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The Adventures of Saint Andrew, Part Six: A Cave in the Realm of the Wolf-People

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Part One: Seas Red and Black

Part Two: Riders Beyond the Silk Road

Part Three: In The Country of the Man-Eaters

Part Four: The Cross on the Ice

Part Five: The Outermost Ends of the Earth
After dwelling in the veritable hinterlands of the Far North - possibly even Scotland, since the opportunity and route was there - Andrew turned south towards "civilisation." Coming through what is now Poland, he may have encountered other tribes - the early Rugians, Burgundians, and Vandals, who would go on to cause somuchtrouble for the Romans in the coming centuries. Andrew was deep in the Country of the Barbarians, and far from home.


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In Andrew's time, Slovakia, along with Poland, was part of what the Romans called Germania Magna - "Greater Germania" - a vast area beyond the limes (frontier) of the Empire. Only a few years after Andrew was born, the terror of the Germanians hit Rome like a ton of bricks at the Teutoberg Forest, as pictured above by the incomparable Angus McBride. Those borderlands in what is now Slovakia were roamed by the Quadi, who may have joined the Vandals on their migration to Iberia, and the Carpi, for whom the Carpathian Mountains derive their name:

The Narisci border on the Hermunduri, and then follow the Marcomanni and Quadi. The Marcomanni stand first in strength and renown, and their very territory, from which the Boii were driven in a former age, was won by valour. Nor are the Narisci and Quadi inferior to them. This I may call the frontier of Germany, so far as it is completed by the Danube. The Marcomanni and Quadi have, up to our time, been ruled by kings of their own nation, descended from the noble stock of Maroboduus and Tudrus. They now submit even to foreigners; but the strength and power of the monarch depend on Roman influence. He is occasionally supported by our arms, more frequently by our money, and his authority is none the less.
 - Tacitus, Germania 42

... the Marsigni, Gotini, Osi, and Buri, close in the rear of the Marcomanni and Quadi. Of these, the Marsigni and Buri, in their language and manner of life, resemble the Suevi. The Gotini and Osi are proved by their respective Gallic and Pannonian tongues, as well as by the fact of their enduring tribute, not to be Germans. Tribute is imposed on them as aliens, partly by the Sarmatæ, partly by the Quadi. The Gotini, to complete their degradation, actually work iron mines. All these nations occupy but little of the plain country, dwelling in forests and on mountain-tops. For Suevia is divided and cut in half by a continuous mountain-range, beyond which live a multitude of tribes.
 - Tacitus, Germania 43


After that, Andrew found a place which he would consider home for the next 20 years, in what is now Romania - a land the Romans called Dacia.

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The Dacians were a people formed by the admixture of Thracians, Scythians, and Celts, forming a unique and sophisticated culture. Centuries before Andrew's time, the Dacians advanced from a tribal society to a fully-fledged nation state under King Burebista: they built highly complex urban centres, fortresses called "davas." Dacian goldsmiths were highly accomplished, with exports to Rome, Greece, and even Scandinavia. After Burebista's death, Dacia became a land divided among tribes once again, and would not be united until the reign of King Decebalus in 87 AD: After several successful victories over the Romans, Dacia became a client kingdom - an arrangement that was far more beneficial to the Dacians than to the Romans.

Dacian society was notable for its comparatively egalitarian attitudes. There were two social groups: the Cometai ("free people"), and Tarabostes (nobility), with the king directly elected by the nobility. Women had greater freedoms than their Roman or Hellenic counterparts, and slavery is poorly attested in comparison to other lands of the time period. A third group, the priesthood, coincided with the adoption of the Cult of Zalmoxis.

While travelling, Andrew followed an almost aescetic lifestyle of celibacy and strict vegetarianism, in the manner of John the Baptist. Owing to this hermetic existence, he tended to favour caves as his temporary shelters: there are many caves in Europe which are associated with him, such as the one above Lake Kremaston in Evrytania, Greece. There is a cave in Dervent, Dobrogea, in what is now Romania, which has become a holy site dedicated to Andrew. Andrew made this cave his home base for the next 20 years, sometimes travelling hundreds of miles away, but regularly returning here. Why here, specifically?

Andrew probably felt quite at ease with the Dacians. According to the Jewish historian Flavius Josephus, their clerics were much like the Essenes of Judea: celibate, vegetarians - they didn't even eat fleshy vegetables, only seeds and nuts - and monotheistic, worshipping but one god, Zalmoxis.

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The belief of the Getae in respect of immortality is the following. They think that they do not really die, but that when they depart this life they go to Zalmoxis, who is called also Gebeleizis by some among them. To this god every five years they send a messenger, who is chosen by lot out of the whole nation, and charged to bear him their several requests. Their mode of sending him is this. A number of them stand in order, each holding in his hand three darts; others take the man who is to be sent to Zalmoxis, and swinging him by his hands and feet, toss him into the air so that he falls upon the points of the weapons. If he is pierced and dies, they think that the god is propitious to them; but if not, they lay the fault on the messenger, who (they say) is a wicked man: and so they choose another to send away. The messages are given while the man is still alive. This same people, when it lightens and thunders, aim their arrows at the sky, uttering threats against the god; and they do not believe that there is any god but their own.
I am told by the Greeks who dwell on the shores of the Hellespont and the Pontus, that this Zalmoxis was in reality a man, that he lived at Samos, and while there was the slave of Pythagoras son of Mnesarchus. After obtaining his freedom he grew rich, and leaving Samos, returned to his own country. The Thracians at that time lived in a wretched way, and were a poor ignorant race; Zalmoxis, therefore, who by his commerce with the Greeks, and especially with one who was by no means their most contemptible philosopher, Pythagoras to wit, was acquainted with the Ionic mode of life and with manners more refined than those current among his countrymen, had a chamber built, in which from time to time he received and feasted all the principal Thracians, using the occasion to teach them that neither he, nor they, his boon companions, nor any of their posterity would ever perish, but that they would all go to a place where they would live for aye in the enjoyment of every conceivable good. While he was acting in this way, and holding this kind of discourse, he was constructing an apartment underground, into which, when it was completed, he withdrew, vanishing suddenly from the eyes of the Thracians, who greatly regretted his loss, and mourned over him as one dead. He meanwhile abode in his secret chamber three full years, after which he came forth from his concealment, and showed himself once more to his countrymen, who were thus brought to believe in the truth of what he had taught them. Such is the account of the Greeks.
- Herodotus, The Histories
It's quite natural that Andrew would find the Dacians quite amenable to Christ - in fact, so taken were the Dacians with Andrew's teachings, Romanian tradition suggests that not only did they accept Christianity, they actually considered Christianity the natural extension of their existing religion.

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Of course, the Dacians were no hippies: they were great warriors, too. Their signature weapon was the Falx, a great two-handed blade which was so devastating, it was once believed the Roman army had to institute running changes in their panoply while on campaign, as the famous lorica segmentata was particularly vulnerable to an armour-piercing terror such as this.

And, because we can never get away from those blasted dog-headed people, there are also legends a mythological relationship between the Dacians and wolves. Strabo claimed the Dacians were named Daï, or Daoi:
But there is also another division of the country which has endured from early times, for some of the people are called Daci, whereas others are called Getae — Getae, those who incline towards the Pontus and the east, and Daci, those who incline in the opposite direction towards Germany and the sources of the Ister. The Daci, I think, were called Daï in early times; whence the slave names "Geta" and "Daüs" which prevailed among the Attic people; for this is more probable than that "Daüs" is from those Scythians who are called "Daae," for they live far away in the neighbourhood of Hyrcania...
- Strabo, Geographica


Daoi, Dai and Daüs are very similar to the words for wolf in several neighbouring languages:

According to Strabo, the original name of the Dacians was daoi. A tradition preserved by Hesychius informs us that daos was the Phrygian word for "wolf.' P. Kretschmer had explained daos by the root *dhäu, "to press, to squeeze, to strangle."' Among the words derived from this root we may note the Lydian Kandaules, the name of the Thracian war god, Kandaon, the Illyrian dhaunos (wolf), the god Daunus, and so on. The city of Daous-dava, in Lower Moesia, between the Danube and Mount Haemus, literally meant "village of wolves. Formerly, then, the Dacians called themselves "wolves" or "those who are like wolves," who resemble wolves. Still according to Strabo, certain nomadic Scythians to the east of the Caspian Sea were also called daoi. The Latin authors called them Daliae, and some Greek historians daai. In all probability their ethnic name was derived from Iranian (Saka) dahae, "wolf." But similar names were not unusual among the IndoEuropeans. South of the Caspian Sea lay Hyrcania, that is, in Eastern Iranian "Vehrkana," in Western Iranian "Varkana," literally the "country of wolves" (from the Iranian root vehrka, "wolf'). The nomadic tribes that inhabited it were called Hyrkanoi, "the wolves," by Greco-Latin authors. In Phrygia there was the tribe of the Orka (Orkoi).

We may further cite the Lycaones of Arcadia, and Lycaonia or Lucaonia in Asia Minor, and especially the Arcadian Zeus Lykaios" and Apollo Lykagenes; the latter surname has been explained as "he of the she-wolf,""he born of the she-wolf," that is, born of Leto in the shape of a she-wolf. According to Heraclides Ponticus (Fragm. Hist. Gr. 218), the name of the Samnite tribe of the Lucani came from Lykos, "wolf." Their neighbours, the Hirpini, took their name from hirpus, the Samnite word for "wolf." At the foot of Mount Soracte lived the Hirpi Sorani, the "wolves of Sora" (the Volscian city). According to the tradition transmitted by Servius, an oracle had advised the Hirpi Sorani to live "like wolves," that is, by rapine. And in fact they were exempt from taxes and from military service, for their biennial rite-which consisted in walking barefoot over burning coals-was believed to ensure the fertility of the country. Both this shamanic rite and their living "like wolves" reflect religious concepts of considerable antiquity. There is no need to cite other examples. We will note only that tribes with wolf names are documented in places as distant as Spain (Loukentioi and Lucenses in Celtiberian Calaecia), Ireland, and England. Nor, indeed, is the phenomenon confined to the IndoEuropeans.

The fact that a people takes its ethnic name from the name of an animal always has a religious meaning. More precisely, the fact cannot be understood except as the expression of an archaic religious concept. In the case with which we are concerned, several hypotheses can be considered. First, we may suppose that the people derives its name from a god or mythical ancestor in the shape of a wolf or who manifested himself lycomorphically. The myth of a supernatural wolf coupling with a princess, who gives birth either to a people or a dynasty, occurs in various forms in Central Asia. But we have no testimony to its existence among the Dacians.

- Mircea Eliade, Zalmoxis, the Vanishing God
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On top of that, there is the legend of the Great White Wolf, the Right Hand of Zalmoxis, which was later combined with Saint Andrew in Romanian tradition:
Before the Great White Wolf, there was a man, a young man that in spite of his age had a long white beard and white hair. He wandered the land of Dacia, helping people and preaching the word of Zamolxe. He found shelter in a cave in the mountains where he enjoyed the love and respect of the animals. Out of all the creatures of the forest, the wolves where the ones that loved him the most. He taught the wolves to respect men and not attack them and their households. The man also taught the Dacians to care for the wolves and give them food while the wolves helped and fought with them in battle. Thus, man and wolf became brothers.

Zamolxe, knowing that danger was to come over Dacia he asked the white bearded man if, in exchange of immortality and a place by his side in the Sacred Mountain, he wants to become the leader of the wolves. Exchange that the white bearded man, out of loyalty and love for Dacia, gratefully accepted. Zamolxe turned him in the Great White Wolf. Together they watched over Dacia, Zamolxe as the leader of the people and the Great White Wolf as the leader of wolves.

For centuries their land was prosperous and peaceful but, as history showed us, it was not bound to last. The Romans were getting nearer and nearer and some of them managed to poison the mind of men against their brother wolves. So the Dacians started hunting them with the belief that, if they killed the Great White Wolf and brought its head to the Romans, their land would be spared a war.

The wolves, betrayed, retreated deeper into the forests and never came out. The Great White Wolf retreated alongside Zamolxe to the Sacred Mountain and watched how war and misery took over their land. The Dacians, having lost the loyalty of the wolves received no help from them during their battles with the Romans. This is how Dacia became a Roman province.
Between the Cynocephalae and the Neuri, I'm starting to wonder if Andrew actively looked for wolf-people!

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A sad coda to the story of the Dacians came only decades later. The new Emperor, Trajan, needed resources for a rapidly expanding empire. The Dacians had great wealth in gold mines, but were hardly going to simply give it away to Rome. Trajan decided to deal with the Dacians in a rather permanent way - by utterly destroying the kingdom. Trajan sent 150,000 legionaries across the Danube to punish the Dacians: the peace treaty was so ruinous that a second war was waged. This time, Trajan sent 200,000 legionaries, and there would be no truce. Trajan razed Sarmizegetusa. Tens, perhaps hundreds, of thousands of Dacian men were taken as slaves. The southern portion of Dacia became a Roman province: the north became a wilderness of "Free Dacians" - never united, but at least they were free.

Trajan's conquest was popular and well-received - as were the thousands of tons of gold & silver looted from Dacia. Trajan's Column was commissioned as a monument to that bloody and violent campaign:
Many of the images on Trajan's Column depict Romans slaughtering Dacians. It is ironic that we are left with so many contemporary images of a Barbarian people about whom we otherwise know so little. The Column celebrates Trajan's campaign in AD 101-6, in which he entered the kingdom of Dacia and destroyed the entire Dacian nation. Or at least that's what the Romans liked to think.

Nowadays some historians are reluctant to accord Trajan the honour of achieving total genocide. They point to inscriptions and written documents that indicate sufficient Dacians escaped the Roman holocaust to have ensured some continuity from those days to the present, when what remains of the country of Dacia is known - ironically enough - as Romania. There are records, for example, of at least 12 units of Dacian soldiers being subsequently posted to various parts of the Roman Empire - many of them, according to the archaeological record, to Britain. What's more, the Column itself concludes with an image of Dacians peaceably returning to graze their sheep on the emptied land.

The snag is that in ancient Rome it was common knowledge that Trajan had annihilated the Dacians. The Emperor's doctor, Crito, claimed that Trajan had done the job so well that only 40 Dacians remained - at least that's what the writer Lucian said he said. Crito did write an account of his adventures in Dacia with Trajan, but the book is now lost, and Lucian, who was a satirist and wit, may have been employing comic hyperbole to make a point.

But later writers continued to perpetuate the idea. They included the Emperor Julian (better known as Julian the Aposstate) who, in one of his works, imagines Trajan announcing: 'Alone, I have defeated the peoples from beyond the Danube and I have annihilated the people of the Dacians.' The fourth-century historian Eutropisu wrote that, when Dacia had been defeated, all that remained was a wasteland that Trajan then repopulated with people from various other parts of the Empire. "Trajan brought countless masses of people from the whole Roman world to live in the fields and in the cities, since Dacia was exhausted of men after the long war.

Since this was a widely known story, it could well be that the last images on Trajan's Column depict not the return of Dacians to their native soil, but the repopulation of the empty country by Roman settlers. It has also been suggested, however, that the images may be of Dacians being relocated in the Empire.

As for the deployment of Dacians in the Roman army, that too could be taken as a sign that very few Dacian males were allowed to remain in the country after the campaign. Another writer, who based his information on Crito's account, claims that Trajan pressed half a million Dacians into the Roman army. Although this is probably an exaggeration, it indicates that the Romans were determined to leave very few males on their native soil - a fact confirmed by Eutropius.

One archaeologist, Linda Ellis, describes it as a kind of Year Zero, with the Romans wiping Dacia clean and building a new civilisation as though this were terra nova, new land. "There was no continuation of Dacian traditions, either religious tradition or economic or political tradition, so Dacian civilization had been literally wiped from the surface and a new Roman order had been emplaced upon it." Whether they killed off the entire population or not, the Romans did a thorough job of removing Dacian culture and identity from the world map.

The Dacians, then, have the distinction of being one of the few nations on earth whose destruction has been lovingly recorded in pictures for posterity.

- Terry Jones, Barbarians

Trajan's campaign was the bloodiest since the destruction of Carthage, and enacted a wholesale elimination of a culture's very existence. Such a fate is usually ascribed only to the very strongest of Rome's enemies - not only must their power be broken, but their very identity. Yet Romanian national pride has not forgotten the people of Dacia: whether the Romanians of today share ethnic roots with the ancient Dacians or not, there is a kinship born of a shared love of their homeland and appreciation of their history - not unlike the one we Scots have for the ancient Caledonians, who (tradition tells us) were destroyed by our ancestors. Sometimes the reality is kinder than the myth.


Part Seven: "This Day A Martyr Or A Conqueror!"

Part Eight: Martyrdom in the Land of Lost Gods

Part Nine: The Scotland Yet To Come

The Adventures of Saint Andrew, Part Seven: "This Day A Martyr or a Conqueror!"

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Part One: Seas Red and Black

Part Two: Riders Beyond the Silk Road

Part Three: In The Country of the Man-Eaters

Part Four: The Cross on the Ice

Part Five: The Outermost Ends of the Earth

Part Six: A Cave in the Realm of the Wolf-People
One of the elements that came from the Roman and Thracian celebrations was the one about wolves. Is it only a coincidence that we, the descendants of Dacians, whose flag was shaped as a wolf, have chosen the patron of wolves as our protector? During this night, the wolves are allowed to eat all the animals they want. It is said that they can speak, too, but anyone that hears them will die soon.

Early on St. Andrew’s day, the mothers go into the garden and pick tree branches, especially from apple trees, pear trees, cherry trees, but also rose -bush branches. They make a bunch of branches for each family member. The one whose bunch will bloom by New Years day will be lucky and healthy next year.

