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uboat53 · 2 years

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My Dream Total War Game: Part 1

Well, I've had a solid go of Total War: Warhammer III having played several races and I'm just waiting for Immortal Empires to drop. I suppose it's time to do the big project I've been thinking about for a while, what would my dream Total War game look like?

To start with, I've been thinking back to the previous games in the series. I've played every single Total War title except the original Shogun, Napoleon, and Thrones of Britannia, so I think I've got a fairly good background. Each one of them introduced something cool or different to the series, so let's take a look at those things

Here's what I really liked that I associate with each of them:

Medieval: Total War

My goodness, the original for me. I still love this game, though I am glad that we've moved away from that tile campaign map. One thing I remember about this game was being able to assault the gates of a castle even without building siege equipment. Infantry could undermine the foundations, scale walls, and attempt to torch the gates. It was way less efficient than building or bringing along real siege equipment, but there are times when you just need to take the dang thing and this option was great to have in your back pocket.

Princesses were also great. They weren't just pictures on a family tree that meant very little, they were very real agents in the campaign and that really brought the socio-political side of the game to life.

Finally, I loved the religion aspect of this. Fighting a war with troops and diplomacy is one thing, but adding religion to your arsenal really added another dimension to it. Being able to influence the Papacy as a Catholic faction especially was a ton of fun.

Rome: Total War

Oh my (George Takei voice), the realistic campaign map and 3-D units. I never want to play without those again. Definitely have to be a part of any perfect TW game.

Rome was also the first game with real diversity in factions. I mean, in Shogun the factions pretty much all use peasants and samurai and in the time period of Medieval the mounted knight is pretty much the main unit on the battlefield that all factions build their armies around. In Rome, by contrast, each faction has a very unique way of making war that forces different strategy and tactics than any other faction. The Romans have the legion, Greeks have hoplites, Macedonians have pikes, Gauls have warbands. Each one of those brings a totally different flavor to how they play and I love it.

Other than that, I miss the trade system. I liked it when a trade agreement meant that any territories that could trade with each other would do so instead of this new capital to capital link.

Medieval II: Total War

There's nothing quite like the feel and fanfare of medieval warfare and there were three things in particular from this that I'd want in a perfect TW game. The first is the synchronized kills, where the animation of an attacking unit matches the death animation of the unit it's attacking. Sure, I spend a lot of time zoomed out and issuing commands to the army, but there's nothing like zooming in and actually seeing dozens of men directly interacting with each other instead of just using stock animations without regard for one another.

The next one is the individualized units. Making different men in the same unit look unique was amazing and I was surprised at how well they were able to manage it. And, taking off from that…

…is my next point, the visual impact of armor and weapon upgrades. You see, Medieval II didn't just have armor upgrade by colors (upgrade to the bronze, then the silver, then the gold), it had types of armor. Leather, Padded, Lamellar, Light Mail, etc that were made in different kinds of facilities. Different kinds of units started with different types of armor and could only be upgraded to types of armor that made sense for them to wear. More importantly, you could SEE the change when you went into battle. Line infantry with heavy mail or partial plate LOOKED different from the same unit with light mail. This is a feature I'd really love to see again.

Empire: Total War

NAVAL COMBAT! I mean, seriously, the age of sail. No other TW game has done naval combat as well since and it's a feature I really want to see again (particularly in the Warhammer games, how do we have Vampire Coast and Druchii without naval combat?).

This was also the first TW game that featured automatic replenishment of units which is definitely a feature I would have to have in my perfect game.

I'm still not 100% sure I like not being able to just build every building in a single city given enough time, but I really loved the fact that not all buildings in a territory were in the central settlement and that new cities would spring up in a territory over time with enough growth. It made the provinces/territories more of a strategic battleground when you couldn't just retreat to the city and hole up while the enemy ran all over the place without accomplishing anything.

There's also the settlement garrisons. It was so nice having at least a rudimentary defense in place even if I didn't put an army in every. single. city. They've been balanced differently in different games to various results, but I think any TW game from now on needs them.

Finally, dismountable cavalry. There are so many situations where it would be more useful to take my guys off of horseback, so why can't I do it anymore?

Shogun 2: Total War

Shogun 2 for me is all about the multiplayer. I loved the clans system, I loved the progression system, and my favorite part was how you could save a veteran unit from your battles and customize it. No more nameless, faceless armies, I want my personal troops again!

Rome II: Total War

Let's face it, the combined land and sea battles really gave the navy its punch in this game. The ramming of sea battles was fine, but being able to use your ships and their full crews on land made them ten times as valuable. That would absolutely be a part of my perfect TW game.

Total War: Attila

Attila, more than any other TW game really had a strong feel. The world was getting colder and civilization was falling apart and it FELT like that was happening all around you. I'm not 100% sure how you would get that level of theming in another game, but I want it!

Total War: Warhammer, Warhammer II

So for me these are in the same boat, Warhammer II was a great improvement over Warhammer, but for me it didn't do anything new that Warhammer hadn't already done, it just did the things better. That said, I liked the single entity units and I liked the monstrous units, they really added some difference in gameplay. I also liked the magic which really opened up a ton of tactical and strategic options.

These games also brought in unique faction mechanics, different kinds of machinations and strategies that each faction could employ, further differentiating them beyond even their unique unit rosters and building trees.

Total War: Arenas

This one never officially launched and it wasn't even an official Total War thing by the end of it, but I love it so much I'm going to talk about it anyways.

Arenas was the greatest multiplayer experience I've ever played in any game ever. The gameplay was set up so that you controlled three units in an army with nine other players against an enemy army of ten. You had to cooperate over a divided battlefield in order to secure victory either by destroying all enemy units or by capturing their flag.

I'm sure there'd be a ton more work you'd have to do in order to get this to work and you'd probably want different modes because how often do you have 20 players at a time, but it was the coolest TW experience I've ever had and I really want to see it again!

