I'm seeing some reports that the fantasy artist Emmanuel just passed away. One of the artists who helped hone the look of Advanced Dungeons & Dragons, I was especially a fan of his cover for the Fiend Folio, which I consider one of the sacred texts of AD&D. One of the many guides I used to check out from the library and draw monsters from.
I've never been able to learn much about the artist who was always credited only as "Emmanuel." Apparently he was Emmanuel Papadopoulos, and passed away in June, 2026.
I had a lot of/still have some vestigial arrogance about quantitative methods over qualitative ones, probably in a combination of scientific misogyny + STEMlord superiority. But doing regression analysis and quant-heavy data analysis makes me realise more and more that you can justify basically any claim with numbers, and that you can construct your research in such a way as to output the numbers you want. which does not mean that all data are made up or that quantitative knowledge is all false. I think stories about scientists straight up inventing numbers or fudging experiments on purpose prove that there is a real difference between fraudulent and non-fraudulent research. but those data must always be narrativised & are always already narrativised. The act of presenting numbers itself is doing some of that narration because you’re already arguing that these numbers are worth presenting
People in the notes are rightfully pointing out common issues with data manipulation and pre-loaded conclusions in scientific research (i.e., the academic version of asking "so, how often do you beat your wife?" and so on), but I should have clarified that I'm not really talking about that. I'm talking about completely legitimate, above-board scientific research.
For example, I've had students ask me (in good faith) how it was possible for international medical bodies to report different counts of COVID-19 cases during the early years of the pandemic. And one of the answers is that you need to first define what you mean by a "COVID-19 case." Do you include self-reported incidences? Waste water data? Geo-fenced social media posts about people complaining about their coronavirus symptoms? Federal estimates? Hospital data? How do you compare countries/territories/substate entities with mandatory reporting mechanisms vs countries/territories/substate entities that rely only on voluntary self-reported cases? And what combination of these do you use? How you construct what you mean by "case" is going to impact the outcomes you report. These different counts of COVID-19 cases can all be true simultaneously, not because numbers are made up, but because they all come out of different methodologies that can be equally valid.
And this is true across all science, not just social science. Bill Clinton said it best lol: "it depends on what your definition of the word 'is' is." This feels obvious when you look at scientific research that uses "skull measurements" as their object of analysis - the concept itself is white supremacist, regardless of how "sound" the research is. But even something as apparently self-evident as a COVID-19 case still requires a definition, and how you define your variables is necessarily going to impact how the research goes and what conclusions are drawn.
These definitions are always embedded in political & social assumptions. And again, this does not mean that science is all made up or nonsense or whatever. There is a widespread fetishism of "objective knowledge" that is itself ideological - the idea that knowledge can be divorced from all historical and political contexts, that you can scrub bias from research and simply report the facts. Valuable, well-supported, well-constructed scientific research is always embedded in these contexts. Not just as a result of researcher assumptions, but of the material context it exists in - what research resources are available, how & what research gets funded, the academy's relationship to the state & non-government bodies that both provide data and use that research to inform policy, the historical relationships universities often have with settler-colonialism and imperialism that give them access to "foreign" research subjects, etc etc etc.
So my overall point (which I didn't communicate well) is that data can always say what you want to some extent, for good and for ill. And research results (at least in my experience) tend to surprise you in ways that require explanations, which themselves can be fully justified, but again, exist within many different contexts that influence how you interpret them - and not just the results themselves, but your own surprise at your results
God God God I saw this line out of context once and didn't remember it until this exact second it's so much funnier now that I know who these characters are. Baru voice theyve all been hiding stimulants from me because they want me WEAK and INTELLECTUALLY IMPAIRED so they can PLOT AGAINST ME
and if i said nolan's odyssey starring no greek actors and with no recognizable aspects of greek culture or involvement by greeks, is the direct legacy of white supremacist colonialism that treated ancient greece as not just the pinnacle of ancient culture, but of an artificially created "european" culture, which white western europeans and their settler descendants, as the new pinnacle of culture, were the sole spiritual inheritors of.
