Never Gets Old: Surfing on a Flaming Harpoon Bolt

Northrend has some of my favorite areas in World of Warcraft. I love the music in Grizzly Hills, and both Howling Fjord and Borean Tundra have nice, varied environments. (Then again, Northrend also has one of my all-time non-favorites, too: Icecrown. So dark and spiky and empty, brr. But I digress.) Whenever I level a toon through Northrend these days, I visit all three zones, and pick and choose the rest as mood strikes me.

One of the Howling Fjord quests never gets old: Let’s Go Surfing Now lets you ride down an impossibly tall cliff standing on top of a flaming harpoon bolt. I took my Dark Iron Dwarf through there last night:

WoW Dark Iron Dwarf Howling Fjord Riding Harpoon

Whee! 😀

Of Dice and Dragons is an occasional feature about games and gaming.

Quotes: Our Real Journey in Life Is Interior

Trappist monk Thomas Merton apparently was very concerned with silence and retreat from the world and its opposing force, that of engagement with the world and its ourward pull.

Current Reading Silence

“Our real journey in life is interior. It is a matter of growth, deepening, and of an ever greater surrender to the creative action of love and grace in our hearts. Never was it more necessary for us to respond to that action.”

– Thomas Merton, 1975

Apparently this quote is from a collection of journal entries Merton made in Asia shortly before his accidental death during the trip.

Not being a philosopher or a spiritual person, I couldn’t tell you what I think of “the creative action of love and grace”. However, the conclusion I’m more and more leaning towards is that the most important thing in life is one’s internal growth and what external actions (hopefully positive or beneficial to others) stem out of that.

Merton, Thomas. “Serious Communication”: The Asian Journal of Thomas Merton, eds. Naomi Burton, Brother Patrick Hart and James Laughlin, p. 29. New York: New Directions, 1975. Quoted in Brox, Jane. Silence: A Social History of One of the Least Understood Elements if Our Lives. Boston: Houghton Mifflin Harcourt, 2019, p. 225.

Serving exactly what it sounds like, the Quotes feature excerpts other people’s thoughts.

Chariots

War may never change, but the technology of war is always being updated, adapted, and replaced with new inventions. Because of the powerful emotions invoked by our experience of war, outdated military technology is sometimes invested with cultural meaning and takes on a new symbolic life when its functional utility is past. Suits of armor designed to protect soldiers from spears and arrows in wars hundreds of years in the past have become decorative objects that convey a sense of antiquity and dignity to a stately home. Swords have been obsolete on the battlefield for a century, but they still exercise such a fascination for us that we give them to heroes in stories set in the present and future. The town where I live boasts of its possession of a disabled artillery piece from a war more than a hundred years past. In the ancient world, chariots went through a similar transition from practical military hardware to symbolic possession.

A chariot is a light cart, usually on two wheels, though four-wheeled examples exist, designed to be pulled by one or more animals, usually horses. Four-wheeled versions, using heavy solid wheels and pulled by onagers (a type of wild ass) are documented in southern Mesopotamia in the fourth millennium BCE. These wagons would have been relatively slow and ponderous, but they allowed the transport of fighters across the battlefield faster than infantry on foot and provided a defensible fighting platform. Light, fast chariots became possible with the invention of the spoked wheel on the steppes of Central Asia around 2000 BCE.

Light, mobile chariots pulled by horses offered several advantages in war. They allowed swift movement around the battlefield, provided an elevated platform from which to observe the progress of battle, and, on open ground, could stage mass charges to intimidate opposing troops. Horses that were too small to carry a rider under the rigors of war could be used to pull chariots. Between 2000 and 500 BCE, the use of chariots spread across a large swath of Eurasia and northern Africa, from China to Ireland, and from Egypt to the Baltic Sea.

Chariots also had some drawbacks, however. They required skilled construction and maintenance. To be effectively mobile, they had to be built light, but such light construction also made them relatively fragile. They required lots of space to operate and were of limited use on narrow, uneven, or muddy battlefields. Driving and fighting from a chariot solo was a virtuoso feat that few could manage, so the need to provide separate drivers in addition to the fighting troops was a drain on fighting power. In most places, chariots were retired from the battlefield as soon as horse breeds that were large and strong enough to carry an armored soldier became available.

