Finding the other Retro Hugo finalists online

In Dublin this August the Hugo Awards for the best science fiction and related stuff from 2018 will be awarded. Dublin will also be awarding Retro Hugos for material from 1943. In a previous post I linked to where most of Retro Hugo finalists in the novel, novella, novelette, and short story categories can be found online. But what of the other categories? Sadly here things seem to be a bit more difficult, but there is still more than nothing that can be looked at online for free.

Best Graphic Story

Readers will I think struggle to find some of the finalists in this category. Jack Cole’s Plastic Man #1: The Game of Death is available in full on the Digital Comics Museum for online reading and downloading. Steve Dowling’s Garth is downloadable from the blog British Comic Compilations (the Garth 001 download contains the material from 1943).

They seem to be the only finalists readily available in full online. The blog The Wonders You Can Do has an interesting post summarising and analysing Wonder Woman #5: Battle for Womanhood (by William Moulton Marsden and Harry G. Peter), complete with some illustrations. The Black Gate blog meanwhile has an illustrated summary of Alex Raymond’s Flash Gordon: Fiery Desert of Mongo. Hergé’s The Secret of the Unicorn is available in many libraries and all good bookshops; a summary with sample illustrations can be seen on Tintin.com. Your local library may also have the 1969 edition of The Collected Works of Buck Rogers in the 25th Century, which contains Philip Nowlan and Dick Calkins’ Martians Invade Jupiter

Best Dramatic Presentation, Long Form

Heaven Can Wait and Münchhausen are both available in full on YouTube. The Internet Archive meanwhile appears to have Batman, Cabin in the Sky, and Phantom of the Opera. And OK.RU has A Guy Named Joe.

Better quality versions of these films may be available from commercial streaming services.

Best Dramatic Presentation, Short Form

The Ape Man, Frankenstein Meets the Wolfman, Der Fuehrer’s Face, and Super-Rabbit are all available on YouTube. The Seventh Victim is on Dailymotion.

That leaves I Walked With a Zombie, for which YouTube has just a trailer. It might be available from commercial streaming services.

Best Professional Editor, Short Form

Here are links to what the Internet Speculative Fiction Database lists the finalists as having edited in 1943. Have a look at each issue’s table of contents and see if it tickles your fancy. If you have infinite time, consider popping over to the Internet Archive to skim some of these issues.

John W. Campbell Jr.: Astounding Science Fiction & Unknown Worlds

Oscar J. Friend: Thrilling Wonder Stories

Mary Gnaedinger: Famous Fantastic Mysteries

Dorothy McIlwraith: Weird Tales

Raymond A. Palmer: Amazing Stories & Fantastic Adventures

Donald A. Wollheim: The Pocket Book of Science Fiction

Best Professional Artist

Samples of Hannes Bok‘s art can be seen here on the blog Monster Brains. Readers can also check out his illustrations to Robert W. Chambers’ “The Yellow Sign” in the September 1943 issue of Famous Fantastic Mysteries.

While primarily famous for her saucy covers for Weird Tales, Margaret Brundage appears to have had a fairly quiet year in 1943, producing just the one somewhat tame cover then. A Google image search gives a broader look at her career.

Virgil Finlay‘s work can be seen on the covers of the March 1943 issue of Famous Fantastic Mysteries and the February & May 1943 issues of Super Science Stories. Finlay is also noted for his interior art, examples of which can be seen in his illustrations for C.L. Moore & Henry Kuttner’s Earth’s Last Citadel (separately a finalist in the Best Novel category).

Unless you have been living under a stone you almost certainly are broadly familiar with the illustrations Antoine de Saint-Exupéry created for his own book The Little Prince, but if you need a refresher check out this post on the blog Faena Aleph.

J. Allen St. John‘s work can be seen on the covers of the January and February 1943 issues of Amazing Stories.

The art of William Timmins can be see on the covers of the February, June, and October 1943 issues of Astounding Science Fiction.