Total War: Three Kingdoms

My goodness, the diplomacy. Give me the diplomacy system. This was the single most refreshing TW title I have played in a long time and it still holds a special place in my heart because of this. Yes, other titles since have used the diplomacy system to some degree, but in Troy and Warhammer a lot of the faction relations are hard-coded in. In Three Kingdoms the alliances and confederations can shift in a heartbeat, completely changing the shape of the campaign.

The way the diplomacy system interacted with the character relationships was also brilliant in that it allowed a real connection to your generals and officers. They were no longer just cogs in a machine, they had likes and dislikes and developed friendships and rivalries over the course of the campaign. It was great!

The personalities were also fantastic because they hooked them up to the play style. A brash and aggressive character would genuinely play in a brash and aggressive way which led to whole new level of strategic planning.

I also really like the idea of an army being composed of multiple generals and their retinues. This worked really well with the relationship and personality system, adding new depth to the campaign where you had to work to ensure that you composed armies not just with generals who complemented each other well, but also who got along well enough to work together.

Total War: Troy

I liked the mythological elements of this a lot. They weren't overwhelming, but it was just really cool to see a huge man dressed as a cyclops on the battlefield. It was impressive enough to be cool but still within the bounds of reason so it didn't break historical verisimilitude.

The other thing I really liked about this one was the currency system. It was really fun putting together the different pieces in order to buy what you needed. Three Kingdoms started this a bit with their food mechanic, but Troy took it to the next level and it was a great feature.

Total War: Warhammer III

Warhammer III separates itself from I and II based on one thing only, the Warriors of Chaos rework that's being prepared for the launch of Immortal Empires. You see, this rework has something I've been wanting from a TW game since I first started playing them back in 2001, the ability to upgrade a unit to a better type instead of having to disband it and recruit a new one. It's great, it's fantastic, and I'm super looking forward to getting to use this feature.

Conclusion

So yeah, that's what I love about each of the games and what I'd put in my perfect Total War game. The thing is, though, there's still some stuff that I've seen in other games that hasn't made it into a TW game yet. I'll do another rant in a bit with some of those things.

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twilightcitadel · 15 days

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Top 5 Best Medieval Strategy Games

Using our carefully curated selection of the top 5 greatest medieval strategy games, take a trip through time and immerse yourself in the epic realm of medieval conquest. For aficionados of the genre, these games provide unmatched depth and excitement, from leading powerful armies to creating expansive empires. Prepare to be astounded by the majesty and difficulty of these medieval masterworks, regardless of your level of experience as a tactician or your potential as a strategist.

Crusader Kings III

In Crusader Kings III, you yourself in the position of a medieval monarch and negotiate the perilous political, scheming, and combat situations. This expansive strategy game, created by Paradox Interactive, features a rich tapestry of dynastic intrigue against the backdrop of medieval Europe. You will make alliances, set up marriages, and plot your path to power as you lead the dynasty of your choice through the years, all the while fending off rival nobles and outside dangers.

I love playing strategy games and medieval history, and Crusader Kings III provided me with an immersive experience unlike anything else. I became engrossed in my dynasty's destiny, excitedly arranging connections and marriages to preserve my family's heritage. My interest was piqued for hours on end by the complex character interactions and dynamic events, and I felt a great feeling of success when my dynasty succeeded.

Both reviewers and gamers have praised Crusader Kings III extensively, praising its richness, intricacy, and compelling narrative. It is evident from the game's highly positive rating on sites like Steam that players admire the replayability and attention to detail in the title.

Platforms: Steam, Playstation Store

Stronghold Crusader II

In the real-time strategy game Stronghold Crusader II, you take leadership of forces fighting for supremacy in the Holy Land. Feel the heat of combat. This Firefly Studios-created follow-up to the renowned Stronghold Crusader offers additional units, better multiplayer features, and better graphics. It also expands upon the formula.

Stronghold Crusader II's difficult gameplay and evocative setting took me back to the Crusades. It was thrilling to lead legions of knights and siege engines against my enemies, and the added strategic element of building and fortifying my own castle made the experience even more engaging. Stronghold Crusader II captivated me, whether I was playing it alone or in online competition with pals.

Fans have praised Stronghold Crusader II's upgrades and expansions for fixing bugs and introducing new content, despite the game's initial mediocre reviews. It's evident that Stronghold Crusader II is still a highly regarded game in the series because there is a devoted player base that is still active today.

Platforms: Steam

Mount & Blade II: Bannerlord

The much awaited follow-up to the beloved Mount & Blade series, Mount & Blade II: Bannerlord, transports players to a world of swords and sieges. In this dynamic sandbox world full of chance and peril, you can carve out your own road to dominance in this medieval action-RPG, developed by TaleWorlds Entertainment.

I was impressed with Mount & Blade II: Bannerlord because of its expansive universe and flexible gameplay. The game gave me a degree of freedom not often found in games of this kind, whether I was commanding my soldiers in combat or negotiating with other factions. I will never soon forget the excitement of starting from zero and watching my own business grow.

Fans have praised Mount & Blade II: Bannerlord for its vast world and intricate gameplay mechanics, even if it is still in early access. The game has received excellent reviews overall, despite some criticism of its development, and users are looking forward to more updates and enhancements.

Platforms: Steam, Playstation Store

Age of Empires II: Definitive Edition

Age of Empires II: Definitive Edition is a remastered version of the well-loved RTS classic that allows you to relive the splendour of the Middle Ages. This definitive edition of Age of Empires II, created by Forgotten Empires and released by Xbox Game Studios, features amazing 4K graphics, improved audio, and an abundance of new content to bring the game's classic gameplay to contemporary audiences.

Being one of the first strategy games I ever played, Age of Empires II has a particular place in my heart. My expectations were far exceeded by the Definitive Edition, which added contemporary enhancements while keeping the allure and captivating gameplay of the original. Age of Empires II: Definitive Edition is still a mainstay in my game collection, whether I'm playing through old campaigns or taking on friends in multiplayer.

