Tag: writing

The Logistics of Tolkien

An operational and logistical analysis of the Witch King’s attempt to storm Minas Tirith:

The goals here (operational objectives) of Sauron’s plan here absolutely check out. Minas Tirith contains most of Gondor’s military, and functionally all of its leadership and administration – its destruction could very well be war-ending. At the very least, control of Minas Tirith would open the rest of Gondor to raiding as well as enable Sauron to control the resource-rich Pelennor Fields. Delivering a powerful and effective siege (the operational objective) is very likely to lead to victory over Gondor and territorial control of it (the strategic objective). Now the question is Sauron’s plan to achieve that operational objective (we will talk about Gondor’s planning too – a little later in the series).

Now, as we’ve noted, operations are all about the problem of moving large armies. Late season Game of Thrones notwithstanding, armies do not generally teleport around the world, they have to march. That imposes all sorts of restrictions and costs on movement: where are the roads? Mountain passes? River Crossings? The terrain Sauron’s army must attack over is defined (as we’ll see) by a series of transport bottlenecks that have to be negotiated in order to deliver the siege. Then there is the issue of supplies – even orcs need to eat.

Logistics of the Army of Mordor
Looking at the logistics of moving the Army of Mordor to Minas Tirith is actually a great way to introduce some of these problems in more depth. They say ‘amateurs talk tactics, but professionals study logistics.’ Well, pull up a chair at the Grown-Ups Table, and let’s study some logistics.

The army Sauron sends against Minas Tirith is absolutely vast – an army so vast that it cannot fit its entire force in the available frontage, so the army ends up stacking up in front of the city: The books are vague on the total size of the orcish host (but we’ll come back to this), but interview material for the movies suggests that Peter Jackson’s CGI team assumed around 200,000 orcs. This army has to exit Minas Morgul – apparently as a single group – and then follow the road to the crossing at Osgiliath. Is this operational plan reasonable, from a transit perspective?

In a word: no. It’s not hard to run the math as to why. Looking at the image at the head of the previous section, we can see that the road the orcs are on allows them to march five abreast, meaning there are 40,000 such rows (plus additional space for trolls, etc). Giving each orc four feet of space on the march (a fairly conservative figure), that would mean the army alone stretches 30 miles down a single road. At that length, the tail end of the army would not even be able to leave camp before the front of the army had finished marching for the day. For comparison, an army doing a ‘forced march’ (marching at rapid speed under limited load – and often taking heat or fatigue casualties to do it) might manage 20 to 30 miles per day. Infantry on foot is more likely to average around 10 miles per day on decent roads.

Ideally, the solution to this problem is to split the army up. By moving in multiple columns and converging on the battlespace, you split one impossibly long column of troops into several more manageable ones. There is a danger here – the enemy might try to overwhelm each smaller army in turn – but Faramir has had to pull his troops back out of Ithilien, so there is little risk of defeat in detail for the Army of Mordor. The larger problem is terrain – we’ve seen Ithilien in this film and the previous one: it is heavily forested, with few roads. What roads exist are overgrown and difficult to use. Worse yet, the primary route through the area is not an east-west road, but the North-South route up from Near Harad to the Black Gate. The infrastructure here to split the army effectively simply doesn’t exist.

This actually understates the problem, because the army of Morder also needs supplies in order to conduct the siege. Orcs seem to be able to make do with very poor water supplies (Frodo and Sam comment on the foulness of Mordor water), so we can assume they use local water along the march, but that still leaves food. Ithilien (the territory they are marching through), as we have seen in the film, is unpopulated – the army can expect no fresh supplies here (or in the Pelennor beyond, for reasons we’ll discuss shortly). That is going to mean a baggage train to carry additional supplies, as well as materials for the construction of all of the fancy siege equipment (we, in fact, later see them bringing the towers pre-built – we’ll get to it). This would lengthen the army train even more.

All of that raises a second point – from a supply perspective, can this operation work? Here, the answer is, perhaps surprisingly, yes. Minas Morgul is 20 leagues (around 60 miles) from Minas Tirith. An infantryman might carry around (very roughly) 10 days or so of rations on his person, which is enough to move around 120 miles (these figures derive from K. Chase, Firearms: A Global History to 1700 (2003) – well worth a read! – but are broadly applicable to almost any army before the invention of the railroad). The army is bound to be held up a bit along the way, so the Witch King would want to bring some wagons with additional supplies, but as a matter of supply, this works. The problem is transit.