Having been Very Online in the mid 1990s is rough because half of your formative influences are like "yeah, this Flash video engages in pop culture deconstruction that's strikingly topical even thirty years later and did things to my vocabulary that persist to this day, and I can literally never recommend it to anyone because its core premise is a level of homophobic ordinarily observed only under laboratory conditions".
#thank god homestar runner aged well (via @shibascarf)
Homestar Runner is the way that it is in large part because it's a response to the 90s edgelord bullshit I'm talking about; while the characters had earlier appeared in print, the Flash animated version that everybody remembers didn't debut until January of 2000. If it's aged well, that isn't an accident – it's a product of its authors looking at the state of 1990s Internet culture and making a conscious decision to be Not That.
Finally, this week, we have Magical World of Monsters (1992), a collaboration between artist Erni Cabat and writer Daniel Cohen.
I hadn’t heard of Cabat before I went on my spree of buying up all the Daniel Cohen books I could lay my hands on. Seems he spent most of his career in advertising and only began illustrating toward the end of his life (he was also a ceramics artist, collaborating with his wife, Rose, who had a pretty significant career of her own). In addition to Monsters, he produces Magical World books for prehistoric animals, carousel animals and dinosaurs, all in the same basic format. His style is rather hard to describe. I suppose I would start with “garish.” They’re a swirling combination of texture, pattern and unusual color choices that are difficult to visually parse. There is so much detail in the Medusa head, for instance, and the tonal range so compressed, that my eye can’t stop in any one place for long, to the point that it seems like her hair of snakes is perhaps really squirming. The sense of motion in all of these pieces almost verges on vertigo. They’re pretty amazing!
The selection of monsters seems mostly governed by what Erni wanted to paint. Cohen is there to provide the slightest bit of context. It all hangs together fine, Cohen knows who the star is here.
I have to say, the only thing Cabat’s art reminds me of is the amazing box art from the D&D Computer Labyrinth Game. To my knowledge, the artist is still unknown. I wonder if it could have been Cabat?
it is beyond cruel that venezuela is now a US colony for all intents and purposes and the US still continues to wield sanctions against it to the detriment of the nation's poorest and most desperate people even in the aftermath of an earthquake that's killed thousands
There's a whole book or even multiple sagas to be written around the question of "why do adventurers exist in this world at all". I hate the term "murderhobo" with a passion but there is a lot, a lot to talk about what kind of society hires wandering questing warriors to solve problems and where do those "adventurers" come from and what role do they have in society.
Lots of people have talked about this but I would like to point out this essay on ACOUP that starts with seemingly a semi-related matter (why gold coins in fantasy don't make sense in historical societies) and ends with a very revealing insight... gold isn't the reward that "fantasy adventurers" should seek. It should be power and influence, noble titles, a comission in the local army, land.
This week on the blog I want to take a brief detour into discussing historical coinage, particularly in the context of modern fantasy and ro
As usual and expected from a blog titled A Collection Of Unmitigated Pedantry, it does take a long (but very interesting and worth reading) read to get to that point, but I'll point out the interesting thing in this context:
Here, "Big Man" is a stand in for the nobles and rulers and landowners of agricultural societies. While more urbanized and industrial societies may have a use for coinage, what do these societies based in interpersonal relationships can give you as a reward for a quest, as a reward for solving a problem? Social power; a title, a relationship, a promise of support. And not only that, but this isn't often a reward but a necessity in the first place. To have a horse, to have armor and weapons and the means to wage war (go adventuring) in the first place, you don't go to the medieval store and buy them with 20gp, you often have people supporting you and even , you are a man-at-arms, part of a noble retinue a noble yourself, maybe part of a holy order, or in more early-modern scenario, part of a mercenary group.
However, this doesn't happen often in fantasy because of these reasons reasons:
The idea of the selfless hero who doesn't choose glory or fame but instead continues questing endlessly to do good or defeat an ultimate evil. Making a hero have a patron feels like selling out (but I will address that)
Even with those characters who aren't selfless and would probably take the power and titles, it seems to tie them down to a place or obligation and this makes adventures boring (but I will address that!)