In a few places, like the wide, open plains of Mesopotamia, where the terrain was favorable, chariots were used for fighting into the first century CE, but in most places they had vanished from military use centuries earlier. The glory of the chariot, though, kept its hold on people’s imaginations. In most places where they had been used in war, they were repurposed for symbolic and artistic purposes. In China, chariots were used to make impressive showpieces of engineering, like the famous South-Pointing Chariot, equipped with a figure that always pointed to the south no matter how the chariot turned. In India, chariots were reimagined to become vessels for carrying images of the Hind gods in ceremonial processions. In the Mediterranean, they were used for racing and military parades. In many of these places, chariots also entered mythology, remaining the conveyance of heroes and gods long after they had ceased to be used to carry soldiers around the battlefield.

Image: Model of a four-horse chariot, photograph by BabelStone via Wikimedia (found in Takht-i-Kuwad, Tajikistan, currently British Museum; 5th-4th c. BCE; gold)

History for Writers is a weekly feature which looks at how history can be a fiction writer’s most useful tool. From worldbuilding to dialogue, history helps you write. Check out the introduction to History for Writers here.

Rating: Murdoch Mysteries Season 7

Turn-of-the-twentieth-century Toronto detective William Murdoch is back for season 7, and so are we. Here’s what we thought of the episodes this time:

  1. “Murdoch Ahoy” – 6
  2. “Tour de Murdoch” – 7.5
  3. “The Filmed Adventures of Detective Murdoch” – 7.5
  4. “Return of Sherlock Holmes” – 8
  5. “Murdoch of the Living Dead” – 5.5
  6. “Murdochophobia” – 4
  7. “Loch Ness Murdoch” – 7
  8. “Republic of Murdoch” – 7
  9. “A Midnight Train to Kingston” – 0
  10. “Murdoch in Ragtime” – 6
  11. “Journey to the Centre of Toronto” – 10
  12. “Unfinished Business” – 7
  13. “The Murdoch Sting” – 6
  14. “Friday the 13th, 1901” – 6
  15. “The Spy Who Came Up to the Cold” – 6
  16. “Kung Fu Crabtree” – 4
  17. “Blast of Silence” – 2
  18. “The Death of Dr. Ogden” – 4

This season’s average rating is 5.8, which is pretty good. There is one standout great episode and one standout awful one, but most of the season is middling to good, which makes it good for comfort rewatching.

On the whole, this season holds up well. It offers a lot of what we have come to expect from Murdoch. There are clever takes on modern stories, like the zombie-ish “Murdoch of the Living Dead,” the turnabout con in “The Murdoch Sting,” and half of “Friday the 13th, 1901” in which Drs. Ogden and Grace get a horror movie plot (meanwhile, the boys enjoy an adorably Canadian story about curling). There are also the usual return appearances by our favorite guest characters, like Terrence Myers and Alan Clegg in “The Spy Who Came up to the Cold,” which uses the assassination of US President McKinley as fodder for an espionage thriller. And James Pendrick, the perpetual inventor of things before their time, is back to invent… Murdoch Mysteries!

This season is five episodes longer than previous seasons, coming in at eighteen episodes, which is great. We’re always in favor of more Murdoch. We also see signs of change starting to show through as this season features more people of color as incidental characters and women pushing against the boundaries of social convention.

Our lowest rating for the season goes to “A Midnight Train to Kingston,” at 0. This episode features the return of genius serial killer and Murdoch fanboy James Gillies. We have made our feelings about genius serial killer detective fanboys clear before, and we still have no interest in seeing more of them.

On the other hand, “Journey to the Centre of Toronto,” which takes up contemporary speculation about a hollow earth with a steampunkish spin, makes for a thoroughly delightful 10. This episode suffers a bit from odd pacing and a somewhat unsatisfying ending, but it presents Detective Murdoch and company with such a unique challenge, and they rise to it with such gusto, that we can forgive these weaknesses. We also love the adventurer character, Elva Gordon. It’s a shame she can’t become a regular guest like Myers and Pendrick.

Few series can stand up to the pressures of a long run without faltering, but Murdoch Mysteries continues to deliver. Long may Murdoch continue!

Have a different take on this season? Let us know!

Image: Detective Murdoch explaining an earth-burrowing mole machine, from Murdoch Mysteries via IMDb

In the Seen on Screen occasional feature, we discuss movies and television shows of interest.

Yet Another Avengers: Endgame Trailer: Special Look

Well, how about that—just after I scheduled my Second Avengers: Endgame trailer post and leaned back, there’s another trailer:

Marvel Studios’ Avengers: Endgame | Special Look by Marvel Entertainment on YouTube

It seems there are at least two big group missions: from trailer #2 the one that the team wears their pale armor for while epically slowwalking in the hangar (at the Avengers compound, I assume), and from the special look the one where they take the fight to Thanos wearing darker armor. Unless the trailers deliberatly lie, which they might.