As a side note, the supply issue neatly explains the aggressive tactics the Witch king employs when he arrives at Minas Tirith, moving immediately for an assault rather than a siege. Because the pack animals which pull wagons full of food eat food themselves, there is literally no amount of wagons which would enable an army of this size to sustain itself indefinitely in a long siege. The Witch King is thus constrained by his operational plan: the raw size of his army means he must either take the city in an assault quickly enough to march most of his army back, or fail. He proceeds with the appropriate sense of urgency.

That said, the distances here are short: 60 miles is a believable distance for an army to make an unsupported ‘lunge’ out of its logistics network. One cannot help but notice the Stark (hah!) contrast with the multi-hundred-mile supply-free lunges in the TV version of Game of Thrones, which are far less plausible.

I’d like to think that the logistics of Selenoth work out well, but I’ll have to leave that for others to decide. Regardless, it’s a much more interesting take on Tolkien than most, as far as I’m concerned. And the analyst is right, it’s not a siege of the city so much as an attempt to storm its walls.

DISCUSS ON SG

You Are Not the Topic

If you want to be taken even halfway seriously as a commentator or opinionator, for the love of all that is good and holy, STOP TALKING ABOUT YOURSELF!

Stop explaining who you are, what you believe, why you are addressing the topic, or why you think it is important. I click away from the majority of Substack articles now because the author is observably more interested in talking about himself than about his purported subject.

  • Lesson One: No reader cares about you.
  • Lesson Two: You are not the topic.
  • Lesson Three: Stick to the topic.
  • Lesson Four: You’re not fooling anyone when you use yourself as an example every single time.

There are few things more tiresome than someone answering questions about themselves that no one has asked. I would rather read Victorian manuals of lady’s etiquette than the new modern genre of “in case you want to know what it’s like to be (fill in the blank), I’ll tell you everything about myself you never wanted, or needed, to know.”

It is the ideas that are important, not the personalities that promote them.

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Advantage Unauthorized

A professional copy editor laments the replacement of mediocrities with pattern probability tables:

I’m a copy editor and almost all the recent jobs I’ve had have been editing text written by AI. College application essays, marketing articles, reports. My job is quickly going from improving human beings’ writing to tweaking text written by robots so that it sounds somewhat human and evades AI detection software. I like helping people express their ideas by editing their writing, not changing endless text written by a computer that all sounds the same to trick people into thinking it was written by a person. The tech has already taken copy writers’ jobs and soon I’m sure it’ll be sophisticated enough to take mine too.

I hate soulless AI-generated art. I struggle to even understand the point of art if it wasn’t created by a conscious, talented human being with a soul. Soon books, TV shows, and movies will be churned out by computers. All that comes up on search engines anymore are dozens of identical AI generated articles that only graze the surface of the topic and never answer your question.

First of all, AI is a misnomer because there is no intelligence there. It’s simply design-for-effect applied to text generation, which is why Advanced Squad Leader feels like a WWII infantry simulation when it isn’t a simulation at all. I know this because I designed, and applied for a patent that was rejected, for an Artificial Player Character that provided the effect of simulating human behavior in an MMO game without actually simulating anything. It was just a weighted pattern probability table that, ironically, provided the game designer with more “realistic” human behavior by the NPCs than most real player-characters were displaying.

Second, while these generated patterns can provide realistic results that exceed the mediocre norm, they can never, on the basis of the pattern probabilities alone, ever reach the level of good writers, let alone great ones, because they contain no basis for the specificity required for quality analysis and application. This is the explanation for the copy editor’s correct complaint about “articles that only graze the surface of the topic and never answer your question.”

Third is the limitations imposed by the AI-programmers, which massively reduce both the relevance and utility of the generated texts. When ideas, events, and individuals are banished from the input, the output will necessarily diverge from reality, and often, coherence.

This is why the creators who are both talented and unauthorized possess an inherent, structural advantage over what presently passes for AI-generated writing, an advantage that is unlikely to diminish with future iterations of the technology.

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Miles Mathis Responds

A reader at AC wanted to let the Miles Mathis Committee know we had recently been discussing the limits of the materialist perspective here, which discussion happened to touch upon some of the less-logical conclusions of Miles and a few other materialist commentators:

Regarding this: The Limits of The Materialist Perspective

I got a response from Miles Mathis.

ME: We are having a bit of a discussion about you over at voxday.net. I really enjoyed your essays here:

MILES: Fuck em. I’m busy writing new papers. They should try it instead of reading old Langley scripts on me. Calling me vain has been done and gone nowhere.

