Eruditorum Press

No ideas but in Swamp Thing

Elizabeth Sandifer

About Elizabeth Sandifer

http://www.eruditorumpress.com

Elizabeth Sandifer created Eruditorum Press. She’s not really sure why she did that, and she apologizes for the inconvenience. She currently writes Last War in Albion, a history of the magical war between Alan Moore and Grant Morrison. She used to write TARDIS Eruditorum, a history of Britain told through the lens of a ropey sci-fi series. She also wrote Neoreaction a Basilisk, writes comics these days, and has ADHD so will probably just randomly write some other shit sooner or later. Support Elizabeth on Patreon.

Posts by Elizabeth Sandifer:

You’re Fast Becoming Prey to Every Cliché-Ridden Convention in the American West (A Town Called Mercy)

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The problem of Susan.
It’s September 15th, 2012. Ne-Yo is at number one with “Let Me Love You,” with Pink, Public Enemy, and Fun also charting. In news, an attack on the American embassy in Libya results in the death of the US Ambassador, among others. Andy Murray wins the US Open. Also, I turn thirty. How ghastly. 
While on television, A Town Called Mercy. It is easy to find fault with this story. This does not, however, make it any less worth doing. First and most simply is, of course, Susan, the trans mare. This marks the second time Toby Whithouse has completely fucked up trans representation (the first being his gobsmackingly transphobic bit of dialogue for Jack in Greeks Bearing Gifts over on Torchwood). One can certainly argue that Susan was not actually trans, and indeed, I am forced to do so, but let’s be clear that I am doing so only because the alternative is to have the Doctor misgendering someone, and no. One might argue that the intent was good, although I think you run aground pretty quickly when you realize that thus far all trans representation on Doctor Who has been for the purpose of jokes, which is actually pretty much the opposite of good intentions no matter how much you state it. It’s past fucking time we have a trans character on Doctor Who, played sincerely and sympathetically. Ugh.
Moving on, then, we get to more substantive issues. When looking at the allocation of episodes in this mini-season, the Moffat bookends seemed likely to be good, the Chibnall episodes seemed solidly unpromising, and then you had Toby Whithouse in the middle. Whithouse is an interesting writer – his three previous stories were good. His Torchwood script was at least well-crafted, which is one of the nicest sentences you can write that begin with the words “his Torchwood script.” Being Human is fabulous. He’s probably one of the more interesting possibilities for next showrunner, in that he’s got the basic ability to write in a bunch of different tones and to change things up within an episode. He can do scary, tragic, and funny in the same forty-five minutes, he’s got experience on big dramas. I’m really interested to see The Game when it drops, which, curiously, seems like it will be in the US before the UK. And so this looked quite promising.
But with A Town Called Mercy we see one of his basic virtues as a Doctor Who writer turn unexpectedly to vice. One of the things Whithouse has always been very good at is what we might call high-theme writing – the sort of thing that, in Doctor Who, came out of Paul Cornell’s early 90s embrace of Neil Gaiman’s “tell don’t show” approach, where you make sure whatever big statement about Doctor Who you want to make is actually delivered, as dialogue, within the text. This has been characteristic of the new series, and is actively reinforced with the famed “tone meetings” in which all the different departments are put on the same page about what the story is doing and then turned loose to contribute actively to the storytelling.
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Flatline Review

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This review was brought to you by the generosity of my backers on Patreon. Please consider joining them. Also, if you’re in the New York area, I’m doing a launch party for TARDIS Eruditorum Volume 5 (it’s out, by the way). That’ll be next Saturday, October 25th, at 3:30 PM at The Way Station, in Brooklyn. Copies of all five volumes of TARDIS Eruditorum will be for sale, and I will be signing stuff if you want to bring copies you already own. There’s a Facebook event page here. 

Hello folks. Let’s take the temperature of the world, shall we? Comments thus far are quite positive. GallifreyBase has an impressive 84.4% in the 8-10 range, with 9 being the most popular at 32.69%, which has this at slightly more popular than Mummy on the Orient Express. I’ll be honest, that surprises me a bit, as I was, for the first time this season, a bit underwhelmed.

