On the Purpose of Violence: A “Philosophical” Review BRZRKR Volume 2

I have to admit, when I first set out to begin this post, I had fuck-all to say. In my review of BRZRKR Volume One I had asked if Keanu Reeves’ comics debut was anything more than an excuse to spill red ink, and ultimately came to the conclusion that there was intrigue worth pursuing in the main character, but that if one was wholly opposed to the depiction of gratuitous violence on the page, there was no unique or captivating theme present that would justify pushing through (for the sake of ‘Literature’ so to speak).

BRZKR Volume 2 seems to reverse that polarity somewhat, though I only began to realize this upon the reflection inherent in the review process. Initial impressions were that this piece traded in the same stock as its predecessor: B has a mysterious and tragic existence, he kicks ass against impossible odds (and gets completely messed up while doing it), we get some flashbacks of B throughout history, a dark and nefarious cabal surrounds B seeking to exploit his power. A lot of blood and guts are spilled.

But as I considered what to write about this, I decided that there WAS more going on than I’d initially realized and that while the intrigue surrounding B seemed a bit less interesting in this volume, the broader story around him was beginning to grow in depth and meaning. Here’s what I mean:

The story opens with Diana (B’s doctor/psychiatrist/a thousand other things) at B’s home, in what seems like something of a half-hearted attempt at seduction. B is almost comical in his commitment to the ‘strong and silent’ type in this scene but Diana puts on a record and gets him talking, and he goes on something of a rant about how all songs — throughout humanity’s entire history — are about one thing.

For B, music’s only purpose is to bring people together to satisfy a “universal urge” for “it” (and then because B is tragic: “. . . or the loss of it”). When Diana suggests “it” might be love, B responds stoically that he doesn’t do that anymore. But given the panels we see about the women B is with losing their children, I might venture that “it” is more likely sex, or becomes so over time.

I don’t think the character work here is particularly interesting; stoic, jaded, and emotionally unavailable action heroes are more plentiful than grains of sand at the beach, but this inquiry into the purpose of music IS something the reader can sink their teeth into.

Personally, I disagree with B and think there is more to music than the joy of getting to smash, or the sorrow of no longer being able to. B himself almost has it when he muses how music brings people together — forms connections. But it is only half-formed since for B, there is only the one type of connection which matters.

This opening inquiry into the purpose of music is just a taste of the types of questions asked throughout the volume, which indeed seems to be centered around defining purpose (you may even say it is the volume’s . . . purpose lol). While wandering in the woods after surviving a helicopter crash, B questions his own purpose in one of the more interesting character moments for B as he carries one of his squad members with him, in essence saving the man despite how seemingly cheap life should be for B.

And finally, the true thematic work of this piece comes to the foreground as villain Caldwell discusses an artifact recovered on B’s last mission (the reason they had to trapse around in the woods). Caldwell has been tracking the progress of technology in relation to B’s movements and suggests that while death and destruction assuredly follow him wherever he goes, so does information. B remembers the knowledge and technological advancements of lost societies and so those cultures live on. Every place he visits, be brings with him every place he’s been and so cultures mix and humanity progresses technologically through a kind of cross pollination. Caldwell suggests this is B’s true purpose.

At this point, it is not unreasonable to see B as a metaphor or personification of the concept of war and Caldwell’s explanation of B’s purpose as a commentary for the true (and perhaps essential) purpose of war itself. It would be hard for me to believe that this comic is written as a justification for war, but I’m uncertain that it fully succeeds as a condemnation of it. The cost paid for eternal violence is focused around one person, the hero, and his unbearable burden; yet the disruption, pain and sorrow — in my opinion the true cost of war — for everyone in B’s path is more or less unexamined.

I’ve spent a lot of time discussing theme and some of the more weighty parts of this work, but I’d also like to point out that there are some things within these pages that are just enjoyable for their own sake, and not for what they state about the human condition. For me, the “fun” part of this series has always been B’s relationship with history and the glimpses of the past we see through his memory. B is shown in many recognizable eras, and I was pleased to see a few panels placing B in Ancient Egypt.

So, Give ‘BRZRKR Volume 2‘ a Read?

For this installment, I can more whole-heartedly commit to yes. I still have the same caveats (or perhaps trigger warnings) as BRZRKR Volume 1, but I think the added thematic work present in BRZRKR Volume 2 — surrounding the purpose of more abstract concepts such as music, and especially war — elevates this sequel above its first installment and generally makes all the blood, guts and violence more endurable.

That’s all I have for this week. Has anyone read this yet? What do you feel is the purpose of music? How about war? Leave your thoughts in the comments. Looking forward to discussing this one!

See you next time . . .

A Great Way to Kill An Hour: Tut’s Lost City Revealed (Review)

A few weeks back, on November 4th 2024, the world celebrated the 102nd anniversary of the discovery of King Tutankhamun’s tomb. I’ve celebrated the occasion on this blog once before with a review of the movie The Pyramid by Gregory Levasseur, and disliked the movie enough that I figured I might want to pick something a little more factual this time around.

After probing the depths of Ancient Egyptian related content on Amazon Prime, I came across Tut’s Lost City Revealed. I’ll admit that my expectations for this documentary were not very high. The imagery on the title screen looks a bit “ancient aliens” for my taste, with Tut’s infamous death mask sort of photoshopped onto the shape of a pyramid with an eclipse filling the background. It practically shouts conspiracy theory, but a quick google search showed interviews from Zahi Hawass, a seemingly credible and renowned Egyptian archaeologist.

Also, my other option was a show called TUT’S TOXIC TOMB!! I crossed my fingers and hit play on Tut’s Lost City Revealed . . .

Which I found to be a pretty informative and enjoyable documentary.

It centers around the discovery of an ancient industrial district, called Tehen Aten (the dazzling Aten) not far from Tut’s burial chamber. When King Tut was discovered back in 1922, he was surrounded by some 5,000 grave goods including 81 pairs of shoes, some jewelry and many other items which have helped archaeologists piece together a glimpse of what ancient life might have been like for the boy king. However, it was never clear where all the items came from, or who made them. With the discovery of Tehen Aten, Zahi Hawass believes we have the answer to that mystery, and that we finally have a better glimpse into the lives of Ancient Egyptian artisans and commoners during King Tut’s admittedly short reign.

I found the progress of the excavation fascinating, and how they were able to tie discoveries from the dig to other known discoveries from other sites in order to date the city to Tut’s rule. One of the most striking mysteries about this “lost city” is its serpentine, or wavy brick walls, which seem to run all around the city. They do not appear to be common to other Ancient Egyptian settlements although it is apparently quite rare to find full cities such as Tehen Aten because of the way they were constructed — primarily out of mud bricks — which do not really allow for the same kind of preservation as stone structures.

Unfortunately, by the end of the documentary, the mystery of the serpentine walls is essentially unanswered. And since it appears to be a relatively recent discovery — I don’t think a date is listed in the documentary, but I found an online article written by a Sri Lankan newspaper (in October of 2024) which dated the find to 2020 (the documentary is from 2022) — I didn’t find much online to help me verify anything presented in the show, and if any are curious as to what progress has been made since, I couldn’t really uncover much more about it than what was seen in the documentary.

