Worldbuilding: Food Production and War

A fundamental problem faced by pre-modern societies—and one which our own fictional societies may have to grapple with as well—is how to balance the demands of food production and war. The ways in which a culture managed this problem had deep effects on how that culture functioned, how its members related to one another, and how it dealt with outsiders. Thinking about how your fictional cultures deal with this problem is a useful worldbuilding exercise.

The problem is simple: the ability to produce food and the ability to protect one’s own food sources from other people who would take them by force are both essential to a society’s survival, but they compete for the same human resources.

Food production is labor. In societies without industrial technology, it is the main occupation of at least ninety percent of the population. Food production can take many forms, such as farming planted crops, tending domesticated animals, gathering wild resources, or producing trade goods to exchange for food from abroad. While nearly the entire population of a pre-industrial society must contribute in some way to food production, the bulk of the work rests on the shoulders of healthy adults without other callings.

War is also labor. It demands physical competence and endurance, just like ploughing a field, managing a herd of cattle, or hauling in fish from the sea. The prime contributors to the labor of war are the same as the prime contributors to food production: healthy adults who aren’t needed for more specialized tasks.

War and food production compete for the same pool of labor. Every day that a person spends marching on campaign, laying siege to a city, repairing their armor, or standing watch at an outpost is a day they aren’t milking cows, weeding a vegetable garden, picking mushrooms in the woods, or making trade goods to exchange for food from abroad. To successfully produce enough food to feed itself and protect that food from from hostile outsiders, a society has to find a way of balancing these two needs.

Every culture’s solution to this problem is unique, but we can categorize the possible approaches in a few broad patterns, each of which come with certain advantages and drawbacks:

  • Raiders. For raiders, fighting is itself a means of food production. A society can afford to spare people from food production to fight if the result of the fighting is bringing in at least as much food as those people would have produced had they stayed home and planted potatoes or gathered wild berries. The upside of raiding is that when it succeeds, the results can be extremely profitable. The downside is that the targets of raiding tend to respond by protecting their resources better or mounting a stiffer resistance, and when a raid fails it can lead to starvation and vicious internal conflicts over the limited resources left. Societies that live by raiding tend to be precarious and violent, and it is rarely a successful strategy in the long term.
  • Citizen militia. In a society with a citizen militia, the people who produce the food also do the fighting. Most people spend their day-to-day lives farming, herding, fishing, or practicing other essential crafts, but when there is a threat, they are called up to fight in defense of their homes. The advantage of this solution is that it puts a minimum burden on food production. Farmers and herders are not carrying the dead weight of full-time soldiers who don’t contribute to food production, and as soon as the fighting is over, they can get right back to their usual business. The drawback is that such society cannot sustain a long-term military effort or fight far from home. Every person in the militia needs to get back to their farm or ranch as quickly as possible or risk losing their harvest or herd. Societies that take this approach tend to have strong social cohesion and a sense of civic obligation among people, because without it they would never be able to get people to leave their homes and livelihoods to go fight. They also tend to face frequent wars, because the can rarely afford to commit the troops and supplies necessary to decisively defeat their enemies and eliminate threats to their territory.
  • Warrior aristocrats. Where there are warrior aristocrats, the people who do the fighting have people to produce food for them. A pre-industrial society can sustain a small number of full-time warriors if each one directly controls a food source, such as a spread of farmland or a large herd of cattle, and has subordinates whose job it is to work that food source for the warrior in addition to working for their own sustenance. On the plus side, this arrangement allows for a small but full-time fighting force without taking away from food production. Warrior aristocrats can be prepared to fight at a moment’s notice and can afford to be away from home for long periods. On the other hand, such societies tend to fragment, as each warrior aristocrat has good reason to stay close to their own resources and little incentive to risk themselves in defense of the farms or herds belonging to another aristocrat.
  • Professional armies. With a professional army, some central authority gathers food from the people who produce it and provides it to the people who do the fighting. Unlike warrior aristocrats, the soldiers in a professional army do not have their own food sources which they directly control; they depend on the state for their supplies. On one hand, this system can create a well-trained, experienced army that can operate in the field indefinitely and far from home, as long as they keep getting supplies. On the other hand, the process of gathering resources from producers, coordinating logistics, and delivering food to where it is needed is a substantial additional burden on state power and usually requires a whole professional bureaucracy dedicated to oversight and record-keeping, which itself is a further drain on the labor pool available for food production. A culture that maintains a professional army requires a high degree of centralized organization and control, which are likely to manifest themselves in other areas of life.

