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A Scrapbook of Death: Ghoulish inspiration for Halloween
But in matters of inspiration, a vast variety of representations and engagements with Death have found their way through into my writing or otherwise caught my interest, most notably the Chapels of the Capuchin Friars in Rome, a startling artistic display.
What you are now we used to be;reads the plaque in the final crypt.
what we are now you will be
For anyone who read my excerpt Under Becua, this was my starting-point. This and also the Roman catacombs, streets of stacked niches, layered beds in stone, with here and there miniature pinnacled houses, habitations of the dead. Packed with early Christian fresco, and dining rooms for subterranean funeral banquets, the tombs of Rome meld into a strollable, wall-packed graveyard. Their antecedants reach back to the Etruscan tombs, painted with banquet and carnival, cheerful and bright.
Still lively, though far from cheerful, if we leap a casual fifteen hundred years, from western Medieval Europe, we fling our steps into the Dance of Death. Out of plague and disaster, the bone man with the hourglass and the scythe, the harvester, Time, stalks from the past into our manuscripts. The Renaissance presents and represents Death and the Maiden) paired, a deliberate chilling juxtaposition, picked up by Schubert as a song, and later, in the light of his own imminent death, a sublime string quartet (which I have left playing while I complete this post). Here we have the memento mori again, just as with those Capuchins.
And if we cross the Atlantic to Mexico we can meet La Calavera Caterina, symbol of the Día de Muertos or Day of the Dead. Possibly a descendant of the Aztec goddess Mictēcacihuātl – herself another Persephone, Hel or Ereshkigal, and ruler of the underworld – Caterina in her fine flowered hat also acts, like all those medieval kings in the Dance of Death, as a reminder of the egalitarianism of universal Death.
But the Day of the Dead, All Souls, is part of the same festival as American Halloween. Halloween, the Eve of All Hallows, is the start of Hallowtide, the Feasts of All Saints and of All Souls – and don't tell me that wasn't a Christianisation of something else. Something old. It is fitting that the November services of Remembrance have been added in to this part of the calendar, and as the daylight fails in Northern latitudes, death, so often linked to the dark, spreads tangibly over the late autumn.
The Neolithic long barrows of mingled bones ride the ridges of the English downs, a communality of death. In the Bronze Age things switch round, each barrow raised over one central burial, a clear shift from social to individual symbolism. Later, Saxons insert urns into the shoulders of the Bronze Age barrows, and we can guess at reasons it seemed appropriate, but never know. At the birth of 'England' the ship-king of Sutton Hoo sails into the night of time at the crown of another ridge.
The pre-Conquest kings of England are crammed, ignominious, into painted boxes around the top of the chancel at Winchester cathedral, moved, when it was rebuilt by the Normans next to its original site. They have been recently examined, and appear quite genuine. Here's Cnut in a carton, death as a symbol again, the use of the dead for power, and the dignity of the dead (is there such a thing?) ridden over roughshod, like that of St Swithin of Winchester himself. When his bones were translated into the Saxon cathedral, against his humble wishes, the weather that followed was so appalling it gave rise to the saying that if it should rain on St Swithin's Day it will rain for forty days.
Elsewhere, everywhere, tombs are furnished with chariots, with pole-axed horses felled for their dead riders, with armies waiting, miniature ranks of servants, with masks in gold leaf laid over the buried skulls. 'I have gazed upon the face of Agamemmon', says Henrich Schleimann, that charismatic semi-charlatan archaeologist.
Psychopomps escort the dead to their new abode. Valkyries hover above the battlefield, Charon the ferryman plies his oars across the river Styx, and jackal-headed Anubis attends as the hearts of the dead are weighed in the balance, with some found wanting.
Sacrifices have been thrown in water, strangely-treated, the bog bodies of Ireland, of England, of Scandinavia, hanged, choked, poisoned, pinned into the black peat with forked branches. There's a rich source there to meditate on, and one I've rarely seen touched in fantasy, though arguably Gaiman does so in American Gods.
