The Best Artist category was not one of the original Hugo categories in 1953, but was introduced at the second awards in 1955, when it was won by Frank Kelly Freas. Since then, some version of the award has been a constant, with the exception of 1957, when the award was not presented. Originally called the Hugo for Best Artist, it eventually became the award for best Professional Artist when the Best Fan Artist award was introduced in 1967. Michael Whelan won his first award in 1980, beginning a seven year run of winning the award. He eventually won the award thirteen times, most recently in 2002, along with two other Hugo Award for Best Nonfiction Book (in 1988) and the first award for Best Original Artwork (in 1992). He has been nominated for the Hugo a total of 31 times.
The Locus Awards were established in 1972 and presented by Locus Magazine based on a poll of its readers. In more recent years, the poll has been opened up to on-line readers, although subscribers’ votes have been given extra weight. At various times the award has been presented at Westercon and, more recently, at a weekend sponsored by Locus at the Science Fiction Museum (now MoPop) in Seattle. The Best Artist award dates back to 1974, although in the three previous years, a Best Paperback Cover Artist award was presented and in the previous two years a Best Magazine Artist awards was presented. The first Professional Artist award was won by Frank Kelly Freas. Michael Whelan won his first award in 1980, beginning a twenty-one year run of winning the award. He eventually won the award thirty times, with one additional win for Best Art Book in 1994. In 1980. The Locus Poll received 854 responses.
The Hugo Award was first presented at the 11th World Science Fiction Convention (sometimes called Philcon II), held in Philadelphia from September 5-7, 1953. No short fiction awards were presented the first year. In 1955, the first award for Best Short Fiction, not yet known as a Hugo Award, was given to Eric Frank Russell’s “Allamagoosa.” The Short Story award has been presented annually since its introduction in 1955 with the exception of 1957. The Hugo Awards are nominated and voted on by the members of the World Science Fiction Convention. Martin won two Hugo Awards in 1980, for “The Way of Cross and Dragon” in the Short Story Category and “Sandkings” in the Novelette category. He had previously won a Hugo for his novella “A Song for Lya” in 1975 and would win a second novella award for “Blood of the Dragon” as well as a Best Dramatic Presentation: Long Form Hugo for season 1 of Game of Thrones. The only fiction category in which he has not yet won a Hugo is the Best Novel category. In 1980, the Hugo Award was presented at Noreascon Two in Boston, Massachusetts on August 31.
The Locus Awards were established in 1972 and presented by Locus Magazine based on a poll of its readers. In more recent years, the poll has been opened up to on-line readers, although subscribers’ votes have been given extra weight. At various times the award has been presented at Westercon and, more recently, at a weekend sponsored by Locus at the Science Fiction Museum (now MoPop) in Seattle. The Best Short Story/Short Fiction Award was one of the inaugural awards, when it was won by Harlan Ellison for “The Region Between.” Ellison won the award 6 times in its first 9 years. In 1980, George R. R. Martin won the tenth annual award for “The Way of Cross and Dragon,” which appeared in Omni magazine. In 1980. The Locus Poll received 854 responses.
The Best Professional Editor category was not one of the original Hugo categories in 1953. It was introduced in 1973 as a replacement for the Best Magazine award, partly to recognize the name of the individual who was the driving force behind the magazines, but also, at least in theory, to open the award up to anthology editors, although an anthology editor wouldn’t win until 1985. For the first five years the award was presented, it was won by Ben Bova. In 2007, the award was split into Best Editor, Long Form and Best Editor, Short Form. Gardner Dozois won the Best Professional Editor Award fifteen times, including a six-year streak and a seven-year streak. George H. Scithers won the award for the first time in 1978, ending Ben Bova’s streak, and then for a second time in 1980.
George Scithers had a long career in science fiction, both professionally and in fandom. He began publishing articles in the fanzine Yandro in 1957 and in 1959, he began publishing his own ‘zine, Amra, which won Scithers his first two Hugo Awards (in 1964 and 1968). Amra, which was a Robert E. Howard specialty ‘zine, is also the ‘zine which coined the term “Sword and Sorcery.”
In 1963, Scithers chaired Discon I, the 21st World Science Fiction Convention. He wrote The Con-Committee Chairman’s Guide to provide guidance for future chairmen. For several years in the 60s, he also served as the Worldcon Parliamentarian.
Scithers founded Owlswick Press in 1973 and over the years published works by Roy Krenkel, L. Sprague de Camp, Jack Williamson, Barry B. Longyear, and others. The final two volumes published by Owlswick came out in 1991 and 1993 and were collections by Avram Davidson.
The Best Fanzine category was not one of the original Hugo categories in 1953, but was introduced at the second awards in 1955, when it was won by James V. Taurasi, Sr. and Ray Van Houten for Fantasy-Times. Since then, some version of the award has been a constant, with the exception of 1958, when the award was dropped. Although achievement in fanzines was recognized throughout the history of the Hugo Awards, the name of the away was in flux. Originally called the Hugo for Best Fanzine, in 1956 and 1957, the award was presented for Best Fan Magazine. The name then switched back and forth at random intervals between Best Amateur Magazine (in 1959, 63-64, 66, 72-75, 77-78) and Best Fanzine (the other years in that sequence) until it permanently became the award for Best Fanzine in 1979.
Locus was nominated for its first Hugo Award in 1970, losing to Richard E. Geis’s Science Fiction Review. It was then nominated every year until 1983 with the exception of 1979, winning the Hugo for Best Fanzine in 1971, 1972, 1976, 1978, and from 1980 to 1983 inclusive, at which time it was no longer eligible for the category with the creation of the Hugo Award for Best Semi-Prozine. During the 1970s and early 80s, Locus, which began in 1968 to promote the Boston bid for a Worldcon in 1971, which became Noreascon I, was becoming less and less of a fanzine, accepting advertisements and paying for content.
I read a lot of webcomics. Back when I was writing Cowboys and Aliens II for Platinum, I started reading a bunch of the comics that were up on the now-defunct Drunk Duck and I got hooked.
What happens when you start reading webcomics is that you often follow links to other webcomics, until your bookmarks bar is full of comics you’re following on a regular basis and your inbox is full of recommendations from friends of the comics you should be following. That e-mail from a friend is how I discovered Digger by Ursula Vernon, which was the Hugo Award Winner for best graphic story and the Mythopoeic Fantasy Award winner, both in 2012.
It starts with an anthropomorphic wombat named Digger who, by page 6, has met a statue avatar of the god of wisdom Ganesh. Wombats being a race of logically minded architects and engineers, they don’t care much for gods and magic — but Digger is thrust into the middle of a story that has both. Magic has deliberately interfered with her tunnel, something no wombat takes kindly, and her sense of direction is askew, meaning she can’t get home until Ganesh helps her figure out just where home is from where she’s ended up.
While researching a trip home might seem like a harmless endeavor, it’s not as simple as it sounds, and soon Digger is up to her ears in strange characters: a young healer known only as the Hag, a shadow child who might or might not be a demon, an unnamed hyena exile who Digger calls Ed, a female warrior monk who is probably insane, and a whole tribe of hyena people who might want to eat her.
This might sound like a lot of silliness in one webcomic, and Digger has its share of humorous moments. But what happens between the words, the art, and the story is the stuff of magic — quite possibly the kind that Digger herself would approve of.