On St. Andrew’s night ghosts haunt and harass the people. For protection, one should rub the entrance door with garlic and turn all the dishes upside down. A special party takes place now, called “Guarding the garlic”. Boys and girls gather in a house with the doors and windows rubbed with garlic. They also put garlic (three bulbs for each girl) in a wooden tub that is to be guarded till day-break by an old woman, in a candle-lit room. They party all night, and in the morning, the wooden tub is taken outside and they dance around it. Then they all take some garlic home as protection against illness or spells.

St. Andrew is the patron of the wolves, being the one who protects the people attacked by these animals. St. Andrew is also celebrated in order that the wolves should stay away from the households or from the travelers. The salt is charmed and buried under the door of the stable. It will be taken out on St. George and given to the cattle, as a protection against the wolves and other evil things.

- St. Andrew's Day in Romania
St. Andrew is the patron saint of wolves? That explains a lot.

I mentioned Thracians of what is now Bulgaria in an earlier post, but it's worth revisiting this fascinating people. Thrace was one of the first lands Andrew was sent to preach the Gospel, but he may have returned during, or following, his 20 year sojourn in Dacia (Romania). He ordained bishops and priests to Thrace, so perhaps he wanted to check up on them. Knowing the Thracians, that was probably a good idea.



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Not so long ago, the Thracians were an independent people of many tribes who ruled together as the Odrysian Kingdom, which became a client kingdom status in the former Roman Republic: Thrace was only demoted to the status of province in Andrew's lifetime. In Greek Mythology, the first Thracian was Thrax, a Son of Ares, the Greek God of War. The Thracians were famous for their fine wines, superlative metalwork, and savage warriors: they were master skirmishers, wore distinctive helms with face guards sometimes fashioned to resemble wild, curly beards, and wielded the deadly Rhomphaia, a wicked polearm that was somewhere between the Dacian Falx and a Japanese katana. The Thracians had a reputation as sanguinary even compared to other barbarian peoples:

The Thracians bursting into Mycalessus sacked the houses and temples, and butchered the inhabitants, sparing neither youth nor age, but killing all they fell in with, one after the other, children and women, and even beasts of burden, and whatever other living creatures they saw; the Thracian race, like the bloodiest of the barbarians, being even more so when it has nothing to fear. Everywhere confusion reigned and death in all its shapes; and in particular they attacked a boys' school, the largest that there was in the place, into which the children had just gone, and massacred them all. In short, the disaster falling upon the whole town was unsurpassed in magnitude, and unapproached by any in suddenness and in horror.

- Thucydides, Histories, VII

The Thracians are the most powerful people in the world, except, of course, the Indians; and if they had one head, or were agreed among themselves, it is my belief that their match could not be found anywhere, and that they would very far surpass all other nations. But such union is impossible for them, and there are no means of ever bringing it about...

The Thracians who live above the Crestonaeans observe the following customs. Each man among them has several wives; and no sooner does a man die than a sharp contest ensues among the wives upon the question which of them all the husband loved most tenderly; the friends of each eagerly plead on her behalf, and she to whom the honour is adjudged, after receiving the praises both of men and women, is slain over the grave by the hand of her next of kin, and then buried with her husband. The others are sorely grieved, for nothing is considered such a disgrace.

The Thracians who do not belong to these tribes have the customs which follow. They sell their children to traders. On their maidens they keep no watch, but leave them altogether free, while on the conduct of their wives they keep a most strict watch. Brides are purchased of their parents for large sums of money. Tattooing among them marks noble birth, and the want of it low birth. To be idle is accounted the most honourable thing, and to be a tiller of the ground the most dishonourable. To live by war and plunder is of all things the most glorious. These are the most remarkable of their customs. - Herodotus, The Histories
First of all the Thracians, like wild beasts kept in cages and suddenly released, set up a deafening roar and charged the Italian cavalry on the right wing with such fury that, in spite of their experience of war and their native fearlessness, they threw them into disorder...

On that day there fell on the side of the Romans 200 cavalry and not less than 2000 infantry; about 600 were made prisoners. Out of the king's army 20 cavalry and 40 infantry were killed. On their return to camp the victors were all in high spirits, but the Thracians surpassed all in the insolence of their joy. They returned to camp singing and carrying the heads of their enemies fixed on their spears.

- Livy's account of the Battle of the Callinicus, History of Rome: Book 42


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A race of extravagant, drunken, uninhibited, bloodthirsty barbarians? Sounds like my kind of people just the sort of wayward souls who need Christ in their lives!

There's a particularly spectacular Medieval romance of Andrew's adventures among the Thracians, recounted in Richard Johnson's The Famous History of the Seven Champions of Christendom. Andrew was one of those seven champions, alongside St. George of England, St. Denis of France, St. James of Spain, St. Anthony of Italy, St. Patrick of Ireland, and St. David of Wales. As is typical of such stories, Saint Andrew is transformed from a humble, peaceful man of God into a one-man-army of righteous fury:

CHAP. VII.

How St Andrew, the Champion of Scotland, Travelled into a Vale of Walking Spirits, and how he was set at Liberty by a going Fire, after his Journey into Thracia, where he recovered the Six Ladies to their natural shapes, that had lived seven years in the likeness of milk-white Swans, with other Accidents that be∣fell the most Noble Champion.
Well, that doesn't sound so bad: a wee walk among spirits, a journey through Thracia, turning birds that were birds back into birds. Sounds positively quaint. When does the action start?

Now of the honourable Adventures of St. Andrew, the famous Champion of Scotland, must I discourse, whose seven years Travels were as strange as any of the other Champions...

... At last, without any further molestation, he arrived within the Territories of Thracia, a Country as you have heard in the former Chapter, adorned with the beauty of many fair Woods and Forests, through which he Travelled with small rest, and less sleep, till he came to the foot of the Mountain, whereupon stood the Castle wherein the woeful King of Thracia, in company of his sorrowful Subjects, still lamented the unhappy Destinies of his six Daughters turned into Swans, having Crowns of Gold about their Necks; when the Valiant Champion St. Andrew beheld the lofty situation of the Castle, and the invincible strength it seemed to be of, he expected some strange Adventure to befall him in the said Castle, so preparing his Sword in readiness, and buckling close his Armour, which was a shirt of Silver Mail for lightness in Travel, he climbed the Mountain, whereupon he espied the Gyant lying upon a craggy Rock, with his Limbs and Members all rent and torn, by the fury of hunger-starved Fowls: which loathsome Spectacle was no little wonder to the worthy Champion, considering the mighty stature and bigness of the Gyant: where leaving his putrefied Body to the Winds, he approached the Gates: where after he had read the Superscription over the same, without any interruption, entered the Castle, whence he expected a fierce encounter by some Knight that should have defended the same; but all things fell out contrary to his imagination, for after he had found many a strange novelty and hidden secret closed in the same, he chanced at last to come where the Thracians duly observed their ceremonious Mournings, which in this order were daily performed: First upon Sundays, which in that Country is the first day in the Week, all the Thracians attired themselves after the manner of Bacchus's Priests, and burned persumed Incense, with sweet Arabian Frankincense upon a Religious Shrine, which they offered to the Sun as chief Governor of that day, thinking Page [unnumbered] thereby to appease the angry Destinies, and to recover the unhappy Ladies to their former shapes: upon Mondays, clad in Garments after the Silvans, a colour like to the Waves of the Sea, they offered up their tears to the Moon, being the guider and Mistriss of that day: Upon Tuesdays like Souldiers trailing their banners in the Dust, and Drums sounding sad and doleful melody, in sign of Discontent, they committed their procéedings to the pleasures of Mars, being Ruler and Guider of that Day; Upon Wednesday like Scholars unto Mercury: Upon Thursday like Potentates, to Love; Upon Frydays like Lovers with sweet sounding Musick to Venus; and upon Saturday like manual professors, to the angry and discontented Saturn.

Thus the woeful Thracian King, and his sorrowful Subjects, consumed seven Months away, one while accursing Fortune of despite, another while the Heavens of Injustice: the one for his Children's Transformations, the other for their long limited Punishments. But at last when the Scottish Champion heard what bitter moan the Thracians made about the River, he demanded the cause, and to what purpose they observed such Ceremonies, condemning the Majesty of Jehovah, and only Worshipping but outward and vain Gods: to whom the King, after a few sad tears Tears strained from the Conduits of his aged Eyes, Replied in this manner.


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"Most Noble Knight, for so you seem by your gesture and other outward appearance, (quoth the King,) if you desire to know the cause of our continual grief, prepare your ears to hear a Tragick and woeful tale, whereat methinks I see the Elements begin to mourn, and cover their azured countenance with fable Clouds: These Milk-white Swans you see, whose Necks are beautified with Golden Crowns, are my six natural Daughters, transformed into this Swan-like Substance, by the appointment of the Gods: for of late this Castle was kept by a cruel Gyant, named Blanderon, who by violence would have Ravished them, but the Heavens to preserve their Chastities, prevented his Lustful Desires: and transformed their beautiful bodies to these milk-white Swans: and now seven years the cheerful Spring hath renewed the Earth with a Summer's Livery, and seven times the nipping Winter Frosts have bereaved the Trees of Leaf and Bud, since first my Daughters lost their Virgin-shapes: seven Summers have they swam upon this Crystal Stream, where instead of Rich Attire, and embroidered Vestments, their smooth Silver-coloured Feathers adorn their comely Bodies: Princely Palaces, wherein they were wont, like tripping Sea-Nymphs, to dance their measures up and Page [unnumbered] down, are now exchanged into cold streams of water: where in their chiefest melody is the murmuring of cold liquid bubbles, and their joyful pleasure to hear the harmony of humming Bees which some Poets call the Muses Birds."

"Thus have you heard" (most worthy Knight) "the woeful Tragedy of my Daughters, for whose sakes I will spend the remnant of my days heavily, complaining of their long appointed Punishments, about the Banks of this unhappy River." Which sad Discourse was no sooner ended, but the Scottish Knight (having a mind furnished with all Princely thoughts, and a tongue washt in the Fountain of Eloquence) thus replied, to the comfort and great rejoicing of the Company.

"Most Noble King" (quoth the Champion) "your heavy and dolorous discourse hath constrained my heart to a wonderful Passion and compelled my very soul to rue your Daughters miseries: But yet a greater grief and deeper sorrow than that, hath taken possession of my breast, whereof my eyes have been witnesses, and my ears unhappy hearers of your misbelief, I mean your unchristian Faith: For I have seen since my first arrival into this same Castle, your Prophane and Vain Worship of strange and false Gods, as of Phoebus, Luna, Mars, Mercury, and such like Poetical Names, which the Majesty of high Jehovah utterly contemns."

"But Magnificent Governor of Thracia, if you seek to recover your Daughters by humble Prayer, and to obtain your soul's content by true tears, you must abandon all such vain Ceremonies, and with true Humility believe in the Christian's God, which is the God of Wonders, and chief Commander of the rouling Elements, in whose Quarrel this unconquered Arm, and this undaunted Heart of mine shall fight: and how be it known to thee, great King of Thrace, that I am a Christian Champion, by Birth a Knight of Scotland, bearing my Country's Arms upon my Breast," (for indeed thereon he bore a Silver Cross, set in blue Silk) "and therefore in the honour of Christendom, I Challenge forth the proudest Knight at Arms, against whom I will maintain that our God is the true God, and the rest fantastical and vain Ceremonies."

Which sudden and unexpected Challenge, so daunted the Thracian Champions, that they stood amazed for a time, gazing upon one another, like Men dropt from the Clouds: but at fast consulting together, how the Challenge of the strange Knight was to the dishonour of their Country, and utter scandal of all Knightly Dignity; they with a general consent craved leave of the King, that the Challenge might be taken, who as willingly condescended as they demanded.


king-kotys-kallinikos-skirmish_angus-mcbride

So both time and place was appointed, which was the next morning following, by the King's Commandment, upon a large and plain Meadow close by the River-side, whereon the six Swans were swimming, whereupon after the Christian Champion had cast down his steely Gauntlet, and the Thracian Knight accepted thereof, every one departed for that night, the Challenger to the East-side of the Castle to his Lodging, and the Defendants to the West, where they slept quietly till the next morning, who by the break of day, were wakened by a Herald of Arms: but all the passed night, our Scottish Champion never entertained one motion of rest, but busied himself in trimming his Horse, buckling on his Armour, lacing on his Burgonet, and making prayers to the Divine Majesty of God, for the Conquest and Victory, till the Morning's beauty chased away the darkness of the Night, and no sooner were the Windows of the day full opened, but the Valiant and Noble-minded Champion of Christendom entrred the List, where the King in company of the Thracian Lords was present to behold the Combat: and so after St. Andrew had twice or thrice traced his Horse up and down the Lists, bravely flourishing his Launce, at the top whereof hung a Pendant of Gold, whose Poesie was thus written in Silver Letters, "This day a Martyr or a Conqueror."

Then entered a Knight in exceeding bright Armour, mounted upon a Courser as white as the Northern Snow, whose Caparison was of the colour of the Elements, betwixt whom was a fierce Encounter: but the Thracian had the Foil and with disgrace departed the List. Then secondly, entered another Knight in Armour, varnished with green Varnish, his Steed of the colour of an Iron-grey: who likewise had the repulse by the worthy Christian. Thirdly, Entered a Knight in a black Corselet, mounted upon a big-boned Paltry, covered with a veil of sable Silk, in his hand he bore a Launce nailed round about with plates of Steel: which Knight amongst the Thracians was accounted the strongest in the World, except it were those Gyants that descended from a monstrous Lineage: but no sooner encountered these hardy Champions, but their Lances shivered in sunder, and flew so violently into the Air, that it much amazed the beholders, then they alighted from their Steeds, and so valiantly bestirred them with their keen Falchions, that the fiery sparkles flew so fierce from these Noble Champions steely Helmets, as from an Iron Anvil: But the Combat endured not very long, before the most hardy Scottish Knight espied an advantage, wherein he might shew his matchless Fortitude: whereupon he struck such a mighty Blow upon the Thracian's Burgonet, that it cleaved his head just down to his shoulders: whereat the King suddenly started from his Seat, and with a wrathful countenance threatened the Champions Death in this manner.

"Proud Christian" (said the King) "thou shalt repent his death, and curse the time that ever thou camest to Thracia: his blood we will revenge upon thy head, and quit thy committed cruelty with a sudden death:" and so in company of a hundred Armed Knights, he encompassed the Scottish Champion, intending by multitudes to murder him. But when the valiant Knight St. Andrew saw how he was suppressed by Treachery, and environed with mighty Troops, he called to Heaven for succour, and animated himself by these words of encouragement: "Now for the honour of Christendom, This day a Martyr or a Conqueror!": and therewithal he so Valiantly behaved himself with his Cuttle-Axe, that he made Lanes of murdered Men, and felled them down by multitudes like as the Harvest men do mow down Ears of ripened Corn, whereby they fell before his face like leaves, from trees when the Summer's Pride declines her Glory. So at the last after much bloodshed, the Thracian King was compelled to yield to the Scottish Champion's Mercy, who swore him for the safety of his Life, to forsake his profane Religion, and become a Christian, whose living true God the Thracian King vowed for evermore to Worship, and thereupon he kissed the Champion's Sword.


king-sitalkes-and-early-odrysian-light-cavalry

This Conversion of the Pagan King, so pleased the Majesty of God, that he presently gave end to his Daughters punishments, and turned the Ladies to their former shapes. But when the King beheld their smooth Feathers, which were as white as Lilies, exchanged to natural fairness, and that their black Bills and slender Necks were converted to their first created Beauty (where for external fairness the Queen of Love might build her Paradise) he bad adieu to his grief and long continued sorrows, protesting ever after to continue a true Christian for the Scottish Champion's sake, by whom and by whose Divine Orisons, his Daughters obtained their former Features; so taking the Christian Knight in company of the six Ladies, to an excellent Rich Chamber prepared with all things according to their wishes, where first the Christian Knight was unarmed, then his wounds washed with Whitewine, new Milk, and Rose-water, and so after some dainty Repast, conveyed to his nights Repose. The Ladies being the joyfullest Creatures under Heaven, never entertained one thought of sleep, but passed the night in their Father's company, (whose mind was ravished with unspeakable pleasures) till the morning's messengers bad them good morrow.

Thus all things being prepared in a readiness, they departed the Castle, not like Mourners to a heavy Funeral, but in triumphing manner, marching back to the Thracian Palace, with streaming Banners in the Wind, Drums and Trumpets sounding joyful Melody, and with sweet inspiring Music, caused the Air to resound with Harmony: But no sooner were they entered the Palace which was in distance from the Gyant's Castle, some ten miles, but their Triumphs turned to exceeding Sorrow, for Rosalinde with the Champion of Italy, as you have heard before, was departed the Court; which unexpected news so daunted the whole company, but especially the King, that the Triumphs for that time were deferred, and Messengers were dispatched in pursuit of the Adventurous Italian, and lovely Rosalinde.

Likewise when St. Andrew of Scotland had intelligence how it was one of those Knights which was Imprisoned with him under the wicked Enchantress Kalyb, as you heard in the first beginning of the History, his heart thirsted for his most honourable company, and his eyes seldom closed quietly, nor took any rest, untill he was likewise departed in the pursuit of his sworn Friend, which was the next night following, without making any acquainted with his intent: Likewise when the six Ladies understood the secret departure of the Scottish Champion, whom they asserted dearer than any Knight in the World, they stored themselves with sufficient Treasure, and by stealth took their Journeys from their Father's Palace, intending either to find out the Victorious and approved Knight of Scotland, or to end their Lives in some Foreign Region.

