a group of fans has been working on a proposal to abolish WSFS constitution clause 3.12.2, which could result in a Hugo category getting no award even when that is not the express wishes of voters. The group proposing this change to the WSFS constitution includes people who are presently or have recently been finalists in the categories most likely to be affected by 3.12.2 of the constitution.
It would be exceptionally embarrassing for a Worldcon to have to explain why a finalist would have won the Hugo except for — oops! — this bit of outdated fine print. The best course of action is to eliminate that fine print before such a circumstance arises.
The list of people who have been working on this proposal includes Olav Rokne, Amanda Wakaruk, Paul Weimer, Jason Sanford, Cora Buhlert, Camestros Felapton, Christopher J Garcia, Marshall Ryan Maresca, Joe Sherry, Adri Joy, Gideon Marcus, Lori Anderson, Kevin Anderson, Oghenechovwe Donald Ekpeki, Haley Zapal, Amy Salley, Chris M. Barkley, Mike Glyer, and Alasdair Stuart.
Here is the current draft of the proposal that we intend to present to the business meeting:
Hugo Voting Threshold Reform Proposal for the 2022 Business Meeting
Over the past several years, several Hugo Award categories have come close to not being awarded due the current wording of, but not the original intent of, 3.12.2 of the constitution.
The current text of 3.12.2
“No Award” shall be given whenever the total number of valid ballots cast for a specific category (excluding those cast for “No Award” in first place) is less than twenty-five per cent (25%) of the total number of final Award ballots received.
While this clause was designed to guard against categories in which there was a lack of interest, there has not been a significant decline in the categories most at risk of being affected by 3.12.2. Rather there has been a significant uptick in interest in other categories.
Since 2,362 final Award ballots were cast in 2021, if any category received fewer than 591 votes in the final count, then a result of “No Award” would have been declared. Fancast received 632 votes, barely scraping past that 25 per cent threshold. Fanzine (643 votes), Editor – Long Form (667 votes), and Fan Writer (680 votes) were all poised near the abyss.
Worldcon has grown since the 1960s to the point at which this threshold is no longer relevant, and could even be harmful.
The fact that this threshold is based on the overall number of ballots cast in more high-profile categories (like Best Novel or Best Dramatic Presentation), it risks punishing these important and community-oriented categories (like Fancast and Fanzine) – despite the existence of substantial and sustained interest in these categories.
In an era of superhero franchises and a true renaissance of SF/F television worldwide, it is unwieldy to expect community-oriented categories to pull the same interest as multi-million dollar franchises. We do a disservice to the diversity of our community when we establish the latter as the threshold of popularity for the former.
To address this unanticipated problem, we would propose decoupling the viability threshold from the total number of final award ballots with the following proposal:
PROPOSAL – Eliminate 3.12.2
Strike the following words from the WSFS constitution:
3.12.2: “No Award” shall be given whenever the total number of valid ballots cast for a specific category (excluding those cast for “No Award” in first place) is less than twenty-five percent (25%) of the total number of final Award ballots received.
Several other options for reform of this section have been discussed, such as changing the percentage, moving the threshold to an absolute value, or creating other metrics. However, eliminating this viability test altogether is the simplest action that would solve the immediate problems faced in an era of disproportionate increases of interest in some Hugo categories.
Chicon 8 notified members today that the Hugo Voter Packet is available to download at the members’ area.
Online voting for the 2022 Hugo Awards, the Lodestar Award for best Young Adult Book, and the Astounding Award for Best New Writer is also open. All ballots must be received by August 11, 2022, 11:59 pm PDT (UTC-7).
The committee’s Hugo Voter Packet boasts quite a trove of complete works. A highly convenient index PDF for each category shows the works and formats available. The following checklist is based on the committee’s indexes.
If a finalist has no material in the packet, they are lined through in the list below.
Chicon 8 members may access the voter’s packet by visiting the registration page, logging in, and clicking on “Menu and Account Options” to see the “Hugo Packet” link.
Those with any questions about the Hugo Awards process can contact Hugo Help.