Smaller sorties are implied e.g. in the scene where Tony and Steve shake hands and Cap tells Tony he trusts him; it looks like it either might lead to a confrontation or come at the end of one—you can just see emergency vehicle lights flashing in the background. We also see Black Widow and Hawkeye gearing up (seemingly in the quinjet, perhaps over Manhattan), Hawkeye running away from a fire blast in a tunnel, Rocket hanging onto War Machine’s shoulder ready to take anyone on, and Ant-Man jumping at a lever.

IMDB lists Endgame run time at an unprecedented 3 h 2 min. Even if the end credits take the now-usual 10 minutes, that leaves 2 hours and 50 minutes for the storytelling. There’s clearly a lot to go through: apart from numerous fights, flashbacks, and getting people regrouped, some from pretty far away, there’s some training, planning, and contemplating. (So much contemplating!)

For one, I am looking forward to Thor getting to use his honking big axe-mace, and for another, to how Captain Marvel fits into the lineup.

However, one thing absolutely baffles me—I assume there will be at least one stinger, since that seems de rigueur for MCU, but what it (or they) might contain is beyond me. Any guesses?

This post has been edited to correct a typo.

Hey, look! We found a thing on the internet! We thought it was cool, and wanted to share it with you.

Second Avengers: Endgame Trailer & Tv Spot

In just about three weeks, we in the U.S. get to see Avengers: Endgame, the sequel for Infinity War. And there are new clips!

Here’s the tv spot from SuperBowl Sunday:

Marvel Studios’ Avengers: Endgame – Big Game TV Spot by Marvel Entertainment on YouTube

The second trailer:

Marvel Studios’ Avengers: Endgame – Official Trailer by Marvel Entertainment on YouTube

They’re really not revealing much, are they. Clearly many (or all?) of the far-flung protagonists have found their way to Earth, and there’s A Plan(TM) in the works. I do hope they won’t overuse that swelling, epic music with choral vocalizing in the movie. As amazing as it can be, this trailer sure had too much of it.

But: WTH is going on with Tony Stark being plastered up, front, and center in these trailers? Did Robert Downey Jr. make a deal to have an at-minimum performance time in each MCU movie?? Is someone upset not to get their daily RDJ dose???

Hey, look! We found a thing on the internet! We thought it was cool, and wanted to share it with you.

Gaulish Wheelbarrow Pigs: A Cautionary Tale

Primary sources are a historian’s best friend, and sometimes worst enemy. Primary sources are essential to our understanding of the past, but if not handled carefully, they can also be deceptive. For a case in point, here are a couple of comments on the Gauls of northern Italy in the third and second centuries BCE.

The Gauls were a warrior elite who had migrated into northern Italy over about a century and established themselves as leaders of scattered towns and settlements in the Po river valley. Some of these groups settled down and built up local power bases based on agriculture and trade. Others made their living by raiding the rest of the Italian peninsula or taking service as mercenaries in the many local wars being fought between Italian peoples like the Etruscans, Romans, Sabines, and Samnites. The native people of the Po valley sometimes resisted Gaulish influence and sometimes assimilated into Gaulish culture. By the second century, the expansion of Roman power had subdued or eliminated many of these groups, while some others had allied themselves with Rome.

The cultural realities of northern Italy were complicated. The view from Rome tended to be simplifying and stereotyping, but even the stereotypes themselves could be complicated.

Here is how the Greek author Polybius, who lived in Rome and aligned himself with Roman culture, described the Italian Gauls:

They lived in unwalled villages without permanent structures. Sleeping on leaves and eating meat, they knew nothing but war and farming; they lived simple lives and had no acquaintance with any art or science.

– Polybius, History 2.17-18

(My own translations)

The image is one of poverty in both material and cultural terms. Polybius’ Gauls are little better than wild animals.

Should we take Polybius’ account as an authoritative statement on what the Romans and their Greek allies thought about the Gauls? There is no doubt that the image of Gauls as feral savages lacking even the rudiments of civilized life was common in the ancient Mediterranean, but it was not the only possibility. In fact, just the opposite was also possible.

Cato the Elder, a Roman statesman, took a different view of the Gauls. Most of his account is lost, but a couple of fragments survive in quotations in later works:

The Gauls devote themselves most diligently to two things: war and cunning talk.

– Cato the Elder, Origins 2, quoted in Charisius, Ars Grammatica 2

 

The Insubres [a Gaulish tribe] in Italy lay up cuts of pork, three or four thousand at a time, and the pigs grow so big that they cannot stand on their own or walk anywhere. If they want to take a pig somewhere, they must put it in a cart.

