Eruditorum Press

Watery tarts distributing hammers and sickles

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:

The Proverbs of Hell 38/39: The Number of the Beast is 666

, 1

THE NUMBER OF THE BEAST IS 666: Last and in most ways least, it is to “The Great Red Dragon and the Beast from the Sea” what “The Great Red Dragon and the Woman Clothed with the Sun” is to “The Great Red Dragon and the Woman Clothed in Sun”—a drabber and less chilling counterpart. The dragon is in an awkward pose that serves to expose the limitations of Blake’s anatomy, his face flattened in profile in such a way as to lose all animalistic grandeur. It is the one of the paintings to arguably look better when Fuller and company recreate it in “And the Woman Clothed in Sun.” Its one interesting element is the lamb-like figure behind the Beast from the Sea, a point of contrast and dissonance that enlivens the whole.

BEDELIA DU MAURIER: It’s hard to predict when brittle materials will break. Hannibal gave you three years to build a family and a life, confident he’d find a way to take them from you.

WILL GRAHAM: And he has.

The blunt fatalism of this admission surprises, and doesn’t really seem to follow from any of Will and Molly’s interactions last episode. Nor is it entirely clear what’s going on here. Will asserts that he sees himself killing Molly over and over, which is consistent with his general psychological state, but feels very Season One, and kind of lazily disconnected from the show’s current concerns.

WILL GRAHAM: Bluebeard’s wife. Secrets you’re not to know, yet sworn to keep.

BEDELIA DU MAURIER: If I’m to be Bluebeard’s wife, I would’ve preferred to be the last.

WILL GRAHAM: Is Hannibal in love with me?

BEDELIA DU MAURIER: Could he daily feel a stab of hunger for you and find nourishment in the very sight of you? Yes. But do you ache for him?

Bluebeard gives his wife a key to every room in the house while forbidding her from the basement, where it turns out all his previous wives are. The story goes more or less how you’d expect from there. Bedelia’s “would’ve preferred,” however, prompts Will to consider his relationship with Hannibal in a new light, leading to the meat of the exchange. Bedelia’s definition of love is revealing of her own pathologies, reducing love to its pathological components as opposed to treating it as an affirmative feeling. This is partially because of the understandable need to frame love in terms of appetite, but also because of Bedelia’s own callous detachment. Still, it’s slashy as fuck, so that’s something.

HANNIBAL: Will’s thoughts are no more bound by fear or kindness than Milton’s were by physics. He is both free and damned to imagine anything.

The odd turn of phrase is unsurprisingly from Harris—a description of Hannibal in Silence of the Lambs. But it’s an odd line. There’s no particular connection between Milton and physics, and the idiosyncrasy of the invocation provides another faint echo of Blake.

JACK CRAWFORD: What’s got your attention? God, the Devil and the Great Red Dragon?

…

Continue Reading

Outside the Government: The Sign of Three

, , 2

We continue to count down towards the TARDIS Eruditorum relaunch on March 19th with revised versions of some old blog posts on Sherlock. Proverbs of Hell will run its final two installments on Tuesday and Thursday this week.

It’s January 5th, 2014. Pitbull and Kesha are at number one with “Timber,” and while the rest of the charts are pretty similar to four days ago, we’ve got Avicii, Jason Derulo, Martin Garrix, and OneRepublic as artists we didn’t actually mention last week. News is about as sleepy as you’d expect for four days at the beginning of the year, although there’s some flooding in Wales, Scotland, and the west of England. On television, meanwhile, the third season of Sherlock continues its twelve day blitz with The Sign of Three.

Let’s talk about what Sherlock is. Although its main character is a detective, it is not quite a detective show, in that the solving of mysteries is not its main narrative engine. One suspects that had it been comprised of six hourlong episodes a season it would have been, as it would have had several filler episodes each run that would have ended up being case of the week romps, but the reduction to three episodes a year changed it into something weirder. Nevertheless, its basic dramatic engine is still closely related to that of the detective show: the moment of Figuring It Out. Its defining pleasure is the cathartic click as the puzzle box’s mechanisms slide into place in a moment of triumphant Aristoteleanism. Over ninety minutes, this produces an interesting effect. Because ninety minutes is also more or less your basic length for a film, there is a tendency to describe Sherlock in those terms – as periodic triptychs of Sherlock Holmes films. With two thirds of the episodes set as event episodes (that is, premieres or finales), it’s easy to get swept up in this.

