Eruditorum Press

Fuck around *and* find out? In this economy?

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:

Saturday Waffling (May 10th, 2014)

43

Hello all. Looking halfway decent for The Sarah Jane Adventures to go thrice weekly, so that’s nice. I’ve been writing those this week. Finished the first four of the seven posts. And then straight on to A Christmas Carol.

So, I’m working on promoting the whole Kickstarter thing. For a variety of reasons, I’d like to have an interview about Last War in Albion I can link to. So I figure I’ll lash together some reader questions into something or other and put that up on Tuesday so I can link to it.

So. Questions about Last War in Albion. From the very obvious and basic to strange and arcane points people wonder. Fire away, and I’ll start off answering in comments before transferring the whole thing to a blogpost.…

Continue Reading

The Old Straight Tracks and the Sacred Stones (The Last War in Albion Part 43: Hulk Comic)

, 12

The Kickstarter to fund The Last War in Albion has made it to its first stretch goal! Next up is a commitment to blogging through Volume 4 of the project, focusing on Neil Gaiman’s Sandman.

This is the second of ten parts of Chapter Seven of The Last War in Albion, focusing on Alan Moore’s work on Captain Britain for Marvel UK. An omnibus of the entire is available for the ereader of your choice here. You can also get an omnibus of all seven existent chapters of the project here or on Amazon (UK).

The stories discussed in this chapter are currently out of print in the US with this being the most affordable collection. For UK audiences, they are still in print in these two collections. 

Previously in The Last War in Albion: The 1976 launch of Captain Britain, Marvel’s first comic created for exclusive UK release, was filled with a lot of fanfare, but under the hood the fact that it was blatantly created by Americans was altogether obvious…

“I am Elen, Goddess of the old straight tracks and the standing stones! Once only in seven times seven score years can mortal man gain the powers of Earth and Fire from the stones of this place.” – Grant Morrison, Captain Clyde

The fact that only sixteen issues into his own series Captain Britain not only needed to be propped up with a high profile guest star, but had to be propped up by the exact character he was demonstrably designed as an imitation of speaks volumes about the problems the series was facing. And these problems can hardly be called a surprise – of course a series with a hook of “Britain’s very own superhero” is going to be lackluster when it’s produced by a bunch of Americans with a minimal-at-best connection with Britain. At least Claremont was born in the UK, even if he moved away too young to have any meaningful memories of it – but Herb Trimpe’s UK bona fides consisted of having vacationed there once, an experience that seems to have mostly left him with the view that he “didn’t believe that a superhero could be popular in England.” But as tenuous as the initial creative team’s connection to the UK was, Friedrich’s arrival marked the point where the series became a revolving door of creators with no connection whatsoever – Trimpe left after issue #23, with John Buscema, a longstanding artist most associated with The Avengers, drawing seven issues before being replaced by Ron Wilson, around which point writing duties became a complete mess. Issue #36 was plotted by Friedrich but had dialogue entirely written by Larry Lieber, issue #37 was scripted by Len Wein, with Larry Lieber joining Bob Budiansky for plotting duties, and issues #38 and 39 were plotted by Bob Budiansky with dialogue by Jim Lawrence. By this point the comic had long since deteriorated to where it was no longer profitable to print it in color, and with issue #39 it was cancelled entirely and, in the usual Marvel UK way, merged with another title, in this case the newly reminted Super Spider-Man and Captain Britain.…

Continue Reading

How to Read The Last War in Albion

30

Occasionally the comment is made, whether as an accusation, a complaint, or a compliment, that The Last War in Albion is a difficult text. You can see – it’s right there on its embryonic TV Tropes page.