The Rumour of whose Departure, no sooner came to the King's Ears, but he purposed the like Travel, either to obtain the sight of his Daughters again, or to make his Tomb beyond the circuit of the Sun. So attiring himself in homely Russet, like a Pilgrim, with an Ebon staff in his hand, tipt with Silver, took his Journey all unknown from his Palace, whose sudden and secret departure struck such an extreme and intolerable heaviness in the Court, that the Palace Gates, were fealed up with sable mourning-cloth, the Thracian Lords exempted all pleasure, and like Flocks of sheep strayed up and down without Shepherds, the Ladies and Courtly Gentiles sate sighing in their private Chambers: where we will leave them for this time, and speak of the success of the other Champions, and how Fortune smiled on their Adventurous Proceedings.
thracian-cavalry-by-johnny-shumate

So.

Andrew the Valiant made his way to Thracia, where where the corpse of a Gyant lay in a field outside a castle. This giant, Blanderon, planned to capture six Thracian princesses: to evade capture, the Gods transformed the women into swans. (It isn't explained how Blanderon died, but we can imagine the wrathful Thracians had something to do with it). Upon entering the castle, Andrew the Brave saw the decadent heathen rites the Thracians undertook in an attempt to appease the Gods: he clearly felt that only by converting to Christianity could the maidens be restored to their humanity.

But somewhat uncharacteristically for the gentle Andrew the Apostle, he did this by challenging the Thracians to a duel. Scandalised by this slight against their nation and religion, the Thracians implored the king to take up this interloper's challenge. Andrew the Destroyer defeated three Thracian champions, including one that was a descendent of giants - which he slew by literally cleaving his skull in twain, in true Conan the Barbarian style. The outraged Thracian king refused to honour this knightly challenge, and sent forth a hundred Thracian soldiers to slay the Scotsman - for in this story, Andrew the Indomitable is a Scot. Yet even this was not enough to subdue him: roaring his knightly battle-cry, he reaped a red harvest through the heathen horde, stupefying the Thracian king into submission. The King converted on the spot, the birds were birds again, and Andrew the Conqueror rode on to his next Adventurous Proceedings.

Preposterous? Of course. But such wild romances as this, and the mythopoeia of Blind Harry, James MacPherson and Walter Scott, themselves make up part of our cultural history, regardless of their veracity, or even credulity. They show that our heroes were worth making stories about - even anachronistic chivalric escapades. Who's to say Johnson's use of knightly terms - burgonets, corselets, lances, swords, and so forth - are not simply a lack of historical aptitude, in the manner of Renaissance artists depicting Roman soldiers in what was then futuristic 16th-Century plate armour? Even if Andrew himself did not battle Thracian champions in martial combat, perhaps it is simply a more "heroic" embellishment of a more intellectual struggle?

Still, it can be fun imagining a more "historical" version of it. The "Gyant's Castle" could be an allusion to the Cyclopean Fortress of Samothrace, with the "Gyant" a Cyclops or Gigante. The burgonet could be that snazzy Phyrgian Helm with sculpted moustache & beard; the lance could be a Greek kontos; the colourful armour could be the Greek style. You could even imagine the skull-splitting sword of Andrew as a vicious Falx he borrowed from his Dacian friends!


Part Eight: Martyrdom in the Land of Lost Gods

Part Nine: The Scotland Yet To Come

The Adventures of Saint Andrew, Part Eight: Martyrdom in the Land of Lost Gods

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saint-andrew-by-peter-howson
Persecution caused the followers of Asura to hide their temples with cunning art, and to veil their rituals in obscurity; and this secrecy, in turn, evoked more monstrous suspicions and tales of evil.

But Conan’s was the broad tolerance of the barbarian, and he had refused to persecute the followers of Asura or to allow the people to do so on no better evidence than was presented against them, rumors and accusations that could not be proven. "If they are black magicians," he had said, "how will they suffer you to harry them? If they are not, there is no evil in them. Crom’s devils! Let men worship what gods they will."

- "The Hour of the Dragon,"The Bloody Crown of Conan, p151-152
Part One: Seas Red and Black

Part Two: Riders Beyond the Silk Road

Part Three: In The Country of the Man-Eaters

Part Four: The Cross on the Ice

Part Five: The Outermost Ends of the Earth

Part Six: A Cave in the Realm of the Wolf-People

Part Seven: "This Day A Martyr Or A Conqueror!"

The last tour of Saint Andrew would be through civilised lands - and, as tends to be so typical throughout life, it's often the civilised peoples who are the leasttolerant of those who are different.



map_pontus

Andrew returned to familiar ground: to the Greek colonies of Chersonesos in the Cimmerian Bosporus, and Sinope in Pontos. As mentioned before, there were existing Christian communities in those locations, so Andrew was likely meeting old friends. From there, he embarked on a whistle-stop tour through Roman Greece.

First, he made his way to Macedonia, once the seat of Alexander's empire - now just another Roman province, like so many other once proud independent nations. Macedonia put up a hard fight, with no less than four wars before the fall of the kingdom. There is also a possibility he travelled to Epirus, in the south of what is now Albania: Andrew is mentioned as preaching in Epirus in ancient texts, but there are no Epirote traditions - or, at least, none survive. There could be any number of reasons for this beyond Andrew failing to make much of an impact: the fallout of the Byzantine Iconoclasm, the split of the Roman Empire into East and West, or the devastation of barbarian invasion by Ostrogoths, Visigoth, and Huns, could have left any Andrew traditions lost to history. Epirus is famous for its most famous son, Phyrrus - from whom the term Phyrric Victory derives - and his elephants.

Whether he went to Epirus or not, he eventually made his way to Thessaly, that old battleground between warring city states and the Persian invasion. He continued south to the city of Lamia, may have visited Galaxidi, Loutraki, and Corinth, before heading west to his final destination - the city of Patras. It was there he met his end.

Traditionally there's been some controversy about the death of Andrew: some place it during the reign of Nero (54-68 AD), others Domitian (81-96), and still more Trajan (98-117 AD). The most commonly cited date I've seen is 70 AD, which is just a year after the Year of the Four Emperors. George Alexandrou suggests Trajan's reign is more likely, which would place it almost thirty years later.

crucifixion-of-saint-andrew-by-peter-howson
On this day, St. Andrew the Apostle, the brother of St. Peter, was martyred. He was chosen to go to the city of Lydd and to Kurdistan. He entered the city of Lydd, where most of its people had believed at the hands of St. Peter. He was accompanied by his disciple, Philemon, who had a sweet voice and was a good reader. St. Andrew commanded Philemon to go up to the pulpit and read.

When the priests of the idols heard of the arrival of Andrew the Apostle, they took their spears and went to the church. They stood outside the church to hear if he was cursing their gods or not. They heard Philemon reading the words of David the Prophet, "Their idols are silver and gold, the work of men's hands. They have mouths, but they do not speak: eyes they have but they do not see: They have ears, but they do not hear: noses they have, but they do not smell: They have hands, but they do not handle: feet they have, but they do not walk: nor do they mutter through their throat. Those who make them are like them; so is everyone who trusts in them." (Psalm 115:4-8)

Their hearts rejoiced because of his sweet voice and their emotions mellowed. They entered the church, and bowed down at the feet of Andrew the Apostle. He preached to them and they believed in the Lord Christ. Then he baptized them with the rest of those who worshipped idols. Andrew the Apostle, then left them and went to Kurdistan and to the cities of Aksis, Aregnas and Henefores, to preach there.

He also went with St. Bartholomew to the city of Azrinos. Its people were wicked and knew not God. They went on preaching and teaching them until they lead many of them to the knowledge of God, because of the signs and wonders they performed before them. Those who did not believe plotted against him. They sent for him so that when he arrived, they would attack him and kill him. When their messengers came to St. Andrew and heard his sincere teachings and saw his shining face, they believed in our Lord Christ and did not return to those who had sent them. The unbelievers decided to go to him and burn him. When they gathered around him to do what they had intended, the Apostle prayed to the Lord, and immediately fire came down from heaven and surrounded them. They were terrified and believed.

The report of St. Andrew the Apostle, was heard throughout all these countries and many believed in the Lord. Nevertheless the priests of the idols did not cease looking for him in order to kill him. Afterwards, they gathered and went to him; they bound him and beat him severely. After they dragged him around the city naked, they cast him into prison, so that they might crucify him the following day. Their custom was to stone those who were to be killed by crucifixion. The Apostle spent his night praying to God. The Lord Christ appeared to him and strengthened him saying, "Do not fear or worry for the time of your departure from this world is near." He gave him peace and disappeared. St. Andrew's soul rejoiced for what he saw.

On the next day, they hanged him upon a tree and stoned him until he departed. Certain believers came and took his holy body and laid it with great honor in a private grave. Many signs and wonders were made manifest from his body.

His prayers be with us and Glory be to our God forever. Amen.

- "The Martyrdom of St. Andrew the Apostle, the Brother of St. Peter," Coptic Orthodox Church, Commemorations for Khiak 4

Andrew travelled, preached, and lived among some of the most feared tribes of the Ancient world. He survived the wild warrior-women of Scythia and the barbarians beyond the borders of civilisation; he escaped the country of the Androphagoi and Cynocephalae; he emerged from the burning desert of the Ethiopians and the freezing rivers of Thule; he counted the Dacians, Thracians, Galatians and Sarmatians among his Christian brethren... only to die at the hands of the "civilised" world.


Part Nine: The Scotland Yet To Come

The Adventures of Saint Andrew, Part Nine: Scotland Yet To Come

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Part One: Seas Red and Black

Part Two: Riders Beyond the Silk Road

Part Three: In The Country of the Man-Eaters

Part Four: The Cross on the Ice

Part Five: The Outermost Ends of the Earth

Part Six: A Cave in the Realm of the Wolf-People

Part Seven: "This Day A Martyr Or A Conqueror!"

Part Eight: Martyrdom in the Land of Lost Gods
When you look at all the locations Andrew was said to have visited, Scotland looks barely a jaunt. (Click to embiggen)



Even if only a few of Andrew's adventures have a basis in fact, the influence of the Apostle in the form of traditions, folk tales, and legends from the early days of Christianity show best when mapped out. Four journeys across three continents, dozens of lands, countless leagues, unnumbered people. And, as history has shown, such journeys are not impossible at all.

Some may scoff at the idea of The Seven Champions of Christendom declaring Andrew "born in Scotland" - he was born on the shores of the Levant, for goodness' sake! Yet Andrew was born before Scotland existed. The mythical founders of Scotland were born in Egypt and Scythia, via Iberia and Hibernia. So many quintessential Scots who weren't born here, and maybe never came here at all - and yet, we don't let wee things like that bother us.

I went on this wee journey about Saint Andrew for very similar reasons as Mr Alexandrou - to not only follow the man, but the world he lived in. It's the same with Scotland Present, Scotland Past, and the Scotland Yet To Come.

He was a humble, simple man, and for a simple man nothing is impossible. If he had been an arrogant European explorer he would never have trusted these people, he would have found his own way like Pytheas, who made a boat and sailed to Greenland from Marseilles. Although h respected their knowledge, Pytheas didn't fully trust the locals becaue he was a Greek and they were barbarians.

You see, my book is a cultural tapestry. It includes the Scythians, the ancient Scots, early Africa. It is about St. Andrew, but it is also about the world he moved in: the Slavs, the Pharisees, Epicureans, Stoics, the North Africans, the Lapp nomads, the Han Dynasty in China, the Mongols and the Turks. My editor told me, "Don't just write the life of St. Andrew, describe the places he went and the people he would have met." When I began writing about these places, I found that I had to depict the whole era - how Siberia and Finnish-Russian Karelia are connected to central Asia, Africa and Scotland - so that a reader can understand what the world was like at that time.

- Georgio Alexandrou

A Stranger Came Ashore

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The White Castle of East Lothian

"Did you hear about the newcomer, Caled?"


"Aye, Abar, I heard a stranger came ashore a few nights ago, with the Fin-Folk. What manner of man is he?"

"Well, he seems an earnest, simple man. He comes to share his religion with us, as part of some sacred duty bestowed on him by his lord. He says he comes from the Holy Land."

"Brodgar?"

"No, much farther away, east and south. Farther even than the lands of the Agathyrsi."

"Thunder of all gods, that's a fair distance."

"He seems a far-traveled man. He has a great white beard and long flowing hair, like the grim druids of the Picts. His mane must once have been as black and curled as a Cymri's. I cannot tell his age, whether he is a young man hardened by a hard life, or an elder blessed with uncanny vitality."

"Does he have a trade?"

"Aye, a fisherman, though he says he is now a "Fisher of Men."

"What, a man-eater?"

"Don't be daft, man, it's a metaphor for his religion!"

"Thank the Moon-Woman! We can't have people who eat the flesh of men in Caledonia. So who are his gods?"

East Lothian Hill Fort


"Curious, to say the least. He has only one, which his people claim above all others, and who they look to in all things. He says his god is mighty indeed, and great miracles were witnessed in his name. Yet he is a gentle god, too, who offers his believers a place beside him in the afterlife, if they forsake their old gods and follow his ways."

"I'll imagine the other gods would not appreciate that!"

"No, indeed, the stranger says he has been derided, ridiculed, abused, beaten, stoned, assaulted, left for dead, even had his life threatened - usually by the Greeks or Romans. I'll wager he had a kinder experience with the Horse-women, Wolf-people and Fin-folk: tribes like us know many gods, after all, and so are more tolerant of those from other lands."

"The Horse-women and Wolf-people, too? Where else has he been?"

"He says he's sailed to the uttermost south where the sun boils the sea and burns mens' skin black as charcoal, the forests are thick with monsters, and entire leagues stretch where no plant or animal save the hardiest of men live; he went to the Far East, where he met men with the heads of dogs and horsemen who live their entire lives in the saddle; he dwelt among the people of the icebound North, where amber is scattered on the very ground and sold to the avaricious southerners for great wealth. I wouldn't be surprised if he eventually found his way to R'lyeh and Bal-Sagoth!"



"What of his own land?"

"As hot and dry as ours is cold and wet. It is an ancient land, conquered and settled many times over the lifetimes. Right now the Romans rule it, who conquered it from the Greeks, who themselves conquered it from the Egyptians."

"God of Shadows, what a miserable existence it must be, for your land to be taken like that over and over by invaders!"

"Aye, and if the Pritanoi south speak true, the Romans might do the same to us. They have already conquered the south east of the island, filled it with their warriors and settlers, to the point where they now calling the land itself Roman! The Silures are sorely pressed; the Cornovi are scattered; even the mighty Brigantes are under siege. How much longer until they come to the Votadini, the Damnoni, even us?"

"Who knows, Abar? You would think if the stranger's god is so mighty, then he would have freed his people and smote the hated Romans."

"And are the gods of the Catuvellauni faring any better? The Trinovantes? The Iceni? The gods offer us inspiration, courage, and succour, but they do not fight our battles for us."

The Vitrification of Dun Deardail

"True, Abar: they do not need to. We Caledonians are hard men, born out of shadowed hills, forged on the anvils of our mountains by the hammer of the heavens. We will not be conquered by force of arms: we will be avengers or enslaved, and we do not know such slavery. The tribes of Pritannike will have to unite to protect all our freedoms, to stand together against a force that will tear our children from us and name them "Roman," to take our gods and replace them with ours, and to turn our home into a wilderness - as they have done to our kin to the south."

"You would herd the warring tribes of Pritannike together like so many panthers? You would like this stranger's god, he boasts of such miracles!"

"I would hear more of his god from his own lips, Abar, when I meet him myself. Has this man not travelled uncounted leagues from a land where the sun is as warm as the hearth to speak of his god, coming even here, to us? Whatever it is he believes, his belief is strong enough to take him to the ends of the earth, for there are no lands beyond our islands. Whatever it is he sees in this god, it has given him the will and courage to embark on this quest."

"You know, Caled, there is something about this stranger. Even if we do not share patronage to the same gods, he honours us by choosing to come to our land. We must show him something more than the hospitality and welcome all peaceful travellers receive in Caledonia. Perhaps we should share our gods, see what we can learn from each other?"

"Aye, Abar. It's winter-time: he won't be able to return with the Fin-folk, who are used to the ice and snow; he'll likely stay with us in the long nights, until the weather relents next year. He came this far; the least we can do is offer him a hearty meal, and open ears."


Robert E. Howard in Scots: "Adventurer"

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With Scotland and its future being predominant in my life at this stage, a great deal of that focus has been on Scottish culture and language. In particular, I've been looking deeper into the Scots language itself. I look at all the fine translations of great works into a multitude of languages, and think: why not Scots?

So while I'm absconded from my friends in Cross Plains and the world of Robert E. Howard, I think there's no better way to keep that connection alive than to continue translating Howard into the mither leid.

So, here's the latest. Hoping all my friends in Cross Plains have a wonderful adventure!





Screivit by Rabert E. Howard

Huim oan the sea; the dwynin' gloamin shifts
The nicht wind beirs the mar’s hishie brim —
Wind, oan yer bosie mony a phanton drifts —
A siller starn clims up the blae waurld rim.
Wind, mak the green leafs jig abuin me here
An' idly swee ma silken hammock — so;
Nou, oan thon gleeterin' mowten siller mere
Set the lang lippers switherin' tae an' fro.
An let yer muin-white locks titch ma face
An let me ken yer slamp-airmit, cuil hause
While tae ma maupie sowel ye hishie law.


