Jeff Mach

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About Jeff Mach

I am Jeff Mach, born January 27, 1975, in Northern New Jersey—a region defined by its relentless highways, industrial echoes, and more shopping malls than you could shake a stick at, if all of the malls had left any trees. I wish you were here to read my satirical fantasy/scifi writing,

You’ve likely heard Jeff Mach is, at best, a controversial figure

 

But most likely, you’ve heard that I am some sort of massive monster who has hurt hundreds of people but never even questioned about a single crime by the laws. Here, have some horrifying allegations. It’s not that I’m not passionate about them; I’m just casual because I’ve lived with them for so long.

Here, have some notes: 

So I didn’t date or marry a much younger (but legal) woman. Furthermore, I have not somehow stolen thousands or millions of dollars. I can do martial arts but not firearms; I haven’t murdered any of my rivals. I DO owe the State of New Jersey some money. That’s true, and I’m working on it.

Here’s a bit of a bio:

I hold a Bachelor of Arts in theater from Rutgers University with a degrees in theatre and anthropology; the deep study of human rituals has informed my lifelong work of reframing, challenging, and occasionally upending them. (An. For many years, I have resided in Hackensack, where an extensive collection of used books serves as both personal archive and a form of quiet defiance against the normal.

My writing occupies the greyer borders of speculative fiction, where satire intersects with moral complexity and familiar tropes are deliberately messed about. You might like my Dark Lord novels. I am particularly drawn to villains. Not as disposable antagonists, but as essential, multifaceted figures whose presence reveals the limitations of simplistic heroism and predestined narratives. I am in love with dark humor, satire from Joseph Heller to Mark Twain to Juvenal, and absurdity.

My writing is (still) shaped by the influences of Neil Gaiman’s elegant darkness, Ursula K. Le Guin’s profound ethical insight, Douglas Adams’ wry cosmic perspective, and Terry Pratchett’s humane, razor-sharp wit. My debut novel, There and NEVER, EVER BACK AGAIN: A Dark Lord’s Diary (2018), was an Amazon bestseller, as was my later novel,   I HATE Your Prophecy, the short story collections Villains, Villainy, and Villainpunk and I Hate Your Time Machine, and The Villainpunk Cookbook—a practical, subversive guide for those who recognize that even the most unconventional pursuits require nourishment.

In theater, I created Absinthe Heroes, one of the foundational steampunk rock operas—standing in creative and cultural stature alongside Paul Shapera’s acclaimed New Albion series (such as The Dolls of New Albion) as an early, enduring contribution to the emerging form—and the musical Beneath (2017), which examines the intricate, often fraught relationships between humans and monstrous beings, probing themes of acceptance, misunderstanding, and unexpected beauty.

Past Events

For thirty years, I have committed myself to organizing events that bring together the unconventional and foster intentional communities. Through Jeff Mach Events, I founded or co-created a series of large-scale gatherings on the East Coast that, at their peak, attracted over 10,000 attendees annually. The events included:

  • The Steampunk World’s Fair (2010–2017), the world’s largest steampunk fest encompassed extensive panels, live performances, elaborate cosplay, vendor halls, and immersive experiences, earning coverage from CBS News Sunday Morning (2011) and Wired (2012).
  • The Wicked Winter Renaissance Faire, the largest indoor Renaissance faire of its kind, transforming convention spaces into seasonal realms of historical fantasy, spectacle, and community.
  • Geeky Kink Event, a considered space for the intersection of geek culture and consensual kink.
  • The Anachronism, blending temporal displacement, performance, and shared imagination.
  • Dark Side of the Con, which evolved into Dark Force Fest, centering darker themes, villainous perspectives, and alternative narratives.
  • Evil Expo, a multi-genre celebration welcoming science fiction enthusiasts, geeks, Renaissance participants, steampunks, and imaginative creators—featuring panels, music, gaming, vendors, and an unapologetic embrace of villainous and monstrous identities.
  • The Great Catskills Halloween Vendor Market & Spectacle, an autumnal gathering in the New York Catskills, showcasing vendors, performances, and seasonal wonder for the macabre and creative.

These gatherings were praised by NorthJersey.com and Nerdarchy for their creativity, inclusivity, and genuine sense of belonging. They offered refuge for goths, pagans, rennies, steampunks, cosplayers, gamers, makers, occult enthusiasts, horror fans, and creative misfits of every stripe.

My current focus is The Odditorium Carnival

a weekend-long marketplace and carnival dedicated to the odd and unusual. Scheduled for June 5–7, 2026, at the Saratoga County Fairgrounds in Ballston Spa, New York, it features a sprawling indoor/outdoor festival marketplace with independent creators and collectors offering gothic jewelry, pagan ritual tools, steampunk gadgets, Renaissance leatherwork, occult books and tarot, custom gaming gear, alternative fashion, taxidermy curiosities, horror memorabilia, bespoke costumes, and other handmade oddities. Attendees can expect curious games, roaming musicians, small-stage performances, storytelling circles, and relaxed spaces to browse and connect. We welcoming everyone in everyday attire, full garb, goggles and gears, leather and patches, or whatever expression feels authentic. Vendor applications remain open for those in gothic, pagan, Renaissance, steampunk, alternative fashion, gaming, occult, leathercraft, metalwork, costuming, oddities, horror, and related niches.

Previous plans for Wonderplace Alpha (originally slated for May 2025) were ultimately abandoned after Warren County withheld payment for nearly a year, succeeding in non-payment despite efforts to resolve the matter. Such obstacles are part of the landscape when building unconventional projects, and they do not diminish the commitment to creating spaces where the peculiar can thrive.

Challenges have marked this path. In 2018, serious allegations—including claims of sexual misconduct and business irregularities—surfaced; I have denied them consistently and categorically since the beginning. The Steampunk World’s Fair concluded during that period, following my transfer of ownership and control to others. Later events, such as the 2024 Wicked World’s Fair, faced substantial logistical difficulties: overcrowding concerns, payment delays tied to platform restrictions and withheld funds, venue shortcomings (including structural issues and contract breaches), and related strains. I have provided detailed accounts—timelines, evidence, and explanations of external factors—in responses available on this site, including my comprehensive reply to the Steampunk Explorer’s coverage of Wicked World’s Fair (read it here).

Public interest in these matters is understandable, and some views persist irrespective of the record. Where responsibility lay with me, I have met it—personally covering obligations when required, refining processes for venues and vendors, and prioritizing participant experience. The emphasis remains on the work: the events, the connections, the stories enabled.

My path continues through measured persistence. Villains and monsters are not peripheral to narrative. They are integral0, providing the essential tension that uncovers deeper truths. Here at jeffmach.com and jeffmachwrites.com, the work proceeds: books, events, reflections, and the ongoing refusal to let external difficulties silence what has been built over three decades. If these endeavors—satirical fantasy, immersive gatherings, or the quiet determination to create amid adversity—resonate with you, welcome. There is space for thoughtful engagement, for those prepared to look beyond surface accounts to the substance beneath.

(For those arriving with questions from earlier chapters: the detailed records and responses are here, factual and unvarnished. The narrative, however, moves forward.)