It would be churlish of me to suggest that this is untrue, but it is at least my hope that it’s not excessively true. So in the interests of populism, some observations and comments on how The Last War in Albion is structured and suggestions on how to get the most out of it.
First of all, I want to stress that I have never written Last War in Albion with the idea that the audience should understand all of it. The general idea is that if you don’t understand one bit, there’ll be another one along in a few sentences anyway. Part of the fun of Last War in Albion is its sweep and its scope. Given that, a bit of confusion is not only OK, it borders on the desirable. Certainly it helps emphasize the scale of the thing.
So, big picture: there’s an bit of joke underlying its structure, namely the never-ending essay in which paragraph transitions are maintained across entries. The structure is consciously based on comic book series and on the idea of serialization and cliffhangers. A single blog post isn’t the whole story, or even a complete story in and of itself, but a single element in a story. This is, these days, how single issue comics work, for better or for worse.
Plenty of people, in response to that format, “wait for the trade,” as the saying goes – that is, wait until a story is completed, and then buy a collection of issues to read in one shot. Plenty of comics are consumed that way – nobody reads Watchmen or Sandman as monthly serializations anymore, and there’s a strong case to be made that both are improved in trade. 
For exactly this reason, I publish the equivalent of trades for Last War in Albion alongside the first installment of a chapter. If you can’t spare or don’t want to toss $2 at the trade, that’s fine too – you may find archive diving more satisfying. Certainly it’s a very different project when taken in chapter form as opposed to in blogpost form, and I imagine it’ll be different yet again in book form.
I really don’t want to say it’s better in chapter form, though. For me, things like the parenthesis that would not die are much better in blog form, where the start of the parenthesis isn’t in the same entry as the end, than in chapter form, where its just a really long parenthetical. 
For me, the blog format highlights the larger structure of The Last War in Albion, which is pointedly not just a description of a bunch of comics but rather an account of the entire world in which those comics exist. Inasmuch as it is military history – and obviously that’s the conceit – it’s the sort of military history that’s focused on the causes and consequences of the war as opposed to on the mechanics of the battles.
…

Continue Reading

Outside the Government: The Great Game

, 22

For the record, The Sarah Jane Adventures will start coverage next week with an Outside the Government, with The Nightmare Man running on Wednesday. There is still just over $1000 to go on the Last War in Albion Kickstarter before that run will be upped to thrice weekly – it would need to do that by a week from today in order to impact the first week’s posting schedule. 
It’s August 8th, 2010. Ne-Yo is at number one with “Beautiful Monster,” with Wanted, Flo Rida, Eminem, and Swedish House Mafia also charting. In news, violent protests break out in Pakistan and India over entirely unrelated issues. Sarah Palin’s daughter calls off her engagement with Levi Johnston due to his failure to not have children with other women. Wyclef Jean, in a memorable Wikipedia turn of phrase worth quoting “confirms he is to announce plans” to run for the Presidency of Haiti. (He is deemed ineligible to run eventually.) The World Sauna Championships are permanently abandoned when Russian finalist Vladimir Ladyzhensky dies during the competition. Also, Elena Kagan is sworn onto the Supreme Court. 
While on television, just two weeks after it showed up, Sherlock takes its bow. In so many ways, The Great Game appears the perfect response to The Blind Banker – a corrective that shows that Sherlock has learned the lessons it needed to learn. This is, of course, nonsense – The Great Game was in fact the first episode of Sherlock shot, with the season being made essentially backwards, and even if it weren’t, it’s not as though the production of a television show would allow Gatiss to look at the script for episode two and go “right, I see what I need to do differently.”
All of which said, The Great Game is notable for finally and decisively putting to rest the idea that Sherlock is going to be a procedural that does a case every week. Instead it highlights the degree to which solving a mystery is an almost incidental process for Sherlock that holds no meaningful suspense. By the episode’s end the question of “can Sherlock solve the mystery” has been in effect entirely drained of any dramatic tension – so much so that Sherlock is, by the episode’s end, a solid mystery ahead of the plot. Under the hood, this episode is just a rapid-fire succession of perfectly ordinary episodes hung together by the countdown/bomber plot, which is to say, wrapped into a parody of a season of 24. 
Few if any people actually talk about the five cases of this episode, and it’s a pity, as they’re all actually pretty good. Taking down cases with an average of eighteen minutes to spend on them is not straightforward, and Gatiss manages to make each of the five cases feel distinct and interesting. The first makes an interesting play and subversion of the epic. On the one hand, it’s a case that requires that Moriarty have been inside Baker Street itself, and more importantly, it’s flagged as Sherlock’s first-ever case.
…

Continue Reading

A Pair of Links

2

An extra post this week, even if it is quite short. Because I have a pair of links you might be interested in, dear readers.