Dream — aye, A’ve dreamt sin lest nicht lea'd her tour
An nou agin she comes oan starn-solit feet.
Hailsin, auld freen; here in this rose-gemmed bour
A’ve droused awa' yer Sultan’s gowdie heat.
Here in ma hammock, Time A’ve dreamt awa'
For A hae but tae streek a haun oot, ho,
A’m trampin thowless Shores o' Yesterday,
Muin-sillert deserts or the starn-weird snaw;
A fleet owur seas whaur ships are purpie shells,
A hear the tinkle o' the caumel bells
That waff doun Cairo’s streets whan daw winds blaw.



Sooth Seas! A watch whan uismal gloamin comes
Makin loom gods o' auncient, sea-set trees.
The waurld paith wyses - lood the meestic drums -
Here at ma haun the magic gowdie keys
That fit the doors o' Romance, Wunner, strange
Blee slaumach adventurs; seas an starns.
Why, A hae roved the far Muin Muntain reenge
Whan sundoun mintit gowd in skimmerin baurs.
Aw aiver ee'd A’ve sailed frae ports o' Spain
An watchit the skymin topaz o' the Main
Whan daw wis flingin witch fire oan the spars.


A am content in dreams tae rove ma fill
The vaiger, driftin sport o' wind an tide,
Thirl o' the muckle freedom, ventur’s thrill;
Here ivery magic ship oan whilk A ride.
Gowd, green, blae, reid, a priceless treisur trove,
Mair walth then iver pirate daured tae dream.
Ma hammock swees — aboot the waurld A rove.
The day-set’s huim, the dawin’s glide an gleam,
Muin-dappelt leafs are curmurrin in the wind
Whilk hishie tales. Ho, Tyre is juist ahint,
Throu seas o' daw A sail, Romance abeam.




Narrative Rebellion: Dark Universe - The Mummy

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You know, I think Universal are doing this whole Universal Monsters Shared Universe Reboot backwards: we're thinking of the classical Universal monsters (Frankenstein's Monster, Dracula, the Mummy, the Wolfman, Gillman), when there are a wealth of characters in classic Universal films that could be introduced too.

My thinking is that everyone is perfectly familiar with the major characters and the original stories, and we've seen them fighting each other all the time. So, rather than build up to something we've already scene dozens of times, why not start with that, and build up to something else? I keep going back to Kong: Skull Island's wonderfully cosmically-horrific quote:
You heard of the U.S.S. Lautmann? Neither did the public. Out of a thousand young men on that ship I was the only survivor. They told my family she was sunk in battle but I know what I saw. It had no conscience. No reasoning. Just destroy. I spent the last 30 year trying to prove the truth of what I learned that day. This planet doesn't belong to us. Ancient species owned this Earth long before mankind, and if we keep our heads buried in the sand they will take it back.
 - Bill Randa, Kong: Skull Island

Howard fans may find that quote tantalisingly familiar:
A Key! Aye, it is a Key, symbol of a forgotten horror. That horror has faded into the limbo from which it crawled, loathsomely, in the black dawn of the earth. But what of the other fiendish possibilities hinted at by Von Junzt--what of the monstrous hand which strangled out his life? Since reading what Selim Bahadur wrote, I can no longer doubt anything in the Black Book. Man was not always master of the earth - and is he now?

And the thought recurs to me - if such a monstrous entity as the Master of the Monolith somehow survived its own unspeakably distant epoch so long - what nameless shapes may even now lurk in the dark places of the world?
 - The Narrator, "The Black Stone," Robert E. Howard
And on the concept of a Universe of Monsters? Well, there's another Howard quote that comes to mind:

“Through the dim corridors of memory those words lurk... For that phrase has come secretly down the grim and bloody eons, since when, uncounted centuries ago, those words were watch-words for the race of men who battled with the grisly beings of the Elder Universe...”
... for an instant he seemed to gaze back through the vastness that spanned life and life; seeing through the vague and ghostly fogs dim shapes reliving dead centuries — men in combat with hideous monsters, vanquishing a planet of frightful terrors. Against a gray, ever-shifting background moved strange nightmare forms, fantasies of lunacy and fear; and man, the jest of the gods, the blind, wisdom-less striver from dust to dust, following the long bloody trail of his destiny, knowing not why, bestial, blundering, like a great murderous child, yet feeling somewhere a spark of divine fire... 
“They are gone,” said Brule, as if scanning his secret mind; “the bird-women, the harpies, the bat-men, the flying fiends, the wolf-people, the demons, the goblins — all save such as this being that lies at our feet, and a few of the wolf-men. Long and terrible was the war, lasting through the bloody centuries, since first the first men, risen from the mire of apedom, turned upon those who then ruled the world.”

“And at last mankind conquered, so long ago that naught but dim legends come to us through the ages. The snake-people were the last to go, yet at last men conquered even them and drove them forth into the waste lands of the world, there to mate with true snakes until some day, say the sages, the horrid breed shall vanish utterly. Yet the Things returned in crafty guise as men grew soft and degenerate, forgetting ancient wars. Ah, that was a grim and secret war! Among the men of the Younger Earth stole the frightful monsters of the Elder Planet, safeguarded by their horrid wisdom and mysticisms, taking all forms and shapes, doing deeds of horror secretly. No man knew who was true man and who false. No man could trust any man. Yet by means of their own craft they formed ways by which the false might be known from the true... So mankind triumphed. Yet again the fiends came after the years of forgetfulness had gone by — for man is still an ape in that he forgets what is not ever before his eyes...

 - Robert E. Howard, "The Shadow Kingdom"

Now, I am by no means an expert on the Universal Monsters canon: I have watched many of them and enjoyed them a great deal, but I hope folk will forgive me for not having the exhaustive knowledge of this wide subject such a project really deserves. Nonetheless, inspired by my fellow Brad Ellison, I knew I had to write something. So, for the purposes of fun, I had some musings over what I would do were I the creative director of a prospective Dark Universe, taking elements from Robert E. Howard, Arthur Conan Doyle, and other classic adventure authors...


The Mummy



The story begins, as always, in Ancient Egypt. A young priest, Kharis, is learning the ways of the priesthood with his long-suffering teacher, the High Priest of Karnak. Kharis is fascinated with early Egyptian history, much of which remains mysterious and unknown to the advanced, modern people of the 18th Dynasty. He is tasked to work with Princess Ananka, a similarly precocious and intelligent scholar, with whom he falls in love. Alas, the pious and strict Pharaoh Amenhotep discovers Ananka's relationship: when she refuses to disclose the identity of her lover, she is executed.

Distraught, Kharis buries himself in research. He begins to search through Forbidden Knowledge, which hints at dark forces and beings beyond the ken of man. He finds tantalising hints to resurrection in those texts - hints and references to curses and elementals, the star-crossed love of Sosra and Atma and curious occurrences of the number 249, tales of Cheops, Ra-Antef, Kah-To-Bey, Queen Tera, Ma-Mee, Tahoser, Most intriguing of all was the ancient High Priest, Imhotep, who was renowned for his research into longevity and resurrection - though records of his existence have been systematically erased from the kingdom's public records, save for a single clue - the incomplete Scroll of Thoth, which mentions the Hill of the Seven Jackals. Kharis, wracked with grief, is determined to resurrect Ananka in secret, fly from Egypt, and live in peace together.

Kharis travels to the Hill alone, armed with all the magicalartefacts he can find. On his journey, he encounters supernatural horrors which seem set on preventing him from reaching his destination - his boat attacked by unseenaquatichorrors, harassed by a swarm of great "bats," strange tremors underfoot accompanying glimpses of terrible eyes in caves and chasms. The further up the Nile he goes, the further into Egypt's past he seems to travel, haunted by the nameless creatures which stalked the sands of Egypt before the coming of the Pharoahs. He arrives at the Hills at night, under an inauspicious full moon. After foiling ancient traps and battling the ferocious jackal-men for which the hills are named, he enters Imhotep's tomb.

Piecing together the last remaining fragments of Imhotep's research, Kharis completes the magic formula for resurrection - completing the life-giving Scroll of Thoth. He uses this in conjunction with Tanna leaves to resurrect Imhotep, hoping to learn his secrets. But Imhotep does not act as expected: he attacks Kharis in a rage, grasps the Scroll of Thoth, and escapes. Kharis returns and confesses all (save his love to Ananka) to the High Priest, who realises the terrible danger Egypt is in. It is then Kharis is told the full story - that Imhotep was executed not just for sacrilege, but for his forbidden relationship with the ancient princess, Ankh-es-en-Amon. Kharis and the High Priest set out to stop Imhotep, who is searching for he reincarnation of his beloved.

As per the usual Mummy lore, Kharis knows that the only way for Imhotep to bring Ankh-es-en-Amon back is to conjure her ka into her present reincarnation, and then perform the living mummification which was done to him - but since Ananka was just executed, Imhotep must alter the ritual to resurrect Ananka's body physically, and also draw Ananka/Ankh-es-en-Amon'ska from the bleak Realm of the Dead. Several horrific encounters ensue, as Imhotep terrorises the people of Karnak while gathering thralls. The final confrontation takes place at the Temple of Karnak. Just at the moment when Kharis could stop Imhotep, however, he stalls - his desire to see Ananka live again prevents him from cancelling the ritual. The ritual is complete - but just like Imhotep, Ananka has come back wrong. Ananka - or the thing occupying her body - pounces on one of the thralls, rending the poor fool limb-from-limb, drinking the gushingblood.


Eventually, through magic, guile, and bravery, the monsters are defeated - the now limp, dying body of Ananka crouched over the crumbling remains of Imhotep. Kharis rushes to her, desperate for any sign of his love: seeing only a listless gaze behind her eyes, he breaks down and embraces her - exposing his relationship to the Pharoah, who of course arrives with the Royal Guard long after the battle. 

Kharis is mummified alive, just as Imhotep was, despite both his and the Priests' warnings of what would happen were he revived. It transpires that this phenomenon was far from accidental - this cycle of star-crossed love, execution, and reincarnation was orchestrated by forces the Priests of Karnak are fighting an eons-long feud against - one of several powers vying for control over the earth.

Kharis - or rather, his ka - opens his eyes. He is in the bleak, dim world that comes after life. There he meets Ananka, who is also Ankh-es-en-Amon, who greets him... as Imhotep. Then, Kharis realises the truth: he never reincarnated Imhotep at all, but brought something into the world with Imhotep's body as a conduit. The being was not Imhotep trying to resurrect his love at all - it was simply seeking to bring more of its kind into the earth. Kharis-Imhotep and Ananka-Ankh-es-en-Amon know that they will be reincarnated some day, in some new bodies, in some new time, their memories of all that has transpired lost - but so, too, will the things they fought.

The Priest of Karnak knows - and in the final scene of the film, we see him bind the Scroll of Thoth into a familiar book: the book is then placed in a vault, alongside several other mysterious artefacts - artefacts whose importance will only come to light in future adventures...
 
 ...

So there you have it: a Monster Universe films that contains versions of, or allusions to, many of the other franchise staples, in a rarely-visited setting (Ancient Egypt), which sets the stage for future films. The central concept - that monster archetypes which can be found across multiple cultures and continents are, in fact, humanity's limited perception of a great shadowy world beyond the ken of man - means we can go to just about any time period or part of the world, and include those archetypes.

But it is not as simple as a five-way war between the Mummy, Dracula, Frankenstein's Monster, the Wolfman, & Gillman across time and space a la "The Shadow Kingdom": indeed, one could argue that the Mummy and Frankenstein's Monster are variations on the same "man's attempt to cross the boundary of Death." I would say there are roughly three competing "factions" in this "war":
  • Humanity's Hubris, the result of Man's attempt to conquer Death/Nature which inevitably goes horrifically wrong (Mummy, Frankenstein's Monster, Mr. Hyde, the Leech Woman, anything else which is a result of science or magic).
  • The Elder Folk, the original rulers of the earth which seek to reclaim it from humanity (Gill-Man, the Mole People, Paula the Ape-Woman, other sapient creatures of the ancient world)
  • The Outsiders, horrors from beyond this world - or perhaps cast out in the distant past by the likes of Solomon -  constantly attempting to invade and usurp the planet (Vampires, Werewolves, Cobra Woman, other sapient horrors which manifest in humanity through infection or possession)
There is scope for interplay and intermixing, as well as inter-factional conflicts. The key thing is no side are necessarily the heroes: man's inhumanity is as dangerous an evil as the otherworldly horrors beyond the veil, and the Elder Folk are no more pure and innocent. Man is fighting a constant battle to stop them, but that doesn't mean Happily Ever After by any means.

Thus, when we get to the inevitable Monster Squad All-Star Super Smash Brothers Melee Brawl Wrestlemania, it can be set in the time period we all know and love, with the recognisable, iconic versions of the monsters we love to fear, but with a certain lyrical resonance of the expanded mythology.


A Modest Proposal: The Star Trek Multiverse

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I watched every new beginning for Star Trek since "Encounter at Farpoint" first aired on BBC2. I was a wee 6-year-old then, but I still remember running across the room, my arms looped in a childish facsimile of the starship Enterprise, in time with the opening theme (must've driven my family mad). Then I watched "Emissary"on Sky One as a somewhat cynical 9-year-old, who initially lamented about a Star Trek that didn't have a spaceship to go off and Explore Strange New Worlds, before being taken in by the station's distinct appeal. I was an 11-year-old bona-fide Trekkie when me & my family got together to watch "Caretaker"when it aired here: Star Trek was arguably at its peak media saturation, with three distinct crews across film and television. Between then and the return of Trek to television in "Broken Bow," I collected the Star Trek Fact Files, amassed a collection of Star Trek games, was fluent in technobabble, fought ruthlessly in The Eternal War, and was in the final four of a quiz at Glasgow's Contagion Star Trek convention one year.

And every single time, for every single new beginning, fellow Trekkies asked: has Star Trek lost its way? First TNG dared to be Star Trek without the original ship & crew; then DS9 dared to eschew the very concept of a Wagon Train to the Stars. At least those were bold new directions, though: for Voyager, the question was whether Trek was succumbing to rehashing TNG, and Enterprise was literally a backwards step in time - both were also criticised for catering to the lowest common denominator. The less said about the new films - and I've said fartoomuch as it is - the better.

So we come to Star Trek Discovery. Much like the new films, it's a reboot that's desperately pretending it isn't a reboot, but a perfectly faithful & compatible continuation of the Prime Timeline. Thing is, there's an incredibly easy way to reconcile Discovery with the Prime Timeline - you just have to change what you mean by that phrase.


It's curious how difficult it is to reboot Star Trek - and it wasn't for want of trying.

(Fore)Headaches

On the left: Kang, Koloth, & Kor.
On the right: Kang, Koloth, & Kor.

The first time, Gene Roddenberry himself made the attempt. Star Trek: The Motion Picture was, in many ways, as much a reboot of the original series as it was an explicit sequel, intentionally so - the new Klingon makeup, costume, and visual design was initially intended to replace the 1960s interpretation:

Gene Roddenberry tried to explain the differences between The Motion Picture's Klingons and the original ones by saying that the original show had simply never had the budget and makeup technology to envision the species as it should have been seen, so the apparently new Klingons were just Klingons as they were always intended to have been. (Cinefantastique, Vol. 37, No. 2, p. 40) 

From that perspective, the Klingons from "Errand of Mercy" to "The Savage Curtain" were always meant to have the knobbly foreheads, warrior armour, and pronounced teeth as depicted in the film - this seemed to be cemented with DS9's "Blood Oath," where Kang, Koloth, and Kor (pictured above) were depicted in the new Klingon fashion. If the Klingons could be so markedly different as a result of technological considerations, then it suggests other elements may have been intended as revisions of TOS elements too.



Consider: Starfleet in TOS was full of vibrant, distinctive colours, very unlike what you see in most science fiction. This is for two reasons: the more obvious one is that it wanted to capitalise on the boom in colour televisions, but the more interesting one to me is that it was a particularly stylistic choice.

There is a word for the Star Trek style, and that is “Minimalism” — which I mean as a technical term, the designation of a certain style. Minimalism brings with it a complex of values that are also notable in the original Star Trek. There is no doubt that budget constraints shaped the style, but ultimately the Minimalist look has nothing to do with budgeting. The look of Star Trek is Minimalist through and through, even including the somewhat elaborate bridge set (with the “con”), where Captain Kirk issues commands and supervises the starship. Successor shows and movies, by contrast, could hardly be less Minimalist in their art direction, style, and lighting. Advances in special effects after 2001: A Space Odyssey and the Star Wars movies were considerable by the time of The Next Generation,2 though not yet at the stage where “lighting a scene becomes a matter of painting pixels,” as Stephen Prince puts it (“True Lies” 32). Science fiction on television had to look good, had to be as perfect in terms of surface appearances as possible. By contrast, the predecessor series, Star Trek, was establishing conventions, not trying to catch up with them: important conventions of the genre start there. There was no “anxiety of influence” to overcome, and therefore a definite lack of inhibition, a kind of energy that cannot be duplicated under more regular circumstances. Improvisation is part of the original show, and with it the failings and advantages that improvisation yields. Many of the effects and settings were in fact improvised — improvised in the literal sense of that word, made up quickly under pressure with few resources. There is something about such circumstances that can stimulate creative work, as so many inexpensive but brilliant movies in film history also testify. In the case of Star Trek, later series are more polished but less energized.
 - Minimalist Magic: The Star Trek Look, Mervyn Nicholson
Star Trek: The Motion Picture, and by extension the rest of the film franchise, has thus abandoned the Minimalism of the original series, and favoured the sleek, polished, realistic tone of contemporaneous science fiction films:



If we take the "Klingons were always meant to look like they did from TMP onward" explanation, then we can retroactively presume that the Minimalist look of Starfleet, the Enterprise, the alien words and civilisations, and so forth, were always meant to be more detailed and "futuristic" than was depicted in the original series. Thus, the TNG period - which takes place a century later - can fit with the TMP aesthetic more neatly, with the differences explainable through the passing of time.