Fanzine and Fanwriter

FANAC.ORG is an amazing archive of fan stuff of yore. The people that run it created a portal page for fanzines from 1943 there, and there you will find links to scans of the finalists in both of the fan categories.

In case you can’t remember, the best fanzine finalists are:
Futurian War Digest, editor J. Michael Rosenblum
Guteto, editor Morojo (Myrtle R. Douglas)
The Phantagraph, editor Donald A. Wollheim
Voice of the Imagi-Nation, editors Jack Erman (Forrest J Ackerman) & Morojo (Myrtle Douglas)
YHOS, editor Art Widner
Le Zombie, editor Wilson “Bob” Tucker 

The Best Fan Writer finalists are:
Forrest J. Ackerman
Morojo (Myrtle Douglas)
Jack Speer
Wilson “Bob” Tucker
Art Widner
Donald A. Wollheim
 
So there you go. With voting in the Hugos and Retro Hugos closing on 31 July, this does not leave much time to research your ballot.

In the meantime, here is another picture of my cat, with SF books in background:

More cat action

edited with a link to a download of Garth and information on where Buck Rogers: Martians Invade Jupiter can be found (information provided by Ambyr), and also to correct an error in the listing of the nominees in the fanzine category.

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Finding the 1944 Retro Hugo finalists online

Soon in Dublin the winners of this year’s Hugo Awards will be revealed, including the winners of the Retro Hugo Awards for science fiction published in 1943. This year unfortunately there is no voters packet for the Retro Hugos. However most of the publications in which the finalists appeared are available on the Internet Archive, where they can be read online or downloaded by Hugo Award voters. See below for links to where the various works can be found. Voting closes at midnight on 31July, so get reading.

Novels

Conjure Wife by Fritz Leiber, Jr. can be found in the April 1943 issue of Unknown Worlds.

Earth’s Last Citadel by C.L. Moore and Henry Kuttner originally appeared in the April 1943 issue of Argosy, but it was subsequently reprinted in the July 1950 issue of Fantastic Novels.

Gather, Darkness! by Fritz Leiber, Jr. can be found serialised in the May, June and July 1943 issues of Astounding Science-Fiction.

Das Glasperlenspiel [The Glass Bead Game] by Hermann Hesse (originally published by Fretz & Wasmuth) is readily available from bookshops and libraries.

Perelandra by C.S. Lewis (originally published by John Lane, The Bodley Head) is also readily available from bookshops and libraries.

The Weapon Makers by A.E. van Vogt was serialised in the February, March and April 1943 issues of Astounding Science-Fiction.

Novellas

“Attitude” by Hal Clement appeared in the September 1943 issue of Astounding Science-Fiction.

“Clash by Night” by Lawrence O’Donnell (Henry Kuttner & C.L. Moore) appeared in the March 1943 issue of Astounding Science-Fiction.

“The Dream-Quest of Unknown Kadath” by H.P. Lovecraft originally appeared in the collection Beyond the Wall of Sleep from Arkham House and is now readily available from bookshops and libraries; it can also be seen here, on the H.P. Lovecraft Archive.

The Little Prince by Antoine de Saint-Exupéry was originally published by Reynal & Hitchcock and is available everywhere.

The Magic Bed-Knob; or, How to Become a Witch in Ten Easy Lessons by Mary Norton was originally published by Hyperion Press and can possibly be sourced from bookshops and libraries.

“We Print the Truth” by Anthony Boucher appeared in the December 1943 issue of Astounding Science-Fiction.

Novelette

“Citadel of Lost Ships” by Leigh Brackett appeared in the March 1943 issue of Planet Stories.

“The Halfling” by Leigh Brackett appeared in the February 1943 issue of Astonishing Stories.

“Mimsy Were the Borogoves” by Lewis Padgett (C.L. Moore & Henry Kuttner) appeared in the February 1943 issue of Astounding Science-Fiction.

“The Proud Robot” by Lewis Padgett (Henry Kuttner) appeared in the October issue of Astounding Science-Fiction.

“Symbiotica” by Eric Frank Russell also appeared in the October issue of Astounding Science-Fiction.

