Top Tens – Mythology: Top 10 Odysseys (1) Odyssey

Epic screenshot from the epic part of the Odyssey from the trailer for the Christopher Nolan film (fair use)

 

 

(1) ODYSSEY

 

Well obviously, except I’m not talking about the Odyssey as a whole but the actual odyssey part of the Odyssey, often more formally titled the Wanderings of Odysseus. The otherworldly Odyssey. The mythic fantasy adventure Odyssey. The Odyssey’s monster mash. What we think of when we think of the Odyssey.

In other words, the part for which most people come to or keep coming back to the Odyssey, or at least remember most about it, in the style of the trope Just Here For Godzilla in TV Tropes.

Except in the case of the Odyssey, Godzilla is the Cyclops, or the Sirens, or any or all of the mythic fantasy elements of this part, which after all is the mythic fantasy adventure or otherworldly core of the Odyssey – and certainly has the most exciting action set pieces, with one arguable exception in the part in my second place entry. While the other parts certainly have their supernatural or divine elements, this is the part where those elements are wall to wall – and play their most direct role as antagonists or obstacles to Odysseus.

Ironically, it is only a third of the Odyssey – Books 5-12 out of 24 books. And let’s face it, Books 5-8 are the more mundane tail end of the fantasy odyssey part, recounting the wanderings of Odysseus from Calypso to the Phaeacians, which might more accurately be considered as the prelude to Odysseus’ homecoming.

The core fantasy odyssey of the Odyssey is in Books 9-12, which recount the wanderings of Odysseus from Troy to Helios’ cattle. Interestingly, the contents of these books are the story within the story, told by Odysseus himself to the Phaeacians – which begs the question of how true it is, given Odysseus’s defining traits of deception and disguise. Even more interestingly, Nolan’s cinematic adaptation plays with this question, despite omitting the Phaeacians – here the deception may be self-deception, lying in Odysseus’ own mind or memory through a lotus haze.

Also, without the seven years with Calypso, Odysseus only spends three of the ten years of the Odyssey, well, odysseying – two if you also knock off the year with Circe (in the book that is, not the Nolan film adaptation).

But who cares? We’re just here for the odyssey.

Top Tens – Poetry & Literature: Top 10 Literature (Special Mention): Preamble

The Library of the Palais Bourbon in Paris, photographed by Baptiste Roussel in September 2012, licensed under https://creativecommons.org/licenses/by-sa/3.0/deed.en in Wikipedia “Literature”

 

 

TOP 10 LITERATURE (SPECIAL MENTION)

 

But wait – there’s more!

I’ve counted down my Top 10 Literature (by author and literary work), albeit with my preference in literature tending towards fantasy and comedy, but there’s obviously enough literature I like for my usual twenty special mentions and beyond to honorable mentions.

As I noted for my top ten, my true taste consists of literature that is really just fantasy (including SF) or comedy and that mostly persists in my special mentions. They also mostly go by my definition of literature as literary fiction, almost entirely novels and short stories, but some of my favorite literary writing is in the form of essays and observational humor or comedy – of which we’ll see quite a few entries in my special mentions.

Anyway, here are my Top 10 Literature special mentions.

Top Tens – Mythology: Top 10 Odysseys

Official poster art from the 2026 Christopher Nolan Odyssey film – there were a few posters for the film but this one combines Matt Damon’s Odysseus as a single figure against the background of Troy and the Trojan Horse (fair use)

 

 

TOP 10 ODYSSEYS

 

Sing, Muse, of my Top 10 Odysseys.

Wait, what?

Top 10 Odysseys? Plural?

Do I mean my Top 10 Books of the Odyssey, of which there are 24, essentially the equivalent of modern chapters, hence more than enough for a top ten? Or do I mean my Top 10 Adaptations of the Odyssey, particularly given the prominence of Christopher Nolan’s cinematic adaptation at the time of writing this in 2026?

No to both, as I do have separate top ten lists for them – my Top 10 Books of the Odyssey and my Top 10 Adaptations of the Odyssey.

Perhaps I mean literary odysseys – odyssey as a literary genre, fictional or picaresque journeys analogous to the Odyssey, such as those of Aeneas, Sinbad or Gulliver?

Again no, I do not, although that is an interesting idea so let’s put a pin in that.

Perhaps editions or translations of the Odyssey, whether prose or verse?

Yet again, no. While there are obviously enough editions or translations for a top ten, I am not familiar enough with the different editions or translations, relying as I did on the good old Penguin Classics edition.

Yes, I mean the top ten odysseys to be found within the text of the Odyssey.

But Stark after Dark, I hear you ask, isn’t there just the one Odyssey within the text of the Odyssey?

Yes, there is one fundamental continuity of the Odyssey within its text, although I suspect the Odyssey was a lot more fluid when it was sung as bardic performance – while the core remained the same, I suspect peripheral or even large parts of it changed from performance to performance.

However, there are or have been demarcations or parts identified within the fundamental continuity of the Odyssey – perhaps most notably the standard demarcation of the Telemachy from the balance of the Odyssey, with the latter also often divided into two parts (or arguably more). So don’t be surprised if that standard demarcation plays a prominent role in my top ten, although I also look at “thematic” demarcations or parts in or that cut across books of the Odyssey.

So yes, this is another of my mostly tongue-in-cheek top ten lists where I look at demarcations or parts within what is the fundamental continuity of the Odyssey – you could think of it as my Odyssey iceberg. Hence, I won’t be my usual countdown but counting them out or going from the top of the iceberg to lower down.

Top Tens – Top 10 Girls of Animation

 

Erin Esurance, the animated spy girl mascot of American insurance company Esurance, as she appeared in her short (and short-lived) animated commercials (fair use)

 

“I’m not bad, I’m just drawn that way”.

Counting down my Top 10 Girls of Animation – which was surprisingly challenging as the pool of choice is reduced by the number of potential entries that I feature in other top tens. As a rule of thumb, I’ve given priority to their medium of origin.

For example, female characters from comics adapted to animation were among the leading potential entries but I’ve given priority to their entries in my Girls of Comics. Although ironically Harley Quinn should feature in my Girls of Animation for my rule of thumb of medium of origin – as she originated in an animated adaptation of Batman but proved so popular, she was then introduced into the comics (and also she arguably has arisen to new prominence with her current animated series). But I make my own rules and break them anyway – and she just seemed misplaced anywhere else than in the Girls of Comics.

Similarly, the Disney princesses were also among the leading potential entries, but I’ve given priority to them as Girls of Fantasy & SF for their fairy tales of origin (with the occasional exception in special mention for those characters that are essentially new or substantially adapted from their fairy tale origins).

And finally, this is for Western animation, so does not include any entries for the girls of anime – which has its own Top 10.

 

ART & COSPLAY

 

But first a note on the visual images used in this top ten. Given the copyright in such images, I only use a visual image as fair use for the purposes of comment and review in each entry – an iconic feature image to identify the character, either in general or in their most iconic version as I review it to be (or both), as excerpted from the animation itself.

Iconic perhaps, but not my favorite as I usually prefer the style of fan art or cosplay for the characters – although the girls of Western animation have nowhere near the prolific art or cosplay of the girls of anime, with the occasional exception. Hence as usual I also include a special section in each entry under the subtitle of art and cosplay – not for any actual art and cosplay as such but instead where I nominate my favorite artists and cosplay models depicting the character, which you can look up for yourself. For art, I award a special ranking for any art by my two favorite artists – the two freelance digital artists Sciamano and Dandonfuga. For cosplay, I award a special ranking for any cosplay by my holy trinity of models – my favorite model Yummychiyo with her insane figure in top spot, followed by Hane Ame and Helly Valentine.

As for the iconic feature image I’ve chosen for this page itself and girls of animation in general, I went with Erin Esurance, the spy girl animated mascot of American insurance company Esurance that featured in commercial shorts from 2005 to 2010. They ‘retired’ her in 2010, which some attributed to the zeal of fans making inappropriate art of her, and others to her not being a fit for the ‘brand’ of Allstate, the company that acquired Esurance.

 

X-TIER (WILD TIER) – BEST OF 2025

 

 

 

Rumi’s full body profile pic from the Kpop Demonhunters fan wiki (fair use)

 

 

 

(10) RUMI –

KPOP DEMONHUNTERS (2025)

 

Given my tenth place wildcard entry for Top 10 Animated Films went to Kpop Demon Hunters, who else could be the corresponding entry here but its lead girl with dark secret, Rumi?

“KPop Demonhunters is a 2025 American animated musical urban fantasy film…The story follows a K-pop girl group, Huntrix, who lead double lives as demon hunters. They face off against a rival boy band, the Saja Boys, whose members are secretly demons.”

And really it had to be Rumi, not only as the leader and lead vocalist of Huntrix (whose voice literally saves the world), but also as the film’s protagonist with the film’s defining story arc

It also had its tongue firmly in its cheek with its story. Even the demons laugh at the idea of a demon boy band until the latter strikes a pose – “oh yeah, totally gonna work”.

Also, you gotta love her impossibly long legs and hair in that distinctive braided style.

 

B-TIER (HIGH TIER)

 

 

Gwen in a shot from the series (fair use)

 

 

 

(9) GWEN TENNYSON – BEN 10 (2005)

 

What can I say? It’s the red hair and those green eyes. (Beware! Beware! Those flashing eyes! That floating hair!)

There certainly is a high representation of redheads in animation and comics (albeit not so much in their adaptations) – there’s two other redheads in this top ten (indeed, in the top three) – For that matter, there’s a whole trope in TV Tropes named for red-haired green-eyed girls.

Admittedly, I am not overly familiar with the Ben 10 franchise, having seen the occasional episode here and there in passing, apparently in the later series. It has five different incarnations – Ben 10, Ben 10 Alien Force, Ben 10 Ultimate Alien, Ben 10 Omniverse, and Ben 10 again – which they missed the chance to call just that, in 2016. However, it is an intriguing concept. The series follows a boy named Ben Tennyson who, on a summer road trip with his grandfather Max and his cousin Gwen, stumbles across an alien device known as the Omnitrix which bonds itself to his wrist like a watch. Ben finds that the device has alien DNA encoded in it, which allows him to transform to a variety of alien species – which he uses to take on any threats that come his way – usually other aliens. As he grows as a hero, Ben learns that he didn’t gain the Omnitrix by coincidence and finds that his family has been involved with aliens long before he has.

Gwendolyne “Gwen” Tennyson – as the Tennyson family obviously likes to rhyme – is Ben’s aforementioned cousin. At the start of the series, she is the same age as Ben (ten years), albeit much more capable than he is – a child prodigy, who can instantly master anything, be it athletics (including martial arts) or academics (and even the Omnitrix itself in an alternate universe). However, the series sees both of them mature into young adulthood (and a less antagonistic familial relationship between them), with Gwen attending college. It also sees Gwen acquire superpowers of her own, through – uh – magic? She discovers her own magical aptitude, which allows her to manipulate energy and be as formidable a hero as Ben himself.

 

ART & COSPLAY

 

For her iconic feature image, I used a clip of her from the Ben 10 Ultimate Alien series used as a feature image in the Ben 10 Ultimate Alien fan wiki.

She has also caught the attention of one of my favorite artists – Neoartcore.

 

 

Foxxy Love in her title card from the series (fair use)

 

 

 

(8) FOXXY LOVE – DRAWN TOGETHER (2004)

 

A sassy “1970s-style mystery-solving musician who parodies the Hanna-Barbera teen sleuth characters seen on Josie and the Pussycats and Scooby-Doo.”

Cult classic Drawn Together was a reality show parody (initially of The Real World), where eight cartoon characters from different animated genres – parodying both a specific style of animation or animated character and of the stock characters usually put together in reality shows – were forced to live under the one roof in the titular pun of being drawn together.

 

ART & COSPLAY

 

Yeah – there’s some but not too much art or cosplay out there, certainly none from my favorites. As usual for my girls of animation, my iconic feature image is a clip from the cartoon.

 

Stripperella as she appeared in her series – yes, it’s a cartoon Pamela Anderson (fair use)

 

 

 

(7) STRIPPERELLA (2003)

 

Stripper by night. Superhero later at night”.

As its title might suggest, Stripperella was an “adult-oriented animated television series” created by none other than Marvel Comics doyen Stan Lee.

The title character was the superheroine or secret agent alter ego of stripper Erotica Jones, voiced by none other than Pamela Anderson – and essentially an animated version of her as well, down to the tattoos. (So much so that she also played herself in the series, visiting Stripperella’s club Tender Loins with Kid Rock. Needless to say, Stripperella is a big fan and gushes how people compare them in appearance).

Clearly, the series had its tongue firmly in its, or at least someone’s, cheek, as a parody of the superhero and spy fiction genres. I particularly liked the recurring villain, Cheapo – the world’s cheapest supervillain.

As for Stripperella herself, she not only relied on her spy gadgetry, but also a number of inexplicable superpowers (including her luxuriant hair, which also doubled as a parachute) – “she has strength and agility far beyond that of a normal human, she is impervious to all temperatures and weather conditions, and her breasts have the ability to detect when somebody is lying”.

 

ART & COSPLAY

 

Yeah, again – there’s some but not too much art or cosplay out there, certainly none from my favorites. Disappointingly, not even any cosplay from Pamela Anderson herself. As usual for my girls of animation, my feature image is a clip from the cartoon.

 

 

Holli in a clip from her notorious dance scene in the film (fair use)

 

(6) HOLLI WOULD – COOL WORLD (1992)

 

HOLLI WOULD IF SHE COULD
…AND SHE WILL!

I do like my bad girls and Holli Would is the bad girl at the center of Ralph Bakshi’s 1992 film Cool World – a fantasy film combining live action and animation.

Center? Let’s face it – the only thing anyone ever remembers (or is aware of) from this movie is Holli. To be honest, I’m only aware of the film through my interest in the animation of Ralph Bakshi.

As for the film itself, similar to another more famous film (that just might happen to feature in this top ten), it involves the intersection of our real world with the eponymous animated ‘toon’ world, with the inhabitants of the latter known as ‘doodles’ (while humans are ‘noids’). In a nutshell, a cartoonist finds himself in a cartoon world which he thinks he created from his dreams, where he is seduced by the comic strip vamp Holli – all part of her plot to become a real human (including the inception of the dreams in the cartoonist). Of course, being a bad girl, she doesn’t flinch at murder – or the potential destruction of both worlds – to realize her aim.

It’s even messier than it sounds and gets messier – the film was a commercial and critical failure, although it subsequently achieved something of a cult following.

But who cares? It’s all about Holli! Voiced by Kim Basinger, she was also drawn to resemble her voice actress (not surprisingly, given that Kim Basinger also played her in human form in the film). Her dancing scene was particularly notorious. Speaking of which…

 

ART & COSPLAY

 

Yes – I used a clip from that notorious dancing scene in the film for my iconic feature image. Sadly, although there is art and cosplay of her, there’s none I could find from my favorite artists or models.

 

 

Chel in one of her more expressive clips from the film (fair use)

 

 

(5) CHEL –
THE ROAD TO EL DORADO (2000)

 

Perhaps the most preeminent pre-Columbian pinup girl of popular culture – with the possible exception of Pocahontas – who throws her lot in with the protagonist Spanish con artist duo in the 2000 Dreamworks film The Road to El Dorado. And yes I know neither is technically pre-Columbian as both are set during European conquest or colonisation but close enough. I’ve certainly had a soft spot for Meso-American girls since – as well as that meme depicting Spanish colonialism being particularly…horny.

 

ART & COSPLAY

 

For my iconic feature image, I’ve chosen one of her more expressive clips from the film (helping the protagonist duo cheat at the native American ball game).

 

ART – DANDONFUGA

 

And finally we get to a girl of animation represented among my favorite artists, not least Dandonfuga – hence she scores my Dandonfuga ranking. There’s also art by Logan Cure, Neoartcore and Elias Chatzoudis.

 

 

She-Ra as she appeared in her original cartoon in the 80s (fair use)

 

 

(4) SHE-RA (1985)

 

She’s got the power!

“I am Adora, He-Man’s twin sister, and defender of the Crystal Castle. This is Spirit, my beloved steed. Fabulous secrets were revealed to me, the day I held aloft my sword and said, ‘For The Honor Of Grayskull! I AM SHE-RA!!!’

As TV Tropes notes, She-Ra Princess of Power is the sister series (literally) to He-Man and the Masters of the Universe, presumably because She-Woman and the Mistresses of the Universe sounds a little silly (or kinky). As noted, it is literally the sister series as the titular character is Adora, the twin sister of He-Man or Prince Adam of Eternia. Adora was apparently kidnapped as an infant to the planet Etheria and is subsequently given the power to become the superheroine She-Ra in order to form the planetary resistance against Etheria’s tyrannical ruler Hordak (although by invoking the honor rather than power of Greyskull, which sounds a little off to me).

Yeah, I’m not really up with the backstory of this one – or He-Man for that matter. I mean, come on – they were basically toy commercials! Not to mention vaguely fascistic…

However, they certainly were iconic figures, not least because the animation was to market the toys or so-called action figures for the Masters of the Universe.

Of course, She-Ra was designed to extend the market to the female demographic. To quote TV Tropes – “She-Ra was made specifically to appeal to girls, which explains the large number of mentally and physically strong female characters, like Adora, Glimmer, and Madame Razz, not to mention the vivacious, Zsa Zsa Gabor-like nature of several of them, daaaaaarling — and quite a number of female villains like Shadow Weaver, Scorpia and Catra” (the latter essentially a dark action girl version of She-Ra herself).

 

ART & COSPLAY

 

For my iconic feature image, I chose She Ra as she appeared in her original 1980s cartoon (from the feature image of the Grayskull fan wiki). There is a surprising amount of art and cosplay out there for her – including art from Nathan Szerdy and Elias Chatzoudis, as well as cosplay from another of my favorites, Tabitha Lyons.

 

 

A-TIER (TOP TIER)

 

 

 

Lana Kane in her iconic mini-sweater dress – I’m pretty sure this is from her very first appearance in the pilot episode (fair use)

 

(3) LANA KANE – ARCHER (2009)

 

“LAAAAAANAAAA!” Well, it was either that or Sterling Archer’s other favorite quote to her – “Danger zone!”.

Lana Kane is the top female agent in the animated series Archer, second only to the titular spy himself (although a large part of that is due to his mother running the agency), with whom she has a complicated love-hate relationship. She is also the most competent agent, although Archer tends to excel at the stereotypically active role of an agent, killing people and so forth (although a large part of THAT is due to his reckless childlike joy and disregard for his own mortality). However, she is not too different from Archer in that her competence is undermined on occasion by her own emotional or psychological insecurities – she just has less of them than Archer (and a large part of THAT is his mother Mallory).

