Top Tens – History: Top 10 Types of War (2) Infantry War

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

 

 

(2) INFANTRY WAR

 

Where prehistoric war goes to the origin of war itself, infantry war goes to the fundamental nature of historic war, enduring as its foundation and the predominant means of waging it. Historic war commenced as infantry war and has largely endured as 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.

 

Top Tens – Fantasy & SF: Top 10 SF Books (Special Mention) (17) Bob Shaw – Who Goes Here?

Cover of the Ace paperback edition I own

 

 

 

(17) BOB SHAW –

WHO GOES HERE? (1977)

Irish SF writer, notably of witty humorous or satirical SF in a similar vein to Douglas Adams or Robert Sheckley – as I noted for Sheckley, one of science fiction’s most unsung qualities is the extent to which it can be a profoundly comic or satirical medium.

And that is so for his 1977 novel which won this special mention, Who Goes Here?

Obviously a play on “who goes there?”, the traditional military sentry challenge (and title for the novella that became The Thing) – the title reflects the memory wipe mechanism to eliminate guilty or traumatic memories which is the prime inducement for enlistees signing up for thirty years in Earth’s Space Legion. As the tagline said, they join the Legion to forget…who goes here.

However, whereas most enlistees only forget particular memories, protagonist Warren Peace has no memory of his former life whatsoever – prompting the admiration and possible fear of his fellow recruits as to how monstrous he must have been.

Worse, the Space Legion itself is nothing but cannon fodder for Earth’s colonialist space wars, usually to force its colonies to keep buying Earth goods. Since each unit is sponsored by a corporation – and Peace’s particular unit is sponsored by a corporation in financial trouble looking to skimp on uniforms, Peace finds himself going into combat in a jockstrap.

Their training was also minimal – literally just firing a laser at a wall until they hit a spot. When queried as to any physical fitness component, their training officer retorts that the recruits just have to shoot their enemy, not wrestle them.

However, their lasers prove less than effective in actual combat, being negated by smoke. When one of the space legionaries asks to the effect that aren’t most battlefields covered in smoke, the reply is only when the enemy uses primitive weapons unlike their own.

Prompted by thoughts that his former life can’t possibly be worse than life in the Legion, Peace embarks on a strange quest to recover his former memories – relentlessly pursued by two of the mysterious golden humanoids known as Oscars, a joking reference to the Academy Award statuette they resemble…

RATING:
A-TIER (TOP TIER)

Top Tens – History: Top 10 Types of War (1) Prehistoric & Primal War

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

 

 

(1) PREHISTORIC & PRIMAL WAR

 

Wait, what? Prehistoric war?! I know my rankings are mostly in chronological order but does that really justify prehistoric or primal war in the top spot rather than, say, special mention?

To which I say yes – and not just as a matter of chronological order. Indeed, I rank prehistoric or primal war in top spot for three reasons apart from chronology, although its precedence in chronology does underlie those reason – hence why prehistoric war or the prehistory of war is the subject of such a substantial part of my favorite history of war, War and Human Civilization by Azar Gat.

The first reason is 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.

The second reason is 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.

Which brings me to the third and deepest reason – the philosophical significance of prehistoric war in understanding the origins of war itself.

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.

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.

Top Tens – Fantasy & SF: Top 10 SF Books (Special Mention) (16) William Gibson – Neuromancer

Editions of Neuromancer have had some awesome cover art but my favorite remains this cover art by Josan Gonzalez for the Brazilian edition – although it was a close call with cover art featuring my girl Molly Millions

 

 

(16) WILLIAM GIBSON –

NEUROMANCER (1984)

“The sky above the port was the color of television, tuned to a dead channel.”

The godfather of cyberpunk – with the archetypal cyberpunk novel Neuromancer in 1984 (part of the Sprawl trilogy)

Neuromancer is where it’s at for cyberpunk, the origin of the genre, “showcasing its characteristic contrast between low-life and high-tech”. Not only can most modern cyberpunk works be largely traced back to it, but also cyberspace or other tropes, as well as much of its language, because everyone started using Gibson’s words for actual things.

It’s even more impressive, as I understand that Gibson neither owned a computer nor had been to Japan when he wrote it, those quintessential elments of cyberpunk.

I also have a crush on Molly Millions, its cyborg razorgirl street samurai.

Oh – and he’s also responsible for steampunk as well as coining raygun gothic.

RATING:
A-TIER (TOP TIER)

Top Tens – History: Top 10 Types of War (Preamble)

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. I haven’t included tier rankings, as I would rank all but the tenth place entry as S-tier or god tier – and tenth place as X-tier or wild tier.

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.

 

Friday Night Funk – Top 10 Music (Mojo & Funk): Special Mention (Funk) (7) Naughty by Nature – O.P.P.

 

 

(7) NAUGHTY BY NATURE –

O.P.P. (1991)

 

“Arm me with harmony”

To quote Wikipedia, “O.P.P. is a song by American rap group Naughty by Nature. It was released in August 1991 as the lead single from their self-titled debut album Naughty by Nature. The song was one of the first rap songs…Its declaration, “Down Wit’ O.P.P” was a popular catchphrase in the United States in the early-1990s. It was a hugely successful single…There was not a bigger, more contagious crossover radio smash in the autumn of 1991 than Naughty by Nature’s O.P.P.”

