I was on a podcast: Lucifer with Uncle Yo comes to an end

Well, it’s been 11 fun episodes, and I’m sure I’ll be on the show again at some point, but for now, my run as a guest on Uncle Yo’s We Are the Geek podcast is over with our discussion of Volume 11 of Vertigo’s Lucifer. Here’s all the episodes, with Yo’s descriptions from his site:

  • Volume 1: Yo and Jed A. Blue are knocking on the wrong door by reviewing, paraphrasing, and summoning volume 1 of Vertigo Comics’ great series, Lucifer. You know what they say about idle hands…
  • Volume 2: Summer gives way to spring(?) as Uncle Yo retrieves Jed A. Blue from his crystal dagger prison on the fields of Glys to discuss Vertigo’s fantasy epic, Lucifer, written by Mike Carey. Prepare for purgatory as we embrace The Fall. Korra is done, Peter Capaldi is the Doctor, and we are all Fire and Brimstone.
  • Volume 3: Our journey into Lucifer continues as Yo and Jed watch the Devil face off against Izanami, demons, and an 11-year old British Grammar School Student in Lucifer Vol 3: “A Dalliance With The Damned.”
  • Volume 4: Pride cometh before the fall, and it’s time for Lucifer to be pegged down a notch. Jed Blue and Yo descend beyond Death herself to discuss the most action-packed volume of this graphic novel series. (Content warning: Sexual assault, forced pregnancy.)
  • Volume 5: A fight to the death, a debt to pay, and Heaven vs. Hell as Lucifer returns his old hometown of Hell to face Archangel Amenadiel of the Host.  With Jed A. Blue.
  • Volume 6: Lucifer assembles a crew to pilot the Naglfar in an attempt to bring Elaine Belloc’s soul back from its resting place. Yo and Jed A. Blue look into the mirrors of other worlds and discover that, yes, there is something staring back at you.
  • Volume 7: The Throne of Creation is empty now that God has left his Creation to crumble. Who is able (or willing) to usurp? Lucy and Maz have their hands full in this gory, comical and oddly touching volume.  With co-host Jed A. Blue.
  • Volume 8: With Yahweh gone, there is blood in the air, and that can only mean the Wolf is not far behind. Fenrir, the demi-god of destruction, seeks out the tree Yggdrasil. It’s suddenly up to Lucifer, Michael, and Elaine to intervene and stop this linchpin. If they can…
  • Volume 9: While Yo reminisces on the passing of New York Comic Con from the fans to Hollywood, Jed A. Blue and he dwell on despots, leaders, change, death, rebirth, birth, and the outcome of Fenris’ plots.
  • Volume 10: We’ve reached the final battle between Creation and Destruction as Fenris takes on Lucifer, Noema takes on Free Will, and Lilith takes backstage with Elaine to make the case to Yahweh himself.
  • And, finally, today’s episode, Volume 11: Yo and Jed have arrived at the new Creation. How will the Devil wrap up his business with Creation, how will Elaine play God, and how DOES Lucifer…y’know…with the ladies? The final stretch is here as we sing the Evensong.

I continue to be on a podcast: Lucifer vol. 2 w/ Uncle Yo

Yep, I’m once again on Uncle Yo’s We Are the Geek, discussing Mike Carey’s Lucifer, volume 2 this time.


In other news, I’m considering trying out a Patreon instead of Kickstarter going forward. The main issue is figuring out rewards. The obvious one, I think, is an e-book subscription–some small donation per month that gets you every e-book I release during your subscription period, which would be 2-3 a year. Some higher number to get print books, I guess?

Other than that, I dunno, I have some ideas on subscriber exclusives I could offer:

  • Early access to posts. Normally I write posts anywhere from a week in advance to mere minutes before it’s due, sometimes after, but for Near Apocalypse the realities of a true psychochronography mean that I’m going to have to be at least a couple of weeks ahead, and I’m going to try for months.
  • Commentaries? I dunno if there’d be any interest in this, but I could record commentary tracks for shows the Patreon backers vote on, or something?
  • Extra essays. This wouldn’t be a reward for individual backers, but rather something I’d do for the backers collectively reaching particular monthly goals, namely that Near Apocalypse would go twice-weekly, or I’d add other features.