Give Tut’s Lost City Revealed a watch?

Ultimately, this documentary was a pretty solid way to kill an hour. I found myself quickly enthralled with each new discovery, and fascinated by the theories and arguments used to explain how the ancients may have lived based on the evidence uncovered within the lost city.

Unfortunately, the primary mystery of the serpentine wall structures remained unanswered at the end of the documentary, and it was difficult to try to verify any of the assertions made within whether through other documentaries or even scholarly articles (maybe I just don’t know how to look properly).

Caveats aside, I would say this was a pretty enjoyable documentary about a fascinating subject, and overall an excellent way to celebrate the discovery of Tut’s Tomb.

That’s all I have for this week. Has anyone else already watched this one? What was your favorite part? Any other good documentaries I should watch?

See you next time!

Celebrating 25 Years of The Mummy!

Today, May 7th 2024, The Mummy (starring Brendan Fraser and Rachel Weisz) celebrates its 25th birthday!

This is something of a special (*cough* nostalgic) moment for me.

While I can’t remember with any specificity the first time I saw this film, it definitely stayed with me over the years. In previous posts, I’ve dated my fascination with Ancient Egypt to a 6th grade social studies course, but I would have been in 3rd or 4th grade when The Mummy was in theaters.

While the likes of Star Wars: The Phantom Menace and The Matrix loomed large in my nine-year-old conscious, The Mummy appears to have lain quietly buried, taking on more prominence as it was unearthed again and again as I grew older.

Fast forward to now, and I can hardly think of a project or piece of writing that I’ve done which was left untouched by its influence. As Narmer sneaks through the house of Anubis in Narmer and the God-Beast, I can almost imagine an overlay of Rick O’Connell creeping through a tomb.

In my — yeesh, still not published — novel Aegyptosaur (working title), the great assassin (and main character) shares more than a little likeness to Ardeth Bay, medjay and protector of the secret of the mummy’s curse. On this very blog, Master of Secrets reveals some of the rites and procedures of the ancient Egyptian embalming process. Though the canopic jars mentioned were really used in the ancient rituals, you can guess which I had in mind while writing.

Finally, there’s the short story I wrote about a museum guard investigating the disappearance of an ancient artifact called #HashtagTheMummy. Hard to get any more on the nose than that.

But given that the film is back in theaters this week to celebrate the anniversary, I would venture to guess that I’m not the only person to have been affected by this movie. The aforementioned Phantom Menace does not appear to be returning to theaters any time soon (lol).

We can definitely see some of those effects as we look around us.

For instance, scarab beetles of the kind depicted on ancient Egyptian amulets and jewelry — symbolizing the sun god Khepri — are essentially dung beetles which eat mushrooms, decaying leaves, carrion and . . . well dung. Dermestid beetles (“skin” beetles) are more commonly associated with eating flesh, a process which takes days. Even for a large colony of a thousand beetles. According to Bones and Bugs:

“You could have a colony of these beetles crawl over your body and be tickled, but not bitten or injured in any way” – Everything You Want to Know About Flesh-Eating Dermestid Beetles

But who can forget the image of a swarm of these creepy crawlies covering some poor worker who tripped, and in seconds, reducing said worker to a pile of bones. It is not true to life but it is now “canon” in the popular culture and the propagations of this myth will continue wherever proper research is wanting, and an Ancient Egyptian themed bad guy is wanted more (Lara Croft and the Temple of Osiris is an example I discovered just this week!).

Where The Mummy “gets it right” regarding scarabs, is in the “skeletons” they find in Imhotep’s sarcophagus. Mummified scarabs have been found in tombs of pharaohs such as Userkaf from the Fifth Dynasty. I’m using “gets it right” quite loosely here hahah.

Another iconic — at least to me — moment from the film has Rick shooting an ancient mirror with a pistol, which manages to align it perfectly so that it reflects the sun towards other mirrors, and after enough reflections, lights up a massive room filled with the shiniest gold treasure you’ll ever lay eyes upon.

So cool.

However, I’ve yet to find any evidence that ancient Egyptians used mirrors in this fashion (if anyone does have evidence send it my way!), but only sometimes used them in preparing cosmetics as the reflections they made were cloudy or distorted.

Nonetheless, this too has propagated in Ancient Egyptian video game settings, primarily as a kind of puzzle. Two examples which immediately spring to mind are (again) the aforementioned Lara Croft and the Temple of Osiris, and one of my favorite little app games, My little Universe. I’m sure there are many other instances which I have yet to see or document.

Finally, there is of course the trope of the Curse of the Pharaohs itself, upon which the entire film (franchise?) is based. Admittedly, The Mummy (1932) is likely the original film treatment, inspired by an alleged curse which followed the opening of Tutankhamun’s tomb in 1922. But I would argue that this 1999 version is more prominent in the minds of today’s viewers (as of May 2024, I still haven’t seen the 1932 original).

Obviously it was good enough to encourage several direct sequels (The Mummy Returns (2001), and The Mummy: Tomb of the Dragon Emperor (2008)), as well as 5 Scorpion King spin offs. Taking on a more horror-centric tone — perhaps trying to move back towards the original version — it was likely top of mind in 2014’s The Pyramid, and a later 2017 adaptation starring Tom Cruise (who was originally offered Fraser’s part for the 1999 version).

More recently, and over in book world, Isabel Ibanez’s What the River Knows (2023) is being billed as: The Mummy meets Death on the Nile. I should probably go read that immediately . . .

In any case, it would seem that The Mummy still looms large in today’s popular culture, and it’s my genuine hope that it will continue to do so.

Give This One a Watch?

YES!! If the love letter above was not enough incentive, heed these final words: GO WATCH IT NOW!

Assuredly, the movie has some issues when it comes to historical accuracy (some of which I mentioned above), and it generally always leans towards whatever is “cool” often in opposition to whatever is realistic or even makes sense.

But these inconsistencies only add to the fun of what is already a pretty great action-adventure.

That’s all I have for today. Do you remember the first time you watched The Mummy? What is your favorite scene? Favorite line? Leave em in the comments!

Until next time!

Tomb Defenses are Lame

There can be no doubt that one of the oldest and most thrilling tropes in both the horror and action-adventure genres is the discovery of an ancient tomb.

The works of early Science Fiction, Horror, and Fantasy authors such as H.P. Lovecraft, and Robert E. Howard are chalk full of lost societies and forgotten burial grounds. As we move into the realms of Epic and High Fantasy we see the tradition cemented into all that would come after by Tolkien’s Barrow-Downs and (arguably) the Mines of Moria.