Food production and war are two of the most fundamental activities for most pre-modern societies. The different ways in which societies have historically reconciled the competing demands of these activities had deep effects on the lives of the people who lived in them. If you are writing about a pre-industiral society in your own imagined world, even if you aren’t writing directly about farming or fighting, it’s worth taking some time to think about how your culture solves this problem and what effects that solution has on the daily lives of your characters.

Image: Cincinnatus Leaves the Plough to Dictate Laws to Rome via Wikimedia (Prado Museum, Madrid; c. 1806; oil on canvas; by Juan Antonio Ribera)

Second Trailer for Dune: Part Three

A longer trailer for Dune: Part Three has been released:

Dune: Part Three | Official Trailer by Warner Bros. et al. on YouTube

The story continues with lots of drama and backstabbingwouldn’t be Dune without it, would it? There’s also a lot of angst, which isn’t this big a part of how I remember Dune from the books. I don’t remember Scytale (Robert Pattison’s character) either. Perhaps it’s time for a re-read.

The combination of music, sets, and visuals continues to impress, even if I care less for the adapted story than the original novels.

Dune: Part Three is set to release on December 17 or 18, 2026.

For Hobbit-y Holidays

In a hill, in the ground, there was an earthen home. Not a nasty one, of course, but comfy and cozy, as Hobbit holes are wont to be.

Airbnb Middletown Springs Hobbit House

Situated in Middletown Springs, Vermont, United States, these two cabins or cottages were inspired by Hobbit houses. The owners, Cynthia and Pepper, call them The Hobbit House and The Spring House, and painstakingly turned them into a dreamy destination, a true home away from home.

Airbnb Middletown Springs Hobbit House Door

In their own words:

“Circa 2941… of the Third Age to be exact. A time marked by the rise of Sauron and his eventual defeat during the War of The Ring.

“We wished for a space, not from a century ago but an age away… but our fantasy was not found so we decided to build it ourselves. We focused on the artistry of old world and added all the modern conveniences to weave the best of both worlds together. … We, the owners, spent over 6,000 hours on the design/build to make this beautiful dream come true. Completed in 2018 with all modern conveniences which seem to disappear among the period decor, this cottage transports you to a simpler time.”

All the details and rooms have clearly been thoroughly thought-out, including the lighting:

Airbnb Middletown Springs Hobbit House Entry

Modern bathrooms are disguised reasonably well:

Airbnb Middletown Springs Hobbit House Bath

Since Hobbits are all about food, the cottages have their own kitchens…

Airbnb Middletown Springs Hobbit House Kitchen

…and there is also a pub / bar (= dining room?) (for guests only, not open to just anyone):

Airbnb Middletown Springs Hobbit House Pub Bar

Sounds like all four seasons are considered in the meticulous landscaping in front of the cottages:

Airbnb Middletown Springs Hobbit House Red Door

In addition, there is a pond!

Zillow Middletown Springs Hobbit House Pond

Wow! (Please go and see more photos; I’ve merely scraped the surface here.)

While I could do the interiors, the outdoors would take so much effort for me to achieve. Not to mention the amount of care and maintenance required, after you’ve finished the build, for a holiday let. Kudos!

Found via Home Tours & Other Stuff on Tumblr.

Images by Cynthia and Pepper via Airbnb and via Zillow

On Sam Gamgee and the Value of Everyday Life

Back in 2002, Canadian journalist and Senator Paula Simons published a column on storybook romance vs. real-life expectations. Since then, her column is shared semi-regularly, particularly around Valentine’s Day.

Here’s an excerpt from the Senator’s Facebook post with the text of her original newspaper column:

“Sam isn’t a warrior by training or inclination. He isn’t looking for glory or adventure.

“He gets dragged into danger because of his love and loyalty for his gentle master, Frodo, the soulful hobbit who’s been given the great task of destroying the Dark Lord’s ring of evil.

“As Frodo’s squire, Sam travels all the way to heart of the Dark Lord’s kingdom, battling orc-goblins, giant spiders and his own fears and frailties. He fights as bravely as any of the story’s flashier knights—more bravely, because he’s no superhero with a magic sword, just an ordinary guy overtaken by extraordinary circumstances.

“But his real heroism lies in his unshakeable loyalty to his best friend, and in his unshakeable loyalty to his hobbit values, his moral code.

When all the battles and quests are over, Sam returns to his prosaic hobbit life, marrying Rose, raising kids, planting trees and nurturing the community he loves.

“The problem is, our culture doesn’t validate the heroism of the Samwise Gamgees of this world. The romantic heroes every teenage girl is taught to pine for are the Byronic brooders like Aragorn.”

I’d like to compare LotR to my favorite Jane Austen novel, Sense and Sensibility. In a way, Sam is the Elinor Dashwood of Middle-Earth: reliable and considerateand almost completely ignored and/or underappreciated by most of their respective worlds.