That said, this one is tricky, and in a way that feels as though there’s an unusually high chance of my revising my opinion on it upon seeing what it’s actually building to. We’re to the point in the season where the finale is tacitly hanging over things, and this one in particular seems to be making some points about Clara that could feel very different in a couple of weeks. But for me, right now, it feels messy and untidy. Like Mummy on the Orient Express, its emotional resolution is consciously ambiguous, in a way that makes it end off feeling slightly less developed than I think the story actually is. This is due in part to the sneaky power of endings to redefine and reimagine everything that has come before, but it’s also due to the ending actually just not quite fitting with what’s come before completely.

So much of what is going on here hinges on the question of what Clara being elevated to having to “be the Doctor” actually means. Which is indeed a complex question, given the way in which the season has largely treated the Doctor as an object of the sublime – at once wondrous and terrifying. And so for Clara to become the Doctor is not merely aspiration.

This is a marked change – typically the “companion steps up” story is about the companion striving to be better. With Clara, it’s not quite. Indeed, there’s a genuine sense that in becoming the Doctor she has become lessened. In a season in which we have repeatedly been asked to consider the idea of a dark Doctor, and have in many cases simply done so unbidden, without the text particularly pushing us to, just by the knowledge that Peter Capaldi is playing him. Instead, however, especially as her relationship with Danny continues to paint her into an increasingly unsympathetic corner, it feels as though it’s in fact a season about a dark Clara.

And the contours of this revelation have been slyly hidden in the way in which the Doctor’s part has never been written as a traditional lead.…

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The Darkness Finally Screamed (The Last War in Albion Part 66: Crisis on Infinite Earths, Whatever Happened to the Man of Tomorrow)

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This is the sixteenth of twenty-two parts of Chapter Eight of The Last War in Albion, focusing on Alan Moore’s run on Swamp Thing. An omnibus of all twenty-two parts can be purchased at Smashwords. If you purchased serialization via the Kickstarter, check your Kickstarter messages for a free download code.

The stories discussed in this chapter are currently available in six volumes. This entry covers stories from the fourth volume. It’s available in the US here and UK here. Finding the other volumes are, for now, left as an exercise for the reader, although I will update these links as the narrative gets to those issues.

Previously in The Last War in Albion: Alan Moore’s Swamp Thing tied in with Marz Wolfman and George Pérez’s epic Crisis on Infinite Earths.
“In the beginning there was only one. A single black infinitude, so cold and dark for so very long that even the burning light was imperceptible. But the light grew, and the infinitude shuddered, and the darkness finally screamed, as much in pain as in relief.” -Marv Wolfman, Crisis on Infinite Earths

Figure 491: The cover of the debut issue of Crisis on Infinite Earths.
This story, published as a twelve-issue limited series, was a watershed moment in the history of comics. It came about due to the confluence of two seemingly unrelated things: the fact that DC Comics took place in a multiverse consisting of infinitely many parallel universes, and the fact that over the course of the 1970s and 80s American comic book retailing had steadily transitioned from being dominated by newsstands and other magazine vendors to being dominated by shops focusing exclusively on comic books. 
This tendency began in 1972 when a bookshop owner and comics convention organizer named Phil Seuling created East Coast Seagate Distribution after negotiating deals with most of the major comics publishers to allow him to buy comics at a deep discount in exchange for the comics purchased being nonreturnable. Because this dramatically decreased the risk for publishers (who were, as ever, facing declining sales), this proved acceptable to the companies. Seagate then arranged to ship those comics to specialty shops. Over the course of the ensuing decade, this eclipsed newsstands as the primary means of distributing comics, in no small part because Seagate could routinely get comics to shops a week faster than the newsstands got them, a fact that comics fans quickly picked up on, bringing more traffic towards the specialty shops and away from newsstands. In 1973, the direct market consisted of approximately 25% of comics sales. A decade later, it was newsstands that made up only 25% of the market, and the industry was awash in regional distributors all in competition with one another. 
One consequence of this was a fundamental shift in the nature of comics readers. Whereas in their early days American comic books were read by a wide and general audience, the direct market sold entirely to people who were dedicated enough comics fans to go to a shop stocking specifically comics, as opposed to people who happened to pick them up from a magazine rack at the supermarket.
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Good Grief, It’s a Stegosaurus! (Dinosaurs on a Spaceship)

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Title accomplished. 

