I’ve been planning to write something about the archaeology of The Legend of Zelda: Breath of the Wild for a while now (ever since my post on cyclical time in Zelda), and recently Eurogamer asked me to write something for their website. So here’s my debut as a freelance games feature writer. Enjoy!
This week marks 65 years since Michael Ventris announced his decipherment of Linear B, so it seems like a good opportunity to write about something from the tablets that I’ve long been curious about.
The Linear B documents from Mycenaean Greece are notoriously laconic, mostly consisting of accounts and administrative records. Among these, even the slightest glimpse of personal character or hint of drama is enough to make a tablet stand out. My absolute favourite is Ep704, from the palace of Pylos. This tablet is mainly a record of land-allocations to temple personnel at Sphagianes, but the last line throws up some intriguing questions.
Karpathia the Keybearer holds two communal (plots); although she is obliged to work these two, she does not work them.
Film poster for ‘Resurrection: Rise of the Rabisu’, which I can’t find much information about and definitely doesn’t look rubbish.
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