Both critics and players have lauded Age of Empires II: Definitive Edition for its accurate replication of the old game while adding contemporary features. It's evident that the Age of Empires fanbase is still as fervent as ever because of the game's extremely good rating on websites like Steam.

Platforms: Steam, Microsoft Store

Total War: Medieval II

In Creative Assembly's critically acclaimed strategy game, Total War: Medieval II, you can lead armies to victory and alter the course of history. In this expansive real-time strategy game set in the turbulent Middle Ages, players take control of well-known groups like France, England, and the Holy Roman Empire in their struggle for dominance over Europe, the Middle East, and beyond.

I was enthralled by Total War: Medieval II because of its strategic depth and epic scale. The game provided an immersion level that was unsurpassed by other games in the genre, from controlling economies and cities to planning large-scale wars involving thousands of warriors. Every choice seemed significant and important, whether it was to fight faraway empires or form agreements with nearby nations.

Both critics and players have lauded Total War: Medieval II for its rich gameplay mechanics, historical realism, and engrossing atmosphere. The game remains a popular classic among strategy fans, with a committed modding community producing new content and experiences.

Platforms: Steam, App Store, Google Play

Forge Your Destiny

The age of conquest awaits you when you have these top 5 greatest medieval strategy games at your disposal. For every couch general and aspiring monarch, this has plenty to offer, whether of whether they are more drawn to the grandeur of dynasty politics or the excitement of epic battles. So prepare to carve out your own position in history by marshalling your forces and resources. You have the task of taking over the medieval world!

My Own Dark Fantasy Realm

Hi there, fellow fans of dark fantasy! Thanks to your unflinching support, our blog—which is packed with tales and inspirations of dark fantasy—is making waves on TikTok, Pinterest, and YouTube. Even more thrilling is the fact that we're creating a captivating Trading Card Game to further engross you in Twilight Citadel's eerie mysteries. Explore the depths of the shadows with our website, where you can get eerie yet lovely phone wallpapers and posters. Furthermore, we've got you covered with free resources like desktop wallpapers and profile pictures to make sure your gadgets are brimming with eerie fantasy atmosphere. Come along with us on this surreal adventure, where fears come true and shadows dance. Are you prepared to welcome the gloom?

#medieval games #fantasy games #medieval #fantasy #medieval fantasy #strategy games #rpg games #video games #games #gaming #pc games #top 5 #Crusader Kings III #Total War: Medieval II #Mount & Blade II

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matan4il · 16 days

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Memo to the 'Experts': Stop Comparing Israel's War in Gaza to Anything. It Has No Precedent | by John Spencer

Israel's war against Hamas in Gaza has inevitably drawn comparisons to other battles or wars, both modern and from the past. These comparisons are mostly used to make the case that Israel's operations in Gaza are the most destructive in history, or the deadliest in history.

Yet while the use of historical analogy may be tempting for armchair pundits, in the case of Israel's current war, the comparisons are often poorly cited, the data used inaccurate, and crucial context left out. Given the scale and context of an enemy purposely entrenched in densely populated urban areas, as well as the presence of tunnels, hostages, rockets, attackers that follow the laws of war while defenders purposely do not, and proximity between the frontlines and the home front, there is basically no historical comparison for this war.

Let's start with the context: After Hamas crossed into Israel on Oct. 7, murdering over 1,200 Israelis in brutal ways that included mutilation and sexual assaults as well as taking over 200 hostages back into Gaza, Israel formally declared a defensive war against Hamas in Gaza in accordance with international law and the United Nations charter. Since, the IDF estimates it has killed 10,000 Hamas operatives, while Hamas claims that the total number of casualties is 24,000 (Hamas does not distinguish civilian deaths from militant deaths).

Hamas' strategy is to use Palestinian civilians as human shields, because their goal is not to defeat Israel's military or to hold terrain; it is far more sinister and medieval—to use the death and suffering of Palestinian civilians to rally international support to their cause and demand that Israel halt their war.

Meanwhile, Israel's war aims were more traditional: returning Israeli hostages, dismantling Hamas military capability, and securing their border to prevent another October 7 attack.

These goals required not one major urban battle but multiple. While Gaza is not the densest populated urban region on earth as many claim, it features over 20 densely-populated cities. And while the Israeli Defense Forces are engaged in fighting, Hamas has continued to launch over 12,000 rockets on nearly every day of the war from the combat area toward civilian-populated areas in Israel, literally over the heads of the attacking IDF, who it bears mentioning are fighting just a few miles from their homeland and the homes of their soldiers.

Put all of this together, this war is simply without precedent. Certainly, it cannot be compared to the host of other wars that have been used for comparison sake to paint Israel in an unflattering light.

Some have compared Israel to Russia, yet there is simply no comparison. In the 2022 Battle of Mariupol, estimates of the number of civilians killed range up to 25,000, including 600 civilians killed in a single bombing of a theater with the word "children" written in giant letters around it. This is the same Russia that killed over 50,000 civilians (5 percent) of a 1.1 million pre-war population of Chechnya in 20 months of combat in the late 1990s in multiple major urban battles such as Grozny.

Or take Syria. Over 300,00 civilians have been killed in the Syrian war; an average of 84 civilians were killed every day from 2013 to 2023.

Others have compared the battles in Gaza to World War II air campaigns like the UK bombing of the German city of Dresden in 1945 that killed an estimated 25,000 civilians. But here, too, memory is selective: These same people discount air campaign cases such as the U.S. firebombing of Tokyo the same year that killed over 300,000 civilians, to include 80,000 to 100,000 civilians in a single night, causing more death and destruction than Dresden, Hiroshima, or Nagaski.

A battle that does bear a resemblance to Israel's war against Hamas is the 1945 Battle of Manila—the largest urban struggle of World War II, with more civilian casualties incurred than even the Battle of Stalingrad. The city had a population of 1.1 million residents as well as over 1,000 American prisoners of war being held in the city. It took the U.S. military 35,000 forces and a whole month to defeat 17,000 Japanese Navy defenders in and around the city.

