Vauban's Wars - the unboxing

I mentioned a couple of months ago the publication of 'Vauban's Wars', a set of horse and musket siege rules which had been long in the gestation. It had been my intention to take a look at James' copy - he's in the Piquet Inc inner circle and will undoubtedly get one - but given that I'd been waiting to see them for some seven years already, plus the likelihood that the way things are being managed in the UK at the moment it will probably be another seven years before the inhabitants of the Wharfe Valley are allowed to visit each other's wargames rooms, made me splash out and buy my own copy.

The man himself

So, these are my first thoughts:

• The production values are good. It's a 98 page ring bound book in colour plus quick play sheets. 
• Sheets containing the cards, which need to be cut out, are provided. Alternatively you can, as I did, pay extra for a playing card quality version. Either will fit the standard 63.5mm x 88mm sleeve.
• There is a thorough list of contents, background information including a glossary, designer notes and game markers for photocopying.
• The colour photographs are not, as is so often, merely to look good and inflate the price, but actually give a pretty good indication of what is going on, which is particularly useful given the differences with a normal tabletop battle. 
• The game is a Piquet derivative - hence the cards - or to be more specific it's based on Field of Battle, the faster flowing and less swingy updated version of Piquet.
• These rules cover the aspects of sieges such as sapping, mining and bombarding at the level of one turn representing three or four days. As and when assaults and sorties are indicated these will need to be resolved using a separate set of tactical rules, before returning to siege game. Rules to manage the transitions are included
• Events such as weather, supply, espionage, disease, relieving armies etc. are covered, but all at a fairly abstract level.
• There are no army lists as such, but some reasonably prescriptive constraints as to the minimum and maximums of each unit type. National characteristics exist - especially for the Ottomans for some reason - but don't appear to be that significant.
• Everything seems straightforward to me from my first read through, although it must be remembered that I have played a lot of Piquet. 
• Overall, I'm very impressed, but the proof of the pudding is of course in the eating. It will be a while before I can try them - and they have to take their place in the queue of new rules anyway - but there is a report of a playtest game here for those interested.

A couple of relatively unimportant points require mentioning. Firstly, the rules are printed on US size paper, which is unsurprising but irritating for those of us in the rest of the world. It makes it much harder to put the quick play sheets in protective coverings. For C&C, for example, I retyped them all on to A4 before laminating them. Secondly, and on a more positive note the rules contain an absolutely explicit definition of what constitutes a flank, which happens to be the definition with which I agree and have been pushing for some years, and the author supports this with no less than a full page colour diagram. It's all a bit superfluous because, by and large, units are behind cover in trenches and fortifications and impossible to flank, but it's the thought that counts.

I have a twofold interest in the rules. I would like to play them as written, although that would probably require James to acquire the necessary siege and fortress guns, which I don't expect come cheap in 28mm. As far as I know nobody makes them for 20mm Napoleonics, so any game in the annexe is going to see some substitution taking place. I am tempted to make some bastions to match my town walls in any event. One question would be how to interface the siege rules to the hex grid if using, as I probably would, C&C for the assaults and sorties. Which also reads across to my other area of interest. It seems at first review that there would be scope to straightforwardly amend these for the late medieval period, and in that case the same question of matching to a grid would come into play if I wanted to use them in conjunction with To the Strongest!. 

Compassionate Conservatism

 

Crack Dens and Brothels

 

"Of all the preposterous assumptions of humanity over humanity, nothing exceeds most of the criticisms made on the habits of the poor by the well-housed, well-warmed, and well-fed." - Herman Melville

ON play ELP

 "No wise man ever wished to be younger." - Jonathan Swift

My incapacities have been fairly selective: I can't drive or do anything that requires close up focussing plus I fall over if I'm not careful, but other than that I can get about OK. And so I have been able to partake of some of the cultural activities opening up, albeit to be immediately closed back down again. Firstly, there was a recital by a baroque violinist. In fact, now I think about it, that was the day I got carted off to hospital, although it would be most unfair to blame her.

