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Elizabeth Sandifer

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.


  1. Heath
    January 7, 2015 @ 2:04 pm

    Trees is total bonkers. Tho it for some reason has moved to the top of my read pile each month.

    Yet there are plots that get completely ignored for entire books, the pacing is totally unpredictable, and I can't tell if there is any link between these disparate plots aside from the impending assured desctruction of every character. I hope the actual 'Tree' hook gets paid off is SOME way or else I'm going to feel more than a little duped here. Status quo for an Ellis book tho, I suppose.


  2. FrF
    January 7, 2015 @ 2:19 pm

    [Comics I've been reading 4]: Trees #8: This series is one of Image's crown jewels with admirably un-Ellisian writing by Warren Ellis. Unfortunately, I think this issue is my least favorite so far. There's just too much action (Jason Howard's artwork is as great as ever) and not enough talking…The resolution of the Chinese plot thread had me gasping. I looked away from one panel in particular and dared only after the gathering of some mental strength to read on. I don't know how convincing the final conflict in the Italian segment is. It somehow seems a bit affected (one last kiss and then death) and also poorly motivated, at least on first glance.


  3. Turnip
    January 8, 2015 @ 3:19 am

    I wouldn't have realised the printing error in Miracleman was unintentional if it hadn't been drawn to my attention; to me, the character it affects only speaking in pure black speech balloons made complete sense in the scenes he appears. That's not meant as an excuse for the error, but an observation that it's interesting when a production mistake comes across as a deliberate stylistic choice.


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