Doesn’t speak wonders for the reading comprehension there, does it? The thing is, Miles knows who I am. I’ve linked to a number of his papers and I’ve even bought a few of his books. So, to claim an observation that the utility of his analysis is limited by his materialist perspective and concomitant refusal to admit the possibility of a supramaterial element driving the historical activities of “the Phoenician Navy” rather than mere pecuniary interests is “an old Langley script” on him is more than a little bizarre.

Also, I don’t write papers. I write books.

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Even, I Can’t

It would be difficult for me to disagree more strongly with anyone than I do with this literary heretic spewing textual heresy on SocialGalactic:

One book I’ve really come to hate is Hitchiker’s Guide to the Galaxy. Doesn’t get more reddit than that. The author thinks he is much more clever than he is. I read it in high school, and was underwhelmed. Based on the hype, I was expecting something epic, but all I got was nonsense humor that wasn’t even funny.

First, Douglas Adams is one of the funniest authors to ever write a novel. I place the top five in this order:

  • PG Wodehouse
  • Douglas Adams
  • Owen Stanley
  • Bruce Bethke
  • Terry Pratchett

Wodehouse remains the greatest of the humor writers, not merely due to the very high standard he set, but the size of his ouevre and its reliability across a broad spectrum of topics and characters. Whether he was utilizing Hollywood actresses or agriculturally-inclined aristocrats and pigs, he could always find the humor in the situation.

Stanley is one of the funniest novelists ever and the fact that I convinced him to write The Promethean is my single greatest literary triumph. With regards to his first novel, The Missionaries, an SJW reporter once asked me what was the best book Castalia House had published, read it, and later told me: “It’s the most racist and offensive book I have ever read, and I just couldn’t stop laughing. Now I hate myself.”

The fact that Bruce Bethke essentially stopped writing fiction after Head Crash is one of the great literary tragedies of our age.

And while Terry Pratchett’s earliest work and later work can be forgotten, his middle period, when he matured as a writer, brought in an element of social commentary, and learned how to actually write humor instead of telling the reader what he was supposed to find funny, was very, very good.

Adams had more than a few tricks at his disposal, but his patented subdued punch line never ceased to be effective. My two favorites:

  • “Vogon poetry is of course, the third worst in the universe. The second worst is that of the Azgoths of Kria. During a recitation by their poet master Grunthos the Flatulent of his poem “Ode to a Small Lump of Green Putty I Found in My Armpit One Midsummer Morning” four of his audience died of internal haemorrhaging and the president of the Mid-Galactic Arts Nobbling Council survived by gnawing one of his own legs off. Grunthos was reported to have been “disappointed” by the poem’s reception, and was about to embark on a reading of his 12-book epic entitled “My Favourite Bathtime Gurgles” when his own major intestine, in a desperate attempt to save humanity, leapt straight up through his neck and throttled his brain. The very worst poetry of all perished along with its creator, Paul Neil Milne Johnstone of Redbridge, in the destruction of the planet Earth.
  • The bathroom was not large. The walls were panelled in old oak linenfold which, given the age and nature of the building, was quite probably priceless, but otherwise the fittings were stark and institutional. There was old, scuffed, black-and-white checked linoleum on the floor, a small basic bath, well cleaned but with very elderly stains and chips in the enamel, and also a small basic basin with a toothbrush and toothpaste in a Duralex beaker standing next to the taps. Screwed into the probably priceless panelling above the basin was a tin mirror-fronted bathroom cabinet. It looked as if it had been repainted many times, and the mirror was stained round the edges with condensation. The lavatory had an old-fashioned cast-iron chain-pull cistern. There was an old cream-painted wooden cupboard standing in the corner, with an old brown bentwood chair next to it, on which lay some neatly folded but threadbare small towels. There was also a large horse in the room, taking up most of it.

DISCUSS ON SG

Peak America

We had no idea how good we had it as children, but we can hardly be blamed for that since we never knew anything else. But if you’re a member of Generation X, it is very important that you write your autobiography in order to leave behind some written record of what Peak America was actually like. Because what we regarded – what we still regard – as normal no longer exists. And its the micro accounts of daily life that are actually the most informative about a historical society, not the usual historian’s focus on politics, wars, and other macro-level events.

Save your elementary school class pictures. Describe what life was like in an ethnically homogenous European society. Give future generations a vision of what is possible for their children and grandchildren if they set their minds to it.

