Showing posts with label Fantasy. Show all posts
Showing posts with label Fantasy. Show all posts

My Tribute to Sword & Sorcery

This short article is a companion piece to How a short story started (and almost ended) as a film project, a brief summary of the troubled production of my (as of yet) unproduced short film Greywolf, which I later adapted and published as a short story.

A small selection of my ever-growing collection of Sword & Sorcery paperbacks.



DISCOVERING THE SWORD & SORCERY GENRE

I have been a fan of fantasy stories most of my life, something which undoubtedly has something to do with the fact that I was nine years old when the first film in Peter Jackson's The Lord of the Rings trilogy was released in theatres. Like most geekily-inclined millennials, Fantasy has been a part of my life ever since, but it was only a few years ago, while I was preparing for my Norse Fantasy short film The Wild Huntsman, that I properly discovered the Sword & Sorcery genre and it is no exaggeration to say that I have since absorbed as many books in this gritty and vibrant genre as I can get my hands on.

Now, I'd naturally heard of Sword & Sorcery before, it was hard to avoid, especially growing up in Norway. Up until just a few years ago you could hardly enter a gas station or kiosk without finding a Conan the Barbarian comic present on the comic/magazine rack. Now, its hard to say why I steered away from these as a kid, though the often present "intended for a mature audience" label might have scared me off a bit. Besides, I had plenty of Fantasy and Sci-Fi to suit my needs at the time. In recent years, however, while I was trying to broaden my literary knowledge, it did not take long before it dawned on me how much more there was to this genre than the often over-the-top heavy metal-inspired comic art and Hollywood movies starring former bodybuilders that I associated with the genre had previously suggested.

A common sight in Norwegian grocery stores, gas stations and kiosks throughout the 90s and 2000s.

My search also coincided my another recent obsession of mine; old pulp stories, specifically from the 1920s and 30s. I was, as often is the case with S&S newbies, quite surprised to find that even the character of Conan had his origins in pre-WWII short story magazines, specifically Weird Tales magazine, and that his creator, Robert E. Howard, was a contemporary and correspondent of H. P. Lovecraft. Like many I used to associate Conan with pulpy paperbacks and the Marvel comics from the 70s, though in his original, undiluted form, he has much more in common with classic heroes like, say, Tarzan. Forget about Arnold Schwarzenegger, I'm talking about the real Conan here, the original Conan. Not that I dislike the 1982 film, but that's an entirely different beast altogether. And don't get me started on its cheap imitators. There's a good reason why the S&S genre has garnered a bit of a bad reputation as cheap shlock in the last four decades. 


MY OBSESSION WITH AUTHOR ROBERT E. HOWARD

What started as a mere curiosity and an intent to read just a few Conan short stories just for the novelty of it quickly evolved into a bit of an obsession. Not only were the thirty or so short stories and novellas Howard wrote about Conan in his tragically short career (he died of a self-inflicted gunshot wound at the age of 30 in 1936) good, classical adventure stories, not only did they contain one of the first truly realised fantasy worlds in literature (pre-dating Tolkien's Middle-Earth), and not only was Conan one of the more unique antiheroes I'd read, but the gritty, dark poetic prose present in even the simplest of the stories were unlike anything I'd read before. I quickly worked my way through Conan, then moved on to Howard's other famous S&S characters, such as King Kull and Solomon Kane.

The original depictions of Conan were a far cry from our current mental image of the famous barbarian.
Photo by Ståle Gismervik.

If you are not familiar with Howard, it is important to stress that there's a lot more to his work than just Conan and Sword & Sorcery stories. He also wrote historical adventures, westerns, detective stories, comedies, and, very relevant to me, horror. Among his greatest works in this genre are stories like Worms of the Earth and his southern gothic tale Pigeons from Hell, which Stephen King once referred to as one of the all-time great American horror stories.

Within the first year or so of me reading Howard I managed to amass enough books to fill out an entire shelf of books, and I hadn't even expanded into later Sword & Sorcery authors yet. I was soon to begin exploring the works of authors like Fritz Leiber, Karl Edward Wagner and Michael Moorcock as well, though I have to say, none struck a cord with me quite like Howard did.


SO WHY IS GREYWOLF SET IN THE 1970s THEN?

If I'm so fascinated by Robert E. Howard and the original 1930s version of his characters, why then did I choose to set my own short story in the 1970s? The simple answer to that is because I wanted to do a tribute to the genre as a whole, and the genre did not properly take off until the 1960s when Howard's work was pulled out of relative obscurity, and thanks to the now famous cover art by Frank Frazetta, was catapulted into the mainstream. By the late 70s bookstores were filled with copycat literature, some quite good, most of it pretty lousy—if anything the covers were generally better than the books. 

It was actually these now iconic covers that served as the main inspiration for Greywolf. There is just something very special about those vivid and bold illustrations that seemed to leap out of the paper and pull you into the fantastical worlds within (especially the Frazetta ones).

It's also worth pointing out that Greywolf, as mentioned above, started its life as a short film script and I knew from the start that I had to keep the story fairly simple, so focusing on an author and not placing it too far into the past made more sense from a technical and budgetary standpoint. And although it was tempting to have my fictional author get drawn into the book he was writing, ala The Page Master or The Last Action Hero, keeping the budget in mind again, it made more sense for me to reverse this idea and have Greywolf enter the "real" world instead. After all, on some of the best Frazetta covers it quite literally looked like the characters were getting ready to leap out and attack you (the cover for Dark Crusade especially springs to mind). 

Likewise, my fictional author remained English as the film was originally supposed to be shot in the UK. Besides, as I started writing the story, I did find a certain amusing contrast in having a shy, intellectual Englishman confronted by a brash Viking warrior, and being half-English myself, when writing the short story version, I quite enjoyed playing with the stylistic contrasts between the heroic, larger-than-life style of Robert E. Howard—himself a burly, no-nonsense Texan—with the more loquacious and slightly tongue-in-cheek prose so common in British literature, especially those with a more comedic bend. What started as a tribute to a genre, technically evolved into a tribute to two contrary ones that actually worked surprisingly well together. And, when taking into account such authors as Michael Moorcock, the creator of Elric of Melniboné—who inspired the antagonist of my story—there is a strong precedent for S&S in the UK as well as the US.  