2022 HUGO VOTER PACKET CONTENTS
A Desolation Called Peace, by Arkady Martine (Tor) – EPUB, MOBI, PDF
The Galaxy, and the Ground Within, by Becky Chambers (Harper Voyager / Hodder & Stoughton) – EPUB, MOBI, PDF
Light From Uncommon Stars, by Ryka Aoki (Tor / St Martin’s Press) – EPUB, MOBI, PDF
A Master of Djinn, by P. Djèlí Clark (Tordotcom / Orbit UK) – EPUB, MOBI, PDF
Project Hail Mary, by Andy Weir (Ballantine / Del Rey) – PDF
She Who Became the Sun, by Shelley Parker-Chan (Tor / Mantle) – EPUB, MOBI, PDF
Across the Green Grass Fields, by Seanan McGuire (Tordotcom) – EPUB, MOBI, PDF
Elder Race, by Adrian Tchaikovsky (Tordotcom) – EPUB, MOBI, PDF
Fireheart Tiger, by Aliette de Bodard (Tordotcom) – EPUB, MOBI, PDF
The Past Is Red, by Catherynne M. Valente (Tordotcom) – EPUB, MOBI, PDF
A Psalm for the Wild-Built, by Becky Chambers (Tordotcom) – EPUB, MOBI, PDF
A Spindle Splintered, by Alix E. Harrow (Tordotcom) – EPUB, MOBI, PDF
“Bots of the Lost Ark”, by Suzanne Palmer (Clarkesworld, Jun 2021) – EPUB, MOBI, PDF
“Colors of the Immortal Palette”, by Caroline M. Yoachim (Uncanny Magazine, Mar/Apr 2021) – EPUB, MOBI, PDF
L’Esprit de L’Escalier, by Catherynne M. Valente (Tordotcom) – EPUB, MOBI, PDF
“O2 Arena”, by Oghenechovwe Donald Ekpeki (Galaxy’s Edge, Nov 2021) – EPUB, MOBI, PDF, DOCX
“That Story Isn’t the Story”, by John Wiswell (Uncanny Magazine, Nov/Dec 2021) – EPUB, MOBI, PDF
“Unseelie Brothers, Ltd.”, by Fran Wilde (Uncanny Magazine, May/Jun 2021) – EPUB, MOBI, PDF
BEST SHORT STORY
“Mr. Death”, by Alix E. Harrow (Apex Magazine, Feb 2021) – PDF, DOCX
“Proof by Induction”, by José Pablo Iriarte (Uncanny Magazine, May/Jun 2021) – EPUB, MOBI, PDF
“The Sin of America”, by Catherynne M. Valente (Uncanny Magazine, Mar/Apr 2021) – EPUB, MOBI, PDF
“Tangles”, by Seanan McGuire (Magicthegathering.com: Magic Story, Sep 2021) – EPUB, MOBI, PDF
“Unknown Number”, by Blue Neustifter (Twitter, Jul 2021) – EPUB, PDF, AZW3
“Where Oaken Hearts Do Gather”, by Sarah Pinsker (Uncanny Magazine, Mar/Apr 2021) – EPUB, MOBI, PDF
The Green Bone Saga, by Fonda Lee (Orbit) – PDF (1 NOVEL)
The Kingston Cycle, by C. L. Polk (Tordotcom) – EPUB, MOBI, PDF (1 NOVEL)
Merchant Princes, by Charles Stross (Macmillan) – EPUB, MOBI, PDF (2 NOVELS)
Terra Ignota, by Ada Palmer (Tor Books) – EPUB, MOBI, PDF (1 NOVEL)
Wayward Children, by Seanan McGuire (Tordotcom) – EPUB, MOBI, PDF (1 NOVEL)
The World of the White Rat, by T. Kingfisher (Ursula Vernon) (Argyll Productions) – EPUB, MOBI, PDF (1 NOVEL)
BEST GRAPHIC STORY OR COMIC
DIE, vol. 4: Bleed, written by Kieron Gillen, art by Stephanie Hans, lettering by Clayton Cowles (Image) — PDF
Far Sector, written by N.K. Jemisin, art by Jamal Campbell (DC)
Lore Olympus, vol. 1, by Rachel Smythe (Del Rey) — PDF
Monstress, vol. 6: The Vow, written by Marjorie Liu, art by Sana Takeda (Image) — PDF
Once & Future, vol. 3: The Parliament of Magpies, written by Kieron Gillen, illustrated by Dan Mora, colored by Tamra Bonvillain (BOOM!) – EPUB, MOBI, PDF
Strange Adventures, written by Tom King, art by Mitch Gerads and Evan “Doc” Shaner (DC)
