Tag Archives: podcasts

A New Year, A New Start

So I’ve taken a little break from blogging since the night before Christmas, and today is the day I start back.

I am also starting to make an extra effort to bring the website that I’ve been doing research for, kicking and screaming into reality. It’s really time to bite the mullet on this one. I’ve been gathering various parts for this one for a long time, but without the work being out in the wild, it doesn’t outwardly look like I’ve done very much. So today I bought the domain, I bought some hosting, and I transferred some money from the Old Country (England, of course) to America to cover it.

It may have been easier to have paid straight from the English account, but the hosting I got would have added $35 just for EU VAT (“value siphoning tax”), and it looked like the transaction was still in dollars, so chances are that the bank would have slapped some extra currency conversion charge on top.

No point paying money that I don’t have to. I used TransferWise, which I discovered a long time ago (probably via moneysavingexpert.com), which charged a pound to send the money (covering 3 years domain name and hosting), using mid-market rates (the kind of exchange rate you see on xe.com/ucc, and you never get that good a deal with your bank).

There is a podcast I listen to regularly*, and the host has an adage that he repeats from time to time, which would seem to be embodied in this case. “Money goes where it’s treated well.” Is my money better treated with a tiny part going to TransferWise, or with a larger proportion being skimmed by banks and taxes? I’m in a position where I’m able to make this decision without any obligation to the EU.

Incidentally, between the time I last had to transfer money, and this time, a friend of mine was in some ads for TransferWise. Seen a photo of him on the London Underground, underneath his picture on the advert. Funny old world.

I won’t say anything about the new site right now. I’m looking forward to it, of course, and there have been some vague hints in my writing so far. I’ll say more when there’s actually a site to look at.

So, yes, in wording slightly different from the title of this entry, new year and new beginnings.

Let’s see where we end up this time in 2017! Potential for a lot to happen.

*I say “regularly”, but, like all the other podcasts I listen to, I download frequently, then binge-listen.

Star Trek: Excelsior – Into Season 3

A couple of weeks ago, I interviewed a producer of the audio drama Star Trek: Excelsior. James is a friend from a different context, so while I’d heard of his show, I didn’t insert it into my listening schedule until just recently, when he announced the show’s intention to get two stars from Trek’s Original Series for a Trek 50th Anniversary Special episode.

When I started the interview, I’d only listened to a couple of episodes, and when I finished, I’d only heard a couple more. Now, I’ve worked my way through Seasons 1 and 2, and have started Season 3. James recommends new listeners start with Season 4, and if you enjoy that, then to work backwards: the quality of the production improves over time, and if you’re going to put your best foot forward, you might as well point out which foot that is.

So, if you’re interested, go start sometime in Season 4, you’ll be ahead of me. Here’s some thoughts on what I’ve heard so far.

The first thing to note, is I’m more forgiving of a story’s flaws, if I’m enjoying the story. And also, being aware that they don’t recommend starting at the beginning, ignoring that recommendation means I’m more obliged to give the benefit of the doubt, or be more forgiving in general.

Starting with the less-than-stellar: Mr Heaney mentioned the script for the pilot episode, “…There You Are”, is terrible. The briefing room scene certainly is a bit awkward, making very unsubtle introductions to a bunch of characters, and the show’s general concept. Once the story got going, and as it progressed into Season 1, there was less of that sort of awkwardness.

I remember noticing at points in The Next Generation, sometimes a character would introduce themselves, pronouncing their name one way, and then other actors would pronounce the name differently – like the actors interpreted the pronunciation from the script separately, rather than the characters being in the same conversation. Early Excelsior has moments like this, and it feels worst when a non-regular character does it to a regular character, like they really should have listened to some of the show. When Season 3 hits, we have a character mispronouncing the captain’s name, but pretty soon we find out he’s doing it on purpose. Hopefully, this signals the start of a more concerted effort towards consistency in this area.