It was looking at striking S&S covers like these that inspired me to write Greywolf.


If you haven't read Greywolf and would like to do so you can buy the eBook here for only $0.99 (also available in paperback). You can also read the first chapter here.

How a short story started (and almost ended) as a film project

 

In the early months of 2022, while my Norse-myth inspired short film The Wild Huntsman was going through the film festival circuit, I felt so motivated by a recent buying and reading spree of Sword & Sorcery literature that I decided to use this as the basis for my next film project. Although I always intended for it to be more ambitious, complex, and on a much larger scale than the micro-budget two-day shoot of my previous short, I none-the-less quickly settled on a premise that which I knew wouldn't break the bank and chose therefore to tell a magic realism story focused on a Fantasy author rather than attempt my own Conan the Barbarian-style short film. I even set most of my story in a single room—the author's private study, again, for practicality and budget reasons. Granted, it wasn't long before I realised that I did need to let the audience see something in a proper Fantasy setting, so I figured that my author's Conan-inspired Viking warrior, Greywolf, should be allowed a little mini-adventure within a forest early in the story, where some eerie lighting and a few relatively simple props would do the job while still be doable on a small budget.

The script was finished relatively quickly—it is no exaggeration to say that I was riding on a bit of a Fantasy high at the time—and I set about finding people interested in helping me bring the project to reality before spring was over. Confident that some of the people I had worked with before at the London Film Academy would show some interest, I had already set the story in the UK and it was not long before I had a producer who knew their way around the film industry in London. 

This luck would not last, however, and the problems quickly began piling up. Granted there is no such thing as a film production without its hurdles—if anything I've learned that filmmakers tend to get a little anxious if everything runs smoothly. I had been quite disappointed when my first choice for Greywolf turned down the role, but my producer and I merely shrugged off the bad luck and began searching for alternatives. After all, London is a big city. Casting the author, in contrast, was a cinch, and by mid-summer I had my leading man on standby. Where the real source of our mounting troubles truly lay was in a budget that seemed to grow in size day by day. Despite my precautions, the cost quickly proved too big for a private investment (as had been the case with my previous shorts) and we were forced to look for funding from without, something which is never easy with short films. To put it succinctly, there is rarely any money to be made in shorts, so few people are willing to invest in them as there is a slim chance for financial returns. However, by the start of autumn we were still in a positive mindset and continued looking for alternatives.

Eventually autumn turned to winter, and all the steam that had kept the project chugging along seemed to have vanished. Shortly before Christmas my producer, who had already juggled far too many projects at once, was forced to leave what even I had to admit had become a sinking ship.  

Proof-of-concept art commissioned during the pre-production phase of the short film project.

In the following months—it was now early 2023—I tried to revive the project locally in Norway, hoping that maybe this project could prove more of a large fish in a small pond-type situation when compared to London, but lacking any real contacts in the local film industry I struggled to find people that were interested. In an attempt to poke a hole in the budget that had previously ballooned out of control, I also re-wrote the script so that my author character, though still an Englishman, had moved to Norway in an ill-fated attempt at reconnecting with his Scandinavian roots in order to inspire his writing. This way I would not have to spend money having to dress things up to look like we were actually in England, and I would only have to cover the travel expenses of my leading man.

By spring I discovered that there were ways to acquire financial help via a local government film fund, though this proved to be more of a hurdle than a solution to my problems and only ended up swallowing up more time. You see, in order to obtain funding you have to follow a set of very strict rules to prove that the project will be a benefit to the Norwegian people (it is government owned after all). Not only does a majority amount of the cast and crew have to be Norwegian citizens (fair enough), the story also needs to have some connection to Norwegian culture (well, I figured Greywolf is a Viking after all), and, the most frustrating aspect of it all, you need to have proper "qualifications" in order to apply in the first place, something which was not made very clear until the rejection letters arrived. Despite running my own independent company, as well as having written, produced and directed several short films, including a few through the London Film Academy, I was simply not professional enough according to their rules as I had never worked for a proper film production company or have a proper university degree.

Feeling quite defeated I felt that I had no other option but to shelve the whole Greywolf project indefinitely.

Not wanting to waste another year I tried to put the whole ordeal behind me and went back to novel writing and by December of 2023 I had finished and published the first book in my new Professor Korrigan paranormal mystery series; The Starseed. At the start of 2024 I felt that I needed a bit of a creative change of pace before I started work on the next installment in the series, so I decided to make a brief return to Sword & Sorcery. Not wanting to let the plot of Greywolf go to waste, I made the decision to adapt the screenplay into a short story. Freed from the constraints of budgets, casting, and government regulations, I was now free to tell the story as I wanted, albeit in a very different medium. Greywolf was published as a Kindle Short Read in July 2024.

Of course, I still very much wish to make Greywolf into a short film as originally intended, and who knows, maybe now that the story is "out there," this is more likely to come to fruition one day. 


If you haven't already read the short story version of Greywolf and would like to do so you can buy it on Amazon Kindle for only $0.99 or as a paperback for $5.99. You can also read the first chapter here.

Making The Wild Huntsman

In spring of 2021, as lockdowns were starting to ease in Norway, and after having spent the previous year writing my first novel, I felt the need to flex my filmmaking muscles again and decided to make a short Fantasy film. Equipped with a meagre budget of roughly 10,000 NOK (the equivalent of about $900 or £700) and not much else—I was pretty much on my own and had little to no experience with the small film culture that exists on the Norwegian south-west coast around my hometown of Stavanger.

Inspired by the English folktale of the Odinic character Herne the Hunter, I quickly wrote a simple script and set out looking for my cast and crew.

My biggest stroke of luck was when I come in contact with actor and model Thor Rosland, who is generally known for his commercials for The Beard Struggle, in which dressed as a Viking, he promotes a series of beard oils and grooming products in comedic skits which had become something on an online sensation.

And with the upcoming release of The Pendragon Cycle, in which Thor plays Hengist, the warlord of the Saxons, this seemed like a good opportunity to reminisce a little about my short film with Thor; The Wild Huntsman.