Like in Gaza, the defenders used the city's sewer and tunnel systems for offensive and defensive purposes. And there were over 100,000 civilian deaths from the battle—one of the major factors of the 1949 Geneva Conventions, which stipulated the laws of armed conflict to further protect civilians and prevent civilian deaths.

Most experts compare the Gaza war to the recent urban battles against ISIS involving United States forces, including the 2016-17 Battle of Mosul. In that battle, over 100,000 Iraqi Security Forces, backed by American advisors and U.S. and coalition air power, took nine months to clear a city of 3,000 to 5,000 lightly armed ISIS fighters. The battle resulted in over 10,000 civilian deaths, 138,000 houses destroyed or damaged and 58,000 damaged with 40,000 homes destroyed outright in just Western Mosul. Iraqi Security Forces suffered 10,000 casualties. There were very limited, shallow, house-to-house tunnels, but no tunnel networks, no hostages, no rockets.

In April of 2004, the U.S. military was directed to arrest the perpetrators of an attack that caused the death of four American civilians and deny insurgents sanctuary in the densely populated city of Fallujah, Iraq, a city of 300,000 residents. The battle that ensued was later dubbed the First Battle of Fallujah. Because of international condemnation and political instability fueled by international media over a perceived indiscriminate use of force and civilian casualties, the U.S. forces were ordered by the U.S. Central Command Commander to stop the battle six days into it.

Estimates of the total civilian deaths from the battle range from 220 to 600. Six months later, in November 2004, the U.S. military initiated the Second Battle of Fallujah. It took 13,000-15,000 U.S., UK, and Iraqi forces six weeks to clear the city of 3,000 insurgents. There were some 800 civilian deaths even though the city's residents had largely evacuated before the battle. Over sixty percent the city's buildings were damaged or destroyed. But there, too, the enemy defenders did not have access to tunnels.

Ultimately, comparisons with both past and modern cases highlight the fact that there is almost no way to defeat an entrenched enemy defender without destruction, even while implementing all feasible precautions and limits on the use of force required by the laws of war.

Let's put away our military history books. There is no comparison to what Israel has faced in Gaza—certainly none by which Israel comes out looking the worse.

John Spencer is chair of urban warfare studies at the Modern War Institute (MWI) at West Point, codirector of MWI's Urban Warfare Project and host of the "Urban Warfare Project Podcast." He served for 25 years as an infantry soldier, which included two combat tours in Iraq. He is the author of the book Connected Soldiers: Life, Leadership, and Social Connection in Modern War and co-author of Understanding Urban Warfare.

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natalieironside · 9 months

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I was very disappointed in the Britannia xpack for Medieval II: Total War as a teenager because they called it Britannia and put the Sutton Hoo helmet on the box and then I installed it and they were like "You're a Norman and it's time to go fight the Irish"

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kingdoms-and-empires · 6 months

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Oh Brother , as a fellow Total War enjoyer I know your pain all too well.

To distract from the pain, which were your favorite TW games? Personally loved Shogun 2/FotS n Med II until Warhammer II stole me away. Been back playing them recently and ughhh I've missed it.

Especially Naval bombardments. Love them.

You know, weirdly enough, I actually started not playing the series once Warhammer was introduced. I know it brought alot of players to the franchise, but there was a noticeable shift that sorta turned me off to the series.

As for favorites, Shogun 2 remains as my fav as it lets you have armies without a lord or general to guide them, while still looking amazing.

All time though, has to be either Rome 2 or Medieval 2. Medieval 2 for the mods, but its so outdated now that the graphics and shit controls affect me now lol

Rome 2 with the mod Divide Et Impera however is amazing. The battles feel great.

I thought i would use the franchise to help me with Kingdoms and Empires but I actually find myself going to Mount and Blade Bannerlord to see cities and towns, and the battles. Gives a good idea of what i can write and describe while walking thoughout the city or battlefield.

#kingdomsandempires #interactive fiction #questions #total war #mount and blade

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maltacus · 10 months

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My Dread Lady Total War

The story My Dread Lady was initially supposed to be sort of linked to a campaign in Warcraft Total War, which is a mod for Medieval II Total War. It turns out that writing takes a...heck of a great deal of time, so I didn't really get around to actually playing it. But now I am mostly finished with the unit stats modding, with multiple hit points units based on their Warcraft III stats and several main characters added. After finally playing through a test campaign most things work decently, I think.

Here is the main cast as they appear in game format.

The Dark Lady and her personal squadron added as retinue.

Her newly acquired ranger mage. The friendly Jaina Proudmoore can make friends among the gloomiest of Forsaken.

Her bodyguard back in Theramoore is likely to be less pleased with her whimsical ideas of getting herself kidnapped to cruise the seas to Lordaeron.

The stalwart and always serious Ranger Captain Areiel will never irritate Sylvanas with remarks about how the mage kid needed a nap and wonder if that was why the Dark Lady kid-napped her.

In her absence, Sylvanas has left Lordaeron in the steady hand of her trustworthy and reliable chancellor.

Knightliest of knights and chivalry personified, ze stature and legendary accent of Baron Frostfel leaves no spectator untouched. Zis Scourge or Scarlet rabble shall not zlow us down! It is a portrait I modified from a human knight, zat is ze only worthy way of depicting ze good baron.

#warcraft 3 #total war #warcraft forsaken #sylvanas windrunner #jaina proudmoore #sylvaina

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horizon-verizon · 8 months

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The audience is inclined to empathize with Rhaenyra being denied the Iron Throne because of her gender. The twist is, she’s an absolutely godawful monarch, as bad as the unworthy Aegon II. The second of this one-two punch is that it’s quite obvious from the beginning of “The Blacks and the Greens” that she is exactly this sort of terrible person. It plays on the audience’s sympathy. Then, you have the competing legal succession traditions (muddying the waters of the straight interpretation of the Aegon II/Rhaenyra conflict) that Viserys deliberately mucked up and the tragic nature of the Dance is revealed; it could have all been avoided had Viserys I just thought things through. The Dance was avoidable, but Viserys didn’t care enough to avoid it. It’s Martin’s views on conflicts like the First World War, where a generation destroys themselves for something that’s ultimately unworthy and futile.