It’s September 8th, 2012. Little Mix is at number one with “Wings,” with Florence and the Machine, Sam and the Womp, and Taylor and the Swift also charting, the latter with “We Are Never Ever Getting Back Together,” which is the second best title we’re going to discuss in this post. In news, since it’s been a while since we’ve checked in, there’s been most of the US Presidential campaign, and at this point it’s settled to a nice, drab Mitt Romney vs Barack Obama contest. 620 million people lost power in India. The Mars Rover Curiosity landed. Oh, and there was Queen Elizabeth’s Diamond Jubilee, which was celebrated by forcing unpaid workers to sleep under a bridge.

While on television, Dinosaurs on a Spaceship, which is about what you’d expect. It’s not entirely unfair to accuse this story of aiming for mediocrity and hitting it squarely. Its title announces a somewhat spectacular lack of ambition – a Snakes on a Plane riff. That said, Doctor Who can fairly be expected to occasionally do frothy adventure stories, or, as we call them in fandom, romps. This one may come off as being particularly unambitious, but equally, there’s a brazen cheek to it that appeals.

Still, let’s look at what’s in this simple little romp. First, of course, is the premise – a Silurian ark that got hijacked by a man who can discern the value of anything in space and time, but who can’t actually fly it. The ship is given enough little details to be memorable – the tidal power is a clever image, although the physics of it seem strained at best. The “two people of the same genetic line” piloting is a contrivance, but again, at least a memorable one. We’re back in the territory of Doctor Who being about unraveling the nature of a world, which is always a nice sort of return.
There’s also the villain, Solomon, who’s one of the nastiest pieces of work the show has had in a while. David Bradley is one of several bits of top notch casting in this story, but in many ways what really jumps out is the fact that Solomon is so different from Bradley’s other recent famous nasty piece of work in a sci-fi/fantasy show. There’s a casual sadism to Solomon that crackles, especially in the blasé way that he describes killing off the Silurians. He’s sufficiently nasty that what would normally be the slightly shocking resolution of the Doctor actively killing him (which we all know he’s not supposed to do unless the villain isn’t human) seems oddly satisfying.
Also significant in terms of the premise is the Indian Space Agency, which is notable as the closest thing Doctor Who has ever done to actually setting a story in India or in any substantive way engaging with Indian culture. It’s a small touch, but one that carries real weight, even if the ISA ultimately just does the same stuff that every earth-based governmental organization always does when aliens are involved in Doctor Who, namely delay a bit and then try to blow them up to provide a climax to the story. 
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A Good Dalek (Asylum of the Daleks)

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In this scene, Clara is cleverly disguised as Oswin Oswald.
If you missed it, the latest volume of TARDIS Eruditorum is out. Print availability glitched yesterday, but it’s now fixed and available for ordering. My apologies for the screwup.
It’s October 14th, 2014, and this goes up in eleven hours. It’s a bit of a late start. My fault. People were wrong on the Internet.
If you’re reading this in the blog version, this is the first regular-season Moffat story to be placed in the proper order since The Beast Below, a tactic that has had the effect of jumbling the narrative of his stewardship of the program, slightly obscuring the business of actually making history out of it. If you’re reading this in the book version, this sentence will have a better ending reflecting whatever my final decision is on how to do the River entries there. (I’m kind of unhappy with the idea of the Tennant book not having Silence in the Library/Forest of the Dead and with the Smith book lacking Name of the Doctor. And if the conceit of the entries works out, ultimately reading the River Song entries in their correct places ought to work just as well as scrambling them.) 
It’s not the best time to be writing this, honestly – a statement with sly double meaning given that the real deadline is three hours, as that’s when Jill comes home from work and we need to head to bed, because it’s another 5am wakeup tomorrow. God help me, I’m on days. But what I mean is on October 14th, 2014, with what are probably just four more episodes of Clara’s story to air. Here I have to tackle the first part, and there’s an impossibly large amount of potential foreshadowing that might be worth highlighting. To pick just one possible example – something that could turn out to be a meaningless blip, or could turn out to be a major thematic point: Clara quite literally makes a good Dalek. Who knows what else there is. 
This is a characteristic of Moffat’s plotting, and is worth unpacking. There’s a popular theory within media criticism that says that, when plotting an extended storyline in a serialized medium, you should know where you’re going when you start. This, after all, helps with that whole Aristotelean unity thing. If you know the ending, you can set it up at the beginning. Many people – Alan Moore still visibly holds a grudge over this – say that’s what was wrong with Lost all along: that they were making it up as they go along. And yet there’s clearly an extent to which this is not true. I’ve been leafing through The From Hell Companion lately, and it’s full of amusing anecdotes highlighting the ways in which From Hell did and didn’t unfold according to a set design, and how Moore’s conception of it changed based on what Campbell did with the art. Yes, there are many ways in which the broad strokes were in place from the start, and even many specific details, but there was also lots that changed along the way.
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Book Launch of Fang Rock

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The screwup with the print version is resolved, and it is back on sale. Sorry for the glitch. Details in comments.