Have you ever come across a story where someone has a long, formal, needlessly complicated name, and people are obliged to use the whole thing all the time? I can think of a couple of examples, but one acknowledges the concept and the other one outright takes the mickey. In Angel, some characters travel to recurring character Lorne’s home dimension, and he repeatedly gets called (and it’s far too late to fact-check this) “Kreblorne-swath of the Deathwalk clan”. After a few times, one is begging the TV to knock it off. The other example is Veggie Tales’ Lord Of The Rings parody The Lord Of The Beans. Gandalf-equivalent is talking to the Ent-equivalents, and it’s all “Randalf, son of Mandalf, keeper of the flame of” I don’t remember, and the other guy is “Lord Falaminion Tereglith, Son of Therabil Elithimon”. They say each a few times. While not as bad as these, there are points in the first season when the Valandrian leaders get dangerously close to this territory.

Small tangent into Red Dwarf. I read the novels, I had the script books, I watched the TV show. Sometimes lines would get said in the show, not quite in line with how they were written. In the books especially, “Zero Gee” was established as a sport in that universe. In a script, there’s a list of VR sports programs Lister played, and Zero Gee was listed before kick-boxing. Comma between them in the script. In the show, Lister says “Zero-G kick-boxing”. In Psirens, Lister lost his memory, and on being prompted suggests that Rimmer is his best mate. Kryten, acting as his medic, suggests that Lister might not be well. Reading the script implies the line was supposed to be “you are sick”. In the show, it’s delivered more, “you are sick“. There have been moments like this, not very often but occasionally, in my listening to Excelsior, so far. I think that the main part of the problem is that the actors aren’t really bouncing off each other, each reads the lines separately, then sends them to the editor.

Moving on from the negative, I must say I’ve been enjoying the story. I think Season 2 was an improvement on Season 1, and the plus side of listening in this order is that there’s definitely progression: the Season 2 arc definitely follows from the Season 1 arc, and the Season 3 arc (so far, I’m in episode 5) follows on from both 1 and 2.

There’s lots of humour. The title for the Season 3 opener, “All Good Captains Have Admiral Problems”, serves as a good example. And the humour goes hand-in-hand with continuity. A good Trek geek has looked at the Star Trek Encyclopedia, and seen examples of signage on the Enterprise-D, which aren’t in focus in the show. so the set designers put silly things on them. “Wherever you go, there you are” is one, and in the Excelsior show, it’s on the ship’s dedication plaque. It’s referred to in the pilot’s title, “…There You Are”. And then it’s used to humorous effect somewhere in Season 1.

There are also strict continuity references: the Iconian Gateway being technology introduced in TNG, and brought back much later in DS9, and now Excelsior uses one. Many more, of course. Does feel like they’re playing in the same universe.

But there are also sly references as treats for a broader geekdom. Using a sonic screwdriver here, and the Sub-Etha waveband there. If I wasn’t enjoying the story, I think these things would be likely to bug me, but as I’m enjoying the story, my reaction is more Captain America “I get that reference!”.

I think that subtlety can be a hard thing to pull off in audio drama. This is due to a couple of factors: one has to compensate for the loss of nuances one might notice in a visual medium, and so naturally extra emphasis has to creep in. Also, audio is a format where listeners can do other things while imbibing your content. Someone listening while driving is more likely than someone listening and not doing anything else. In short, Malcolm Reynold wouldn’t work in audio drama, because he mumbles way too much (much as I love Firefly). So I might understand someone using the word “overacting”, but I don’t think it’s happening here, I think extra-acting has too happen because of the nature of the beast.

Casual listening was tricky in Season 2, because some voices were entirely in one ear or the other. Made it difficult listening with only one ear in. Haven’t noticed that being a problem in Season 3.

In Season 3, I’m noticing some British phrases being used by non-British characters. I had some “Did they really say that?” that’s gone to “yes, it’s still there”. It’s not spoiling the story, it’s more of an oddity I’m noticing. One could explain it as colloquialisms becoming popular in cultures other than the one in which they originated, an evolution of language (which there would be over nearly 400 years). Or, I suppose, one could let it bug one, or one could ignore it and enjoy the ride.

I look forward to see how the show continues to improve into Season 4.

I think from all that typing, I’m better in a position to conclude.

I like the show.
Why?
Because it cares about the source material. Because the stories are interesting and enjoyable, and really fit the universe in which they’re being played out. Because the show has a lot of character.

I said at the beginning of this post, that there are certain things that make up for shortcomings and rough edges. Excelsior is not without rough edges, but it has more than enough of the good stuff, that I’m glad I interrupted my horrendously long podcast queue to fit this show in now.