I can respect it for the attempt even if I thought the execution wasn’t up to snuff and the poor characterization and plotting of the war kept me from immersing myself.

A response to this post and all those about Rhaenyra's fall that came before.

In medieval times a woman could not bear arms; therefore a woman could not take on a role which, even symbolically, required her to carry arms. In medieval times a woman who took on an overt military role was an aberration. Lyon, A. (2006). The place of women in European royal succession in the middle ages.

And I talk about female rulership/leaders and the conceptions around them HERE.

I find it funny how you don't specify where in "The Blacks and the Greens" Rhaenyra showed herself truly incapable of being at least a so-so ruler. Funny how in the denial of her being at least a so-so ruler, Aerys I, Jaehaerys II, Daeron I, and Baelor I (these last two who had their uncle Viserys II and Elaena Targaryen actually be the people to spearhead and maintain much of their rule for them), you completely ignore how there have always been so-so male rulers. Funny that if your argument--by bringing up her in the first black council and Rhaenys, Celtigar, Daemon, etc were the ones mainly deliberating--you think that she's letting people decide for her instead of her agreeing to their proposals OR that other kings/heirs in the Targ dynasty have not done the same (the list of men I already gave) who were themselves so-so. I just think that is funny of you, anon.

You may not like the fact that a person who went through a stillbirth and two older children's deaths through violence. You may not like that the Dance centers on a woman pressing for power/has one as its protagonist after all the other Targ women being pushed to the side (succession or just treated as threats, i.e., Queen Dowager Rhaena) or supporting a man's claim. Or officially thought of as "subordinate" to the ruling man (Queens Visenya and Rhaenys). That she was legitimately given access to a position of power blocked from women since the beginning of the dynasty. That there is no substantial, logical reason why she shouldn't have that power or right to it. That's on you, anon.

I don't really care that you think that people feeling for Rhaenyra's plight is a "cheap" sympathy trick to "trick" us into thinking she is faultless or that she's 100% at fault for her death and loss of power. I don't live a blind life. If you can't "immerse" yourself because you cannot see the misogyny and how it overtakes and defines every action people took against Rhaenyra, you're either a woman with a lot of internalized misogyny, or a very privileged man. Or an enby who lived as either at one point and hasn't totally gotten rid of it. Privileged people or those who faced a lot of misogynist abuse, who try try to "solve" it by totally ignoring feminist critiques of patriarchy tend to have major blind spots in how society will treat a woman, diminish the reasons why she receives unfair critiques, etc.

The point of the Dance narratively was to give a historical context for Dany, show where & how Targ power truly declined, and its connection to the denigration and diminishment of female leadership. Using the personality of a woman to argue she should not rule before she actually does anything stupid or amoral and not doing the same for the men is misogynist.

Viserys yes didn't prepare her as much as a king would their sons....that should tell you how even fathers can be affected by misogynist double standards (men fight, women stay behind bc men are biologically stronger). And this definitely makes her less strategic (as a Watsonian answer). But one doesn't even have to be a fighter to be a so-so/good leader, and Maegor the Cruel proves that. Plus, if we were to stay with your argument, shouldn't this lessen the blame on her when you assigned most of it on her father in the first place?

If you truly think that Rhaenyra's fall had nothing to do with misogyny or that misogyny only played a small role in her fall, that it was all her fault, you have the option of just blocking me because you're not going to get a concession about this. Rhaenyra may have made bad choices, but most of them were either things most nobles--man or woman--would do, already have done--and mainly at an even worse time/place--or they came about because other persons intentionally made critical measures to debilitate her ability to improve the lives of the Kingslanders and herself (rumors, Shepherd's "sermons" at a time where fear was heightened, and stealing of treasury). All of this began with Alicent and the greens decision to use patriarchal feelings against female leaders who have such power through their own right instead of a son or husband. (Even male heirs have bestowed heirship through their father's words customarily. The problem was that they did not want a woman in the same circumstance.)

Her going after the dragonseeds and her decisions regarding Rosby & Stokeworth were those choices that were true errors (short term and long term) on her part while also being made under extreme pressure and conditions. It is only her blood purist/misogynoir against Nettles that truly makes her morally deserve not having power. Alicent and the greens also are morally AND made terrible choices either out of rage or spite in critical times or for merely self-serving reasons. Yet Rhaenyra is the person dragged for the accusations of such, showing a double standard.

The Dance showed the wrongness of not how one rules, but how wrong it was to block women from the same positions of power as men have had for centuries. Point blank, period.

*EDIT* (8/21/23):

THIS is a great post by @mononijikayu about medieval queens, female rulers, the history of how women in leadership positions were made and seen as threats to the very structure of social "order", and contextualizing Rhaenyra thru Empress Matilda. I didn't even know about Matilda's husband being comparable to Rhaneyra's Daemon! PLZ READ!!!!

Excerpt:

just as much, along with these fictitious portrayals, more lies are depicted. these women are considered vixens that cause havoc to men by shifting them into desires and danger. through the written word, we see how women are cast in roles of villains in men’s lives. it is because by their conclusive thoughts, women are the only creatures that are able to turn ‘good honorable men’ into despicable creatures who do shameful, deplorable acts for the sake of women’s pleasures. it is within this narrative that ancient chroniclers declare that women were in fact the doom of men. if they were not able to control the dangers posed by the wiles of women, then the foundations of the mighty society they had built would be up in flames. [...] as i mentioned, these factors of community are written down and preserved. and with that, the example of the ancients were the foundations by which medieval society built itself. the same concepts continued to cause the same issue within society and that was the exclusion of women from participating in the bigger picture of community and state, much so with governing states in their own right—without judgment or disapproval.