In South America, the mummies regnant of the Inca retained their power, their edicts mediated by attendants, their property secure in the panaca of their wider family, and, so cut off from their ancestral wealth, the living Incas were compelled by the dead into imperial expansionism.
In Madagascar, the dead are exhumed, re-wrapped in silk, and in 'the turning of the bones' or Famadihana, their living descendants dance with them before returning them to their graves. It's a joyous occasion.
The legendarily incorruptible bodies of the Saints are a source of wonder as their tombs are opened. They are objects of power. Their physical relics are enshrined, venerated and sworn upon. St Cuthbert was reputed to have covered Durham in fog to fool German bombers as late as World War Two.
Death, the nature of Death, and the inevitability of Death, are everywhere around us, and it is small wonder they have been a subject for fiction since the Epic of Gilgamesh.
Last of all I come near to the present, and to London, and the excavations of the crypt at Spitalfields. This was an exploration of recent death – eighteenth century, and the bones here – the bodies, in some cases, for decay was often far from complete - were examined nameless, and then once again, named from the coffin plates as identified individuals. There was a high rate of turnover and illness among the archaeologists. The full reports are available online, and their intimate and occasionally gruesome detail is arresting, delving, for example, into the varied species of coffin flies. It is notable that the apparent skeletal age often differed hugely from the calendar age, and the sex of a few individuals was ambivalent or contradicted the name on the coffin plate. Even the scaffolding of the skeleton, symbolic of the core of a structure or being, can be hard to pin down. Similarly, when the remains of Richard III were discovered in Leicester, there was some initial uncertainty whether the skeleton was female. Male and female are, after all, subject to great variation, just as the easy opposites of life and death themselves are the two poles of a process, rather than the certainty of an instant. There is liminality, unsureness, the threshold of the tomb, the mirror held against the lips for breath.
A further aside from Spitalfields: for those writing horror, it appears eighteenth-century dentistry would be a good place to start. The grin of a Halloween pumpkin, after all, does not have real teeth from other corpses wired in to fill the gaps.
And on that note, I'm done. I hope I've made the odd shiver run down someone's spine. Reciprocate, and tell me what I've missed.
Every Class Battlefield One, Analyzed (Part I: The British Empire)
With nothing to do in these rough times, I've decided to help out this community by analyzing every single class from each faction in Battlefield 1 by going over their uniforms and what each class represents. Keep in mind that each class is created for the sake of representing a specific division from the faction they're apart of, from their race, to their uniforms, their equipment, etc. This is confirmed in the Battlefield 1 Artwork Book published by Dark Horse. With that in mind, I'll be going over every class affiliated with the British Empire from both the base game and the Turning Tides DLC and what each one represents. Enjoy!
(Note: Almost all of the Classes appear to be wearing the same exact uniform, with the Medic and the Scout from the Turning Tides DLC wearing different uniforms with similar gear. I will not be covering the Vehicle Classes or the Elite Classes as, well honestly it's too much work and I'm lazy, so I'm just doing the basic infantry classes and calling it a day. Another thing worth mentioning is that The Royal Marines will be getting their own dedicated post as their technically a separate faction (even though they're British))
(Edit: Forgot to mention, the support class for all the factions just represent the standard infantry for all the factions. Their only representation is the experimental gear both the allies and the central powers made, with the Russian Empire, the Red Army, British Army (Turning Tides DLC), the Royal Marines, and maybe the Ottoman Empire being the exception, as they don't seem to have any experimental gear.)
(Edit 2: I have made some modifications to this post to make things a bit more accurate to what historical information I wanted to inform. I have made a few mistakes on this post and I wanted to fix them by editing in the information and editing the links themselves. Hopefully the info on this post is more accurate than what I provided upon launch. Again, with all being said and done, enjoy!)