BEST RELATED WORK
Being Seen: One Deafblind Woman’s Fight to End Ableism, by Elsa Sjunneson (Tiller Press) – PDF EXCERPT
The Complete Debarkle: Saga of a Culture War, by Camestros Felapton (Camestros Felapton) – EPUB, MOBI, PDF
Dangerous Visions and New Worlds: Radical Science Fiction, 1950 to 1985, edited by Andrew Nette and Iain McIntyre (PM Press) – EPUB, MOBI, PDF
“How Twitter can ruin a life”, by Emily St. James (Vox, Jun 2021) – EPUB, MOBI, PDF
Never Say You Can’t Survive, by Charlie Jane Anders (Tordotcom) – EPUB, MOBI, PDF
True Believer: The Rise and Fall of Stan Lee, by Abraham Riesman (Crown) – EPUB, NETGALLEY LINK
BEST DRAMATIC PRESENTATION, LONG FORM
Dune – LINK TO TRAILER ON IMDB
Encanto – LINK TO TRAILER ON IMDB
The Green Knight – LINK TO TRAILER ON IMDB
Shang-Chi and the Legend of the Ten Rings – LINK TO TRAILER ON IMDB
Space Sweepers – LINK TO TRAILER ON IMDB
WandaVision – LINK TO TRAILER ON IMDB
BEST DRAMATIC PRESENTATION, SHORT FORM
The Wheel of Time: The Flame of Tar Valon – LINK TO IMDB EPISODE INFO
For All Mankind: The Grey — LINK TO IMDB EPISODE INFO
Arcane: The Monster You Created — LINK TO IMDB EPISODE INFO
The Expanse: Nemesis Games — LINK TO IMDB EPISODE INFO
Loki: The Nexus Event — LINK TO IMDB EPISODE INFO
Star Trek: Lower Decks: wej Duj — Video (MP4), Script (PDF), Images (JPG);LINK TO IMDB EPISODE INFO
BEST EDITOR, SHORT FORM
Neil Clarke – EPUB, MOBI, PDF
Oghenechovwe Donald Ekpeki – EPUB, MOBI, PDF
Mur Lafferty & S.B. Divya – EPUB, MOBI, PDF
Jonathan Strahan — PDF
Sheree Renée Thomas – EPUB, MOBI
Sheila Williams – EPUB, MOBI, PDF
BEST EDITOR, LONG FORM
Ruoxi Chen – LIST OF BOOKS EDITED; EPUB & PDF OF 4 NOVELS (A MASTER OF DJINN BY P. DJÈLÍ CLARK, THE CHOSEN AND THE BEAUTIFUL BY NGHI VO, STAR EATER BY KERSTIN HALL, A MARVELLOUS LIGHT BY FREYA MARSKE)
Nivia Evans – LIST OF BOOKS EDITED
Sarah T. Guan — LIST OF BOOKS EDITED; PDF SAMPLES (THE ALL-CONSUMING WORLD BY CASSADRA KHAW, FOLKLORN BY ANGELA MI-YOUNG HUR, AND RISE OF THE RED HAND BY OLIVIA CHADHA)
Brit Hvide – LIST OF BOOKS EDITED
Patrick Nielsen Hayden – LIST OF BOOKS EDITED
Navah Wolfe – LIST OF BOOKS EDITED; PDF SAMPLE (SON OF THE STORM BY OKUNGBOWA)
BEST PROFESSIONAL ARTIST
Tommy Arnold– IMAGES (JPG)
Rovina Cai — PDF
Ashley Mackenzie– IMAGES (JPG)
Maurizio Manzieri – IMAGES (JPG); RTF
Will Staehle – IMAGES (PNG)
Alyssa Winans– IMAGES (JPG)
Beneath Ceaseless Skies – EPUB, MOBI, PDF
Escape Pod – EPUB, MOBI, PDF. MP3
FIYAH Literary Magazine – EPUB, MOBI, PDF
PodCastle – EPUB, MOBI, PDF
Strange Horizons – EPUB, MOBI, PDF
Uncanny Magazine – EPUB, MOBI, PDF
The Full Lid – EPUB, MOBI, PDF
Galactic Journey – EPUB, MOBI, PDF
Journey Planet – EPUB, PDF
Quick Sip Reviews – PDF, DOCX
Small Gods – EPUB, MOBI, PDF
Unofficial Hugo Book Club Blog— PDF
Be The Serpent – SELECTED EPISODES, TRANSCRIPTS
The Coode Street Podcast – SELECTED EPISODES
Hugo, Girl! – SELECTED EPISODES, TRANSCRIPTS
Octothorpe – SELECTED EPISODES, TRANSCRIPTS
Our Opinions Are Correct – SELECTED EPISODES
