Gaiman meets Gorey in this merry mash-up from September of 2019. India ink and watercolor on 4-ply Bristol.
Color Me Curious

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@theartofmadeline
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RMH
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Fai_Ryy
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Claire Keane
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Gaiman meets Gorey in this merry mash-up from September of 2019. India ink and watercolor on 4-ply Bristol.
Medieval castle stairs were often built to ascend in narrow, clockwise spirals so right-handed castle defenders could use their swords more easily. This design put those on the way up at a disadvantage (unless they were left-handed). The steps were also uneven to give defenders the advantage of anticipating each step’s size while attackers tripped over them. Source Source 2 Source 3
Not really the best illustration since it totally negates the effect by having a wide open space for those ascending. Castle tower staircases tended to look like this:
Extremely tight quarters, with a central supporting pillar that is very, very thoroughly in the way of your right arm.
Wider, less steep designs tend to come later once castles moved away from being fortresses to simply noble family homes with the advent of gunpowder.
Oh! Pre-gunpowder military tactics are my jam! I don’t know why, but this is one of my favorite little details about defensive fortifications, because the majority handedness of attackers isn’t usually something you think about when studying historical wars. But strategically-placed walls were used basically worldwide as a strategy to secure gates and passages against advancing attackers, because most of the world’s population is right-handed (and has been since the Stone Age).
Pre-Columbian towns near the Mississippi and on the East coast did this too. They usually surrounded their towns with palisades, and they would build the entrance to the palisade wall in a zigzag – always with the wall to the right as you entered, to hinder attackers and give an advantage to the defender. Here’s some gates with some examples of what I’m talking about:
Notice that, with the exception of the last four (which are instead designed to congregate the attackers in a space so they can be picked off by archers, either in bastions or on the walls themselves) and the screened gate (which, in addition to being baffled, also forces the attackers to defend their flank) all of these gates are designed with central architectural idea that it’s really hard to kill someone with a wall in your way. In every culture in the world, someone thought to themselves, “Hey it’s hard to swing a weapon with a wall on your right-hand side,” and then specifically built fortifications so that the attackers would always have the wall on their right. And I think that’s really neat.
Ooh, ooh, also: Bodiam Castle in Sussex used to have a right-angled bridge so any attacking forces would be exposed to archery fire from the north-west tower on their right side (ie: sword in the right hand, shield on the useless left side):
These tactics worked so well for so long because until quite recently lefties got short shrift and had it trained (if they were lucky) or beaten out of them.
Use of sword and shield is a classic demonstration of how right-handedness predominated. There’s historical mention of left-handed swordsmen (gladiators and Vikings), and what a problem they were for their opponents, but that only applies to single combat.
A left-handed hoplite or housecarl simply couldn’t fight as part of a phalanx or shield wall, since the shields were a mutual defence (the right side of the shield covered its owner’s left side, its left side covered the right side of his neighbour to the left, and so on down the line) and wearing one on the wrong arm threw the whole tactic out of whack.
Jousting, whether with or without an Italian-style tilt barrier, was run shield-side to shield-side with the lance at a slant (except for the Scharfrennen, a highly specialised style that’s AFAIK unique.) Consequently left-handed knights were physically unable to joust.
There’s a creditable theory (I first read it in “A Knight and His Horse”, © Ewart Oakeshott 1962, 1998 and many other places since) that a knight’s “destrier” horse - from dexter, “right” - was trained to lead with his right forefoot so that any instinctive swerve would be to the right, away from collision while letting the rider keep his shield between him and harm. (In flying, if a pilot hears “break!” with no other details, the default evasive direction is right.)
The construction of plate armour, whether specialised tournament kit or less elaborate battle gear, is noticeably “right-handed“ - so even if a wealthy knight had his built “left-handed” it would be a waste of time and money; he would still be a square peg in a world of round holes and none of the other kids would play with him.