“Thieves’ House” by Fritz Leiber, Jr appeared in the February issue of Unknown Worlds.

Short Story

“Death Sentence” by Isaac Asimov appeared in the appeared in the November 1943 issue of Astounding Science-Fiction.

“Doorway into Time” by C.L. Moore appeared in the September 1943 issue of Famous Fantastic Mysteries.

“Exile” by Edmond Hamilton originally appeared in the May 1943 issue of Super Science Stories. That appears not to have been uploaded to the Internet Archive but the text of the story can be seen here and here.

“King of the Gray Spaces” (“R is for Rocket”) by Ray Bradbury appeared in the December 1943 issue of Famous Fantastic Mysteries.

“Q.U.R.,” by H.H. Holmes (Anthony Boucher) March 1943 issue of Astounding Science-Fiction.

“Yours Truly – Jack the Ripper” by Robert Bloch appeared in the July 1943 issue of Weird Tales.

I will do another post with links to where people can see some of the finalists in the other categories. In the meantime, Jeff Vandermeer once said that you should always include a picture of your cat in social media posts, so here is Billy Edwards.

Patrolling the mean streets of Dublin city.

more cats

A short note on “A Brilliant Void”

Yesterday I went to an event in Hodges Figgis based around A Brilliant Void, the anthology of Irish classic science fiction edited by Jack Fennell. Fennell himself was there, as were the authors Deirdre Sullivan and Ruth Frances Long and Dave Rudden (who chaired the panel). A Brilliant Void was commissioned by Tramp Press after the publication of Irish Science Fiction, Fennell’s academic study of the genre here.

If I think of Irish science fiction I think of writers like Bob Shaw or C.S. Lewis (although Lewis is best-known for his Narnia books of children’s fantasy, he did also write an odd SF trilogy involving trips to Mars and Venus and then an authoritarian takeover of Britain). More recently there are works by literary authors that dip into the SF world (e.g. Kevin Barry’s The City of Bohane, set in a technologically regressed future, or Éilís ní Dhuibhne’s The Bray House, in which a Swedish archaeologist travels to an Ireland devastated by a nuclear accident). There is also a host of young adult books which, as an old adult, I suspect are not for me. Overall though science fiction seems somewhat marginal to the Irish literary tradition, with the energy that might otherwise have gone into it instead ending up in gothic fiction or works based on Celtic mythology or Leprechaun folklore.

This book shows that bubbling under there was always a strain of Irish writing dealing with science fiction topics, albeit in stories that sometimes ended up being otherwise classified. Fennell reported that misclassification was particularly common with works by women writers. At an early stage in the book’s gestation, it was decided to gender-balance the authors but apparently this was initially a real struggle as there just did not seem to be that many science fiction works written by Irish women. However on investigating works classified in other genres he was able to find so many works that in the end A Brilliant Void boasts more stories by women than by men. The tendency to classify science fiction books by Irish women as Celtic romances or similar may reflect a biased assumption that women cannot be into all that scientific stuff.

One question from the floor drew attention to the apparent greater frequency of SF writers coming from Northern Ireland. Long’s response to this was interesting, as she suggested that post-independence the nation-building project pushed writers of non-realistic fiction towards material based on Celtic mythology. Our friends in the North faced no such strictures and could happily set their work in the future or on other planets. It may not be coincidence that Lewis and Shaw (at least in my limited exposure to his work) did not feel obliged to set their work in Ireland or to deal with Irish subjects. I also wonder though whether the greater industrialisation of the north-east might play a part here: if you live near where they built the Titanic it might be easier to imagine characters in your novel building rocket ships.

I have started reading the anthology and already in the first story I feel I have gained from attending the talk. William Maginn’s ‘The New Frankenstein’ (1837) ends with the words “Then I awoke, and found it was – A DREAM’, words which so often feel like the author has played a tiresome trick on the reader. However, Fennell had noted in the discussion that in the Irish poetic tradition of the 19th century dreams were not seen as imaginary but as portents, so the ending effectively doubles up the grimness by revealing to the narrator that he will most likely have to relive the terrible events of the story.