#rhaenyra targaryen #rhaenyra's characterization #asoiaf asks to me #fandom misogyny #fire and blood #fire and blood characters

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redwolf17 · 8 months

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I love Bel So Much, I can see why you wanted to spend so much time writing her she’s such a fascinating and nuanced character and she gives such an interesting perspective on the world you’ve created!

🥰🥰🥰

Thank you!!! Hilariously, the end result of 20,110 words (!!!!) was still me holding back!

Most of what Olyvar was doing during the initial BOOM! period will be referenced or maybe a brief flashback in Olyvar II, because I realized in the panic and chaos Bel would NOT be paying attention to a dude halfway across the square, or be able to hear much of what he was saying.

Bu’s entire family was supposed to come to the parade and be part of the manhunt, but I realized it was wayyyyyy too many people to keep track of, so they won’t be popping up until Bel II. Here’s the prose I cut, since I can’t use it for their later appearance anyway.

There were his sisters, Feiyan, just turned fourteen, whistling through the gap in her teeth and hanging off Bu's arm, and pretty Changxu, five-and-twenty, her belly swollen with her first child. Her husband Pate the butcher took her by the hand, smirking whilst Hubard scowled. Whether Hubard had bedded Changxu before or after she wed, Bel would never know, but she did know that Pate had once chased Hubard all the way down the Street of Silk while waving Zhi's largest rolling pin. Unluckily for Pate, Hubard ran very, very fast.

Then there were the cousins. Widow Zhao looked as tired as ever, with a girl of three clinging to one hand and a boy of four clinging to the other. The gods had not been kind; the grippe had taken her husband, a YiTish spice merchant, his younger sister, and the wife and children of her husband's elder brother. Her own brother Fei, strong and steady, kept close to Zhao; he'd been betrothed to her goodsister before she died.

Yin was filling Feiyan's ear, speaking rapidly in YiTish; the girls were much closer to each other than Yin was to her sister Jieyu. Zhi had disowned her for marrying a mere porter, and only welcomed her back after the bloody flux took Bu's father Hui, who had been Zhi's favorite and last living child. Jieyu still hadn't entirely forgiven Yin for abandoning her; she spoke only to her husband Donnel, and to their six-year-old son, who rode on his father's shoulders, the grippe having badly weakened his lungs.

Zhi had stayed behind, of course, as had Bu's mother, Yuan, and Zhi's youngest grandson, Yue. A pimply boy of fifteen, he doted on his grandmother so much that even the easygoing Bu had once dared to say that his cousin's groveling was unseemly.

Also, I had a whole backstory in my head about how Zhi’s children married fellow YiTish spouses, but most of her grandkids didn’t/couldn’t, because the entire YiTish community in King’s Landing is like, 40 people total. Medieval people did NOT move or travel much, they were for the most part extremely local, with limited exceptions being a small subset of merchants, sailors, nobility traveling for fun (very rare), or exiles fleeing war/regime change/natural disasters.

#the weirwood queen #always enjoy a good ask

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literary-illuminati · 1 year

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Okay so this is absolutely not a, like, substantive issue with the Bright Ages so much as just me bitching about something personally annoying to me. But like

There's a whole chapter organized around Eleanore of Aquitaine as an example of how powerful medieval women existed and have been forgotten by popular history (and really, Eleanore of Aquitaine? Forgotten? I would bet literal money more people recognize her name than her husband's).

But also, there's just this casual off-hand mention of how before Henry II rose to power there was something called 'the Anarchy' and he was insecure and desperate for legitimacy.

And like, yeah, I'm sure that when you're talking about the sort of influence elite woman could have in high medieval England the fifteen-year-long civil war over whether a woman could inherit the kingdom in her own right totally isn't worth talking about.

#the bright ages #Matthew Gabrielle #David M. Perry #history #tht

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aloneinstitute · 1 year

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Olite Castle (Palacio Real de Olite), Navarre, Spain 🏰🇪🇸

The Royal Castle of Olite (Palacio Real de Olite) is a former castle of the kings of Navarre, situated in northern Spain.

Olite castle symbolizes the unique character of the Navarre monarchy in the late medieval period, open to Europe through its interests in France and in contact with the other kingdoms of the Iberian Peninsula.

The first castle, designated the ‘palace of the kings of Navarre’ in 13th-century documents, had been laid out at an unknown date on the site of a Roman praetorium of the 1st century AD; only its outer walls survive, with some Roman foundations, now incorporating the Parador de Turismo.

Olite castle served as a residence for the governors during the kings’ long absences in France, but with the accession of the Evreux dynasty (1328) it became a favourite royal seat, owing to its pleasant climate and position in a rich wooded valley with abundant hunting.

Queen Joanna II (1328–1349) and King Philip III of Evreux (1328–1343), followed by Charles II (1349–1387), all made some improvements to the old castle, but it was during the reign of Charles III (1387–1425) and his wife Eleanor of Castile that this nucleus was expanded, with the construction of new ranges in the space behind the 13th-century church of S María. For this work, begun in April 1399 and continuing, with some interruptions, until 1420, Charles assembled artists of widespread origins.

Many of the painters were from Catalonia, working initially under Master Enrique and then in the second decade of the 15th century under Juan de Laguardia; French artists such as Jacob le Conte and Juan du Ruisel collaborated on the decoration; glass painters came from Aragon and Flanders; and Moors from Tudela were engaged on plasterwork, carpentry and tiled decoration.

The irregular plan of Olite reflects its construction in stages, as the wishes of the patrons developed. The new ranges, with halls, bedrooms, terraces and a chapel dedicated to St George, were linked to courtyards and gardens by hanging galleries and corridors; numerous towers (the keep, the Torre del Homenaje, the Torre Nueva, the Tres Coronas and Cuatro Vientos) crowned the walls, forming an elegant silhouette against the horizon . The massive walls, with only a few slit windows, accentuated the fortified character of Olite, but this was in strong contrast to the luxurious interior.