Nevertheless, Sherlock is unmistakably television, and The Sign of Three is a prime example. It is well aware that it has no obligation to make a stirring case for its scale and scope. Its end is a self-consciously subdued homage to The Green Death. No effort is made to tease the impending threat of Magnusson. It is confident that people who are watching it will probably do so again in a week, and so does not engage in the sort of sprawling, ambitious cliffhanger that films (and, to be fair, series finales) do in order to hold interest over the course of months and years.

Perhaps more importantly, it shares Doctor Who’s willingness to push against traditional dramatic structures. If one pauses Sherlock to ask “how much time is left,”one is almost always slightly surprised—the big plot beats never happen at quite the moment they’re scheduled. The dramatic resolution of The Sign of Three comes a full ten minutes from the end, which isn’t unheard of, except that the last ten minutes are all quite subdued and tension free, as opposed to an exploration of the consequences of the climax or setup for something else.…

Continue Reading

Outside the Government: The Empty Hearse

, , 38

TARDIS Eruditorum will return on March 19th. But as a prelude, we’re rerunning lightly edited versions of some old essays from the earliest days of the Patreon, now reskinned as the Outside the Government essays for Series 3 of Sherlock. I would also be remiss if I did not note that we are in the final 48 hours of the TARDIS Eruditorum Volume 7 Kickstarter, and it’s a nailbiter whether we’ll make all the stretch goals.
 
It’s January 1st, 2014. Pharrell Williams’s “Happy” has unseated Sam Bailey at number one, while Eminem and Rihanna, Lily Allen, Ellie Goulding, Katy Perry, and One Direction also chart. In the news, since Matt Smith got old and died it’s been exceedingly quiet. Obama signed a budget deal, marijuana was legalized in Colorado, incandescent light bulbs became illegal to sell in the United States, and Latvia adopted the Euro. While on television, Sherlock informed the audience that it was going to lie to them, and then went on to do just that. It had, in the tradition of fair lies, given ample warning. “It’s a trick. Just a magic trick.” And so, of course, it was. Indeed, The Empty Hearse is in effect a ninety minute exercise in arguing that the question of how Sherlock survived The Reichenbach Fall is irrelevant, or at least largely uninteresting.
To call this a bold response to one’s own iconic pop culture moment seems an understatement. And the reactions at the time are worth recalling, even if it is only a year on. First and most interesting were those who felt that The Empty Hearse was mean-spirited in its treatment of fandom, a criticism that focused especially on the depiction of slash fiction within the episode. And yet it’s difficult to quite articulate what about the portrayal of slash fans is offensive here. The only person to really mock them is Anderson, and Laura’s observation that her Sherlock/Moriarty slash is no more ludicrous than some of Anderson’s own theories is, in the context of the story’s larger attitude towards the idea of “solving” Sherlock’s survival, significant. She, at least, is in on her own joke, which Anderson never gets to be.

And it is, ultimately, the joke that’s at issue, which is where this episode’s boldness comes in. That The Empty Hearse was going to be read largely in terms of how well it resolved the cliffhanger was, of course, a foregone conclusion. You don’t get to have that kind of media coverage and then not be judged on how you stick the landing. Devoting an entire episode to it instead of, as they had with the cliffhanger of The Great Game, lampshading it with an absurdly trivial resolution was a necessity. But what wasn’t necessary was making The Empty Hearse into a ninety minute exploration of what it means to resolve the cliffhanger in the first place.

Which brings us to the second reaction, the accusation that the story was self-indulgent. Which misses the point in many ways.

…

Continue Reading

The Proverbs of Hell 37/39: And the Beast from the Sea

, 4

AND THE BEAST FROM THE SEA: The one painting in the series not to have a direct representation or invocation in the series. The tense sexuality that exists between the Dragon and the Sun-Clothed Woman is replaced here by a raw homoeroticism—a theme that is not entirely uncommon in Blake. (c.f. Object 47 of Milton a Poem) The Beast from the Sea appears in Revelation 13, one verse after the Dragon, and is said to be given his power by the Dragon, creating a sense of heritage or supplanting. In Blake, the Beast rises below the Dragon, but has clear dominion over him. Of course, that’s always how supplantation begins. 