The blog version of TARDIS Erudiorum will run on Wednesday and Thursday this week. Today, some long overdue good news.

The latest volume of the TARDIS Eruditorum book series is now for sale. You can get it at the following locations.

US: Kindle, Print
UK: Kindle, Print
Smashwords (For non-Kindle e-readers)

It’ll be popping up on other ebook stores over the next couple days/weeks, including Barnes and Noble, Kobo, and iBooks. I make the same royalty off of all of the channels linked, so whichever one is most convenient for you is the one to go with. Previous volumes are available at the same sites, although the nature of the books is to be pretty self-contained, so if this is an era that interests you, don’t worry about the first four volumes.

This one covers the back four years of the Tom Baker era, primarily the Williams years, but also the first year of John Nathan-Turner’s run, covering everything from The Horror of Fang Rock through Logopolis. It thus contains:

  • Revised and expanded versions of every relevant essay, including all the Pop Between Realities, Time Can Be Rewritten, and other side trips of the era, and the gargantuan Kabbalistic Choose Your Own Adventure essay that is “Recursive Occlusion (Logopolis),” now with actual page-turning or clicking around. 
  • A book-exclusive Pop Between Realities post on Target, the show Graham Williams was poached from, and Philip Hinchcliffe was placed on following Season Fourteen of Doctor Who. 
  • Book-exclusive Time Can Be Rewritten entries on Big Finish’s The Auntie Matter and BBC Books’ Festival of Death
  • An essay exploring the Guardians’ role in Doctor Who “canon.”
  • An essay on the John Nathan-Turner era and whether it was a complete and utter disaster.
  • A second “Now My Doctor” essay on Tom Baker, exploring what makes these latter years of his era so good.
  • An essay entitled “The Shada Variations” looking at the numerous attempts to complete Douglas Adams’s great unfinished story.
And then there’s one more essay, which I’m very, very proud to announce – a twenty page interview with Gareth Roberts on the Williams era, his love of it, how he’s approached writing stories set in it, and his thoughts on its continual influence.
It also includes what is, for my money, the best cover James Taylor (not that one) has ever done for me – a stunning homage to 70s science fiction novels that he explains his process for here. He’s also got a set of desktop wallpapers made of the cover for those of you who love it enough to want to cover it with your messy collection of folders and icons. Please, go have a look, as his work really is fantastic.
Thanks also to Alison Campbell and Millie Hadziomerovic, who provided copy-editing this time.
To answer obvious questions, the Logopolis book is coming along nicely.
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Mummy on the Orient Express Review

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This review was brought to you by 165 backers on Patreon, who would be very happy if you joined them.