Charles’s daughter Blanche (1425–1441), wife of the future King of Aragon, John I, continued building works at Olite, and the castle again became an official residence after Navarre lost its independence to Castile in 1515.

Subsequent documents record its gradual decline, despite continual repairs. One of the towers was burnt in 1794, and in 1813, during the Peninsular War, the castle was burnt to prevent its use by the enemy ‘and its interior ruined’.

The ruins were acquired by the provincial government in 1913, and in 1925 Olite castle was declared a national monument to save it from total destruction. Restoration work, begun in 1937, is now well advanced, but although the documents give some indication of the original state, there are difficulties in achieving it.

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theowlhousefanboy · 1 year

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A Personal List of Video Games That Might Be Deemed as Obsolete If Not Inferior Compared to Its "Modernized" Follow-Ups:

Wolfenstein 3D < Return to Castle Wolfenstein and The New Order+The Old Blood; also, the likes of the entirety of Doom

Warcraft: Orcs and Humans < II: Tides of Darkness+Beyond the Dark Portal and III: Reign of Chaos+The Frozen Throne

Star Wars: X-Wing < TIE Fighter and X-Wing Alliance

Age of Empires < Age of Empires II and Age of Mythology

System Shock < System Shock 2; also, its own Enhanced Edition (with maybe the upcoming Remake)

Hitman: Codename 47 < Hitman 2: Silent Assassin onwards

Titanfall < Titanfall 2 (and even Apex Legends)

Star Control < Star Control II/The Ur-Quan Masters

Outpost < Outpost 2: Divided Destiny

The Marathon Trilogy < their Aleph One releases; also, the Halo games arguably up to Reach

Medieval: Total War and Shogun: Total War < Medieval II: Total War+Kingdoms and Total War: Shogun 2; also, Rome: Total War and Total War: Rome II

The entire Police Quest series up to SWAT 2 < S.W.A.T. 3: Close Quarters Battle and 4+The Stetchkov Syndicate

Silent Hunter I and II < III and 4: Wolves of the Pacific+The U-Boat Missions

Shadowrun Returns < Shadowrun: Dragonfall - Director's Cut and Hong Kong: Extended Edition

Zone of the Enders < The 2nd Runner

Meat Boy < Super Meat Boy

Saints Row < Saints Row 2 onwards

Just Cause < Just Cause 2

Hexagon < Super Hexagon

Dune II < its Command and Conquer spiritual successors.

(In the meantime, in case there are readers interested in this, feel free to comment on games that fit the criteria that I haven't put on the list either because of tag limitations, not ever playing them, or not remembering them.)

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mcgiggers · 22 days

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London, Paris - March 2024

Just back from a fantastic art viewing adventure in the old world which featured stops at the Tate Modern and Goldsmiths Centre for Contemporary Art in London, and the Musée d’Orsay, the Foundation Louis Vuitton and the Bourse de Commerce in Paris. The four-day trip was on the back end of a stay in the 13th century hilltop village of Petritoli, located in Le Marche, where local churches and those in the neighboring towns displayed marvelous medieval and renaissance style treasures. In the big cities, however, the focus was more on contemporary offerings. The whole made for a fascinating journey through an exciting part of art history.

London

An attempt to see the Yoko Ono exhibit at the Tate Modern was stymied by sold out crowds. The serendipity in poor planning however resulted in an opportunistic visit to the museum’s permanent collection, more specifically the magical second floor featuring modern masters and post war stalwarts. With entire rooms dedicated to the likes of Joan Mitchell and Gerhard Richter, among others, the walk-through played out like a greatest hits tour where around every corner an even more marvelous sensory treat was served up. Highlights of the visit included: Georges Braque’s early cubist masterpiece “Clarinet and Bottle of Rum on Mantlepiece”, 1911, oil on canvas (31.9 x 23.6 in.); Giorgio Griffa’s painterly “Tre linee con arabesco n.111”, 1991, acrylic on unstretched and unbleached canvas (114.4 x 76.4 in.); and Agnes Martin’s contemplative grid patterned renderings “On a Clear Day”, 1973, thirty screenprints on paper (each 12 x 12 in.), edition 32 of 50.

On the other side of town on the campus of one of the world’s most renowned art schools, a Matt Connors exhibit, Finding Aid, opened its doors at the Goldsmiths Centre for Contemporary Art. Featuring new and older works by the American abstract artist, the expansive grouping of paintings, sculptures and drawings cleverly paired Connors’ soft geometric abstraction and minimalist marking styles. Showstoppers included: the large-scale bold vertical diptychs “Mural for a Gay Household I” and “Mural for a Gay Household II”, 2018-2020, acrylic on canvas; the vibrant “Red Top (deployed hatch)”, 2015, acrylic on canvas; and the sparse “Echo Implies Room (Orange/unprimed)”, 2012, acrylic and colored pencil on canvas.

Paris

Forty-eight hours later, the Eurostar abetted transition to Paris was speedy and eventless. Even under cloudy skies, the City of Light was totally sublime and uniquely picturesque. The art stops along the way were knockout shows in beautiful venues which in and of themselves were artistic and architectural marvels. At the Musée d’Orsay, the magnificently repurposed train station was the setting for the Paris 1874: Inventing Impressionism exhibit. The show celebrates the 150th anniversary of the inaugural exhibit of the then avant-garde movement and chronicles the transition from staid and traditional realism to hazier and freer interpretations of subject matter capturing a moment in time, an impression, so to speak. The cast of characters that led the way included MVPs in the annals of art history - Monet, Renoir, Degas and Cézanne, among others, all of whom figure prominently in the exhibit. The highlights included: Auguste Renoir’s “La Loge”, 1874, oil on canvas (31.5 x 24.8 in.); Claude Monet’s “Impression, soliel levant”, 1872, oil on canvas (19.63 x 25.63 in.); and Edgar Degas’ “Classe de danse”, circa 1870, oil on wood (7.75 x 10.63 in.).