Thor Rosland as The Huntsman. Photo © Kornelius Kiil Enoksen.


THE PREMISE

First off, I should probably explain in more details where I got the idea for the Huntsman and why I chose to make a short film out of it. 

I’ve always been fascinated by fairy tales, folk stories and myths from across the world. I'm especially fascinated by symbolic archetypes, doubly so when they appear across borders in the myths of neighbouring cultures. So, while looking for inspiration for my script, I came across the Danish/German folk tale of "The Fairy Hunter," a simple story about a hunter that kills an elf-girl (note that elf in this case refers to a more mischievous fay-like creature rather than the noble elves popularised by books/films like Lord of the Rings). Shortly after I came across the British legend of Herne the hunter, an antlered huntsman who is believed to be an incarnation of both the Celtic god Cernunnos and the head of the Norse gods; Odin—the latter of which is also the leader of the Wild Hunt. With these two simple stories in mind, I decided to combine them and create my own little cross-cultural archetype myth.

Thor Rosland as The Huntsman. Photo © Kornelius Kiil Enoksen.

The simplicity of both stories also made them perfect for my meagre budget and resources. I knew that my hometown of Stavanger could provide me with plenty of beautiful nature scenery befitting both folk tales, but also a perfect replica of an Iron Age farmhouse. I contacted the owners early on in the production and received permission to shoot parts of my short there, as well as borrow some of their period-accurate costumes.

I was off to a good start.


RALLYING A CAST & CREW

The lead (different from the titular character) proved to be the most difficult to cast as I required someone fairly young but who still had a Viking-quality to his appearance. The casting of Thor as the Huntsman had been something of a lucky stroke, and all the characters (despite there only being four) proved difficult. Stavanger simply isn’t a place with that large a film industry or acting community, and the fact I was producing a micro budget short film and was only offering to cover expenses didn’t exactly help much either. 

All attempts at casting the lead led me to an assortment of Oslo actors that had to be rejected due to the travel costs, though I eventually got into contact with Vegard Heggelund, a young actor with a proper Nordic look to him who, despite living and studying in Oslo, was actually from Karmøy—a large island not far north of Stavanger. It just so happened that he was planning a visit home for the summer holiday and he was more than willing to sacrifice a weekend for this project provided I could cover the cost of the relatively short trip down to Stavanger and accommodation, a request I was more than happy to oblige.

Actor Vegard Heggelund. Photo © Kornelius Kiil Enoksen.

The shooting crew consisted of three media students from the University in Stavanger, a somewhat meager number for a film shoot but perfectly serviceable for a small project like this—it's worth mentioning that I have worked with less in the past, though I wouldn't recommend it. Still, it was an odd adjustment after having recently spent some time in London with film crews of at least a dozen or so people (which is still quite small). 

At the risk of sounding like a money pincher, I've found that you can save a lot of money by "hiring" students as they are usually more than happy to get the chance to add any project to their CV before they've even finished their education. I also got the camera equipment for free via the university as I had borrowed from them before, so they knew I was someone who could be trusted with their equipment.

A small but very efficient film crew. Photo © Kornelius Kiil Enoksen.

The on-set photographer; Kornelius Kiil Enoksen, (whose excellent photos I’ve used throughout this article) is a friend of mine from my days studying Media & Communications. The rest of the crew consisted of pretty much every family member, friend, or friend-of-a-friend that I could convince to spend a weekend in July hanging out in a park while the rest of us were running about within the nearby woods getting our shots.


ANTLERS, SPEARS & COW TAILS

In the same way that digital cameras have become a godsend for the low budget filmmaker (though I do love analogue film), so has Etsy for the micro budget prop-maker. 

You’d think the Huntsman’s antlers would have proven to be the most difficult part of the pre-production—and in a sense it still was—but after some brief online searching I came across someone who made realistic looking horns and antlers for fantasy cosplayers. As luck would have it, she was also Norwegian, albeit living in Oslo, but after contacting her and explaining what I needed she was more than willing to make me some custom antlers with strengthened supports for the production. 

Etsy also provided me with a pretty convincing ancient-looking spearhead made from fiberglass and polyester resin, as well as the Mystery Girls’ animal appendage. One learns many strange things while working on projects like this, and the fact that you can buy real cow tails online is one of those things that really shouldn't surprise you, but receiving one in the mail is a whole other thing.  

Vegard Heggelund mending a prop between takes. Photo © Kornelius Kiil Enoksen.

The more “normal” props, such as a mediaeval fishing rod, I constructed myself. There’s not much to say about the making of the rod, it’s about what you’d expect, a bit of whittling, some twine, glue, etc. and the bone hooks were fashioned out of clay. But the one thing that I am quite proud of about this prop is just how historically accurate it turned out to be. No fishing rods have ever been found by archaeologist in Scandinavia, though based on the numerous discoveries of hooks made from deer bone it is safe to assume that they were used during the Viking Age. The simple rod I made was based off recreations of English fishing rods from the Middle Ages, but only a year or so after the film’s premiere I went to the Archaeological Museum in Stavanger and saw an exhibition of experimental recreations of bone hooks, and I was pleased to see that they looked virtually identical to my fake ones.

A few weeks before the shoot I met Thor in his home for a costume fitting and to try out the newly arrived antlers from Oslo. 

When it came to the costume for the Huntsman, I chose, both for practical and thematic reasons, to do the complete opposite that I planned on doing for the main character (the "Young Viking") and his family, and ignored historical accuracy completely. The practical reason for this was, of course, primarily because Thor could provide his own costume, which was more Hollywood inspired than anything based on history or archaeology. But because I knew the Huntsman would have to stand out and appear otherworldly when compared to the more "normal" characters, the exaggerated costumes he used for his Beard Struggle commercials fit perfectly, though admittedly I did end up choosing the most down to earth pieces he had in his wardrobe. Being a mythical creature that is part of the natural order I felt the brown leather gave him a suitably “earthy” look, while the fur around his shoulders complimented the animal-hybrid look of the antlers, making him appear somewhat elemental. 

Thor Rosland putting on his costume. Photo © Kornelius Kiil Enoksen.


