Supergirl



I sort of see why people were mocking this when it first came out a couple of days ago, what with looking more rom-comy than superheroy in places, but really this looks fun. A superhero who actually wants to be a superhero and has fun doing it? Not to mention that it looks like this is basically the same way Superman was introduced all the way back in the first Christopher Reeves movie, with the wanting to be normal, the clumsiness and awkwardness, even the picking out a costume scene.

A bit more soap opera in your superhero adventure isn’t a bad thing; that’s how Marvel got so big after all, it keeps your heroes grounded and it makes it more interesting than just an endless stream of hero vs villain fights.

the only things I could’ve done without were the awkward gay joke in the middle and the inevitable secret government service keeping taps of superheroes being hostile without reason, especially not when it’s yet another Gruff Black Military Guy.

Puppy proofing the Hugos

So now we’ve had three years of increased Puppy manipulation of the Hugos, culminating in this year’s disaster in which a clique of rightwing whingers functioned as cover for a fascist bellend to get his vanity publishing project on the ballot. Cue much justified outrage, but what are we going to do about it so next year won’t be a repeat? For this year we all should vote no award over all Puppy entries, but how to make sure next year we don’t have to do it again?

To be honest, Worldcon fandom has been caught with its pants down by the Puppies, too slow to react to the first two attempts to game the Hugos. We all thought, and I was no exception, that after the Puppy nominees were trashed in the actual voting last year, the spoiled brats behind it would get the hint and fuck off. Instead they doubled down. And because of the deliberately slow ways in which Worldcon rules can be adapted, any change now will take two years to come into effect. Though I’m not sure any rule change will eliminate the Puppy threat, there are a couple of interesting proposals, the most complicated one at Making Light. But again, even if that one passed, it would still need confirmation at next year’s Worldcon and only come into effect in 2017.

The other method of preventing slate voting has been social control: until the Puppies, few people have tried it because it’s Just Not Done. Only outsiders, like the Scientologists, attempted it and those were punished quickly. With the Puppies though, that isn’t working anymore, or at least not to the extent it used to. They’re caught up in their rightwing culture war victim complex and hence insensitive to these kind of appeals. It’s still worth keeping that pressure up though, so nobody approached for participation in a Puppy slate has ignorance as an excuse. Meaning only those fully invested in the Puppy narrative will be onboard and fewer “innocents” are hurt.

But what we really need to realise is that the Puppies are just a symptom of the problems the Hugos have. An exceptionally annoying symptom, but a symptom nonetheless. The real problem is, and has been for years, is the number of people voting and especially nominating. Less than 1900 people voted for the Best Novel Hugo, the category with the most votes; 2122 ballots in total were sent in. That’s not much for a potential voting audience spanning last year’s, this year’s and next year’s Worldcon membership. This is where we need to improve and this is something that can be improved almost immediately.

LonCon3 had over 10,000 members: get all those to nominate and slate buying becomes slightly more expensive. But how do you get them to vote? Once LonCon3 was over, it was up to Sasquan to rally voters, but that only started in January, or four months later, far too late for those not into core Worldcon fandom to remember to nominate. What’s needed therefore is for the nomination process to open earlier, something which the WSFS rules don’t say anything about, so which can be done without needing that lengthy rule changing process. And while it is easier for a Worldcon to only start considering nominations in January, I think this is important enough to justify that added difficulty.

What I would like to see is having electronic nomination ballots open as soon as possible, either in January of the eligible year (e.g. January 2015 for 2016 nominations) or, if that’s too confusing, too much of a hassle, perhaps after the previous Worldcon has finished (September 1 for the most part). That way it also becomes easier for those already involved to keep a running tally for the year. It would also need not just opening the nominations, but promoting the nomination process as well. Get the members of the previous Worldcon involved, get them enthusiastic about nominating. It’s something next year’s Worldcon, MidAmeriConII, could start up already.

So let’s see if they’re up for it.

2014 noticable SFF novels

UPDATES:
13 July: The Prometheus winner has been announced
08 July: World Fantasy Awards shortlist
27 June: The Locus Awards winners are out
14 June: Claire North wins the John W. Campbell Memorial Award
07 June: Jeff VanderMeer wins the Nebula Award for best novel
02 June: the Lambda Award winners have been announced. Because the winning book isn’t a novel, it doesn’t change anything in the rankings.
01 June: added the Gemmel Awards short list.
22 May: Added the Lambda LGBT sf/fantasy/horror nominees minus the two short story collections to the list of nominations.

What with most of the major SFF awards having announced their nominees, or even winners, save for the Gemmel Award for Best Fantasy and the World Fantasy Award, it’s possible to make a list of the most critically acclaimed novels published last year. The Puppy candidates for the Best Novel Hugo have of course been omitted, as they cheated to get on the list. I’ll update it once more nominations and winners are known.