The Kickstarter is getting pretty close to $10,000, and if it gets to $11,000 by/on Sunday, then an existing backer has promised to up their pledge by 1,500 to get Chekov on the show (they’ve already reached the threshold to get Uhura on). They stand a good chance of doing it. I jumped into pledging still listening to Season 1. Give a Season 4 episode a bit of a listen, and see if you like it, too.

Interview: James Heaney of Star Trek: Excelsior, Part 1

Today’s post is Part One of an interview with James Heaney, of the audio drama Star Trek: Excelsior. I know James from a message board about a game we both play. His sig lets us know about Excelsior, his main hobby, but he doesn’t push it a lot. I’d looked at the Excelsior website a couple of times. James and the Excelsior production has just put up a Kickstarter, trying to raise money so that they can get Nichelle Nichols and Walter Koenig into an episode celebrating Trek’s 50th Anniversary. This is what prompted me to start listening to Excelsior. I’m rather enjoying it, and I started with the part that they least recommend.

We explore all of the above in our conversation. Hope you enjoy!

The Limey Frog (TLF): How did your Starship Excelsior project come about? Who started throwing the idea around, and how did you get from there to recording with a cast?

James Heaney (JH): Way, way back in 2005, I stumbled into Star Trek: The Section 31 Files, which was one of the first fan audio series. Now, I had seen some fan films at that point, but this was 2005: fan films had a lot of problems back then. Even on the top shows, production values were low, with terrible CGI and questionable makeup, acting was very weak, and it generally took years to make episodes that would have been considered bad even in TOS’s third season. Section 31 was a revelation to me: because they were audio, they didn’t have to worry so much about production value: instead of making terrible CGI, they just told me the Nosferatu was being attacked by a battlecruiser of the Divine Celestial Imperium, invented a cool weapon sound effect, and let my own imagination fill in the blanks! Because they didn’t have to film all the actors together in one place, they weren’t bound by geography, and were able to get quality amateurs from anywhere in the world! And they could produce episodes as quickly as once a month, allowing Section 31 to develop complex serial storylines that most of the video series could never seriously attempt!

Audio drama, I decided then and there, was super-cool. But that was all for the moment.

Fast forward a bit. Now it’s 2007. A friend of mine and I had joined a roleplaying game in one of the larger Trek roleplaying federations, Bravo Fleet (they called it a “simm,” short for “simulation”). The simm was set aboard the U.S.S. Excelsior NCC-2000-C, and, for complicated reasons, they were part of a task force exploring the Delta Quadrant, and we played characters who had just joined the Excelsior crew on its way to starting a new mission. It was a fun game, but, partway into our first “mission” — a diplomatic trip to a matriarchal society called Valandria — the captain stopped posting, and generally disappeared from the Internet. Most of the crew went with her. The game very nearly fell apart.

My friend and I managed to play out the mission, but, by the end of it, we only had four people playing the game, and it’s really hard to play a good simm with fewer than six. So we started talking about recruitment. How do we get more people playing our game? We tried some of the traditional methods — forum posts and begging our friends and so forth — but it didn’t work. So one night, probably at, like, 3 AM, scraping the bottom of the barrel, I say to my X.O. (we’d been promoted to captain and first officer, respectively), “Hey, what if we made a fan film based on our adventures? People would tune in, probably a few hundred, and then we’d link to the game on the website, and some of them will join, and we’ll be the biggest ship in Bravo Fleet!”

To which my X.O. (rightly) answered, “How in God’s name will we make a fan film? We are all students, and we live thousands of miles apart.”

And then I asked him, “Have you ever heard of The Section 31 Files?”

Two days later, we had written the pilot script and published the absolute crappiest little audition site you’ve ever seen in your life. We were using a free Tripod webserver. It was atrocious.

The funniest part of all this: after, I don’t know, something like a quarter-million downloads of the audio drama, do you know how many new roleplayers we recruited from this? Three.

TLF: I’ve done what your site says I should not do under any circumstances: I started from the very beginning, “…There you Are”. At this point all your cast and crew are still learning how to do it, and I, as a listener, am trying to get straight all these new characters.