And of course we cannot discount the entire genre of archeologist-adventurer types which came out of stories like Sir Arthur Conan Doyle’s The Lost World (1912), found fertile ground in the mystery genre with characters like Elizabeth Peter’s Amelia Peabody, before becoming — by way of successful film characters like Indiana Jones (ok MOSTLY Indiana Jones) — the more action heavy virtuous treasure seekers like Clive Cussler’s Sam and Remi Fargo (in video games, think Tomb Raider’s Lara Croft, and Uncharted‘s Nathan Drake).

Oh and we shouldn’t forget about Michael Chricton’s Easy Go. Because WTF.

In any case, the sheer number of stories listed above suggests there is something inevitably alluring about pushing aside a heavy stone, and dropping a torch or (heaven forbid) our only flashlight into the darkness to see what mysteries it might reveal.

But whether the treasure we seek is a better understanding of those who came before us, or the gleam of gold and the spark of bullets ricocheting off a conveniently placed stone sarcophagus, we know to test the ground in front of us lest it crumble and send us down into a pit of wooden spikes. Or avoid any suspicious looking floor tiles that might be pressure sensitive lest it trigger projectile wooden spikes. Always be on the look out for a switch or crack in the wall which might reveal a hidden passageway. But even then be cautious because behind said door and in said hidden chamber is probably just more wooden spikes.

And ALWAYS heed ANY WRITING on ANY WALL — ANYWHERE — lest it be a Curse of the Pharaohs.

I’m talking traps.

And while there is no shortage of imaginative and extremely ELABORATE traps in fiction (looking at you single-use boulder), it may be somewhat disappointing to find that real tomb defenses were somewhat more mundane.

It turns out, the best way to keep someone out of a tomb is to bury it deeper, under harder materials. Other common defenses included covering everything with mud which when hardened was nearly impregnable, placing tomb entrances up high where there would be significant danger in access, fake burial chambers and labyrinths of store rooms to search through, and more big stone slabs which would block the way.

I base these assertions on the defenses found in many tombs of an ancient civilization famed across the world for the richness of their culture, grandeur of their architecture, and the general mystery of their lives: the tombs of the Ancient Egyptian Pharaohs.

I know there are many other civilizations which went to great lengths to protect their dead (I included a cool ancient Mayan example at the end), but the Ancient Egyptians are — which should be no shock to any long-time readers — the defenses I’m most familiar with.

Let’s (ahem) dig in!

Early Dynastic and Old Kingdom ( – 2200 BCE)

It seems pretty standard across cultures to want to protect the deceased, and memorialize them in some way. Burying them within the ground at least keeps away larger scavengers like dogs or maybe birds.

I’m not sure how common it is across cultures to bury the deceased with gifts, but in Ancient Egypt it was thought that the dead should be buried with items they might need in the afterlife. I’m sure these things were probably quite practical and mundane in the early days, but as their civilization’s wealth grew, and the importance of the individual within that civilization grew, the items they were buried with became more and more extravagant.

As time went on, it became important to protect not only the person’s physical body, but the goods they would take with them.

It seems that in this way, the original ‘pyramids’ began to form as larger and larger mounds were being piled on top of burial sites. Perhaps the Ancient Egyptians reasoned that the more sand, rock, and dirt someone had to clear away to get to the deceased, the more difficult they would be to rob.

It’s also important to note that during these early days, a lot tombs did not quite have the triangular shape we’re familiar with but rather a kind of rectangular shape. These tombs are called mastabas and definitely interesting in their own right.

Ninetjer (~ 2740 BC)

Ninetjer was the 3rd ruler in Egypt’s 2nd dynasty. Some sources say he lead for 96 years, but it seems most likely that he ruled for 43 or 45 years (still an impressive run for the time period).

His tomb is not a mastaba, or a pyramid as we’d expect, but a ‘gallery tomb’ (specifically Gallery Tomb B) which seems to be just a series of passageways built under other tombs in the Saqqara necropolis.

When I say a series I mean 192 passageways. Can you imagine? Try finding the good loot in that labyrinth. Whether intentional or not, I think it’s a great example of complexity as a defense mechanism.

Djoser (sometime between 2686 BC and 2611 BC)

The exact dates of King Djoser’s reign seems to be disputed with enough potential periods to make it cumbersome to list, but it seems he’s generally thought of as the founder of Egypt’s 3rd Dynasty.

Renowned for his infamous ‘step pyramid’, Djoser’s tomb appears to have been a mastaba at first with subsequent layers added on later.

In terms of defense? We have really thick rock (25m), subterranean tunnels for folks to get lost in, and two nearly identical shafts leading into the depths of the pyramid. One was fake and filled with dirt, the other went down to the burial chamber which was surrounded by a granite vault and plugged with a stone seal from above.

Buried Pyramid (2645BC)

Our next example also comes from the 3rd Dynasty, specifically Sekhemkhet Djoserty, who ruled between 2648-2640 BC as the dynasty’s 2nd pharaoh. It is likely that this king was either the brother or potentially the eldest son of the aforementioned Djoser.

His tomb was never finished, but would have been a step pyramid like that of his earlier relation. Sekhemkhet only ranked 132 chambers for grave goods, built in a U shape around his burial chamber (the result looking something like a trident).

For defense we again rely on a massive stone blocking the entrance to the burial chamber. It seems he may have also had a ‘fake tomb’ built to the south to fool grave robbers but in an extra twist, someone was actually buried there, an unidentified two-year-old child.

Sekhemket seems to have never made it to his own grave, as when archaeologist Zakaria Goneim finally breached the blocked wall on May 31st 1954, and opened the lid of the alabaster sarcophagus on June 26 1954, the coffin was empty . . . (dun dun duuunnnn)

Brick Pyramid at Abu Rawash (~ 2575 BC):

The next tomb on our list is that of King Djedefre, the 3rd ruler in Egypt’s 4th Dynasty, and the son of the infamous Khufu, for which the Great Pyramid of Giza was built.

Djedefra ruled for a period of ten to fourteen years sometime around 2575 BC.

His tomb was referred to as “Djedefre’s Starry Sky” and was thought to have been “the most beautiful of pyramids, with an exterior of polished, imported granite, limestone and crowned with a large pyramidion.” (Pyramid of Djedefre – Wikipedia)

It is notable for being the northernmost pyramid in Egypt, and was probably around the same size as Menkaure’s pyramid, which is the third largest of the Giza Pyramids. Of course I say probably because it seems it was never finished, and what was completed, was mostly deconstructed during the Roman occupation of Egypt for use in their own building projects.

The tomb’s notable defenses included disconnecting the burial chamber from the grave good chambers and setting the entrance high up into the face of the pyramid with shaft sloping down into the center. Presumably it was quite dangerous to reach the entrance.

Bent Pyramid at Dashur (~ 2600 BC):

I’ve tried to keep the pyramids on this list in an order which shows increasing sophistication over time; however, such a linear progression does not appear to have existed in reality.

King Sneferu was the founding member of the 4th Dynasty, ruling sometime around 2600 BC (so before the aforementioned Djedefre by at least 25 years). He built three pyramids, two in Meidum (the Red and Meidum pyramids respectively), and one in Dashur.