In appearance, she is statuesque, both in height (six foot or so) and figure, and she dresses to accentuate the latter – her signature style consists of short turtleneck sweater dresses (in various colors but typically white) and thigh-high stiletto boots. Indeed, she always seems to wear heels, even in space. For that matter, even when not wearing outfits tailor made to accentuate her figure, she’ll almost invariably end up in a situation where she’ll be stripped down to her underwear.

Archer even comments on her stripperiffic wardrobe, when he finds himself distracted by her impressive, ah, jiggle physics in the middle of a gunfight, in an example of their characteristic repartee:

Lana: Now?! Really?!
Archer: Oh, right! Because you walked into Strippers Discount Warehouse and said “Help me showcase my intellect!”
Lana: Discount?! This is Fiocchi.

In fairness, every major character in the series commonly ends up in situations where they’ll be stripped down to their underwear or naked. It’s that kind of agency.

Indeed, her memetic attractiveness in the series is such that even the girls want her (most notably her fellow female employees, although they are not the most emotionally balanced individuals). Even the gay guys want her, as when her gay colleague Ray Gillette literally takes a number with the rest of her male employees for the opportunity to bed her – “Girl, please. Nobody’s THAT gay”.

 

ART & COSPLAY

 

I was tempted to use the promotional beach shoot art for her but I just had to go with her iconic mini-sweater dress appearance for my feature image – which I believe to be from her very first appearance in the first episode. There is Lana art and cosplay out there but none from my favorite artists or models. AI shoutout to Naughy Neurals featuring her as a recurring subject.

 

 

Daphne Blake as she appears in the Scooby Doo cartoon – feature image from the Warner Bros Entertainment fan wiki (fair use)

 

(2) DAPHNE BLAKE – SCOOBY DOO (1969)

 

We all know Scooby Doo, that enduring animated franchise centered on four teenage hippies and the titular talking Great Dane driving around in their “Mystery Machine” van, getting high and hallucinating monsters (not to mention their dog’s speech). “And I would have gotten away with it if it wasn’t for you meddling kids!” (Not likely, since the villainous plans always involved impersonating a supernatural being with basic special effects). It’s a cultural icon, man! Even the infamous Scrappy Doo couldn’t kill it, although he came close and became the ultimate archetype of unlikable characters in the process.

And Daphne Blake has been an enduring childhood crush within that franchise. It’s not hard to see why – with her shoulder-length red hair (once again demonstrating the striking prevalence of redheads in animation or comics), blue or violet eyes, hourglass figure – not to mention her distinctive purple skirt and pink tights. On second thoughts, her fashion choice was questionable, but then, so was that of the rest of the cast. I mean – who wears ascots, Fred? Although maybe there’s something in wearing an ascot after all, as Fred always seemed to end up with the girls or at least Daphne herself whenever the group split up to investigate (while Shaggy would invariably end up with Scooby as comic relief, like the sad dog food-eating hippy he was).

Of course, Daphne’s role within the group originally tended to be more decorative than functional – most likely to end up as damsel in distress, often while bound and gagged to boot (because, well, who wouldn’t?), and even nicknamed danger prone Daphne as a result. Fortunately, her character has become somewhat more developed over time – becoming more competent and even badass in various incarnations (interestingly, often in direct contrast to a converse decline in Fred’s competence or badassery).

 

ART & COSPLAY

 

As usual for my iconic feature image, I chose a clip image of her appearance in the animation.

The standout Daphne art from my favorite artists would be by Nathan Szerdy, Elias Chatzoudis, and Neoartcore. As for the standout cosplay by my favorite models, I’ll award that to Tabitha Lyons.

 

X-TIER (GODDESS TIER)

 

Jessica Rabbit as she appears in her animated film or shorts – in perhaps her most iconic appearance and pose (fair use)

 

(1) JESSICA RABBIT – WHO FRAMED ROGER RABBIT (1988)

 

“I’m not bad – I’m just drawn that way”

Like Wonder Woman for my Top 10 Girls of Comics, could there have been any doubt for the top spot? The top position has to go to THE animated sex symbol, even though her exposure is primarily limited to the animated film Who Framed Roger Rabbit? (and a few other shorts – notably as nurse and park ranger). I only vaguely remember the plot and characters of this film (including Roger himself) – but everyone remembers Jessica.

That is because she is designed as the ultimate fantasy figure drawn as a pinup cartoon – green-eyed and red-haired in that irresistibly rare combination (even more so in her signature pose of hair worn over one eye) and an impossibly accentuated hourglass figure in a slinky red dress. Indeed, she was modelled on classic screen sirens Lauren Bacall, Veronica Lake and Rita Hayworth – apparently face and voice (voiced by Kathleen Turner) on Lauren Bacall, hair on Veronica Lake and dress on Rita Hayworth (in the film Gilda).

As her name indicates, she is the human ‘toon’ wife of the titular Rabbit. Although she is a sultry nightclub singer literally drawn as a femme fatale of noir, she actually plays against the type in film (as opposed to the original book) – she is indeed a good girl deeply in love with her ‘honey bunny’. Why? He makes her laugh. (She also proudly lets slip that he’s a much better lover than driver).

 

ART & COSPLAY

 

Of course for my iconic feature image, I chose an image of her from her animation – in perhaps her most iconic appearance and pose (although I was tempted by her nurse or park ranger costumes).

 

ART – DANDONFUGA

 

And not surprisingly for my top spot we get to a girl of animation represented among my favorite artists, not least Dandonfuga – hence she scores my Dandonfuga ranking. There’s also art by Elias Chatzoudis, Sun Khamunaki, J. Scott Campbell, Logan Cure, and Neoartcore. AI shoutout to Naughty Neurals.

 

COSPLAY – HELLY

 

And also for my top spot we finally get to a girl of animation represented among my holy trinity of cosplay models, hence she scores my Helly ranking for cosplay by Helly Valentine.

 

 

 

 

 

GIRLS OF ANIMATION: TOP 10 (TIER LIST)

 

S-TIER (GODDESS TIER)

(1) JESSICA RABBIT – WHO FRAMED ROGER RABBIT

 

A-TIER (TOP TIER)

(2) DAPHNE BLAKE – SCOOBY DOO

(3) LANA KANE – ARCHER

 

B-TIER (HIGH TIER)

(4) SHE-RA

(5) CHEL – THE ROAD TO EL DORADO

(6) HOLLI WOULD – COOL WORLD

(7) STRIPPERELLA

(8) FOXXY LOVE – DRAWN TOGETHER

(9) GWEN TENNYSON – BEN 10

 

X-TIER (WILD TIER – BEST OF 2025)

(10) RUMI – KPOP DEMONHUNTERS

 

 

Top Tens – Comics: Top 10 Comics (Special Mention: Complete)

The cover of Detective Comics #27 dated May 1939 by Bob Kane with the first appearance of Batman – one of the most famous and iconic comics covers, exceeded perhaps only by the Action Comics cover for the first appearance of Superman

 

 

TOP 10 COMICS (SPECIAL MENTION)

 

I’ve ranked my Top 10 Comics, but comics are just too prolific to be confined to a mere top ten or even my usual list of twenty special mentions.

Instead, I have two lists for special mentions – the first for comics from 2000 AD, the British weekly SF anthology comic that is my comic of choice for regular reading, and the second for comics from everyone else.

This is the latter – for comics that I enjoyed or are an enduring influence on me from publishers other than 2000 AD’s Rebellion, including self-published webcomics.

 

S-TIER (GOD TIER)

 

The literal face of Mad Magazine – Alfred E. Neumann – on the October 1982 magazine cover parodying Time Magazine’s Man of the Year (fair use)

 

 

(1) MAD (1952 – PRESENT)

 

What, me worry?

Ah – Alfred E. Neuman with his iconic gap tooth grin and catchphrase as Mad Magazine’s fictional mascot and cover boy. According to Wikipedia, he actually preceded Mad as a visual image in advertisements and a presidential campaign postcard for Roosevelt, although the magazine named him and converted his original appearance as an idiotic figure to a more mischievous devil-may-care trickster – “someone who can maintain a sense of humor while the world is collapsing around him”. Amusingly – given his origins from a presidential campaign postcard – Mad Magazine has proffered him periodically as a joke presidential candidate from 1956 onwards with the slogan “You could do a lot worse…and always have!”

I was raised on Mad. Indeed, it was hereditary – I inherited it from my mother, who had classic collections of Mad from when she was a teenager and passed them on to me when I was a teenager. (I’m not too sure her parents – my grandparents – were impressed by this subversive publication – they were pretty straightlaced). And it has been a huge influence on my sense of humor and worldview ever since, mirroring its wider influence on parody and satire in popular culture. If you want to understand me, know that Mad Magazine is etched deep within my psyche (paired with Catch-22 and as part of an eclectic kaleidoscope with The Devil’s Dictionary and TV Tropes):

 

The film and television parodies – particularly as drawn by Mort Drucker, possibly the finest caricaturist ever (sadly passed away on 9 April 2020).

 

Spy vs Spy! Featuring the titular literal black and white Cold War-eque spies (drawn as, ah, bird-like people things?) outwitting each other with traps within traps

 

Don Martin – Mad’s Maddest Artist! And his recurring Fonebone character!

 

Dan Berg and his “The Lighter Side of” slice of life cartoons!

 

Sergio Aragones – with his “A Mad Look At’ recurring features and his marginal doodles (or “Drawn Out Dramas”)!

 

The classic Mad Fold-Ins!

 

And so on. Nothing was sacred for Mad’s subversive satire and sense of humor – sacred cows make the best hamburger – “Mad’s satiric net was cast wide. The magazine often featured parodies of ongoing American culture, including advertising campaigns, the nuclear family, the media, big business, education and publishing. In the 1960s and beyond, it satirized such burgeoning topics as the sexual revolution, hippies, the generation gap, psychoanalysis, gun politics, pollution, the Vietnam War and recreational drug use”.

Robert Boyd from the Los Angeles Times summed up Mad Magazine for me as well as himself and other fans, with the apt line “All I really need to know I learned from Mad magazine” – “Plenty of it went right over my head, of course, but that’s part of what made it attractive and valuable. Things that go over your head can make you raise your head a little higher. The magazine instilled in me a habit of mind, a way of thinking about a world rife with false fronts, small print, deceptive ads, booby traps, treacherous language, double standards, half truths, subliminal pitches and product placements; it warned me that I was often merely the target of people who claimed to be my friend; it prompted me to mistrust authority, to read between the lines, to take nothing at face value, to see patterns in the often shoddy construction of movies and TV shows; and it got me to think critically in a way that few actual humans charged with my care ever bothered to.”

And it forever tainted the way I view films and television – much as it did critic Roger Ebert:

“I learned to be a movie critic by reading Mad magazine … Mad’s parodies made me aware of the machine inside the skin—of the way a movie might look original on the outside, while inside it was just recycling the same old dumb formulas. I did not read the magazine, I plundered it for clues to the universe”.

 

 

Cover of the 1961 edition in English of Asterix the Gaul, the first volume in the series (fair use)

 

 

(2) RENE GOSCINNY & ALBERT UDERZO –

ASTERIX (1959-1979 – I’m only counting the ones written by both Goscinny and Uderzo up to Asterix in Belgium, the 24th volume in the series)

 

“The year is 50 B.C. Gaul is entirely occupied by the Romans. Well, not entirely… One small village of indomitable Gauls still holds out against the invaders. And life is not easy for the Roman legionaries who garrison the fortified camps of Totorum, Aquarium, Laudanum and Compendium…”

These Romans are crazy!

Asterix is the original source of my enduring love of comics – and my enduring fascination with the Roman Empire in classical or ancient history. It wouldn’t quite be true to say everything I know about the Roman world I learned from Asterix comics – as those comics inspired me to read more historical books on the Roman Empire and ancient history – but you could genuinely learn a lot about the Roman Empire from them.

The basic premise is stated in the above introduction to each comic, accompanied by the famous map with a magnifying glass held up to show the titular protagonist’s village. (Asterix is also where I learned about the battle of Alesia, in which Julius Caesar defeated the Gallic chieftain Vercingetorix and conquered Gaul – a detail that recurs in a number of comics). This small but plucky village has withstood the vast numerical and military superiority of the Roman Empire by virtue of a magic potion that bestows superhuman strength brewed by its resident druid.

Each comic then introduced the major dramatis personae from the village – foremost among them our small but plucky titular protagonist Asterix, but also his generously proportioned fellow protagonist Obelix (who always has superhuman strength because he fell in a cauldron of magic potion as a baby), the aforementioned druid Getafix, village chieftain Vitalstatistix and ill-tuned bard Cacofonix. Oh – and Obelix’s cute dog Dogmatix. As you can tell, the names of Gauls in the comic had humorous puns or plays on the suffix “-ix” – the Romans similarly with “us” and so on with other groups within the Empire. That was indicative of the general wordplay and puns in dialogue as well as visual gags that made each comic a delight – “part of the appeal of the series is probably the variety of humor, which includes slapstick fight scenes, plenty of wordplay, thinly-veiled social commentary, and Iron Age and Roman antiquity versions of just about every European (and beyond) stereotype you can imagine.

I must admit to having a soft spot for the Romans, even though they were generally the antagonists – although perhaps not quite to the point of rooting for the Empire, as our protagonist and his village were just too damn charming. Generally the Romans weren’t cast as evil villains – indeed the hapless legionaries in the camps surrounding the village strove to serve out their time by quietly trying to avoid any contact with the Gauls – although they could also be effective antagonists in their schemes to conquer or undermine the village. And it helped that the Romans were also typically lovable idiots – indeed like almost everyone else in the comic, including the protagonist villagers themselves, except of course for Asterix, Getafix and flashes of brilliance among other characters (Gauls or otherwise). Interestingly, one character not played as an idiot – indeed, played as a worthy adversary – was Caesar himself.

I also have to admit to a soft spot – widely shared by other fans – for the cameo appearances by the recurring band of small but persistently unlucky pirates, a parody of another comic series Barbe-Rouge (Redbeard) – unlucky, that is, in persistently encountering our protagonist duo, the point that they would desperately try to avoid “the Gauls”, even sinking their own ship.

The series was also distinguished by some of the best translations in comics ever – from the original French (of course) by writer Rene Goscinny – as well as some of the best caricaturist art from artist Albert Uderzo. Goscinny sadly died in 1977 and Uderzo took over the writing as well, although not quite with the same superb quality of writing in the eyes of fans such as myself – until he too sadly passed away only in March 2020.

 

RATING: S-TIER (GOD-TIER – OR IS THAT TOUTATIS TIER?)

 

 

Cover of Calvin and Hobbes, the first collection of comic strips published by Andrews McMeel Publishing in 1987 (fair use)

 

 

(3) BILL WATTERSON –

CALVIN & HOBBES (1985-1995)

 

Goddamn I love that tiger!

 

“One of the most (maybe the most) beloved newspaper comics of all time, that influenced, changed and thrilled an entire generation, all drawn and written by one man — Bill Watterson…Watterson reminded us that newspaper comics don’t have to be bland, crude drawings, funny animals can have deeper personalities and insights in life, and that it was still possible for a strip to successfully explore philosophical themes without feeling tacked on. And yes, comics about children can still be great”.

Also (as noted by TV Tropes) – unpredictable panel layouts, surreal nature, childhood fantasy elements, lush art, adventure, vivid characterization, satire, classic cartoon slapstick and a gently comedic look at the hard truths of life.

Calvin is a precocious 6-year-old, who lives in rich world of imagination – personified (or is that tiger-ified) by Hobbes, his (imaginary – or is he?) best friend, a “walking, talking tiger” to Calvin and an inanimate plush toy to everyone else (and intriguingly of different appearance from his animate appearance to Calvin).

Amusingly, Calvin and Hobbes were named for the sixteenth century theologian John Calvin and sixteenth century philosopher Thomas Hobbes respectively – pointing to the philosophical themes of the comic.

Arguably Calvin embodies the child in every adult, while Hobbes represents the adult in every child – particularly with the latter tending to act as the voice of reason and conscience to Calvin. Hobbes also has a thing for “babes”.

The fantasy – or reality – of Hobbes’ dual nature is one of the most appealing parts of the strip, as is the fantasy or reality of the titular duo’s many adventures and misadventures, but perhaps also (ironically) of least consequence – “Watterson has described the matter as being a non-question: This is not a strip about a young reality warper going on magical adventures with a stuffed animal that comes to life when no one else is looking, nor is it as simple as a boy with a stuffed tiger and an overactive imagination. This is a strip about the world seen through Calvin’s eyes. To Calvin, Hobbes is a real tiger, a cardboard box is a cloning device, a wagon driven off a ramp can fly to Mars, and mutant snowmen can stage a rebellion against their creator. And that is all that matters”.

I’m prompted to think of the play Harvey and its film adaptation as a spiritual predecessor, with its protagonist’s six-foot rabbit ‘imaginary friend’ Harvey playing the role of Hobbes:

“I’ve wrestled with reality for 35 years, Doctor, and I’m happy to state I finally won out over it. I always have a wonderful time, wherever I am, whoever I’m with”.

 

A-TIER (TOP TIER)

 

 

Tomie complete hardcover deluxe edition published by VIZ Media LLC 10 January 2017 (fair use)

 

 

(4) JUNJI ITO –

TOMIE (1987 – PRESENT)

 

Yes, I’m including manga in special mentions otherwise of American or European comics – just because of Junji motherfreaking Ito!

You never forget horror manga artist and writer Junji Ito once you’ve seen his work, either in their original form or in their screen adaptations. It’s horror that operates as horror because it is weird and disturbing.

“Ito’s work consists of many subgenres of horror, mainly being host to the subgenres of body horror and cosmic horror. Much of his work is based solely in them, with other themes including a relationship of predator to prey, a loss of humanity, apocalyptic scenarios, and obsession being common. The universe Ito depicts is cruel and capricious; his characters often find themselves victims of malevolent unnatural circumstances for no discernible reason or punished out of proportion for minor infractions against an unknown and incomprehensible natural order.”

If I am to pick one Ito work above all others, it has to be Tomie – the recurring immortal girl that drives men to madness and keeps coming back even if you kill her.

 

 

Cover of the collected edition (of the first six issues) with art by Chris Baccalo (fair use)

 

 

(5) PETER MILLIGAN –

SHADE THE CHANGING MAN (1990-1996)

 

“Sometimes I think that if I wasn’t crazy…I’d go crazy”

Peter Milligan is another British comics writer that started as writing for 2000 AD, most notably with Bad Company – a future war story in which a bizarre company of soldiers fight humanity’s bizarre war against the alien Krool.

