For this little-known monster we head out to Bronze Age Mesopotamia. The Rabiṣu appears in a wide assortment of cuneiform texts, but it’s not exactly clear what it is (this amorphousness is pretty characteristic of Mesopotamian demons). Its name seems to come from the verb rabāṣu – to lie down or lurk, and many texts describe it lying in wait to strike unfortunate men who venture across its path, whether it’s hiding in a dark and dank well or has found its way into your own home. Continue reading
Last time we left it with the transition into the 90s and the beginning of the controversial neon era of Lego space. This is where it gets difficult for me to analyse things at all objectively. Although I had inherited some early Classic Space from my uncle and had picked up the odd small Futuron and Space Police set, it was with the early 90s sets that I was the right age to really get obsessed in a big way. Everything about these sets is, for me, coloured by nostalgia and immense affection. For a lot of the Lego fan community, this is a ‘silver age’, a come-down after the heights of Classic Space, but nothing will ever supplant the holy trinity of M:Tron, Ice Planet and the second Blacktron theme in my affections. Even so, let’s try and look at them as analytically as we can. Continue reading
Have there ever been two words that go together quite so evocatively and conjure such boundless possibility? From 1978 to 1999 Lego released an unbroken sequence of original space sets, more than twenty years’ worth of spaceships, bases, rovers and robots. I was lucky enough to grow up right in the middle of this, a geeky kid as fascinated by space and science fiction as I was by knights and castles. Needless to say, I had a lot of space Lego.
I’ve written elsewhere about my own experience of a childhood lived through Lego bricks, about how those little plastic pieces lent physical reality and material texture to my imagination, how they continue to encode memories of my early life. What I’m interested in here is the world of Lego Space itself, and how it drew from outside inspiration. These ship designs and imagined spaces that mean so much to me – loosely defined but vividly depicted – where did they come from? What were the influences on the small group of predominantly Danish designers who created them? Continue reading
I’ve finally made Phaistos Discuits! Full post over on the CREWS Blog.
We all love a good pun. And by ‘we’, I mean ‘I’, and by ‘good’ I mean ‘terrible’. So for a long time I’ve wanted to make ‘Phaistos Discuits’ – biscuit versions of the famous Phaistos Disc.
The Phaistos Disc is probably the most controversial inscription from ancient Crete, showing a ‘writing system’ (if that is what it is) that is almost unparalleled – a one-off as far as ancient inscriptions go. Despite some (really very unconvincing) attempts at decipherment, our understanding of this object remains extremely limited. However, it is just the perfect shape to turn into a biscuit!
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I’ve written a bit about board games here on Ancient Worlds. If you enjoyed my posts about Eldritch Horror and Ancient Horror, then you might enjoy this video from the British Museum, in which Irving Finkel, Assistant Keeper of Ancient Mesopotamian script, languages and cultures, takes on Tom Scott at the Royal Game of Ur:
(or, What This Ugaritian Storm-God Looks Like Now Will Astound You!)
- Ever since excavations began at the Syrian city of Ugarit in 1929, the importance of the god Baʿal has been clear. Among the first Ugaritic texts discovered at the site were mythological tablets recounting the legends of this god; Baʿal’s temple was excavated in prime position on the city’s acropolis, close to that of his father Dagan. While the supreme god El occupied the pinnacle of the Ugaritian pantheon, as more and more ritual and religious documents have been recovered from Ugarit, it’s become unquestionable that the city’s people felt a particular fondness and affinity for Baʿal, the archetypal king who had his palace on Mount Saphon overlooking the city.
But Baʿal was not solely an Ugaritian god and knowledge of him was far from lost with the destruction of the city around 1176 BC. Through the distorting filters of hostile Judaeo-Christian writings and the medieval and later traditions of demonology and the occult which reinterpreted them, Baʿal has enjoyed quite an afterlife which has taken him from Canaanite king and storm-god to lurid demon in the court of Satan. In this incarnation he’s spread through popular culture. It’s a massive amount of cultural baggage to have built up even before those first Ugaritic texts were discovered. Continue reading
It’s Easter! Which means everyone’s developed a bizarre preoccupation with eggs. How we chortle as adverts everywhere wheel out the same old egg-puns as if they’re the first to think of them. Egg-straordinary! Never mind; it means we get some chocolate. I’m particularly partial to Mini Eggs myself.
As you probably know, for many it’s traditional to paint and decorate eggs at Easter. Like many Christian festivals, there’s a healthy vestige of earlier practices in Easter, as the Church sought to appropriate and sanitise pagan spring fertility celebrations. The name Easter itself most likely derives from the Germanic goddess Ēastre, which in turn seems to come from the Proto-Indo-European word for dawn, and so is cognate with classical goddesses such as Eos or Aurora. So it’s no surprise to learn that decorating eggs is a practice with roots much older than Christianity. In fact we have painted eggs from the ancient Near East which date as far back as the third millennium BC.
How do egg-shells manage to survive for nearly five thousand years in the archaeological record?
Two answers. One: lots of them were found in tombs. Two: they used ostrich eggs.