JH: Oh, don’t bother. Most of these characters will be dead or dying by the end of “Turns of Events.”

We always knew they were going to die, but we had some dumb ideas early on, like, “Hey, wouldn’t it be a dark twist if we introduced the audience to all 14 (or whatever) of these characters, made them care about them like we do, then killed them all six months from now?” It was a dark twist, and it does do a good job of announcing what kind of a show Excelsior is — we’re a show where anything can happen — but the execution was poor, and I think the end result was more confusing than anything else.

That’s one of the main reasons we tell people not to listen to the pilot, actually. There’s a, like, 15 minute mission briefing (which is embarrassingly overlong in itself), and the main purpose is to introduce all these different characters, and for about half of them that’s it. I still regret not telling the actors that their “starring” characters were marked for death.

So, seriously, don’t worry about it. The only thing that happens in the pilot that you sort of need to know about is Simon Westlake, the stowaway boy with the brain-rotting disease. He’s important later on. And some of the bits with Cortez are nice. Eleiece is a solid actress.

TLF: You know what, this kinda works for me. I’ve been known to start TV shows, and think that 2 characters were actually one character for a good chunk of the first season. This way, the overhead of learning a bunch of characters in one go is diminished, and the other half of the crew can get introduced more slowly, so it’ll be easier to keep them straight.

Tell me a little about what people have learned over the years of doing this, what changes you’ve made, and so on.

JH: When we started out, we were slaves to the roleplaying game. We figured, this show is a tool for recruitment to the RPG, therefore it should be an absolutely accurate reflection of the RPG. The pilot script is, word for word, almost an exact transcription of all the dialogue spoken in the RPG.

And the pilot script is terrible.

So, as Season 1 progressed, we became more and more willing to edit dialogue for the sake of a better radio show, but we still followed the RPG story exactly. In Season 2, we started to revise the overall flow of the story for the sake of a better drama, but still stuck to the major pivot points. At the end of Season 2, though, there was a really pivotal moment — a character departure — that I decided didn’t work, and, ultimately, we changed it, which radically broke with the RPG.

Ever since then, the audio drama has been its own show, looking to the RPG occasionally for inspiration, but otherwise piloting its own course based on its own needs. In my mind, that’s when the show got good, which is one reason why we recommend people start with Seasons 3 and 4.

There have been plenty of other changes behind the scenes as we’ve incrementally improved our process and our cast has grown, but I think that’s the most fundamental change: breaking the audio drama away from the RPG was just tremendous.

TLF: I’m not knocking your early efforts. I’m enjoying the story so far, which mitigates a lot. And though I think I read your “New listener page” before, I didn’t remember it when I bulk-downloaded all the episodes, and so I read the page again after I started from square one. That page acknowledges that things improved over the years, and recommends people start with newer storylines. That disclaimer mitigates a lot, too. But I’m patient (and possibly stubborn) and once I’ve started, I’ll generally continue through a series, see how people started and where they went after that.

JH: Well, thank you! For all its flaws, there is a lot of heart in that first season. The writers sort of included everyone in the RPG, desperately improvising, the cast was new and fresh and excited to be in a Star Trek show, and the behind-the-scenes crew was incredibly blessed with two very talented mixers who appeared out of thin air to help out (Garry Cobbum and Jim Smagata). We survived, we learned a lot, and I do think the story is, at its core, a good one. I’m always tempted to go back and do a George Lucas on it, redoing the whole season based on what we’ve learned since, but I think when you make art you have to let it stand on its own, and revising it might just kill a lot of what makes it lovable.

TLF: Visiting the site, I see the Excelsior name, and a Sovereign-class ship. I found this hard to look at, until I started “…There You Are”, and it explained about the ship being the Excelsior-C, and some background to the ship itself. Tell me some about the decisions around this setting.

JH: As you probably gathered by now, I didn’t pick the name. By the time I got there, the Excelsior-C had been running, off-and-on, as a Bravo Fleet simm for… oh, something like ten years before we took it over. (In the pilot episode, that stuff about “Grenn, Dhivael, Underwood, Riku” in the opening trailer — those are all former captains from the RPG.)