This pyramid in Dashur is known as the ‘bent’ pyramid as the angle at which its slope ascends changes from 54 degrees to 43 degrees. It is seen by many archaeologists as a kind of transitional phase between the ‘step’ pyramids which came before, and the ‘true’ pyramids which came after.

In terms of defenses, it seems the Bent pyramid was more varied in its approach than the other tombs discussed so far. Like the earlier ‘buried’ pyramid of the 2nd dynasty, Sneferu’s tomb also attempted some trickery in order to fool looters and grave robbers.

The tomb has two entrances, both high up off the ground, requiring people to climb up to them. One is fake and leads below ground and then back up to some ledges about 1 meter above ground. The other goes directly to 1 meter above ground.

The main chamber is blocked by two portcullis systems in which large stone slabs slid in from the side. Red ochre and sand were used to “ward evil” and magically protect the tomb, while thick mud was poured over everything within the grave. When this mud hardened it became nearly impenetrable.

While these defenses seem quite formidable, it would seem that the Bent Pyramid did have one weakness which ultimately rendered them ineffective. The pyramid was built with soft rock which was vulnerable to tunneling.

Amenhotep III (1386 – 1349 or 1388 – 1351 BC)

King Amenhotep III is by far the most recent Egyptian ruler on our list. He reigned as part of the 18th Dynasty between 1386 – 1349 BC, or perhaps 1388 – 1351 BC depending on the source and was buried within the Valley of the Kings.

His time as Pharaoh is thought to be one of “. . . unprecedented prosperity and splendor, when Egypt reached the peak of its artistic and international power.” – Wikipedia: Amenhotep III

Of the tombs we’ve reviewed so far, his tomb (uninspiringly named WV 22) includes perhaps the most cinematic defenses yet.

The main passage of the tomb ended in a plainly adorned room with a collection of various treasures, but it was equipped with a false wall which hid a passage to the heart of the tomb. Protecting said false wall, was a hidden pit which dropped 6 meters (20 feet). Pharaoh is thought to have paid (in perpetuity) people living nearby to replace the false floor after it was activated by looters.

While replacing the false floor in a tomb is not particularly exciting, it isn’t hard to see how tropes like Ancient Order of Protectors or — which I’ve always thought a bit ridiculous — Religion of Evil might have evolved out of this history.

Ancient Maya: Tomb of the Red Queen

The final tomb in our list comes to us circa 600 – 700 AD and does not reside in Egypt, but in Palenque, Southern Mexico. It is the resting place of an ancient Mayan noblewoman. Her tomb was coated with Cinnabar, a naturally occurring neurotoxin . . . Yikes.

So What?

I’m not sure about you, but I’ve had a blast learning about and discussing eight very real tombs, and the very real defenses they used to keep looters and grave robbers away from their dead.

Even though the traps and snares outlined here may not be quite as dramatic as those we’ve seen in Hollywood or our favorite adventure novel (no wooden spikes), I feel they’re quite fascinating in their own right.

When writing my own fiction, I found myself wanting to honor these ‘lame’ defenses in any tomb raiding scenes I came up with and it has often been a unique challenge to do so. Ultimately, the temptation for spectacle was too great and once I did fall back on some of my favorite tropes (a pharaoh’s curse is just too good to pass up lol), but I’m glad I started here first, with the real history.

That’s all I have for you this week, thanks for reading such a long post. What was the most interesting defense we discussed? Were there any I missed that you think should have been on the list? What’s your favorite Hollywood or Adventure Novel trap?

Please leave your thoughts in the comment section. I can’t wait to hear your insights!

See you next time!

King Tutankhamun, The Curse of The Pharaohs, and Gregory Levasseur’s The Pyramid

On this day, November 4th, just over 100 years ago, the first step of the entrance staircase to King Tutankhamun’s tomb was discovered while workmen were digging beneath the remains of some ancient huts.

If you’re asking “So what?” well it’s only that this discovery, and the opening of the tomb’s burial chamber several months later on February 16th 1923, is still highly regarded as one of the greatest archaeological discoveries ever made.

Some 5,000 items were found in the chamber, the likes of which — a solid gold coffin, a 9×2 foot shrine to the ancient Egyptian god Anubis, and the pharaoh’s death mask (the iconic emblem of Ancient Egypt) — the world had never seen.

I’m not sure that I’ll be commemorating the event every year on this blog, like I’ve done with #DinosaurDay, and #NationalVelociraptorDay, but I’ve long wanted to at least post something which would draw attention to it considering it is certainly an amazing event for any interested in Ancient Egypt.

However, I don’t work in any kind of Egyptology related field, so what could I possibly post that would not just be a copy of what others have already figured out? What might possibly add something to the conversation?

Well, I can I do what I always do, which is review a piece of media tangentially related to the the subject.

In this case, that media would be the 2014 horror film, The Pyramid directed by Gregory Levasseur. At the time of this writing it’s streaming on . . . well everywhere, but I watched it on HBO Max.

The connection between King Tut’s Tomb and The Pyramid has more to with the legacy of events surrounding the tomb than any actual references within the film, namely curses.

The Curse of the Pharaohs is a long running trope in fiction owing much of its continued existence to continual film readaptations of The Mummy (original in 1932, adaptations in 1959, 1999, and 2017).

Some Ancient Egyptian tombs really do have curses inscribed on their facades or above their thresholds such as 6th Dynasty king Khentika Ikhekhi at Saqqara.

Ironically, no curses were found inside King Tut’s tomb but a series of deaths, and the general frenzy of excitement about the tomb’s discovery were enough to stoke the belief that the tomb was cursed anyway.

The first death was George Herbert, the Earl of Carnarvon. He was the financial backer of the excavation and perhaps the death which people most attribute to the curse. He died on April 5th 1923 of an infected mosquito bite. It would seem that the sin he committed which brought down Pharaoh’s wrath, was simply being present at the opening of the tomb.

A.C. Mace was a member of the excavation team, died April 1923. George Jay Gould, visited the tomb and died May 16th 1923. Carter’s secretary, Richard Bethell, died November 15th 1929; suspected smothering.

Howard Carter, credited with the tomb’s discovery and excavation also died . . . Sixteen years later on March 2nd 1939, but obviously Pharaoh’s wrath got him too.

Ok We Got It. How Was The Pyramid?

In a few words . . . Not great.

I’m sort of a casual observer of horror movies in general, so I can’t say I have a wealth of expertise to draw from but I think perhaps it is passable when looked at solely through that lens.

However, there were so many things that were not made clear to the viewer, or very noticeably hand-waved over that it was hard to feel any real tension or foreboding. There are some pretty gruesome deaths, and jump scares aplenty, but I would say we were halfway through the film before we even knew what we were supposed to be afraid of, and when the villain is finally revealed in the flesh, the FX budget unfortunately took a bit of the fright out of it.

If you came to the movie hoping to be awed by the mystery inherent in uncovering an ancient culture, you’ll be pretty disappointed. The movie does incorporate some of the sign posts of the aforementioned “Curse of the Pharaohs” type plot, but in my opinion does not execute well in that area.