Worldbuilding for Masochists – SELECTED EPISODES, TRANSCRIPTS
BEST FAN WRITER
Chris M. Barkley — EPUB
Bitter Karella – EPUB, MOBI, PDF
Alex Brown — EPUB
Cora Buhlert – EPUB, MOBI, PDF
Jason Sanford – EPUB, MOBI, PDF
Paul Weimer – EPUB, MOBI, PDF, AZW3
BEST FAN ARTIST
Iain J. Clark – IMAGES (JPG)
Lorelei Esther — PDF
Sara Felix – IMAGES (PNG)
Ariela Housman – PDF, IMAGES (JPG)
Nilah Magruder – IMAGES (PNG)
Lee Moyer — PDF
LODESTAR AWARD FOR BEST YOUNG ADULT BOOK
Chaos on CatNet, by Naomi Kritzer (Tor Teen) – EPUB, MOBI, PDF
Iron Widow, by Xiran Jay Zhao (Penguin Teen / Rock the Boat) – EPUB, MOBI, PDF
The Last Graduate, by Naomi Novik (Del Rey Books) – EXCERPT PDF; NETGALLEY LINK
Redemptor, by Jordan Ifueko (Amulet Books / Hot Key Books) — PDF
A Snake Falls to Earth, by Darcie Little Badger (Levine Querido)
Victories Greater Than Death, by Charlie Jane Anders (Tor Teen / Titan) – EPUB, MOBI, PDF
ASTOUNDING AWARD FOR BEST NEW WRITER
Tracy Deonn – EPUB, MOBI, PDF, (IMAGES, JPG)
Micaiah Johnson – PDF (EXCERPT); NETGALLEY LINK
A.K. Larkwood – EPUB, MOBI, PDF
Everina Maxwell – EPUB, MOBI, PDF
Shelley Parker-Chan – EPUB, MOBI, PDF
Xiran Jay Zhao – EPUB, MOBI, PDF
Update 05/30/2022: Added Sarah T. Guan material to list.
By Dale Skran: For a long time, I’ve felt the Short Form Hugo for Best Dramatic Presentation was not properly organized to give an award to the best “Television” SF of the previous year. My critique was three-fold:
(1) Requiring a particular episode to be nominated “by name” made it very difficult for a program to receive the award. Fans often love the show but prefer different episodes. A great series might get many nominations for different episodes but lose out to a single episode from a lesser series being pushed by an organized fan campaign. This characteristic also gives an unfair advantage to long-running series like Doctor Who with a large fandom that can run a campaign for a particular episode.
(2) Allowing short-shorts that are not regular TV shows to be nominated has the effect of diminishing the short-form Hugo as an award for series SF.
(3) The requirement to nominate a single episode also tilts the playing field in favor of anthology series or highly episodic television. This may have been appropriate the 1950s/60s when some of the best SF shows were The Twilight Zone and Outer Limits, and virtually all series programming was rigidly episodic, but is a much worse match to series performances of the modern age that feature long story arcs and tight ties between long sequences of “episodes.”
As the world of “television” has expanded to included Internet shows and has taken on a globalized character, a new problem has arisen. It may be years before a great SF series makes it to a venue such as Netflix where it has a wide audience such that it might get enough attention to be nominated for the short form Hugo. Thus, we live in a time in which the short form Hugo simply ignores the best series SF, and is given out to whatever happens to be on BBC, Amazon Prime, Disney, HBO, or Netflix in the previous year.