– Cato the Elder, Origins 2, quoted in Varro, On Farming 1.2.7, 2.4.11; Columella, Res Rustica 3.3.2; Pliny, Natural History 14.52

Cato was no friend to the Gauls any more than Polybius was, but his view of them is different. Unlike Polybius’ ignorant savages with no art or sceince, Cato’s Gauls are cunning talkers. In contrast to the poverty of unwalled villages and beds of leaves, Cato pictures Gauls as so rich in agriculture that their pigs grow too fat to walk unaided.

Polybius and Cato were roughly contemporary and moved in the same elite social circles in Rome. Despite the differences in their points of view, they both reflect attitudes that must have been current among the Roman upper class. We can explain the differences in their views by their different audiences. Polybius was writing primarily for his fellow Greeks and aimed to portray the Romans as a force for order and stability in the Mediterranean. The more wild and bestial he could make their enemies, the more he could burnish the Romans’ credentials. Cato, by contrast, was writing for a Roman audience in the aftermath of Rome’s complete conquest of the Po valley. By building up the Gauls as a worthy foe, he made the conquest seem more glorious.

The variations in these perspectives should not surprise us. It is rare that any group of people has a single opinion about anything. Even the most reductive stereotypes are rarely universal among the people who hold them. Individuals and groups alike can hold multiple attitudes at the same time, calling up one opinion or another as the occasion demands.

For more recent historical periods when we have richer records of peoples’ thoughts and words, it is easier to get a fuller sense of this sort of complexity. In more distant periods of history when we have much more limited records, it can be tempting to assume that the documents we do have represent an accurate picture of what people thought on a given topic. Polybius and Cato are a good cautionary example that even among people who traveled in the same social circles in the same places and times, multiple different opinions were equally possible.

History for Writers is a weekly feature which looks at how history can be a fiction writer’s most useful tool. From worldbuilding to dialogue, history helps you write. Check out the introduction to History for Writers here.

Stars in Your Bathroom Floor

Oh my, this is stunning: a DIYed bathroom floor lights up with tiny fiber optics stars!

Instructables Balrd Star Floor
Balrd at Instructables

The secret is to thread the fibers into the grout lines. Apparently, for safety, the light source needs to be outside the bathroom (or, I imagine, whatever the local code calls for) and, of course, you need to start with a bare floor or to demo the existing surface, so it’s not a quick project by any measure. The results are amazing, though.

See the full star floor tutorial by Balrd at Instructables.

Found via Buzzfeed.

In Here is an occasional feature highlighting geeky spaces created by our fellow geeks all over the world.

Traditional Andean Design Finds New Life in Architectural Details

The city of El Alto in Bolivia, high up in the Andes, is the country’s second largest city and right next to the third largest one, La Paz. Something that El Alto beats its richer neighbor in is unique eye candy right on the building facades.

That’s because an architect, Freddy Mamani Silvestre, is slowly working bright colors into El Alto’s red-brick and concrete scenery.

Wikipedia Mamani Cholet1

Information on Silvestre seems scant in English. A member of the indigenous Aymara, he apparently started working on buildings as a bricklayer. There’s a feature on El Alto in The New York Times in 2013 and in The Washington Post in 2014. He’s referred to in a 2014 BBC News article on president Evo Morales. The Architectural Association, Inc., still has their exhibition info Salones de Eventos from 2015 available online. I also found two articles via the German Wikipedia entry for Silvestri: one in The Architectural Review and the other in Quartz, both from 2015. The best bet at the moment might be the 2017 book El Alto by Silvestre and Peter Granser. For Spanish readers there’s more, including the 2014 book La arquitectura de Freddy Mamani Silvestre.

Quartz Mamani Salon Montecarlo

Silvestri draws on traditional shapes and colors in his designs. Some of the detailing reminds me of jugend (I believe the phrase art deco is used in the U.S. instead), but Silvestri’s work is clearly not derivative of it.

Architectural Association Mamani Green Building

If the exteriors seem colorful and detailed, just wait until you see the interiors!

Colossal Mamani Green Interior

Wow! His style has been described as Neo-Andean, new Andean, space-ship architecture or, plainly, kitch. However you may want to describe it, the word colorful will have to be there!

Found via Colossal.

Images: Cholet (CC BY-SA 3.0) via Wikipedia. Salón Montecarlo by Alfredo Zeballos / The Architecture of Freddy Mamani Silvestre via Quartz. Green exterior via The Architectural Association, Inc. Green interior via Colossal.

The Visual Inspiration occasional feature pulls the unusual from our world to inspire design, story-telling, and worldbuilding. If stuff like this already exists, what else could we imagine?