Truthfully, I thought it was a stupid fanwanky name at the time. I would have renamed the ship U.S.S. Visionary and made her a mid-sized cruiser, if we hadn’t been so married to following the RPG.

But, in retrospect, I was wrong. Star Trek is a series built on traditions, and on a particular formula. You can play with the formula — in fact, you have to play with the formula, in big ways, to stay fresh — but you also have to honor some of the key traditions, or you’re not making Star Trek anymore; you’re making Battlestar Galactica or Firefly or something that just happens to have Klingons in it.

Here’s a great example of this: Star Trek Aurora. Wonderful series. I adore Aurora. I binge-watched it this week, actually, just to unwind from the Kickstarter stress. Everyone should watch Aurora. But — and I hope I cause no offense to Tim Vining here — it’s not really Star Trek. Take Trek out of the title and make T’Ling slightly different — a member of some new “logical” race, or even just a very dour human — and it’s the same show, with the same feel.

The Excelsior name grounds Star Trek: Excelsior very firmly in the Trek tradition, setting the show aboard a top-of-the-line cruiser gives us most of the ingredients of the boldly-go formula, and setting it after Nemesis gives us the freedom to invent and explore in a way that we couldn’t if we were tied down to, say, the early 24th century. It makes us unmistakably, uneraseably Star Trek.

Now, as you’re going to discover, we are constantly looking for new ways to subvert the Trek formula — heck, our opening theme speech for Seasons 2 and 3 is a pretty massive subversion all by itself. But you can’t subvert the formula unless you’re deeply embedded in it first, and being set aboard the Excelsior-C puts us deep in the Trek tradition while allowing us the freedom to play around with it. We’re very lucky to be there.

TLF: I know you through playing the Star Trek Customizable Card Game, and honestly I remember more Trek trivia from that game than I do from watching the episodes themselves. When did you get into the cards, and have the cards helped influence the development of the show? Listening to “The Valandrian Expedition”, the first regular episode, we meet a society that made me think of both Matriarchal Society and Zaldan combined.

JH: I was given my first starter deck by a friend of my mother’s way back in 1995, and fell in love with the game right away. For a number of years in the mid-90s, my parents decided that Star Trek had gotten too racy, and forbade me to watch DS9 and Voyager, so, for quite some time, the CCG was my only connection to new Trek. I learned about the Cardassian/Dominion treaty, and the subsequent Dominion War, not by watching the show, but by opening up a pack of Dominion and reading the lore! Which, looking back, is an insane way to experience the Dominion War for the first time.

I stopped collecting shortly after Second Edition began, because my friends all stopped playing, and I just found the game too boring after a year or two of trying. But when I discovered the CC had relaunched First Edition, in about 2012, I fell in love all over again, and haven’t left since.

I can’t say I ever looked at two cards, combined them, and decided to do an episode based on them. (Although maybe I should try that!) But the cards have had such a profound influence on how I see the Trek universe, it’s hard to separate the two in my mind. For instance, the game’s idea that the Borg are fundamentally unbeatable, and the only reason they haven’t stomped you to death already is because they are playing an almost completely different, very alien game that frankly isn’t all that interested in your puny Klingon armada — that concept really captured the core of the Borg (the pre-First Contact “Q Who?” Borg especially, and yes I know that’s ironic), and stuck with me. It played a big role in shaping Season 3 of Excelsior, which goes to great lengths to re-establish that role for the Borg in Star Trek canon (after the depredations of Voyager): they’re not ants or zombies, and you can’t actually beat them, and they would wipe out out in ten minutes if they cared enough to try… but they aren’t even playing the same game you are, you puny Federation chumps, so you can survive as long as you don’t give them a reason to be interested in you.

Those Borg are scary, and I think I owe the card game a debt of gratitude for helping Excelsior envision them that way.

TLF: I saw on your Kickstarter pledge levels, that you have a timeline for the show worked out. Did you have this from the very beginning? How far back does it go, and how far into the future?

JH: No, I didn’t. And this caused problems. When you have a deeply interconnected, multi-season story with a bunch of moving parts taking place in different parts of the galaxy, it’s very, very important that you know when everything is happening relative to everything else… and I just plain didn’t have that, and inconsistencies started creeping in.