ALANA BLOOM: Maybe he’s trying to stop.

JACK CRAWFORD: You think there’s any way to push him to be self-destructive?

ALANA BLOOM: Push him toward suicide?

JACK CRAWFORD: Suicide suits me just fine.

WILL GRAHAM: If he’s really trying to stop, he’s not going to kill himself. How could he be sure his death would affect whatever’s inside him?

Will’s casual apprehension of the absurd logic of Dolarhyde’s difficulties in confronting the beast within is grimly funny. A crucial question, of course, is whether or not it would. Indeed, the metaphysical legitimacy of the Red Dragon is a point of considerable ambiguity here in a way that it simply isn’t in any other adaptation. Ultimately (and in contrast to Hannibal) the show suggests that Dolarhyde is not actually supernatural (the Dragon, notably, does not appear to survive his death), but it’s notable that Hannibal asserts his sanity towards the end of “And the Woman Clothed in Sun.”

HANNIBAL: This new twoness with the Dragon, it’s disorienting for you.

FRANCIS DOLARHYDE: The Dragon never spoke to me before. It was frightening.

HANNIBAL: What did it say?

FRANCIS DOLARHYDE: It called my name. It wants her.

HANNIBAL: If it weren’t for the power of your Becoming, if it weren’t for the Dragon, you could’ve never had her.

FRANCIS DOLARHYDE: I put my hand on her beating heart. Heard the sound of her living voice. A living woman. How bizarre.

There is a dash of incel to Dolarhyde, although this is firmly segregated from his motivation for murder. Nevertheless, his clear sense of himself as someone it is “bizarre” to imagine touching “a living woman” positions him clearly adjacent to a certain and timely vision of toxic masculinity.

FRANCIS DOLARHYDE: Will Graham interests me. Odd-looking for an investigator. Not very handsome, but purposeful.

HANNIBAL: He has a family. Save yourself. Kill them all.

It was of course inevitable that Hannibal would do this. It’s a detail from the book, but in terms of this Hannibal it’s also a functionally inevitable consequence of his declaration that Will is family in “And the Woman Clothed With the Sun.” Indeed, there’s a real sense in which the entire Abigail Hobbs plot exists to recast this action, a long and expanding context for this exact moment. Despite that, however, it was moved from being the cliffhanger of “And the Woman Clothed in Sun” to being part of the same episode as the actual attack on Will’s family, a move that downplays the moment’s importance by reducing the amount of time audience affect is expended fretting about Molly from a week to about thirty minutes. …

Continue Reading

New Kickstarter Flash Goal, Podcast Appearance

8

So this just got announced. Andrew Cartmel and Ben Aaronovich writing a 7th Doctor comic for Titan. This is, on the face of it, absolutely landmark. Comics were a huge influence on Cartmel, who drew a lot of his style from 2000 AD while freely plundering Alan Moore’s catalog. So having him do one of his periodic returns to the McCoy era in comics is immediately interesting. It’s a shoo-in for the McCoy book. Except I’m really out of stretch goal slots. So instead I’m doing a flash goal. If we can hit $10k by the end of the weekend, I’ll cover this miniseries in the book. Here’s the Kickstarter link. This would be an excellent time either to back it or to link it. We’re at $9192 right now, so $10k by the end of Sunday is ambitious, but it’s doable.

The fact that we’re closing in on $10k also means that the next stretch goal is an interview with Kate Orman. The last two books have both had interviews with prominent creators who are openly fans of the era being covered—Gareth Roberts talked about the Graham Williams years, while Rob Shearman offered a rousing defense of Davison and Colin Baker. And while Orman wrote some of the best 7th Doctor stories, I’m not going to be asking her about those. For one thing, I already did in a podcast a few years back. I’ll probably transcribe those answers for the book too, but this interview will be about the televised episodes and Kate’s own Doctor Who fandom, with an eye towards talking about why the McCoy era was able to spawn the New Adventures.

Finally, I stopped by the Galactic Yo-Yo podcast to promote both the Kickstarter and the Patreon (which reached $350! Still, backing it helps make sure it’ll stay over $350, so it’s still a good idea). I talk a bunch about McCoy, the New Adventures, and scads of wildly off-topic shit because I’m me, and then we settle into me explaining why Kill the Moon is a thing of perfect beauty. That’s available here for your listening pleasure/endurance. 