First, Jessica Greenlee and the fabulous folk at Fanboy Nation have an interview with me up, which you can read right here.

Second, if you’ve noticed the fact that there’s a pretty picture as the banner on the Last War in Albion Kickstarter. And that the cover of the Last War in Albion ebooks is now a really cool and well-designed cover as opposed to the vast expanse of monochrome paisley that dominates this blog. As is usually the case when things I’ve done look nice, it’s down to James Taylor, who has a blog post describing how he made both images up here.

See you tomorrow with The Great Game.

Also, we’re only about $250 from the first stretch goal, and $1250 from the accelerated schedule on the Sarah Jane Adventures posts. Thanks again to everybody. Please continue spreading the word, or, if you haven’t spread the word, go about doing so.…

Continue Reading

Outside the Government: The Blind Banker

, 39

First off, I want to thank everybody for a fantastic first few days on the Last War in Albion Kickstarter. It’s doing better than I’d imagined.

I wanted to throw another announcement of it out alongside a proper Eruditorum post so I could stress the fact that all Kickstarter backers get to read the Doctor Who-related project I’m working on as it’s serialized. The first chapter of it is already up as a backer-exclusive update, and I should have the second one up soon.

I’ve also added a new reward tier – a full set of Eruditorum Press books (TARDIS Eruditorum 1-4 and A Golden Thread, along with the Last War in Albion book) in paperback. That’s $100, but if you’re quick and one of the first ten people to get over there, you can get it for $80.

If that’s not enough to tempt you, I’m adding two unofficial stretch goals – if the Kickstarter can hit $6000 by the end of the week, I’ll resume thrice weekly posting for the remaining Sarah Jane Adventures stories, thus getting to Season Six just a little bit faster. And if it makes it to $8000, I’ll go thrice weekly for Miracle Day as well, shortening the mid-series gap for Season Six. I figure that while covering both is a necessary part of the blog, it’s nobody except for the person who’s going to pop up in comments objecting to this claim’s favorite stretch, and we might as well give ourselves a way to make it go a bit faster.

It’s August 1st, 2010. The Wanted are at number one with “All Time Low,” with Swedish House Mafia, Eliza Doolittle, Katy Perry, Eminem, and Flo Rida also charting. In news, significant flooding takes place in China and Pakistan, and Chelsea Clinton gets married. 
While on television, Sherlock’s back for another round. First of all, it is customary to point out that The Blind Banker is an unfortunate piece of Yellow Peril adventuring that leaves more than a slightly unpleasant taste in the mouth. There’s not a lot to say about this besides pointing out that it is precisely as racist as you would expect from something overseen by two people who think there’s not really anything wrong with The Talons of Weng-Chiang besides the rat. But whereas that story at least makes sentences beginning “other than the racism” understandable, if not necessarily advisable, this one misses the “be really brilliant” part of the equation and ends up as the consensus crap episode of Sherlock.
That said, the reason it’s crap isn’t that it’s racist, but rather that it’s a fundamentally misconceived episode that doesn’t understand what show it’s a part of. This is actually more understandable than it sounds – I would bet good money that a sixty minute draft of this script existed. It is thus the one episode of Sherlock that unabashedly treats the show as though it’s a standard issue case-of-the-week show in which the point is to solve the mystery, tease the season finale, and cut to credits.
…

Continue Reading

Flying Was The Best Bit (The Last War in Albion Part 42: The Origins of Captain Britain)

, 14

Hello everyone. I’m currently running a Kickstarter to help fund the continuation of The Last War in Albion. Right now we’re funded through Book Two, which will focus on Watchmen, and are well on our way to the first stretch goal, which will guarantee Book Three. Please consider contributing to help this blog keep going and this blogger keep eating food.

This is the second of ten parts of Chapter Seven of The Last War in Albion, focusing on Alan Moore’s work on Captain Britain for Marvel UK. An omnibus of the entire is available for the ereader of your choice here. You can also get an omnibus of all seven existent chapters of the project here or on Amazon (UK).

