Saga — Best Graphic Story Hugo

Saga - cutting the umbilical cord

Saga has already won the Best Graphic Story Hugo once, in 2013, for the first volume of the series. I think the review I did of that first volume back then also goes for the third volume:

What makes Saga more than just a pretty sci-fi adventure is the simple fact that none of the main characters are true villains or heroes. Alana and Marko just want to live in peace with their daughter, to be left alone, while Prince Robot IV just want to get things over with so he can go home to his pregnant wife. Even the two freelancers are anything but Boba Fett like bounty hunters, with The Will frex having confliced feelings about his former partner, The Stalk.

Saga - The Will and the Stalk

But what really makes the series is the artwork; as said Staples is seriously good at facial expressions, slightly exaggerated at key moments, but also has a good eye for character design and layout in general. In general, like Prophet, this is a series that actually makes me enthusiastic about American comics again, something that shows there are still pleasant surprises to be had.

The only thing worth adding to this is that being the third volume, this is less of a complete story than the first, starting and ending in media res. I went back and forth on whether this or Ms. Marvel was the better comic, but though Saga is more properly science fiction, Ms. Marvel was done slightly better and perhaps the more important comic.

Ms. Marvel — Best Graphic Story Hugo

Ms. Marvel talks smack

I already looked at Ms Marvel back in February:

Put it all together and you have a comic that is a decent, well crafted superhero comic that puts its focus firmly on what Marvel has always done better than anybody else, showing their heroes’ complicated home lifes inbetween the battle royales. But the main significance of Ms. Marvel is who she is and that Marvel is comfortable publishing a Muslim written comic starring a Muslim superhero, that’s respectable about the culture Kamala Khan comes from and represents, but not afraid to show conflict either. It doesn’t devolve into cliches about oppression and Islam and all that while still showing a teenager chafing at the rules laid on her by authority figures — parents, teachers, religious leaders. It is essential Marvel teen hero stuff, reinvented for the 21st century.

If you don’t mind classifying a superhero comic as science fiction, this is the best of the lot, a 21st reinvention of Spider-Man and the Marvel teen hero. Remember, the original Marvel series from Fantastic Four #1 onwards were rooted in a spirit of rebellion, from the moment Reed set out to steal that moon rocket despite the authorities warning him about it. Then of course there was Spider-Man, hated and feared by the people he saves, branded an outlaw by The Daily Bugle and still doing what is right because “with great power comes great responsibility”. Marvel heroes have always had a bit of a tense relationship with official authorities, not entirely in opposition but not blindly trusting them either, not in that godawful libertarian sense that outsiders might want to spin it as, but with a healthy dose of skepticism and faith in their own judgment.

Ms Marvel used to deface Islamophobic bus ads in San Francisco

That sort of disappeared after 2000, in the Bush era, as Marvel allowed itself to be swept up in the War on Terror hysteria and a new generation of writers bought into that semi-fascist view of superheroes as enforcers of the status quo, unfettered by due process, culminating in the hideous Civil War crossover which saw Iron Man run his own Abu Ghraib style gulag in the Negative Zone and in which Captain America lost because he didn’t know about Myspace. Suddenly every superhero was now part of SHIELD or similar paramilitary organisations and it went against everything Marvel used to stand for.

Kamala Khan and family at dinner

Ms. Marvel is a refutation of all that idiocy, somebody whose background gives her good reasons to be skeptical of authority even before gaining superpowers, who chafes at the restrictions her parents and culture put upon her but who also is keenly aware that her family loves and cares for her. She’s a teenager growing up and testing her boundaries, but like Peter Parker before her, she has a good head on her shoulders and knows her right from wrong.

Now for the most part I don’t think superhero comics should be nominated for the Hugos, as I consider superheroes to be a separate genre from either fantasy or science fiction. But since it has been nominated, I’ll vote for it and put it first on my ballot, as of the four entries it’s the best and most important for its own story and for what this series says about Marvel in 2014/15. G. Willow Wilson is a great writer, a non-traditional writer for Marvel and Adrian Alphona is a brilliant artist for a series whose hero has mighty morphin powers.