THE IRON AGE FARM

To paraphrase what I wrote in a previous blog article (The Locations that Inspired The Starseed); Just a few kilometres uphill from the inlet where Harald Fairhair united the tribes of Norway into a single nation after the battle of Hafrsfjord in 872 AD, a trio of carefully reconstructed Iron Age longhouses lie in the shadows of three brutalist apartment blocks from the mid-1970s.

I’ve been coming to this location semi-regularly since childhood (I even spent a night there as a Boy Scout) and have always been fascinated by the feeling of being transported back in time when visiting, that is, as long as you look away from the aforementioned apartment blocks, or the nearby visitors centre, and if you look south you can pretty much see the entirety of the University in Stavanger, but, if you point your camera in the right direction, or simply stay within the longhouses, then it really does feel like you’ve travelled back to the Iron Age. And that’s exactly what I ended up doing.

Setting up a shot at the Iron Age Farm in Ullandhaug. Photo © Kornelius Kiil Enoksen.

As mentioned, I had contacted the manager of the Iron Age Farm early on in the project and I quickly received permission from her to shoot in and about the open-door museum, that is, provided we arrived before opening time, so as to not crash with any potential visitors. We were also given permission to pick out some of the authentic period-costumes they had for Vegard to wear throughout the shoot (even when not filming on the site) and we were told that the shoot would be overseen by one of their regular hosts—in costume no less. They were, however, somewhat vague on who exactly would be there when we arrived for the shoot, but assured me that whoever they were, they wouldn’t mind being on camera. So, I adjusted the script slightly by adding a brother/sister/mother background character, depending on who actually did show up.

We arrived early in the morning on June 26, having pretty much just a little over an hour to prepare and shoot everything we needed before the tourist would start arriving. We were greeted by a young woman in a period accurate dress named Johanne, and as such the main character ended up with a sister. Vegard was taken to the costume room and quickly fitted with his costume, while actor Pål Gunnar Eid Gribbestad, who played his father, provided his own costume. 

Pål Gunnar Eid Gribbestad inside the Iron Age longhouse. Photo © Kornelius Kiil Enoksen.

The host proved very enthusiastic about the project and lit a fire within the largest longhouse. She even dropped by the kitchen in the visitor centre café to get some fish to cook on the stone plate to add some domestic realism to the film's opening scene. She had no qualms about being on camera and even ended up becoming the first character we see in the finished film. Lit primarily by the fire (and a flickering red LED light), the opening shots of Johanne and Paul Gunnar are, I think, some of the best in the film. 

All went according to schedule, and we managed to wrap up just as the doors officially opened on the Iron Age Farm. While the film crew began carrying all the camera equipment away from the longhouses towards the visitor centre a small group of period-dressed hosts crossed us going in the opposite direction carrying wooden swords and other replicas of Iron Age implements meant to entertain and educate visitors.

Vegard Heggelund. Photo © Kornelius Kiil Enoksen.


THE LAKE AND THE FOREST

The rest of the film was shot around a small lake called Lille Stokkavann (lit: Little Stokka Lake) a short walk from where my mother, aunts and uncle grew up—I even spent part of my own childhood here, so it was very familiar territory.

When we arrived at our "green room," a nearby barn turned into a community centre, the rest of the crew had already unpacked and were waiting for us. We shot everything needed around the lake that day, as well as a long sequence within the nearby woods which in the final edit was cut down to a mere two shots. That’s filmmaking for you.

Discussing the scene with Vegard Heggelund. Photo © Kornelius Kiil Enoksen.

We returned to the same location for the second day, this time being joined by Thor Rosland, and spent the entire day within a small clearing close to a well-travelled gravel footpath hugging the edge of the lake. The crew of friends and family kept watch while the rest of us were working within the forest, informing joggers and people simply out for a stroll that there was a shoot going on. Most people were quite polite and passed by quietly, though we did receive a fair number of curious onlookers peeking at us through the bramble. Hardly surprising really, it’s not every day you see a large Viking with antlers while walking your dog. 

I had originally planned to use a smoke machine for this sequence to add a haunting, mystical atmosphere to the already picturesque forest clearing, but although I had acquired one via the university and had successfully tested it in the studio there a few days earlier, once we set it up in the forest, with a portable battery, spare fluid and everything, the little box-like machine merely sputtered out a few wimpy whisp of smoke and refused to give us anything else. 

Vegard Heggelund & Thor Rosland between takes. Photo © Kornelius Kiil Enoksen.

While irksome, the smoke machine was hardly necessary to finish the scene, even if I did loose much of the mythic aura I wanted to convey. At least the lights worked as intended, and I could console myself by getting a chance to play with some coloured gels for the first time, something which I learned a lot from and intend to continue to do in future film projects. I may have been denied my smoke, but I did succeed in using the unnatural green lighting as a means of conveying that there was something otherworldly about this forest and its two supernatural inhabitants.

Once the broken smoke machine had been ditched the shoot went quite smoothly, that is as smoothly as a shoot can be when an actor is forced to wear wobbly antlers on his head inside a dense forest, but apart from the logistics of shooting everything out of order (more so than usual) there were little to complain about, that is, except for the poor actress playing the Mystery Girl, who, unlike the two men, wore a pretty skimpy dress that made her an easy target to a swarm of very persistent gnats. I later learned she’d been bitten quite often, but she had merely soldiered on and finished the shoot with very few complaints.

Directing a scene with Thor Rosland. Photo © Kornelius Kiil Enoksen.


THE MYSTERY GIRL

Now, unless you're a Scandinavian, or just so happen to be well-read on Nordic folklore, you are probably not familiar with the creature that the Mystery Girl is revealed to be at the end of the short film. Although certain liberties have been taken with this myth, most Scandinavians watching the short will instantly recognise her as a Hulder (or Huldra) the moment her cow tail is revealed.

The Hulder is for all intents and purposes the Nordic equivalent of a siren or nymph, i.e. a seductress that leads men to their doom by enticing them to follow her into the forest.

Shooting a scene with Helen Sertsu. Photo © Kornelius Kiil Enoksen.

