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PostPosted: Tue Nov 19, 2019 7:48 am 
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SpellArcher wrote:
I also find fiction a great source of ideas.

There is a great interaction between fiction and real history. We have quite a lot of it (real history I mean) and much of it is as fantastical as a lot of fiction writing (except for the elves and mages and stuff...). You can find anything from split empires that try to reunite or kids who conquer half the world to a small band of soldiers conquering an empire and everything in between. Both for the big epic stories, but also smaller and more intimate stories.

For instance, I ran across a blog post a short while ago which described how Tolkien modeled Gondor after the Byzantine empire. It was a fun read to see a lot of the parallels and it helped with the realistic and epic feel of Tolkien's work I think.

Rod

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PostPosted: Sat Nov 23, 2019 6:51 pm 
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History is a great inspiration for fiction for sure, and I've often come across disappointed people who say that they no longer read fiction or fantasy, because history already sports the better stories. Tolkien drawing heavily upon history (Rome/Byzantium for Arnor/Gondor, Anglo-Saxons for Rohan, Jews and Nordic mythology Dwarves for his Dwarves, Carthage & Barbary Corsairs for Umbar and so on) is what help make his Middle-Earth tick. All for the better. Warhammer Fantasy plays very much on the same strings, although more explicitly than Tolkien ever did.

Carnyx of the Gods

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Matthew Klaas de Witte wrote:
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The Carnyx has immense magical properties, it is as rare as it is powerful and so is the magic woven into the earth that suspends it across the field of battle. The massive instrument must be held up by arms of arcbronze laden with gold, and played by three individuals. It confers immense strength unto its allies, the mere sight of it rallies men to the most lost of causes.

I wanted to bring in a carnyx, but I didn't want it to be the same as the cornu I already depicted. So I made it really really big. But how would it be held? It would need something to hold it up. After I figured out the type of stand for it, it took me many drawings to figure out how it would be brought to the battlefield. Originally on a chariot, but I had enough of drawing them for now, and I felt that it was getting repetitive. I remembered that Karl Kopinski painting of Karl Franz fighting a giant, with the floating towers in the background and it gave me an idea to make a floating henge-hillock of sorts suspended by magic. This took about a week to properly flesh out the idea working between that and other art and fighting a cold.

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PostPosted: Tue Nov 26, 2019 4:14 am 
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Prince of Spires wrote:
SpellArcher wrote:
I like how the armour on these warriors elaborates on classic Celtic themes.

The helmet has a Roman feel to me.

I really like the little details like the featers


I've read that being said on a few threads my work has been posted so addressing it now... AHEM: It's quite the opposite actually! Romans took the designs (as they did with a myriad of things) from La Tene (Iron Age Celtic) culture. Why we think it looks Roman because we are more likely to see historically accurate Roman arms in the media, while Celtic arms are relegated to the "knuckle-dragging barbarian" (if they are depicted at all) so as to fit a story-telling trope.


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PostPosted: Tue Nov 26, 2019 7:19 am 
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Thanks for jumping in on the discussion. You learn something new every day :)

It always seems to me that the romans were very good at assimilating other cultures and technologies and using them to their full potential. So it's no surprise to me that they got their design from somewhere else.

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PostPosted: Tue Nov 26, 2019 11:34 am 
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The laughable fact about that is we've kept up that idea of the Iron Age peoples being thick since the Romans. During the Victorian period where all the various empires were trying to draw their connections to the past to prove that they were allowed to own half the planet, they all tried to see themselves as the natural successors to Rome. They obsessed over that and weirdly the public perception of that time seems lodged there and that's what most people think of when they think Romans.

For instance, the Roman armour in gladiator is historically inaccurate. It was out of date almost 150 years before. It was specifically chosen by the directors because that's what everyone thinks of as 'Roman'. The Germanic tribes would have mail armour and leathers rather than..? Animal skin or whatever.

Another good one is that by the end of the 1st century CE, there weren't many Romans in the army. Most were from Spain, Gaul, North Africa, Syria etc. Assimilation through force is what the Romans did, its known as syncretism.

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PostPosted: Thu Jul 23, 2020 9:31 pm 
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This map has been shared by Lord Agragax of Lunaxoatl over on Lustria Online:

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Lord Agragax of Lunaxoatl wrote:
As Matt hasn’t created any Albion artwork of late due to other projects, to keep this thread going I’ve been working on a map of Albion and the various factions on it, based upon one that @Warden made for his Dragon Isles Samurai Clans in one of his lore threads (here). I’ve included all three of the major tribes that Matt has devised, plus territory that belongs to the Truthsayers as I thought they would have the same level of power the Druids had over the actual Celtic tribes (I would say akin to that which the Pope possessed over the various countries of Medieval Europe), surviving enclaves of Fimir (as I found that some of them still live on the island), the armies of corrupted tribesmen that follow Be’lakor (which I’ve called the Hordes of Shadow or Shadow Clans) and the Norse, as they’re portrayed as controlling much of Albion in Warhammer: Total War and I thought it would provide continuity to replicate some of that.

The emblems were all borrowed from Rome: Total War, Rome II: Total War (in the case of the Truthsayers emblem) and Warhammer: Total War (the emblems for all three of the evil factions here are Norse faction emblems in the game, but I thought the green one would be good for Fimir because of the central ‘eye’ in the middle of the four Chaos spikes, and the Chaos star would be appropriate for Be’lakor’s corrupted clansmen)

...

I’ve decided to revise my map to acknowledge this segment of Matt’s feedback:

I’ve incorporated the Great Ogham into Boreni territory and swapped the positions of the Belenii and Toulenii around to give the Belenii access to the Tower of Llenog (which actually isn’t on this map but on a similar more detailed version is present in the region I’ve given to the Belenii, between the two lots of marshes).

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PostPosted: Fri Jul 24, 2020 5:31 pm 
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Prince of Spires wrote:
It always seems to me that the romans were very good at assimilating other cultures and technologies and using them to their full potential.

I think these things went backwards and forwards a lot. For example here we think of kite shields as being a Norman thing because of the Conquest but I think they may have got these from the Romans who maybe got them from the Arabs? Or the Welsh Dragon which may have been Roman before but Sarmatian before that?

Karak Norn Clansman wrote:
map

I holiday on the Isle of Wights. Haven't spotted any yet...

:mrgreen:

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PostPosted: Sun Jul 26, 2020 10:06 am 
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It goes backwards and forwards yeah, the Roman helmet design of the 1st-3rd centuries is Gallic for instance, but you can trace coinage of the iron age in Britain to staters given to Cisalpine mercenaries in the 4th century BCE. People tend to never be from "Group X" and "Group Y" and that's that. 'Borders' are incredibly fluid and people and cultures moved with them. The Romans weren't necessarily innovative in that respect, it's just that having a sizeable empire means that these technologies of different people become absorbed and integrated as the people themselves end up doing.

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