I am looking forward to reading the rest of the book. The stories are mostly from the 19th and early 20th century, with only three of the fifteen from after 1922 (all three of which are translations from Irish-language originals). Apart from Fitz-James O’Brien and George William Russell the authors are all unknown to me, though the panelist bigged up Dorothy MacArdle so much that I feel embarrassed not to recognise the name.

Readers might also be interested in the Short Guide to Irish Science Fiction that Jack Fennell has made available through the website of Dublin 2019, the World Science Fiction Convention that is next year coming to our city.

image source:

A Brilliant Void (Tramp Press)

Octocon Day 3

Readers, apologies for the delay in bringing my Octocon write-up to a conclusion. In my defence let me say that I was very busy with my amazing World War 1 blog in the run up to the centenary of the Western Front armistice and then was away in Utrecht attending the Le Guess Who music festival. I also had my v important day job to attend to, but let’s be honest, the real reason this is so late is that I am a slack-ass and have spent my time in dissipation when I should be blog-writing.

If the time-lag is so long that you have completely forgotten what previously happened at Octocon then let me refer you to part 1 and part 2. And if you are too busy refer back to those, a quick reminder: Octocon is the Irish national science fiction convention, which this year took place in the Crowne Plaza hotel in Blanchardstown.

Sunday morning, I made it out to Blanchardstown too late to catch the Sunday Service, at which John Vaughan talked further about the worst films he has seen this year (possibly featuring further unsound comments on Hereditary) and rofflin’ James Brophy talked about television. I did however make it to Janet O’Sullivan’s interview with comics creator Colleen Doran, Octocon’s other guest of honour. A lot of fascinating stuff came up here, not least regarding the materiality of the craft, with Doran drawing attention to the non-durable nature of the original comics art from a surprising number of artists, which is often drawn onto paper that falls apart over time with paint that will degrade even if the art is kept in a cupboard. Although she does write comics (both for other artists and herself), Doran works primarily as an artist and I was taken by her praise for writers she has worked with like Alan Moore, Warren Ellis and Neil Gaiman; she mentioned how when Alan Moore writes very detailed instructions to artists it is because he has thought very deeply about how the comic should look, which is sadly not the case with some other writers who have also taken to providing artists with ponderously descriptive scripts.

However, the Colleen Doran interview really ramped up towards the end when the subject of Comicsgate and online harassment. I have not been paying attention to comics in recent years but it appears that all those Gamergate Sad Puppy dipshit man-babies have moved on to comics and taken to harassing comics creators. Doran noted that harassment is something she has had to deal with from the earliest days of her time in comics but that it has escalated of late as the dipshits use social media to swarm their enemies. At the same time she reports that it is somewhat easier to deal with now because the targets are able to talk amongst themselves, thereby realising that they are not being singled out for dipshit attention. It also appears to be the case that male comics creators are now receiving their own share of targeted harassment, making them suddenly aware of what their female colleagues have had to put up with for years. What is still a bit problematic about all of this is that the comics companies are pushing (sometimes requiring) the creators to establish social media presences but are being a bit slack about assisting them when they start attracting attention from the arseholes.

An unfortunate consequence of attending the wonderful Colleen Doran interview was that I missed a session on the new season of Doctor Who, but I did make it to a live recording of the CinePunked podcast by Robert JE Simpson and Rachael Kelly, at which they discussed the mid-1970s sudden and possibly coincidental appearance of three Frankenstein-related films in a short period, Frankenstein and the Monster from Hell (1974), The Rocky Horror Picture Show (1975) and Young Frankenstein (1974). The last two of these are obviously homages to vintage horror and SF films while the first one was the last film of old Hammer, making it almost a homage to itself (and featuring David Prowse, subsequently of Darth Vader fame, as the Monster). I have somehow never made it to a podcast recording before and have a surprisingly limited exposure to podcasts themselves (if I wanted to hear people talk I would turn on the radio or pay attention to the people at work) so I was fascinated by the process, in particular the completely and preternaturally fluid nature of the conversation between Mr Simpson & Dr Kelly. I was also struck by their comment on how much the 1931 Boris Karloff film defined how we think of Frankenstein and the Monster, introducing tropes like the hunchbacked assistant and the Monster being stitched together from corpses (Shelley herself never describes the monster thus and is deliberately oblique as to how the Monster was created or indeed what he looks like). The problematic sexual consent issues raised by all three of these films added to a troubling and recurring theme for the weekend. That said, for me the panel never really grappled with the question of whether the roughly simultaneous appearance of these three Frankenstein-related films was merely coincidental or whether there was something in the air that caused these three works to appear in a short period (and if so what that something was). The fact that roughly the same period also the Frankenstein-themed Doctor Who story, The Brain of Morbius (1976), so maybe there genuinely was something in the Zeitgeist. But what?