As with most folklore it’s hard to pin down the exact nature of a Hulder, though they are consistently depicted as young, beautiful blonde girls with a cow’s tail (which they usually try to hide). In many stories they also have a large hole on their back described as resembling a rotten tree stump. My Hulder obviously deviates a fair bit from much of this, the back-hole simply because it wouldn’t have been doable within the tiny budget (and frankly I don’t see what the point of it is beyond being weird) and although I originally intended to cast a Norwegian actress with blonde hair, actress Helen Sertsu was chosen due to her enthusiasm for the project and her availability. With this change in ethnicity, I decided to update the originally planned costume from an Iron Age dress to something more Mediterranean, specifically a Greek-inspired Khiton dress, implying that this creature in human form did not solely prey on Scandinavians, but had been chased by the Huntsman across multiple countries for who knows how many centuries. I also added additional details to her costume to further imply this long history, such as an amber necklace which suggested she had been in central Europe, a Celtic broch attached to her belt, and I even had some silver thread worked into the hem of the dress to add a subtle anachronism that made her seem just a little out of place in the “real world” of the Young Viking. 

Helen Sertsu. Photo © Kornelius Kiil Enoksen.

POST-PRODUCTION & RELEASE

The post-production phase proved to be somewhat more international than the shoot. The music was composed by Swedish artist Zacharias Wolfe, whom I had first heard of via The London Film Academy, and “Yggdrasill,” the song which plays over the end credits was licensed from Dutch singer and songwriter Jonathan Barendsma, AKA Gealdýr. The visual effects were done by Guilherme Filipe, while the rest of the process, such as film editing, colour grading, etc. was either done by myself or Kevin Nordlander (who was also the Assistant Director).

The Wild Huntsman had its premiere in the US, February 18, 2022, at the Pensacon Short Film Festival in Pensacola, Florida.






Dawn of the Karabu Lore: The Animal Clans

The following text is taken from a "fact sheet" I made to assist me during the writing process of what would become my 2020 novel, Dawn of the Karabu. This second part is a summary of the culture, religion and social hierarchy related to the faction known as The Animal Clans. If you have not yet read the first part covering the human faction, you can read it here; The Children of the Light.

Whether this is merely a reminder or your first time reading about the world of my novel, I hope you will find it interesting. 

I do, however, want to make it clear to anyone who has not yet read the book that this, and the previous article, are in no ways required to understand the world depicted in the novel. I took great care to reveal the lore piece by piece through the narrative in a natural manner, so please consider this as either reference material or as trivia.

NOTE: No story spoilers have been included in this article, but the nuances of the Animal Clans can by itself be considered mild spoilers for the 2nd half of the novel. The text has also been partially altered and updated from the original to fix some minor incongruities between the final novel and the original document. Most of the reference photos originally used had to be removed for copyright reasons and have been replaced with stock images.



War always marks the beginning of change
 
- from the Extended Discourses by Bala-Chatur Ō-Inari.


THE UPLIFTING OF THE ANIMALS


Before the transfiguration of the Talos there was the great beast-war. With knowledge now lost, and for reasons intentionally forgotten, the first men to call themselves the Karabu uplifted the animals in the wild by bestowing them with human qualities. This angered the Talos, who strived for human perfection, and the practice was deemed heretical. 
- from A Summary of the History and Religion of the Children of the Light by The Master Chronicler in service of the Karabu Queen, first ruler of the 2nd dynasty.

The first animals to be uplifted were the Apes; Chimps and Gorillas, due to their physiology and intellect being the closest to humans. They were used as warriors.

Second came the Pigs. They served humanity as labourers.

Third came the Dolphins, chosen for their intellect and manoeuvrability under water. It is said they were given artificial arms to carry out underwater repairs and even sabotage to the enemy navy. Little is known about their current state as they are, without their arms, completely indistinguishable from natural Dolphins. However, legends do persist among both humans and animals that tell of societies of intelligent Dolphins living somewhere in foreign oceans. 

Finally, as a last effort to win the war, Foxes were uplifted and used as spies, saboteurs, and assassins.

The Animal Clans is a triad consisting of the Ape Clan, the Pig Clan and the Fox Clan.



THE ANIMAL CLANS


THE APE CLAN

The Saru Kuran (lit. “Ape Clan”) are the warriors of the Animal Clans. They follow a strict warrior code. Honour and authority are of the utmost importance to them. Since their ancestors once fought side-by-side with humans they speak the same language, albeit with some different words (the same applies to the Pigs and the Foxes). In addition to speech, they employ a complex sign language. This is said to be a remnant from their pre-uplift years, from before Man taught them to speak. Their use of sign language has proven itself useful in battle as a silent way to give orders and tactical information.

Military

All warfare is based on deception. Appear weak when you are strong, emerge where you are not expected, then strike when your opponent thinks he is untouchable. 
- excerpts from A Treatise on War by The Warlord Xerxes of the Chandra clan.

The majority of the Ape army is stationed in a series of fortified settlements lining the edge of the thin strip of desert, roughly 40km across, that divides the land of the Animal Clans from the territory of the humans. The sands of the desert stretches all the way from the western sea to a gap in the great mountain range referred to as the Shield Wall which protects them from the greater toxic desert known as the Forbidden Lands. Little is known of this mysterious wasteland other than what is told in myth and legend. It was once the domain of the mythic Talos, the name used by the humans before recorded history, before they used their now forgotten craft of uplifting. (For more on the legends of the Forbidden Lands refer to previous article on the Children of the Light.) Unlike the sands of the toxic desert the desert strip can be crossed without any harm beyond the natural perils of an inhospitable desert. It has effectively served as a neutral zone between the Animal Clans and the humans for several millennia, though in the past land has been occupied on either side. 

The border forts, much like the human ones on the other side of the desert strip, though larger and more complex, are effectively partially self-sufficient towns surrounded by wooden battlements. Within can be found everything that an army needs to function and survive, and although they generally rely on a regular stream of supplies from the nearby Pig Region, they can, if needed, survive for several months in the event of a prolonged siege (though no human has set foot on Ape territory for several centuries, more so on a large scale). Each fort stands roughly 7km apart from its neighbour on either side.

The centre of all military activity, which can also be considered the closest the Apes have to a capital city, is called Durga Candrodaya ("Fort Moonrise"). It is the largest and most central of the forts and lies more-or-less parallel with the city of Tanagra on the other side of the desert strip.  