Right. Haven’t even looked at Twitter or e-mail, because they’re both slightly overwhelming, but GallifreyBase, well after both UK and US airings, is 82.66% in the 8-10 range, with 9 being the most popular pick, so this is apparently a popular one. To me, it is, in many regards, something of a baseline episode. It’s not a season highlight, largely because nothing in it ever soars to outright greatness. But it keeps things lively and never screws up. It’s the sort of episode that’s why I ultimately opted against letter grades – because any season of television is going to have a few like this.
What’s interesting to me, though, is that there’s been virtually nothing this season that seems to set out to be baseline. There are things that work better than others, but everything has at least tried to do something new. The only episode you can really accuse of trying to be ultra-traditional is Robot of Sherwood, and it came early enough in the running order that it was innovative in the way that turning a new actor loose on old standards can be in Doctor Who. Other than that, though, the M.O of this season has been trying to find something fresh. Whether it be a new twist on an old standard (The Caretaker, Listen) or something that Doctor Who’s just never really done before (Time Heist, Kill the Moon), the idea has been a real return to Doctor Who being a show that does things that haven’t been done before.
Not everything can be the best. But one really doesn’t get the sense that anything this season has been content to give up trying to be the best at the outset. Everything is trying its damnedest to be the shock favorite. It’s why I’m so inclined to call this my favorite season ever. For the first time since 2005, every episode has felt like it’s written with a hunger and a desperate desire to prove itself. And what that means is that even a baseline episode like this sparkles.
The device of the sixty-six second countdown, forcing the episode into real-time for a sequence, is marvelous. It’s set up and clearly established in the cold open, and then explored meticulously. Crucially, every iteration of it changes the approach or the rules slightly. It’s a fairly high-death episode, but every single death shifts the balance of power or the nature of the problem slightly. We learn new things about the rules of the mummy each time. The episode works like many of the best video games do – it introduces a mechanic and then explores progressive iterations of it. (And the on-screen clock owes no small debt to the visual grammar of the HUD) The fact that the series is now bold enough to casually introduce entirely new visual techniques each week and to take on a new philosophy of what the camera and the screen means is a massive leap forward, and will hopefully be the enduring legacy of the Moffat era.
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Loosen Your Astral Sphincter (The Last War in Albion Part 65: Windfall)

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This is the fifteenth of twenty-two parts of Chapter Eight of The Last War in Albion, focusing on Alan Moore’s run on Swamp Thing. An omnibus of all twenty-two parts can be purchased at Smashwords. If you purchased serialization via the Kickstarter, check your Kickstarter messages for a free download code.

The stories discussed in this chapter are currently available in six volumes. This entry covers stories from the fourth volume. It’s available in the US here and UK here. Finding the other volumes are, for now, left as an exercise for the reader, although I will update these links as the narrative gets to those issues.

Previously in The Last War in Albion: In amidst the American Gothic arc were a couple of one-shots, including one entitled “Windfall.”

“Tripping on 500 mushrooms might loosen your astral sphincter a little but it will not generally confer upon you any of the benefits of the magic I’m discussing here. Magic is about what you bring BACK from the Shining Realms of the Uberconscious.” – Grant Morrison 

Figure 484: Chester picks up a fallen
tuber. Note the implied face of Swamp
Thing in the tree behind him. (From
Swamp Thing #43, 1985)
In many ways, “Windfall” is a sequel to “Rite of Spring.” Like “Rite of Spring,” it engages explicitly with psychedelia, telling the story of two people who come into possession of one of the tubers that grow on Swamp Thing’s back. What is perhaps most notable about “Windfall,” however, is that the story’s protagonist is a drug dealer. Swamp Thing himself only appears in the first four panels of the strip, which show one of the tubers dropping off his back. At that point it’s picked up by an aging hippie named Chester (complete with Grateful Dead shirt) who may or may not be physically modeled off of Bryan Talbot’s Chester P. Hackenbush. Although at the time of the story Chester is, as he puts it, “doin’ ten days brown rice, tryin t’clean my system out, y’know,” he’s clearly a man with an extensive interest in ethnobotanicals and psychedelics, such that two separate people come to him looking for drugs.
The first is a man called Dave, whose wife Sandy is dying of cancer with only a day or two left to live, and is in excruciating pain. Although Chester is not sure what (if anything) the tuber does yet, besides suspecting that it might be somehow related to datura (which, in some forms is, notably, a rhizome), he offers Dave a piece. Immediately after Dave leaves Chester gets his second visitor: a boorish guy named Milo who declares bluntly that “I feel like getting screwed up tonight” before simply taking the biggest piece of the tuber without paying for it.
Figure 485: Sandy’s psychedelic death
evokes the imagery of the famed “Rite
of Spring” issue. (Written by Alan Moore,
art by Stan Woch and Ron Randall, from
Swamp Thing #43, 1985)
At this point the comic begins a ten page section in which it alternates between a page telling Dave’s story and a piece telling Milo’s.
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You Were Expecting Someone Else 33 (Assimilation²)

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Josh Marsfelder of Vaka Rangi, a critical history of Star Trek (he’s just started The Next Generation) and related topics (including an essay on Doctor Who), writes on the Star Trek/Doctor Who crossover comic by IDW. Also, speaking of comics, no reviews this week I’m afraid – won’t be around to pick up my books due to those Cleveland talks. 