Even after shields and full armour were no longer an essential part of military equipment, right-hand use was still enforced until quite recently, and to important people as well as ordinary ones - it happened to George VI, father of the present Queen of England. Most swords with complex hilts, such as swept-hilt rapiers and some styles of basket-hilt broadsword, are assymetrical and constructed for right handers. Here’s my schiavona…
It can be held left-handed, but using it with the proper thumb-ring grip, and getting maximum protection from the basket, is right-handed only. (More here.) Some historical examples of left-hand hilts do exist, but they’re rare, and fencing masters had the same “learn to use your right hand” bias as tourney organisers, teachers and almost everyone else. Right-handers were dextrous, but left-handers were sinister, etc., etc.
However, several predominantly left-handed families did turn their handedness into advantage, among them the Kerrs / Carrs, a notorious Reiver family along the England-Scotland Borders, by building their fortress staircases with a spiral the other way to the OP image.
This would seem to be a bad idea, since the attackers (coming upstairs) no longer have their right arms cramped against the centre pillar - however it worked in the Kerrs’ favour because they were used to this mirror-image of reality while nobody else was, and the defender retreating up the spiral had that pillar guarding his right side, while the attacker had to reach out around it…
For the most part Reiver swords weren’t elaborate swept-hilt rapiers but workmanlike basket-hilts. Some from Continental Europe have the handedness of my schiavona with thumb-rings and assymmetrical baskets, but the native “British Baskethilt” is a variant of the Highland claymore* and like it seems completely symmetrical, without even a thumb-ring, which gives equal protection to whichever hand is using it.
*I’m aware there are those who insist “claymore” refers only to two-handers, however the Gaelic term claidheamh-mòr - “big sword” - just refers to size, not to a specific type of sword in the way “schiavona” or “karabela” or even “katana” does.
While the two-hander was the biggest sword in common use it was the claidheamh-mòr; after it dropped out of fashion and the basket-hilt became the biggest sword in common use, that became the claidheamh-mòr.
When Highlanders in the 1745 Rebellion referred to their basket-hilts as claymores, they obviously gave no thought to the confusion they would create for later compilers of catalogues…
Also, muskets had their whole “Flint and steel and gunpowder” thing on the right side so if you tried firing it lefty you’d get a face full of fire. More recently, rifles eject their spent shell casings to the right, so if you’re a lefty you get some hot metal in your eye.
good post this is a gOOD POST
@moonlitskinwalker
This is fascinating history and now I really want to read a story about assembling a secret team of left-handers to take a castle by surprise!
Contemporary example: I was in a fencing club at university one year, and the left handed fencers had a huge advantage since they were attacking from an unfamiliar side. They, however, always practiced against right handers and had no such disadvantage.
Until we had one match between two left handed fencers, and it was very satisfying to watch.
Jean Vicquemare but make it Leyendecker
#if you ask I will write a whole goddamn essay on Boromir #and why his death means more to us as we get older *whispers* babe I want the essay
Why must you always enable me I love it never stop. So. Wow. Where to even start. I rant through my tears about how much I love Boromir every time I watch Lord of the Rings, which I do about once a year with @captainofthefallen. Every time I watch it, his death means more to me, hits me harder, and I think that’s because the older we get, the more we identify with Boromir.
Here’s the thing. In all honesty, as a kid (I first read LotR when I was eleven, first watched the films at that age as well), I wasn’t too fond of Boromir. Oh I liked him all right, he was fine I suppose, but I didn’t connect with him. I was angry when he tried to take the One Ring from Frodo, and I cried a little at his death because death is sad and I was a kid, but it didn’t devastate me.
Because as a kid? I wanted to be Aragorn. The reluctant king who rises up and does the right thing, always. The guy who gets the amazing (be still my bi heart) Arwen, the Evenstar, fairest of the elves. The guy who literally kicks ass. The man who is noble, honorable, thoughtful, good with his words, humble, knows the burdens of leadership, who stands up and says there will be a day when the courage of men fails, but this is not that day.
I wanted to be the hero.
I noticed this trend among my peers growing up. We all loved Aragorn and wanted to be him. Boromir was sort of dismissed.
But then a funny thing happened, called getting older.
I got older, and I fucked up.
I got older, and depression hit.