The land considered part of the Ape Regions near the border consist of a fairly thin strip of land, functioning more as a secondary border between the desert strip and the nearby border to the Pig Regions. Although most of the Ape Clan's culture revolve around the military to some capacity, and most juvenile and senior Apes live among the Pigs, there are rural areas inhabited primarily by Apes, such as the tropical Wanay region to the north-west (the home of the gorillas). With this one exception, the Apes simply do not require as much land as the Pig Clan do, and the Ape Regions are therefore nearly synonymous with the land owned by the military. 

Armour

Ape armour is made of braided leather scales interwoven with small metal plates. Although this offers far less protection than the steel-plate armour of the humans it has the benefit of allowing far greater movement, something which compliments the inherent agility of the apes. The lack of added weight also allows them to swiftly charge at their enemy. It is not uncommon for the humans to have to face down a horde of apes sprinting towards them on all four while screeching and howling as a means of demoralization. 

Though seemingly crude when compared to the elaborate steel-plate armour of the humans, Ape armour allowed greater mobility and stealth.

Battle Rituals

Out gunned, and often outnumbered, the apes commonly use intimidation to gain the upper hand in battle. A common practice before a battle, when facing off against the enemy, is to rythmically beat-their chests to demonstrate strenght, resolve and battle-readiness. A general or commander (often a gorilla) will then call for a charge by stepping forward and giving a battle cry in the form of a ferocious roar. 

The chest-beating ritual is sometimes accompanied by a taunting chant intended to rouse the enemy into attacking first.

Headhunting has always been a common practice among the Ape Clan for as long as anyone can remember. When a battle is over a warrior will ceremoniously present trophy heads to his superiors (usually a general) who will in turn reward him with either promotion in rank, wealth, or land depending on the importance of the slain individual. The higher in status and caste the slain human is the higher the reward is. If the head belongs to someone of the utmost importance to human society, like f.ex a nobleman or a famous general, then it will be proudly displayed either in a public place or remain a priced possession of the general in charge of the battle. To achieve the latter the heads will be either mummified or shrunk in order to preserve them.

It is also common practice among the foot soldiers to collect human scalps to wear as decoration on their armour or as trophies in their homes. Silver hair of older members of the High Caste is especially prestigious.

Technology

Though their technology is quite crude compared to that of the humans, the apes are by no means primitive. Though they prefer to fight with blades, much like the humans, they possess an arsenal of sturdy and efficient flint-lock rifles. These are often used to fire off an initial volley to thin the ranks of Lumasi grunt spearmen protecting the Knights before they charge at them with their swords and/or daggers. Despite the heavy armour used by the Knights, the apes are well-versed in their weak-spots and can kill quickly with brutal efficiency.

Apes have been known to employ crude grenades in battle, but prefer the more direct approach. Even rifles are seen as somewhat cowardly and have generally been used out of necessity ever since the humans started to employ firearms.

The introduction of aviation among the humans three centuries ago did for a while greatly shift the balance of power. Not only did it allow the humans to recon their lands in a way that had never before been possible, but the subsequent air raids also devastated their border forts, forcing them to retreat into the nearby forests for the first time in remembered history. The Apes, with help from the Pig engineers, did however quickly come up with an ingenious solution in the form of bamboo rockets.

Simple but efficient, these disposable anti-air rockets consist of four parts: an arrowhead packed with explosives, the arrow barrel, the arrow feather, and the gunpowder tube. The gunpowder tubes, made from hollowed-out bamboo trunks, are filled with gunpowder for propulsion. A small hole is drilled into the tube for the fuse. When ignited, the gunpowder burns inside the tube, producing a large amount of gas, which, while shooting backwards at high speed, produce enormous forward-propelling force. Though generally fired one at the time, usually by a pair of Apes (or an Ape with a Pig armourer) in a manner comparable to firing a mortar canon, it is quite common to see bamboo rockets fired from a 'battle-wagon' which allows for the near-instantaneous firing of dozens of rockets at once. Despite the unpredictability of the rockets' trajectory, their low production cost means that when fired off in large enough numbers they can provide a deadly barrage that will take down all but the most skilled pilots.

Despite considerably lagging behind the humans technology-wise, the Apes (and Pigs) have proven quite ingenious when it comes to weaponry. 

Although not exclusively connected to the military, it is worth pointing out that the Apes are currently in the early stages of electricity-based technology and have in recent decades employed a simple but far-reaching system of telegraph wires, most between the border forts and various desert look-out posts, as well as the nearest Pig settlements, allowing them to efficiently warn of coming attacks or air raids. The code used derives from an ancient "talking drum" language employed by the Apes for as long as they can remember.

The Shogun

The current Shogun of the Ape army is General Khshayarsha (known as Xerxes among the humans) of the Chandra clan (“the Shining Moon clan”). Xerxes, which translates to “ruler over heroes”, was a name given to the general after he led the successful skirmish on Fort Alkaios. This was the first time in over a century that a force of apes had managed to get behind enemy lines. 

His birth name was Bhadran (meaning “auspicious” or “fortunate one”) Chandraketu (meaning “moon banner”). The general is known for being a traditionalist and a stern leader, the latter being a logical result of his famous military career which can best be described as highly offensive. He is a highly spiritual man, and as his clan-name suggest is a devotee of the Moon Spirit. The moon is not only an important symbol for his clan and his religious piety, but also for his military tactics which famously take place at night, aided only by the light of the moon. His night-time skirmishes are the stuff of modern legend among the Animal clans and earned him the title of Shogun. His reputation as a military leader, as well as his clan’s high standing, not to mention his high intellect, has made him one of the most efficient leaders of the Animal clans in a very long time. His leadership methods have blurred the line between fear and respect, something not unusual among the apes, but Xerxes has used it to better results than any known leader before him. His aggressive politics have garnered him much dissatisfaction among the Dayaamay (the political leaders of the animal clans), as well as the monks. His own devotion to the spiritual has however managed to avoid any direct conflict with the religious authorities.

The lunar symbol of clan Chandraketu has become a symbol of heroism among the Animal Clans and a harbinger of terror and death among the humans.