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Blocking the Bowdlerizers

An English playwright who is already experiencing requests for revisions by SJWs plans to protect his work from his literary heirs in his will:

Martin McDonagh has revealed he may use his will to ensure there are no Roald Dahl-style posthumous edits to his work.

The acclaimed playwright, 53, told how some theatre companies have refused to put on productions of his plays because he refused language changes to make the performances more ‘palatable’. The filmmaker, who wrote and directed The Banshees of Inisherin, described the practice of writers being asked to change what they have written for sensitivity-related reasons ‘problematic’.

Speaking to BBC Radio 4’s Today programme, Martin said: ‘That’s why I’ve got to make sure in my will, the wording of that is very, very specific too. A theatre has got every right not to put a play on. The major problem is that they ask you or another writer to change it to make it more palatable to them or what they think their audience is.’

The playwright’s words come after it emerged that Roald Dahl’s beloved children’s books are being rewritten by sensitivity gurus to remove language they deem offensive. Publisher Puffin hired sensitivity readers to rewrite chunks of the author’s text to make sure the books ‘can continue to be enjoyed by all today’, resulting in extensive changes across Dahl’s work.

It’s a good idea. My initial thought is to include a codicil stating that if the heirs sell any of the rights associated with the work or publish the work with any posthumous edits, the work immediately reverts to the public domain.

Obviously, this requires some careful thinking and precise language, as one does not want to harm an honest literary heir like Christopher Tolkien who did a remarkable job preserving and even extending his father’s literary legacy. But no self-respecting author wants to see what is happening to the work of Road Dahl and other deceased authors happen to his work.

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The SDL Replies

From SG:

Larry Correia responds to a 2⭐ review with his signature style. One wonders how the SDL would reply?

What Larry said, the abridged version:

What an incredibly fucking stupid point to make in an incredibly fucking stupid review. You aren’t reviewing my book. You’re reviewing your own fucking hubris and hang ups.

And fuckers like you don’t just post this bullshit to me. You post it to all fantasy authors. Only I’m fine. I make good money off my fans who aren’t entitled little shits. I’ve got shooting Flight Control money. The people who get fucked by people like you are all the up and comer and newbie authors who can’t afford to eat nothing but Ramen Noodle for the years it takes to finish an epic fantasy series before cheap fucks like you gamble on the first book.

That’s the real legacy of Rothfuss and Martin, fucking over an entire generation of up and coming fantasy authors because entitled shit heads like this got their expectations hurt.

MY ACTUAL REPLY: There are a large number of people who don’t read me for a considerable panoply of different reasons. I suppose that’s as good a reason as any. Anyhow, it will be done when it is done. In leather. Glorious, supple Italian goatskin leather.

Let’s face it, Larry is simply more entertaining than I am.

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You Wanted Conan

And The Legend Chuck Dixon gave you Conan. The real Conan, the barbarian Conan, the Cimmerian Conan, the public domain Conan, the Conan about whom Robert E. Howard wrote, not the latter-day copyrighted Conan created by L. Sprague de Camp Conan, about whom one critic wrote: “L. Sprague de Camp is an insufferable hack and his choices both in writing his own criticism and curating this collection are baffling”, and most definitely not the Hollywood Conan.

Now you have multiple options to get your hands on Chuck Dixon’s Conan, but keep in mind that only the Arkhaven store will provide you the ebook along with the paperback edition. We’ll be placing our order for shipment to the fulfillment center tomorrow, so this is a good time to take action if you’re interested.

Bounding Into Comics interviewed The Legend about his latest novel.

Speaking with Bounding Into Comics, Dixon explained why he wanted to write this story, “I wanted to write a straight up war story of Conan’s time as a mercenary. But I also wanted to throw in a Lovecraftian monster as well as a depiction of dark sorcery in the Hyperborean Age with all its dire consequences.”

Dixon also relished the challenge to write in what he describes as Howard’s bravura style, “I was totally immersed in Howard’s bravura writing style as an adolescent. I liked the challenge of creating a new Conan story written in that style.”

He added, “So much of Howard’s prose relied on the reader to create vivid images in their own imaginations as they read. I really wanted to see if I could inspire that same brand of wild visuals.”

Meanwhile, the Dark Herald reviewed THE SIEGE OF THE BLACK CITADEL at Arkhaven.