As an example, consider the 2021 short form nominees and winner:
The Good Place: “Whenever You’re Ready,” written and directed by Michael Schur (Fremulon / 3 Arts Entertainment / Universal Television, a division of Universal Studio Group) [WINNER] [you can watch on Netflix]
The Expanse: “Gaugamela,” written by Dan Nowak, directed by Nick Gomez (Alcon Entertainment / Alcon Television Group / Amazon Studios / Hivemind / Just So)
The Mandalorian: “Chapter 16: The Rescue,” written by Jon Favreau, directed by Peyton Reed (Golem Creations / Lucasfilm / Disney+)
The Mandalorian: “Chapter 13: The Jedi,” written and directed by Dave Filoni (Golem Creations / Lucasfilm / Disney+)
She-Ra and the Princesses of Power: “Heart (parts 1 and 2),” written by Josie Campbell and ND Stevenson, directed by Jen Bennett and Kiki Manrique (DreamWorks Animation Television / Netflix)
Doctor Who: “Fugitive of the Judoon,” written by Vinay Patel and Chris Chibnall, directed by Nida Manzoor (BBC)
As can be readily seen, these programs all appeared on a small number of the most widely viewed net “channels.” The impact of this phenomenon is that anything that takes a few years to make it to the bigger venues can never win a short form Hugo no matter how excellent it might be. One example is fantastic Counterpart, which ran for two years on the cable network Starz from 2017 to 2019. I watched it much later on Amazon Prime. It is also available for purchase on various other services to buy. Right now, I am watching Motherland: Fort Salem by purchase on Amazon. It is “free” only on Freeform. This series has the best fantasy SF/world-building I’ve seen since Counterpart, but not enough of an audience will ever see it to allow it to be nominated for a short form Hugo — ever.
Since the 2022 nominees are just out, let’s take a look at them as well:
The Wheel of Time: “The Flame of Tar Valon,” written by Justine Juel Gillmer, directed by Salli Richardson-Whitfield, based on The Wheel of Time series by Robert Jordan (Amazon Studios)
For All Mankind: “The Grey,” written by Matt Wolpert and Ben Nedivi; directed by Sergio Mimica-Gezzan (Tall Ship Productions/Sony Pictures Television)
Arcane: “The Monster You Created,” written by Christian Linke and Alex Yee; story by Christian Linke, Alex Yee, Conor Sheehy, and Ash Brannon; directed by Pascal Charrue and Arnaud Delord (Netflix)
The Expanse: “Nemesis Games,” written by Daniel Abraham, Ty Franck, and Naren Shankar; directed by Breck Eisner (Amazon Studios)
Loki: “The Nexus Event,” written by Eric Martin, directed by Kate Herron, created for television by Michael Waldron (Disney+)
Star Trek: Lower Decks: “wej Duj,” written by Kathryn Lyn, directed by Bob Suarez (CBS Eye Animation Productions)
The good news is that mercifully we don’t see yet another Doctor Who episode being nominated. The bad news is that with the exception of Star Trek: Lower Decks [Paramount+] and For All Mankind [Apple+] everything is on one of the major “net” channels — Amazon Prime, Netflix, or Disney+. At least some of these certainly deserve the nomination, like The Expanse, and even Arcane, which is surprisingly good. For All Mankind is said to be excellent, but Apple TV+ has such a small subscriber base that it will probably get less support than it deserves. But it is hard to escape the feeling that The Wheel of Time is riding on a vast fan base, and Loki on the shoulders of Disney. Another 2022 strangeness is that WandaVision[Disney+] has been nominated for the Long Form although it appears in six 30 minute episodes.
There are two ways forward. The Saturn Awards do a much better job of rewarding good SF series work, so perhaps we should just retire the short form Hugo as irrelevant to the modern age. Somehow, I don’t think this is going to happen, so I offer instead the following reforms:
The short form dramatic presentation Hugo should be retitled “Dramatic series Hugo” and the definition changed to exclude “single event” dramatic presentations. If we want a Hugo for single events, including plays, a new award, or more likely a special occasional award, should be created.
The definition of the “Dramatic series Hugo” should be such that the nomination is for the series, not for particular episodes.
A minimum number of episodes should be required — I suggest three episodes of at least 40 minutes each, or six episodes of at least 20 minutes. An open issue is whether to exclude or allow a series of theatrical films such as Twilight, but I lean toward excluding them.
The eligibility period should be changed from the previous year to at least the two previous years, and preferably the five previous years. This would allow time for new works to migrate to the larger platforms where they might actually be seen by a larger audience.
No series could win the award twice. This would work against the domination of the award by a single series [Doctor Who] that has a large, organized fandom, or a single very popular series like Game of Thrones. This raises the question of how to handle a “rebooted” series or something like Doctor Who which is periodically restarted with a new actor playing the title character. Fairness suggests that a “rebooted” version of a series should once again be eligible to win even if a previous version of the show had already won the short form series Hugo.
It should be noted that anthology or highly episodic series might still win, but only by being consistently excellent. So, there you have it — my plan to make the world a better place, one Hugo Award at a time!
