Dragon Awards 2017 Winners


The results of the Dragon Awards 2017 are in. The winners have my heartiest congratulations for producing such fine stories, and the voters have my thanks for making the Dragon Awards the premier fan awards in science fiction and fantasy.

While my own novel, NO GODS, ONLY DAIMONS did not win the award, against a titanic figure like Harry Turtledove there simply is no competition. Turtledove has writing since long before I was born, and has contributed immeasurably to the field. Likewise, while none of the authors I recommended for the award won, this was simply because they were up against names even more famous and accomplished than themselves. I am particularly pleased that John Ringo, Larry Correia and Jim Butcher have won awards; they are giants in their field, and such recognition is long overdue.

Going by the numbers alone, it’s clear that the Dragon Awards is far more representative of fandom. With double the total votes of the Hugo Awards, the Dragons have demonstrated which award fandom would rather be a part of. Bear in mind that in recent years the Hugos have benefited from press coverage (and lies) about Puppy-related drama, while the Dragon Awards have by and large flown under the radar.

Of course, the Social Justice Warriors aren’t going to take it lying down. N K Jemisin and Alison Littlewood failed to discredit the awards after they withdrew their nominations (and disrespected their fans). John Scalzi failed to win an award in spite of the drama he generated by first withdrawing from, then returning to, the ballot. To further discredit the Awards, the new narrative is that the Dragon Awards is sexist, because all the winners are men.

To this, I have the following rejoinders:

  1. Women swept the Hugo Awards. If this isn’t sexist, then it’s not sexist for men to sweep the Dragons.
  2. For women to have a chance to win an award, they have to show up and stay in the game. Jemisin and Littlewood, both women, abandoned the field of honour. Such a pity, too: being a double Hugo award winner, Jemisin would have had a decent chance at unseating James S A Corey.
  3. Patty Jenkins, a woman, won the Dragon Awards for directing Wonder Woman.

I have no doubt that next year the SJWs will again try to besiege the Dragons. And again, I must recommend that the organisers establish a firm withdrawals policy. They should either prevent authors from withdrawing works, or allow them to do so on the condition that they are permanently banned and blacklisted from future awards. They must be ready to stand fast in the face of pressure from SJWs.

As for myself, I’m in the final stages of preparing my next story. For those who have voted for me, thanks for your support, and please look forward to the sequel HAMMER OF THE WITCHES.


If you would like to get your hands on the Dragon Award-nominated novel NO GODS, ONLY DAIMONS, you can find it here.

Drama at the Dragon Awards


The Dragon Awards made a colossal mistake: it caved to the whims of writers who disrespected their fans.

Alison Littlewood and N.K. Jemisin withdrew their novels from the Dragon Awards nomination. John Scalzi, who initially withdrew, decided to withdraw his withdrawal. The former two claimed they were being used as proxies in the culture war. Scalzi came back because the organizers asked him to reconsider.

This isn’t obvious to outsiders, but these are classic social justice entryist tactics.

The Dragon Awards was conceived of as an award by the fandom. No gatekeepers, no entry fees, no backdoor politicking. Just fans nominating their favourite works.

None of the major SFF blocs — PulpRev, Superversive, Puppies — had any intention to destroy the Awards or drag personal politics into it. The recommendations they made were in good faith. None of them recommended Littlewood, Jemisin and Scalzi; those works do not meet their tastes — but they didn’t go out of their way to actively discourage people from nominating the trio either.

The fans of these authors nominated them in good faith. By withdrawing their stories, the writers spat on their own fans.

Littlewood and Jemisin demonstrated that they didn’t have faith in their audience. In Littlewood’s case, she believed that she was nominated because Vox Day, the most controversial blogger in SFF, recommended her work. Jemisin claimed there was “no way to know if [her] book’s presence on the list was legitimately earned through individual, freely-chosen votes by a representative sampling of DragonCon members.”

Littlewood is saying that she didn’t want fans with the wrong politics to read her works. Jemisin’s rationale is utter nonsense: there is no way to enforce block voting over the Net, and Dragoncon had measures in place to prevent repeat votes. Jemisin was simply posturing to her loyal fanbase, allowing her to win the Hugo Award.