However, contrary to my characteristic preference for 2000 AD, my favorite is his work for DC Comic’s Vertigo imprint label for more mature graphic novels outside the publishing restrictions of mainstream comics. Milligan came to Vertigo towards the end of the first wave of the so-called British invasion or ‘Britwave’ of British writers into American comics – and like his fellow British writers for Vertigo, he revamped an obscure DC Comics character, Shade the Changing Man.

The focus of the series is Shade, an interdimensional traveler to Earth from the parallel world of Meta, with the reality-warping ‘power of madness’ (which seems to be part of Metan technology) – he resembles another of my favorites, Neil Gaiman’s Sandman, but with power born of madness instead of dreams. But then, what are dreams if not a little madness in our lives?

In other words, it starts off weird and gets weirder – a psychedelic fantasy and odyssey. The initial narrative has the most defined plot structure, as Shade was sent to Earth to defeat a dangerous manifestation of madness and the American psyche or collective unconscious, the American Scream. After that, it is the personifications from Shade’s own psyche that are dangerous, as well as other beings born from the Area of Madness – which after all extends to the land of dreams and the dead, angels and the Devil. Shade himself dies, but is reborn through the power of madness – jumping bodies and on one occasion gender as Shade the Changing Woman (anticipating the more recent reboot of a female Shade).

 

 

Poster and cover art for the series showcasing the sumptuous art by Olivier Ledroit as well as everyone’s favorite character from the comic, Claudia, so much so that she got her own spinoff series (fair use)

 

 

(6) PAT MILLS –

REQUIEM VAMPIRE KNIGHT (2000 – PRESENT)

 

The Franco-British comic Requiem Vampire Knight – or French title Requiem Chevalier Vampire – by British writer Pat Mills and French artist Olivier Ledroit is exactly what is says on the tin – the protagonist Requiem is, ah, a vampire knight (or chevalier).

The intriguing part is that it is posthumous fantasy of the darkest kind – I am a fan of posthumous fantasy or fantasy set in the afterlife, and that’s before you throw in Mills’ characteristic blackly comic misanthropy. Life sucks and the afterlife sucks more. Literally. The protagonist, a German soldier from the Second World War, is killed on the Eastern Front only to find himself in the posthumous fantasy setting known as Resurrection – a literally hellish inversion of Earth in which land and sea are reversed (with seas of perpetual fire in the place of the terrestrial continents) and whose resurrected inhabitants age in reverse, growing younger into infancy (and beyond into non-existence) with fading memories. Worst of all, the more evil one was in life, the better they are rewarded in Resurrection as various classes of monster, with the vampires as the elite aristocracy (populated by such characters as the historical Dracula, Nero, Caligula and Attila the Hun) and former innocent victims as the lowly lemures, “outcasts at best and food or entertainment at worst”. The protagonist finds himself resurrected as the titular vampire knight – but still plagued by a conscience, particularly towards the love of his former life, the Jewish Rebecca, now a lemure (a term borrowed from Roman mythology) bent on her ticket out of Resurrection (‘expiring’ her former tormentor).

In the words of TV Tropes, “an age-old adage was that, if you were bad in life, when you died it generally got worse. Nowhere is this idea more assaulted, mugged, curb-stomped and left for dead face-down in a rancid gutter than in the world of Résurrection, the brainchild of Pat Mills and illustrated in excruciatingly loving and gory detail by Olivier Ledroit”.

 

 

 

Wraparound cover art by Adam Hughes for the Fables spinoff Fairest in 2012, showcasing the female characters from the series (fair use)

 

 

(7) BILL WILLINGHAM –

FABLES (2002-2015 & 2022-2024)

 

The series is summed up by the title of its opening issue – Legends in Exile.

All myths are true. Characters from fairy tales and folklore, the titular Fables, are real – and are living in New York! New York City, that is, for the human Fables – non-human Fables (or those who can’t magically transform themselves into humans) are still in New York but upstate not the city, in “the Farm”. Refugees from their own story worlds or Homelands, driven into our non-magical or Mundane world to escape the inexorably expanding empire of the multiverse-conquering Adversary.

A little like the TV series Once Upon a Time for those who saw that series, only with more depth. There are some intriguing aspects that only get deeper the further you go. The Fables often use or weaponize their storied attributes as superpowers – including immortality and to some extent invulnerability based on the popularity of their stories, although whether the latter is the case is debated by the Fables themselves. My favorite aspect is how some Fable characters are the same recurring archetypal character across stories – such as Jack, representing all fairy tale or nursery rhyme Jacks, who as we see in his spinoff series Jack of Fables does deals with all the different devils of fairy tales and folklore.

 

 

 

(8) MORNING GLORIES (Image Comics 2010 – ?!)

 

“What did you see when your eyes were opened?”

Well, for one thing, I saw Morning Glories, an ongoing series from Image Comics that had me enraptured from the first issue I read. In the tagline of its writer Nick Spencer, it’s Runaways meets Lost (without the ending of the latter, or indeed any ending at present).

In my eyes, it’s as if the Illuminati had a high school – or perhaps more aptly, since it is referenced by name, as if Grant Morrison’s Invisibles had a high school. Or if Night Vale WAS a high school, given that it has one. Indeed, Nick Spencer shows a positively Morrisonesque flair for twists and turns of storyline, at times even coming close to Morrison’s unrivalled hand at those fabulous comics one-liners or that juxtaposition of word and image.

The Morning Glories (or just Glories) is the nickname for the protagonist group of six new students, selected for the prestigious Morning Glory Academy – selected, that is, for a very particular and peculiar set of selection criteria. Which may or may not explain that they all seem to manifest mysterious abilities or future selves, and that they all seem to have dark or strange pasts (including – perhaps – the occasional homicide).

It doesn’t explain why the location of the school is kept mysterious by drugging each new student before arrival – or why their parents don’t even seem to remember their very existence when they call them from the school (with one notable exception, which necessitates the most unfortunate consequences). It certainly doesn’t explain the “mysterious and shadowy purpose of this dizzying boarding school of horrors”, which remains mysterious and shadowy except only that it seems to be the tip of a global conspiracy – or conspiracies.

Not to mention the other paranormal phenomena or time travel within and without its walls. (In one of my favorite Morrisonesque one-liners from the series, a student enquires as to the trippy design of a time machine – “Who built it?” “You did” is the reply).

Nor does it explain the sadistic faculty staff, led by the unseen headmaster behind the scenes – who don’t hesitate to resort to progressive mind control techniques, extreme physical discipline and the occasional sacrifice.

After all, it’s “for a better future” and we all have to make sacrifices. Literally.

 

B-TIER (HIGH TIER)

 

 

Classic Hellblazer art by Phil Hale depicting the character in his signature trenchcoat and smoking pose (fair use)

 

 

(9) HELLBLAZER (1988-2013, 2019-2020, 2024)

 

“I’m the one who steps from the shadows, all trenchcoat and cigarette and arrogance, ready to deal with the madness. Oh, I’ve got it all sewn up. I can save you. If it takes the last drop of your blood, I’ll drive your demons away. I’ll kick them in the bollocks and spit on them when they’re down and then I’ll be gone back into darkness, leaving only a nod and a wink and a wisecrack. I walk my path alone… who would walk with me?”

THE DC Vertigo series – and certainly longest running series – and virtual anthology of the best writers in comics, all writing the titular character, including my favorite writers from ‘British Invasion’ of American comics (and from 2000 AD).

The titular Hellblazer, John Constantine, originated with one such writer, Alan Moore, in his Swamp Thing – with the intended appearance and British nationality of Sting. TV Tropes sums him up best – a “con man, occult detective, gambler and magician of ill repute” who “tangled with Hell, Heaven, the police and the criminal underworld”. John Constantine may not have been the origin of the occult detective trope, but he codified it, particularly of the trenchcoat variety, and various other figures of contemporary fantasy have followed in his occult detective footsteps – Harry Dresden, John Taylor and Sandman Slim amongst others.

What more do you need to know? Read the damned thing, already!

 

 

Iconic panel from the comic, showcasing Miller’s mastery of black and white line art (fair use)

 

 

(10) FRANK MILLER –

SIN CITY (1991-2000)

 

Frank Miller’s finest artwork apart from blood splatter, something (both finest artwork and blood splatter) which recurs frequently in Miller’s “absurdly macho” comic noir (or neo noir) Sin City. Its black and white line art is matched only by its black and grey morality. And we’re talking a pretty dark grey! It’s a mystery how the city of the title, Basin City, isn’t completely depopulated, as its economy seems to consist entirely of sociopathy and of course “wh0reswh0reswh0res”.

“Sin City reads like an Affectionate Parody of Film Noir turned Up to Eleven: every hero is a mentally or physically scarred bruiser and every woman is a beautiful dame with a heaving bosom”

Shoutout to Frank Miller’s 300, which is even more absurdly macho (Rated M for Manly according to TV Tropes), because THIS! IS! SPARTA!

 

Cover of Bone: The Complete Cartoon Epic in One Volume (featuring protagonist Fone Bone and one of the antagonist creatures). There have been a few editions – this one was the 2010 paperback edition by Cartoon Books, Jeff Smith’s own self-publishing company, the edition I had (fair use)

 

 

(11) JEFF SMITH –

BONE (1991-2004)

 

Bone is like if Mickey Mouse and Donald Duck suddenly popped into Game of Thrones – which I suppose could happen now that Disney owns Fox? Who knows? Anyway – literal cartoon characters placed in the middle of an epic fantasy of an increasingly desperate struggle against an otherworldly foe. Or in the words of TV Tropes – a “lengthy independent comic book series by Jeff Smith that took 13 years to complete, mixing the sensibilities of a joke-of-the-day comic strip like Pogo with the sweeping story of an epic fantasy à la The Lord of the Rings”

The cartoon protagonists, the Bone trio of cousins, are indeed cartoon characters, both visually and in personality, who’ve been exiled from their (unseen) cartoon village Boneville. The main protagonist, Fone Bone, is the most dependable, resourceful and moral of the Bone cousins. Smiley Bone is good-hearted but dim-witted (although his good heart sees him through most of the time). Phoney Bone is the reason they have been exiled from Boneville – a greedy, hotheaded schemer with perpetual plans to make money (usually by a con or cheat).

The epic fantasy protagonist Thorn and her family are at the heart of a war against the Lord of the Locusts, the Hooded One and their minions of ravenous rat-creatures.

Stupid, stupid rat-creatures! As Fone Bone dubs the duo of ineffectual rat-creature henchmen in their hapless pursuit of him and the other protagonists. They are indeed not the brightest – and strangely endearing for it. They’re just not cut out for this evil villainy business

Apparently Netflix has the rights to a TV adaptation – presumably animated. It seems unlikely but maybe they’ll do it and do it right.

 

 

Poster art for Hellboy and his signature Right Hand of Doom (fair use)

 

 

(12) MIKE MIGNOLA –

HELLBOY (DARK HORSE 1993 – PRESENT)

 

Dark Horse comic series Hellboy has been popularized by the Guillermo de Toro films (less so by its latest reboot, of which we won’t speak)

But then, what’s not to love about a comic series in which the hero is the literal Beast of the Apocalypse? (Or Anung Um Rama – “upon his brow is set a crown of flame”). Of course, he’s one of the good guys – and humanity’s best hope against hell and other eldritch abominations – because of his human upbringing. His backstory is that he was summoned as an infant demon in the last days of the Second World War to turn the tide of that war in Project Ragna Rok by Nazi occultists, led by none other than Grigori Rasputin – the mad monk turned eldritch abomination himself. I can’t help but feel Rasputin cheated his Nazi patrons if they expected victory for their war, as Rasputin was apparently playing the apocalyptic long game. Fortunately, Rasputin and his Nazi occultists are opposed by the Americans and their nascent Bureau of Paranormal Research and Development, who disrupt the ritual and raise Hellboy as one of their own – as he grows into his full-blown demonic appearance, with horns (which he files down for appearance), hooves, tail and red skin.

Again, what’s not to love about this comic series? Nazi occultists? Rasputin? Secret occult history? Demons and Lovecraftian eldritch abominations, most notably the apocalyptic Ogdru Jahad? And as I said, a series with the Beast of the Apocalypse as hero, fighting his own apocalyptic destiny – embodied in his Right Hand of Doom, the key to the abyss…?

 

 

Artwork by Alex Ross of the holy trinity of Astro City, corresponding to that of DC Comis – the Samaritan, Winged Victory, and the Confessor – also used as the cover art of Astro City graphic novels (vair use)

 

 

(13) KURT BUSIEK –

ASTRO CITY (1995-PRESENT)

 

A long-running superhero anthology series through various imprints of Image Comics and DC – with a rotating roster of superheroes and the only truly consistent ‘protagonist’ being the titular city itself as setting. Indeed, Astro City’s superhero back story goes back at least to the nineteenth century (Astro City’s supernatural champion the Hanged Man, the Old Soldier and Ironhorse, the Human Locomotive) and probably earlier. The heroes typically resemble the superheroes of other comics with my favorites being the Superman-like Samaritan (although he’s a time-traveler rather than a space-traveler), the Amazonian Winged Victory and the Batman-like Confessor (who hides a dark secret).

 

 

Cover of 30 Days of Night Deluxe Edition by Australian artist Ben Templesmith – also used for the original comic mini-series (fair use)

 

 

(14) STEVE NILES & BEN TEMPLESMITH –

30 DAYS OF NIGHT (IDW 2004 – 2009)

 

This comics series came to my attention through its film adaptation, which is ironically fitting as the comic was initially an unsuccessful film pitch, only to turn full circle back into film adaptation after it became a breakout success story for writer Steve Niles and intense Australian artist Ben Templesmith (which it also brought to my attention).

And what’s not to love about a comic that brought some raw bloody horror back to vampires in comics and film? No Twilight vampires here – these are sharks on legs, even in their pale-skinned black-eyed blood-smeared shark-mouthed appearance.

Mostly invulnerable to all but sunlight, the plot of the initial series followed vampires to the Alaskan town of Barrow – who then use the month-long Arctic night for a literal feeding frenzy. A small and dwindling number of town’s residents survive by hiding, led by the town’s sheriff Eben Olemaun and his estranged wife Stella, but face increasingly desperate choices to survive the titular thirty days of night.

Oh – and it did indeed make a fine horror film. And also a franchise, which expanded the mythology of the vampires (and human characters) within the series. My favorite sequel (or more precisely prequel) used the Arctic night in a different setting – the Eastern Front, where the German and Soviet soldiers have to band together against a more deadly and ravenous enemy…

 

 

Cover of The Boys Volume 1 (collected edition) with art by Darick Robertson, also the artist throughout the series. Arguably the most iconic image from the comic, which was replicated pretty well by promotional poster art for the TV series, such that you could place them side by side. Sadly, the TV series did not replicate the comic quite so well in other aspects (fair use)

 

 

(15) GARTH ENNIS –

THE BOYS (DYNAMITE 2006 – 2012)

 

I was introduced to this comic by the first season of its television adaptation in 2019, which prompted me to read it ahead of the other seasons. I’m glad I did, as while the television series had diminishing returns each season to the extent that I abandoned it before the finale (which I understand to have been disappointing at best), I read the comic through to the end.

The comic is by Garth Ennis – with whom I was familiar from 2000 AD and even more so his, ah, confrontational comic series Preacher, which perhaps best encapsulated his reputation and recurring tendency to be a provocateur or just for sheer shock value. Ennis quipped that The Boys would out-Preacher Preacher, presumably in terms of its profanity, sex and violence. I’m not sure that anything could out-Preacher Preacher, but The Boys certainly gives it a shot. And ultimately it may be for the best, as I prefer The Boys. It told a better story, and if anything, seemed less purely gratuitous for its own sake than Preacher – although the TV series certainly leaned into the shock value. (Although don’t get me wrong – I liked Preacher or at least it got stuck in my mind as you certainly never forget it).

The series takes place in a world where superheroes exist, although such that you would prefer they didn’t. On the superhero side, you have the Seven, the world’s leading superhero team – sponsored by the powerful corporation Vought International – and mostly copies of the Justice League, led by its equivalent of Superman (with some Captain America thrown in), Homelander, who more than earns the description of diabolical and invokes the trope Beware the Superman.

And on the other side, you have the titular Boys, vigilante cape-busters forced to use their smarts, skills and willingness to fight dirty (including some of the superheroes’ own weapons) against their adversaries – led by Billy Butcher, perhaps the series’ most compelling character to rival his primary adversary, Homelander.

The comic has layers to it that the television series did not – and diverged substantially (and progressively) from the latter with each season.

 

 

X-TIER (WILD TIER)

 

 

 

My favorite Tom Gauld cartoon as well as one of his most iconic and representative (of his style of humor and recurring subject of literature), so much so that the punchline was the title of one of his books in 2013 (fair use)

 

 

(16) TOM GAULD (2001 – PRESENT)

 

And now we move to my wild-tier, essentially those I know as webcomic strips – although with respect to Tom Gauld I refer loosely to webcomics as seeing his cartoons through social media, as he is a published cartoonist.

Indeed, he’s a prolific published cartoonist, with his work regularly published in The Guardian, The New Yorker, and New Scientist (as per the brief bio or “about” section on his website) – not to mention books or collections close to every year since 2001.

His style reflects his self-professed fondness of “deadpan comedy, flat dialogue, things happening offstage and impressive characters” (as stated in his Wikipedia article, in turn quoting an interview with him in 2012 by Hayley Campbell for the Comics Journal).

The New Yorker is perhaps the archetypal publication for his cartoons, given its history and reputation for erudite cartoons going back at least to James Thurber. I can’t help but feel something of the spirit of James Thurber in the work of Tom Gauld – although whereas Thurber was more slice-of-life situational absurdist comedy, Gauld has more of a literary and scientific referential bent.

 

 

Cover of Hope It All Works Out, a book collection of the comic in 2024 (fair use)

 

 

(17) REZA FARAMUND –

POORLY DRAWN LINES (2008 – PRESENT)

 

An episodic comic strip, with each episode a self-contained gag, although with recurring animal characters (particularly Ernesto the bear) – typically absurdist or satirical in tone and usually snarky.

“The comic features a large and diverse cast of humans and animals who freely interact with each other. Much of the humor is nonsensical and surreal, often featuring the characters making an unexpectedly big deal out of minor inconveniences and reacting normally to ridiculous threats.”

Ernesto and the comic are pretty much summed up by my favorite strip about having a polite discussion that I used for my feature image – which also encapsulates many interactions on social media.