Once I had got myself together again it was the turn of what is now known as the Leeds Playhouse, which has been having a festival of performances for works with not many performers. First up was Poulenc's short opera for single soprano, 'La Voix Humaine'. I've seen this a couple of times before and I still wonder a bit what it's meant to represent. Is she really living through what we see or is it the condensed reminiscences of an unhappy period in her life on which she is looking back? I believe that Cocteau's play, on which this based, was more explicit, especially about the ending, but I've never seen it so that doesn't really help.

I'm also a bit ambivalent about the second piece, Beckett's 'Krapp's Last Tape', which likewise dates from the end of the 1950s. Krapp is a sad, shabby, bald man in his sixties who sits all alone at home on his birthday looking back on his life and wondering how it had ended in loneliness and failure. So, no parallels with your bloggist there then, except perhaps for needing to cut down on the bananas. I think it was about getting old and realising that being young was better, but frankly am open to alternative suggestions if you have them. 

Lastly, but not least, I saw the brass and percussion sections of the Orchestra of Opera North perform a programme of works which might have been - but wasn't - labelled as a tribute to Emerson, Lake and Palmer. They opened with Copeland's 'Fanfare for the Common Man' and closed with a selection from Mussorgsky's 'Pictures from an Exhibition'. It was like reliving my youth, except without all the aggravation of health, ambition and hair. I enjoyed it immensely, but shall not be rushing off to buy a copy of 'Brain Salad Surgery'.

PotCpouri

Indeed it has, Dame Helen. Still, we have to keep on keeping on. This week's Royal Armouries lecture was a bit of a curate's egg; I learned more from the Q&A than from the presentation bit. The presenter didn't help himself by taking the time to debunk various myths about plug bayonets that can't have occurred to many people in the first place. He did, however, address one issue that had puzzled me, namely how one removed a plug bayonet from the musket without cutting one's hand. Apparently the answer is that you rarely can. Interesting fact of the week was that the plug bayonet wasn't developed so much in imitation of the pike as it was as a convenient way of sticking wild boar; and the name does indeed come from Bayonne.

While I'm talking about online talks, let me draw your attention to this one, in which the 12th Duke of Northumberland is going to speak about 1,000 years of the Percy family at Alnwick Castle, a period which ought to contain something of interest. The picture below reflects slightly less than a millennium of the Epictetus family at Alnwick Castle. The one in the middle is the elder Miss Epictetus; I don't know who the other two are.

And finally, this is rather nice, and it's in a good cause:

Britannia AD 43

 So, the fact that the world won't stand still is restricting my ability to indulge in those few things that remain legal in Leeds, sitting all alone at home painting figures for example, but oddly enough I can read books without any problem (computer screens are more difficult) and I have been looking through a recently published book in the Osprey Campaign series: 'Britannia AD 43: The Claudian Invasion' by Nic Fields.

I hope I'm not damning with faint praise when I say it's OK. Two obvious problems that the author has are a lack of sources plus the significant changes in the geography of both the Kent coast and the course of the rivers Medway and Thames during the intervening two millennia. He copes with both as well as could be expected, although he does tend to repeat himself a tad. It's copiously illustrated with both paintings (by Steve Noon) and photographs of subjects ranging across museum exhibits, re-enactors, Roman remains from well after the invasion, much later buildings which happen to be where something may or may not have happened at the time etc. One of the photo credits is given to Neddy Seagoon, so one can't complain that the publishers have not looked in every possible place that they could think of.

Everyone will come to the book with a different level of prior knowledge, and most will be greater than mine. When Fields says that many people's impression of Claudius himself comes from Robert Graves via Derek Jacobi, he might have been describing me. Personally, I found the description of the difference between the alae and the cohortes equitatae to be very helpful, although I can't imagine it will make any difference to how I classify my Roman cavalry in 'To the Stongest!'. Also interesting was the contrast between the tribesman using local knowledge to finding their way through estuary marshes and the Batavian auxiliaries' ability to swim across rivers and move directly into combat. The text further prodded me towards thinking that the way chariot rules work in 'Infamy, Infamy' is more likely to reflect how they were used than those in TtS!; still, the latter shouldn't be hard to change. Lastly, but by no means least, I am very tempted to model (when vestibular stability has been restored) the illustration of Claudius parading towards Colchester on an elephant. And why not?