It seems odd that a writer would accept the Hugo Award for her latest novel, but refuse any chance of winning a second award for the same novel. But that’s because the Hugo Awards have been converged.

The Hugos used to be about recognising the finest SFF works. But for three decades and counting, it’s been about recognising the most propaganda-heavy message fiction produced by the most superficially diverse group of creators. The Hugo Awards is where SJWs in SFF go to congratulate themselves and shut out everybody else — it’s little wonder that the number of nominating ballots and final ballots dropped by 50% from last year.

Social Justice Warriors aren’t going to fight fair. They want the rules to be changed in their favor, and in so doing change the nature of the organization they are targeting.

By pushing for the right to withdraw their nominations, these entryists want to change the Dragon Awards from a fan-centric award to a talent-centric award — an award dictated by the whims of the people involved.

As for Scalzi’s case, when he first tried to withdraw, the Awards’ organisers refused. Then they changed their minds and allowed the withdrawal. Then they asked Scalzi to reconsider. This flip-flopping signals that the organisers lack spine, and aren’t willing to enforce their own rules and standards. Organisations that cannot stand fast will bend to suit the whims of the outrage-mongers.

In my last post, I stated that while you may not care about the culture war, the culture war cares about you. This is what the opening shots look like: an attempt to influence the targeted organisation to abandon its mission and serve the whims of those who will not respect their fans.

I don’t want the Dragon Awards to go the way of the Hugos. Nobody from the fandom does. We must roll back the entryists before they can gain a foothold.

John Scalzi cannot be allowed to win an award. If he wins, it will galvanise his fellow social justice warriors, giving them incentive to put even more pressure on the Dragon Awards next year. I would urge you to vote instead for Brian Nemeier’s The Secret Kings. Nemeier is one of the leading indie SFF authors of this generation, and should he win the award, he will cede it to L Jagi Lamplighter, whose work catalyzed the Superversive movement.

The Dragon Awards’ organisers must enforce their mission through a clear and unbendable withdrawals policy. Either they prevent authors from withdrawing once nominated, or they allow withdrawals on the understanding that it will irrevocably bar those authors from ever being nominated for the Dragon Awards again. I am personally in favour of the latter: any author who withdraws his work from a fan award has betrayed the trust of everyone who deemed his work worthy of the award.

The Dragon Awards is for the fans. Anything that compromises that cannot be tolerated. It’s time to kick out the entryists, enforce the core mission, and get back to celebrating the best of SFF. Life is too short for drama like this.


I am grateful to my fans for nominating NO GODS, ONLY DAIMONS for the Dragon Awards under the Alternate History category. If you’d like to check it out before voting, you can find it on Amazon here. When you’re ready to vote, click here to sign up.

Between SocJus and PulpRev at the Dragon Awards


The science fiction and fantasy community is divided by a long-standing culture war. On one side are the social justice warriors and their allies, who wish nothing more than to churn out thinly-disguised propaganda and shut down everyone who disagrees with them. On the other are PulpRev, Superversive, the Sad and Rabid Puppies and those who side with them, united in a singular purpose: to make SFF great again.

The old pulp tales were the literature of the masses. They were tales of high adventure and excitement; stories of distant worlds, exotic cultures and superscience; fiction filled with hope, courage, verve, heroism and, most of all, fun. Free from genre conventions and ideological shackles, writers were free to let their imaginations soar and entertain their readers. From this age came the cultural icons of the West: Conan the Cimmerian, John Carter of Mars, the Shadow, Jirel or Joiry. This age birthed the great writers of the modern SFF canon: Robert E Howard, Poul Anderson, Leigh Beckett, C L Moore. Cheap and cheerful, the pulps made reading enjoyable for everyone.

But, in the words of pulp advocate Jasyn Jones, “Every age of F&SF after the Pulps has been about less: less variety, less action & adventure, fewer heroics and less heroism. Less imagination. Less of all the things that make F&SF great.”

Today, when you look at modern SFF, you’ll see the same catch phrases: subversive, challenging dogmas, progressivism, inclusiveness, post-modern. They are codewords for ‘boring’, ‘disgusting’ and ‘contemptuous of the reader’.