For instance, in one of the early scenes, we find a classic warning: aka a vague message written in hieroglyphics above the entrance to a tomb. Unfortunately, the message is extremely vague, really only three words, and we never get a clear shot at of the glyphs. I have some limited recognition of hieroglyphics, and being still a novice, it’s possible that the symbols meant what the characters said they did, but there’s almost no way to know. We can never see the symbols clearly (this happens continuously throughout the film).

However, I don’t think that is the real issue when it comes to Curse of the Pharaoh. I’ve always felt that a good warning/curse is instructive of what not to do. Why we’re ok with all these characters dying is because they ignore that advice and get what’s coming to them. The three words here are just words like “death”, and “slaughter”. Now that I’m thinking about it, I’m not even sure if they say don’t come in.

Then there are the references to Ancient Egyptian cosmology, and some backstory about their gods and goddesses, which are given in such broad strokes that it may not be ‘wrong’, but it also doesn’t feel ‘right’. I do feel like I can stand strongly on some inconsistency in their depiction of the Weighing of the Heart which they use to justify some things later in the film which will be a bit spoiler-y if I go into them.

Anyway, some wall paintings show that famous scene as an excuse to dump backstory. The relief includes what I would consider the accepted role of Ammit, the devourer of souls that fail judgement, but towards the climax of the film, some of those responsibilities get shifted onto other deities. Which is a shame because this is a horror film, and as we know from watching Moon Knight on Disney+, Ammit is plenty terrifying.

Finally, were this movie really loses me is with its fast and loose allusions to conspiracy and other mythologies. There are references to ancient aliens, Aztec mythology (because they also have pyramids I guess), and the Free Masons. I was half expecting a Nazi to appear at any moment, but if those shots were filmed, somebody had the sense to reign it in slightly.

Now in a work of fiction, I’m not opposed some or even all of the plot having to do with one of those conspiracies or mythologies, but to just keep piling them in without really tying them to the plot in any significant way got my eyes rolling.

Give This One a Watch?

Ultimately, I’d it’s one you can miss. If you’re the type of person who enjoys watching bad movies for fun, maybe this will be up your alley? I do understand that kind of appeal (I did after all watch and enjoy Velocipastor), but I’m not even sure this movie succeeds at being that type of movie either.

If you’re hoping to watch something Ancient Egyptian inspired as a way to commemorate the discovery of Tutankhamun’s tomb a little over a hundred years ago . . . well let’s say this one might incur the wrath of Tut himself, Howard Carter, and any other Egyptologist who happens to open this onto the screen.

You’ve read the warning on the wall . . . do not watch.

For any who ignored the warnings and are risking the curse, what did y’all think? Let me know in the comments. Am I way off base here?

That’s all for now. See you next time!

Death Is People Too: Personifying the Loss of Existence in History and Fiction

Hi all! Please excuse the rather academic sounding title of this post, and perhaps its seemingly disturbing subject matter. It’s not my intent to be macabre or grim, but rather just a chance to write about some of the research rabbit holes I’ve fallen down and ‘show my work’ while reading the works of others, or attempting to write my own fiction. If you’ve read my Food in Ancient Egypt post, this is something along the same lines.

It may later relate to an ARC I’m hoping to review on the blog Tuesday, it may turn out to be nothing (aka I didn’t finish reading the book on time).

Anyway, here’s some notes on Death as personified in history and fiction. Enjoy!

Summary

The personification of death is a common trope in fiction, history and mythology. Mostly, death is personified as a god or goddess, or at the very least, a shadowy figure meant to inspire fear.

The Notes . . .

The Grim Reaper

Usually a skeletal figure, shrouded in a dark, hooded robe and carrying a scythe to “reap” human souls.

The Grim Reaper seems to have appeared in Europe during the 14th century, when the continent was dealing with the Black Death believed to be the result of the plague. Nearly a third of Europe’s entire population perished as a result of this pandemic.

While the symbolism of the skeleton is obvious enough (a dead and decayed human body) the dark robes are not as obvious. It’s believed that they are reminiscent of the robes of religious figures of the time conducting funerary services. The scythe was probably a very prevalent image for farmers of the time, using this tool to harvest crops. As such, The Grim Reaper becomes a harvester of souls.

Four Horsemen of the Apocalypse

In The Bible, Death is personified as one of the Four Horsemen of the Apocalypse, the others being Pestilence, War, and Famine. Each of the horsemen ride a different color horse (White/Pestilence, Red/War; Black/Famine) with Death coming last on a “Pale” horse. It is believed that this coloring is meant to represent the paleness of a corpse, and is sometimes depicted as green or greenish yellow as the original Greek is ‘khloros’ (like chlorophyll or chlorine).

While the other horsemen carry objects, Death is accompanied only by ‘Hades’. Though Hades is often personified as a greek god, it seems that in this instance, the name is meant to represent the underworld which the dead will go to. Death is the only one of the horsemen explicitly given a name: Thanatos.

More modern depictions of Death as the final horsemen often add the imagery of the Grim Reaper with death as a black-robed skeleton, wielding a scythe.

Gods of Death

In Ancient Egypt

The Ancient Egyptian god of the underworld was Osiris, and as a human mummy, he is probably the best candidate for a personification of death within the Ancient Egyptian pantheon. However, his roll in their mythology was primarily that of a judge, and it is not obvious that he ever left the Duat.

Perhaps more similar to Christian personifications of death, is the Ancient Egyptian god Anubis who is responsible for overseeing funerary rites, protecting graves, and guiding souls through the Duat.

Since Anubis is generally represented as a jackal, or a jackal headed man, it is uncertain whether this counts as “personification”, but it is certainly similar.

Dogs had and important roll in Ancient Egypt, and jackal headed deities were quite prominent. Please see my review of Death Dogs: The Jackal Gods of Ancient Egypt if you’re interested in more information.

In Slavic Folklore

Death was personified by a woman whose name is slightly different depending on the language, but generally known as Morana (Marena in Russian, Marzanna in Polish etc).

Specifically, she was associated with the death of winter, rebirth and dreams.

Potential Reading List For This Trope

Obviously, this list is not exhaustive, but these are the titles which are on my radar recently. You’ll notice quite a few humorous offerings on the list, which might just reflect what I’m interested in right now. I’ll add links to any reviews I do here as I go. Please leave me recommendations in the comments!

  • Mort by Terry Pratchett
  • The Sandman by Neil Gaiman (1989)
  • Good Omens by Terry Pratchett AND Neil Gaiman
  • A Dirty Job by Christopher Moore
  • The Book Theif Markus Zusak
  • Gods of Jade and Shadow by Silvia Moreno- Garcia
  • Death with Interruptions by Jose Saramago (2009)
  • Scythe by Neal Shusterman
  • Grave Mercy by Robin LaFevers
  • The Fifth Horsemen by Jon Smith

Links

Wikipedia:

Death Personified: The Best Fiction with Death as a Character – https://www.talkdeath.com/death-personified-best-fiction-with-death-as-a-character/

Where Does the Concept of a “Grim Reaper” Come From? – https://www.britannica.com/story/where-does-the-concept-of-a-grim-reaper-come-from

Conclusion?