It’s developed into a franchise, with the publication of compilations or other related books, as well as an animated series.

 

 

 

Cover of the first volume of the collected Sarah’s Scribbles, featuring the protagonist and a title that encapsulates the comic

 

 

 

(18) SARAH ANDERSEN –

SARAH’S SCRIBBLES (2011 – present)

 

A semi-autobiographical webcomic strip by Sarah Andersen, centered around a cartoon version of herself “who feel ill-equipped for adult life”.

Pretty much summed up by her book collection title – Adulthood is a Myth.

 

 

Cover of the Heart & Brain collection, Volume 1, with the iconic cartoon of the titular characters (and best represents them) (fair use)

 

 

 

(19) NICK SELUK (THE AWKWARD YETI) –

HEART & BRAIN (2012 – PRESENT)

 

Go Heart, go!

Heart and Brain is an ongoing webcomic strip published intermittently by Nick Seluck (a.k.a. Lars the Awkward Yeti), with each strip as a self-contained gag.

Heart and Brain originated within (and spun off from) Seluck’s Awkward Yeti strip, which involved a literal blue-furred yeti living an otherwise human life, except of course for his titular social awkwardness. (Although what yeti wouldn’t be living among humans?). In that strip, he would interact with various organs in his own body, except that they would amusingly appear as anthropomorphic beings outside of his body. Not too anthropomorphic of course – they still had their anatomical appearance – but with their own personalities as well as limbs and faces, usually in the form of eyes and mouths. However, this varies – the eyes are just big eyeballs with limbs, while the brain has no mouth or eyes (yet wears glasses and obviously can see as well as read). Their appearance alone is enough to crack me up.

Of course, Heart and Brain are the foremost organs as essentially the driving forces of human personality) – their spinoff strip is not so much them interacting with the Awkward Yeti, but primarily with each other as well as occasionally other organs. Heart is not so much his role as the muscle in the circulatory system – although he is that – but the more metaphorical sense of heart, the emotional (and child-like) personality within us all. And he is adorable – with his fixation on dressing as Batman and his constant butterfly companion, representing (literally in a sense) his flights of fancy. Of course, Brain is Heart’s counterpart as rational adult personality – although not entirely rational, as he is prone to rumination and stress or, dare I say it, overthinking.

Not surprisingly, Nick Seluck has a bachelor’s degree in psychology – with Heart and Brain representing well-known dichotomies such as extroversion and introversion or emotion and logic (or id and ego/superego in Freudian terms):

“The heart follows its feelings and emotions, chasing down butterflies and getting excited about kittens, while the brain is concerned about adult responsibility. While the heart skips to emotional need, the brain brings in reason and logic for why the heart’s action are ill-advised…Heart and Brain as the internal tennis match we often face between our romantic hearts and our realistic brains.”

As stated, Heart and Brain interact primarily with each other (as natural odd couple), but also on occasion with other body parts. Most of these body parts are good-natured, except my personal favorite after Heart – Tongue, who is the comic’s equivalent of an evil supervillain dedicated to sensory taste experience, and who, amusingly enough, does have the facial characteristics of eyes, mouth and tongue. He also gets bonus points for having, aptly enough, a lisp (as well as being rather…spluttery).

 

 

The distncitive Playboy “bunny” logo – one of the most iconic corporate brand logos. created by art director Art Paul for the second issue as an endnote, but adopted as the official logo and appearing ever since. It is one of the most distinctive recurring features of the magazine – a running gag (or puzzle) was that the logo always featured somewhere in the magazine cover art or photograph, usually hidden (fair use)

 

 

 

(20) PLAYBOY

 

You should have seen this one coming, as I like to reserve my final twentieth special mention for the kinky (or kinkier) entry from the subject matter.

It also dovetails nicely with my first special mention for Mad Magazine. As with Mad Magazine, Playboy was hereditary for me – albeit unsurprisingly from my father rather than my mother for Magazine. As with Mad Magazine, I was raised on Playboy – unofficially of course, from covertly raiding my father’s impressively comprehensive Playboy collection. And yes, like Mad Magazine, Playboy was a huge influence on me. If you peel back the layers of my messy psyche, you’ll find Playboy lodged deep throughout it, perhaps even most of it – and definitely most of my id.

But I’ll have you know that, as the trope goes – although usually mocked as a transparent alibi or excuse – I did indeed “read it for the articles”. Now I’m not going to equivocate – obviously as the archetypal (and perpetually) adolescent male, I looked at it for its signature nude photography and models, those proverbial Playboy bunnies, Playmates and centerfolds. But AFTER I did that, I did indeed read it for its articles – and even more so, its comics. And those comics also lodged deep in my psyche.

“Playboy founder Hugh Hefner…was a lifelong admirer of comics and went out of his way to not only feature many comics in the pages of Playboy for over 50 years, but he also put his money where his mouth was in his support of comic artists, as the rates he paid were unheard of at the time”. And as noted by Comic Book Resources’ tribute to Hefner after his death, almost assuredly, the reason that Hefner was so into comics was that he, himself, was a comic book artist when he was growing up. While Hefner was in high school, he kept a comic book diary about his life – and it is not too hard to see the origin of Playboy in that. And upon founding Playboy, Hefner was intent on heavily featuring comics within the magazine

Liberally spread through each magazine in its heyday – and liberally paid as well – were cartoons or comics from some of the best and brightest contemporary cartoonists – “hip subversives and sly revolutionaries all, Playboy’s artists have continually proffered a sophisticated brand of humor sorely missing in other men s magazines…offering insightful commentary on topics from the sexual revolution to relationships, money, and politics”.

Perhaps the archetypal subject for Playboy cartoons (or at least that subject I remember more than any other) was the recurring image of the husband walking in on the adulterous wife (and vice versa although less so) in flagrante delicto – with the punchline as the implausible excuse being offered up by the suitor. “Now you grab the choking victim like this…”, in perhaps the most implausible demonstration of the Heimlich Maneuver ever.

And then you have some particular comics within Playboy, such as “Little Annie Fanny”, by none other than Mad Magazine’s Harvey Kurtzman – a satire of sexual mores in contemporary American society and parody of Little Orphan Annie, if the latter was a buxom blonde who innocently found herself nude in every episode.

A personal favorite and my featured image, the femlin – or female gremlin, a spritely but statuesque female figure clad only in black stockings, long gloves and heels which would cavort through Playboy’s Party Jokes (within the centerfold). Created by artist Leroy Neiman and depicted essentially as black and white line drawings in mischievous poses, with perhaps the archetypal pose curled up provocatively inside a wine glass (replicated or replicating real-life cover models)

And arguably also Playboy’s most iconic image that I’ve used as my feature image, its jauntily stylized silhouetted bow-tied rabbit logo – with a running joke of featuring it on every cover, generally hiding it somewhere.

Playboy is also representative of er0tic comics in general – a surprisingly prolific subject which could well be the subject of its own top ten. However, I have to at least mention Playboy’s rival magazine Penthouse and its comic strips here – particularly “O Wicked Wanda!” about the titular globe-trotting (and ultimately time-travelling) dominatrix heroine. My preference however was its successor “Sweet Chastity” – essentially a retold Frankenstein, if Frankenstein’s monster was a buxom pink-haired beauty.

Top Tens – Comics: Top 10 Comics (Special Mention) (20) Playboy

The distncitive Playboy “bunny” logo – one of the most iconic corporate brand logos. created by art director Art Paul for the second issue as an endnote, but adopted as the official logo and appearing ever since. It is one of the most distinctive recurring features of the magazine – a running gag (or puzzle) was that the logo always featured somewhere in the magazine cover art or photograph, usually hidden (fair use)

 

 

 

(20) PLAYBOY

 

You should have seen this one coming, as I like to reserve my final twentieth special mention for the kinky (or kinkier) entry from the subject matter.

It also dovetails nicely with my first special mention for Mad Magazine. As with Mad Magazine, Playboy was hereditary for me – albeit unsurprisingly from my father rather than my mother for Magazine. As with Mad Magazine, I was raised on Playboy – unofficially of course, from covertly raiding my father’s impressively comprehensive Playboy collection. And yes, like Mad Magazine, Playboy was a huge influence on me. If you peel back the layers of my messy psyche, you’ll find Playboy lodged deep throughout it, perhaps even most of it – and definitely most of my id.

But I’ll have you know that, as the trope goes – although usually mocked as a transparent alibi or excuse – I did indeed “read it for the articles”. Now I’m not going to equivocate – obviously as the archetypal (and perpetually) adolescent male, I looked at it for its signature nude photography and models, those proverbial Playboy bunnies, Playmates and centerfolds. But AFTER I did that, I did indeed read it for its articles – and even more so, its comics. And those comics also lodged deep in my psyche.

“Playboy founder Hugh Hefner…was a lifelong admirer of comics and went out of his way to not only feature many comics in the pages of Playboy for over 50 years, but he also put his money where his mouth was in his support of comic artists, as the rates he paid were unheard of at the time”. And as noted by Comic Book Resources’ tribute to Hefner after his death, almost assuredly, the reason that Hefner was so into comics was that he, himself, was a comic book artist when he was growing up. While Hefner was in high school, he kept a comic book diary about his life – and it is not too hard to see the origin of Playboy in that. And upon founding Playboy, Hefner was intent on heavily featuring comics within the magazine

Liberally spread through each magazine in its heyday – and liberally paid as well – were cartoons or comics from some of the best and brightest contemporary cartoonists – “hip subversives and sly revolutionaries all, Playboy’s artists have continually proffered a sophisticated brand of humor sorely missing in other men s magazines…offering insightful commentary on topics from the sexual revolution to relationships, money, and politics”.

Perhaps the archetypal subject for Playboy cartoons (or at least that subject I remember more than any other) was the recurring image of the husband walking in on the adulterous wife (and vice versa although less so) in flagrante delicto – with the punchline as the implausible excuse being offered up by the suitor. “Now you grab the choking victim like this…”, in perhaps the most implausible demonstration of the Heimlich Maneuver ever.

And then you have some particular comics within Playboy, such as “Little Annie Fanny”, by none other than Mad Magazine’s Harvey Kurtzman – a satire of sexual mores in contemporary American society and parody of Little Orphan Annie, if the latter was a buxom blonde who innocently found herself nude in every episode.

A personal favorite and my featured image, the femlin – or female gremlin, a spritely but statuesque female figure clad only in black stockings, long gloves and heels which would cavort through Playboy’s Party Jokes (within the centerfold). Created by artist Leroy Neiman and depicted essentially as black and white line drawings in mischievous poses, with perhaps the archetypal pose curled up provocatively inside a wine glass (replicated or replicating real-life cover models)

And arguably also Playboy’s most iconic image that I’ve used as my feature image, its jauntily stylized silhouetted bow-tied rabbit logo – with a running joke of featuring it on every cover, generally hiding it somewhere.

Playboy is also representative of er0tic comics in general – a surprisingly prolific subject which could well be the subject of its own top ten. However, I have to at least mention Playboy’s rival magazine Penthouse and its comic strips here – particularly “O Wicked Wanda!” about the titular globe-trotting (and ultimately time-travelling) dominatrix heroine. My preference however was its successor “Sweet Chastity” – essentially a retold Frankenstein, if Frankenstein’s monster was a buxom pink-haired beauty.

Top Tens – History: Top 10 Types of War (Special Mention: Complete)

Mushroom cloud above Nagasaki after atomic bombing on August 9, 1945. Taken from the north west – photograph by Charles Levy, US National Archives and Records Administration, public domain image

 

 

I’ve ranked my Top 10 Wars of history, but it didn’t end there. Nor did it end with my Top 10 Types of War, because there is almost an infinite variety of types by or into which one can classify wars.

Hence these special mentions for types of war, for which there’s certainly enough for my standard twenty special mentions per top ten, including my usual weird and wild special mentions towards the end.

 

S-TIER (GOD TIER)

 

 

Cave painting of a battle between archers, Morella la Vella, Spain – public domain image used in Wikipedia “Prehistoric Warfare”

 

 

(1) PREHISTORIC & PRIMAL WARFARE

 

Hobbes vs Rousseau – the Hobbesian state of nature or “the war of all against all” (bellum omnium contra omnes) as against Rousseau’s more noble savage state of nature.

Sadly this special mention is not for some Great Prehistoric War fought between mammoth cavalry and evil Atlantean overlords in the style of the film 10,000 BC – or a tyrannosaur-riding Neanderthal fighting off everything in the style of the Primal animated TV series, although that series seems closer to Hobbes’ state of nature.

It’s for the sheer timescale of prehistoric war compared to historic war, corresponding to the scale of prehistory in general compared to history – 98% or so of the entire span of humanity on this planet so far, all but the last 5,000 years or so out of 300,000 years. And prehistory only gets longer if you throw in our hominin ancestor species as humanity, which potentially lengthens that span to 3,000,000 years.

There’s also that prehistory didn’t just disappear with the advent of recorded history – or rather didn’t consistently disappear across time and place, instead enduring in places more remote from recorded history until the modern period. And prehistoric war hasn’t even ended now, hence the better description would be primal war – as a type of war, exemplified by ambush and raid, to which humanity regularly returns, atavistically time and time again.

Most fundamentally, there’s Hobbes vs Rousseau – the philosophical significance of prehistoric war in understanding the origins of war itself.

Of course, the origins of war in prehistory is the subject of theory or outright speculation, as by its nature prehistory involves those human societies without recorded history – typically Neolithic or Paleolithic, but potentially also more recent societies without written historical records.

It’s where prehistory meets philosophy, hence the opening dialectic of Hobbes versus Rousseau – the ongoing debate over human nature and violence or war. “The existence — and even the definition — of war in humanity’s hypothetical state of nature has been a controversial topic in the history of ideas”.

Philosopher Thomas Hobbes famously proposed that the original “state of nature” of humanity (or human nature) was inherently violent – the war of all against all in which “the life of man” is “solitary, poor, nasty, brutish and short”. Against that, philosopher Jean-Jacques Rousseau also famously proposed a more idealistic and idyllic state of nature as more free and peaceful – subsequently styled as that of the “noble savage” – made unequal and violent by “civilized” society.

That debate over human nature continues, not least in speculation or theories of prehistoric war, “spanning contemporary anthropology, archaeology, ethnography, history, political science, psychology, primatology, and philosophy in such divergent books as Azar Gat’s War in Human Civilization and Raymond C. Kelly’s Warless Societies and the Origin of War.”

Essentially, it boils down to those who argue for prehistoric war and violence, potentially at even higher rates than those in recorded history, and those who argue for more peaceful prehistory.

To put it that simply, however, removes all context or nuance from a debate that is much more balanced or varied, reflecting a more complex situation – that prehistory was both more violent than asserted by proponents of prehistoric pacifism and also more pacific than asserted by prehistoric warmongers.

Most concede that violence or war in human prehistory was highly variable between different societies at different times in different places or circumstances. Some societies were notoriously warlike, such as the Maori of New Zealand, the Yanomami (dubbed “the Fierce People”) of the Amazon or the inter-tribal warfare in Papua New Guinea.

On the one hand, archaeological studies of human remains from prehistory have suggested a higher rate for violent injury and death substantially above those in recorded history. One interesting feature is that a recurring motive for inter-tribal warfare is raiding for nubile women – as with the Yanomami, suggesting that the legendary motive for the Trojan War may not be so far removed from the historic or prehistoric truth.

On the other hand, depictions of human violence or war is comparatively rare until relatively recently in prehistoric art. Proponents of prehistoric pacificism persuasively suggest that low population density among prehistoric tribal hunter-gatherers – and the potential costly nature of violence between them – both allowed for and pushed towards avoiding conflict, typically by migration.

Another issue is that even if or where Paleolithic societies were violent, the scale of that violence was necessarily limited or disorganized – in the nature of feuds and raids or ambushes and skirmishes. Some argue for what is termed endemic warfare – in which “war is often ritualized with a number of taboos and practices that limit the number of casualties and the duration of the conflict”. Of course, endemic warfare could readily escalate into actual warfare without such limits.

Others have also asserted various historic or prehistoric event horizons that saw the escalation of war. One such is the development of missile weapons such as bows or slings allowing for less risk than melee combat. Another more commonly argued one is the horizon between the Paleolithic and Neolithic – with the increased sedentism from agriculture in the Neolithic seeing a corresponding increase in the intensity of scale in war.

One obvious model for theories of prehistoric war is more recent or contemporary tribal warfare. And one could argue that tribal war remains the predominant model for war in general – that most wars in history are tribal wars at heart.

 

 

Dummy Sherman tank used to deceive the German in WW2, US Army photograph from the Imperial War Museums (public domain image – Wikipedia “Psychological Warfare”)

 

 

(2) PSYCHOLOGICAL WARFARE

 

Psywar, psyops, military information support operations, political warfare, hearts and minds, shock and awe, show of force, propaganda, disinformation

All warfare is psychological warfare.

No, seriously.

Yes, I know the term psychological warfare is usually to connote means of targeting an adversary’s morale or collective psyche – whether of their military, civilian population, or political state (or any part or combination of those) – apart from (or adjacent to) the use of military force.

However, war has always used psychological ‘force’  (and ‘space’ or ‘time’) – such as bluff, deception and intimidation for fear and shock – as much as physical force in combat from its very origin in prehistoric or primal warfare (to the extent we can infer it from observations of more contemporary tribal warfare) or even animal intra-species conflict.

After all, it’s best to reduce your enemy’s fighting power by reducing their cohesion, discipline, morale, resilience or resistance (or alternatively increase your own) – and better yet to avoid as much fighting (or as many casualties) as possible by causing them to break altogether into desertion, flight, retreat, rout or surrender (or alternatively mobilize your own forces against such things). In short, defeating the will of your enemy.

There’s Hannibal or the Mongols using deception or subtertuge to give the impression of forces as present or to inflate the apparent size of their forces. There’s the Mongols – quite the practitioners of psychological warfare – using the carrot of leniency and the stick of annihilation to encourage surrender. There’s the use of sirens on German Stuka aircraft in WW2 for their psychological effect (as well as other uses).

Of course, it’s not always about ‘negative’ impact, reducing or breaking your enemy. It can also be about ‘positive impact’, such as enlisting them to you – although that tends to involve the more usual usage of psychological warfare against their civilian populations or political states apart from or adjacent to the use of military force.

“Psychological warfare involves the planned use of propaganda, fear, and manipulation to influence the emotions, attitudes, and behavior of an opposition group, without relying on physical force. Its primary goal is to break an enemy’s will to fight, undermine morale, and cause confusion.”

Tactics of psychological warfare – particularly in the usual sense of not involving military force – include propaganda, disinformation or deception, demoralization and intimidation.