Preliminary thoughts — Best Graphic story Hugo

During the various discussions about the Puppies, the Hugo Awards and everything somebody, I think it was Erik Olson, made the excellent remark that new Hugo categories only make sense if there are enough good candidates each year for it. If there only one or two or even five different candidates in any given year, what’s the point? It occurred to me that the converse is also true: any given Hugo category only makes sense if the Hugo voters are knowledgeable enough to actually vote for more than just a handful of the usual subjects year after year. Otherwise it means you just have an even smaller than usual group of people nominating and most people either not voting, or only voting for names they recognise.

The Best Graphic Story category, which was first awarded in 2009, at first seemed to fail that second requirement. The first three awards were won by Girl Genius and you do wonder whether that was because people recognised Kaja & Phil Foglio from fandom, rather than for the comic itself. The Foglios themselves were gracious enough to withdraw after their third win and since then the category has improved a lot, having been won by three different comics since. I’m still a bit skeptical of how well it will work out in the long term, or whether it’ll become just another category most people won’t care about, like the best semi-prozine or best fan artist ones and just vote by rote, if at all.

On the other hand though, if there’s one thing the Hugos, as well as Worldcon needs if it wants to stay relevant, is to get in touch with wider fandom, to not just focus on the old traditional categories. And comics suit the Hugos well. There are plenty of science fiction comics published each year, even omitting superhero series and there does now seems to be a core of Worldcon fans invested in nominating and voting. Since there isn’t really a proper comics orientated sf award yet, haivng the Hugos take up the slack is an opportunity to make them relevant to a primary comics geek, as opposed to a written sf geek audience.

Now it may surprise you, but I’m a bit of a comics nerd myself, if not as fanatical as fifteen years ago, picking up most of my reading in trades. The Best Graphic Story category is eminently suitable for this sort of reading, as it also tends to focus on trades and collections rather than ongoing series. Of this year’s non-Puppy nominees I’d already read two and have now read the other two. As nominees these were all decent, if not exceptional choices, all series with some buzz behind them in comics fandom too, if fairly mainstream:

  • Ms. Marvel Volume 1: No Normal G. Willow Wilson (writer), Adrian Alphona (artist), Jake Wyatt (artist)
  • Rat Queens Volume 1: Sass and Sorcery Kurtis J. Weibe (writer), Roc Upchurch (artist)
  • Saga, Volume Three Brian K. Vaughn (writer), Fiona Staples (artist)
  • Sex Criminals Volume 1: One Weird Trick Matt Fraction (writer), Chip Zdarsky (artist)

Tomorrow I’ll look at the first of the nominees, Ms. Marvel.

Puppies wee on your shoulders and tell you it’s rain

This is rather rich coming from the man who wanted to destroy the Hugos:

It should go without saying, but apparently I need to plainly state the blatantly obvious, everyone should read the nominations and vote honestly.

First you shit the bed, then you scold everybody else for wanting to clean the sheets. That seems to be the Puppy talking point du jour. Case in point, this douche:

Voting “No Award” over a work that one thinks has been “nominated inappropriately” is really a vote against the process of nomination, and should take place in a different venue, at the WorldCon business meetings where the Hugo rules can be discussed for possible change.

No.

That’s not how it works. That’s reinventing Hugo history and rules to suit your own cheating. This is another tactic straight from the Republicans’ Culture Wars playbook, an attempt to bind your opponents actions with rules and expectations you yourself aren’t bound with and which in any case you’re making up yourself. This working the refs has had far more success than it should’ve in American politics largely because of the braindead political media swallowing it hook, line and sinker. Not so much in fandom though. Nobody with any familiarity of Worlcon fandom’s history and culture believes that it’s dishonest to vote No Award over any nomination that got there through blatant slate voting, or that fans have a duty to be “fair” to nominations which stole their place on the ballot. That didn’t work when the scientologists did it, nor will it fly when it’s a bunch of whiny crybabies running cover for a racist asshole wanting to promote his vanity press.

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.