New York-based writer N. K. Jemisin is one of the biggest names in modern science-fiction. She’s the first in the genre’s history to win three consecutive Hugo Awards, for each book in her Broken Earth trilogy.
In conversation with presenter Dr Vic James, Jemisin talks in-depth about world-building. She reveals how the initial idea for Broken Earth came to her in a dream. This then led her to a NASA writing residency and a trip to Hawaii, flying over its volcanoes in order to accurately visualise the trilogy’s setting: a super-continent called The Stillness that is ravaged by earthquakes and volcanic eruptions.
Jemisin reflects on how it all came together, how she gives voice to the oppressed, and why she thinks these books have resonated with so many people around the world.
(2) GET YOUR IMAGINARY PAPERS. Imaginary Papers is a quarterly newsletter about science fiction worldbuilding, futures thinking, and the imagination from ASU’s Center for Science and the Imagination.
Imaginary Papers Issue 10 features an essay by writer, editor, and scientist Pippa Goldschmidt on the 2014 short film Afronauts, and humanities scholar Paul Cockburn on Ignatius Donnelly’s 1890 novel Caesar’s Column and its vision of a gridlock-free New York City. There’s also a writeup of UNICEF’s Imagining Health Futures project.
(3) SFF IS WHERE YOU FIND IT. [Item by Ferret Bueller.] Finally made it back to Mongolia, and here’s pictures of two of the recent SF translations in a local bookstore.
A black Doctor? A trans Rose? This is political correctness gone mad. You’re right. There is no way on earth that a shapeshifting ancient alien god and an interdimensional explorer trapped in a parallel dimension should be played by anything other than a white British guy and the woman from I Hate Suzie respectively.
This isn’t the Doctor Who I am used to. But it is. The transgender actor Bethany Black had a role on Doctor Who in 2015. In an episode in 2006, Jack Harkness said that he had a trans co-worker. If you factor in the audio episodes, you’ll find yourself inundated with trans characters, actors and writers.
Wait, so I’m the one who’s wrong? Exactly right. Stop watching. The rest of us will have a blast.
Do say: “It’s great that Rose Tyler is being played by a trans woman.”
Don’t say: “Oh God, does this mean I have to start watching Doctor Who again?
Join us for what promises to be a brilliant evening of conversation with bestselling fantasy authors Shelley Parker-Chan, Tasha Suri and C. L. Clark.
Masters of sapphic fantasy literature, these three authors will be talking about their most recent books: Shelley Parker-Chan’s debut novel She Who Became The Sun (publishing in paperback this June), Tasha Suri’s epic fantasy The Jasmine Throne and C. L. Clarks’s political fantasy The Unbroken.
(6) REWARDS FOR ADVENTUROUS READERS. Simone Heller, in the fourth installment of “Speaking the Truth with Oghenechovwe Ekpeki”, asks the Nigerian author about the intricacies of writing from a complex multilingual background for a global audience.
Your stories are usually set in a (futuristic) Nigeria. Do you include bits and pieces or even chunks from the languages surrounding you? And if so, is it accepted by international editors and readers?
Well, there’s a bit of truth telling to my writing. Chunks of my reality mixed in with it. Set in Nigeria as you observed, my themes usually touch on issues that are relevant here, and this is also reflected in my language. The dialogue of my characters shifts between pidgin English and regular English as a speaker in my position would. The subject matter, humour, delivery of the conversation also aims to reflect the way we communicate. It’s as I said, your culture and identity are reflected in your language. So it does come across as unfamiliar or odd to Western or other readers removed from that culture and identity. It’s definitely created a difficulty in publishing sometimes, it’s led to odd and overediting requests and an inability to connect or be properly appreciated by readers and reviewers who are not open to these diverse tongues and see everything different as inferior. But I suppose that is the price for speaking my truth with the tongue in my mouth in a world that sees the other as inferior. So yea.
Brian’s guest this week is science fiction author John Scalzi. John is known for a massive variety of work, including his early career as a reviewer and columnist, his bestselling breakout novel Old Man’s War, his time as president of the Science Fiction Writers of America, and his well-known blog, Whatever.
John and Brian talk about paradigm shifts in their industry, being a longtime public figure, and his well-publicized thirteen-book contract with Tor. They also talk about living and working in the Midwest, and the real nature of professional jealousy.