“The term is used to denote any action which is practiced mainly by psychological methods with the aim of evoking a planned psychological reaction in other people” – “various techniques aimed at influencing a target audience’s value system, belief system, emotions, motives, reasoning, or behavior.”

 

Baldwin of Boulogne entering Edessa in 1098 – painting by Joseph-Nicolas Robert-Fleury, 1840 (public domain image)

 

 

(3) RELIGIOUS WARFARE

 

Holy war, jihad and crusade.

All warfare is religious warfare.

Well, not really, although it is commonly observed that modern ideological warfare is religious warfare by another name. I also see religious warfare as being wider than the term is usually applied – essentially as a subset of the psychological warfare that is ubiquitous throughout warfare. Granted, that subset is more about motivating or mobilizing your own fighting power by increasing cohesion, discipline, morale, resilience or resistance – essentially religion as a force multiplier, although it can extend to eliminating or reducing your enemy’s religion for the same effect in reverse.

As such, it arguably has similar origins in prehistory as psychological warfare in general – perhaps not in wars of religion as we understand them but in beliefs of supernatural assistance or protection in combat.

Religious warfare is usually applied to the sectarian wars fought between or within the world’s largest – and distinctively monotheistic – religions, Christianity and Islam, even if those wars overlap with secular causes.

Note that distinctive monotheism – while religious warfare has been identified or at least argued for other religious traditions, both contemporary and historical, it is commonly seen to have particular force for monotheism, notably in Christianity and Islam but also traced back to the traditions of ancient warfare seen in the Bible.

However, religious warfare is an incredibly complex and contentious subject, worthy of its own top ten (or several) – “The degree to which a war may be considered religious depends on many underlying questions, such as the definition of religion, the definition of ‘war’, and the applicability of religion to war as opposed to other possible factors.”

That extends to that observation I’ve frequently seen that all modern wars are wars of religion – to the extent that they are based on political ideologies that resemble religions – although I think it has an element of truth, particularly when applied to the ideological war of WW2.

The more usual observation by historians or those from similar academic disciplines is that only a small minority of wars are religious wars, although I consider that is viewing religious warfare in a narrower sense than I do as a subset of psychological warfare.

 

La Terroriste, a 1910 poster depicting a female member of the Combat Organization of the Polish Socialist Party throwing a bomb at a Russian official’s car – public domain image provided to Wikimedia Commons by the Polish Central Archives of Historical Records and used in Wikipedia “Terrorism” – that headless body goes a bit hardcore

 

 

(4) TERR0R

 

Psychological and religious warfare lead naturally to terr0r or terr0rism as a type or at least a means of warfare.

Terr0r or terr0rism is obviously a subset of psychological warfare as a means of targeting an adversary’s morale or collective psyche, particularly of their civilian population or political state through violence against them or other non-combatants.

And modern terr0rism is most often associated with religious warfare – one religion in particular although more than one religion has resorted to it. In fairness, religious extremism has been identified by at least one source to have overtaken nationalist separatism to “become the main driver of terr0rist attacks around the world”, although that remains the subject of debate.

While modern terr0rism is usually traced to “19th revolutionary politics”, an “ancient lineage” of pre-modern religious terr0rism has been proposed – with three particular examples of religiously motivated groups, the Thugs or Thuggees in India (made famous by the second Indiana Jones film), the Order of Assassins in medieval Islam (who sadly lack the same movie treatment), and the Jewish Sicarii Zealots in Roman Judaea.

Terr0r in its broadest sense has always been one of the means, probably the most straightforward means if you have the stomach for it as most pre-modern societies did, to deploy psychological force in a war against an opponent in the form of intimidation or manipulation by fear and shock – whether combatants or non-combatants (or both). And by always, I mean from the prehistoric origins of war itself, if the evidence of prehistoric brutality is to be believed or the inference from historical or contemporary observations from tribal warfare is correctly inferred.

One of the best examples of the use of terr0r in war is not surprisingly by the Mongols, who routinely threatened besieged cities with annihilation if they resisted rather than surrendered – and acted on those threats.

On the other hand, terr0rism is a narrower form of the more general terr0r deployed against opponents in war from prehistory onwards – usually defined as terr0r through violence against non-combatants or civilians and typically identified as a development of modern history.

Terr0rism is “the use of violence against non-combatants to achieve political or ideological aims…primarily to refer to intentional violence during peacetime or in the context of war against non-combatants”.

However, “there are various definitions of terr0rism, with no universal agreement about it. Different definitions of terr0rism emphasized its randomness, its aim to instill fear, and its broader impact beyond its immediate victims”.

Apparently, the terms “terr0rist” and “terr0rism” originated during the French Revolution – perhaps not surprisingly given the political terr0r or notorious reign of terr0r in that revolution. Indeed, modern terr0rism originated in the political ideologies that arose from and after that Revolution, combined with the weapons produced by industrial technology that lent themselves to the assassinations or attacks that characterized 19th century terr0rism – notably the pistol and dynamite.

However, both the terms of terr0rist and terr0rism as well as archetypal form of modern terr0rism “became widely used internationally and gained worldwide attention” from the 1970s onwards.

“Various organizations and countries have used terr0rism to achieve their objectives. These include left-wing and right-wing political organizations, nationalist groups, religious groups, revolutionaries, and ruling governments”. That last is represented by ” state terr0rism, with its institutionalized instrumentation of terr0r tactics through massacres, genocides, forced disappearances, carpet bombings, and torture” and is “is a deadlier form of terr0rism than non-state terr0rism”.

 

U-2 aerial recomnaissance image of Soviet missile bases under construction in Cuba shown to President Kennedy on 16 October 1962 shortly before the Cuban Missile Crisis – John F. Kennedy Presidential Library and Museum (public domain image)

 

 

(5) ESPIONAGE & INTELLIGENCE

 

Knowledge is power – and war.

Espionage and counterespionage, intelligence and counterintelligence, agents and assets, spies and spycraft, black ops and covert ops, codebreaking and cryptanalysis, deception and disinformation, reconnaissance and surveillance, sabotage and subversion, stealth and subterfuge, honeypot and wetwork.

HUMINT or human intelligence as the thing we usually think about as espionage or intelligence, SIGINT or signals intelligence as the thing that usually is espionage or intelligence, and also all the abbreviated forms of intelligence – COMINT, GEOINT, FININT, IMINT, MASINT, OSINT.

Psychological warfare and terr0r lead naturally to the overlapping subject of espionage and intelligence, in turn incredibly prolific subjects worthy of their own top ten, or indeed several top tens.

Spies have been dubbed the second oldest profession, after pr0stitution as the oldest profession -with considerable overlap between them. Both desciptions as oldest or second oldest professions are more anecdotes than serious analysis, but certainly espionage or spies can be traced back to the Bronze Age ancient history in Egypt and Mesopotamia.

And that’s just because that’s when written records began, as one could almost certainly trace espionage or at least intelligence back to Stone Age prehistory, with the scouting or tracking that can reasonably conjectured to have accompanied prehistoric warfare.

Espionage or spies are mentioned in the two definitive ancient works of Western literature – the Bible and Homer – and very much as a fundamental part of war, as it was in that definitive work of strategy, Sun Tzu’s The Art of War.

In the Bible, the Israelites didn’t just launch into their conquest of Canaan cold. Not surprisingly given the short distance involved between Egypt and Canaan, part of that famous forty years in the wilderness was spent sending spies into Canaan – once again with that overlap with the oldest profession, as two such spies were aided by Rahab, widely read to be a harl0t.

Espionage or spies are also mentioned in the Iliad, not surprisingly given it is Western literature’s most famous siege – and of course the Trojan War was famously won by an act of deception or subterfuge, orchestrated by one of Western literature’s great deceptive characters, Odysseus (who is essentially characterized by deception and subterfuge throughout the Odyssey as well).

The Art of War identified spies as a fundamental part of war or military strategy – “The Art of War identifies five types of spies that are essential for gathering intelligence and achieving victory: local spies (citizen informants within the enemy’s territory), inward spies (recruited double agents within the enemy ranks), converted spies (recruited defectors converted to serve your side), doomed spies (expendable fabricators used to spread disinformation; acts as decoy for counter-intelligence), and surviving spies (spies that provide accurate intelligence after gathering information from the enemy).”

Espionage and intelligence have been and continued to be as fundamental to war as military force, indeed inextricably intertwined with the disposition and use of military force. Deploying force without adequate espionage or intelligence of enemy forces is effectively going in blind, such that going in naked would be preferable and perhaps less tempting fate for ambush or defeat. It would be interesting to identify how many military failures are ultimately intelligence failures – my own belief is that it would be a substantial proportion or part.

Even so, some might argue that espionage and intelligence are not of themselves types of war or substitutes for military force in war. To which I would respond firstly that these are special mentions but secondly and more fundamentally, that espionage and intelligence have assumed a role of such importance in warfare that they can be regarded as a type of warfare – espionage or spy warfare, intelligence warfare, deception warfare and so on.

A large part of the world wars – arguably a predominant part for signals intelligence, codebreaking, and cryptanalysis – could be called intelligence warfare, with the Cold War even more so, as a war in which espionage or intelligence indeed substituted for or pre-empted military force to large extent.

 

 

Map of force movements and major engagements of the Waterloo campaign June 15-18, 1815 – by Ipankonin for Wikipedia “Military Strategy” and licensed for use https://creativecommons.org/licenses/by-sa/3.0/

 

 

(6) STRATEGY & TACTICS

 

In a nutshell, tactics win battles while strategy wins wars.

Yes, that omits the operational level of war which falls between them – “that connects the details of factics with the goals of strategy” – as I prefer the sharper duality of tactics and strategy without the more nebulous operational level between them.

And yes – strategy and tactics are fundamental elements or levels of war, rather than types of war as such, although I’d argue some wars are more strategic in nature while others are more tactical in nature, barely transcending the tactical level, if at all.

Hence, strategy and tactics earn their special mention entry for my types of war – indeed strategy and tactics could well be the subject of top tens lists of their own, or several top ten lists divided between defensive or offensive strategy and tactics. It’s apt that strategy and tactics – essentially out-thinking your enemy – follow after psychological warfare, but some may query they follow after espionage and intelligence, even as fundamental as the latter are for strategy and tactics. However, I’m going to go out on a limb with a hot take here and speculate that stategy and tactics evolved out of espionage and intelligence rather than the other way round. Prior to drilled infantry fighting in formation, my speculation is that prehistoric or the earliest historical warfare was not particularly strategic or tactical (outside of surprise through ambush or raid) but rather a matter of which combatant had the fiercest or strongest warriors – or probably most of all, the most warriors.

Strategy is not so much concerned with individual battles – indeed Sun Tzu famously propounded strategy or the art of war as winning without fighting – but understanding the nature of war, and above all, your purpose in waging it.

“Military tactics encompasses the art of organizing and employing fighting forces on or near the battlefield…the application of four battlefield functions which are closely related – kinetic or firepower, mobility, protection or security, and shock action.”

 

 

Print of painting “Battle of Gettysburg” showing Pickett’s Charge, by Thure de Thulstrup, restored by Adam Cuerden, Library of Congress (public domain image)

 

 

(7) MANEUVER & ATTRITION

 

Maneuver warfare is how we’d like wars to be, attrition warfare is how they are.

I’m joking and serious. Most works of military strategy, certainly that in classic texts such as the Art of War, boil down to aspirations to maneuver warfare, avoiding the pain and above all costs of attrition. The rule of cool in military history is on the side of maneuver, while attrition is distinctly unglamorous.

And yet maneuver warfare is the exception to the rule of attrition warfare. Yes, some military commanders and forces achieve it, but mostly it’s just an aspiration above attrition – an aspiration that is only occasionally or temporarily achieved, albeit more common in pre-modern history in which wars could be won by a key battle or battles.

Many of the circumstances of war or battles constrain the possibility of maneuver for the reality of attrition – terrain or fortification being prime examples, but the primary example is modern industrialization. As H.P. Willmott observed in his history of the Second World War, an industrial opponent is necessarily defeated only by attrition in depth – ironically, as at the same time industrialization provided the means for mechanized warfare as even more capability for maneuver.

Speaking of the Second World War, the world wars demonstrate both maneuver as the rule of cool in military history and attrition as its reality. Often, the demarcation between the two world wars in military history is that the Second World War is seen as the cool war of maneuver, while the First World War is the boring war of attrition. In reality, the Second World War was as much a war of attrition as the First or even more so, only somewhat more mobile (on occasion). For all their initial flashy success through maneuver, the Germans (and Japanese) ultimately (and inevitably) fought and lost by attrition.

It’s only apt that maneuver and attrition follow strategy and tactics, even if warfare is more clearly demarcated as maneuver or attrition warfare than it is for my proposed dichotomy between strategic and tactical warfare

“Maneuver warfare is a military philosophy that prioritizes rapid movement, psychological dislocation, and adaptability over brute force. Rather than systematically destroying every enemy unit, it seeks to exploit systemic weaknesses and shatter an adversary’s cohesion and will to fight.”

Obviously, that’s opposed to attrition warfare – “where traditional attrition warfare aims to physically grind down the enemy through sheer firepower, maneuver warfare aims to bypass strongholds and paralyze the enemy’s command structure.”

In other words – speed, surprise, and shock.

Speed and tempo are the key elements, not just for the mobility of your forces but also to degrade the ability of the opposing commanders or forces to react – “commanders strive to operate inside the enemy’s decision cycle”, aiding the psychological impact of “shock, confusion and panic”.

Focus on vulnerability is another key element – seeking to bypass enemy strength for “critical vulnerabilities such as supply lines, communication hubs, and leadership”.

Surprise and deception are still more key elements – ” using unpredictable movements, feints, and camouflage to keep the enemy disoriented.”

“Military forces typically execute maneuver warfare through five foundational tactical operations” – envelopment, turning movements, infiltration, penetration, and frontal attack while the other operations are executed.

“Historically, maneuver warfare was stressed by small militaries, more cohesive, better trained, or more technologically advanced than attrition warfare counterparts.”

Attrition warfare on the other hand is all about the grind. It’s in the name after all.

“Attrition warfare is a military strategy in which a belligerent attempts to wear down an enemy to the point of collapse through continuous losses in personnel and material. Victory is achieved not through swift, decisive maneuvers or capturing territory, but by out-producing and out-lasting the adversary’s ability to wage war.”

The enemy’s collapse can either be physical (through loss of forces or capacity) or psychological through breakdown of will or morale).

“These wars are defined by state industrial output, the geographical depth to absorb defeats, and the logistical capacity to constantly replace heavy equipment losses over time.”

Ironically, attrition warfare is fought as much or even more by the weak as it is by the strong – “a combatant facing a significant disadvantage may deliberately adopt an attritional approach to offset the enemy’s superior firepower, mobility, or resources.”  Guerilla warfare is the archetype of attritional warfare fought by the weak against the strong.

 

 

U.S. supply convoy in Afghanistan photographed by Spc. Donald J. McMullen (public domain image – Wikipedia “Military Logistics”)

 

 

(8) LOGISTICS & SUPPLY

 

“Amateurs talk tactics, professionals talk logistics”.

A quotation variously attributed to different military commanders, usually WW2 US Army General Omar Bradley although the definitive verifiable record of such a statement was by US Marine Corps General Robert Barrow in 1980. In fairness, the US Marine Corps lives by logistics.

However, the truth of it remains – all wars, except for the most prehistoric warfare, are wars of logistics and supply. And the only reason the most prehistoric warfare is an exception, despite prehistoric warriors needing food and water like everyone else, is that the whole nature of prehistoric warfare is that it did not keep warriors in the field for any appreciable length of time, hence they were essentially self-supplying, carrying or providing for themselves what little they needed for short periods of time.

“An army marches on its stomach”

Logistics and supply are the lifeblood of military forces in the field (or at sea or in the air) – the proverbial stomach on which armies march, including at the literal or most basic level of being fed, or the proverbial tail of “tooth-to-tail ratio” as requirements of supply and support for combat forces. Needless to say, the tail tends to be longer than the tooth, particularly for modern military forces, but vividly represented by the wagon trains that followed after pre-modern armies, often longer than the army itself. Sun Tzu’s The Art of War is arguably most notable for the way it bemoans the running costs of armies.

That is not to say that logistics and supply or supply lines win wars of themselves, but they can certainly lose them – as can counter-logistics to deprive enemy forces of supplies or supply lines, such as the scorched earth strategy famed for that purpose.

“Logistics is an enabler of military operations, not an end in itself. Poor logistics can result in defeat, but even the best logistics cannot guarantee victory. Conversely, the best possible logistics is not always required: fit for purpose can suffice.”

There are three basic means of supply – obtaining supplies in the field, carrying supplies with the army, and shipping supplies from the rear. While the first two are essentially self-supplying to some degree, they still often involved prodigious costs and organization, particularly as only so much of what an army needs can be reliably obtained in the field. The Roman Empire’s most impressive military achievements were perhaps not so much in combat but in its systematic logistics and supply, as represented by its road.

“Obtaining supplies in the field and carrying supplies with the army remained the primary means of supply until the 19th century…Starting with the Industrial Revolution, new technological, technical and administrative advances permitted supplies to be transported at speeds and over distances never before possible. At the same time, increased demands for ammunition, and the heavier weight of shells and bombs made it more difficult for armies to carry their requirements, and they soon became dependent on regular replenishment of ammunition from depots. Mechanisation, with motor vehicles replacing animals, created a demand for fuel and spare parts, neither of which could be obtained locally. This led to a “logistical revolution” which began in the 20th century and drastically improved the capabilities of modern armies while making them highly dependent on this method.”

 

A-TIER (TOP TIER)

 

Union soldiers destroying telegraph poles and railroads in Georgia, 1864 – art by F.O.C. Darley and engraved by Alexander Hay Ritchie, restoration by Adam Cuerden and available from the US Library of Congress’ Prints and Photographs Division (public domain image – Wikipedia “Economic Warfare”)

 

 

(9) ECONOMIC WARFARE

 

“War is a racket.”

Booty, loot, spoils, plunder, pillaging and sacking – not to mention piracy and slavery. And for when you can’t take it with you or just want to weaken your enemy, there’s laying waste, salting the earth or scorched earth, ravaging, razing, and general devastation or destruction. While vandalism has come to mean the latter, its historical origin in the name of the Vandals was more the despoilation of the former.

All warfare is economic warfare.

Well, not quite but close. Warfare consistently has had economic resources or targets as motive or means of waging war, albeit not universally.

That goes all the way back to its origins in prehistoric warfare, where the economic resources as motive for war were as rudimentary as hunting grounds or foraging territory.