And Jack and I will be getting in the studio Tuesday for what I assume will be a Shabcast so we can provide one last exciting promotional kick at the end of the campaign. So look for that late next week.

Thanks for all the support.…

Continue Reading

The Proverbs of Hell 36/39: And The Woman Clothed In Sun

, 1

AND THE WOMAN CLOTHED IN SUN: The big one. Hannibal describes its “unique and nightmarish charge of demonic sexuality,” which is fair enough, but seems desperately insufficient. Let’s add, then, a brief discussion of gaze. As John Berger memorably simplifies it, in art the norm is that “men look at women. Women watch themselves being looked at.” Which at least broadly describes this picture, sure, in that we are seeing a woman being looked at. But the woman is obscured in the picture. We watch her being looked at, yes, but we do not really see her ourselves. That picture is The Great Red Dragon and the Woman Clothed With the Sun. Here the object of our gaze is, as they say, dat ass. This isn’t so much a charge of demonic sexuality as a stunningly homoerotic vision of erotic puissance. Dolarhyde, clearly, does not miss the point nearly so much.

FRANCIS DOLARHYDE: Hello, Dr. Lecter. As an avid fan, I wanted to tell you I’m delighted that you have taken an interest in me. I don’t believe you’d tell them who I am, even if you knew.

HANNIBAL: What particular body you currently occupy is trivia.

FRANCIS DOLARHYDE: The important thing is what I am Becoming. I know that you alone can understand this.

HANNIBAL: Tell me. What are you becoming?

FRANCIS DOLARHYDE: The Great Red Dragon.

Hannibal’s initial response to Dolarhyde is interesting, in that there’s no obvious piece of information on which he should be able to base this leap. And it’s clearly a massive leap—a response that immediately affirms and reinforces Dolarhyde’s trust in him, but that in no way follows from anything in Dolarhyde’s opening line. (In Harris’s original, the line is Dolarhyde’s.) The easiest explanation is that it has been inferred from the crime scenes; that Hannibal can read a theme of transformation into the particular mutilation and mirrors involved. But the underlying reasoning is never explicated. 

The puzzled fascination with which Dolarhyde observes himself talking to Hannibal is an interesting grace note picking up off of his dual nature. The scene has a light tension as to which Dolarhyde is which aspect of him. This is eventually resolved such that the Dolarhyde watching is human, whereas the one talking to Lecter is the Dragon, but the tension is a delicious disorientation.

FRANCIS DOLARHYDE: I want to be recognized by you.

HANNIBAL: As John the Baptist recognized the one who came after.

FRANCIS DOLARHYDE: I want to sit before you as the Dragon sat before 666 in Revelation. I have things I’d love to show you. Someday, if circumstances permit, I would like to meet you and watch you meld with the strength of the Dragon.

HANNIBAL: See how magnificent you are. “Did he who made the Lamb make thee?”

One reacts, of course, with a certain irritation at the banality of invoking “The Tyger” in the vicinity of Blake. It has nothing to do with the Great Red Dragon paintings, which were painted a decade after Songs of Experience, and feels like going for the most obvious bit of Blake instead of building up anything that actually engages with his work.…

Continue Reading

Kickstarter Update/Capaldi Entry List

21

Since I did my usual “forgetting to queue Proverbs of Hell for a Monday,” I figured I should provide a Kickstarter update instead. At the time of writing, we’re at $8069. We hit the Algebra of Ice stretch goal over the weekend, which means we’re now approaching the $9000 stretch goal of The Unknown, which from Big Finish’s Diaries of River Song series. I haven’t listened to it yet, but it sounds fascinating. The hook is simple: River Song meets the Seventh Doctor. This is self-evidently a good idea. River’s entire M.O. is that she destabilizes the Doctor’s place in the narrative. She can do the things they do, and knows more than them. That’s especially true in stories before A Good Man Goes to War, which obviously this is. The Seventh Doctor, on the other hand, stands out even among the Doctors. He’s manipulative and has foreknowledge of events in ways they don’t. That’s a stereotype of his character in the same way “the loud obnoxious one” is of Six, but it’s also similarly true. So having River meet him is, in its own way, as much of a limit point for her character as meeting the Twelfth Doctor was. It’s a hook that does to River Song what she usually does to Doctor Who. Outside of pornographic fanfiction (where the answer is clearly the Third Doctor) the Seventh Doctor is straight-up the most interesting past Doctor for River to meet save arguably the First? Can Guy Adams rise to the occasion and hit his obviously laid out marks? Can Big Finish avoid screwing up a self-evidently good idea for once? I don’t know. I’m actually kind of nervous to find out because I am so often frustrated by Big Finish and I do so love this idea. 