Nothing too much as of yet, but I’m definitely fascinated by these personifications, and hope to research them more and add to this post as I learn. Are there any cultures I should look at right away? Any books I missed on the reading list?

Please let me know in the comments!

Food in Ancient Egypt

Happy Friday everyone! I’m trying something a little different on the blog today. In an effort to ‘show my work‘, I’m going to begin posting some of the notes and research that I’ve done while writing, so that anyone interested might get a bit of a look into my headspace, and where the things I put down on the page come from. Also, perhaps it might be useful to any other authors wanting to write in the same areas.

I don’t think this will happen with any regularity, just when I feel like I have a significant amount of notes on a given topic. Of course if my understanding of a topic expands or changes, I’ll try to update that as well so that these posts reflect that expansion.

Ancient Egyptian food was naturally something I was concerned with while writing Narmer and the God-Beast, as well as my (as of yet) untitled/unpublished Egypt and Dinosaurs novel. If you’re interested in developments for either of those works, please sign up for my newsletter. It’s been focused on my Russian fairy tale setting for quite a while now, but I think we’ll be returning to ancient Egypt in 2023 . . .

Anyway, please leave your thoughts in the comments section, and enjoy some info about Ancient Egyptian food!

Summary

Ancient Egyptians enjoyed a wide variety of foods based on their locality and social status. Bread and beer were staples among the workers constructing the pyramids, and also had connotations within the ancient Egyptian religion as tomb offerings and delicacies at religious festivals.

Poorer families likely survived on what they could catch or grow themselves such as fish (pickled and salted), wild poultry (fowl), dates and other vegetables.

Wealthy families had more options including meats (beef), and other more exotic animals such as ostrich.

More

Since there is little to no surviving textual evidence or menus from ancient times, much of what we’ve learned about ancient Egyptian cuisine has come from scenes depicted on the walls inside the pyramids, painstakingly recorded to ensure that rituals, accomplishments, and important ceremonies would endure in the Fields of Aaru.

Tiger Nuts

In one scene, from the tomb of Rekhmire (a vizier), shows figures making the loaves (hab al-‘aziz) by grinding the nuts, mixing them with honey, and shaping the mixture into conical loaves.

In this instance, the cakes were baked to please the sun god Amun, but the tubers were also prepared for use in medicine, perfume, and enjoyed roasted atop a fire, or boiled in beer.

Bread and Beer

Barley, spelt, or emmer wheat provided the basic material for bread which was leavened by sourdough or yeast.

Grains (mostly barley) were mashed and fermented for beer. In terms of practicality, beer was one solution/alternative to drinking water from the Nile River which was not always safe.

Fruits and Vegetables

Vegetables – onions, leeks, garlic, and lettuce.
Legumes – lupines, chickpeas, broad beans and lentils
Fruit – melon, fig, date, palm coconut, apple, and pomegranate.

Animals

Hunted for sustenance by the lower classes and for sport by the upper classes. Often included:

  • Fish – Caught in the Nile River, considered important source of protein for commoners. Eaten less frequently by wealthy (who had greater access to domestic animals listed below).
  • Rodents – Mice were eaten (again for the poor)
  • Hedgehogs – recipes call for them to be baked. (poor)

Domesticated animals provided dairy products, meat, meat by-products, and blood for sacrifice to the Ancient Egyptian Gods resulting in blood sausages. Beef and pork fat were used for cooking. Domesticated animals included:

  • Oxen – beef? More expensive, and often only consumed for celebratory occasions or ritual meals.
  • Sheep – Considered an abundant meat source, and often eaten.
  • Goats – Considered an abundant meat source, and often eaten.
  • Swine/pigs – Considered an abundant meat source, and often eaten.

Birds

Very important to Ancient Egyptians, as a source of food, and also as a critical part of their religion. Types of birds (and their eggs) consumed:

  • Geese
  • Ducks
  • Quail
  • Pigeons
  • Pelicans
  • Chickens* – *Not present until 4th or 5th centuries BCE

Oils and Spices

Oil was derived from ben-nuts. Egyptians also used sesame, linseed and castor oils.
Honey used as a sweetener, as well as vinegar.
Seasonings included salt, juniper, aniseed, coriander, cumin, fennel, fenugreek and poppyseed.

Foreign Foods

Wine – Grape cultivation was adopted from other parts of the Mediterranean in about 3,000 BCE though Egyptians modified the practices for their local climate. Primarily reds, and mainly used for ceremonial purposes as well as enjoyment of the upper classes.

Sources

Recreate the Ancient Egyptian Recipes Painted on Tomb Wallshttps://www.atlasobscura.com/articles/ancient-egyptian-recipes
Ancient Egyptian Cuisine and Food Habitshttps://www.thoughtco.com/foods-in-ancient-egypt-118392

Should ‘A Master of Djinn’ win a Hugo?

So, we’re back with another edition of ‘Should [insert title] win a Hugo?‘ and while I understand that Hugo voting already took place on August 11th, I didn’t want to let my tardiness prevent me from posting about this awesome book.

(Honestly I will probably continue to post reviews of Hugo nominated works in this format up until and even after the winners are announced. I just like the ring of the title lol)

And the answer, for me, is ABSOLUTELY!

There is so much to consider within these 392 pages that it’s really hard to figure out where to even begin with my review, but I think it might be safe to begin with what the general public might enjoy, before diving into my particular brand of Ancient Egypt – centric nonsense.

A review over on Josh Garik16’s SciFi/Fantasy Reviews and Other Thoughts, points out just how ‘fun’ A Master of Djinn is to read. I couldn’t agree more. Agents Fatma and Hadia have excellent back-and-forth, while her and Siti exhibit the type of witty romance we all wish we might fall into someday. Then there’s Fatma’s rapport with Aasim from the police, and of course agents Ahmed and Onsi . . . her short shrift for self important djinn . . . Really just Fatma DOING ANYTHING is a joy to behold.

Perhaps the next feature of this book which deserves attention, is its deft handling of Theme (with a capital T lol). Of course, modern day Cairo is an intricate mix of different peoples, religions, beliefs and customs. Clark’s Steampunk Cairo does not shy away from this complexity in A Master of Djinn but rather embraces it, using it as a platform to examine issues of race, and prejudice. Ultimately, Clark’s version of Cairo is not a utopia in which all of these issues are washed away, but a city very much still grappling with them. Though nothing can be solved in a single adventure, I left the story feeling hopeful at the very least.