Dungeons & Dragons
People say that every generic fantasy world is inspired by Tolkien but I will argue that he's the grandfather of modern fantasy, the father is Gary Gyax. The ideas baked in D&D have been present in ALL over popular fantasy for decades now, even more prominently than Tolkien (and of course D&D 'borrowed' a lot from Tolkien). Now what this means in this particular case is the idea of wandering "adventurers" solving problems for "gold" in "dungeons", often with the undertone of a frontier or decaying civilization full of monsters and bandits to be killed and tamed into civilization (some other people have written about this better than me)
Nevertheless, even beyond the setting implications, there are deep gameplay implications that have filtered down popular fantasy. Dungeons and Dragons is a survival/combat game. It's a survival game because you have to rely in your abilities and limited equipment (which you buy with gold) to survive in a dungeon, through combat. Of course you can do a lot more than that, but this is the core of the game, what it was designed for: buy equipment, go into a dungeon, survive, get treasure, use it to buy equipment, go into another dungeon. Here "dungeon" can mean many things... combat, travel, puzzles, but the loop is clear.
There is no "gain a patron and get social capital" loop in the game, though it might be simulated, it isn't fun. So there is a lack of interest on exploring this, or really, anything beyond the "quest". And since again, it's D&D, not Tolkien, that shapes most popular fantasy, we see popular fantasy repeating this deeply baked in idea of fantasy once and again and again and again. Sometimes even making them into actual, literal points inside the world: making literal worlds with Adventurer Guilds and Dungeons and Quests and sometimes even Levels and XP as part of society (they're only lacking the dice... and that's because D&D is also the main influence behind videogames).
Is EVERY SINGLE FANTASY WORLD like this? No, not at all. But I want to talk about where does this idea of "gold" and "adventures" comes from, and it's NOT medieval or historical inspiration, and it's NOT even Tolkien. It's D&D.
I told you I would address the idea that having a patron or a story based on one's social standing could be boring or at least incompatible with "adventure", and there are many cases that I could point out, but I want to point to a very interesting one: Rodrigo Díaz de Vivar, el Cid Campeador.
El Cid is both a real person who lived a very interesting life and a folklore figure, and both are very interesting as inspirations for fantasy "adventurers". El Cid was considered (by the social standards of the time) as an ideal knight and a tragic figure. But his whole life is defined by the society he lived in and, as any knight (or noble warrior in general), how he walked the interrelationships of his society; his back and forth of loyalty and betrayal with King Alfonso, his loss and recovery of honor, his service to the Muslims rulers of Zaragoza which indeed gave him his title (these constant intercultural interactions were very common in medieval Iberia, which makes it a very unique and underused setting inspiration), his rulership over Valencia. Over time, El Cid changes and seeks patrons and his changes in his social status (and his dependence on them) are a major part of the story both in real life and fictionalizations.
But this doesn't mean that the life of El Cid is boring or lacking in combat and travels. He gets "adventures" all over the place, he travels and fights over the whole breadth of Iberia, he has countless legends to his name. He wasn't a "murderhobo" that got gold from each adventure and then went to the store to buy a new sword, he took command of armies and he even took power and governed his own realm, but his life wasn't lacking from excitement, he didn't just sit and became a paper-pusher. I need to be very clear I'm not saying El Cid was a hero, I'm saying he led an exciting, interesting life, worthy of most fictional adventurers, but he wasn't just going from place to place asking for gold... well, technically yes, but this involved his status, his honor and his place in society. Which makes for a rich story.
And he's not the only one, Medieval Iberia is full of stories of these characters that navigated the social networks of their time, a place where cultures interacted with each other in multiple complex ways and kingdoms and taifas often employed these wandering "adventurers". Maybe if you want to get inspired to write about adventurers, don't look to D&D for inspiration. Read about Al Andalus sometime.
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