So if me tackling that sounds interesting and you haven’t backed the Kickstarter yet, now is a great time. If you have backed the Kickstarter and haven’t spread word on social media, now is a great time. If you’ve done all of those things, on the other hand, now could be a great time to do them again. But it could also be a good time for some self-care. Get a drink of water. Have a small and healthy snack. Look at some cute cat videos on YouTube. You’ve earned it.

I also wanted to give an update on the Patreon campaign for the Peter Capaldi era of TARDIS Eruditorum. Right now that’s at $345, a mere $5 away from The Full Eruditorum, complete with Pop Between Realities, You Were Expecting Someone Else, and Outside the Government entries. One way or another that will start on March 19th. But will it start with Deep Breath (currently readable by Kickstarter backers) or Pop Between Realities, Home in Time for Tea (Captain America: Winter Soldier, The Lego Movie, It Follows)? While odds look good for the latter, it’d be good to get well over $350 so that’s nice and secure and we don’t suddenly drop down to going episode-only in the middle of the run.…

Continue Reading

Kickstarter Week One Update

2

Just wanted to use a dead day to give an update on how the TARDIS Eruditorum Volume 7 Kickstarter is going and to highlight one of the reward tiers I’m offering for this Kickstarter that I know will be of interest to some of you. So, after the best first couple of days any of my Kickstarters have ever had (yay!) the Kickstarter has dried up pretty significantly (boo!), ticking up only $60 or so the last two days. At the moment we’re stuck pretty grimly in the low $7000s, which is fine and delightful, but a ways off from some pretty attractive stretch goals like the Kate Orman interview at $10,000 or me slogging through The Pit at $14,000. So if you haven’t backed yet, well, now’s a great time to. But more importantly, even if you don’t have the money to back, I want to beg you again to spread the word about the Kickstarter. Post to social media. Right now a dozen and change of you have posted to Twitter about the Kickstarter. That’s great, and thank you, but I know more than a dozen of you are reaeding this, so please. Post the Kickstarter link. Here it is again. Just say something like “hey, here’s a cool Doctor Who Kickstarter I’m really hoping will make some stretch goals.” Twitter, Tumblr, Facebook, anywhere. I promise, your friends won’t hate you for it, and it really does make a difference. More than $2000 of the current Kickstarter total is from social media links. 

OK. That’s the begging done. Now for some fun bits. First, I want to highlight the high-roller reward tier, the $150 signed and numbered hardcover versin of the book. After doing the Sigil and Color editions of Neoreaction a Basilisk, I came to the conclusion that Kickstarter-exclusive special editions are a hella fun reward perk. And so I’ve decided to do something I’ve always wanted to do, but that didn’t really make financial sense before, namely have a hardcover edition of the book. I haven’t looked too closely into printing on it yet, but my plan is to have it be a nice, high-quality edition of the book. And if you’re worried it won’t match the rest of your books, I’ll make a deal with you. Right now there are 11 hardcovers sold. If that number gets to 20, I’ll figure out how to do hardcover editions of Volumes 1-6 for the truly ridiculous few. (And no, those won’t be $150 a pop. They won’t  be cheap, but I’ll make sure catching up is as affordable as possible.)

Second, I want to talk about the next stretch goal, Lloyd Rose’s The Algebra of Ice. Or, rather, I want to edit and expan on Twitter thread from a few days ago about why this book would be super cool to cover:

I can’t hype this on the basis of Big Name Authors like I could Nightshade or Springhill, or even Master. This is by a woman named Lloyd Rose.…

Continue Reading

The Proverbs of Hell 35/39: And The Woman Clothed With The Sun

, 5

AND THE WOMAN CLOTHED WITH THE SUN: This is not the picture that Dolarhyde worships, which is “The Great Red Dragon and the Woman Clothed in Sun.” The distinction flummoxed Harris himself, who got the wrong one in Red Dragon, and the most satisfying explanation for this preceding the episode named after the story’s central painting is that Fuller is providing an homage to the error. In any case, this painting is essentially Dolarhyde’s from the opposite perspective. The result is that the woman is the central object of the painting, with the Dragon looming above her, mimicking our own act of looking at her. The picture Dolarhyde prefers is on the whole the far more interesting framing, which we’ll get to next week.