I got older, and the weight of societal expectations, of being an older sibling, of adult responsibilities, of legacy, of family secrets, of family history, all settled on my shoulders.
I got older, and I learned that men are not always honorable, or kind, or humble, or the leaders they should be. And I learned how hard and desperate it is to continue to believe in the strength of men.
I got older, and I learned how temptation comes for us all, in different forms, and how we hurt people without meaning to, and how sometimes for all our regret and tears and apologies, we cannot mend what we broke.
I got older, and I leaned what it is to be forced into a role I didn’t want, to feel I’d hit a dead end, to struggle against those who had different views, to feel like people could look into my heart and see the anger and fear that I tried so hard to hide.
I got older, and I realized: I’m Boromir.
We’re all Boromir.
Tolkien was very deliberate with his characters. They aren’t just characters, flawed and wonderful though they might be. They also each represent something very specific. Aragorn represents the Ideal. The hero that we all can be, the hero that we should strive to be, the vision of mankind as we are supposed to be, if only we can let ourselves shed our hubris and our doubts. Aragorn represents who we should be.
Boromir represents who we are.
Flawed, frustrated, burdened, tempted, struggling, setback, good intentioned, afraid, angry, kindhearted, noble, loyal, and painfully, beautifully human.
Boromir went to the Council of Elrond reluctantly. He shouldn’t have gone. Boromir is a war leader, as we learn after his death. He successfully fought for and defended Gondor from Mordor for years. That’s where he belongs. Faramir is the quiet one, the diplomat, the “wizard’s pupil,” the soft-spoken and patient one. Note that even in the film version, which shows a differently characterized Faramir than in the books (Tolkien heavily based Faramir on himself), Faramir only wants the One Ring in order to give it to his father and win his father’s pride and affection–he doesn’t want it for himself.
If Faramir had been at the Council and Boromir had stayed in Gondor, everything would have gone differently, and possibly for the better.
But the Steward of Fuckwits aka Boromir and Faramir’s father decides he wants Boromir to go, to represent their family, because Boromir is the son he values and is the “face” of Gondor. So Boromir sets aside what he wants, and he goes. And the whole time he feels out of place, feels like a fish out of water, feels second to Aragorn, feels lost, feels terrified his city will fall while he is gone, feels like the race of Men is being mocked and looked down on as weak.
How many of us as we grow up are stuck like that? We can’t fix our family (although we try), we can’t fix our broken country (although we try), we can’t get rid of the doubts and fears that whisper to us (although we try), and we can’t stop feeling like we’re constantly second best, constantly failing, looked down on, especially the millennial generation.
(Given what’s happening in the world right now, I wouldn’t be surprised if Tolkien found himself surprisingly similar in outlook and feeling to our generation. But that’s another topic.)
And of course that’s the key. Boromir–darling, frustrated, stuck, fatally flawed Boromir–is so very relatable because he tries. He tries to teach Merry and Pippin to protect themselves and then tries to save them and dies for it. He tries to convince Aragorn (who at that point is more elf than man in his outlook) that there is no reason to give up on his people, their people–and he succeeds in that, although he dies before he gets to see it. He tries to make his father proud. He tries to apologize when he fucks up. He tries and he fails, and he tries and he succeeds. And the most important things he does, the biggest seeds he plants, he never sees them flower.
Like my God, the man’s last words are I failed. I failed you, I failed Frodo, I tried to take the Ring. I’m sorry, I failed. That hits me so goddamn hard in my mid20s and it’ll hit me even harder when I’m older, I’m sure. How many times have we said that to people? “I tried to help him.” “I tried to reach out.” “I tried to apologize.” “I tried to stop them.” “I tried so hard.” I tried, I tried, I tried. For the job, for the friend, for everything, I tried.
And I failed.
I have a laundry list of things I tried and failed at, and God, do they hurt. Sometimes it was something out of my control, sometimes it was my own behavior. And that scene with Boromir, the flawed man, staring up at Aragorn, the ideal hero, and begging him, begging him, “save them, they took the little ones, find Frodo,” begging him for forgiveness, apologizing for his failures?