Unfortunately, Star Trek wouldn't always stick to that explanation. Sometimes it was "there are different species of Klingon" - an idea promoted by Roddenberry himself, and one that I've always quite liked. It seemed strange that the Federation was so full of variety and species, where the Klingon Empire was so monolithic: having distinct varieties of Klingon appealed to me. That theory was undermined somewhat by "Blood Oath," but there was little to directly contradict it outside that episode (and Kor and Kang's cameos in DS9's Voyager's "Flashback"). And so, TOS became somewhat distinct and disconnected from the post-TMP Star Trek universe, almost an experiment, an alternate reality in itself.

Then "Relics" came along, and everything went to Gre'thor.

Nuts and Gum, Together At Last



When Scotty visits the holodeck recreation of the U.S.S. Enterprise (N.C.C. 1701, no bloody A, B, C, or D) in Season 6's "Relics," we see a direct juxtaposition of the TOS aesthetic with the modern post-TMP aesthetic. The bridge of the original Enterprise is depicted exactly as it was in TOS, in an episode of TNG - thus directly connecting the two in a concrete way not even the inclusion of McCoy in "Farpoint" or the presence of the classic Matt Jeffries Enterprise on the Wall of Starships did.

This was exacerbated nthfold with DS9's "Trials and Tribble-ations," where the crew of post-TMP Deep Space Nine spend almost the entire episode in the time period depicted in TOS - where not only is everything replicated to an absurdly faithful degree, but the stylistic elements are explicitly commented on - including the Klingon Forehead Problem, which wouldn't have an in-Universe explanation until the next millennium.

Bashir: "Those are Klingons?"
Waitress: "All right. You boys have had enough."
Odo: "Mister Worf?"
Worf: "They are Klingons, and it is a long story."
O'Brien: "What happened? Some kind of genetic engineering?"
Bashir: "A viral mutation?"
Worf: "We do not discuss it with outsiders."

It's difficult to appreciate what a mess this makes of continuity now, considering the idea of all Trek being connected as part of the same basic universe and timeline seems like it's been there forever. Yet taking these 744 episodes spread across 5 distinct series and 10 films, with all those distinct art styles which fundamentally affect the storytelling and self-contained levels of "realism," and saying they all take place in the same universe is arguably attempting the impossible. It would be like expecting Arex from The Animated Series to turn up in an episode of TNG as an animated character, a la Who Framed Roger Rabbit. It's somewhat amazing that it persisted for so long despite itself.

This is what made the new films, and now Discovery, so frustrating: it was further compounding vastly different art styles - different ways of telling a story in a medium - and trying to say they're part of the same thing. But how can you? You're both compromising the realism of TMP+, and the Minimalist style of TOS - undermining both in the process for no good reason. Similarly, it is ludicrous to say the new Trek film series is meant to be simply an "alternate reality" which diverged when Nero altered the timeline when the "point of divergence" was already vastly different from TOS - and, indeed, the same can be said for Discovery.



Discovery looks great. It takes obvious cues from Mass Effect and Battlestar Galactica, and it looks like - gasp - a thoughtful science fiction series. But this obsession with Star Trek's past - and, specifically, the past's past - has led to ludicrous situations like expecting viewers to believe the 24th-Century-esque U.S.S. Shenzou is meant to be a few years older than the Matt Jeffries Enterprise, and Ensign Daft Punk's headgear presumably meant to be old hat compared to Uhura's earpiece. But this is the problem when you put two different styles together - one suffers in comparison. And if your aim is to be realistic & "futuristic," then a Minimalist aesthetic is always going to suffer.

Nonetheless, there's another issue here beyond the continuity. Since 2002's  Star Trek Nemesis, every new Star Trek production has been set before the time of TOS - Enterprise, the three alternate-universe films, and now this series. We haven't gone beyond 2379 in the Prime Universe, yet we keep returning to the 23rd Century. If we're going to go back to Star Trek, surely leaping forward a couple of decades - centuries, even - would eliminate these problems entirely? Then you can have the familiar crutches if you need them, the change in art direction makes sense, and you can make bold and daring changes without stomping all over what came before.

The cynic in me suggests that this is all intentional. This isn't meant to be an addition to the Star Trek mythology in any meaningful way - it's Star Trek: Member Berries. It's for the people who remember bits and pieces of the series, but don't remember why those moments stuck out. It's for the people who think of Kirk as a reckless, arrogant, narcissistic intergalactic philanderer because of pop cultural osmosis.

In some senses, it’s the idea of a thing rather than the thing itself that matters. The animated series, the initial motion pictures, TNG (and its films) and subsequent series, and now the new reboots have all reworked ST:TOS. To varying extents what they’ve been reworking is not the text, but the reception thereof. Even the animated series has a lot of fan-service call-backs: Mudd and tribbles and Spock’s sad childhood on Vulcan. The original run of Star Trek films’ most dramatic moments (Kirk screaming at the death of his friend, Kirk disobeying orders to save him, etc.), which only have meaning because they’re great upheavals in Kirk’s life, have since come to define that character. (This mechanism is also at work on other characters in Star Trek films and reboots.) Misreading Kirk as generally brash makes these departures from his normal behaviour less important, and thus bleeds the drama clean out of Kirk’s reactions in, for example, The Wrath of Khan. Because Kirk was insubordinate at one of the most extreme points in his life and/or under the narrative constraints of the films (which are entirely different from those of TOS), he’s become a character who is read as insubordinate.
 - Kirk Drift, Erin Horáková

Combine this with the deeply cynical circumstances around Star Trek: Discovery's very existence, and it starts to get rather depressing:

The goal was never to make Star Trek and make a pile of money from it – it was to build up the paper tiger just enough to boost CBS’ overall bottom line. If anybody was wondering exactly how Star Trek was going to make CBS money even though it was put behind the paywall of a service that relatively nobody uses, this was how. They can expect to push company revenues up by about 10% to 12% a year, and they paid basically nothing to do it.
If you look at the price versus selection ratio, CBS All Access pricing is pretty poor, but CBS basically doesn’t care. It’s being run to break even, not make a profit. The profit comes in negotiating better prices for the rest of their catalog through other services. That’s the profit center in all this, and that’s why they needed something like Star Trek: Discovery in their stable. It didn’t have to be Trek specifically, just something big. Like the next Baywatch, or a TV series based on Fast and Furious, just anything to get people to sign up. It just happened to be Star Trek.
While we’re on it, there are a lot of rumors flying around about how Discovery is greenlit for Season 2, that they’re prepping for Season 3 already, that it’s planned to run for several seasons, and all sorts of other claims. Unfortunately none of those rumors are currently true. In a Hollywood Reporter article on September 26, Star Trek: Discovery producer Alex Kurtzman tells his interviewer that while they’re planning Season 2 now, there is currently no agreement to proceed.
The money quote here from Kurtzman is as follows:
We have a larger picture for season two — if we’re lucky to get a season two order.
It was never about the Star Trek fans, nor even about the money they could make directly from them (which is fairly insignificant, see our previous article), just the foot traffic they represented. CBS needed to identify a really strong property that they had the rights to that would generate a subscriber spike. Star Trek was it.  CBS head exec Les Moonves has said, 
I think Star Trek is the type of show that could bolster CBS All Access and put it on perhaps the same footing as Netflix or Amazon…[Star Trek’s fans] are some of the most passionate fans in the world, and we can see millions of them joining All Access.
They did not get millions, of course, but the language here is clear. Moonves is a businessman, and a shrewd one, and figured out how to play both Netflix and the fans themselves to improve his bottom line. It simply does not matter that millions of Trek fans are not flocking to the CBS All Access platform. They only needed some, and they don’t even need them all at once. The job is effectively done. Mission accomplished.
That’s why there’s no particular pressure to commence with a Season 2 of Discovery, and as mentioned above, Season 2 currently does not have a green light. CBS will be quite happily tooling up their replay sales over the next two years just based on what they already have. Even if they do greenlight the next season, Kurtzman is on record as saying that we won’t see any of it until at very least the first quarter of 2019, and probably not till the second quarter, assuming it happens at all. The longer we wait to hear, of course, the worse the odds. These things have a certain momentum, and if they wait too long, the moment will be lost, and they’ll move on to the next shiny object.
We're living the Age of Franchises, where characters, worlds, and stories, have become highly profitable properties. The profit comes not from well-crafted creations, but products that executives hope might fool just enough people into checking them out. Star Trek has been a franchise for a long time, but I'd like to think even the most cynical cash-ins were at least intended to have some sort of longevity from the beginning - and it's only in the past few years that the productive and creative fan film scene has been utterly hobbled by the new proprietors.

Time was, Star Trek was a sprawling, expansive universe with hundreds of novels, games, comics, and other media. Then, about the time CBS broke off from Paramount (& coincidentally when the new films were gearing up) they all dried up - apparently afraid to compete with each other:

"Star Trek's" licensing and merchandising rights are spread over two media conglomerates with competing goals. The rights to the original television series from the 1960s remained with CBS after it split off from Paramount’s corporate parent Viacom in 2006, while the studio retained the rights to the film series. CBS also held onto the ability to create future “Star Trek” TV shows.
Paramount must license the “Star Trek” characters from CBS Consumer Products for film merchandising.
Much to the dismay of Bad Robot, CBS' merchandising arm continued to create memorabilia and products based on the cast of the original 1960s series and market them to Trekkies. The production company did market research and found that there was brand confusion between Abrams' rebooted Enterprise crew and the one starring William Shatner and DeForest Kelley.
TheWrap has learned that Bad Robot asked CBS to stop making products featuring the original cast, but talks broke down over money. The network was making roughly $20 million a year on that merchandise and had no incentive to play nice with its former corporate brother, the individual said. In response, the company scaled back its ambitions to have "Star Trek's" storylines play out with television shows, spin-off films and online components, something Abrams had been eager to accomplish.

It amazes me that there could be "brand confusion" about what is ostensibly meant to be the same bloody brand. In fact, it seems positively counter intuitive: surely when the entire conceit of your shiny new film is about being an Alternate Timeline version of one, you'd want to highlight both - to compare the Old with the New, celebrate the differences, maximising profits both way? Only if you wanted to replace - or reboot, if you will - the original, would you be concerned about "brand confusion." Unless you're motivated by money, of course.

Ferengi Rule of Acquisition 1: Once you have their money, you never give it back.
In some ways, perhaps Star Trek was a bit ahead of the curve: forabriefperiod in the 1990s, the Star Trek"cinematic universe" was found in theatres, television screens, PCs, novels, comics, and all sorts of platforms, all contemporaneous, and doing pretty well. Characters from TNG, DS9, and Voyagercould turn up in film and different TV series, as well as the occasional TOS cameo: Sulu in Voyager, Worfin DS9, the Defiant and the Emergency Medical Hologram in Star Trek: First Contact. Decades later, we have Marvel, DC, and Star Wars characters turning up in different films and TV series, while Star Trek spent most of the 2000s & 2010s stuck in the doldrums.

Yet I'm of the opinion that Star Trek is less suitable for a shared universe, than it is for a shared multiverse.

Future Trek



The continuity issues from TOS to TMP, Enterprise to TOS, and everything to Discovery, arise in no small part because they're trying to crowbar not just several different sets of story and character, but different artistic sensibilities and interpretations of reality. Hence, the conflict between the Minimalism of TOS with the '70s-'80s hard-edged Futurism of the films, as well as the neo-Futurist styles of the new films and dark tinge of Discovery. In fact, it reminds me of nothing so much as the alternate universes which already exist in Trek.

Consider the - literally - dark realities of "Yesterday's Enterprise,""Parallels,""Year of Hell,""Twilight," and the many forays into the Mirror Universe. They may bear similarities to the established reality - people with the same name as the familiar crew, ships and costumes and props that look like they're supposed to - but they most assuredly are different branches of time. Multiple continuities is old fare for comics: perhaps the best way to take Trek into the future is to acknowledge that.

Treat TOS as its own pocket reality: the past and future there can be distinct according to the art direction and sensibilities of the universe in the same way the Golden Age of Comics can diverge from the Silver Age of Comics. Same for TMP, the "Generations Trilogy" of TNG/DS9/VOY (you can probably fit Enterprise in here more than anywhere else), the new films, and Discovery - effectively five continuities instead of one. Instead of forcing them all into one long continuity, treat them as strands in a great cosmic framework.Star Trek: Timelines has had a lot of fun with this, using the ever-pesky Q as an introduction to a Crisis On Infinite Alpha Quadrants situation: multiple incarnations of characters interact, many different Enterprises encounter one another, across space and time. It's a really interesting setup for what is essentially a freemium mobile game.

Immediately, all the little niggles about canon and continuity and conflict disappear, because each new Trek occupies its own universe, with as many or as few connections as you want. You can say the adventures of the 1701 happened much as they did in TOS, or you can ignore them entirely, and choose to depict the characters and period in a way that's consistent with your new universe. Alternately, if you want to create new adventures in the TOS universe - as seen in Star Trek: New Voyages, Star Trek: Of Gods and Men, Star Trek Continues, and so forth - then all that's needed is to be internally consistent with TOS: Jerry Finnerman lighting, Matt Jefferies art direction, Gerald Fried underscoring, William Ware Theiss costuming. They're good, not because they're fan productions, but because the people making them are being honest with themselves about what they're making.

Instead of imagining a TNG version of TOS (which is really TMP in many ways), imagine a TOS version of TNG: a Minimalist interpretation focused on theatre, colour, and expressionism. There are definitely elements of that in early TNG. Or the Eugenics Wars: forget all that pesky real history we have, & posit that Khan did indeed conquer a third of planet Earth in the 1990s, rather than ham-fistedly attempt to reconcile it with our boring reality. Why not? Works fine in the Marvel films.

Seriously, TRANSFORMERS has a more complex multiverse canon than Star Trek.

Canon is a tool, a handy guide to improve verisimilitude and deepen the connection a work has to its universe: too often, canon has been used as a leash, a restraint on creativity in the form of immutable, incontrivertible commandments. Canon is not a scripture to be worshipped: it is a record to be understood. An understanding and appreciation of canon leads, I think, to better works, whether it adheres to the canon or not - but canon is not a prerequisite either.

This might seem a strange thing for a Trekkie, not to mention Robert E. Howard fan, to say. Understand: there is a vast difference between the canon of a shared fictional universe of many authors, and the canon of an individual creator. The delineation between, for example, all Conan stories written by Robert E. Howard, and those written by other authors, is fairly plain to see. Star Trek, on the other hand, owes as much to the authors of individual episodes as it does to Gene Roddenberry, Bob Justman, Gene L. Coon, D.C. Fontana, Matt Jefferies, or anyone who shaped the universe we all know and love today.

For all the centuries and millennia, sectors and quadrants, galaxies and universes that we know of Star Trek, so much of it remains unexplored. In all the several hundred episodes and films that make up Star Trek canon, we've seen only a glimpse of humanity's adventures in the stars over the course of a few decades: we've experienced only a fraction of the countless strange new worlds and new civilisations in detail. The deep future of Trek is as mysterious as its deep past.

Perhaps then we can get back to the business of what Star Trek is all about.



Robert E. Howard in Scots: "The Song of the Bats"

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Screivit by Rabert E. Howard  


The huim wis oan the muntain
An the starns war grim an frail
Whan the bauchens came fleein, fleein
Frae the river an the laich
Tae wheel agin the gloamin
An cruin thair witchy yairn.


We war kings o’ auld!” thay chaunted,
Rowlers o’ a waurld enchanted;
Ivery nation o’ creation
Awnt oor lairdship owur men.
Diadems o’ pouer crount us,
Than ris Solomon tae confoond us,
Flang his wab o’ magic roon us,
In the form o’ beasts he boond us,
Sae oor rowl wis braken than.


Dirlin, wheelin intae wastwart,
Flew thay in thair phanton flicht;
Wis it but a weeng-bat muisic
Curmurrt throu the starn-gemt nicht?
Or the weengin o’ a ghaist clan
Whisperin o’ forgat micht?


Art by the inimitable* Virgil Finlay, a master in the art of illustrating inimicable horrors, courtesy of Monster Brains. Don't have nightmares this Hallowe'en... 

*Cheers Deuce Richardson!

The Ballad of Asgrimm Thunderbeard

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You had me at "rules for dinosaur racing."
I had my first experience of 5th edition Dungeons & Dragons on Thursday whilst visiting my wee cousin in Dundee. A bit anxious since I hadn't played a game since 3rd edition, but I figured it couldn't be that different, and since it utilised the new stuff from Tomb of Annihilation, how could I not?

"You have, no doubt, heard of Curupuri? Curupuri is the spirit of the woods, something terrible, something malevolent, something to be avoided. None can describe its shape or nature, but it is a word of terror... Now all tribes agree as to the direction in which Curupuri lives... Something terrible lay that way. It was my business to find out what it was."
 - The part of Asgrimm Thunderbeard shall be played by professional huge person Braun Strowman.

I have a few "stock" characters I have in my RPGs. There's Matylda, a "human" warrior that looks like a Greek statue - i.e. 8 feet tall, pale, skin like granite, and utterly inscrutable; there's J'uk, a lizardman/Argonian/reptilian bard who resembles-but-is-legally-distinct-from the legendary Deekin of Neverwinter Nights; there's Bork the Gentle, a pacifist orc who does his best to keep his friends alive while never hurting a fly if he can help it. Then, there's Asgrimm Thunderbeard.

"It will be a comfort to me to know that I have one ally in the hall, however inefficient and ignorant of the subject he may be."