HANNIBAL: That’s the same atrocious aftershave you wore in court.

WILL GRAHAM: Hello, Dr. Lecter.

HANNIBAL: Hello, Will. Did you get my note?

WILL GRAHAM: I got it. Thank you.

HANNIBAL: Did you read it before you destroyed it? Or did you simply toss it into the nearest fire?

WILL GRAHAM: I read it. And then I burned it.

HANNIBAL: And you came anyway. I’m glad you came. My other callers are all professional. Banal psychiatrists and grasping second-raters. Pencil-lickers trying to protect their tenure with pieces in the journals.

WILL GRAHAM: I want you to help me, Dr. Lecter.

HANNIBAL: Yes, I thought so. Are we no longer on a first-name basis?

WILL GRAHAM: I’m more comfortable the less personal we are.

HANNIBAL: Your hands are rough. I smell dogs and pine and oil beneath that shaving lotion. It’s something a child would select, isn’t it? There a child in your life, Will?

WILL GRAHAM: I’m here about Chicago and Buffalo. You’ve read about it, I’m sure.

HANNIBAL: I’ve read the papers. I can’t clip them. They won’t let me have scissors, of course. You want to know how he’s choosing them.

WILL GRAHAM: Thought you would have some ideas.

HANNIBAL: You just came here to look at me. Came to get the old scent again. Why don’t you just smell yourself?

We may as well just do the entire exchange here. The sections in boldface are original to the show. The remainder is more or less from the book, with a few small adjustments. (It’s a card in the book, the “dogs and pine oil” is new, and the murders have been moved north from their original Atlanta and Birmingham locations.) This exchange, of course, is the most iconic in Red Dragon, and for obvious reason. Fuller to do anything other than let Mikkelsen and Dancy at it would have been criminal. Matthew Morettini has done a supercut of the three adaptations that’s interesting a much in its disjuncts as its unities. Within the context of Hannibal, however, what jumps out most aggressively is the degree to which the scene is stilted. Fuller’s version of these characters has become so much more than what is in Harris’s book, and while Mikkelsen and Dancy acquit themselves well upon the lines, it still feels momentarily odd to see them in this more stripped down iteration.…

Continue Reading

$5000 in Two Days. Dang. (Also two new reward tiers)

1

After what was not only the best launch day i’ve ever had for a Kickstarter but the best second day I’ve ever had as well, the TARDIS Eruditorum Volume 7 Kickstarter has managed to break $5000 in just two days. I am stunned, humble, and unbelievably grateful. That’s not only enough to print the book, but enough to get bonus essays on Nightshade, Springhill (a mostly overlooked and forgott4en Russell T Davies supernatural soap opera worked on by Gareth Roberts, Paul Cornell, and Frank Cottrell-Boyce), and “Was He Half-Woven On His Father’s Side?”, my essay on Looms and whether they make any goddamn sense. The next couple stretch goals are on the Andrew Cartmel-overseen season of Casualty (I got my hands on it!), the Big Finish audio Master, and Lloyd Rose’s novel The Algebra of Ice. Plus we’re halfway to the Kate Orman interview!

Anyway, by popular request I’ve added two new reward tiers for people who want to catch up on the Eruditorum Press catalog, but don’t necessarily want all seven TARDIS Eruditorum Books. There’s a $10 ebook threepack, and a $60 print threepack. Either can include Volume 7 if you like, but can also include Volumes 1-6, The Last War in Albion, A Golden Thread, Guided by the Beauty of Their Weapons, or Neoreaction a Basilisk. (And the print one can include Recursive Occlusion too if you like.) These can be added to existing pledges, so if you’d like them but have already backed at another tier I am happy to separate you from more of your money. As the Daleks say in “Doctorin’ the TARDIS,” “DOSH DOSH DOSH LOADSAMONEY!”

Once again, the Kickstarter’s here. Thanks again. …

Continue Reading

«‹ 37 38 39 40 ›»