I was blown away by the Netflix animated series Blue Eye Samurai. I’m not alone, it has 100% rating on Rotten Tomatoes. I was pleasantly surprised to discover the supervising director and producer of the show, Jane Wu, began her career as an animation storyboard artist. In fact, we were working at different animation studios at the same time in L.A. We talk about why she took a live action approach to planning animated sequences in Blue Eye Samurai, and how she wanted to represent Japanese culture in a way that’s never been done in Western animation. Jane also discusses how her background in martial arts and how her personal history helped her understand the main character Mizu, a woman with dual identities on a quest for revenge 17th century Japan.
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Making Blue Eye Samurai

Imaginary Worlds sounds like what would happen if NPR went to ComicCon and decided that’s all they ever wanted to cover. Host Eric Molinsky spent over a decade working as a public radio reporter and producer, and he uses those skills to create thoughtful, sound-rich episodes about science fiction, fantasy, and other genres of speculative fiction. Every other week, he talks with comic book artists, game designers, novelists, screenwriters, filmmakers, and fans about how they craft their worlds, why we suspend our disbelief, and what happens if the spell is broken. Imaginary worlds may be set on distant planets or parallel dimensions, but they are crafted here on Earth, and they’re always about us and our lived experiences.

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When Joe Dever died in 2016, he hadn’t written the last several books in his Lone Wolf series. The Lone Wolf books take place in a deeply rich fantasy universe, and they’re written as a combination of choose-your-own-adventure stories and role playing games like D&D. Joe’s final wish was that his son Ben would finish the series for him. However, Ben was unfamiliar with his father’s books, and the legions of Lone Wolf fans he would have to please. I talked with Ben Devere (who spells his last name differently) about the creative, practical, and personal struggles he went through as a writer, and how he was able to get to know his late father by immersing himself in his father’s fantasy world. Jonathan Stark, co-host of the official Lone Wolf podcast Journeys Through Magnamund, explains why Lone Wolf means so much to fans like him, and how he ended up fulfilling his own dreams of writing a Lone Wolf book.
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You Are Lone Wolf: A Father/Son Quest

When the writer Nnedi Okorafor coined the term Africanfuturism, she wanted to distinguish sci-fi written about Africa from Afrofuturism, which is focuses on the experiences of Black people in the diaspora. Africanfuturism mixes the traditional with the futuristic in a way that resembles modern life in Africa, and many of these stories grapple with climate change. Although the writer Chinelo Onwualu says cli-fi isn’t a subgenre for African writers. It’s often baked into a lot of Africanfuturism because the continent is already at the forefront of climate emergencies. And the writers Suyi Davies Okungbowa and Wole Talabi explain that Africanfuturist cli-fi isn’t as dystopian as Western cli-fi. These visions of the future may feel daunting but there is often a sense of hope and the solutions are more community focused. The actress Nneka Okoye reads from their stories, and other works by African writers.
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Reading list from this episode:

Works of Nnedi Okorafor


Wole Talabi’s anthology Convergence Problems


Suyi Davies Okungbowa's novella Lost Ark Dreaming


Chinelo Onwualu’s short story Letters to My Mother



Dilman Dila’s story The Leafy Man from the book A Killing in the Sun



Mame Bougouma’s story Lekki Lekki from Africanfuturism: An Anthology


Omenana Magazine


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African Sci-Fi Looks to a Future Climate

Back in 2018, I interviewed language creator David J. Peterson about how he invented Dothraki for Game of Thrones and other fictional languages in fantasy worlds. David and his wife Jessie just finished a huge project – developing the Fremen language for Dune: Part Two. I talk with the couple about their creative process and the challenge of imagining simple English phrases in the Chakobsa language that Frank Herbert imagined in his Dune novels. We also hear my 2018 episode, “Do You Speak Conlang?” where I also talked with Marc Okrand, inventor of the Klingon language, and Robyn Stewart, a language consultant for Star Trek: Discovery. Plus, Jen Usellis -- a.k.a. Klingon Pop Warrior -- will give you a serious case of earworms (not the kind from Wrath of Khan.)
For more episodes about Dune, check out my 2017 episode The Book of Dune, where I talked with Muslim fans of the series about the way Frank Herbert incorporated aspects of Islam into the books. And in 2021, I did an episode called The Ecology of Dune where I looked at the environmental messages in the books and whether Frank Herbert’s environmental sensibilities still hold up today.
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When All Is Said in Dune

The Wizard of Oz is deeply ingrained into our culture. While many people can practically recite the 1939 movie, the original source material isn’t as well known. The Wonderful Wizard of Oz by L. Frank Baum was published in 1900. There are a lot of theories as to what inspired Baum – but the answer may be who rather than what. Baum’s mother-in-law Matilda Joslyn Gage was a groundbreaking writer and activist who could’ve been in every high school history textbook if she hadn’t had a falling out with the leaders of the suffrage movement. But her ideas live on in The Land of Oz. I talk with historian Sally Roesch Wagner and UNC-Charlotte professor Dina Massachi about the politics of gender in Gage’s works and Baum’s stories. And I talk with therapist Dr. Gita Dorothy Morena who has a very personal connection to the books.
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Mother-in-Law of Oz

In the previous episode, I interviewed documentary filmmaker Isaac Elliot-Fisher about He-Man and Teenage Mutant Ninja Turtles. Isaac had so many great anecdotes about the history of those franchises that I couldn’t fit in. In this bonus episode of outtakes, Isaac explains the history of the term toyetic, the haphazard way He-Man came together, and why the 1990 live action TMNT film was so much darker than the cartoon show.
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Making Blue Eye Samurai

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