I'm going to do a readers Q&A for the Monday post next week, since it's Boxing Day and probably not a great day for reading about Crash. Whereas just after New Year's seems downright perfect.
I've already solicited some questions via Patreon, and I'll answer all of those, but I'm willing to answer a few more than just those, so if you've got a question you've been dying to have me answer, leave it in comments. If it catches my fancy, onto the list it shall go.
(And of course there'll be a Doctor Mysterio review somewhere around there too.)
It's my great pleasure to bring you the latest Eruditorum Presscast, in which I sit down and interview Kieron Gillen. Most of our conversation is about his new Avatar series Uber: Invasion, which continues the story of Uber by having Nazi superhumans invading the US. So yeah, it's a little on the nose right now, as we discuss. We also talk a bit about his other projects, including The Wicked + The Divine, Modded, and Mercury Heat. It's a good time, or at least, a time where we talk about the horrors of war and fascism a lot. You can download that here.
If this podcast interests you, you're probably the exact sort of person who would enjoy my new book, The Last War in Albion Volume 1, which looks at the history of British comics as a magical war between Alan Moore and Grant Morrison. Volume 1 covers the early work of both men - basically everything pre-Watchmen - putting it in a frankly terrifying amount of context. That's for sale here. Or, if you're British, for sale here.
Thanks for reading/listening.
If you enjoy this and haven't already, please consider buying the book version of The Last War in Albion Volume 1, which collects the pre-Watchmen history of the War. Your support keeps this project going.
Previously in The Last War in Albion: Actually, this is basically a great jumping on point for new readers, though it helps to know that the previous chapter left off with the line "We do it because we are compelled."
The line, of course, belongs to Rorschach, the glamorous poison at the heart of Watchmen’s appeal. Moore is self-effacing about the character these days, joking that his popularity is down to the fact that Moore “had forgotten that actually to a lot of comic fans that smelling, not having a girlfriend - these are actually kind of heroic.” But unlike a lot of Moore’s self-deprecation, there’s an edge to this quip. He’s emphasizing his failure to anticipate the reaction to Rorschach, but only as a means to insult Rorschach’s fans even more spectacularly. There are obviously a lot of things about Watchmen that have gone sour for Moore, but at times it seems that there is nothing he resents quite as deeply ...
Recorded moments after our commentary for Father's Day, here's Jack and me doing commentary for the Russell T Davies not-nearly-as-classic-as-it-should-be Gridlock. I think we're vaguely more on topic this time, but that's really not saying anything.
So I'll admit we start with something that does not entirely inspire confidence: Dax and Bashir in handcuffs being escorted to a prison cell by Romulans, with Koleth being processed separately. As Dax argues with the Romuan guards, Doctor Bashir directs her attention to the window, where they can see the Arvas touching down just outside. On Deep Space 9, Maura is making small talk with her new clientele when Kira and a security detachment come in to escort her to the brig, where Commander Sisko is waiting for her. The Commander politely demands Maura tell him what she's smuggling through his station, motioning in her general direction with a Romulan disruptor pistol. Maura claims she's smuggling arms to rebels in the Gamma Quadrant, but refuses to disclose the Arvas' destination. Sisko and Kira don't buy it, and Kira snaps and grabs Maura by the nape of the neck. Commander Sisko calms her down, but informs Maura that since Odo is on the Arvas, he'll hold her personally responsible should anything happen to him and holds her in the brig until she's willing to talk.
In The Abyss, Dax and Bashir are called to ...
Eruditorum Press is pleased to announce that, at long last, the first volume of The Last War in Albion, Phil Sandifer's epic critical history of the magical war between Alan Moore and Grant Morrison, is available for purchase. Covering the period from Morrison's earliest professional sales in 1978 to just before the publication of Watchmen #1 in 1986, the book charts the beginnings of two of the most fascinating careers in the history of comics. The book features extensive looks at Swamp Thing, V For Vendetta, Marvelman, The Ballad of Halo Jones, Captain Britain, and more, including the first detailed study of Morrison's early superhero strip Captain Clyde since 1985.
The book is available in both print and digital editions at the following locations.
Please note that the digital editions, for a bunch of very stupid and boring reasons, do not have illustrations. They do, however, have a link at the end of the book where you can download a version with illustrations. We apologize for this profoundly stupid inconvenience, but felt that it was preferable to ...
new forms of labyrinths made possible by modern techniques of construction
The brutalist architecture that High-Rise does not critique has many fathers (and essentially no mothers), but its Anthony Royal figure is no doubt Le Corbusier, the pseudonym of Charles-Édouard Jeanneret, whose 1923 manifesto Vers Une Architecture (first published in English as Towards a New Architecture, but these days called simply Toward an Architecture) laid out the principles of a new, sleek modernist style, and whose Unité d'Habitation design, used as the blueprint for several 1950s housing projects, defined the specifically brutalist style with its use of rough (or, in French, brut) concrete.
As an architect, Le Corbusier is a giant. Whatever crimes may be laid at the feet of the movement he spawned (and there are many), his actual buildings were iconoclastic and compelling, and remain striking to this day. But it is in many ways as a polemicist that he really shines. Modernism produced no shortage of manifestos, but any list of the great ones that excludes Vers Une Architecture is simply off its head. It is a work of masterful provocation, full of taunting and grandiose slogans. The most famous of these, and thus, given the ...
Jack and I are pleased to bring you our commentary for Father's Day. Be warned, this may be basically peak off-topic. I may need to change our brand after this. Still, if Jack and I talking about whatever amuses you, here's some of it.
God I suck at marketing.