It takes a lot of work for a comic book fan to stay up-to-date and to have
|Nelvana is simply one of the best|
comics of the era, while also being
ahead of its time in representing
a non-white, non-male hero.
(Image via expertcomics.com)
Most – and perhaps all – of the people who will be nominating and voting on the Retro Hugo awards weren’t reading comic books in 1942. It is therefore even more difficult for most readers to assess what works might deserve consideration for the award.
Prior to 2018, the only time there was a Retro Hugo for Best Graphic Story was in 2016, when the Retro Hugos for 1941 were awarded. That ceremony saw Batman #1 take the trophy ahead of Captain Marvel and The Spirt, both of which are superior comic books. Joe Simon’s superb first 12 issues of Blue Bolt didn’t even make the final ballot.
Batman as a character may have had more popular appeal in the long-term, but those early stories are not as dynamic or innovative as The Spirit. Batman may have some science fiction elements today, but in 1940 Blue Bolt told better science fiction stories. Batman may be more popular today, but in 1940 Captain Marvel was the leading comic book character.
|One of the all-time great Retro Hugo|
snubs is the omission of Blue Bolt
from the ballot for the 1941 award.
(Image via james-vance.com)
|Captain Marvel's use of colour|
is spectacular for the era.
The modernity of the storytelling
and innocence of the characters
is exceptionally charming.
(Image via comicarchive.com)
Plastic Man by Jack Cole is one of the most inventive books of the era. Pulitzer-prize winner Art Spiegelman so admired this comic that he wrote a book titled “Jack Cole and Plastic Man: Forms Stretched to Their Limits.” In it he aptly describes the ‘manic spritz of images’ that leavened the pages of Plastic Man, and compares Cole’s work to such greats as Laurel and Hardy, Tex Avery and The Marx Brothers. This title will also appear on our ballots, and we encourage other Retro Hugo voters to consider it.
For those seeking conventional superheroics, in 1942 Captain Marvel was the cream of the crop. The wide-eyed optimism of the book has often been imitated, parodied, or deconstructed, but never equaled in their simple, honest joyful fun. Particularly worth noting is how this comic used colour more effectively than most other publications of the era.
There will always be a gap between the modern popular understanding of these works and the context in which they were published, and this will always be one of the inherent tensions of the Retro Hugo Awards. It is difficult for a modern audience to understand the world in which these comics were published, and it is hard to know where to start reading when considering works for the award. It is worth reading widely in advance of nomination — these three books are a good place to start.