Assault (Base Game)
The British Assault appears to represent the basic standard British Infantry, wearing a Mk.1 Brodie Helmet with Denim Cloth Helmet Cover with the standard issue British 1902 Pattern Service Dress tunic and trousers. As for equipment, he seems to be equipped with a Webley MK. VI Revolver Holster, a Pattern 1908 Small Pack, a Pattern 1908 Webbing Ammo Pouches, and a British MK. VII Respirator Bag. His scarf I can't exactly identify, unfortunately. This personally was a bit difficult to analyze, so if I messed anything up, please let me know.
Assault (Turning Tides)
The British Assault from the Turning Tides DLC appears to represent the Standard British Infantry, wearing a standard khaki cap with a cover that gives it a lighter tan, with a neck curtain to prevent sunburn. This was extremely common by British Troops when they were fighting in the desert throughout the war. As for the torso and legs, he seems to be wearing British 1902 Pattern Service Dress Tunic and trousers?
Medic (Base Game)
The British Medic from the base game represents the Sikh Indian Troops from the British-Indian Colony during World War 1. Plenty of these were station in Europe in the Western Front and in German East Africa in the Middle Eastern Theater to face off against the German Empire in World War 1. His uniform is the same as the Assault Class and the hat he's wearing appears to be a Sikh Turban. He appears to have a Pattern 1908 Canteen and WW1 British Hospital Crutches with an unknown Crutches holster. As for the Cloth wrap around his torso, I have no idea. I've looked everywhere and I can't get any info regarding what that piece of cloth is. If anyone knows what it is, please let me know.
Medic (Turning Tides)
The British Medic from the Turning Tides DLC appears to represent an ANZAC soldier. His Slouch Hat supposedly is there to make him represented as an Australian Soldier, although New Zealand soldiers wore a different hat. His torso is I can't really identify, but his pants are the Pattern 1908 Trousers. He appears to have the same equipment as the British Medic from the base game
Support (Base Game)
The British Support from the Base Game appears to represent and standard British Infantry. His helmet is a British Experimental Cruise Visor Steel Helmet, with his uniform being the same as the Medic and the Assault class from the base game. He appears to have a UK Pattern 1903 five pouch Leather SMLE Cavalry Bandolier with a World War 1 British Rain Cape, a Pattern 1908 Small Pack, a Pattern 1908 Entrenching Tool Holder, and British Pattern 1914 Leather Ammo Pouches.
Support (Turning Tides)
The British Support from the Turning Tides DLC appears to represent the standard British Infantry, much like the Assault Class from the Turning Tides DLC. He's wearing a Wolseley-Pattern Pith Helmet. Again, much like the Assault Class from the Turning Tides DLC, he's seems to be wearing the British 1902 Pattern Service Dress Tunic and Trousers, although I could be wrong. As for gloves, he seems to be wearing A.E.F. Gloves with a White Color? The Bullet belt he's wearing I can't identify. But the one thing I can identify is that he appears to have British Pattern 1914 Leather Ammo Pouches.
Scout (Base Game)
The British Scout from the base game represents the Black Britons. His helmet is a Standard Mk.I Brodie, with his uniform, much like the other three is the Pattern 1908 Service Dress Uniform, but his cape is a World War 1 British Rain Cape. His Equipment is Webley MK. VI Revolver Holster, a Pattern 1908 Small Pack, a Pattern 1908 Webbing Ammo Pouches, and a British MK. VII Respirator Bag.
Scout (Turning Tides)
The British Scout from the Turning Tides DLC supposedly represents the King's African Rifles (KAR), however the hat he's wearing in inaccurate as the real KAR's wore slouch hats and this one appears to be wearing a World War 1 US-Army Campaign Hat...
The Torso is just Pattern 1908 Service Dress Tunic with British Khaki Drill KD Shorts. The uniform overall is accurate, with the hat being the least accurate. His Equipment is the same as the British Scout from the Base Game.
And that pretty much wraps it all up for the British Empire and what gear and uniforms they wore. The faction I'll be doing next will be the German Empire. If I messed anything up, please let me know and I'll try to fix it. Since this is my first time trying something like this, any advice and criticism is welcome. With that being said, I hope this was helpful and I hope you enjoyed it!