The next visit on the journey was the futuristic Frank Gehry-designed Foundation Louis Vuitton and the Mark Rothko retrospective. The comprehensive exhibit brought together 115 or so works of the powerhouse American abstract artist and presented a chronology of the evolution of his early figurative renderings to mystical and surreal style paintings and finally, to his entrancing iconic floating forms. The highlights included: the early representational scene “Contemplation”, 1937-1938, oil on canvas; the surrealist masterpiece “Slow Swirl at the Edge of the Sea”,1944, oil on canvas; and dozens upon dozens of mesmerizing large format colour abstractions, including, “Orange and Red on Red”, 1957, oil on canvas (68.8 x 66 in.) and “No. 14”, 1960, oil on canvas (114 x 105 in.).

The last planned stop in Paris was the Pinault Collection at the impressively remodelled Bourse de Commerce. Spiralling up the majestic rotunda, works by contemporary art rockstars were prominently displayed. Among these were: Peter Doig’s haunting “Pelican (Stag)”, 2003-2004, oil on canvas; Maurizio Cattelan’s poignant “Him”, 2001, wax, human hair, suit, polyester resin and pigment; and a monumental installation by Sturtevant replicating the mythical room staged by Marcel Duchamp at the 1938 International Surrealist Exhibition in Paris.

Closing off the trip and reaching back in the art history timeline, a truly memorable work was discovered by happenstance during an unplanned visit to Eglise Saint-Séverin. Dating back to the 13th century, the gothic style place of worship housed numerous elaborate chapels which were all built around altars and adored by art of the time. A particular work stood out as it was presented alone hung high on a huge wall under a circular stained-glass window surrounded by nothing else but the serenity of the immediate environment. It totally radiated under the spotlight that illuminated a depicted religious figure sitting at a table who perhaps was Saint Séverin, a devout 6th century hermit and the church’s namesake.

Meanwhile, in the new world, there was a lot more commotion as Hogtown’s Jurassic Park was hit with an asteroid of epic proportions that essentially wiped out all remnants of a recent championship team. The Dinos were dissected and dismantled. Gone are Crazy Eyes and OG-Won Kenobi, and team leader Scottie B and the much-maligned Austrian Big succumbed to season ending injuries. All the while, the newly minted Raptors including RJ the Prodigal Son Barrett and Immanuel La Squig Quickley struggled to stay healthy and make their mark. The result has been a team that is nowhere near relevant in the standings nor the hearts of fans. With the prospect of a lengthy and bumpy rebuilding process ahead, Dino fans can perhaps take some solace in rooting for the success of Raptor expats applying their trade elsewhere or maybe even Canadian hoopsters playing for true championship contenders. It’s all a lot rosier than the current state of affairs in Jurassic Park.

For more information on any of the venues, artists or works mentioned, or the sad sack Dinos, “Just Google It”.

There you have it sportsfans,

MC Giggers

(Https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

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fabzen123 · 1 month

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From History to Pixels: Uncovering the Real Inspirations Behind Empire Games

Empire games, with their sprawling maps, intricate strategies, and epic narratives, have captivated gamers for decades. Yet, beyond the pixels and polygons lies a rich tapestry of real-world inspirations that have shaped these virtual worlds. In this exploration, we delve into the fascinating history and cultural influences that have fueled the imagination of game developers and brought these digital empires to life.

1. Ancient Civilizations:

Many empire games draw inspiration from ancient civilizations that once dominated the world stage, offering players the chance to immerse themselves in the grandeur of history. Whether it's commanding armies in epic battles or strategizing diplomatic alliances, players can experience the rise and fall of empires like never before. Call Break with its strategic card play, adds another layer of excitement to the genre, allowing players to engage in intense bidding and precise trick-taking as they navigate the complexities of empire-building.

2. Medieval Europe:

The medieval period has long been a popular setting for empire games, offering a backdrop of knights, castles, and feudal politics. Games like Crusader Kings and Medieval II: Total War allow players to step into the shoes of medieval rulers, navigating the complexities of dynastic politics, religious conflict, and territorial expansion. The rich history and dramatic events of this era provide ample inspiration for engaging gameplay experiences.

3. Colonialism and Exploration:

The Age of Discovery sparked a wave of exploration and colonization that reshaped the world map and laid the foundations for modern empires. Empire games set during this period often explore themes of exploration, conquest, and exploitation as players carve out their own empires in distant lands. From establishing trade routes to subjugating indigenous peoples, these games offer a nuanced look at the complexities of colonialism while promoting responsible gaming practices.

4. Modern Warfare:

The 20th and 21st centuries have seen the rise of modern empires built on industrialization, technology, and global influence. Games like Hearts of Iron and Command & Conquer: Generals depict the challenges and conflicts of modern warfare, from World War II to contemporary geopolitical struggles. Players must manage resources, deploy troops, and make strategic decisions to ensure the survival and prosperity of their nations.

5. Science Fiction and Fantasy:

While many Empire Games draw inspiration from real-world history, others venture into the realms of science fiction and fantasy. Games like Stellaris and Age of Wonders blend elements of space exploration, alien diplomacy, and magical conquest to create immersive and otherworldly experiences. These games allow players to explore new frontiers, encounter strange civilizations, and shape the destiny of entire galaxies.

6. Cultural Heritage:

Empire games also serve as a means of preserving and celebrating cultural heritage. Games set in specific regions or civilizations offer players the opportunity to learn about different cultures, traditions, and historical events. Whether exploring the ancient ruins of Mesopotamia or reenacting the battles of the American Revolution, these games provide a window into the past that educates and entertains players of all ages.

Conclusion:

From the sands of ancient Egypt to the far reaches of space, empire games draw inspiration from a diverse array of historical periods, cultures, and imaginations. By uncovering the real-world inspirations behind these digital worlds, we gain a deeper appreciation for the creativity, passion, and ingenuity of game developers. So, the next time you embark on a journey of conquest and exploration in your favorite empire game, remember the rich tapestry of history and culture that lies behind every pixel and polygon.

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