(8) STUDIO 54. Rich Horton shared on Facebook a post with his picks for “potential Hugo awards from the year 1954 (that is, alternate 1955 Hugos, since two of the 1955 Hugos went to stories from 1955, and the one winner from 1954 is widely regarded as the worst Best Novel Hugo winner of all time. Short version: I actually came up with what I think is a quite strong list of novel nominees…”
…Protactile is full of a kind of tactile onomatopoeia, in which a hand resembles the feel of the thing it’s describing. In what the linguists call “proprioceptive constructions,” the speaker recruits the receiver’s body to complete the word, say, by turning her hand into a tree (five fingers as branches) or a lollipop (fist as candy). At one point, I asked Nuccio where she was from, and she told me to make my hand into a fist, which represented the globe. “You and I are in America, over here,” she said, touching my first knuckle. “And this is the ocean.” She traced a finger to my wrist to find the country where she was born, Croatia. She accomplished all of this in a series of movements that Edwards said followed consistent grammatical rules. At another point, Nuccio described how difficult her life had been when she’d worked as a technician in a genetics lab as she went blind. She had me point my finger up, and told me that it was now the flame of the Bunsen burner that she’d used in her lab. She demonstrated how to adjust the flame on one of my knuckles, and how delicate the apparatus was. I was astonished by the precision of this tactile illustration, which felt, in the moment, more vivid than any verbal description could have….
(10) MEDIA BIRTHDAY.
1977 – [By Cat Eldridge.] Forty-five years ago, Man from Atlantis: The Killer Spores aired on NBC. It was the third of four pilot episodes that preceded the regular Man from Atlantis television series which only lasted thirteen episodes. Calling them pilot episodes is I think just a bit disingenuous — they were full blown episodes of the series.
The extended episode, I hesitate to call it a movie, was directed by Reza Badiyi and written by John D.F. Black. Badiyi is best known for directing episodes of shows such as The Six Million Dollar Man, Phoenix and Deep Space Nine. Black was associate producer on ten episodes of Trek including “The Man Trap”, “Mudd’s Women” and “The Corbomite Manuever”.
It of course starred It Patrick Duffy as Mark Harris and Belinda Montgomery as Doctor Elizabeth Merrill.
Just in case, someone here hasn’t seen it, I won’t discuss the story which was actually a damn good SF one. Unfortunately the series itself was doomed as it has very high production costs and an audience that dropped way too fast, so NBC didn’t pick up its option after the first thirteen episodes were made.
(11) TODAY’S BIRTHDAYS.
[Compiled by Cat Eldridge.]
Born May 17, 1913 — Peter B. Germano. Though neither of his SF novels was of great distinction, The Interplanetary Adventures and The Pyramids from Space (written as Jack Berlin), his scriptwriter output was as he did work on The Time Tunnel, Voyage to the Bottom of the Sea, Land of the Lost, Battle of the Planets and the revival version of The Next Step Beyond, which warrants his being noted here. (Died 1983.)
Born May 17, 1936 — Dennis Hopper. I think his first genre film would be Tarzan and Jane Regained… Sort of, an Andy Warhol film. Queen of Blood, a vampire film very thinly disguised as SF film, was his next genre film. My Science Project was his next outing before he took part in The Texas Chainsaw Massacre 2. And now we get to the Super Mario Bros. where he played King Koopa. What a weird film that was! He followed that by being Deacon on Waterworld… And then doing Space Truckers. Ouch. No, I didn’t like it. He’s El Niño in The Crow: Wicked Prayer, a film I barely remember. His final role was voicing one of the animated wolves in Alpha and Omega. He was also in Blue Velvet but I’ll be damned if I can figure out how to call that genre. Would you? (Died 2010.)
Born May 17, 1946 — F. Paul Wilson, 76. I’ve read, let me check, oh about half I see of the Repairman Jack novels. Anyone here finished them off, and should I do so? What else by him is worth my time? He’s won five Prometheus Awards for Best Libertarian SF Novel, very impressive indeed.
Born May 17, 1950 — Mark Leeper, 72. As Mark says on his site, “In and out of science fiction circles Mark and Evelyn Leeper are one of the best known writing couples on the Internet. Mark became an avid science fiction fan at age six with TV’s ‘Commando Cody.’ Both went to the University of Massachusetts in 1968.” And as Bill Higgins says here, their MT VOID is one of the longest published fanzines still going.