From agriculture onwards, the economic motives of war became more concrete and durable for occupation, storage or transit – from grain to gold and everything in between, as well as the land from which economic resources were grown or mined. Humans themselves became economic resources through slavery of captives (although if more contemporary tribal warfare is any guide, prehistoric warfare often involved women as captives).

Logistics and supply lead naturally to the subject of economic warfare, which in pre-modern history was predominantly looting or sacking. Indeed, prior to the rapid growth of productivity in modern history, most windfalls of economic growth in history seem to be from population growth, trade in luxuries – and above all, from military conquest and warfare.

In short, whether war has been a racket, it certainly has been robbery on a grand scale throughout history – or vandalism on an equally grand scale.

Or piracy if you prefer – while pirates are usually seen on the opposing side to states in history, there are states that have effectively been pirates or deployed piracy (or privateers) as a means of war. Perhaps the most famous example of the latter is the piracy of other European states, most notably the English, on Spanish shipping from the Americas – although attacks on shipping, most notably by submarines, has been a feature of modern warfare, albeit to sink rather than sack the ships and their cargoes.

Yes, we tend to think of economic warfare as the modern use of economic means of state power as a substitute for military force – soft power rather than hard power – but economic warfare has been used in tandem with military force to weaken enemy states for thousand years, even by such basic (and classic) means as “ravaging the crops of the enemy”.

However, the same modern developments in trade and industry that have seen wars become comparatively less lucrative as a means for economic motives – as well as more costly – have also lent themselves to greater sophistication and effect for economic policies or warfare separately from military force.

“Policies and measures in economic warfare may include blockade, blacklisting, preclusive purchasing, rewards and the capturing or the control of enemy assets or supply lines. Other policies may include tariff discrimination, sanctions, the suspension of aid, the freezing of capital assets, the prohibition of investment and other capital flows, expropriation, and debasing the target’s currency by counterfeiting”.

 

 

Boeing B-29 Superfortress bombers under construction on an assembly line (public domain image – Wikipedia “Industrial Warfare”)

 

 

(10) INDUSTRIAL WARFARE & TOTAL WAR

 

“Say hello to Ford, and General F…g Motors…You have horses! What were you thinking?”

War in mass – mass conscription, mass mobilization, mass production. Home front and total war.

Economic warfare segues nicely into industrial warfare, the type of warfare that can only be fought by industrialized economies “capable of creating and equipping large armies, navies, and air forces”.

Industrial warfare includes the technology of rapid transport and communication, mechanization and motorization, small arms and machine guns capable of rapid rates of fire, high velocity artillery, mechanized naval warfare, armored warfare, and aerial warfare.

Industrial warfare is virtually synonymous with the concepts of total war and the home front – “where a society’s entire economy, population, and infrastructure are considered part of the war effort…blurring the line between military and civilian”.

Apparently, “the term was coined during World War I by Erich Ludendorff” and it became coupled with “waging warfare with absolute ruthlessness”, including “the reintroduction of civilians and civilian infrastructure as targets in destroying the enemy’s ability to engage in war”. Not coincidentally, it also became coupled with unrestricted warfare – “”unrestricted in terms of the weapons used, the territory or combatants involved, or the objectives pursued, especially one in which the laws of war are disregarded”.

 

 

A pair of AMX-30 main battle tanks and a truck of the French 6th Light Armored Division pause outside Al-Salman during Operation Desert Storm.

 

(11) GROUND WARFARE

 

Yes, all warfare except naval and air warfare is ground or land warfare – and even those two overlap with ground warfare in things such as amphibious or airborne warfare.

This special mention is for ground or land warfare by terrain and weather conditions, which both are, and are not, surprisingly diverse.

Not surprisingly diverse – as observed by John Keegan in an interlude chapter on the limitations of war-making in his history of warfare, war on land tends to have the same default terrain and weather conditions, avoiding difficulties of both.

Surprisingly diverse – because you can’t always pick your battles or where you fight them, such that there are some distinctive or specialized types of warfare within ground of land warfare in general.

Perhaps not quite enough for a top ten of ground warfare, but at least enough for six distinctive types of warfare (although I think arguments can be made for airborne and amphibious warfare as types of groundwarfare, at least in part, with island warfare within the latter, as well as wet-weather wrfare as its own distinct type of ground warfare):

  • (1) Urban warfare as featured in my top ten entry of siege and urban warfare
  • (2) Desert warfare – which I suspect might be the next most common after siege and urban warfare (at least on a large scale), because of the Middle East (going all the way back to the ancient Near East)
  • (3) Jungle warfare
  • (4) Mountain warfare, often overlapping with…
  • (5) Cold-weather, winter or arctic warfare, including ski warfare.
  • (6) Subterranean warfare – or in other words, my next special mention entry…

 

 

 

Trenches of the 11th Cheshire Regiment at Ovillers-la-Boisselle, on the Somme, July 1916. One sentry keeps watch while the others sleep. Photo by Ernest Brooks (public domain image in Wikipedia “Trench warfare”

 

 

(12) TRENCH & TUNNEL WARFARE

 

I quipped about trench warfare as a subterranean form of land warfare but that’s taking its subterranean elements too far – it is more akin to a form of fortification and the siege warfare from which it originated.

While it has those predecessors in pre-modern warfare, it particularly arose from the firepower in modern warfare, with the increased rate of fire in small arms, firstly breech-loading firearms and secondly machine guns, and the increased power of artillery.

“Trench warfare is a combat strategy where opposing armies fight from fortified, dug-in networks of trenches to seek cover from heavy firepower and artillery. It typically emerges when defensive weaponry—such as machine guns and automated artillery—outpaces mobility, often resulting in a prolonged, grinding stalemate or war of attrition.”

The archetype of trench warfare is of course famously the Western Front in the First World War, although increasing modern firepower saw it occur from the Crimean War and American Civil War onwards.

Ironically, the First World War saw both its famous archetype and its decline.

“The development of armored warfare and combined arms tactics permitted static lines to be bypassed and defeated, leading to the decline of trench warfare after the war. Following World War I, trench warfare became a byword for stalemate, attrition, sieges and futility in conflict.”

However, trench warfare has recurred in subsequent conflicts “where technological parity or drone threats restrict rapid troop movement, as seen in the Russia-Ukraine War”.

Tunnel warfare on the other hand is subterranean warfare, albeit overlapping with the semi-subterranean warfare of trench warfare, and it goes, well, deep into history, back to the Bronze Age “with recorded uses by the Assyrians”.

“Historically, besieging forces employed sappers to dig tunnels beneath a fortress wall, collapsing the tunnel to bring the wall down. Defenders would counter by digging their own tunnels to intercept the invaders in brutal hand-to-hand combat beneath the surface”.

A fascinating example of ancient subterranean or tunnel warfare is in the Roman-Persian Wars, with “well-preserved evidence of mining and counter-mining operations…unearthed at the fortress of Dura-Europos, which fell to the Sassanians in 256/7 AD”. From what I’ve seen or read of it, it looks literally hellish – not only hand-to-hand combat in cramped and suffocating conditions underground, but also at risk of accidental or deliberate collapse as well as burning sulphur and pitch to create poisonous gas.

If anything, it has been more commonly used in modern warfare – “a military strategy involving combat conducted underground, typically utilizing dug networks, natural caves, or existing urban infrastructure”, used to “bypass surface gridlocks, escape aerial bombardment, and neutralize the technological advantages of more powerful armies”. The focus of the latter two involves force protection but it’s also used for infiltration (as at Dura-Europos in the Roman-Persian Wars), logistics hubs, and tactical deflection. Perhaps the most famous use of tunnel warfare in modern warfare was in the Vietnam War.

“It includes the construction of underground facilities in order to attack or defend, and the use of existing natural caves and artificial underground facilities for military purposes. Tunnels can be used to undermine fortifications and slip into enemy territory for a surprise attack, while it can strengthen a defense by creating the possibility of ambush, counterattack and the ability to transfer troops from one portion of the battleground to another unseen and protected. Tunnels can serve as shelter from enemy attack…Tunnels are narrow and restrict fields of fire; thus, troops in a tunnel usually have only a few areas exposed to fire or sight at any one time.”

 

Australian infantry wearing respirators at Ypres in 1917, Australian War Memorial (public domain image)

 

 

(13) CHEMICAL WARFARE

 

“You’re poison running through my veins”

That’s right. Chemical warfare is basically just poison. Well, even more so than the song by Alice Cooper.

Nerve agents, blister agents or vesicants, blood agents or asphyxiants, and choking or pulmonary agents

Yes, chemical warfare uses different types of poison, generally categorized by their effects on the human body, by different means of delivery, but still poison nonetheless.

“Chemical warfare (CW) involves using the toxic properties of chemical substances as weapons”.

It is distinct from radiological warfare or the radioactive effects and fallout of nuclear warfare. While it can include the “use of non-living toxic products produced by living organisms (toxins such as botulinum toxin, ricin, and saxitoxin)”, the “offensive use of living organisms” as weapons is also another type of warfare (in the very next special mention entry).

The use of poisons in warfare or as weapons goes all the way back to ancient history – and indeed prehistory, if the use of poisons by contemporary hunter-gatherer tribes is any guide. (The example that always comes to mind are the poison dart frogs named for their use as a source of poison for darts or arrows by native American tribes in Central and South America).

However, it was modern industrialization that provided the basis in production and delivery for chemical warfare on a substantial rather than sporadic scale – with the use of poison gas in First World War as the archetype and apogee of chemical warfare (unless you count the H0l0caust which remains the deadliest use of poison gas), such that it is only fitting chemical warfare follows after trench and tunnel warfare.

Apogee, that is, because our visceral horror in reaction to chemical warfare is arguably exceeded only by that of the next entry, or the existential horror of nuclear war. Hence, the taboo against it (similar to the taboo against those other two forms of warfare) as well as the prohibition of it by international law, with the former helping to uphold the latter despite intermittent chemical warfare since WW1.

 

 

International biohazard symbol (public domain). I mean, otherwise it would be an image of a bunch of test tubes or something…

 

 

(14) BIOLOGICAL WARFARE

 

War by disease or pestilence. Germ warfare – using biological toxins or infectious agents such as bacteria, viruses, insects, and fungi.

War is so often accompanied by disease or pestilence in its wake that they join each other along with famine and death as the proverbial Four Horsemen of the Apocalypse – proverbial, that is, because the original Biblical Four Horsemen of the Apocalypse were conquest, war, famine, and death (but conquest seemed too much like doubling up with war so pestilence was substituted or proposed for the original image).

Biological warfare takes that to the next level – as war waged by pestilence or disease.

Yes, biological warfare is that “offensive use of living organisms” as weapons that I pre-empted in my previous entry for chemical warfare (and distinguishing chemical warfare’s use of the toxic properties of non-living chemical substances, albeit including those produced by living organisms such as botulinum toxin, risin, and saxitoxin).

Or in other words, disease as a weapon – the use of bacteria (sometimes distinguished as bacteriological warfare), viruses, insects (sometimes distinguished as entomological warfare), and fungi (disappointingly not distinguished as mycowarfare) “with the intent to kill, harm, or incapacitate humans, animals, or plants as an act of war”.

And yes, it evokes our visceral horror in reaction to it arguably exceeding that to chemical warfare – and depending just how pandemic it is, arguably rivalling the existential horror of nuclear war. Hence the taboo against it helping to uphold the prohibition of it by international law – that has seen the modern use of biological warfare to be more hypothetical or rarer than chemical warfare, and even nuclear warfare for deployment and testing.

Of course, it helps for the taboo against and prohibition of it that biological warfare has a similar logic of mutually assured destruction as nuclear war, hence the similar existential horror (and visceral horror more than chemical warfare). However, that might change with genetic engineering, which potentially might allow for more targeted biological warfare.

There is some rudimentary use of biological warfare in history, going all the way back to the Bronze Age – the Hittites driving plague victims into enemy territory, the Assyrians poisoning wells with ergot, the use of excrement or cadavers to cause or spread infection.

Perhaps the most famous historical examples are the Mongols catapulting the bodies of those who died from Black Plague into the Crimean city of Kaffa they were besieging, or the use of blankets to spread smallpox to native Americans – although in both cases, it is debated the extent to which this actually spread the disease as opposed to other vectors.

However, it was only with modern science, not least germ theory, that biological warfare became a matter more of design than chance – while at the same time, our greater visceral and existential horror in reaction to it.

 

 

United States Space Force personnel operating a satellite antenna during an electromagnetic warfare military exercise – photograph by Tech. Sgt. Luke Kitterman in California on 20 September 2022 and released released by the United States Space Force with the ID 220920-X-VE588-1004 (public domain image used in Wikipedia “Electronic Warfare”)

 

 

(15) ELECTRONIC WARFARE & CYBERWARFARE

 

Electronic warfare – evocatively defined as “warfare involving the use of the electromagnetic spectrum” or “directed energy to control the spectrum, attack an enemy, or impede enemy operations”.

In other words – intercepting, jamming or targeting modern communication, radar, “or other military or civilian assets” such as electronic guidance systems for drones, missiles or planes. Or the less destructive way of “sending them back to the Stone Age”.

Interestingly, electronic warfare dates back further than you’d think, albeit still at the dawn of the twentieth century – with Morse code in the Boer War, followed closely by radio interception or jamming elsewhere, including in the Russo-Japanese War. Churchill colorfully called the electronic warfare of WW2 as the “Battle of the Beams”.

Cyberwarfare on the other hand is the use of cyberattacks or the various means of “technological force within computer networks” against an enemy state, “causing comparable harm to traditional warfare” – “espionage, sabotage, propaganda, manipulation, and economic warfare” – or deploying defensive measures against the former.

In other words – essentially war by hacking (and counter-hacking).

 

X-TIER (WILD TIER)

 

 

 

 

(16) SPACE WARFARE

 

Less Star Wars, more Sputnik – that is, space warfare is more about ballistic missiles and satellites, for now at least.

And yes, Star Wars is essentially WW2 dogfights, bomber runs, and naval battles in space, where they wouldn’t work or make no sense as depicted.

But seriously, while we tend to think of space warfare as SF “space opera” battles between spaceships, we’ve been fighting space warfare in various degrees since WW2, just in more mundane forms (to the extent that you count ballistic missiles and satellites as mundane).

While the usual flightpath of German V-2 rockets to their targets in WW2 was not through space, they could on vertical launch traverse the edge of space when that was defined as 100 kilometers – hence the vertical launch of V-2 rocket MW18014 on 20 June 1944 retroactively became the first artificial object to travel into space by that definition.

After that, ballistic missiles have routinely had flight paths which transit the upper atmosphere or space. As such, nuclear warfare is space warfare, at least as represented by ballistic missiles, so not surprisingly defensive measures for nuclear warfare have also been planned to operate in space – most famously the Strategic Defense Initiative or SDI by the US, dubbed Star Wars.

However, ballistic missiles used in combat with conventional warheads have also operated in space, mostly in conflicts in the Middle East, along with the defensive measures against them. “In November 2023, Israel claimed an interception of a Houthi ballistic missile as the the first combat in space”.

It’s in the deployment of (or against) satellites, originating in the Cold War, that space warfare really comes into its own.

“The Cold War prompted the start of the militarization of space. Military satellites have been launched since the later 1950s for communications, navigation, reconnaissance, and munitions guidance. The Gulf War is sometimes called the “first space war” because of the use of these capabilities by the US.”

Intriguingly (to me at least), space warfare is occasionally broken down into components of ground-to-space warfare (such as targeting satellites from Earth), space-to-space warfare (such as satellites targeting other satellites), and space-to-ground warfare (such as satellites attacking targets on Earth).

Even more intriguingly, there is ground-to-space warfare that involves weapons capable of being deployed by a single soldier for satellites or other targets in space – with the amusing acronym of MANPASTA. I’m feeling the urge to take out the International Space Station with one of those babies – it blocks my view of Venus.

There have even been nukes in space, although international treaties prohibit the permanent basing of weapons of mass destruction in space or the military use of celestial bodies – but do not prohibit the military use of orbital space or military space spaces. I suppose there goes my dreams of moon buggy battles (or where opposing forces lob asteroids at each other). However, back to the nukes, “the US and Soviet Union carried out nine nuclear explosions in space from 1958 to 1962, which damaged satellites”.

Even without nuclear weapons in space, the logic of mutually assured destruction in space – as the accumulation or creation of space debris can endanger your own satellites or spacecraft, particularly in the scenario of Kessler Syndrome in which we effectively paint ourselves into a planetary corner with our own space junk. It’s a pity that the term, coined at almost the same time as the first Star Wars film, was not adapted by the latter – it would have put a whole new spin on it as the Kessler Run instead of the Kessel Run.

 

Cover SF Masterworks edition of Barefoot in the Head by Brian Aldiss (fair use)

 

 

(17) PHARMACOLOGICAL WARFARE

 

Sadly not a special mention entry for the psychedelic warfare in Barefoot in the Head, the classic SF novel by Brian Aldiss where a drugged out post-apocalyptic Europe is devastated by the Acid Head Wars, in which hallucinogenic “psycho-chemical” aerosols were the primary weapon.

I suppose that would be a form of ehemical warfare, only a lot more fun.

Instead, this is a special mention entry for my fascination with the interconnection between drugs and war, as also reflected in my corresponding special mention (to my top ten wars) for the Opium Wars. The Opium Wars are the closest thing to a war fought over drugs like the modern stereotype of wars fought for oil – in this case, a war fought over Britain smuggling opium into China. Beyond that, it is fascinating to think how much of European colonialism (and slavery) was born from the plantation production of drugs – tobacco, coffee and tea. Even more so if you count sugar as a drug.

Of course, modern drug smugglers or cartels tend not to have the force of the world’s largest maritime empire behind them, but often play a role in more low-level war or insurgency as in Colombia. And notoriously, drug smuggling – particularly in cocaine and opium – has often laid beneath the surface of larger modern conflicts, particularly for financing them.

There is also the use of drugs in war. I’ve read that narcotics have been as much a part of war as bullets and bombs. While that appears to be an overstatement, historically drug use was often sanctioned and encouraged by militaries including alcohol and tobacco in troop rations. Of course, alcohol is something of a law of diminishing returns – what it adds in ‘Dutch courage’, it can often take away in effectiveness, famously as in the Russo-Japanese War on the Russian side.

Germany was also notorious for drug use in the Second World War, notably for amphetamine use by its armed forces, but also drug use by its leadership. However, stimulants such as cocaine and amphetamine were widely used by belligerents in both World Wars to increase alertness and suppress appetite. Drug use was also notorious in American forces in Vietnam – and has been a feature of other conflicts

And then you have the more trippy use of drugs – the Viking berserkers possibly as a result of agaric “magic” mushrooms, the Assassins named for hashish, even MK-Ultra by the CIA in the Cold War.