Talk about a fucking metaphor.
We make our ideals in literature so that we have something to look up to and strive for, for others to strive for. Boromir falls prey to the ring, but Aragorn does not. You did what I could not. Of course Aragorn did. He’s the ideal. And we beg our ideals to be better so they can show us the way and hopefully, maybe, someday, we can be like them.
I had so many heroes growing up, real and literary. Sara from A Little Princess. Aragorn. Lucy from Narnia. Nancy Drew. Harry Potter. And so many times I would look at myself in the mirror and cry because I knew, I knew if I stood in front of them they would be disappointed in me. I knew I wasn’t being the person I could be. I tried, I failed, I tried, I failed, but my God I swear, I tried.
As a kid or even a teenager, we still see mainly who we want to be. Our ideal. And I hope that we never lose sight of that. I love Aragorn and my God am I going to keep trying to be like him, and like all of my other literary heroes. We need those heroes, we need them so badly, and the darker the world gets the brighter we have to make them shine.
As an adult, though–as an adult, we start to see not only who we want to be, but who we are, and who we could’ve been, and how we failed to be, and the paths not taken and the paths that were lost. And that’s important too. Because Boromir died convinced he was a failure. Convinced he was, truly, the weakness we find in men.
And he was… but he wasn’t.
Without Boromir, Aragorn wouldn’t know what happened to Merry and Pippin or where they went. Without Boromir, Aragorn would’ve had no hope in the race of men. Without Boromir, who would have carried the hobbits up the cold mountain, or taught them how to fight, or said give them a moment, for pity’s sake! Who would have defended Gondor for so long, or loved his brother with a ferocity that Denethor’s abuse couldn’t knock loose, and inspired that brother to keep fighting even as the light faded and the night grew cold and long?
Aragorn carries Boromir’s bracers throughout the rest of the trilogy, right up to his coronation, where he is still wearing them as he is made King. Because Boromir might not have seen it–we might not see it–but we tried and we failed but we didn’t fail at everything. Lives are made brighter for our presence. The world is better for our gifts and our convictions. And no fight, even a fight lost, is done in vain.
The remains of the Fellowship ride to Gondor not just because it’s the Right Thing to Do, but because it is the city of their fallen brother, it’s Boromir’s home, the home that above all he gave everything to defend. Boromir doesn’t want the Ring for power, he wants it so his home will be safe, his family will be safe, and God who can’t relate to that, as we grow older and we see our families and friends attacked and scarred, as we have children and want them out of harm’s way. Who wouldn’t be tempted to seize the chance to keep them safe?
I see so much of myself in Boromir. And I take hope. I take inspiration. I cheer through my tears as he is hit again and again with arrows and each time he gets back up on his feet and grits his teeth and you can see him thinking not today. As a child I thought Boromir was selfish but as an adult I hear him use his last breath to apologize to Aragorn and call him his brother and his king and I see he’s more selfless than he ever gave himself credit for being. Boromir sees only his faults, but we can see what he doesn’t, we see his positive impact and we see his virtues, too.
Because as an adult I’ve failed, and I want to believe that like Boromir, I’ve also succeeded, I’ve also been more than just my faults–even if I can’t see that yet.
Aragorn is who we should be. But Boromir is who we are.
And my God, we should be proud of that. Because Boromir is a damn good person to be.
This is my friend Storm Constantine, probably around the time I met her, which was (I think) in about 1986, at British Fantasycon. Or anyway, in my memory that’s what young Storm looked like. I can’t find a photo of us online, just a space on her long-forgotten myspace page where a photograph of us once was. I remember being impressed by her, not because she was an exotic person of the kind not usually seen at conventions in those days, but because she was the kind of determined writer who was found, by an editor or a reader, on the “slush pile”. (Terry Pratchett was impressed by her too.)