While Marianne Dashwood and John Willoughby are the romantic characters in Austen, the story focuses on the two oldest sisters, Elinor and Marianne. While the fellowship are the main dramatis personae in Tolkien, you could argue that in LotR the most important relationship is between Frodo and Sam (perhaps also to a lesser extent between Aragorn, Legolas, and Gimli). In S&S, the romantics (especially Marianne) wallow in the throes of Their FeelingsTM that No-One Else can EverTM Hope to FeelTM as Deeply!!!TM. In LotR, the men wrestle with Weight of Their DestinyTM (Frodo and Aragorn, even Boromir to some extent). Behind this turmoil, Elinor and Sam keep the wheels of life turning in the background, quietly and unobtrusively. On one hand, if Elinor hadn’t asked around, the Dashwood ladies might not have found a home (or might have ended up destitute after a few years) after the passing of Mr. Dashwood; if she hadn’t kept up with the demands of polite society, the cash-strapped Dashwood family would’ve been left with even less support than they had. On the other, if Sam hadn’t cooked, carried, and picked up the slack, the ring would’ve ended with Sauron’s forces after Frodo was stung by Shelob at the latest, or it might’ve been left lying on the slopes of Mount Doom (if Frodo even had made that far by himself).

Both Sam and Elinor finish with happy endings, partly because of the conceits of story-telling in the times of their respective creation, but partly because of who they are as characters: down-to-earth, pragmatic people who appreciate the good in what they do have. And they both do have strong feelings, even if we don’t see them paraded. Sam could not have gone as far as he did without some serious courage, nor necessarily carried the torch for Rosie through all the hardships if he didn’t feel strongly. Elinor bore the pragmatic and emotional burdens she did thanks to an enduring love for her family and a firm sense of principles.

You could perhaps try to argue that Elinor and Sam’s happiness stems from them merely being undemanding or indifferent, from not aiming high enough. It’s true that their wishes are more modest in the grand scale of their respective worlds. But I don’t think you can have a satisfyingly grand gesture at the end of your epic story to save the entire world (or whatever) if “the little world” doesn’t exist anymore to be saved. The latter is the foundation of everything else.

Unsplash Andres Iga Underground House Sm

The familiar and the sensational in S&S and the commonplace and the epic in LotR provide a contrast to each other like light and darkness do. It takes commitment to save the world. It also takes commitment to keep it going. The latter takes a deliberate and sustained effortthe same kind of intentionality that makes a hero a hero, really, just channeled into making a peaceful everyday life, something that both Sam and Elinor value. If creating something that endures for decades (or longer) isn’t aiming high, I don’t know what is.

At the end of her post, Senator Simons encourages “celebrating the heroism of real lovenot ‘romance,’ but the love of friends and family and community, the ‘ordinary’ garden-variety love that conquers darkness. Don’t worry about loving like an elf lord or a princess. Love like a hobbit.”

I definitely mean to. ❤

Senator Paula Simons’s post found via File 770.

Image by Andres Iga via Unsplash

This post has been edited.

Midnight Mysteries

Here’s something I’ve been working on in the spring and summer of 2026: Midnight Mysteries. Midnight Mysteries is a table-top role-playing game inspired by the genre of the classic British fair-play mystery, whose famous authors include the likes of Agatha Christie, G. K. Chesterton, and Dorothy Sayers. In this game, players act as amateur sleuths solving a mystery, guided by one player who takes on the role of Narrator. While the Narrator keeps secrets and doles out clues, however, they do not know the solution to the mystery. In fact, there is no set solution to a Midnight Mystery; it is up to the players to work together to assemble the clues they find into a convincing solution of their own.

Midnight Mysteries is free to download, share, and play. You can find the complete rules and a sample mystery, “Murder at Muckleton Manor,” below as pdfs. Happy sleuthing!

Midnight Mysteries complete rules

Murder at Muckleton Manor

I also want to give my deep thanks to everyone who played “Murder at Muckleton Manor” with me at Ropecon 2026 in Helsinki. It was a pleasure to share my work with you, and all your reactions and feedback were extremely kind and helpful!

Ropecon Break

The 2026 Ropecon is approaching! In previous years we’ve continued to blog through July, but this year we decided we’ll want a break. So, here is your official notification that we’re taking the rest of the month off both to prepare and to rest after the event.

Ropecon_logo_black

Ropecon is the largest non-commercial RPG convention in Europe organised entirely by volunteers. It’s held annually in Helsinki, Finland, at the end of July, and has been a staple in our lives since our transatlantic move.