Asgrimm is my preposterously over-the-top barbarian archetype. Think Professor Challenger freed from the constraints of Edwardian civilization, who treats science and discovery as if it's an indolent nephew that owes him a great deal of money (that is, he grabs it by the ankles and shakes it down for all its worth), mixed with the more genial bombast of Manly Wade Wellman's Hok the Mighty. He has a habit of weaving various items - totems, trinkets, artefacts, bits and pieces of his fallen enemies - into his beard, like an even more horrific Blackbeard.


"Cerebral paresis! Mental inertia! Wonderful!"

In this scenario, the party went to kill an evil king leader gentleman whose stronghold was on a 300ft plateau. Said king leads a host of Pterafolk, which (you can guess by their name) are Pterosaur humanoids. As I came late, the adventure had already started: the stronghold was on fire, several blows landed, all sorts of chaos. Since I came to the party late, I played the part of a guest star - in this case, one of two captives being held by the Pterafolk. As such, I was a lowly Level 1 Barbarian. (The other was a bird-man the party freed, who flew away with much gratitude before I regained consciousness).


"Well, sir, let us do what we can to curtail this visit, which can hardly be agreeable to you, and is inexpressibly irksome to me."

As a guest star, I felt completely disposable. This allowed me to be bold and reckless - which, it turns out, is a specialty of 5E barbarians. My thinking was to do everything I could to help the regular party, even if it meant putting my character at risk. I'm nice like that. I also had unbelievable luck on my die rolls, winning almost every one, which no doubt messed up the DM's plans.

"There seems to me to be absolutely no limit to the inanity and credulity of the human race. Homo Sapiens! Homo idioticus!"


First, I burst the ropes binding me like they were wet spaghetti. A Pterafellow saw this, and rushed towards me. Since I was weaponless, I did what any barbarian would do: grabbed the fell creature, and hurled it onto the roof of the stronghold, which was on fire. I didn't land a direct hit, mostly because said Pterafellow heroically managed to flap its way off-course from the centre - in the heat of the moment I forgot about Pterafolk's aviational predilections - so it survived.


"Away, sir, away! Raise your mind above the base mercantile and utilitarian needs of commerce. Shake off your paltry standards of business. Science seeks knowledge. Let the knowledge lead us where it will, we still must seek it. To know once for all what we are, why we are, where we are, is that not in itself the greatest of all human aspirations? Away, sir, away!"

The next turn, the enraged, flaming thing swooped back down - so much the better! I leapt into the air and grappled the burning horror to the ground, immobilising it while evading its snapping beak and rending talons, beard and chest hair singeing infuriatingly. At this point I could see my new friends were sorely pressed, surrounded by the wretched winged wastrels, so I formulated a plan...

"Living, as I do, in an educated and scientific atmosphere, I could not have conceived that the first principles of zoology were so little known. Is it possible that you do not know the elementary fact in comparative anatomy, that the wing of a bird is really the forearm, while the wing of a bat consists of three elongated fingers with membranes between?"

When my turn came around, I hurled the fire-cloaked fiend at the nearest foe: the combination of incineration and being used as an improvised weapon finally claimed the beast's life, though I still had an angry compatriot to contend with. To prevent the beast taking off for a dive, I grappled it to the ground while I looked for my next move. At this point, one of the party - the elf archer, Greenshield I think his name was - was cast to the ground, perilously close to his own demise. I knew I had to act quickly, and hurl myself into the fray - but how?
"I feel that there is reason lurking in you somewhere, so we will patiently grope round for it."

By my next turn, I realised there was only one thing for it: I would have to take my fight to their fight. I hoisted the frenzied foe up and charged towards the clump of furious fliers, crashing into them like a bearded boulder. With my enemies collapsed in a heap, I threw my entire body weight onto the writhing mass of wings and beaks, hoping to hold them long enough for the party to regroup. And regroup they did! Toby the Untouchable Druid - still reeling from being "touched" by the Evil King's vicious attacks - invoked a great spirit to increase our health, with an earsplitting cry of "NO TOUCHING!"; Greenshield recovered and loosed his deadly arrows in a fit of rage; Crix the Lizardrogue sneaked into the fray unseen; Malakyte the Drow Warlock read an unholy curse from a book bound in skin of the Evil King's own brother; and Bavid Dowie the half-elf bard rallied our spirits.

"The true scientific mind is not to be tied down by its own conditions of time and space. It builds itself an observatory erected upon the border line of present, which separates the infinite past from the infinite future. From this sure post it makes its sallies even to the beginning and to the end of all things."

In the end, we slew the Evil King and his winged warriors, and I was only too glad to assist these brave adventurers. As I was effectively a controlled NPC, I could not partake in the party's bounty of gold, jewels, and treasures - which was fine by me, as my quarry was not such baubles.
No, Asgrimm Thunderbeard sought a complete Pterafolk specimen to bring back to his tribe of scientifically-minded fellow barbarians, to study and exploit: the Pterafolk have long harried his people, so this will be highly useful in repulsing future raids. With a wealth of corpses, Asgrimm had his pick of grisly trophies, too: soon, a black talon was added to the charms woven into his beard. Asgrimm bid his adventurers farewell, tied a mostly-complete cadaver to his arms and back in a ghoulish facsimile of a gliding apparatus, and leapt off the plateau's edge into the mists below.


"The true scientific mind is not to be tied down by its own conditions of time and space. It builds itself an observatory erected upon the border line of present, which separates the infinite past from the infinite future. From this sure post it makes its sallies even to the beginning and to the end of all things."

So that was the Ballad of Asgrimm Thunderbeard (5th Edition). I had a lot of fun, I helped the team out, and I learned a bit about 5th Edition Dungeons & Dragons. Perhaps Asgrimm will return on the party's travels, aiding them when they need it most and expect it least, and providing some flavour to Dowie's fireside tales...


The Lord of the Rings Series: Wild Extrapolations

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Three Rings for the Elfin-kings unner the sky,
Seiven for the Droich-lairds in thair haws of stane,
Nine for Mortal Men duimit tae dee,
Ane for the Daurk Laird oan his daurk throne
In the Laund of Mordor whaur the Shadaes lig.
Ane Ring tae rowl thaim aw, Ane Ring tae find thaim,
Ane Ring tae bring thaim aw an' in the mirkness bind thaim
In the Laund of Mordor whaur the Shadaes lie. 
 - The Laird of the Rings (in Scots) - I can dream, eh?

I think I got most of my emotional reaction to any new Tolkien adaptation news out of my system a while ago, especially given how franchises operate nowadays. Rather than being excited or dismayed, I feel a strange sense of confidence - that "ah, I've been here before" sensation. It could be good. Or, it might not. We will see.

What do we know about the series? We know next to nothing.




This is literally all we know about it, from an Amazon Corporate Press Release :
"...previously unexplored stories based on J.R.R. Tolkien’s original writings..."
Set in Middle Earth, the television adaptation will explore new storylines preceding J.R.R. Tolkien’s TheFellowship of the Ring. The deal includes a potential additional spin-off series. 

So, "previously unexplored stories based on J.R.R. Tolkien's original writings," and "new storylines preceding J.R.R. Tolkien's The Fellowship of the Ring."

The internet is aflame with speculation as to what this series could be. Is it simply a new adaptation of The Lord of the Rings itself, which - given my belief that Tolkien's work is just as worthy of multiple interpretations as that of Austen, Christie, Conan Doyle, Dickens, Dumas, Poe, Shelley, Wells, or Verne - I would welcome heartily? Is it perhaps an expansion of the many appendices, which opens up the possibility of some crossover with The Silmarillion? Or is it more fan-fiction, like far too much of the recent Hobbit films?

I don't know. But let's not let a wee thing like that stop me from guessing!


The Silmarillion?



Given the announcement that Christopher Tolkien has resigned as director of the Tolkien Estate, many have immediately leapt on the ZOMG ITS THE SILMARILLION bandwagon. Colour me - still - unconvinced. If this new series translates to The Silmarillion, I'll eat my proverbial hat. (Not my good Texan hat, of course, I don't gamble with that!) As long as Christopher Tolkien - aka the co-author of The Silmarillion - is alive, I sincerely doubt it'll happen.

While it would be lovely to see the many stories adapted simply to see what people make of it, I've found that my perspective of The Silmarillion is very different from that of most other Tolkien fans (my fellow REH fans excepted) - full of blood and thunder, more Angus McBride or, yes, Frank Frazetta than John Howe or Hildebrandt Brothers (though I do like Alan Lee and some of Ted Nasmith's pieces). Google illustrations of any elf character on Deviantart, you'll see what I mean.

I've always felt The Silmarillion lent itself to a much more abstract adaptation than a traditional cinematic narrative: an opera, experimental film, or even an animation in the style of Laloux or Languionie's strange but beautiful tales. There's something appealing in taking a dense, complex text like The Silmarillion, & transposing it into the abstract.



Alas, that was always going to be a long shot. An adaptation of Ainulindalë may well implement some of that approach, as Willow Productions' animation above depicts, but a whole series like that? Probably not.

A New Interpretation?

The New Line Middle-Earth films have made a preposterous amount of money, as the press release breathlessly points out. It's easily in the company of other titanofranchises like Star Wars& the Marvel Cinematic Universe, with nearly every release adhering to the established Weta/Wingnut production style. While critical reception of the Hobbit films was certainly disappointing, financially it did gangbusters: most notably, the Shadow of Mordor gaming franchise is phenomenally popular despite only tenuous links to Tolkien's work, but fairly steeped in the New Line visual aesthetic.

As such, I don't think we can expect a bold new direction as with Star Trek or the DC Cinematic Universe, which have both rebooted & refreshed the style & tone of their properties over the years. I can understand why they did so - don't fix what ain't broke, & from their perspective, if it makes money, it ain't broke - but I do confess to lamenting the opportunity for new interpretations. After all, we have many different visual interpretations of other classic worlds and characters, why shouldn't we see them for The Lord of the Rings? Heck, it'd be worth it simply to give uncommon but still textually supportable illustrations: dark-haired Legolas, wingless balrogs, Sauron not being a floating eyeball, Gothmog as a man/Nazgul/Boldog/something other than an Orc, and so forth.

It's a real shame, because there are a wealth of bold, interesting visual styles out there - not least the author's own.

I love Dragonslayer as much as the next '80s kid, but Smaug is clearly a quadrupedal winged linnormr, not Vermithrax pejorative.
As it is, I adore many aspects of the New Line visual interpretation of Middle-earth, even the parts I disagree with, or which aren't true to Tolkien's descriptions: every link of mail and centimetre of miniature was crafted by artists who loved and believed in what they were creating. I just hope there could be room for many more interpretations, beyond the brash, rough colours of Bakshi, the intricate detail of Rankin Bass, even - especially - the appealingly bonkers charm of Deitch.


Deitch's 1966 film shows that even a cynical studio ploy to extend a license can produce something strangely compelling (if you can bear the heinous script), & I'd argue conveys "the Northern Thing" quite interestingly. Look at Gandalf, then look at the Lewis Chessmen, those quintessential icons of Medieval Norse Art.


That's "the Nordic thing."

Bold Diversity?


One of the most frequent criticisms of The Lord of the Rings is the lack of diversity in the cast. I get it. If one of the things you look for in your fantasy fiction is ethnic diversity, then you're going to be disappointed when it isn't much there. As a narrative, The Lord of the Rings isn't a place to find many different ethnic groups analogous to 21st Century Earth, for the simple fact that Tolkien wrote it the way he did - the diversity is primarily between different sapient species (men, elves, dwarfs, hobbits, orcs, etc). None of that is to say, however, that there can be no diversity in Middle-earth.

I already wrote a story of Far Harad, inspired by Charles R. Saunders' Dossouye & the historical Dahomey Amazons, as a direct challenge to the notion of black people being absent or entirely under Evil's thrall in Middle-earth. Tolkien did not go to Harad, or Rhun, or Khand, or any of the lost lands beyond the borders of the story he wanted to tell - that does not mean those lands had no stories of their own.

Furthermore, there are plenty of other places in Middle-earth proper - Dol Amroth, Dorwinion, Tharbad, Umbar - and while Middle-earth international politics are complicated by roving warbands of orcs and other horrors, we know that there has been some admixture. The populations of Pelargir, Harondor, and Belfalas are darker-complected than the rest of Gondor due to intergenerational mixture with the Haradrim: similarly, the people of Dorwinion& Rhovanion are intermingled with the Easterlings. Then you bring in the Drúedain, the Lossoth, and other neglected peoples of Middle-earth adaptations, and the men of Arda start to have a bit more variety.


Diversity is great, and I think we could do with a lot more of it. I'm personally getting a little sick of the interminable King Arthur adaptations, so any property that derives from elsewhere is absolutely great. However, I hold a dim view of lazy diversity - the type that casts Sinqua Walls as Lancelot or Angel Coulby as Guinevere - or, indeed, Idris Elba as Heimdall. This is not, as you might suspect, because of some aversion to seeing non-Europeans in a traditionally European context - absolutely not. On the contrary, I relish seeing that! It's interesting, it's refreshing, and best of all, it's historically and narrativelysupportable: there's the remains of someone who could only have been born in the Nile Delta in a 12th-13th Century grave in Whithorn; the Magus Balthazar is regularly depicted as dark skinned; Arthurian tradition itself has Moriaen, a Moor, the son of one of the Knights of the Round Table who travelled to Moorish lands, is even depicted as black. So there are absolutely plenty of opportunities to depict people from many non-European backgrounds in a European setting if filmmakers actually wanted to.

But the fact is that minorities are still highly underrepresented in mainstream fantasy fiction. Instead of meaningful roles, for the most part, mere token gestures like the One Black Dude in All Asgard - with Thor: Ragnarok, now at least joined with the One Black Chick in All Asgard - is all the representation people get. This would not be nearly as bad were it not for the European tokenisation rampant in films set outside European fantasy, exemplified by the casting of Billy Magnussen in Disney's live-action Aladdin:

Aladdin’s not the only prince coming for Jasmine in Agrabah. The new Disney live-action remake of the classic 1992 film will also feature another royal blue blood, played by Billy Magnussen. Everybody, this is Prince Anders. Prince Anders, this is everybody.

He’s “a suitor from Skanland and potential husband for Princess Jasmine,” according to an official statement from Disney—which means that Agrabah has a new fake Scandinavian counterpart. Disney also shared a handful of new details about the rest of the cast, which includes Will Smith as the Genie, newcomer Mena Massoud as Aladdin, and Naomi Scott as Jasmine. Smith tweeted out a quick cast selfie on Wednesday, announcing that filming had just begun.

The initial news of Magnussen’s casting, which broke late Tuesday, was met with a mixed response on social media. Some viewers wondered why a white actor is being brought into this film, set in a made-up Middle Eastern nation—especially when the original movie didn’t include any white main characters.
(Skånland is a place in Troms, one of the northernmost areas in modern Norway, which makes me wonder if this is meant to be a nod to Arendelle, & the prospect of a Disney Princess Avengers down the line - wouldn't surprise me, frankly.) Including a cod-Scandinavian character in a Middle-eastern setting is tokenism of the worst kind, because no-one can say that Scandinavian people or mythology has been marginalised in popular culture. Likewise for nonsense like The Great Wall and the sad, sorry mess that was The Last Airbender.

I was struck by Chadwick Boseman's comments on T'Challa's accent in the Marvel cinematic universe, and particularly its importance to Wakanda:

People think about how race has affected the world. It's not just in the States. Colonialism is the cousin of slavery. Colonialism in Africa would have it that, in order to be a ruler, his education comes from Europe.
I wanted to be completely sure that we didn't convey that idea because that would be counter to everything that Wakanda is about. It's supposed to be the most technologically advanced nation on the planet.
If it's supposed to not have been conquered – which means that advancement has happened without colonialism tainting it, poisoning the well of it, without stopping it or disrupting it – then there's no way he would speak with a European accent.
If I did that, I would be conveying a white supremacist idea of what being educated is and what being royal or presidential is. Because it's not just about him running around fighting.

This is the sort of thoughtfulness, detail, and consideration that good speculative fiction needs, and is a great leap forward to on of my personal bugbears, colloquially termed The Queen's Latin. How many films, television shows, theatrical productions, radio plays, cartoons, anything with a human voice, depict - for example - Ancient Romans or Greeks with impeccable Received Pronunciation? How many adaptations of Les Miserables have Frenchmen speaking with Cockney, West Country, and just about every accent that isn't French? The end result is that Received Pronunciation continues to run roughshod over other, legitimate accents as surely as the old British Empire trampled indigenous languages and culture.*

If the series is to be an adaptation of The Lord of the Rings, The Silmarillion, The History of Middle-Earth, or any of Tolkien's other narratives, then it's difficult to see how to include a diverse cast of characters without significant changes to the story - which, again, is fine, as long as you don't pretend you're being faithful to the source material. However, if the series is an original story set in Middle-Earth, as Middle-Earth: Shadow of Mordor is, then there are plenty of opportunities to explore the realms beyond.

Middle-Earth: Shadow of Mordor - and its sequel, Middle-Earth: Shadow of War - features only a few characters created by Tolkien, and many are already vastly divergent from his writings. The games are set mostly in Núrn, the only fertile area of Mordor, nominally set sometime between the events of The Hobbit and The Lord of the Rings. The developers, Monolith, had plenty of scope to introduce new characters, peoples, ideas, and stories without necessarily mucking about with the source material too much. As such, they introduce several female characters, and the sequel includes a Harad-born main character - Baranor.

Depending on the compounds, Baranor could mean"fierce fire,""ruddy mountain," or "House of the Sun" in Sindarin

Baranor will be the protagonist for an upcoming mini-campaign, Desolation of Mordor. According to the Shadow of War wiki, Baranor was born in Harad, but adopted by a wealthy Minas Ithil family - hence his Gondorian name - and is raised as a Gondorian; he joins the army, and becomes Captain of the Guard at Minas Ithil. Having grown up in Minas Ithil, he considers it to be his "true home," rather than Harad.