The stories discussed in this chapter are currently out of print in the US with this being the most affordable collection. For UK audiences, they are still in print in these two collections.

Previously in The Last War in Albion: Marvel Comics traces its origins back to 1939, but in its modern incarnation dates to 1961 when Jack Kirby and Stan Lee created The Fantastic Four and a string of further hits. By the 1970s, however, Marvel had largely moved on to its second generation of talent.

“Flying was the best bit. The rest of it was fraught with more misery and self pity than the entire recorded output of Les Smiths.” – Grant Morrison, “Captain Granbretan”

Figure 313: As was the norm for debuts
of British comics, the first issue of The
Mighty World of Marvel featured a free
and thoroughly lame gift.

As part of this corporate expansion, Marvel decided to look into foreign markets, specifically the United Kingdom. Short of Odhams’ Power Comics line that gave Steve Moore his comics industry breakthrough, Marvel comics had no official UK distribution, famously arriving as ballast on ships that was then sold off in an entirely unlicensed and functionally unregulated market that made following individual series difficult. In 1972, three years after Odhams was absorbed by IPC and dropped the Marvel license, Marvel decided to take matters into their own hands by creating a UK-based publisher that would distribute Marvel work for the UK comics market. Recognizing that the British and American comics markets were fundamentally different media, with the UK dominated by weekly black and white anthologies as opposed to the monthly color comics featuring a single story of the US market, Marvel UK kicked off its line at the end of September with The Mighty World of Marvel, an anthology that initially featured Spider-Man, the Fantastic Four, and the Hulk. Five months later they added Spider-Man Comics Weekly to the line-up, bringing Thor and Iron Man to the UK market as well. 

The initial model of Marvel UK was straightforward – comics were printed in Europe, but were edited in New York alongside Marvel’s other fare. They consisted of black and white reprints of Marvel material, with stories that filled a single US monthly issue getting cut up over multiple UK weekly installments.
…

Continue Reading

The Last Kickstarter in Albion

6

The Last War in Albion will post on Saturday this week.

I’m pleased to announce that the Kickstarter for The Last War in Albion is now up and running right here.

I’ll start with the most important thing here: please spread the word. Really. If you would be so kind as to go to Twitter, Tumblr, Facebook, or whatever social media you use and tweet that link with some message about how you think it’s a really cool project, it will help massively. This sort of thing lives or dies by how well it’s promoted. Even if you have only a handful of followers, it adds up fast. So please. Spread the word.

OK – now for details.

This Kickstarter will back a couple of things – a book version of the first volume of The Last War in Albion, which will collect the seven existing chapters along with four more that will bring us to the edge of Watchmen. It’ll also fund the blog version of Book Two, which will cover Watchmen itself in an ambitiously elaborate format that explores the whole world around the comic, structured in careful and meticulous parallel to the comic itself. That’ll be the most madly ambitious thing I’ve ever written, and I’m really looking forward to it.

Finally, it’ll fund the oft mentioned Secret Doctor Who Project, which I’m serializing as I write it to Kickstarter backers. The first chapter is already available as a backer-exclusive update on the Kickstarter. I’m having a blast writing that, and I think it’s something pretty much everyone who reads this blog will enjoy. (And even if you don’t back the Kickstarter, don’t worry – the Doctor Who project will see the light of day in its own right. You’ll just get to see it sooner if you back.)

And that’s not counting the stretch goals – every $2500 over budget we go, I’ll commit to another volume of Last War in Albion being written and blogged. So if you like the project, this is an opportunity to make sure it has a good, long run.

But, of course, the real and important thing that the Kickstarter will do is let me keep doing what I do. As I often say, I love my job. I love writing what I do, I love interacting with all of you, I have a fantastic life, and I’m terribly lucky. But the bills maddeningly need paying, and that means that projects can’t just be fun – they have to earn some profit. A successful Kickstarter is what will allow me to keep blogging here, not just about British comics, but about other cool things and ideas I have. If you like this blog and want it to stick around with regularly updated free content, please consider heading over to the Kickstarter and tossing a few bucks at it. Last War in Albion is the marquee item on this Kickstarter, but the nature of a site like this is that all the different bits help support each other.…

Continue Reading

Thursday Breakfast Leftovers

18

So, I was going to launch a Kickstarter today, but unfortunately I guessed wrong on how long it would take Kickstarter to approve my Kickstarter, resulting in there being no content for today. I could image up the next section of Last War in Albion and put it up a day early, but honestly, it’s 1am and I’m fighting off the last of a sinus infection and I just don’t have the energy, so I figure I’ll just have the content over the next few days be in random and surprising order.