To the social justice warrior, the personal is the political. Everything one does must in some way be linked to political activity–and the only acceptable politics is ‘progressivism’, ‘liberalism’ and other -isms of the day. Thus, social justice fiction can’t settle for being fiction; they must brainwash the reader into accepting the core tenants of social justice and denouncing everything else as doubleplusungood. To survive, SocJus must drown out everything that is not itself, and it must not tolerate dissent — never mind that it is the surest form of cultural suicide.

Marvel went full-blown social justice with its comics, employing everything from gender flips to race-switching to suddenly-queer characters. The Ghostbusters 2016 remake replaced the original cast with women and made that the sole selling point. The result: financial disaster.

It’s not enough for these social justice warriors to cram their ideology down their audience’s throats. They aim to destroy their competition through whisper campaigns, social exclusion and outright lies. Aided by cliquish editors and a horde of fellow travelers, they drown out non-believers by smearing them the labels of ‘discrimination’, ‘racist’, ‘sexist’ and other nonsense.

The Young Adult industry saw its latest controversy with SJWs attacking The Black Witch by cherry-picking selected passages and proclaiming the entire novel to be ableist and racist and other -ists. When the Sad Puppies campaign recommended a number of writers for the Hugo Awards, the mainstream media denounced it as a ‘racist’ and ‘sexist’ campaign by white supremacists to reserve the Hugo awards for white men — never mind that the founder, Larry Correia, is Portuguese, and that the Sad Puppies recommendations had far greater diversity of race, sex and politics than the past three decades of Hugo Award winners. I have myself been denounced as a ‘hard-core Puppy’ (and therefore racist and sexist) just because I wrote a blog post thanking my fans and editor for recommending one of my stories for the Hugos.

Social justice corrodes everything it touches. Today, there are precious few SFF books published within my lifetime that I can stand. Almost all of them come from two publishing houses–Baen and Castalia House–and all of them have one thing in common: they place the reader above politics.

This is where PulpRev and other groups come in.

PulpRev pays homage to the great masters of the past, figuring out what made their stories great and how to apply these lessons for future fiction. The Superversive movement wants to go one step further, creating fiction that is uplifts and builds up instead of degrading and tearing down. We come from many nations, represent both sides of the political spectrum, hail from a wide range of backgrounds, but we all believe in the same cause: to create entertaining SFF.

Social justice fiction is fatally flawed. It assumes that any fiction that does not explore and expound upon the cause du jour — minority representation, global warming, Strong Female Characters, anti-capitalism, anti-religion, LGBTQ — are fundamentally incomplete, daring so far as to say that creators who do not include these elements are saying that these things do not exist. SJWs overcompensate by making their fiction all about these causes and nothing else, leaving no room for everything else.

PulpRev recognizes that life is more than just these causes, that fiction isn’t simply about expounding a cause but about building worlds within worlds. Worlds of splendor and beauty and truth and reason, worlds populated by men and women and children and talking animals and monsters and spirits and demons and angels and gods, worlds that recreate the breath of your love and the dry heat of the summer sun and the crackling of dry leaves and the sticky sweat of an honest day’s work, worlds built on awe and wonder and courage and virtue even as they recognise lust and vice and sin and fear and naked evil. Worlds, in other words, that are worth living in.

And we take these worlds and cram them into our prose and offer them to our readers with hopes and prayers, believing that to someone, somewhere, these stories will chase away sadness, catalyse joy and inspire heroism.

You may not wish to declare for one side or another. PulpRev and Superversive will not denounce you if you do not join us. But understand that the SJWs will not leave you alone. To them, you are either ally or heretic, with no in-between. If you keep your head down you won’t be noticed. But if you speak about something that does not toe the party line, they will come for you. They don’t care what you did, be it mildly disagreeing with accusations of racism, praising books on the wrong slate, or daring to produce a story that does not conform exactingly to the agenda of the day.

You may not care about the culture war, but rest assured, the culture war cares about you.


The Dragon Awards are the next front in the culture war. Aiming to represent all of fandom, the Dragon Awards seek to recognise the best SFF of the previous year in wide-ranging genres and media. Here is an opportunity to recognise the creators whose mission is to make SFF great, while sending a message to the SocJus nominees that thinly-veiled propaganda is no longer welcome in the field.