Apes Among Pigs

Although the farmland regions are generally inhabited by the Pigs, there is a small number of Apes living among them. In most Pig villages the local law enforcers are usually Apes, and if not all of them are, the sheriff is practically always an Ape. The majority of these are retired Ape military men enjoying a simpler life among their Pig brethren on the countryside while at the same time making themselves useful. Although crime is rare, and murder is practically unheard of, the position of sheriff and police officer is still considered more appropriate for Apes than Pigs, although no one would oppose the alternative. Ex-military Apes are however more qualified for the positions than Pig labourers and farmers. Law enforcers controlling larger towns, or whole regions, are commonly retired generals, whose experience in leadership, bureaucracy, and battle are ideal for the job. These ex-military apes commonly take their families with them when moving to countryside. Eventually their sons will be drafted into the army and will then travel to the Ape regions to be trained, only to later be transferred to the front lines. Those who survive will then choose whether to remain in the Ape regions and train future cadets or follow in their fathers’ footsteps and move to the country to take employment as lawmen among the Pigs, and eventually retire there. There are of course those who choose to become the law among the Apes, though this is usually a very common military advancement when living among their own people.


THE PIG CLAN

The Buta Kuran (“Pig Clan”) lives on and maintain farmland, feeding themselves and the Ape clan. The Pigs similarly provide the Apes with tools and weapons, build their vehicles, and provide them with housing. The Pigs also take care of all bureaucratic responsibilities for both clans, maintaining their economy. They are generally the scribes and artists of the clans, but these are not skills considered exclusive to them. Many retired Apes become scribes, and many of the Animal Clan’s greatest artists have been warriors.

The Pigs are known for their gentle and often timid nature, and live quiet, rural lives that are in stark contrast to the harsh and aggressive culture of the Ape Clan. Despite this contrast, their placidity is never looked down upon by the Apes, in fact, they are revered for the peaceful ways, though they are at times perceived as a little naïve. The Apes see it as their sacred duty to protect the Pig Clan and to preserve their innocent way of life. It is unheard of for Apes to harass or bully Pigs, even when serving as labourers within their own territory and military forts, though it is worth pointing out that Pigs can consider the rigorous structure of the forts to be highly stressful and rarely remain for long.

Most Pigs lead a quiet rural life. There are no cities in the Pig Regions. The largest settlements are modestly-sized towns that function as bureaucratical centres and trading hubs.

Pigs in the Army

Though Pigs generally shun violence, and it is in no way required for them to assist the apes in combat, many Pigs, especially younger ones, do volunteer for work in the army. The most common work carried out by pigs are that of medics, though it is not uncommon for them to act as armourers and weapon bearers during battle, a task usually carried out by young, low-ranking apes. Note that most Pigs working within the forts are not part of the army but merely labourers that work within Ape territory. 

Lumasi Among Pigs

The half-human, half-animal slave cast known as the Untouchables by the humans (known as Lumasi by the clans) are somewhat respected by the Animal Clans and, if captured in battle and successfully re-educated, are allowed to live in their own smaller colonies within the territories of the Pig Clan. They are generally treated well, though a close eye is always kept on them. Though the pigs generally keep them at arm’s length, only checking in on them to the extent that is legally or practically required, they are allowed to venture freely within the lands of the Animal Clans (with the exception of the military forts) and some Lumasi have been known to become respected members of Animal Clan society.


THE FOX CLAN

The Kitsune Kuran (“Fox Clan”) were the last of the animals to be uplifted as the beast-war drew close to the end, as a result they were bred in limited numbers and their population remain small to this day. They were uplifted to serve as assassins and saboteurs due to their nimble bodies and quick wits. Even after the human wars had ended, they continued fighting against the human castes that were eventually left behind. For a long time, they served their original function as assassins and saboteurs and were essentially a side-branch of the warrior clans. However, as the millennia went on, they eventually lost their interest in war, lacking the natural instinct of the apes and initially only fighting to serve a purpose and to appease the gods. They eventually decided to serve the gods through meditation and maintaining the land, and they left the fighting to the Apes.

Without their simple robes the Foxes are almost entirely indistinguishable from regular wild foxes. Only their squirrel-like hands (with opposable thumbs) and flat feet betray their true nature.


Culture

There is only one known Fox settlement, a small sanctuary known simply as Fox Village. This small settlement lies beyond the Pig regions and is hidden within a large forest that rests at the very edge of the Forbidden Lands near the only known natural opening in the Shield Wall. There the Fox Clan lives in harmony with nature, within the last patch of life before the barren wasteland created by the Talos untold ages ago.

They live off the forest and each individual or family unit is responsible for their own farming or hunting. The ascetics live a quiet life dominated by meditation and the study of philosophy and ancient history, though they also practice the clan's unique form of martial arts, though, unlike the hunters or the Guardians of the Forest, they use it primarily to maintain their health. The Foxes in general do not disapprove of violence but try to avoid it at all costs. Despite their peaceful ways, they are all descendants of warriors and are always ready for a fight. 

Legends

Due to their rarity, they retain a legendary status among both humans and the animal clans. Most humans however, having never seen an uplifted Fox, mostly assume that they are either extinct or that they never existed in the first place. Among the animal clans however they have a legendary status and are highly revered for their spiritual ways.

Foxes make numerous appearances in Pig and Ape folktales where they often possess magic powers. In fables depicting both uplifted foxes and regular foxes they are mischievous and very intelligent. They usually have the final laugh. However, there are other depictions of foxes as mystical, sacred creatures that can either bring wonder or ruin to ambitious animals.

In human folklore, foxes take on a much more sinister role. In these tales they are known to be able to shapeshift into beautiful women in order to seduce and transform humans into animals. They also appear as familiars in tales of witchcraft and heresy. Although few still believe in actual witchcraft, foxes still represent heretical behaviour for many. In fables they have become associated with wiliness and fraudulent acts. This is often exaggerated to the point of villainy. Mischievous conduct is applied to both uplifted foxes and regular foxes in human fables, especially moral tales intended as warnings for children.