Much of the rest of my time at Octocon was taken up with the Golden Blasters, which is a science fiction short film competition run by none other than John Vaughan. This year previous winners were competing for the most golden blaster of them all, with winners of the Silver Blaster (the audience award) also thrown into the mix. This allowed me to see again films I had seen at previous Octocons in 2017 and 2015 as well as some works that were new to me. Olga Osorio’s Einstein-Rosen, the winner of both Golden and Silver Blaster in 2017 once again one both prizes. It is an entertaining tale of two kids who discover a wormhole to the future outside their apartment block, an amusing mix of just about credible funny science and some disarming performances from the child actors (the author-director’s sons), it was a worthy winner. I know, you’re thinking, “A cute kids film? I think not”, but there is a genuine charm to the two boys’ performances.
Nevertheless, with my own taste for darker fare made me prefer Sleepworking by Gavin Williams, a creepy tale about a future in which people can earn extra money by renting themselves out while they sleep to perform menial tasks as somnambulists. The creepiness comes in when two of the sleepworkers start remembering flashes of their slumbering labours, with the whole thing being very evocative of the confused state of those who are never quite sure whether they are awake or dreaming. On a lighter note, I was happy to renew my acquaintance with Andrew Chambers’ The Detectives of Noir Town, a film that manages in its short length to be more than just Roger Rabbit with puppets. I was also intrigued by John Kim’s Steadfast Stanley, an animated film about a good dog in the midst of a zombie apocalypse, and found Simon Cartwright & Jessica Cope’s steampunk stop-motion The Astronomer’s Sun to be both mysterious and poignant.

The call of a pint and convivial chit chat after the Blasters meant that I missed the last proper panels and the ever-interesting round-up of upcoming cons, but I did make the closing ceremony of the convention at which Chair Janet O’Sullivan revealed two pieces of amazing news. Firstly, even though Worldcon is coming to Dublin next year, there will also be a mini-Octocon, probably a one day event taking place once more in the Crowne Plaza Hotel in Blanchardstown. The reasoning here was that for various reasons some people will not be able to go to Worldcon but will still want to get together with other science fiction fans at a smaller, shorter and more intimate event. The other piece of sensational news was that Raissa Perez (this year’s volunteer coordinator) is joining Janet as co-chair, putting Octocon into another pair of safe hands.

What madness is this?
That was pretty much it. Some people found a way of watching the third episode of the current Doctor Who series (the one about Rosa Parks). I was one of these people. The experience reinforced my view that the current Doctor Who series represents something of a levelling up by the series. Perhaps more of that anon. It also reminded me of how much fun is to be had with shared viewings of good things. And then we were off first to enjoy a meal with houseguest Nicholas Whyte and then home to feed our hungry cat.
Impatient Cat

For another view of Octocon day three, see this post by SaraWIMM.

Octocon Day 2

New friends
Octocon is the Irish national science fiction convention, which ran in the Blanchardstown Crowne Plaza hotel from 19 to 20 October this year. I have already written about what I encountered there on the Friday here.

Saturday morning saw me first of all working on the Octocon reception desk, where we dealt with registering convention attendees as they arrived. If you arrived at Octocon on Saturday morning then maybe mine was the friendly face that greeted you (or the surly jobsworth who couldn’t find your reservation). I made friends with some pandas who had come to the convention to examine Octocon’s Hugo trophy.