How dreadful for you! Your counted on blog content, absent! Because of my grotty sinuses! Whatever shall you read instead? What other blogs and websites do you consume when trawling the Internet in your morning “I should probably be doing actual work” crawl? Tell me these things, and then on a day that is not today I’ll post actual content.

But for now there’s at least some good news – the omnibus of Last War in Albion Chapter Seven is ready, with a brand new and beautiful cover from James Taylor.

I’ve decided to cut the price of the omnibi to $1.99, which makes them ill-suited to Amazon (who cut your royalty rate in half if you go below $2.99), and so future single chapter omnibi will only be available via Smashwords. You can still get them for your Kindle and transfer them there – it’s just that it’s the difference between me making $1.40 a book and $.70 a book.

So, Chapter Seven is here.

That said, in celebration of the new cover I’ve compiled the whole shebang so far, including Chapter Seven, into a single ebook. That’s price at $3.99 and so is still available on Amazon (and Amazon UK), as well as being available on Smashwords.…

Continue Reading

Outside the Government: A Study in Pink

, 56

It’s July 25th, 2010. Yolanda Be Cool vs D Cup are at number one with “We No Speak Americano,” with a duet between Eminem featuring Rihanna, Katy Perry featuring Snoop Dogg, Professor Green featuring Lily Allen, and 3OH3 featuring Ke$ha also charting – in fact, only two songs in the top ten are not collaborative: Eliza Doolittle’s “Pack Up” and JLS’s “The Club is Alive.” In news, the World Cup wound down with England eliminated the day after The Big Bang following a pathetic showing against Germany, and Spain ultimately winning in a scrappy final against the Netherlands. Also, Wikileaks releases over 90,000 internal logs of the US Military to a variety of news sources. 
While on television Steven Moffat and Mark Gatiss’s massive hit Sherlock debuts with A Study in Pink. Why do Sherlock episode by episode? For one thing, because its production is bound up in Doctor Who’s. The shows respond to each other and learn from each other, and are, as countless critics have noted, a bit similar in some key ways. Yes, they’re also different. Hence “Outside the Government” at all. But to be perfectly honest, you learn more about the Moffat era watching Sherlock than you ever did about the Davies era by watching Torchwood. So here we are. Sherlock from the ground floor: A Study in Pink.
The more one thinks about A Study in Pink the more it becomes evident that it is quite a strange thing. What does it mean, after all, to create an introduction to a show featuring one of the best-known and most iconic fictional characters in existence? One cannot meaningfully introduce Sherlock Holmes as a character, as any introduction one makes is going to be immediately subsumed by the impossibly large paratext of a century of Sherlock Holmes. In its own way, it’s the same problem Moffat faced with The Eleventh Hour – how do you launch a program that’s already massively familiar to viewers and where everything you introduce is going to be read in context with years of existing material. 
With The Eleventh Hour, Moffat solved the problem by simply putting the program’s best foot forward and playing to all of its strengths as much as possible – an unapologetic charm offensive that worked. In effect he did everything he wanted to do differently, but in an episode that highlighted only the most superficial of his changes while mostly stressing what had remained consistent. But this was a solution for a program that had been on the air just a few months earlier. The solution isn’t quite going to work here. Nevertheless, A Study in Pink is, like The Eleventh Hour, an exercise in saying “here’s how it is.” It is at times almost television as FAQ – a narratively sequenced list of answers to questions beginning “how are you going to handle…” 
That it works is in some ways remarkable. More than almost anything else Moffat has ever written, this is an episode that relies on nothing save for his gifts at humor and exposition.
…

Continue Reading

«‹ 120 121 122 123 ›»