COMMON CULTURE AMONG THE ANIMAL CLANS


Dayaamay

The Dayaamay (meaning; “full of mercy”) act as the local political figureheads. As the name suggests they are expected to act mercifully when dealing with the types of problems that take place in the Animal villages. Both Apes and Pigs can act as Dayaamay. However, no Fox has ever held this position as it would be perceived as being below them since they live lives of spiritual fulfilment and should not ever take on positions of power.

The shared banner of the Animal Clans. The three dots symbolise the three major clans with the outer circle, representing the great Karabu spirits holding them all together.


Monkhood

There is only one specific occupation, not counting anything necessary to survive like farming, that is available to all three clans; Monkhood. In fact, there exists no such thing as a single Monk, as a life devoted to spirituality must represent the three clans.

When an individual decides to devote his life to the spirits he must seek out a mandatory partner and make a spiritual journey to the land of the Fox Clan. A single person robed as a monk will often suggest a student monk who has yet to fulfil his spiritual journey. When, for example, an Ape decides to become a monk he will immediately journey to the Pig regions. Pigs on the other hand, knowing that a potential Ape partner will eventually have to come to them, since they reside between the Ape regions and the Fox region, will merely stay in their own village/town and wait for an Ape to come to them. It is a very common sight to see a lone Pig monk-in-training sitting in the streets of a Pig village, meditating in front of a begging bowl (for both money and food) waiting for his spiritual partner to come to him. Practically all Apes and Pigs will team up with the first monk-in-training that they meet, as the desire of both to dedicate their lives to the spirits is more than enough for ascetics to get along. It is a very common sight that an Ape in monk robes will casually walk up to a meditating Pig, politely bow, and give a simple blessing, the Pig will then stand up, return the gesture, and then they will both, without another word, simply start their pilgrimage towards the land of the Fox-clan.

The reason for this pilgrimage and partnership is that Monkhood consists of three individuals spiritually linked, representing the spiritual connection between the three clans. The term “a Monk” is by default a reference to three individuals, as a monk is three individuals linked as one. A monk is neither Ape, Pig, nor Fox, “he” is an “Animal,” a spiritual representation of the three clans. These individuals living as one will live together for the rest of their lives, never being separated willingly. It is absolutely mandatory for a Monk to consist of one member of each clan, but as the Fox-clan already lives a life of high spirituality, as well as segregation, the third member is always represented by a figurine, or effigy, referred to as a katabori-netsuke (meaning “sculpture” & “root” + attach”), representing his spiritual presence in the trinity. The Ape and the Pig will always carry with them this figurine of their Fox companion whom they both met and meditated with on their spiritual pilgrimage. Since there is a small number of Foxes it is common for one Fox to be part of several trinities. He will meet the travelling Ape and Pig, and they will meditate together and perform several rituals together. These rituals are mostly about creating the spiritual bond that they will carry with them for the rest of their lives. The last ritual will consist of the Fox carving his own effigy, and they will likewise make effigies of themselves to remain with the Fox.

Two very typical katabori-netsuke made from ivory. Wood is most common but there are no rules for what material can be used, so figurines have also been made from metal and porcelain.

For any serious religious ceremony or ritual to possess any form of legitimacy a monk troupe will have to be present. Whether praying before a battle, performing a marriage or a funeral, an Ape and a Pig will always be seated next to one another (the Ape on the right, the Pig on the left, representing their species’ roles in society as warriors and labourers) with the Fox figurine sitting in between them, and slightly in front. Should a Fox die, it would have no effect on the trio as his spiritual link to them would still be valid without his physical form.

When a Fox monk dies, he will be buried along with the effigies of all his Ape and Pig brethren. Should an Ape or a Pig die on the other hand, the survivor is expected to search for a new partner. Many spiritual men go through more than one partner, as the first one they encounter is often an old man who’s recently become incomplete. There have however existed some controversial individuals who refused to find a new partner, and instead opted for making an effigy of their dead Ape or Pig companion. These individuals are considered mavericks and reformers, and despite never having faced harassment, they were rarely taken serious as a proper Monk. These individuals have gone down in history, and folklore as lone spiritual men meditating alone alongside the effigies of their two dead brethren. Many of these live on as local folk heroes.


THE GREAT KARABU SPIRIT


The Ape Clan; Proud warriors, determined to protect the animal lands at all costs from their common enemy: They are the right hand of the great Karabu spirit ⁘ The Pig Clan; Gentle creatures dedicated to the maintenance and well-being of the clans: They are the left hand of the great Karabu spirit ⁘ The Fox Clan; The heart of the great Karabu spirit. They live in peace and tranquility, always meditating, always hoping for peace ⁘ Such is the harmony of the Animal Clans. 
- from the Wéydos Scrolls on Existence, Consciousness & Bliss.

The Animal Clans, though a very spiritual people, don't have a system of gods, per say, though in addition to a series of guardian spirits, they share a single, unifying figure representing the triad that holds the three clans together; the Great Karabu Spirit.

Also known as the many-faced spirit, the Great Karabu Spirit is the embodiment of the concept of the World Soul. Depictions of the spirit are traditionally featureless, showing only abstract outlines of the common characteristics of all three clans, such as two arms and legs, and a head commonly depicted with three blank faces (four in the first dynastic era). Usually made of wood, they bear no ornaments or identifiable carvings other than the depiction of a heart at the center. Each of its three core limbs representing the three core virtues of the clans as represented by the societal duties of the Apes, Pigs and Foxes.

These figures are the centerpiece of any clan shrine and is often prayed to for spiritual guidance. The Apes, f.ex. will often gather in their fort shrine to pray before a battle. 


When told to describe the great Karabu spirit the Fox elder Gotami of the 1st dynasty famously answered; “None.” There is no other and more appropriate description than this. The Karabu spirit does not possess any distinguishing features that can be described by words. By eliminating all differences, it becomes a symbol beyond all distinguishing marks such as name, action, species or allegiance. The Karabu is beyond specification as it represents the entire world soul. 
- from the Extended Discourses by Bala-Chatur Ō-Inari.


Featured post

THE STARSEED: A Professor Korrigan Mystery

  One night in 1975 a group of young men and women broke into a random house on the west-coast of Norway and abducted an infant child. A not...

Popular posts