Shady customers
The morning also saw me make my debut as an Octocon panellist. As part of my efforts to promote the World Science Fiction Convention that is coming to Dublin next year I took part in a panel intended to drum up enthusiasm for volunteering at Worldcon. It turned out we were rather talking to the converted as almost everyone present was already volunteering for Worldcon, but this did allow us to gang up on the others. If anyone reading this is not a Worldcon volunteer then I encourage you to get involved, as volunteering is fun, a way of meeting people, a way of giving something back to science fiction and a way of seeing the inside of what will be the biggest science fiction event to ever come to Ireland.

More time on the reception desk and then my own interest in lunch meant that the next event I attended was the guest of honour interview by Octocon chair Janet O’Sullivan with Pat Cadigan, an American science fiction writer who now lives in England. I was not previously familiar with her work (which is more a reflection on me than on her as I am a slow reader and am unfamiliar with most writers). I found the interview fascinating, as any question would set Cadigan off on a stream of anecdote that would lead very far from the initial starting point. I particularly liked her favourable recollection of Robert Heinlein, someone who now is perhaps unfairly and simplistically pigeon-holed as a right-wing ultra, but whom she recalls as a very generous character. I was also touched by the particularly star-struck question from a member of the audience and Cadigan’s gracious response.

Cadigan also mentioned having previously attended some class of event called a relaxacon. I don’t know what these are but I want to go to one.

Not the Monster panel
As you know, this is the 200th anniversary of the publication of Mary Shelley’s Frankenstein and with it the birth of science fiction. Octocon had an entire programming strand engaging with Frankenstein’s legacy and I now found myself attending a panel discussion on the Monster’s perspective. This got a bit “could it be that we are the real monster?” but I was struck by the discussion of consent issues (e.g. Frankenstein’s Monster badgering him to create a Lady Monster for him, taking for granted that she will want to be his mate). More general discussion of how a simple shift of perspective can make monsters appear like victims led to an interesting recollection by one panellist of a story they read once about people in the remote past fighting Trolls, where the reader realises that the Trolls are the last Neanderthals being hunted to extinction; it occurs to me now that another work of this kind is I Am Legend, the 1954 novel by Richard Matheson, where the book ends with the protagonist’s realisation that he is a monster to the vampiric new humans (I wish I had thought of this at the panel and established my remembering-things-about-books-I-have-read credentials by mentioning it). I was also reminded of various works in 2000 AD by Pat Mills, where his writing was very evocative of the non-human mindset of dinosaurs and other monstrous creatures.

Of the panellists’ own works, Sarah Maria Griffin’s take on Frankenstein, in which a brainy teenage girl attempts to build herself a boyfriend, sounds like it might have a Christmas present date with my niece.

The last programme item I made it to on the Saturday was the Vault of Horror. This is always a highlight of Octocon but it is also an event that is hard to describe in a way that does not make it sound a bit rubbish if you have never experienced it. The Vault sees John Vaughan playing snippets from a terrible film and drawing attention to the film’s awfulness. He does this in a way that is actually funny rather than being some smug guy making fun of other people’s attempts at making films. This year he reported that he has almost run out of terrible films but then he had found a terrible Gerard Butler vehicle called Geostorm with which to delight us. He also provided us with the sad news that due to a progressive illness he will not be in a position to continue serving up the Vault indefinitely into the future, but he will next year be bringing the Vault to Worldcon and presenting one of the most terrible of the films with which he has previously charmed Octocon. Are you coming to Worldcon? Then you will come to the Vault, you will.

I sadly ate so much food for dinner at this point (a recurring theme for me at Science Fiction conventions) that I was too disgustingly full to enjoy the Monsters Ball and left early, thinking that next year is definitely the one where I find some kind of easy cosplay outfit to wear.

Octocon day 3 report coming soon.