Speaking only in my personal capacity, I would recommend the following:

Best Science Fiction Novel: The Secret Kings by Brian Niemeier
Best Fantasy Novel (Including Paranormal): A Sea of Skulls by Vox Day
Best Young Adult / Middle Grade Novel: Swan Knight’s Son by John C Wright
Best Military Science Fiction or Fantasy Novel: Rescue Run by Jon Del Arroz
Best Alternate History Novel: No Gods, Only Daimons by Kai Wai Cheah
Best Apocalyptic Novel: Codename: Unsub by Declan Finn and Allan Yoskowitz
Best Horror Novel: Live and Let Bite by Declan Finn

These nominees (myself included), are known members and allies of the PulpRev, Superversive and Puppies movements. Further, Jagi L. Lamplighter, author of Rachel and the Many Splendored Dreamland, is also an early founder of the Superversive movement and was nominated for Best YA/middle grade novel. However, Brian Niemeier has very graciously offered to grant the award to her should he win. Thus, to prevent vote dilution, I would recommend voters to pick Swan Knight’s Son and The Secret Kings.

In addition, I must point out the nominees known to be affiliated with or are social justice warriors.

The Collapsing Empire by John Scalzi
The Obelisk Gate by N.K. Jemisin
Ms. Marvel by G. Willow Wilson, Takeshi Miyazawa
Mass Effect: Andromeda by Bioware

Scalzi reportedly withdrew from the Award today, but if his name is still on the ballot, consider this a warning against him. The Collapsing Empire was so badly written that a hastily-written parody quickly outsold it on Amazon.

Jemisin is a racist who hates whites and denigrates fandom. Everything associated with Marvel Comics is tainted, and Ms. Marvel is no exception. Mass Effect: Andromeda is a buggy mess that was, and remains, critically panned for its game-breaking bugs and phony dialogue — and among its key developers was a white-hating racist more focused on SocJus than making a great game.

The culture war is not merely about left or right, liberators versus supremacists. It is about whether creators should place entertaining their audience above personal politics. PulpRev and Superversive prioritise the audience, SocJus prioritises politics. The former creates fantastic fiction, the latter overpriced propaganda. With your help, we can keep the momentum going and support the creators who respect the craft and you. Together, we can make SFF great again.


NO GODS, ONLY DAIMONS has been nominated for the Dragon Awards!


I am pleased to announced that my novel, NO GODS, ONLY DAIMONS, has been nominated for the 2017 Dragon Awards under the Alternate History category. The Dragon Awards seeks to represent the finest works in science fiction and fantasy, giving all of fandom a voice in selecting the best books, games, TV series and movies. This is the first time a Singaporean has been received a nomination for the Dragon Awards. I would like to thank all of my readers and supporters; this historic achievement could not have been done without you.

To celebrate, my publisher, Castalia House, has made NO GODS, ONLY DAIMONS available on Kindle Unlimited, which you can find here. With 31 reviews and an average rating of 4.3 stars out of 5, it is among the highest-rated and best-received Singaporean novel on Amazon today. If you love the novel, please register to vote here and vote for NO GODS, ONLY DAIMONS by Kai Wai Cheah under the alternate history category.

Thanks for your support, and please look forward to the next novel titled HAMMER OF THE WITCHES.

After the Hugos

Vox Day wrote excellent write-ups about the Hugo Awards here and here. Taken together, they are a veteran’s perspective on the state of internal politics in science fiction and fantasy.

I don’t understand why Social Justice Warriors make such a big deal about the Hugos.It’s a meaningless status symbol. A little trophy doesn’t put food on the table, and in recent decades it is no indication of merit. As a child, every award winning SFF work I picked up was so utterly boring it turned me off from the field. Even today, I read far more thrillers and non-fiction than SFF post-1980. Where a plebeian genre writer like me is concerned, there are only two objective indications of a successful SFF story: honest reader reviews and overall sales.