Finally, perhaps the most awe inspiring part of A Master of Djinn is the worldbuilding. All of the mystical and mundane beings we met in A Dead Djinn in Cairo (as well as a major plot point which I won’t spoil) return, and are even more mysterious, magical, and amazing. Readers will recognize one particular market from The Angel of Khan El-Kahlili, and I’ve already mentioned two returning characters from The Haunting of Tram Car 015, but the world of this novel is sooo much bigger than these little winks to previous installments. A Master of Djinn truly earns the ‘epic’ part of epic fantasy, with international intrigue, kings, courts, imperialism, and more magic than I could describe in a single post (all the while hitting all the beats of a thrilling mystery too).

But because I’m me, I was enraptured by the nods to Cairo (and Egypt’s) more ancient past. One of the first places we see is the Temple of Hathor, dedicated to the “Lady of Stars”. Here Clark clearly did his research, providing the more common depiction of Hathor with statuary involving calf’s horns, and representative of motherhood etc. But I also felt his incorporation of the duality between Hathor and Sekhmet (something it seems Disney’s Moon Knight is doing also) clever as well.

In general, we see more Ancient Egyptian gods and goddesses than we have yet seen in any previous installment. We actually meet Sobek, and cults to Anubis, Nephthys, and Set are implied if not shown. I can’t remember if any others are mentioned, but what I enjoyed the most about their inclusion, was that Clark was not afraid to take liberties with the myths, and really made them fit the story he was trying to tell (for instance Set and Sobek are roommates because housing in Cairo is expensive (wow does that speak to me)). And when agent Fatma points out inaccuracies in how the myths play out, well:

“Ahmad’s generous nostrils flared as he gritted his sharp teeth.
‘Why is everyone so slavish to texts written thousands of years ago?’ he snapped. ‘Gods can change. Grow apart. Try new things. Besides, Set was a jerk. He never knew how to treat her properly. How to worship her.’

Clark, P. Djeli; A Master of Djinn pg. 63-64 (2021)

I guess the author knew there’d be people in the audience pushing up their spectacles and raising a finger to say “Excuse me . . .” Why not head us off at the pass. It got me laughing at least.

One last interesting incorporation of Ancient Egyptian mythology was essentially the incorporation of human avatars for the Ancient Gods (Ahmad being the most prominent), and the in-world belief that the God’s tombs existed in the world somewhere and presumably could be found, and that the gods could ‘awaken’.

So far as I know, Ancient Egyptians only ever built tombs for human beings. Human beings which they believed would more or less take the form of Gods in the afterlife (or during your regular life if you were the Pharaoh).

I only think these things are interesting because they were also espoused in Disney’s recent superhero series Moon Knight. It is interesting to me that this would appear in two pieces of media around relatively the same time, considering I don’t think any scholars are espousing this view. It would be interesting to try and hunt down where these ideas are coming from, but I’m sure I have zero idea how to even begin that search.

Focus Dude . . . Award?

Anyway, yes, if we’re going off of what I’ve read so far, I absolutely want A Master of Djinn to win best novel. I enjoyed Andy Weir’s Project Hail Mary but I don’t think it stood out to me as a Hugo contender the way this book did.

Anyway, that’s all I have for now. Have you read this one? What did you think? Let me know in the comments!!

See you next time!

Moon Knight Unwrapped: Ep. 5 – Asylum

Only one . . . more . . . episode . . . to go . . .

I can hardly stand it. But it’s not quite time to talk about that yet. It’s time to talk about Episode 5 – Asylum.

Eeek!

Ok. Really quickly, if you If you’re interested in catching up on any of my previous posts about this show, please check out my Moon Knight Unwrapped tag. I have some posts about Moon Knight Comics too, or you can just check out my a general list of Moon Knight posts as well.

Finally, I should probably start this episode with a bit of a content warning. The episode depicts: sibling death, parental violence (physical and psychological), loss, grief, PTSD, death of a main character.

Ok. Deep breath. Here we go.

This episode was such a heavy hitter in so many respects, and there were so many choices here that I just absolutely loved.

First, let’s talk about the the . . . Ancient Egyptian-ness of this episode. Of course, as usual, Roxanne Bicker does an amazing job talking about the history behind this episode in her „Moon Knight“ – Die altägyptischen Hintergründe erklärt, Teil 9 (google translate is our friend).

The part I was probably most excited to see, was the barque of the Sun God, Ra, on which Marc/Steven are traveling through the Duat. Tawaret, a goddess of Motherhood and Childbirth, is not typically responsible for escorting souls through the afterlife, and it’s obvious from the very start that she is uncomfortable in her new role. There’s a ton of speculation that she is filling in for Ra because so many of the other Gods are imprisoned in the Ushabti, as Khonshu was at the end of Moon Knight Episode 3 – The Friendly Type.

I think this is probably true, but I have also been wondering if there isn’t a second meaning as well (there is a duality to everything in this show). Revealed in this episode, is Marc’s abuse at the hands of his mother, after his brother Randall (RoRo!) passes away. My theory is that Tawaret’s appearance — being a goddess of Motherhood — is another attempt of Marc’s mind to cope with being dead and perhaps a yearning for a positive motherly influence, only it’s influenced by Steven’s fascination with Ancient Egypt.

Of course, I hoped for/predicted the scales of Anubis back before the show was released, and I was not disappointed in their depiction within this episode. I though the porcelain hearts, seemingly made of a similar material to the canopic jars Ancient Egyptians used to store their organs for the afterlife was a really neat, and probably less gruesome way to depict this essential part of Ancient Egyptian epistemology: Judgement.

Finally, since this post is already going pretty long and there’s still the predictions and theories to go through, I’ll end by saying my final favorite shot, was of the Khonshu-like bird skeleton we see before entering the flooded cave. So much to unpack there certainly, but I’ll be honest, I’m not sure I’ve landed on a good explanation of what it implies. Perhaps that Khonshu has been with Steven for longer than we realized? Either as a part of his psyche, or active in his life as a god like we see later? Maybe that really was just a dead bird which Marc has projected onto the form of Khonshu and mythologized over time . . . Perhaps Khonshu isn’t real at all and Marc received super powers some other way . . . and his mind is trying to cope . . . I don’t know.

Anyway, RIP Steven (omg I think I actually cried). I hope, as they say in The Mummy that “Death is only the beginning” and that we see you again soon.

Predictions

Steven will return?

This is more or less what happens towards the end of the Lemire comics. In the final book, Moon Knight Volume 3: Birth and Death, we see much of what we saw in this episode (#5) with a flashback to the first time Marc imagines Steven (although it doesn’t have anything to do with any British archeologists, or child beating thankfully). We also see some of his time in Afghanistan, and how he meets Duchamp (Frenchie), and his origin with Bushman (VERY briefly brushed over in this episode which is probably good).

Finally we see Khonshu’s tomb and the creation of the figure Moon Knight, which we saw in this episode as well. The third story we get in that series is Spector’s return to the asylum, and his eventual fight with Khonshu. In order to return to the asylum he must find Anubis’ wife (Anpu) and ALL of his alters return to help him escape a kind of weird Ancient Egyptian inspired alien planet before he faces Khonshu “alone” (the implication being that Marc IS all of his identities and so he can call upon any of their traits and powers even without having to manifest them).