I have a longer history with the event, though, having been part of the organizing team a few times in the early years before I moved to the States. For me, Ropecon continues to be special, and I will want to continue volunteering and/or attending as long as I’m able.

See you in August!

BBC Is Working on a New Poirot for TV

‘Tis an era of reboots… The latest of which is a certain moustachioed Belgian detective: it has been reported that BBC recently won the rights to adapt Agatha Christie’s Poirot stories for television.

According to Deadline, the network is planning at least three seasons. The first season is scheduled to release already in the latter half of 2027. Apparently, production takes place during summer 2026 in Liverpool and in the northwest of England. Benji Walters will screenwrite / oversee.

Alas, as yet there is no information on the cast or which stories will be adapted. But! We do have our new Poirot: Edward Bluemel. According to IMDB, the project goes by the name Hercule, and contains “[a]n exploration of the early days of Hercule Poirot’s London career as he cements himself as the world’s greatest detective.” At this writing, Bluemel is the only cast member publicly announced.

IMBD Belgravia The Next Chapter Bluemel

I haven’t seen Bluemel in anything, so I really cannot say anything about his suitability. One thing’s for sure, as many people have noted: it will be very difficult to make 1) something really new, especially something that is 2) good. Here’s hoping!

Image: Edward Bluemel in Belgravia: The Next Chapter by Colin Hutton / Carnival Film & Tel, MGMPlus Entertainment via IMBD

Thatching Around the World

I didn’t grow up in a place where thatched roofs were part of the local tradition, so to me they have always had a slightly fantastical, fairy-tale allure. I always associated them with cozy European cottages, but when I was idly searching for pictures one day I discovered how much more widely the tradition is practiced. Here’s a selection, very far from comprehensive, of some of the interesting thatches I stumbled across.

Of course, thatched roofs are perfectly in style for cozy cottages, like this one in Dunkineely, Ireland.

Thatched house at Bloody Bridge, Dunkineely, Ireland, photograph by Louise Price via Geograph

Thatching is also an option for larger houses, like this one in Charlevoix, Michigan, in the US.

Modern thatched house, Charlevoix, Michigan, US, photograph by Deb Nystrom via Flickr

These small thatched roofs in Bali, Indonesia, have decorative tops.

Thatched roofs in Bali, Indonesia, photograph by CEphoto, Uwe Aranas via Wikimedia

This house, on an elephant reserve in Mozambique, has many tiers of thatching that make the roof as decorative as it is practical.

Thatched house in Mozambique, photograph by Leandro Neumann Ciuffo via Wikimedia

And here is what an Incan thatched roof might have looked like, from a reconstructed house at Machu Picchu in Peru.

Reconstructed Incan thatched building, Machu Pichu, Peru, photograph by RG72 via Wikimedia

There’s a lot of thatching going on in the world!

Two Trailers for Spider-Man: Brand New Day

If you ask me, I might tell you that one of the most remarkable things the Marvel Cinematic Universe has done is cast Tom Holland as Spider-Man. His bumbly exuberance seems so appropriate (for the character) and genuine (if at times exhausting, at least if you’re approaching old-farthood like I am).

Holland is about to star in another Spidey story now, and, as the movie is about a month away, we have two trailers for Spider-Man: Brand New Day.

SPIDER-MAN: BRAND NEW DAY – Official Trailer (HD) by Spider-Man et al. on YouTube

SPIDER-MAN: BRAND NEW DAY – New Trailer (4K) by Sony Pictures Entertainment on YouTube

Spider-Man’s abilities seem to be shifting or changing (by way of mutating-DNA-handwaving). Peter seeks help from Professor Banner, who seems to have gotten his funky Hulk abilities under control with the help of a wrist gadget.

Somehow unfolding events (and/or a danger anyone can’t control or see) will also endanger Peter’s friends Ned and MJ, who (along with the rest of the world) were magicked to forget Peter’s identity as Spider-Man at the end of Spider-Man: No Way Home. Neither trailer was clear about the hows and whys of this story point. (The last we heard was that both Ned and MJ were accepted to MIT; now they’re done and presumably moving back to the tri-state area?)

In addition we have red jail ninjas, potential hallucinations, totally black eyes, and what seems to be a final boss-fight with the Hulk, and somehow they are supposed to make a coherent story. Okay?

I snort-laughed about MJ’s quip about a friendly neighbor and Spidey’s comment on stretching being good for you since he’s not in high school anymore. (The young whippersnapper!) In addition, Ned’s totally not weird Spider-Man stalker board seems geared to generate some laughs. So, hopefully, the new story will include plenty of snarky Spidey humor among the darker stuff.

SM:BND opens July 29-31, 2026.