We were convention friends, mostly, who would run into each other in Australia or Brighton or equally as unlikely places, and she was always funny and sensible and nice. She cared about nurturing younger writers, she tried to make the world better, and was the kind of person who did things and didn’t just talk about them. Today I heard that she’d passed away, after a long illness, and the world is poorer for her absence. Read her books…
Polar stratospheric clouds over Iceland. Have you ever seen them before? They’re real! Photos by Hörður Kristleifsson - h0rdur
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Alphonse Mucha Portrait of Halide Edib Adivar
Halide Edib Adıvar (11 June 1884 – 9 January 1964) was a Turkish novelist, nationalist, kemalist, teacher and political leader for women’s rights. She was best known for her novels criticizing the low social status of Turkish women and what she saw from her observation as the lack of interest of most women in changing their situation.
During World War I, Halide Edib ran an orphanage with Djemal Pasha at the former Saint Joseph College in Antoura where orphans of the Armenian Genocide were forcibly converted to Islam and Turkified.
She was a Pan-Turkist and several of her novels promoted Turanism.
My latest cartoon for New Scientist.
See more of my science cartoons online here
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As an avid lover of the ship, I still think this fandom focused way too much on Aziraphale and Crowley and not nearly enough on deep analyses into the core themes of heaven vs. hell vs. humanity.
The idea that the angels in heaven were trying to present themselves as holier-than-thou when aesthetic was the only thing that differentiated them from the demons of hell. The parallels of them both resorting to killing off an insubordinate member. Showing that they’re not opposites but mirrors. Represented by the escalator scene in earlier episodes.
Combined with this idea that Aziraphale and Crowley thought that if they equally influenced the Antichrist, he would have zero temptations, neither of them realizing that if NEITHER of them influenced the Antichrist, he would have zero temptations.
Then you get into the reasons why they wanted to stop Armageddon. How they start by listing trivial things. Sushi. Music. Then they fully realize that what they really want to protect, what they’ve wanted to protect all along, is humanity itself.
And THEN, you realize that they’ve been influencing humanity and the world for six thousand years and that quite literally ever since Adam and Eve, these two have had stakes in humanity. In carrying out their duties in the Garden of Eden, they arguably created humanity. Humanity is theirs and, at the same time, neutral from them.
So you can sort of make the argument that, through a weird butterfly effect, this angel and demon influenced everything that led up to a group of mismatched humans standing on that airbase, making the decisions they made.
And. Then. For the people who are worried about the show being blasphemous (which…yeah…), you have this tongue-and-cheek “I know; I was there” comment that finishes the show, which not only references A Nightengale Sang In Berkeley Square, it implies that all of this may have been God’s intention all along. All of it.
Anyway, I’m writing this all on mobile, but the point is that I get really passionate about the theological debates that Good Omens raises and though I do ship them, I sometimes get bummed that it get reduced to the “gay angel and demon” story when it’s so much MORE.
Yeah, in general it's a bummer when any good story is reduced to just being a stepping stone for shippers. Even if I have nothing against shipping as such, and view it as a natural reaction to the things we love. Why don't we talk more about WHY we love them in the first place?
The LOTR work of the great artist Jian Guo.
His take on Tolkien lore is digital art on stained glass style...
Simply amazing. I saw more pieces floating around. I will need to gather them all here.
Illustration from The Tale of Lohengrin, Knight of the Swan after the Drama of Richard Wagner by Willy Pogany (1913)
Lots of Planescape/Bloodwars sketches I did back in the 1990s for TSR when I was on staff there.
Cheers
Lazz
I’m so happy with how this Shadowrun party commission turned out! Form left to right there are: Zilch @redcap3 Jenga @pyrotechnician Archimedes @archaema Tesla @offkeelworld Thank you guys for the trust and the patience! Commission Info | Instagram
This is awesome design, and I could play any one of these badass ladies, but the mage I could have even cosplayed a couple years ago. Would still dress like this in a pitch. Makes one nostalgic.
Dragons Night Light
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I am not saying I need this, but...
Sculptures Made From Scrap Metal By Hasan Novrozi
Peter Wileman (British, b. 1946, Middlesex, UK) - Dawn’s Kiss, Portscatho, 2014 Paintings: Oil on Canvas
Artwork by: Lente Scura