Looking at the list and the large number of singular nominations, there’s a huge spread in what the various awards think is noticable science fiction and fantasy, with not much overlap between the UK and US based awards. Genderwise there are thirty men nominated and twentyfour women, with the latter so far having the upperhand six to one in actual wins. What’s interesting if slightly disappointing is that Sarah Tolmie’s The Stone Boatsmen, one of the best novels I read last year, hasn’t been nominated anywhere. At least Corinne Duyvis’ Otherbound got a honourable mention at the Tiptrees.

Award Winners (with nominations and which award won in parentheses):

  • Half a King — Joe Abercrombie (2. Locus YA)
  • The Goblin Emperor — Katherine Addison (4, Locus Fantasy)
  • The Girl in the Road — Monica Byrne (1, Tiptree)
  • The Book of the Unnamed Midwife — Meg Elison (1, PKD Award)
  • Viper Wine — Hermione Eyre (1, Kitschies)
  • Ancillary Sword — Ann Leckie (4, BSFA, Locus SF)
  • The Memory Garden — Mary Rickert (1, Locus First Novel)
  • Grasshopper Jungle — Andrew Smith (1, Kitschies)
  • Station Eleven — Emily St John Mandel (2, Clarke)
  • The First Fifteen Lives of Harry August — Claire North (3, Campbell)
  • Influx — Daniel Suarez (1, Prometheus)
  • Area X Trilogy — Jeff VanderMeer (4, Nebula)
  • My Real Children — Jo Walton (2, Tiptree)

Multiple Award nominees – in order of number:

  • The Three-Body Problem — Cixin Liu (5)
  • Memory of Water — Emmi Itäranta (4)
  • The Race — Nina Allan (3)
  • Elysium — Jennifer Marie Brissett (3)
  • The Peripheral — William Gibson (3)
  • Europe in Autumn — Dave Hutchinson (3)
  • Lagoon — Nnedi Okorafor (3)
  • City of Stairs — Robert Jackson Bennett (2)
  • A Darkling Sea — James L. Cambias (2)
  • The Mirror Empire — Kameron Hurley (2)
  • Wolves — Simon Ings (2)
  • Lock In — John Scalzi (2)
  • The Emperor’s Blades — Brian Staveley (2)

Singulars:

  • The Doubt Factory — Paolo Bacigalupi
  • Steles of the Sky — Elizabeth Bear
  • The Girl with All the Gifts — M. R. Carey
  • Waistcoasts & Weaponry — Gail Carriger
  • Traitor’s Blade — Sebastien de Castell
  • The Clockwork Dagger — Beth Cato
  • The Long Way to a Small, Angry Planet — Becky Chambers
  • FutureDyke — Lea Daley
  • Child of a Hidden Sea — A. M. Dellamonica
  • The Bullet-Cather’s Daughter — Rod Duncan
  • The Book of Strange New Things — Michel Faber
  • Trial by Fire — Charles E. Gannon
  • Full Fathom Five — Max Gladstone
  • Afterparty — Daryl Gregory
  • The Magician’s Land — Lev Grossman
  • Valour — John Gwynne
  • Cuckoo Song — Frances Hardinge
  • Ascension — Jacqueline Koyanagi (actually a 2013 novel)
  • Prince of Fools — Mark Lawrence
  • Coming Home — Jack McDevitt
  • Empress of the Sun — Ian McDonald
  • Defenders — Will McIntosh
  • The Bone Clocks — David Mitchell
  • Clariel — Garth Nix
  • The Bees — Laline Paul
  • The Godless — Ben Peek
  • Raising Steam — Terry Pratchett
  • Maplecroft: The Borden Dispatches — Cherie Priest
  • Bête — Adam Roberts
  • A Better World — Marcus Sakey
  • Words of Radiance — Brandon Sanderson
  • Butcher’s Road — Lee Thomas
  • The Age of Iron — by Angus Watson
  • Echopraxia — Peter Watts
  • The Broken Eye — Brent Weeks
  • The Martian — Andy Weir
  • The Way Inn — Will Wiles
  • The Moon King — Neil Williamson
  • The People in the Trees — Hanya Yanagihara

Below is the list of awards I’ve taken into consideration. I’ll add the results for the WFA and Gemmel once they come out. Only finalists or winners have been looked at. Because some awards have multiple novel categories (e.g. the Kitschies have two: one for best novel, one for best first novel) the number of winners will be greater than the number of awards.

Omdat



Bloem was a Dutch band who had their greatest hit with a somewhat corny song a couple of years before this one, a true one hit wonder. I stumbled across this one on one of those nostalgia tv channels; it’s been years since I last heard it. Only a minor hit, a darkly cynical pisstake off the inferiory complex of Dutch language pop singers, “because French is so much more romantic and English more mature”, at a time when the Nederpop boom was just gathering steam. The eighties were a time when a new generation of Dutch musicians, inspired by punk and its d.i.y. ethos no longer wanted to imitate English or American pop but went to sing in their own language. But sadly for Bloem it was too late. A couple of decent songs, two albums and lack of support from their record company meant they called it quits in 1983.