Putting the ‘Irish’ into An Irish Worldcon panel image source (@jc_ie on Twitter)

See also:

Octocon website

Another view of Octocon Day 2, from blog name of Not Another Book Blogger.

Octocon Day 1

I recently attended Octocon, the exciting Irish national science fiction convention. Octocon is the other extreme to huge conventions like Worldcon, being an intimate affair taking place over a weekend rather than a five-day event involving thousands of attendees. If you have been to more than one Octocon you will recognise a lot of the attendees and panellists, with there being considerably more overlap between these two categories than might be the case elsewhere. The programme is multi-tracked but not massively multi-tracked. So Octocon is basically a boutique convention and would suit people who like neither crowds nor a surfeit of choice in the programming.

Due to unpleasantness Octocon this year has moved to the Crowne Plaza Hotel, just beside the Blanchardstown Shopping Centre. The location suits it as Blanchardstown Shopping Centre is itself a strangely artificial place, like something out of a JG Ballard novel; in the near future, we will all live in Blanchardstown Shopping Centre. The hotel meanwhile felt like a pretty swish spot, with well-appointed function rooms and a large open space that served as a light and airy dealers’ room. I don’t know what the two birds in the lobby made of the Octocon attendees but they probably see all sorts.

A cat issue meant that I was late out on the Friday and missed the opening ceremony. I did however catch The Trance Mission Diaries, which was a performance piece by O.R. Melling with electronic music by Cha Krka. This was something of a work in progress as the goal is for it ultimately to include considerably more advanced elements like holograms and singing as well as the projected visuals and electronic music accompanying Melling’s narration. I enjoyed it but found the narrative difficult to follow, which I think was as much down to my own tiredness and it being the first thing I encountered at the con. Nevertheless, the narration and music worked well together and I look forward to seeing how this work develops.

Following that I attended a film-related panel featuring John Vaughan and Robert JE Simpson comparing and contrasting the 1960s gothic horror films of Hammer with the contemporary oeuvre of Blumhouse. The contention was that the business model of the two companies is similar: spewing out somewhat trashy films made on relatively modest budgets but hoping for at least some mainstream success, perhaps throwing in an occasional more serious film to gather some critical respectability. I was at something of a disadvantage here being almost entirely unfamiliar with the works of Blumhouse, and the big unanswered question for me was whether that studio has developed any kind of consistent aesthetic in the way that Hammer did. I was also left reeling by the panellists’ anti-Hereditary comments, which did remind me of some reviews that suggested it was a horror film for people who are not true horror fans.
For me Friday ended with a panel on how we as fans deal with things we like that have changed, particularly when the change moves things on from what we liked about them in the first place. This kind of thing is sometimes framed negatively (i.e. discussions of butt-hurt racists saying that they will never watch a Star Wars film again now that an Asian actor has appeared in one or people moaning about the Doctor becoming female). However, I think that there are times when fans are right to abandon a property (while obviously being wrong to harass persons involved in its production); e.g. two of the three Star Wars prequels were completely terrible and anyone who saw them and decided that they were done with Star Wars was making a reasonable decision, while no true Trek fan should waste their time with the recent Star Trek films. Also, people do just grow out of things sometimes.

The changing canon panel also had me thinking about how much a thing has to change before it is no longer the same thing. The panel discussed whether the character of Iron Fist should have been portrayed by a white or Asian character in the recent adaptation of the comics (in which Iron Fist is white but playing a character that in our enlightened times might perhaps be more appropriately presented as Asian). I have no familiarity with Mr Iron Fist but I was reminded of the periodic discussion of whether James Bond could be played by a black or female actor; my own view on this matter is that in this case such changes would so far deviate from the core of the character as to essentially make it an entirely different one with the same name (though I must add that I do not give a shit about James Bond and his misogynist antics and would be happy for the character to be played by Leslie Jones, edgily re-imagined as an American ophthalmologist).

For me though the most fascinating thing that came out of the canon panel was C.E. Murphy mentioning the Kirk-Drift theory, this being the idea that the popular conception of original series Star Trek‘s Captain Kirk as an alpha male dipshit shagger is essentially a mass delusion. Further investigation brought me subsequently to Erin Horáková’s development of this idea and its consequences in a piece she wrote for Strange Horizons, which I encourage all readers to investigate.