Any thoughts? Concerns? Ideas? Backer exclusives people would like to see?

I’m on a podcast: Lucifer vol. 1 with Uncle Yo

I’m a guest this week, and for the next several weeks, on geek comedian Uncle Yo’s podcast, We Are the Geek. We’ll be discussing Mike Carey’s comic Lucifer one volume at a time–he’s read them all before, I’ve only read as far as the volume we discuss. Our conversation about volume 1 is here!

Book Review: A Golden Thread by Philip Sandifer

It should come as no surprise to long-time readers that I have been heavily influenced by Dr. Sandifer’s work; it would only be a slight overstatement to say that My Little Po-Mo is an outright ripoff of his TARDIS Eruditorum. So it should equally come as no surprise that I was quite excited by the prospect of a book by him at the intersection of two of my favorite topics, DC Comics and feminism. But A Golden Thread is not a feminist study of Wonder Woman per se; rather, much as TARDIS Eruditorum uses Doctor Who as a window through which to view British utopianism throughout its run, A Golden Thread uses Wonder Woman as a window onto the history of feminism in the U.S.

This is not, however, Themyscira Eruditorum; rather than in-depth analyses of individual Wonder Woman issues or story arcs, it takes a high-level look at different eras of the comic, studying how these eras respond to the issues of previous eras in ways that reflect or reject the feminist currents of the time. Of particular note are the early chapters on Marston, the creator of Wonder Woman, which identify, and then explicitly avoid, the usual approach of identifying him as the sexually deviant inventor of the lie detector, as if that explains all that need be explained about Wonder Woman. Instead, the book explores his professional writings and other projects, building a case that Wonder Woman was simply the most successful of multiple attempts to express Marston’s peculiar brand of utopian, gender-essentialist feminism and his vision of a matriarchal society defined by willing, loving submission rather than coercive, forceful domination.

That this vision failed, while the comic based on it succeeded, is key to the book’s premise regarding feminism, that social progress is a matter of “making new mistakes.” For example, the chapter on the “I Ching” era of Wonder Woman, in which she was depowered, becomes a chronicle of the mistakes of second-wave feminism in general and Gloria Steinem in particular. The book never quite reaches for the claim, but the suggestion that the I Ching era was foreshadowing the third wave is an easy one for the reader to fill in.

Therein lies one of the major differences between this book and Dr. Sandifer’s other work: restraint. It is a double-edged sword; on the one hand, there is nothing in this book remotely as gloriously outré as the Blakean take on “The Three Doctors” in the third volume of TARDIS Eruditorum, let alone the Qabbalistic Tarot “Logopolis” Choose Your Own Adventure in the upcoming fourth volume. On the other, it is more accessible by far than TARDIS Eruditorum or especially The Last War in Albion, his ongoing study of Alan Moore and Grant Morrison.

Which is not to say that the usual Sandifer flavor is absent! His distaste for organized fandom shows up strongly here, as he blames the emergence of such (probably deservedly) for the post-World War II decline of the comic. He also, as usual, does not shy away from mounting strong defenses of indefensible positions, in this case trying to argue that the animated Wonder Woman movie is inferior to the David Kelly-produced television pilot. His criticisms of the former are accurate and cutting—it is a far from perfect film—but he defends the latter against a strawman, ignoring the strongest criticism of the pilot, that it depicts Wonder Woman as a remorseless and unhesitating killer.

Nonetheless, the book stands as an excellent microhistory of Wonder Woman, accessible even to a reader who knows little of her comics (such as myself—I know her mostly through the DCAU, her appearances in crossovers, and the Gail Simone run), highly informative, and engaging. It is worth the price for the fresh take on Marston alone, but the rest of the book has much to offer as well.