During the 1980s, Baen Books decided to do the world a massive favor and publish a huge library of Robert Howard stories in their original un-De Camped form. I was struck by the unexpected quality of Howard’s work. I’d heard a lot of criticism of Howard’s original stories by De Camp, Stephen King, and several others. I didn’t understand it then, but I do now. It had nothing at all to do with Howard’s prose and everything to do with politics. Although in King’s case, it could have been opinions generated by the mountains of coke he was snorting back then.

Howard was more than capable of subtly and subtext; his Conan was a complex hero. While taciturn and stoic, he would never leave a helpless innocent to the hands of those who found joy in cruelty.

Robert Howard had a great respect and indeed love for ancient history. He wanted to tell stories set in remote antiquity, but he also wanted them to be accurate to period. This presented him with a fundamental problem. In his hometown of Cross Plains, the resources of the Texas oil boom town’s library were it and they were obviously insufficient for his needs. So, he did the next best thing and created a completely fictional world from whole cloth. One that was a reflection of the ancient world but was not constrained by it. In so doing, Robert Howard invented an entire genre called Sword and Sorcery by Fritz Lieber.

Think about that for a second, this pulp writer in a small Texas boon town created an entirely new category of fiction and he’s been despised by all right-thinking people for it ever since.

Who in this modern world could hope to do justice to the works of a man born at the turn of the last century that venerated the purity and strength of the barbarous?

The Legend Chuck Dixon, that’s who.

The Legend has already completed the second book, THE CARAVAN OF THE DAMNED, and is now working on a third. Both of these books will be illustrated by Ademir Leal, the cover artist for THE SIEGE OF THE BLACK CITADEL.

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You Had One Job

And you didn’t do it. Ursule K. Le Guin’s son and literary executor explains why he is revising her work in order to bring it more in line with modern social justice sensibilities:

My job is to bring my mother’s work to new generations of readers, not to revise it. People who adore a book are often eager to transform it, through screen adaptation, fan fiction or critical reinterpretation. Sometimes this works well; often it doesn’t. I tend to start from the position that Ursula’s words are sacred, so my initial reaction to the editor’s request was that of a strict constructivist.

After deep breaths, and with Ursula’s own revisionism in mind, I contacted a disability rights attorney, a youth literature consultant, a racial educator, and some kids. My advisory group leaned toward change but was not in consensus. I genuinely didn’t know what my mother would have decided. But she left me a clue: a note over her desk asking, “Is it true? Is it necessary or at least useful? Is it compassionate or at least unharmful?”

I like to think that truth and compassion are immutable even as the language we use to express them changes. But cultural constructs of harm are mutable; we frequently revise our definition of what’s harmful to whom, how it is spoken of, and who gets to do the speaking. My mother’s note tipped me toward changing her words. I found substitutes that would retain the original meaning and cadence, and stipulated to the publisher that the new editions would note that the text had been revised.

Criticism of changes to Dahl’s books can just as well be leveled at my own decision. Closest to my anxiety is the reaction of Susanne Nossel, of PEN America, who counsels us to “consider how the power to rewrite books might be used in the hands of those who do not share their values and sensibilities.” Although this haunts me, people who don’t share my sensibilities about artistic freedom seem to prefer to ban or burn books, usually without having read them.

In other words, literature must be defaced in order to make it acceptable to the lowest-common denominator, thereby turning books, which preserve human knowledge, into a form of ephemeral entertainment akin to television.

We really do need to see about getting that Castalia History subscription going before it’s too late.

This is why successful authors are well-advised to formally place their work into the public domain rather than trust their children, and especially, their grandchildren, to be faithful to their work and to protect their historical words. With the exception of a few loyal souls like Christopher Tolkien, most literary heirs are far more concerned with how their predecessor’s works are perceived by their friends and acquaintances than they are with doing their one job of preserving the family literary legacy.

I’ve personally witnessed this myself, where the literary heirs would rather see their predecessor’s work continue vanishing unread into history than risk embarrassing them with a revival of its historical appeal.

This is another reason why current copyright law is downright evil; it tends to destroy an author’s legacy rather than preserve it. Life of the author is a sufficient period for copyright, with an additional 10-year period to benefit the heirs and provide a foundation for providing a literary legacy for those heirs genuinely interested in doing so.

And it is, of course, amusing that he attempts to justify his decision to modify his mother’s works by appealing to the belief that others won’t take similar liberties. But once one accepts the principle that texts can be deemed unacceptable to the public in their original state, one has already justified their burning. And it’s just a matter of time before someone who doesn’t approve of that work for one reason or another comes to power.

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