Fortunately, I started to notice the problems midway through the first season, and — with one exception in the pilot episode, plus two bigger exceptions we haven’t been forced to actually grapple with yet (because they deal with future events) — we were able to either reconcile or retcon away all those problems. Ever since then, every event with an associated date that is mentioned on the show has gone on the timeline, and stuff we’re planning to reveal later also goes on the timeline, all of it with source citations and relevant passages of dialogue so I know where the information is coming from (and how “set in stone” it is in case future retcons are required).

I honestly didn’t expect many/any backers at that level. I didn’t think there was all that much interest in an Excelsior timeline, especially when, for just a few dollars more, you can do things like invent your own character, which I just thought was super. But, in retrospect, that was stupid: how many copies has the Star Trek Chronology sold? So now I’m getting a little nervous about how much previously TOP SECRET information is going to leak out — but, hey, we’re committed now.

I plan to clean up the timeline a little bit before sending it out, because right now it’s full of shorthand that only I could understand, and that needs to be expanded for backers. But, in its current version, the timeline’s first entry is “~6000 B.C.” and the last entry is “2403 (Stardate 79283.2)”.

End of Part 1.

Tune in next time as discussion about the timeline continues, we talk more in depth of how the Kickstarter came together, and some brief chat about card-based shenanigans. Make sure to visit the Star Trek: Excelsior site, and give Season 4 a listen (with the side bonus of being ahead of me). And then head on over to the Kickstarter campaign, and give them all your money.

Part 2 now published.

Conversations On The End Times

One thing that was interesting to find out, was that some popular notions of the End Times, Jesus returning, and all that, originated in the 18th Century. “But what about all those Bible verses?” you might ask. These are often from different parts of the Bible, and hadn’t been put together to try and form a cohesive theory before. And there are some conflicting versions of these theories about, with disagreements over what’s supposed to happen when, and all that.

Here are some shows to listen to, that give a different perspective on eschatology. Hopefully you will find them entertaining and illuminating.

Faith Encouraged Live has two shows. The first ended up more, “no, we don’t believe this, or that”, and the second tried to be “this is what we actually do believe about this”. Fr Barnabas has a different guest on each program, and also has some live calls. Each episode is about an hour and a half:
1: Rapturemania and the Second Coming of Christ
2: Even So, Come Lord Jesus

Our Life In Christ has 4 shows, which each take on a different aspect of the subject. The hosts Steve and Bill have a chat/discussion around the subjects, each episode is around an hour.:
Part 1: “Steve and Bill discuss the landscape of popular end time scenarios”
Part 2: The End Times in church history
Part 3: They talk about the Rapture and Christian Zionism, among other things, and relate the subjects to the Nicene-Constantinopolitan Creed.
Part 4: 666, Antichrist and the Beast.

Finally, Fr Thomas Hopko of blessed memory gave a 3-part talk that went through the book of Revelation from start to finish. Each part is just over an hour:
Part 1
Part 2
Part 3

Foundations Podcast Series

Our little church group has been going through this podcast series, a rather tightly-packed introduction to the basics of Christianity in general, and Orthodox Christianity in particular. It’s good for those who know something about the subject, but it should also prove interesting to those who know nothing about it.

The series is Foundations Of The Orthodox Faith, and this page links the first episode at the top, and the last episode at the bottom.

I’m actually having to catch up on my mp3 player, because I missed a bunch of the first few episodes we did. The shortest episode is slightly longer than 20 minutes, the longest slightly over 30 minutes, and there are 8 episodes.

Hope you enjoy!

Some Podcasts I Like

I first got into podcasts while I was working nights in a large warehouse, doing a job that left enough brain free to listen to talk while I was doing it.

I think the first one I listened to was The Signal podcast, about Firefly and Serenity, which lasted for a surprisingly long time for a show about a TV show that lasted a season, and a movie that didn’t get a sequel. the Signal got me into Podiobooks via 7th Son.

I moved on from there into The Survival Podcast while it was still in its first 50 episodes.

Feeling the need for Christian content, I found Godcast 1000, a directory of many Christian podcasts. I listened to a few, probably less than 10. I’ll talk about one in a minute, apart from that, there’s another that I particularly remember. It was a short-lived series called “Dark Sayings Of Old“. The episode that stood out most to me, was Episode 4, “Hugh Latimer, The Sixth Sermon preached before King Edward, April twelfth, 1549″, text available at ccel. Though what particularly stood out to me was the mention of Robin Hood.