Khonshu Freed (along with other gods)

Another logical assumption we can make, is that our (my?) beloved Khonshu will be freed from his stone Ushabti this episode, and possibly so would the other gods. I think this would be amazing as it would open up so many possibilities within the MCU! Also I just want to see the Ancient Egyptian pantheon running around (you can see which gods specifically I’m excited for in 9 Things About Ancient Egypt I Hope We See In Marvel’s #MoonKnight) because that would be dope as hell.

Harrow vs Moon Knight Fight . . .

Again, not much of a prediction considering we’ve seen footage of the two fighting in trailers that we have yet to see in the show (although I suppose sometimes trailer footage doesn’t make it into the show always). However, what they’re fighting about and why is the much more interesting question. From the souls we saw falling into the Duat, it seems clear that Ammit has been freed from her ushabti and is wreaking havoc on the world above.

It seems reasonable to assume that there will be some way to imprison her again, and that Harrow will be fighting to stop that process from happening. In ancient times, Ushabti could be made of many materials, but many were created from a kind of glazed earthenware known as Egyptian Faience. In Moon Knight, it seems the figures are made from stone, and created using a ritual performed by the Ennead. Perhaps this divine group has seen the error of their ways, and led by Hathor/Sekhmet, is attempting to complete this ritual and imprison Ammit once again. Maybe they’re down a member and need a recently freed Khonshu to step in an help? I guess we’ll have to wait and see.

Moon Knight will return in . . .

I just can’t abide that this show will only be a one season as Oscar Isaac has claimed or that we won’t see Moon Knight again in the MCU. Right now, I have pretty little interest in the Midnight Sons theory as aside from the Netflix Daredevil show, I don’t think we’ve really had any compelling versions of these characters (Punisher, Ghost Rider, Daredevil, Blade) in the MCU as of yet. In Moon Knight Essentials Vol 1 we saw MK team up with Spiderman, Hulk, and a few others which could be great (I’m always up for more Spiderman!!).

And of course there’s always this Moon Knight series/season finale tweet to read too much into.

The Wait is Almost Over

Welp, that’s all I have so far. Soooo looking forward to tonight’s episode. There’s only one more to go! I’m sure I’ll be back next week with another of these posts, but in the mean time, help me wait with a little speculation of your own. Which theories did you like the best? What didn’t I mention (probably a lot).

Please leave your thoughts in the comments. Can’t wait to catch up with everyone on this! See you next time.

Moon Knight Vol 1: From the Dead (Review)

Happy Friday everyone! We’ve got another comic book review this week, and because I’m obsessed, it’s another Moon Knight review. If you’re just getting caught up, I’ve been reviewing Moon Knight comics in preparation for the Moon Knight show on Disney+.

So far I’ve managed to read through the 3 books by Jeff Lemire, and a Moon Knight “Essentials” volume, and then of course I’m blogging about the show each week as the episodes come out in my Moon Knight Unwrapped series. It’s a lot of fun, and honestly I’m a little amazed I’m not sick of it yet.

Anyway, THIS week’s review is about Moon Knight Volume 1: From the Dead by Warren Ellis. It came out in 2014, before the Lemire books I read just before this.

In some ways, I felt like this take on the character deviated the most from anything that I’ve seen so far. First, there were lots of references to other marvel properties like Spiderman, Wolverine, and S.H.I.E.L.D. and a lot of allusions to past events which I assume are part of the Moon Knight cannon which I haven’t come across yet (I probably should not be reading these in reverse chronological order hahah). It was not as off-putting as I felt some of the allusions in Lunatic were because Ellis seems to have a more straightforward writing style (when it comes to dialogue at least). Things aren’t referenced so much as explained, and I never really felt all that confused although sometimes I did wish I had experienced them first hand.

I found the artwork in these volumes to be the most enjoyable of anything I’ve read so far. A lot more use of color, and many of the environments were quite surreal. It was great!

However, I also felt that this book was perhaps the most simplistic version of the character I’ve seen yet. Each story focuses almost solely on Mr. Knight, usually punching his way through a slew of enemies. YouTuber Matt Draper does an interesting analysis in Moon Knight – Burdened by and Unknown God, and manages to show the complexity of the Spector/Khonshu relationship as a metaphor for the unknowable nature of religions and their followers . . .

Perhaps this develops, or is more apparent in the books that follow, but to me, it seemed like Ellis rejected some of Moon Knight’s most interesting characteristics, his personalities, and the series’ other characters. Only at the end do we get any idea of where Jean Paul Duchamp (‘Frenchie’) and Marlene are (no mention of Crawley that I noted), and while it is hinted that there was a falling out, but we do not understand why. Ellis’ Moon Knight is a violent loner and that just wasn’t as interesting to me.

Wasn’t Khonsu a healer?

Finally, the violence of these issues actually inspired me to do a bit of research into the Ancient Egyptian God of the Moon Khonsu, because I just couldn’t reconcile this violent portrayal with a deity that in history was seen as a protector and healer.

In From the Dead, Ellis names five aspects of the god which Moon Knight supposedly embodies. They are: Pathfinder, Embracer, Defender, Watcher of Overnight Travelers, and The One Who Lives On Hearts.

Embracer, and Defender, seem to match up with a healing moon deity apparent in the Bentresh Stella, who’s statue healed Ramses’ sister in law. Watcher of Overnight Travelers, and Pathfinder is also quite understandable when we consider:

“. . . which is that it derives from the verb khenes which means “to cross over or traverse”. Khonsu therefore means “the wanderer” or “he who traverses [the sky]” “

https://talesfromthetwolands.org/2020/06/11/khonsu/

But what of this last epithet, The One Who Lives On Hearts?

Well it turns out, Khonsu is represented as being violent and blood thirsty in two sources, the first being the “Cannibal Hymn” from the Pyramid texts, which describe a deceased Wenis/Unas killing and eating gods for sustenance with Khonsu’s help:

It is Wenis who eats men and lives on Gods
Lord of porters who dispatches messages.
It is “Grasper-of-Horns” who is in Khonsu who lassoes them for Wenis

Faulkner, R.O. The “Cannibal Hymn” from the Pyramid Texts, The Journal of Egyptian Archaeology v10 no2 1924 pgs 97-103

But it is spell 258 in the Coffin Texts, which identify the moon deity as “Khonsu who lives on hearts“.

I suppose that it should not come as a surprise to learn that this god of the moon was not only benevolent but sometimes malevolent too. After all, most things in Ancient Egyptian epistemology have a duality.

Read this one?

Despite my disappointment, I would still recommend this one. It’s straightforward in it’s approach, and while I was dubious of such a violent representation of the moon deity bearing up to any historical scrutiny, it seems that the evidence is there and that Khonsu had a violent side after all.

I plan to continue on with the next books in this run. We’ll see how things develop!

Has anyone read these already? What were your thoughts? Enjoy this different take on the character? Please leave your thoughts in the comments! See you next week!