Let me preface this by saying I am not a comics person. My first, and only, sojourn into the world of mainline United States sequential art was around the time there were several different Spider-Mans running around Marvel while at DC Supergirl was some kind of pink alien goo matrix or something. I took one look at that, promptly decided comics were fucked up and never looked back. I am, however, apparently something of an authority on Star Trek, which is why Phil has so graciously invited me to say a few words about the first, and to date only, time that other big polyauthored science fiction TV franchise crossed over with Doctor Who.
The one exception I made to my self-imposed rule of avoiding US comics at all costs came anytime there was a four-colour adaptation of Star Trek: The Next Generation and Star Trek: Deep Space Nine during the late 80s and early 90s, during the tail-end of the period I’ve come to call the Long 1980s. Back then, you couldn’t just queue up Netflix or Hulu (or other places) to rewatch your favourite show-You had to wait for it to be re-aired, which was if not rare, at the very least unpredictable, or wait for it to come out on VHS, which took a long time. And,  at least if you were someone like me, collecting TV shows on VHS was simply out of the question: Not only was it expensive (I’ve never been a terribly wealthy person), but it took forever for home video releases to come out, and it was hard to keep enthusiasm going that long. If I wanted new adventures with my favourite Star Trek heroes, I was limited to my imagination (which I daresay I’ve been blessed enough to have in abundance), or to the tie-in comic lines from DC and Malibu. Indeed, especially in the case of Star Trek: Deep Space Nine, much of my memories of and perspective on the show came not from the TV episodes themselves, but the comics. 
It didn’t hurt that this was something of a golden age for tie-in comics: Most of them were written by talented authors and artists who also happened to have a deep appreciation for the source material they were tasked with adapting. Indeed, Ron Moore said a number of times that he was a big fan of Michael Jan Friedman and Pablo Marcos’ run on the DC Star Trek: The Next Generation book, because it was the only way he could actually experience new stories with a cast of characters he’d come to love as a member of the audience.
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Pop Between Realities, Home in Time for Tea 83 (The 2012 Olympics)

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“One measures a circle starting anywhere.” – Charles Fort, quoted by Alan Moore in From Hell

Before we begin, a touch of housekeeping. The Williams book should be out within the week. I think it has something that will make a fair number of you excited in amidst the extra essays. Also, if you’re in the Cleveland area, I’m giving a pair of talks this week at the Lakewood Public Library. On Wednesday, at 7pm, I’m talking about Wonder Woman, doing “a comic for more or less every decade,” and then on Thursday at 7pm I’m doing one on Doctor Who that will be “a brief history of overthrowing the government.” Both talks are free, there will be books for sale and I’ll be signing, and it’ll be a good time, so if you’re local, please do come out. Now, on to the Olympics.

I think this will be the last time we do a Pop Between Realities that’s about a cultural event as opposed to another television series. Those have been sporadic features, and from time to time I’ve cheated – I did the Three Day Week of 1973 in the same post as Dad’s Army, for instance. But they’ve been a major part of what TARDIS Eruditorum is. So here we have yet another ending for the blog. Another tradition wrapped up. Another step towards the present.

The nature of how I write it these days is much closer to the early days than to most of the blog. I’m not back to writing things the day they post and them thus going up at erratic times, as they once did, but I am writing this about twelve hours before it goes up, trying to finish before bedtime, which is in about four hours because Jill and I are on days this week. I’ve just posted my Kill the Moon review, and have been enjoying the fires it lit. Over on Tumblr today, Jack Graham got an ask about TARDIS Eruditorum, and said some very sweet things, but mentioned a couple of objections, all of which are completely reasonable and insightful. But one managed to get under my skin, as the best criticism, which was his observation that I’m “overly teleological in this attitude towards the development of the show, especially with regards to the dawn of BBC Wales.” Which I absolutely am. Largely because I’m stuck being so. There’s always been a telos to TARDIS Eruditorum. Even when the specifics of its ending point weren’t completely fixed, it was always building to an ending out of necessity: eventually it was going to run out of Doctor Who. And because it’s presented itself as a narrative, that makes for an ending. Sure, I’ll do a Capaldi book eventually, and probably knock out a book whenever there’s an end of an era of Doctor Who, because I like writing about the series and the money’s good. But we’re still coming up on the end. Everything else will really just be appendices at that point.
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