The other one that I particularly want to mention, is the podcast “The Illumined Heart“. The blurb mentioned the Orthodox church, which I had encountered in a trip to Israel, but knew I didn’t understand at all. Kevin Allen hosted the show, which contained a long string of interviews. Half of them were interviews about the (or, more often, “an”) Orthodox opinion on some topic (animal welfare, the occult, the death penalty), and the other half were interviews with people talking about their conversion stories from different faith traditions to Orthodoxy – from Islam, from the Baptist church, from the Episcopalian church, from Hinduism and Buddhism, from The Byrds – quite a variety.

It was quite a soft introduction, not immediately hard-core theology, and early on there were some things where I had no idea what they were going on about, and kind of had to set it aside and say “I’ll come back to that later, when I know more”.

After moving to America, I decided to visit Ancient Faith Radio, which produced The Illumined Heart, and I started listening to their many other shows. Well, it was less many at the time, it’s kind of taken off since then. I thought I’d list some shows I particularly like.

An introduction to basic Orthodox beliefs and practices, aimed especially at people unfamiliar with it all, the archived radio show Our Life In Christ is a good start. They keep the tone jovial, don’t really get bogged down in The Seriousness Of It All. Even when they discuss one of the hosts’ brush with law enforcement.

I really enjoyed the content put out by the late Father Thomas Hopko, particularly his podcast Speaking The Truth In Love, and in his occasional lectures. He comes across as humble, saying when something is a dogma of the church, or his own opinion, or when he may be wrong about something or other. Some speakers come across more towards the hard line of dogma, or the church position on things, and some will spend more time on a pastoral approach, and I thought Fr Tom was very careful to be not strident, and to be pastoral.

Also taking more of a pastoral approach, Fr Evan Armatas fields questions from all comers in Orthodoxy Live, which is broadcast live on two Sundays a month, and available for download afterwards.

Sermons from various parishes are available to download, I’m quite font of Homilies From All Saints, with Fr Patrick Henry Reardon. He’s very well-read, and will include references, be it to Julius Caesar’s The Gallic Wars, or, much to my delight, to P.G. Wodehouse’s Jeeves novels. I was like Captain America, “I got that reference!”

Sometimes AFR has talks from various events. I mentioned the Doxacon Orthodox Science-Fiction and Fantasy Conference in some past post that I’m too lazy to look up, but I’d like to point out that there have been some moments that particularly stuck with me in these two events:
Eighth Day Symposium – Imagination and Soul: Harry Potter, Twilight, and Spiritual Formation (“Whence Potter-Mania?” is so funny)
The World Below (particularly Systemic Abandonment).

If you’re stuck for something to listen to, give something from here a try.

Doxacon: A Podcast Recommendation

Had an interesting day today, as I managed to drive for the first time since hurting my leg (it was still rather uncomfortable), and this evening I went with Oldest and Mother-in-law (the latter thankfully doing the driving for me) to the airport to pick up a bunch of my family.

They travelled for somewhere around 27, 28 hours. And now it’s pretty late for me, too.

As I finish my blueberry muffin, I ask myself what I can write about (preferably in such a manner that I can get to sleep before too long – and no, I don’t mean by boring myself to sleep at the keyboard).

I finished my last audiobook of the season, today, and went on to podcasts. The podcast series I’ve started, I’m rater enjoying, so I’ll pass on the recommendation to you, dear reader.

The talks for Doxacon Seattle 2014 are available at Ancient Faith Radio.

Doxacon is an Orthodox Christian sci-fi/fantasy-themed conference.

So far, I’ve heard the talk by Tim W. Brown about role-playing games (spoiler: he doesn’t dismiss them as being “of the devil”), one by Peter Chattaway about reboots and biblical storytelling, one entitled “Geek Anthropology: A Person is One Who Says Yes to Others” by Greg Cook, “An Orthodox Discworld” by Bev Cooke, and I’ve started the one by Donna Farley.

Think I know a few people who’ll particularly enjoy the Discworld one.

You’ll get a lot of geek cred for listening to these.