That was my Friday evening at Octocon… come back soon to see what I experienced on the Saturday. For another view of Friday at Octocon, see this post on the Not Another Book Blogger blog.

image sources:

Whose Canon Is It Anyway panel (@Frazerdennison on Twitter)

James T. Kirk (Wikipedia)

Worldcon is coming to Dublin

Next year the World Science Fiction Convention is coming to Dublin. This is the first time Worldcon has taken place in Ireland, which makes this an exciting event. But what is this Worldcon? Well, Worldcon is a science fiction convention that takes place in a different city each year. The first Worldcon was in New York in 1939, taking its name from the World Fair of that year. After taking a few years off for the Second World War it has been running continuously since 1946. Worldcon moved outside the United States for the first time in 1948, when it took place in Toronto, and made its first trip away from North America in 1957 when the first London Worldcon took place.

The first Worldcon saw just 200 science fiction fans meet at the Caravan Hall in New York. Since then the event has expanded enormously. The 2017 Worldcon in Helsinki had an attendance of just under 6,000 while the 2016 Worldcon in Kansas City had some 4,600 people attending. There will most likely be numbers of that magnitude attending Worldcon next year in the Dublin Convention Centre.

The scale of a Worldcon can be stunning to a first time attendee and Dublin 2019 will be no different. There will be thousands of science fiction fans attending, loads and loads of authors and hundreds of multi-tracked programme items. Worldcon attendees will have a vast range of events to choose from, including panel discussions (which I think of as the real meat of the convention though others may disagree), film screenings, author interviews, readings & signings, presentations by academics (brainy people saying brainy things about science fiction and fantasy), art shows and so on. There will be dealers selling books and other items and places for attendees to eat, drink and hang out. Some people will be dressed up as their favourite characters and the Masquerade event will see the most spectacular costumes compete against each other.

A key event at any Worldcon is the Hugo Awards ceremony. The Hugos, named after early science fiction editor and publisher Hugo Gernsback, are voted by Worldcon members and are the most prestigious prizes in science fiction (do not listen to disgruntled winners of other awards who have yet to receive a Hugo). In Dublin, awards will be given for works published in 2018, which will include categories for novels, short novels, short stories, films, artworks, and other things, with both professional and fan works being honoured. The Dublin Worldcon is also taking up the option of awarding Hugos for items published in 1943, to make up for there being no Hugo Awards in 1944. If like me you are not great at keeping up with contemporary science fiction you might find you have read more of the works nominated for these Retro Hugos.

Unlike some other conventions, Worldcon has no Mr Big behind it raking in the $$$$s. Worldcon is fan-run, with a chair and organising committee that changes each year. People who attend buy membership rather than an admission ticket. In fact, apart from the guests of honour, everyone at Worldcon has bought their own membership. George R.R. Martin attends every Worldcon and is probably the biggest author of science fiction and fantasy in the world right now, but he pays more to attend than a first-time Worldcon attendee.

At time of writing, Worldcon membership is €110 for a first time attendee. That sounds like a lot, but for that you are in for the full five days of the convention and get to attend everything at it – there are no hidden extra charges. That will also get you the Hugo Awards voter packet (digital copies of all or most of the nominated works, depending on generosity of the rights holders), whose value can be considerable. It is possible to pay by instalments and there a fund to support people who would like to attend but are unable to afford to do so.

Worldcon membership is due to go up in September, so buy now at the lower rate while you can. However I understand that the price increase will be only incremental, so if you do not get round to buying membership until next week do not think that it will have increased drastically to a completely unaffordable level.

More information on the Dublin Worldcon can be found here, with it being possible to join this important event here. If you are still curious as to what goes on at a Worldcon then I have a sadly incomplete series of posts about the 2017 Helsinki Worldcon here.

I hope you decide to join us. If you have any interest in science fiction you will not want to miss this.