 

 

The original culture war, Germany’s Kulturkampf between the Kingdom of Prussia and the Catholic Church (in Germany), depicted here by Otto von Bismarck and Pope Pius IX in a cartoon from the German satirical magazine Kladderadatsch, 1875 (public domain image – Wikipedia “Culture War”)

 

 

(18) CULTURE WAR & MEMETIC WARFARE

 

Metaphorical war essentially along the lines of psychological warfare, but with cultural or social conflict substituted for military conflict – as such, it can be wide-ranging (as in virtually anything can be culture war) as well as the subject of controversy.

Typically, it is portrayed more in terms of civil warfare within nations, although often as occurring in a similar form across nations (such as the West in general), usually by design. Not coincidentally, culture war is often reported as involving or at least alleging disinformation by foreign agents or other nations, consistent with psychological warfare for other conflicts involving those agents or nations.

It has come to particular prominence with the internet, especially with memes – hence my term memetic warfare, in turn often adapted or used in memes, for example online declarations of being veterans of meme war.

However, culture war as a term has a surprisingly long history of usage – surprising to me at least, looking up the use of the term, which apparently dated back to the Kulturkampf or cultural struggle in 1871-1878 between the Prussian state and Catholic Church in Germany. The term has then been adapted from the twentieth century onwards, in the United States and elsewhere.

 

 

 

Petty Officer 2nd Class Blake Soller, a Military Working Dog (MWD) handler petting the head of MWD Rico, at the War Dog Cemetery on Naval Base Guam. The cemetery honors the dogs—mostly Doberman Pinschers—that were killed in service with the USMC during the Second Battle of Guam in 1944. US Navy photo 27 October 2006 by Petty Officer 2nd Class John F. Looney (public domain image – Wikipedia “Military animal”)

 

 

(19) ANIMAL WARFARE

 

All warfare is animal warfare, as humans are animals after all.

But seriously, with animal warfare we come full circle to prehistoric or primal warfare, the origins of war itself. It is commonly argued that human warfare is fundamentally different from other animal intra-species violence. I’m not so sure, as this argument is persuasively challenged by Azar Gat’s War in Human Civilization among others – Edward O Wilson memorably wrote in his book On Human Nature “I suspect that if hamadryas baboons had nuclear weapons, they would destroy the world in a week.”

So, one theme for animal warfare is intra-species violence among animals approximating human warfare, or at least organized, territorial conflicts. As Wilson continued from the above quote – “and alongside ants, which conduct assassinations, skirmishes, and pitched battles as routine business, men are all but tranquilized pacifists.”

One of the most famous examples of animal warfare, perhaps not surprisingly fought by our closest living relatives, was the Gombe Chimpanzee War, in which one band of chimpanzees systematically  targeted the males of another band, wiping out that other band in a period of over four years. This wasn’t an isolated event either – at least one subsequent chimpanzee war has been observed, with the Ngogo Chimpanzee War.

Another theme for animal warfare is the military forces of humanity being humbled by the forces of nature in historical wars, such as weather, which has swept away what have otherwise seemed overwhelming military forces, particularly in war at sea. It also applies to terrain – John Keegan in A History of Warfare noted how terrain (and climate) has been a limiting factor in wars throughout history, such that the majority of battles occur in surprisingly small or narrow territories on a global scale.

Occasionally, those forces of nature have included animals – with two of the most famous occurring in the Second World War, although unfortunately both are somewhat inflated and one almost so apocryphal as to be urban legend. The first involved sharks preying on the sailors from the cruiser Indianapolis when it was sunk by Japanese submarine in July 1945, made famous by iconic narration of it in the film Jaws.

The other involved crocodiles preying on Japanese soldiers trapped in mangroves by the British in the Battle of Ramree Island in Burma from January 1945 to February 1945. At one stage, they were reported to have killed all but twenty of a thousand Japanese soldiers, but sadly for fans of crocodile horror such as myself, this has been discounted to almost the reverse – at most they killed up to twenty soldiers, although they may also have scavenged on the bodies of Japanese soldiers killed by other causes.

Of course, in my special mention for biological warfare, I’ve already featured the true unsung champions of animal destruction of human forces at war – insect vectors and the diseases they carry, which have been as effective hostile weather in wiping out whole armies and even more effective in wiping out whole populations.

You have the theme of humanity’s use of animals in or for war or military operations. Of course, the horse is standout here as featured in my entry for cavalry warfare, but war has seen a whole range of animals used in it – from more commonplace ones such as elephants, camels, donkeys or mules, oxen or cattle, dogs and pigeons, to more exotic animals such as pigs, moose, rats, dolphins, sea lions and others.

And then you get to the truly bizarre, such as entomological warfare or animal-borne bombs – with my personal favorite example of the latter being the American bat bomb project against the Japanese, taking my quip that the Americans fight wars like Batman to a literal extreme

To that you can add wars named for animals, of which there are a surprising number, albeit including non-military conflicts such as the Cod Wars over fishing between the United Kingdom and Iceland, or border conflicts or near-war situations such as the Crab Wars or Pig War – with perhaps the Beaver Wars being the most intense actual wars named for animals.

 

Female (Venus) symbol and Male (Mars) symbol (public domain)

 

 

(20) S€XUAL WARFARE

 

I like to reserve my final or twentieth special mention for a light-hearted kinky entry, but sadly despite the name of this entry there’s nothing light-hearted or kinky about its primary connotation.

That connotation, including slavery or trafficking, has a history or indeed prehistory as long as warfare itself, despite being the aspect of war we find most viscerally disturbing in the modern period and have hence defined as a war crime.

Outside that connotation, it is perhaps not surprising that two professions proverbially described as the oldest, pr0stitute and soldier, should go hand in hand – often literally. The proverbial oldest profession has often been foremost among the “camp followers” of armed forces, putting another metaphorical tail in tooth to tail ratio. Of course, when military forces seek to enforce that camp following, then it takes us right back to that connotation defined as war crime.

Beyond that, there are the liaisons between civilian populations and military forces throughout history, perhaps best encapsulated by British description for American servicemen in their country during WW2 – “overpaid, overs€xed, and over here”. Australians expressed similar sentiments. The Japanese played upon something similar for propaganda pamphlets it spread to Americans in the Pacific War – what the wives of American servicemen were getting up to with civilian males back home. Amusingly, American servicemen collected these pamphlets with enthusiasm.

Finally, the term might be used for the metaphorical Battle of the S€xes – the cultural and social conflict between men and women throughout history, but particularly in the modern period that gave us the phrase.

Top Tens – History: Top 10 Types of War

Second Floor, Northwest Gallery. Mural of War by Gari Melchers. Library of Congress Thomas Jefferson Building, Washington, D.C – photographed by Carol Highsmith (public domain image)

 

 

TOP 10 TYPES OF WAR

 

I always found wars a fascinating subject of history as a hobby of mine, from the comfortable armchair of hindsight and the fortunate perspective of being well removed from any firsthand experience of them.

Hence, I’ve ranked my Top 10 Wars of history, but it doesn’t end there. No, indeed there’s my Top 10 Types of War in history, as the broad types of war arguably outrank individual wars in historical importance – or at least rank as high as a tool for the study of individual wars, albeit many wars fall into or consist of more than one type of war.

Just some notes – there is almost an infinite variety of types by or into which one can classify wars. One could even compile a top ten for types of types of war, classifying types within broader themes – political, strategic, technological, and so on. I have a mix of types from different broad themes, although I tend to focus on types by strategic doctrine or technological nature of weaponry.

This is also one of my more unusual top ten lists where I don’t count down from tenth to first place but instead simply count out in the reverse direction, from first to tenth place. What’s more, I’ve ranked them mostly in chronological order rather than historical importance, although there’s a general overlap between the two, as longer history tends to coincide with their greater impact, albeit not always.

Interestingly, six of my top ten types of war are ancient or even earlier, so much so that they might be regarded as transcending mere types of war to being archetypes of it. On the other hand, four are distinctively modern – and by modern, I mean twentieth century and onwards – but have effectively reshaped war in their own image.

 

 

S-TIER (GOD TIER)

 

 

Awesome artwork “Roicroi, the last tercio” by Augusto Ferrer-Dalmau, portraying infantry of a Spanish tercio at the 1643 Battle of Rocroi, in Wikipedia “Infantry” under license https://creativecommons.org/licenses/by-sa/3.0/deed.en

 

 

(1) INFANTRY WARFARE

 

Warfare in history commenced as infantry warfare, which has endured as the foundation of war and the predominant means of waging it.

That’s not to say that prehistoric war wasn’t also infantry war. In the broadest usage of infantry war as fighting on foot, all prehistoric war was infantry war (except to the extent of anyone ramming canoes or rafts into each other) – but for the most part, prehistoric war lacked the characteristic drill or regimen of infantry war, fighting as warriors rather than soldiers.

And that’s the essential nature of infantry war – fighting on foot and in formation, coordinated with each other rather solo-ing off into single combat, as soldiers with drill and regimen, typically with standardized weapons and equipment.

As such, the origins of infantry war are the origins of war itself in recorded history, since the first ancient empires fought with regular infantry, albeit often as an elite supplemented by conscript masses or militia as irregular infantry – something that has surprisingly endured as a practice since then to the modern period.

The ancient archetype of regular infantry remains the Greek phalanx, and even more so, the Roman legion.

While the archetypal infantry travels on foot – marches, that is, in a style and pace that has remained remarkably consistent throughout history – the defining trait of infantry is that they fight on foot, not necessarily that they get to the fight on foot.

Hence, there has been a variety of infantry distinguished by getting to the fight by other means than marching to it – most notably mechanized infantry or mobile infantry in the modern period but also mounted infantry, naval infantry, airborne infantry, and air assault infantry.

“Before the adoption of the chariot to create the first mobile fighting forces c. 2000 BC, all armies were pure infantry. Even after, with a few exceptions like the Mongol Empire, infantry has been the largest component of most armies in history.”

Infantry also remains the most basic or fundamental unit of war – the proverbial boots on the ground – for achieving strategic objectives, particularly when those objectives are measured in territory.

As such, infantry has not waned in war, albeit it has evolved with technology. Gunpowder saw infantry shift to line infantry tactics, shooting volleys at each other – until modern firepower overwhelmed even that, forcing infantry for its own survival to use “dispersed, maneuver-based, and heavily supported infantry units” as well as combined arms and the paramount importance of cover on the battlefield.

 

 

The 1805 Battle of Trafalgar painted by Louis-Phillipe Crepin (“Le Redoutable a Trafalgar”) in 1806 – public domain image used in Wikipedia “Naval Warfare”

 

 

(2) NAVAL WARFARE

 

War on water!

No – not like when Roman Emperor Caligula literally declared war on the sea (in the form of the god Neptune or Poseidon), but war fought on water, albeit overlapping with war fought on land in amphibious operations and naval landings.

“Naval warfare involves military operations on, under, and over the sea” – “combat in and on the sea, the ocean, or any other battlespace involving a major body of water such as a large lake or wide river”.

As surprisingly capable humans are as swimmers for terrestrial mammals (particularly primates), naval warfare obviously involves the various vessels humans have devised for transport on water. Of course, it doesn’t just involve vessels but vessels of sufficient size, resilience, and above all means for combat with other vessels. Hence naval warfare originated from the Bronze Age onwards, with the first recorded sea battle as the Battle of the Delta between the Egyptians and the Sea Peoples in about 1175 BC, although the very name of the latter suggests some sort of naval warfare before that.

Prehistoric humans probably fought each other from canoes or even rafts but that seems more a form of naval proto-warfare. However, the former persisted in recorded history with the use of war canoes, usually as a form of amphibious warfare – an important subset of naval warfare – although “canoe versus canoe engagements…were also significant”.

Naval warfare rose to a surprising importance and prominence in ancient history that are often overlooked for the more famous warfare on land. That importance seems even more surprising as naval warfare was predominantly fought either by boarding enemy ships or ramming them – methods which seem crude by the standards of modern naval warfare but persisted for a surprisingly long time until (and to some extent even after) the advent of gunpowder allowed for shipborne artillery as the standard means of naval combat.

Homer’s Iliad may have had the siege of Troy as its focus but famously features the so-called Catalogue of Ships, in its second book no less, albeit for the transport of Greek forces to Troy rather than naval combat with Trojan ships.

Thereafter, naval warfare looms large in ancient history – from the Persians and Greeks (particularly the Athenians) through to the Romans, whose Pax Romana was as much a matter of Mare Nostrum as it was of the legions.

Galleys were the primary means of ancient naval warfare and persisted as the dominant vessels for war until the early modern period in that primary arena of naval warfare, the Mediterranean. Galleys were superseded by the vessels of the Age of Sail, which also saw naval warfare expand with maritime transportation from mostly hugging the coasts in seas to the open ocean – although it is striking how often naval battles continued to be fought in coastal waters.

On that point, while we typically think of naval warfare as battles fought on the sea or ocean, there’s also naval warfare fought on lakes and rivers – reflecting that “even in the interior of large landmasses, transportation before the advent of extensive railways was largely dependent on rivers, lakes, canals, and other navigable waterways”. Hence the modern distinction between brown-water navies for riverine or littoral bodies of water and blue-water navies (or green-water navies) for open oceans or seas.

From the Age of Sail to the Age of Steam and Steel – with naval warfare in the latter evolving to steam power for ships and coaling stations for bases or ports. The latter also saw “ironclad” ships – first used in naval combat in the American Civil War – reflecting the improved chemistry and metallurgy which not only provided the means for armor to ships but also the guns and shells “capable of demolishing a wooden ship at a single blow” for which the armor was required.

Interestingly, naval supremacy underlaid modern superpower in a similar manner to the Pax Romana, only more so – with the Pax Britannica of the 19th century (with the Indian Ocean being dubbed a “British lake” in a similar manner to the Mare Nostrum), succeeded by the Pax Americana in the 20th century.

Modern naval warfare has seen a proliferation of forms through technology – notably naval aviation and aircraft carriers or submarine warfare which came to the fore in the Second World War (effectively superseding battleships) but also more recently missiles and aerial or naval drones.

 

 

An air-to-air right side view of an 81st Tactical Fighter Squadron F-4E Phantom II aircraft releasing 18 Mark-82 500-pound bombs over the Bardenas Reales Gunnery Range. (U.S. Air Force photo by Staff Sgt. David Nolan) – public domain image in Wikipedia “Aerial Warfare”

 

 

(3) AERIAL WARFARE

 

War in air!

It’s commonly observed that only 66 years separated the American Wright Brothers’ flights in 1903, recognized to be “the first sustained and controlled heavier than air powered flight”, and the moon landing in 1969.

However, less than a decade separated those flights from the first use of aircraft in war, the Italo-Turkish War in 1911, although their more famous and prolific use was in the First World War, firstly for aerial reconnaissance but then for aerial combat, air support and bombing.

Such was the development of military airpower in only two decades after the First World War that it became of decisive importance in the Second World War, particularly for achieving air superiority or supremacy – arguably to the extent of war-breaking importance, as the critical margin of victory or defeat, but not war-winning of itself.

Military airpower has only increased since then – with jets, missiles, more powerful or precise munitions, electronic or stealth technology, and drones or unmanned aerial vehicles – but the jury is still out whether airpower alone can win wars, at least in the absence of another entry in this top ten. Still, it can come damn close, perhaps even win on occasion by itself or with minimal use of ground forces.

“Aerial warfare includes bombers attacking enemy installations or a concentration of enemy troops or strategic targets; fighter aircraft battling for control of airspace; attack aircraft engaging in close air support against ground targets; naval aviation flying against sea and nearby land targets; gliders, helicopters and other aircraft to carry airborne forces such as paratroopers; aerial refueling tankers to extend operation time or range; and military transport aircraft to move cargo and personnel.”

That is hardly exhaustive of military airpower. Kites and balloons, manned and unmanned, were used in warfare even prior to heavier than air powered flight, primarily for reconnaissance, and continue to have applications since. Lighter-than-air airships have also been used in warfare, with the high point (heh) of their use for bombing cities in the First World War although they had and continue to have more limited applications.

Returning to heavier than air powered aircraft, they have also been used and continued to be used for communications, command and control as well as early warning, surveillance, and intelligence. There’s also the use of aircraft for evacuation and rescue – as well as the medical transport, such as the titular Mobile Army Surgical Hospitals of the TV series with its iconic helicopter ambulance opening scene.

On the other side, “surface forces are likely to respond to enemy air activity with anti-aircraft warfare”.

 

 

A-TIER (TOP TIER)

 

 

Guerrilla warfare during the Peninsular War, by Roque Gameiro, depicting a Portuguese guerrilla ambush against French forces (in the war that gave us the term guerilla) in “Pictures of the History of Portugal”, 2017 (public domain image used in Wikipedia “Guerilla Warfare”)

 

 

(4) GUERILLA WARFARE

 

Although the term originates from the Peninsular War in Spain against Napoleon’s France, guerilla war predates the Peninsular War all the way back to prehistory. Indeed, it was conventional war that was the more recent outlier, originating only in the Bronze Age and recorded history, while guerilla war was the baseline or default setting of war before that – and since, with Sun Tzu’s Art of War essentially a handbook in guerilla war strategy.

Nor was guerilla war strategy isolated to China. The Romans are probably more famous for fighting against guerilla war in revolts against their empire, in the process demonstrating why guerilla war was not so prevalent against ancient states with their resort to removing entire population, but they also famously resorted to guerilla war tactics when they had to against Hannibal in the Second Punic War.

“Guerrilla warfare is a form of unconventional, asymmetrical conflict where small, mobile groups of irregular forces (rebels, partisans) use hit-and-run tactics, sabotage, and ambushes to fight larger, traditional military forces. Originating from the Spanish for “little war,” it focuses on harassment, psychological warfare, and exploiting local knowledge to weaken a superior enemy over time.”

As such, guerilla war often tends to combine more than one type of war – infantry war may predominate in guerilla war, but the mobility of cavalry often leads to guerilla war or at least similar tactics. Arguably, even naval forces have resorted to a style similar to guerilla warfare – most notably for privateers, merchant raiders, or submarine attacks on shipping.

Guerilla war strategy aims to avoid “”direct, conventional battles, focusing instead on reducing enemy morale, seizing supplies, and dragging out conflicts to exhaust the opponent’s political will” – relying heavily on “support from the local population for food, shelter, intelligence, and recruits” or “familiar, difficult terrain like jungles, mountains, or crowded urban areas”.