Baranor could present a great opportunity for the Shadow games to explore Harad, & refute once and for all one of the more insidious interpretations of Middle-Earth - that the Haradrim are irredeemably evil. I'm thoroughly unconvinced of such a simplistic interpretation, as there is much in Tolkien's own words to suggest otherwise. Tolkien refers to "the few tribes of Men that had rebelled from Melkor-worship": it's entirely probable that there are resistance movements, saboteurs, rebels, even independent tribes & kingdoms fighting against Sauron's acolytes. Once Minas Ithil is overrun by the Witch-King's forces, could Baranor take flight not west to Minas Anor, but south - to aid the southron rebels against Sauron, and help the oppressed tribes regain their freedom? That'd be a lot more satisfying & interesting than just another Gondorian soldier.

“But the other two Istari were sent for a different purpose. Morinethar and Rómestámo (Darkness-slayer and East-helper) Their task was to circumvent Sauron: to bring help to the few tribes of Men that had rebelled from Melkor-worship, to stir up rebellion… and after his first fall to search out his hiding ( in which they failed ) and to cause ( ? dissension and disarray ) among the dark East… They must have had very great influence on the history of the Second age and Third age in weakening and disarraying the forces of East… who would both in the Second age and Third age otherwise have… outnumbered the West.”
The Peoples of Middle-earth
What's more, it also offers a great opportunity to show some of the complexities of Good and Evil in Middle-Earth, by noting the often brutal history of the Númenoreans and other men:

The Númenoreans had now become great mariners, exploring all the seas eastward, and they began to yearn for the West and the forbidden waters; and the more joyful was their life, the more they began to long for the immortality of the Eldar.
Moreover, after Minastir the Kings became greedy of wealth and power. At first the Númenoreans had come to Middle-earth as teachers and friends of lesser Men afflicted by Sauron; but now their havens became fortresses, holding wide coastlands in subjection. Atanamir and his successors levied heavy tribute, and the ships of the Númenoreans returned laden with spoil.
 - The Lord of the Rings Appendix A, Annals of the Kings and Rulers: Númenor
As it is in our world's history, so the endless cycle of invasion and exploitation, disputed lands, and ancient wrongs shaped the politics of Middle-earth. As Gondor is the successor of Númenor, of course the Haradrim would distrust them, that distrust being manipulated by the Great Enemy, & exacerbated by a nation crumbling to pieces after civil wars and plagues and invasions and decadent rulers. It would be very simple to expand on those themes Tolkien touched upon: so refreshing to those used to the meme of The Lord of the Rings being a simplistic "battle of Good versus Evil" fairytale, some might even think of it as a subversion, when it's actually a lot truer to Tolkien than popular culture would suggest.

Of course, that's Shadow of War: whether this means Amazon's new series will be a similar piece of fan fiction is yet to be seen. If so, I'd love to believe that they would look beyond Eriador, Gondor, Rohan, and the rest of Middle-Earth, & imagine the rest of Arda's story.

A Faithful Adaptation?

"This bit is so stupid." - Gandalf

Aye, I'm beating that old drum again. Still, as I've said multiple times: judge an adaptation's fidelity only on what the adaptor says. If they say it's a loose adaptation taking bits and bobs, then that's fine, at least they're being honest & frank about what they're doing. Us fans can grouch and moan, but there's no real reason an adaptation should necessarily be faithful beyond respect for the source material. But if they say this is a faithful & true adaptation, then they should be prepared to justify every change they make.

Thus far, we have no idea how faithful Amazon's new project will be, save that they are "previously unexplored stories based on J.R.R. Tolkien’s original writings." That could mean anything from books or events Tolkien wrote which have not yet been adapted, or new adventures spun from a line or two of Tolkien's dialogue (or even less than that, like the Amazons of Far Harad). Nonetheless, we might be able to glean a direction from other recent Lord of the Rings properties.

Again, I stress: Amazon, or any adaptor, is under no obligation to respect the source material, no matter how much fans would want it. I just think they should be consistent with what they say and do. If it's a reimagining for a modern audience, come out and say it. It's the dancing between the two extremes of adaptation while trying to court both newcomers and stalwarts that I cannot abide.

But let's just suppose that the intention is to fully adapt The Lord of the Rings itself. It wouldn't be the shortest turnaround in new adaptations: think of all the new Batman, Spider-Man, King Arthur, Robin Hood, and other character-based films who've had new cinematic origin stories this millennium alone. Frightening as it is to countenance, the first entry in the New Line film trilogy came out in 2001 - 16 years ago. In that same 16-year period, there have been...

And so on. Compared to other books, The Lord of the Rings looks practically anaemic in terms of adaptations.

While cinema's epic scope cannot be replicated in most homes, television has one distinct advantage - time. Television's flexibility for episode and season length means that a book like The Lord of the Rings could be much more completely adapted than even the New Line extended editions. That much-mocked "ending fatigue" that plagued the 3rd film would be completely eliminated when the story is divided neatly into 30-50 minute episodes. Entire chapters left out of the films - "A Short Cut to Mushrooms,""A Conspiracy Unmasked,""The Old Forest,""In the House of Tom Bombadil,""Fog on the Barrow-downs,""Lothlórien,""The Great River,""The Road to Isengard,""The Field of Cormallen,""Homeward Bound," and especially "The Scouring of the Shire" - could be adapted, free from the tyranny of time constraints.

Run, run! It's just begun! Burn ocotillo!
Time's nigh! Prepare to die! Skulls by the kilo!
You apes'll never escape the high pecadillo
of Tom, jolly Tom, Tom Bombadillo!
I realise Ol' Bombadil has his detractors, but what of Gildor and Glorfindel, Elladan and Elrohir, Farmer Maggot & Fatty Bolger, Erkenbrand, Halbarad, Beregond? What about female characters like Mrs Maggot, Goldberry, and Ioreth, and characters like Prince Imrahil, Ghân-buri-Ghân? To say nothing of the awesome moments from the books that never made it to film: Gandalf battling the Nazgul on Weathertop, Aragorn's Conan-like challenge to the Dunlendings at Helm's Deep, Forlong the Old's heroic demise, the Swan Knights' charge, the last stand of the proud Easterlings, Pippin slaying a freakin' Troll...

Well. You never know.

We'll see soon enough.



*This is, incidentally, a major reason I'm such an advocate for the Scots Language, or indeed any minority language denigrated as "slang" or "bastardised" English.

8-Year-Old Reviews: Jurassic World Fallen Kingdom Trailer

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Here we go again!





Aly, what's this song?

"Anyone Who Knows What Love Is (Will Understand.)"Irma Thomas. It's been quite popular after it featured on an episode of "Black Mirror."

What's it about?

... Love, I guess. Complicated love that the world doesn't understand, complex relationships, that sort of thing.

So, is it a reference to Claire & Owen, or Blue & Owen?

I'd much rather it was the latter, personally.

Agreed. 


Aww, Claire doesn't have the power bob anymore.

Cheer up Aly.



Not ten seconds into the trailer and I'm reminded of why I never got on the Owen bandwagon, with that "dummy" line. I don't care if you're Starlord, YOU WILL NEVER BE ALAN GRANT.

I do have to wonder if the trailer guys would've used that particular song if they hadn't seen "Black Mirror." Seems a bit too timely & on the nose.



So Isla Nublar has been abandoned. Again. You'd think they would've done some salvage operations: lots of steel and stuff still there, and unlike the shoestring-budgeted Jurassic Park, the island was more or less brought under control, with a functioning supply & transport system. Why would they leave everything abandoned like that?

It's possible they tried, Aly, but something prevented it. Remember there are tons of locations in our world that were just left to the wilds: theme parks, towns, entire cities.



Oh no, a dead Ankylosaur! I'm sad now.

Me too, Aly.




Claire's become a Dinosaur Rights Activist? This could be a really cool aspect of her character development from Jurassic World: after being visibly moved by the Apatosaurus' plight & her experience with her nephews, I can certainly imagine her continuing that route. She started a cog in the machine that started to come loose, & now she's rattling the machine apart. I like it!

I would endorse this too. It also explains the lack of power bob.

A regrettable loss, but I think entirely in keeping with her character. Thus far in the trailer, we haven't seen her wearing any stylish clothes or makeup or anything. If anything, she resembles Ellie Sattler or Sarah Harding from the first two Jurassic Park films - from Hammond-esque suit to Harding-esque naturalist. I'm telling you, Claire has a much more interesting character arc than many give her credit for.



A volcano?

... They built not one, but two theme parks, ON AN ACTIVE VOLCANO!?!

Aly, calm dow-

NO I WILL NOT. THIS IS LUDICROUS. WHY WOULD YOU BUILD A MAJOR TOURIST DESTINATION THAT HOUSES TENS OF THOUSANDS OF PEOPLE ON AN ACTIVE VOLCANO!

Think about it, Aly - is it any different from the many towns & cities built near volcanoes?

Most towns & cities near volcanoes are on the MAINLAND, not an ISLAND. They can be EVACUATED. We saw in Jurassic World it took ages to get boats out to rescue the 20,000 guests when the Murdersaurus escaped - and much as we love Rexy, I doubt she'd be any salvation against an eruption. And, again, most towns & cities near volcanoes were built when they were dormant. How could InGen or Masrani have missed volcanic activity within a few months?

Its entirely possible this is a plot point, Aly. Remember Jurassic World is set in the near future: a theory I saw is that Isla Nublar utilised geothermic energy production. Maybe something went wrong there?

But that just raises even more questions!

You love stuff like that. We love stuff like that.

I... yig... chu... *exasperated noise*



Baby Blue! Come on Aly, it's a babbie dinosaur!

Don't patronise me. I'm 8, not stupid. She does look cute, but I remain unmoved.

Och, look at her wee face!

Do I really grow up to be you?

It depends on your definition of "grow up..."



OK, that was cool. Happy to see Compsognathus back! Were those Papo figures I saw there, or just made for the film?

Dunno, Aly. I'm pretty sure one of them's one of the pitiful Hasbro T.rexes.

Oh aye. What on earth happened? How could we go from the glorious Kenner toys to... those? It's sad when the prop toys in a Jurassic Park film look better than the actual ones. Do I, erm, you, still have them?

Yup.

All of them?

Of course: young T.rex, nodding Triceratops, rubber Stegosaurus, the bendy Coelophysises, biting Raptor, both the screeching and spitting Dilophosauruses, flappy Pteranodon, even the Dimetrodon. I think I/we had the whole first line except for the big red T.rex and the screeching Raptor.

Awesome. They probably cost a bomb on Ebay.

I'm afraid to look!



Yay Brachiosaurus!

Yay Brachiosaurus!

(said in unison)



Wow, Ian Malcolm got old. Really old.

It has been almost 25 years, Aly. Malcolm was about 40 when Jurassic Park came out.

Wow. How old are you now?

33.

Wow, YOU got old!

I know, Aly. I know.

Wow.



OH MAN BARYONYX

Looks like it, Aly!



Can I nerd out a bit?

Dude, look what site you're on. Go nuts.

*sharp intake of breath*

Baryonyx has been trying to get into Jurassic Park cinema for aaaaages. First off, it was planned to be a feature of the original Jurassic Park in the promotional material, as seen in the official Isla Nublar Map Brochure: alas, like Segisaurus and Herrerasaurus, it didn't make it into the film itself, not even as one of the names on the cold storage unit. Since then, the closest it came to an appearance was in Jurassic Park 3, where it was placed to be a major antagonist - it even got a logo - before somebody reminded the filmmakers that Spinosaurus was bigger than Baryonyx, something that haunted the film's theatrical version.

 

The Green one is big. The orange one is small. THIS IS NOT DIFFICULT, BILLY.
Even though it was a stalwart of many Jurassic Park media - manyvideogames, Lego, and actionfigures - this marks the cinematic debut of the wonderfully weird beastie that stalked the shores of Cretaceous Surrey.

I'm curious about the fire in this shot. Where are they? Could this lend credence to the geothermal theory? I'm getting some delightful Dino Crisis vibes here too.

QUIET ALY, LOOK!


Quetzalcoatlus?

Quetzalcoatlus!



QUETZALCOATLUS!

QUETZALCOATLUS!

Asplosions!

Sigh.


Come on, Blue, bite his arm off! He's only a stupid human!


Now, Aly, remember people think people need to see other people in dinosaur films.



Stupid people.










Any new faces there Aly? I saw Compsognathus, Gallimimus, Apatosaurus, Stegosaurus, Triceratops, Ankylosaurus, and... any idea who that last one was?

Hard to say, Aly. Could be a mid-sized hadrosaur. I have a sneaking suspicion that the filmmakers are making a concerted effort to squeeze all the dinosaurs of Jurassic Park franchise history in this film. To that end, I suggest Segisaurus.

Really?

Why not?

Eh.





ZOMG ITS CARNOTAURUS



OH JINGS SO IT IS


 GO ON CARNY EAT THEM


GOBBLE THEM UP


OM NOM NOM NOM NOM


 WAIT WHAT


NOOOOO


There's Rexy-

CARNY WAS SO CLOSE TO EATING THE STUPID HUMANS

That's a bit weird, showing that bit in the trailer: now the scene isn't going to have any tension. "Oh, this is the bit we saw in the trailer where the T.rex saves the day!" Imagine they spoiled the end of Jurassic Park like that in the trailer.

DARNIT MOVIE YOU CAN'T JUST HAVE REXY RUN IN AND SAVE THE DAY ALL THE TIME, SHE'S NOT GODZILLA YOU DOOFUSES

I just don't know why they wouldn't save that for a crowd-pleasing moment. Unless that weird cut was actually editing two different scenes together to mislead the audience, to trick them!



IT WAS GREAT IN THE FIRST JURASSIC PARK AND IT WAS CATHARTIC IN JURASSIC WORLD BUT REXY IS NOT A SUPERHERO DARNIT SHE'S A DANGEROUS APEX PREDATOR YOU'RE SUPPOSED TO FEAR AS MUCH AS ADMIRE

Poor Carnotaurus, it just wanted some lunch, then Rexy rudely interrupted it.

GAAAAAWD


Aye, there's the fanservice money shot. Good to hear the classic roar return.

Harrumph. I SUPPOSE it's KIND of COOL. Bah.



Aye, that's definitely not a Pterosaur we've seen in the Jurassic Park franchise before, although it actually seems a bit small for Quetzalcoatlus. Perhaps just plain old Pterodactyl?




That dark green beastie being annoyed by that Gallomimus looks unfamiliar - perhaps Suchomimus? More evidence for my Jurassic Parkocalypse theory!

Hrm. Probably going to be eaten by Rexy, because that's what these movies are now, aren't they? "Rexy Saves The STUPID HUMANS"


Oh, that looks like Centrosaurus on the far right, too!

Either that, or a really stumpy Styracosaurus.




 Allosaurus!

Yay! Could be Metriacanthosaurus too: those crests look like the general family. And that's another one that sort-of appeared in the first film in the Cold Storage Unit!

THE JURASSIC PARKOCALYPSE IS COMING




Aw man.

I'm getting horrible Land Before Time vibes.

You can't see, but I have a sad face.

I almost don't want to point out that the two sauropods in the foreground don't look like they're the same species: we can presume at least one is Apatosaurus, but what about the other?

The one of the right looks most like Jurassic World's Apatosaurus, but the far left looks a bit chunkier, shorter neck & heavier build: Camarasaurus?

JURASSIC PARKOCALYPSE. Or just foreshortening & lightning. BUT I PREFER JURASSIC PARKOCALYPSE



Well, Owen's dead.

What? How'd you figure?

Dante's Peak may not have been out when I was 8-years-old, but know about pyroclastic flows: Owen was completely engulfed in it. Dude's been Pompeiied.

Are you sure? Is it not possible it's just smoke or-

DON'T YOU TAKE THIS AWAY FROM ME

Man, you really didn't like Owen, did you?

HE IS NOT ALAN GRANT



So are Claire & Moss from The I.T. Crowd's cousin dead? That's a pretty deadly drop they took there.

NO. Claire can't die, she's cool & I like her. Evidently the gyrosphere has some fancy technology that prevents massive inertial trauma, enabling passengers to survive being buffeted about like pinballs.

...

What? You said it's the Not Too Distant Future, right? 

It's just you're willing to rationalise that for Claire & Moss's cousin, but not Owe-

THIS IS NOTHING LIKE THAT, YOU EGG. This is about advanced technology explaining things, not violating the laws of thermodynamics because plot armour!

Oh, right.




Hooray, they made it! Again, ruining any tension for the scene when the film comes out, but still, hooray for that wee Centrosaurus paddling away! That's something, isn't it Aly?

...

Al-Aly?


THIS. MAKES. NO. SENSE. 

What? Aren't you happy multi-ton dinosaurs survived a 100-foot-plus plunge into the Pacific Ocean?

NO. I MEAN YES. I MEAN... It's stupid! Look, we know the Jurassic Park films are action films, right? So there's going to be a certain amount of leniency in terms of what the heroes can suffer. But anatomically speaking, there is no way animals that size could survive a fall like that, because of the Square-Cube law:


So this is why "what would happen if an elephant fell off a skyscraper" is in your search history.

Science can be surprisingly morbid. But to answer your question: even accounting for some of the silliness of Jurassic Park 3 like the insanely strong Pteranodons, none of the films threw the laws of physics out so brazenly as in this trailer. Even acknowledging their action & adventure pedigree, the Jurassic films were still broadly adherent to basic gravity & such. This is practically Transformers now.

Whoa there, Aly, let's not say anything you might regret!