Still remembered

Two Poets

Two poets have been in the news. Firstly, Louise Glück won the Nobel Prize for Literature. I rather like the following lines from her poem 'Vespers', which say it like it is, for me at least.

"In your extended absence, you permit me

use of earth, anticipating

some return on investment. I must report

failure in my assignment, principally

regarding the tomato plants."

And Derek Mahon, Irish poet and 'aesthete with a penchant for left-wingery', died at the beginning of the month. He also tells it like it is, this time with perhaps a wider pertinence. These lines are from 'Afterlives':

"What middle-class shits we are

To imagine for one second
That our privileged ideals
Are divine wisdom..."

Milan 1630

I bet you all looked at that title and thought I was going to write about military history, or perhaps I was about to start wargaming a new period. However, and temptingly obscure though the War of the Mantuan Succession would be, neither of those is the case; you know me better than that.

I have been reading Manzoni's 'I Promessi Sposi', the classic of Italian literature which, on the off chance that you don't know it, is a bit Walter Scott, a bit Dickens or Thackeray, but perhaps mostly like Tolstoy. The author dedicates the whole of Chapter 31 to the arrival of the plague in Milan in 1630, and much of what he writes seems worryingly familiar. For example:

"The infection entered through the inadequacies of the edicts, negligence in carrying them out, and adroitness in eluding them."

Plus ca change.

A Question of Balance

 The lack of posts on the blog has been to a great extent driven by a lack of balance in your bloggist. By coincidence the cover story of this week's edition of the New Scientist is about the fact that the population as a whole is falling over more often and that the problem is occurring at a younger age than ever before. They point the finger at less and less physical movement being undertaken by the bone idle denizens of the modern world, or at least that's what I think it said, but the magazine is on the other side of the room and I can't be bothered to go and get it. I have been placed on a regime of Balance Retraining exercises, about which I shall simply say that it is a good job that I live alone. Yoga has been mentioned, as it frequently is, especially by those who don't do it themselves. However, as I can't currently walk in a straight line, the Revolved Bird of Paradise may be some way off.

Anyway, here's some Sam & Dave, dedicated to the fond memory of those who perform the Downward Dog.

Royal Armouries Lectures

 During the last few months I have found that many of the things I enjoyed doing pre-plague aren't anything like as good when one tries to do them online. I appreciate that comment will be misinterpreted in some quarters, so let me be clear that I am talking about opera, theatre, live music etc. However, one thing that seems to work rather well is the giving of talks, and I have watched quite a few now, on subjects such as how the myth of Prometheus has influenced culture, The Beatles and the Sixties Art Scene, and Crusader Arms and Armour from Africa and Asia; and very good they have all been.

The last item on that list was the first of the winter series of lectures from the Royal Armouries, a series which under other circumstances I would have attended many of in person. That's obviously an option for me because I live in Leeds, but their new practice of streaming them means not only that I don't have to get off my arse any more, but that others who are not based in West Yorkshire can see them as easily as me, either live or after the event. A recording of the recent one about 'genuine' Crusader armour and weapons sold to the unwary by Victorian dealers (and they may be fakes, but it's a very interesting story) can already be found here on their YouTube channel. The next two are on the subjects of 'Plug Bayonets' and ' The Development of Gunpowder Weapons in Medieval England', either or both of which may be of interest to either or both of my readers. The lectures are given by staff at the Royal Armouries, so they know their stuff, and are free, which now I think about it was what attracted me in the first place.

Details and a link via which to book can be found on the Royal Armouries website. Presumably future recorded lectures will appear on the YouTube channel, which anyway contains all sorts of fascinating stuff.

Sonnet 113

Since I left you, mine eye is in my mind;
And that which governs me to go about

Doth part his function and is partly blind,
Seems seeing, but effectually is out;
For it no form delivers to the heart
Of bird, of flower, or shape which it doth latch:
Of his quick objects hath the mind no part,
Nor his own vision holds what it doth catch;
For if it see the rud'st or gentlest sight,
The most sweet favour or deformed'st creature,
The mountain or the sea, the day or night,
The crow, or dove, it shapes them to your feature.
Incapable of more, replete with you,
My most true mind thus maketh mine eye untrue.

                                   - Shakespeare