Born May 17, 1954 — Colin Greenland, 68. His partner is the Susanna Clarke, with whom he has lived since 1996. Greenland’s The Entropy Exhibition: Michael Moorcock and the British ‘New Wave’ in Science Fiction study is based on his PhD thesis. His most successful fictional work is the Plenty series that starts with Take Back Plenty and continues with Seasons of Plenty, The Plenty Principle and wraps up with Mother of Plenty. In the Eighties and Ninties, he was involved in the editorial work of Foundation: The Review of Science Fiction and Interzone. And yes, he won the Clarke Award for that Take Back Plenty novel.
Born May 17, 1954 — Bryce Zabel, 68. A producer, director and writer. Genre wise, he’s been involved as a producer or director with M.A.N.T.I.S., Dark Skies, Blackbeard, Lois & Clark: The New Adventures of Superman and The Crow: Stairway to Heaven. Writing wise, he written for most of these shows, plus the screenplays for Mortal Kombat: Annihilation and Atlantis: The Lost Empire.
Born May 17, 1956 — Dave Sim, 66. Did you know there was a Cerebus radio show at one point? Well there was. Need I say that I read the entire run of Cerebus. The three hundred issues ran from 1977 until 2004. It was created by Sim, written and drawn by him and remained solely his undertaking until background artist Garhard joined up with sixty-fifth issue. As Cerebus continued, it incorporated more and more of Sim’s very controversial views, particularly on women, feminism and the fall of Western Society from those factors. Collected Letters: 2004 and Dave Sim’s Collected Letters 2 contains his responses to the letters he got criticizing him but not the letters themselves.
Born May 17, 1967 — Michael Arnzen, 55. Winner of four Bram Stoker Awards, one for his Grave Markings novel, another for Goreletter and yet another for his poetry collection, Freakcidents. Very impressive indeed. Not to mention an International Horror Guild Award for Grave Markings.
Ronald Hutton, author of Pagan Britain and The Witch, returns with Queens of the Wild, a history of the goddess-like figures who evade both Christian and pagan traditions, from the medieval period to the present day.
In this riveting account, Hutton explores the history of deity-like figures in Christian Europe. Drawing on anthropology, archaeology, literature, and history, Hutton shows how hags, witches, the fairy queen, and the Green Man all came to be, and how they changed over the centuries.
Looking closely at four main figures—Mother Earth, the Fairy Queen, the Mistress of the Night, and the Old Woman of Gaelic tradition—Hutton challenges decades of debate around the female figures who have long been thought versions of pre-Christian goddesses. He makes the compelling case that these goddess figures found in the European imagination did not descend from the pre-Christian ancient world, yet have nothing Christian about them. It was in fact nineteenth-century scholars who attempted to establish the narrative of pagan survival that persists today. In this extract, Hutton focuses on the how the goddess-like figure of Nature develops during the Middle Ages and early modernity….
In writing my crime novel What They Don’t Know, I wanted my lead character to have an unusual relationship with her collection of dolls. As a psychological thriller, what better than to include haunted dolls? Not knowing a lot about haunted dolls and wanting to learn more, my research took me to Alabama where I met with Kevin Cain, ghost hunter, haunted doll collector, and author. There we discussed real doll-infested crimes, proving once more, that reality is sometimes stranger than fiction….
(14) WHERE TO GET YOUR GEAR. The Octothorpe podcast – John Coxon, Alison Scott, and Liz Batty – have unfurled a logo short at the Octothorpe Fans shop.
This sterling silver pin is adapted from a drawing by Edward Gorey that is part of a series of renderings of fanciful cats engaged in unusual activities. Here a casually seated cat is reading a book with obvious delight. Edward Gorey’s initials are engraved on the back.
(17) VIDEO OF THE DAY. [Item by Martin Morse Wooster.] In “Honest Trailers: Moon Knight” the Screen Junkies say that having used up its A team, its B team, and its C-team, Marvel was down to either doing Moon Knight or Hellcow. “Are you ready for action?” the narrator says. “Moon Knight isn’t. When danger strikes, he blacks out.” There are so many blackouts in this series “that it reminds me of when Four Loko was legal.”
[Thanks to Mike Kennedy, Martin Morse Wooster, JJ, John King Tarpinian, Ferret Bueller, Rob Thornton, Joey Eschrich, Andrew (not Werdna), Chris Barkley, Andrew Porter, Michael Toman, and Cat Eldridge for some of these stories. Title credit belongs to File 770 contributing editor of the day Jack Lint.]