Jonathan Pageau carves icons and talks about symbolism. Matthieu Pageau writes about cosmology. GodsDog is what happens when they work on the same thing.
Liturgical artist, public speaker and cultural commentator.
Jonathan Pageau is a world-renowned liturgical artist, public intellectual, and speaker specializing in symbolism, sacred art, and cultural commentary. As the creator of The Symbolic World, a widely popular YouTube channel and podcast, he has become a leading voice in exploring how ancient patterns and religious symbolism shape modern culture, storytelling, and societal structures. His deep insights into art, faith, and meaning have made him a sought-after speaker at prestigious institutions and conferences worldwide.
For over a decade, Pageau has dedicated his work to understanding the visual language of symbols and their transformative power. Trained as an icon carver, he has created sacred art for churches and private collectors, helping to revive traditional craftsmanship in a digital age. His work has been featured in major media outlets, including Newsweek, The Federalist, and The American Conservative, and he has been a guest on some of the most influential podcasts, including The Jordan Peterson Podcast, The Ben Shapiro Show, and Pints with Aquinas.
Pageau has collaborated extensively with Dr. Jordan B. Peterson, appearing alongside him on multiple podcast episodes and participating in his worldwide speaking tours. His work in public discourse has expanded to collaborations with The Daily Wire, where he has contributed to major documentary series such as End of the World and Foundations of the West.
As the founder of Symbolic World Press, Pageau has authored and published multiple books exploring the mythological and symbolic structures embedded in classic fairy tales and religious narratives. His works, including GodsDog: Warrior and Snow White and the Widow Queen, provide an artistic and intellectual foundation for understanding how archetypal storytelling continues to shape contemporary thought.
A thinker, and the author of The Language of Creation: Cosmic Symbolism in Genesis.
His 2018 commentary on Genesis is one of the more rigorous treatments of biblical cosmology written for a general reader, and it averages 4.43 on Goodreads across nearly 800 ratings.
His contribution to GodsDog is structural, and it runs deeper than co-writing. When he joined the project it stopped being a buddy comedy and became epic: cosmic stakes, the hunt for the world's first relic, a world built to hold secrets. The four leads are his design. He imagined them as a single pattern of four, the four rivers of Paradise, tied to the ancient theory of the humours, and built a scheme of expression for showing how the four personalities push against each other.
That is why the arguments in GodsDog feel structural rather than incidental. They were designed as a system before they were written as scenes.
His essay The Cherub and the Flaming Sword appears in the companion volume.
Each volume has had its own art team. The world stays continuous; the hand changes.
Met Jonathan Pageau in 2018 and began work on the series that year. His style is simpler and more graphic than Jonathan's concept work, and the early development phase was spent building a register that bridged the two. He designed George's sword, the giant city and the coloured Eden.
A veteran comics artist whose credits include Black Hammer, Prophet and Island. He took over interior art for Warrior with Jesse White.
Co-illustrator on Warrior alongside Matt Sheean.
Interior art for Monk, the longest volume in the series at 224 pages.
Colourist across the first two volumes. The use of colour and light to stage a scene has been singled out repeatedly in reviews of Monster.
Joined on Warrior and handles both colours and lettering on Monk.
Founded by Jonathan Pageau to publish work that takes symbolism seriously. Alongside GodsDog the press produces illustrated fairy tales, commentary and companion volumes.
5Release dates, process notes from Jonathan and Matthieu, early looks at pages from volumes four and five. No more than a few emails a month.