Rabid Puppies, and to a lesser the Sad Puppies, have demonstrated that the Hugo Awards are irrelevant. Last year, the SJWs voted to burn down most of the Hugos than to pick a Puppy nominee. This year, the SJWs chose non-controversial picks over No Award — never mind that other finalists are objectively (in terms of sales figures, reviews and achievements) more deserving of the award, such as Jim Butcher or Toni Weisskopf. The Hugos will soon be changing their voting rules in response to the Puppies — no doubt to shut out the Puppies and only the Puppies.

The awards are so irrelevant that in a nation obsessed with firsts, nobody cares that I’m the first Singaporean to ever be nominated for the Hugos. And I don’t blame anyone. A small group of people played kingmaker, forced the SFF-SJWs and their allies to react to their strategy, AND recommended choices that more accurately reflect reader interests or literary accomplishments than the actual awardees. This tells any reasonable person that the Hugo Awards, ostensibly to represent the finest in SFF, are broken.

A Hugo Award is a hollow award.

I spent more time, energy and brainpower planning and preparing breakfast this morning than I did on the Hugos this year. Somehow, a tale I wrote, itself nothing more than a testbed for technologies and tactics like the Takao, made it all the way to the nominations. While I’m pleasantly surprised and grateful, I lose nothing by not winning the Award, and gain nothing but bragging rights by winning it. I have no stake in the Hugos and no reason to care, now or in the future. Likewise, my target audience doesn’t care about the Hugos or other awards, only whether a story is worth time and money.

I measure literary success not by trophies but by stories. Flashpoint: Titan is only the beginning: coming up next is The Burning of Worlds.

FLASHPOINT: TITAN is a Hugo finalist!

It is my pleasure to announce that my story FLASHPOINT: TITAN has been nominated as a Hugo Awards finalist. I am humbled by the amount of support I have received, and it is my great honour to accept the nomination. I also congratulate my fellow nominees, and I wish them the best of luck.

FLASHPOINT: TITAN was written and published almost exactly a year after my first professional sale with Castalia House. I am grateful for everybody who has helped me with my writing, including Steven Hildreth Jr., Nate Granzow, Brian Kunimasa Murata, Vox Day, and so many more. Without your help, I could not have gotten so far, so fast. You have my deepest thanks.

This nomination marks a milestone in Singapore literature. If my research is correct, this is the first time a Singaporean has been nominated as a finalist for the Hugo Awards. SFF is borderless, defined not by nationalities or arbitrary identity markers of writers or characters, but by its fearless exploration of technology, ideas and values. SFF, at its greatest, is an analysis, assessment, and affirmation of the human soul. I am proud to have played my part in growing this field, even if it were but a small role.

I acknowledge that the Hugos have been mired in controversy over the past few years. 2016 is no different. But no matter your position, if you are a voter, I ask only that judge each work on its own merits. Let the awards go to the most deserving, to the best and brightest in the field.

This is how we can make the Hugos great again.

Rabid Puppies Recommended!

Yesterday Vox Day released a list of personal recommendations for the Hugo awards, which of course is not a call for a block vote, and recommended me for the Campbell Award for Best New Writer, and Flashpoint: Titan for Best Novelette.

I am greatly honoured to accept such praise, and am deeply humbled by the fact that there are people who believe I am worthy of standing beside such luminaries as Stephen King and Andy Weir. Looking at the rest of the Rapid Puppies recommendations, I am fully confident that the recommendations will live up to the Rapid Puppies’ mission of making the Hugos great again.

Further, I am especially pleased by Vox Day’s inclusion of Space Raptor Butt Invasion. Science fiction is the literature of ideas, allowing radical concepts to be explored in great detail. This story is indubitably a masterwork that skilfully portrays interspecies non-heterosexual relations within a vividly-created science fictional universe, and would surely be a shoo-in for the Hugos among certain quarters.

Readers interested in other stories could also check out the Sad Puppies recommendations list, which is once again not a call for a slate vote.

Sad Puppies and Rabid Puppies have brought in more new voters and readers to the Hugo Awards in recent years than any other person or organisation in recent history. This can only be a good thing for the awards, meant to represent the best and the brightest in science fiction and fantasy.

I wish every eligible nominee the best of luck, and look forward to the final results.