That literal usage of little war from Spanish has lent itself to one of the most common modern descriptors of guerilla war as “small wars”, although that has often been synonymous with “dirty wars” in description and practice, for all sides of such conflicts.

Guerilla war often seems the most distinctive and prolific type of war in modern warfare, from the Vietnam War onwards – as the destructive power of modern technology seems more favorable to guerilla war, and even more so, modern political ideologies enlisting populations for or against guerillas.

 

 

The siege of Rancagua during the Chilean War of Independence, painting by Pedro Subercaseaux (public domain image used in Wikipedia “Siege”)

 

 

(5) SIEGE & URBAN WARFARE

 

With fortifications – a historical development significant enough for its own interlude in John Keegan’s A History of Warfare – came siege warfare.

Or perhaps more precisely, prehistorical development, given that both cities or at least human settlements of sufficient size and fortifications emerged in the Neolithic and Bronze Age – indeed, one of the key features for archaeology. There may have been prototypes of fortifications or fortified positions using natural features or chokepoints in the Paleolithic, but not the resources for standing or field armies to hold or take them on the same scale.

“Siege warfare is a form of constant, low-intensity conflict focused on capturing a fortified position (castle, city, or fort) by surrounding it to block supplies (investment) and using active assaults to breach defenses. Common methods include starving defenders, utilizing artillery, tunnelling under walls, or scaling them.”

Sun Tzu in The Art of War admonished besieging cities as the “worst policy”, given the cost in time, resources and forces exceeds even that of the usual costly attrition to be avoided for war in general.

However, siege warfare is surprisingly prolific in history, notably in later medieval history where “sieges were more common than pitched battles”. It’s also surprisingly prolific in fictional depictions of war, in part due to the dramatic nature of last stands.

The rosy-fingered dawn of Western literature, Homer’s Iliad, is ultimately about the siege of Troy – which may or may not have some Bronze Age historicity. Similarly, both the literary and cinematic versions of Tolkien’s The Lord of the Rings feature key battles, such as those for Helm’s Deep and Minas Tirith, that are sieges.

Without winning a siege by assault or attrition, that left options of negotiating surrender by diplomacy, “the use of deception or treachery to bypass defenses” or the blunter options that could affect either the besieged or besiegers – “starvation, thirst or disease”.

Siege warfare is usually seen as ending with gunpowder but that’s not strictly or initially the case, as something of an arms race developed between fortifications and artillery in early modern history. It was with the advent of greater firepower from the nineteenth century and particularly of mobile warfare from the twentieth century, that “the significance of classical siege declined” and “a single fortified stronghold is no longer as decisive as it once was”.

Ironically however, while the “classical siege” may have declined from modern firepower and mobile warfare, the same force of industrialization that underlay both led to battles or wars of attrition that resembled sieges. States had the means to maintain and supply forces in the field that could then effectively besiege each other or their defensive positions on an unprecedented scale and span.

The trench warfare on the Western Front of the First World War resembled a form of siege warfare. The Second World War might seem to have displaced that through combined arms and maneuver, but it is striking how many battles of that war were or resembled sieges – Stalingrad and Monte Cassino to name just two of them, apart from the famous siege of Leningrad.

The battles or sieges of the Second World War also demonstrate that while city walls may have stopped being a feature in siege warfare, cities themselves did not – with urban warfare resembling a form of siege warfare, only now of attrition of defensive positions within the city itself. Since the Second World War, urban warfare has also often combined elements of guerilla warfare with siege warfare.

The attritional nature of modern industrial warfare has extended beyond individual battles or even any direct combat to resemble sieges on a grand scale – such as the submarine warfare of the Second World War, with the Germans effectively besieging Britain and the Americans besieging Japan, or for that matter the Cold War in Europe, resembling two armies besieging each other.

 

 

Charge of the French 4th Hussars at the battle of Friedland, 14 June 1807 – painting by Edouard Detaille in 1891 (public domain image)

 

 

(6) CAVALRY WARFARE

 

“Cavalryman, horseman, trooper, cataphract, knight, drabant, hussar, uhlan, mamluk, curaisser, lancer, dragoon, samurai or horse archer”.

Where infantry was the fundamental unit of war in history, cavalry was the fundamental means of mobile war until recently – “providing armies with superior speed, mobility, and shock impact” as well as things for which mobility is used such as “scouting, screening, flanking and pursuing enemies” or “breaking enemy lines”.

Cavalry warfare involved soldiers or warriors fighting mounted on horseback – ranging from ancient horse archers to armored knights and modern light cavalry”. Obviously, the fundamental ingredient for cavalry is the domestication of the horse, or more precisely the domestication of the horse followed by breeding horses of sufficient size for warriors mounted on them.

Prior to being of sufficient size to be used for cavalry proper, the smaller domesticated horses were able to be used to draw chariots as the first mobile forces in about 2000 BC. Chariots played much the same role as cavalry but were obsolescent by cavalry once horses were of sufficient size. Hence the designation of cavalry is not usually given to “any military forces that used other animals or platforms for mounts, such as chariots” – or those occasional other animals used in war, camels or elephants. Interestingly, the last use of chariots was by the Britons at the time of the Roman conquest of Britain.

Also interestingly, that won’t be the last we see of obsolescence when it comes to cavalry war, but from its origin through to the twentieth century, cavalry has tended to eclipse infantry for decisive importance or impact – as the dominant force for winning battles rather than waging wars.

Of course, that is an oversimplification of the strategic balance between infantry and cavalry in war, as it has seesawed between them, complicated by the usual numeric predominance of infantry in armies and the higher cost of cavalry.

Certainly, the dominance of cavalry is reflected in the recurring military proficiency or superiority of the mounted nomadic warriors of the Eurasian steppes – as observed by military historians such as Azar Gat and John Keegan, as well as the colorful phrases of the “steppe effect” by Walter Scheidel and the “Golden Age of the Barbarians” by James C. Scott.

There was also the medieval dominance of cavalry, originating in the late Roman period, where “mounted forces became the dominant, often aristocratic, arm of European armies throughout the age of feudalism”.

“Cavalry had the advantage of improved mobility, and a soldier fighting from horseback also had the advantages of greater height, speed, and inertial mass over an opponent on foot. Another element of horse mounted warfare is the psychological impact a mounted soldier can inflict on an opponent.”

However, it is weird to think of cavalry forces originating without the subsequent aids to riding – spurs, saddles, and above all stirrups, which facilitated heavy cavalry and the use of lances.

One might also add a certain romanticism that has attached to cavalry throughout history, albeit not necessarily as a matter of strategic or tactical advantage.

Sadly for such romanticism, infantry has had the last laugh, as unlike infantry but like chariots, cavalry has become obsolescent from the twentieth century to, well, another entry in this top ten – which has assumed the same role and often even the same title as cavalry with greater mobility and less vulnerability, as have airborne or air assault units such as in the famous fictional depiction of the helicopter air assault 1st Squadron, 9th Cavalry Regiment in Apocalypse Now.

Whereas infantry could evolve, cavalry could not, at least on a large scale – the same deadly firepower of modern history that forced the evolution of infantry was fatal to cavalry.

 

 

A 155 mm artillery shell fired by a United States 11th Marine Regiment M-198 howitzer during training – public domain image in Wikipedia “Artillery”

 

 

(7) ARTILLERY WARFARE

 

“The god of war” according to Stalin – generally providing the majority of the total firepower for modern armies as well as causing the majority of combat deaths in the Napoleonic Wars and world wars.

“Artillery consists of ranged weapons that launch munitions far beyond the range and power of infantry firearms” – “since the introduction of gunpowder and cannon, artillery has largely meant cannon, and in contemporary usage, usually refers to shell-firing guns, howitzers, and mortars…and rocket artillery”.

Hence, artillery is a large part, if not the primary part, of the firepower that transformed infantry warfare and made cavalry warfare obsolete in modern history – although with some caveat that infantry firepower has also been transformed in ways that matches or eclipses historic artillery, such as RPGs or rocket-propelled grenades.

As we have seen, it has also transformed naval warfare, by becoming the predominant means of that warfare as opposed to the boarding or ramming of ships that preceded it – as well as coastal artillery to defend against ships.

And it is only apt that artillery warfare is the next entry after siege and urban warfare – “early artillery development focused on the ability to breach defensive walls and fortifications during siege and led to heavy, fairly immobile siege engines”.

“Although not called by that name, siege engines performing the role recognizable as artillery have been employed in warfare since antiquity. The first known catapult was developed in Syracuse in 399 BC. Until the introduction of  gunpowder into western warfare, artillery was dependent upon mechanical energy, which not only severely limited the kinetic energy of the projectiles, but also required the construction of very large engines to accumulate sufficient energy. A 1st-century BC Roman catapult launching 6.55 kg (14.4 lb) stones achieved a kinetic energy of 16 kilojoules, compared to a mid-19th-century 12-pounder gun, which fired a 4.1 kg (9.0 lb) round, with a kinetic energy of 240 kilojoules, or a 20th-century US battleship that fired a 1,225 kg (2,701 lb) projectile from its main battery with an energy level surpassing 350 megajoules.”

With lighter and more mobile artillery through technological improvement there came feild artillery – usually horse-drawn prior to the steam and internal combustion engines that saw railway guns, the largest artillery ever conceived, and the artillery, both offensive and defensive, of the next two entries.

Such is the modern importance of artillery that it is typically its own arm of service within modern armies – as well as navies and air forces for coastal and anti-aircraft artillery respectively, although organization and practice varies.

Technological improvement of artillery not only involves the delivery systems or “engines” as well the projectiles or munitions fired or launched by them, but also target acquisition and techniques or “fire control”.

 

 

Promotional art for the Armored Warfare video game

 

 

(8) MECHANIZED & ARMORED WAR

 

Where the steam engine transformed naval warfare, the internal combustion engine transformed warfare on land – as well as the balance between land and sea in warfare.

Let me elaborate.

Sure, the steam engine, used for trains and railways, also transformed warfare on land but more in logistics and mobilization than actual combat.

However, to transform combat on land – and replace cavalry for mobile warfare – it took the advent of the internal combustion engine for vehicles used in war from the twentieth century onwards.

What is often overlooked is that the advent of the internal combustion engine in war also reversed the balance between a seaborne invading force and the land-based defending force. Prior to the internal combustion engine, a seaborne force had the advantage of greater mobility and speed bringing troops and supplies to a beachhead over the land-based force defending it. After the internal combustion engine, the land-based force had that advantage.

Mechanized warfare, often interchangeably used with armored warfare given how much both are represented tanks, “is the operational use of armored fighting vehicles—such as tanks, armored personnel carriers, and self-propelled artillery—combined with motorized infantry to achieve rapid movement, high firepower, and protection on the battlefield. It represents a shift from infantry-centric fighting to machine-driven combat, originating in WWI”.

While the tank is definitive of mechanized warfare (and obviously of armored warfare), it is not the war-breaking weapon in isolation as it is often seen to be in popular imagination. Indeed, tanks in isolation without support are dangerously vulnerable to counterattack, particularly with the advent of artillery and infantry anti-tank weaponry in the Second World War. I’ve read that tanks aren’t even the best weapon to use against other tanks.

Instead, tanks are used as part of combined arms strategy or tactics – “much of the application of armoured warfare depends on the use of tanks and related vehicles used by other supporting arms such as infantry fighting vehicles, self-propelled artillery, and other combat vehicles, as well as mounted combat engineers and other support units”.

The use of tanks has been inflated in popular imagination by their identification as the instrument of German blitzkrieg in the Second World War. Setting aside that blitzkrieg itself was a propaganda term applied to traditional German maneuver warfare (Bewegungskrieg), tanks were obviously important but as a component of combined arms – H.P. Willmott argued that the use of radio (to coordinate combined arms) was the more decisive component. Even then, the success of German “blitzkrieg” reflected a brief window where the balance swung in favor of mobile offensive firepower over defence, but the balance swang back towards defensive firepower during the Second World War – hence the strength of German defence in the latter part of the war and the relatively greater force the Allies required to overcome it.

 

 

An MQ-1 Predator, armed with AGM-114 Hellfire missiles, piloted by Lt. Col. Scott Miller on a combat mission over southern Afghanistan. (U.S. Air Force Photo / Lt. Col. Leslie Pratt) – public domain image in Wikipedia “General Atomics MQ-1 Predator”

 

 

(9) DRONE WARFARE

 

Drones, drone strikes and drone swarms.

“Drone warfare is a form of warfare that involves the deployment of military robots and unmanned systems. The unmanned systems may be remoted controlled by a pilot or have varying levels of autonomy during their mission, enhancing offensive and defensive capabilities while reducing the need for personnel.”

‘Nuff said, except that drone warfare is not only emerging as the type of warfare that defines the conflicts of the twenty-first century, but also a game-changing one that increasingly defines their battlespace.

And I say battlespace to invoke the multiple domains of drone warfare – “types of unmanned systems and platforms include unmanned combat aerial vehicles (UCAV) or weaponized commercial unmanned aerial vehicles (UAV), unmanned surface vehicles (USV) or unmanned underwater vehicles (UUV), and unmanned ground vehicles (UGV)”.

“Military applications of drones range from reconnaissance tasks, kamikaze missions, logistical support, bomb disposal, training and medical evacuation to electronic warfare, anti-war, anti-armor, and anti-personnel roles…Drones are primarily utilized to conduct intelligence, surveillance, target acquisition, and reconnaissance (ISTAR) missions, facilitating direct attacks on targets”.

Drone warfare was defined by US drone strikes in the War on Terror but has “evolved and proliferated quickly in the 2010s and 2020s”. Even so, I wouldn’t have ranked it in my top ten before the Russo-Ukrainian War, which saw it rise to game-changing prominence that’s here to stay.

“The Russo-Ukrainian war is widely recognised as the world’s first drone war due to the large scale and high intensity of drone attacks, and the role of this experience in evolving the tactics of modern conventional warfare…The Russo-Ukrainian war demonstrated how drones have disrupted traditional military doctrines in a manner similar to how gunpowder revolutionized warfare, making them a decisive factor in all future conflicts.”

Such is the role of drones in that war that “Ukraine became the first country to create a military branch exclusively dedicated to drone warfare – the Unmanned Systems Forces”, with Russia following suit and I anticipate more to follow beyond that war and its combatants.

 

 

X-TIER (WILD TIER)

 

 

Operation Buster-Jungle Dog in exercise Desert Rock I at the Nevada Test Site, 1 November 1951 – the first US nuclear field exercise conducted on land with troops only 6 miles from the blast, public domain image in Wikipedia “Nuclear Warfare”

 

 

(10) NUCLEAR WARFARE

 

“It’s Defcon One…get me Big Mac, fries to go!”

Few forms of warfare have loomed as large as nuclear warfare but at the same time to have never existed in actual warfare apart from threat or hypothetical prospect with one exception – fortunately, “the first and only use of nuclear weapons in armed conflict was the United States atomic bombings of Hiroshima and Nagasaki”.

While nuclear weapons haven’t been used in warfare apart from that exception, that hasn’t stopped a select few nations with the means to acquire or develop them, primarily the United States and the Soviet Union or Russia, from detonating them “on over 2,000 occasions for various testing purposes” or deploying them on a large scale in readiness for use.

The prospect or threat of nuclear warfare has effectively operated as a limit on other forms of warfare, at least directly between states with nuclear weapons, to avoid escalating to nuclear warfare with each other, given the sheer destructive potential of mutually assured destruction at best and the possibility of human extinction at worst – “nuclear winter, nuclear famine, and societal collapse”, oh my!

And that pretty much sums up nuclear warfare, except for how dangerously close we’ve come to the tripwire for it.

“Countries have increased their readiness to carry out strategic and tactical nuclear attacks in response to intensifying conflicts, including the Korean War, First and Second Taiwan Strait Crises, Cuban Missile Crisis, Vietnam War, Sino-Soviet border conflict, Yom Kippur War, Gulf War, and Russo-Ukrainian War”.

“The 1962 Cuban Missile Crisis, between the nuclear superpowers of the U.S. and Soviet Union, is often considered the closest call with a nuclear exchange” – one of two occasions, along with the Yom Kippur War, that the United States was at Defcon Two, the stage before actual deployment in Defcon One.

The other famous measurement of the risk of nuclear war is the Doomsday Clock.

Throw in the extraordinary extent to which states have planned for “limited” nuclear war or had tactical nuclear weapons deployed for use on the battlefield – missiles, munitions, torpedoes and depth charges on the battlefields – as well as the risk of deployment from accident or false alarms, and one sometimes wonders how we ever made it this far without nuking ourselves.

 

 

 

 

TOP 10 TYPES OF WAR: TIER LIST

 

S-TIER (GOD TIER)

 

(1) INFANTRY WARFARE

(2) NAVAL WARFARE

(3) AERIAL WARFARE

 

A-TIER (TOP TIER)

 

(4) GUERILLA WARFARE

(5) SIEGE & URBAN WARFARE

(6) CAVALRY WARFARE

(7) ARTILLERY WARFARE

(8) MECHANIZED & ARMORED WARFARE

(9) DRONE WARFARE

 

X-TIER (WILD TIER)

 

(10) NUCLEAR WARFARE

 

 

Top Tens – Comics: Top 10 Comics (Special Mention) (19) Reza Farazmand – Poorly Drawn Lines

Cover of Hope It All Works Out, a book collection of the comic in 2024 (fair use)

 

 

(19) REZA FARAMUND –

POORLY DRAWN LINES (2008 – PRESENT)

 

An episodic comic strip, with each episode a self-contained gag, although with recurring animal characters (particularly Ernesto the bear) – typically absurdist or satirical in tone and usually snarky.

“The comic features a large and diverse cast of humans and animals who freely interact with each other. Much of the humor is nonsensical and surreal, often featuring the characters making an unexpectedly big deal out of minor inconveniences and reacting normally to ridiculous threats.”

Ernesto and the comic are pretty much summed up by my favorite strip about having a polite discussion that I used for my feature image – which also encapsulates many interactions on social media.

It’s developed into a franchise, with the publication of compilations or other related books, as well as an animated series.

Top Tens – Comics: Top 10 Comics (Special Mention) (18) Sarah Andersen – Sarah’s Scribbles

Cover of the first volume of the collected Sarah’s Scribbles, featuring the protagonist and a title that encapsulates the comic

 

 

 

(18) SARAH ANDERSEN –

SARAH’S SCRIBBLES (2011 – present)

A semi-autobiographical webcomic strip by Sarah Andersen, centered around a cartoon version of herself “who feel ill-equipped for adult life”.

Pretty much summed up by her book collection title – Adulthood is a Myth.