Argh. It's probably just a setup for a Mosasaurus buffet.

Anyway, that looks like a Styracosaurus. Isn't that cool? Finally a new Ceratopsian to join Triceratops!

Oh aye. Neat.

I like the tremulous strings, reminds me of the opening chords of Alien. You've seen that, right, Aly?

Yes. Thanks, ma.

So. Final thoughts?

I like the new dinosaurs. I hate the stupid humans, except Claire, who I still like, even without a power bob. I'm not looking forward to the dinosaur apocalypse: humans can die in their droves in these films, but not dinosaurs! How about you?

I'm just surprised they seemed to spoil a lot of stuff that doesn't make sense now, but will in the context of the film. The Rexy/Carnotaurus bit, the Baryonyx in the tunnel, the gyrosphere escape - it almost looks as if they've spoiled the entire film without actually contextualising what's happening.

Explain.

Well, imagine they showed the sled with Rosebud on it in the trailer for Citizen Kane. If you hadn't seen the film, all you'd see is a sled with Rosebud: you wouldn't have the slightest clue what it meant, or its significance. But as soon as you watch the film, and you realise Rosebud is central to the plot, you immediately think "oh wait, is this about that sled in the trailer?" As a result, all the mystery and tension is gone, dissipated. And so, I fear, it may be for several scenes in this film.

The Rexy/Carnotaurus bit is just the smallest example: "oh noes, the humans are in danger! How will they get out of this?" - if you've seen the trailer, you already know. "Oh noes, there's something in the tunnels, what could it be?" - if you've seen the trailer, you already know. "Oh noes, how are they going to escape the volcano?" - if you've seen the trailer, you already know. Even situations we don't know the circumstances around are spoiled, because of their presence in the trailer.

Man.

Aye. So while it's nice enough to see some more stuff to come, I can't say I liked the trailer at all: it just rubbed me up the wrong way.

So what would you provide as a good example of a trailer?

This one's pretty good:


It isn't perfect: I'm not sure I liked spoiling the raptor opening the door at the very end, but everything else up to that point was great: hints and suggestions, mere glimpses of the dinosaurs, while also serving as an introduction to the major characters & themes of the story. Film trailers have changed since the 1990s, but I'd like to think this was a good one.

What about a modern trailer, then?

This is a great modern trailer:



Yes, it uses a popular song with a popular artist, but here it works brilliantly not just because of the song, but because of the singer - Logan and Johnny Cash are both hurting, physically and emotionally, and looking back upon their turbulent lives & legacies. The choice use of quotations & economy of plot lends great emotional resonance and power that evokes the best noir and westerns. I'd even say the trailer is better than the film, and I quite liked the film.

I see what you mean. I guess I, as an 8-year-old, am already too jaded & cynical to get particularly excited about trailers now. I was largely unmoved by the Avengers: Infinity War trailer. I can't remember the last time I was excited for a trailer.

Ah well. I'm just here for the dinosaurs.

On that, we can both truly agree!

Christmasaurus

PrehiScotInktoberfest Day 5: Cluthoceras truemani

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PrehiScotInktoberfest Day 5 takes us to Carboniferous Lesmagahow: 359-299 million years ago, South Lanarkshire was under the sea, and populated by all manner of weird beasties. 


 

One such beastie was Cluthoceras truemani ("Trueman's Clyde Horn"), a breed of ancient cephalopod known as a goniatite (doesn't it even sound Scottish, "goan-ya-tite!"), precursors to the more famous ammonites we all know and love. Clutha is well known to us in the West Coast of Scotland as an ancient name for the River Clyde, linked to the ancient Celtic deityClota.




Cluthoceras was only little: its shell was about a centimetre in circumference. But from these small things, giant wonders emerged!

PrehiScotInktoberfest Day 1: Saltopus elginensis

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Our first Prehiscotinktobersketch is Saltopus elginensis, a wee beastie once thought to be a dinosaur, but currently considered a "dinosauriform" (i.e. give it a few million years).
 
You might have heard of Saltopus if you’re my age or older: for the longest time, it was famous as the first dinosaur to be discovered in Scotland. In 1910, William Taylor found a tiny piece of jaw in the Lossiemouth West & East Quarry: the Württembergian palaeontologist Friedrich von Huene named it Saltopus elginensis (“Elgin’s jumping foot”).

Finally, we Scots had a dinosaur to call our own, to stand beside the many dinosaurs discovered, described and adopted by England! Scotland’s previous claim to fame beforehand was ammonites, trilobites, graptolites, stromatolites, fish, shrimps, sharks, sea scorpions, dicynodonts, “Devil’s toenails,”  missing links, googly-eyed eels, elks, and trees– but no dinosaurs to call their own. Every country should have at least one dinosaur. Even the Cetiosaurus bones found on Skye are just a northern branch of a species discovered in England. Alas, it was not to be: Saltopus was demoted to dinosauriform – a very dinosaur-like dinosauriform, but not a dinosaur itself.

Isn’t that just bloody typical? Scotland finds a dinosaur, and it gets reclassified. Still, there’s something poetic in Scotland’s “dinosaur” being a creature that’s nearly there, but not yet.

BUT WAIT!




Earlier this year, Matthew G. Baron, David B. Norman, & Paul M. Barrett have published a paperA new hypothesis of dinosaur relationships and early dinosaur evolution. Pretty bold shake-up, but one of the coolest findings brings possible vindication for an old Scottish fossil!

For 130 years, dinosaurs have been divided into two distinct clades—Ornithischia and Saurischia. Here we present a hypothesis for the phylogenetic relationships of the major dinosaurian groups that challenges the current consensus concerning early dinosaur evolution and highlights problematic aspects of current cladistic definitions. Our study has found a sister-group relationship between Ornithischia and Theropoda (united in the new clade Ornithoscelida), with Sauropodomorpha and Herrerasauridae (as the redefined Saurischia) forming its monophyletic outgroup. This new tree topology requires redefinition and rediagnosis of Dinosauria and the subsidiary dinosaurian clades. In addition, it forces re-evaluations of early dinosaur cladogenesis and character evolution, suggests that hypercarnivory was acquired independently in herrerasaurids and theropods, and offers an explanation for many of the anatomical features previously regarded as notable convergences between theropods and early ornithischians.

Matt Baron spoke to The Guardian in an interview:
Radical shakeup of dinosaur family tree points to unexpected Scottish origins
Cat-sized Scottish fossil proposed as candidate for common dinosaur ancestor in controversial study that could overthrow a century of dinosaur classification
The most radical shakeup of the dinosaur family tree in a century has led scientists to propose an unlikely origin for the prehistoric beasts: an obscure cat-sized creature found in Scotland.
The analysis, which has already sparked controversy in the academic world, suggests that the two basic groups into which dinosaurs have been classified for more than a century need a fundamental rethink. If proved correct, the revised version of the family tree would overthrow some of the most basic assumptions about this chapter of evolutionary history, including what the common ancestor of all dinosaurs looked like and where it came from.
Until now, many scientists have backed the view that the first dinosaurs emerged around 237 million years ago on the ancient continent known as Gondwana, that would later become the southern hemisphere, based on a host of immaculately preserved fossils from South America and Tanzania.
However, the latest analysis identifies a Scottish specimen, called Saltopus, as the closest thing in the fossil record to what the hypothetical common ancestor might look like.
Matt Baron, the graduate student who led the three-year project at the University of Cambridge, said that while it would never be possible to pinpoint the origin of dinosaurs with certainty his findings placed the northern hemisphere into contention. “It may just be that dinosaurs originated in Scotland,” he said.

Now, one of the reasons I became sceptical of newspapers from a very early age is because of their – shall we say – limited coverage regarding dinosaur discoveries. Everything is “bigger than T.rex,” a “relative of T.rex,” or in some way compared to T.rex, because it’s the only dinosaur some journalists seem to think the public know. So, of course, my initial reaction is scepticism: as with anything, it’ll likely take a while for palaeontologists to fully read, digest, and consider the paper, before a consensus is found – especially something as controversial as what this paper proposes.

Yet ultimately, even if the paper is not adopted by the scientific community, it’s gratifying on a Scottish level to see a wee beastie that once hopped about what is now Elgin is still being talked about 107 years after its discovery, especially for such a mysterious & tantalising period – the world just before the dawn of the dinosaurs! While Scotland’s dinosaur discoveries are rare, it is a rich source for palaeontological findings. Indeed, the original fossil of Saltopus is so precious, it was kept in the British Museum of Natural History – though it had the occasional homecoming, receiving a hero’s welcome in Elgin Museum:

Elgin Museum was once renowned for its collection of fossils, which museum curator David Addison explained was due to the unique history of the surrounding area. “We are on what was basically deserts and sea beds,” he said.
“Half of Moray is an ancient desert; half is an ancient sea bed. We have the very early stages of life. We don’t have ‘younger’ dinosaurs, because they were scraped off the face of Scotland by the ice ages we’ve had.”
According to Mrs Trythall, there may be many more fossils such as this one, which originated from the Moray area but are now being displayed elsewhere.
“Many of these fossils were first discovered by people in Moray during the Victorian and Edwardian era,” she said.
“They were trying to help other scientists by sending them specimens. Some came back, and some didn’t.”
Although the last time little Saltopus was in the area he hung around for 220 million years, anyone who is keen to see him should hop over to Elgin Museum quickly; he’s only going to be there for three months this time round.
However, as Mrs Trythall points out “If people petition for it, then we could keep it for longer.”

So, as Stephen Jay Gould proclaimed Bully for Brontosaurus, I say: Slainte for Saltopus! It might have been a dinosaur, it might not quite have been a dinosaur, but it was here, and it was ours.

PrehiscotInktoberfest Day 2: Leptopleuron lacertinum

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PrehiscotInktoberfest continues with another cool wee beastie from Elgin's fossil beds - and one with an interesting history of discovery.




Leptopleuron lacertinum ("slender ribs of a lizard") is a procolophonid, a creature which is similar to but taxonomically destinct from modern reptiles. Leptopleuron has a bit of controversy in its discovery: it was the focus of one of many disagreements between palaeontological giants Richard Owen and Gideon Mantell. The discoverer - whose name is sadly lost to history - originally sent the fossil skull to London for a formal description. Richard Owen. Owen published a brief account, naming it Leptopleuron and that seemed to be that. However, at the same time, Gideon Mantell was also working on a more detailed description, allegedly at the request of the discoverer: he named it Telerpeton elginense ("faraway reptile of Elgin"). It was only in the 1980s that previously unpublished archive materials deepen the controversy - it was in fact the great Scottish geologist Charles Lyell who approached Mantell, in the full knowledge that Owen was working on a description.

It's important to note that the 1850s was a time of great change in the field of palaeontology: Darwin was just getting started, and even revolutionaries like Lyell were skeptical of conventions we take for granted today. At this point, Lyell was a strong opponent of progressionism - the hypothesis that lifeforms evolve based upon internal mechanisms towards a goal - and he viewed Leptopleuron as evidence against that hypothesis. Since he and Owens did not get along at the best of times, it is sadly typical of the times for palaeontologists to engage in such conflicts. In the end, Owen's description was published first, and the name stuck: by 1860, Lyell was convinced of the merits of progressionism, and became a good friend of Charles Darwin himself.

For such a controversial fossil, Leptopleuron was a very small thing, estimated to only 270mm, with a notably long tail compared to its family members. The horned, triangular skull and pronounced overbite elicit comparisons to the modern horned sand lizard, suggesting that Leptopleuron was a burrowing creature.


It also reminds me a bit of a little tiny dragon with its horns and fangs: fossil evidence for fire breathing is slim.



"Ah'm naw cute! Ah'm a fearfu beastie frae time's abyss! FEAR ME!"

PrehiscotInktoberfest Day 4: Hibbertopterus scouleri & Casineria

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PrehiscotInktoberfest Day 4: What could have made tracks like these, found in modern Fife?


 
The very strange Hibbertopterus scouleri ("Scouler's Hibbert's wing"), is a eurypterid, a great big weird sea scorpion thing that scuttled along the swamps of Carboniferous Scotland 330-odd million years ago. Hibbert, however, seems a gentle giant. They're believed to be sweep-feeders, combing through the silt and sludge for wee bits and pieces of organic matter, like a very slow hoover.

As the trackways in Fife and East Lothian show, this was a big beastie, about 2 metres long & a metre wide, about the size of an overturned coracle. Not quite large enough for a human to ride, but easily strong enough to let a wee Casineria kiddi ("Kidd's Cheese Bay") get a piggyback.



"Are we there yet?"

"Naw."

"Are we there yet?"

"Naw."

"Are we there yet?"

"NAW!"

"Whit's wrang?"

"If ye dinnae wheesht richt noo, yer WALKIN."

"Ooh tasty flee"

PrehiScotInktoberfest Day 6: Dearcmhara shawcrossi

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A few years ago, you probably came across one of *those* headlines. You know the ones: palaeontology news reported by someone who doesn't know the first thing about palaeontology, & thinks people are too thick to understand more than the absolute basics of prehistoric beasts. Thus, today's beastie was announced to the world as "NESSIE'SSCARIER/CUTER/COOLERRELATIVE/ANCESTOR/PREDATOR/." Which, given how distantly related Ichthyosaurs are to Plesiosaurs, is a bit like calling a snake a relative of a pigeon. 

But I digress.




Dearcmhara shawcrossi ("Shawcross's Sea Lizard") swam the Jurassic seas of 175-182‭ ‬million years ago, with the type fossil finding rest at ‬what is now Bearreraig on the Isle of Skye. The majority of Scottish fossils tend to be for marine animals, but this is Scotland's first Ichthyosaur. 

One of the coolest things about Dearcmhara is its name, which means "sea lizard": it's derived from the Scottish Gaelic, rather than the Latin or Greek most prehistoric reptiles receive. This follows an increasingly common convention among palaeontologists to adopt the local language into an animal's official name, like Bistahieversor (Navajo), Guanlong (Chinese), Jeyawati (Zuni), Luskhan (Mongolian), and so on. Given how many animals already have Latin/Greek specific names, it's both useful and imaginative to adopt other languages.

I've depicted Dearcmhara with a pod of babbies: Ichthyosaur remains strongly suggest live birth, so it seems a nice meme to convey.


MAW


MAW

MAW

MAW


MA

MA

MAM

MAMMY

MAMMY

MAMMY

MAMMY

DINNAE YOUSE STAIRT!

PrehiScotInktoberfest Day 7: Paraproetus girvanensis & Threavia gulosa

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When I first started out, I was worried I wouldn't find enough Scottish prehistoric creatures to fill out 31 days: now, I'm finding the opposite, where I'm having to pick and choose which beastie gets a picture! 




Trilobites are all over Scotland: many species found all around the world were first described from Scottish discoveries. Paraproetus girvanensis ("Beside First Dweller of Girvan") is notable for being an exclusively Scottish trilobite, with no other examples of the species yet found outside the Lady Burn at Girvan. At least one fossil has been found with in the "enrolled" trilobite position, theorised to be a defensive mechanism. To that end, I've chosen to depict two individuals which employ this procedure upon being spooked by a passing Threavia gulosa - a tiny sea-snail with a 1cm shell, also unique to the Lady Burn - and tumbling down the hill like wee wheels of Double Gloucester.




"Trilobites, Roll Out!"

PrehiScotInktoberfest Day 9: The Dinosaurs of Skye

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Jurassic Skye catalogues a rather mysterious period of earth's history - the Middle Jurassic. While the Early & Late Jurassic are well-represented in the fossil records in Britain, Germany, and the Americas, the Middle Jurassic is a bit more mysterious. Even though it isn't the most prolific of dinosaur-bearing stratographic areas, Skye is nonetheless one of the most important for this little-understood period of our world.








At least six genera of dinosaur are known from bones, footprints, eggshells, and other remains from the fossil beds of Skye. None have yet been formally named (booooo), and indeed some have not even been identified definitively as belonging to any particular species. As such, I tried to make them fairly generic - though for all we know, they could have been unusual & unique even for European dinosaurs.





So, left-to-right:

1. This wee beastie is based on a single tail vertebrae, believed to belong to a small-bodied coelurosaur, probably not unlike the famous Coelophysis (featured in the first episode of Walking With Dinosaurs).

2. Big "Dougie" here is a sauropod, based on a partial humerus & other bone fragments in the North of the island. Dougie is believed to be a Cetiosaur, one of the oldest sauropod families - Cetiosaurus was the first sauropod to be formally named - found all across Europe. Recently, a whole trackway of sauropod footprints on Skye made the news: whether they were made by Dougie's folk, or a related species, is up to speculation.

3. Very large, three-toed, menacingly clawed footprints were found near Staffin - footprints that could only have belonged to a large carnivore like Megalosaurus. Whether the beast which stalked what is now Skye was Megalosaurus itself, or a hitherto unknown relative, it was clearly not just small beasties that dwelt here.

4. All over Skye's coastline, you see tiny three-toed footprints too: these are given the generic name "Grallator," and they can be found throughout the world. Skye's "Grallator" was likely around the size of a capercaillie, & if it was anything like other theropods, it may have worn a fine coat of feathers.

5. A most surprising discovery was that of the radius & ulna of what appeared to be a small Thyreophoran - an armoured dinosaur. Most Thyreophorans, aside from Stegosaurs, were believed to be from the Cretaceous, so finding one from the Middle Jurassic was rare indeed - in fact, these bones represent some of the oldest Thyreophoran remains yet discovered.

6. While no bones for this creature have been discovered yet, many trackways of basal Ornithopods can be found from South America to China - and, of course, Skye. Whether they were locals, a great migration, or just passing neighbours, we at least know that at some point, dinosaurs walked on Skye.
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