Not to mention it samples the Jackson Five and it doesn’t get much funkier than that. Of course, those lyrics (and video) are a little naughty by nature. Since then it has ranked in lists for greatest songs or singles of rap or hip hop – and playing on those initials has a special resonance for me. (You down with DPP? It’s an inside joke)

“You down with OPP? Yeah you know me”

 

RATING: 

A-TIER (TOP TIER)

Top Tens – Fantasy & SF: Top 10 SF Books (Special Mention) (15) Dan Simmons – Ilium & Olympos

 

 

(15) DAN SIMMONS –

ILIUM & OLYMPOS (2003-2005)

Where to start with this genre-crossing author, spanning fantasy, horror and SF?

There’s where it all started – with his 1986 World Fantasy Award winning novel The Song of Kali, a psychological horror about a journalist encountering a latter day cult of Kali. Or his other horror themed works – or perhaps his dark fantasy Summer of Night, reminiscent of Stephen King with its group of adolescent boys facing a supernatural terror with a long history behind it, or his take on psychic vampires in Carrion Comfort.

However, it’s his towering SF classics which earn him special mention. The Hyperion Cantos was a close call for this entry with its frame story, modelled on Geoffrey Chaucer’s Canterbury Tales and its diverse group of ‘pilgrims’ to the Time Tombs on the planet Hyperion, sent by the galactic Hegemony and the Church of the Final Atonement to face the terrifying Shrike.

But really, it’s his other towering SF classic in two parts, Ilium and Olympos, that seals the deal here. What can I say – I’m a sucker for the Iliad and the Trojan War. How can I resist an SF duology in which the Trojan War is reenacted by post-humans posing as the Olympian gods on a terraformed Mars around – where else? – Mons Olympus.

*

RATING:
A-TIER (TOP TIER)

Top Tens – Fantasy & SF: Top 10 SF Books (Special Mention) (14) Peter F. Hamilton – Night’s Dawn Trilogy

Cover art of the Night’s Dawn trilogy hardcover edition published by Subterranean Press

 

 

(14) PETER HAMILTON –
NIGHT’S DAWN TRILOGY (1996-1999)

*
I do like my space opera and it doesn’t get more, ah, space operatic than Peter F. Hamilton’s Night’s Dawn trilogy – with all the space opera tropes set to maximum in a zombie apocalypse IN SPACE! Or Evil Dead IN SPACE!

It’s enjoyable just (or perhaps even more) for the world-building (or galaxy-building) of the lush galactic civilization of 27th century humanity linked by faster than light travel. Lush, that is, if you’re rich. Being rich rocks. However, being poor sucks, a recurring characteristic of Peter F. Hamilton’s fiction (arguably art imitating life).

Earth especially sucks (except for its body-hopping secret conspiratorial overlords). And it turns out the afterlife exists (in some sort of weird quantum way), but it also especially sucks. For everyone. Hence the weird quantum zombie apocalypse – mind-possessing, reality-warping super-powered energy zombies

And if you enjoy that, you can replay it in Hamilton’s Commonwealth Saga, with its lush galactic civilization of 24th century humanity (with immortality through rejuvenation and memory storage, alien space elves, and an independent machine civilization), where it still sucks to be poor, and which faces its own apocalypse in the form of alien invasion

*

RATING:
A-TIER (TOP TIER)

Top Tens – Fantasy & SF: Top 10 SF Books (Special Mention) (13) David Brin – “Thor Meets Captain America”

Cover art by Scott Hampton of the sequel graphic novel, The Life Eaters, published in 2003 by Wildstorm (DC) and republished in 2013 by IDW Publishing

 

 

(13) DAVID BRIN –

“THOR MEETS CAPTAIN AMERICA” (1986)

*

No – it’s not a comic or film in the Marvel Cinematic Universe, although the title obviously references the Marvel characters, at least for Captain America.

I fell in love with it when I read it in H!tler Victorious, an anthology of alternate history short stories that obviously involved, well, H!tler being victorious – a German victory in the Second World War. In his author’s note for the story, Brin noted that he was invited by the collator, Gregory Benford, to write a story of German victory in WW2 – but voiced the opinion that he could not conceive of a single event which, if altered, would have let Germany win the war, particularly as they had required a number of lucky breaks to get as far as they did. (An opinion which coincides with my own).

And so Brin abandoned any pretense of historical plausibility for outright fantasy and fell back on what is jokingly known in alternate history circles as ‘alien space bats’ – that is, some fantastic or implausible plot device that provides the difference (or what is known as the point of divergence), although typically not actual alien space bats as such. In this case, Germany essentially won the Second World War because they were able to summon the Norse gods to fight on their side. The fantastic implausibility of the premise is the point. It also gives some actual strategic sense to the H0l0caust, which, in history, was as strategically pointless as it was monstrous – as part of a mass human sacrifice or necromantic ritual intended to bring the Norse gods into being, which it does in 1944, just in time for D-day. Of course, most of this alternate history is told as backstory to the last desperate Allied attempt years later to destroy the new Valhalla – and by Allied, we mean American, with a little help from a renegade Loki, since Europe has long been overwhelmed.

What’s not to love? Alternate history of the Second World War, the Norse gods and comic book superheroes. Actually, the Norse gods in their guise here are distinctly unlovely – just as they needed mass human sacrifice to create them, they also need it to sustain them. God is a hole in the heart of the world and he’s hungry – omnipotent, omniscient, omnivorous. And as for those comic book superheroes – well, that’s also part of the point of the story, as the protagonist dreads what dark and terrible gods the Americans would create with the same necromancy…

Brin subsequently adapted and expanded the story into comic form as “The Life-Eaters”, which added some interesting points but perhaps lacked quite the same concise purity of the original story.

*

RATING:
A-TIER (TOP TIER)

Top Tens – Fantasy & SF: Top 10 SF Books (Special Mention) (12) Patrick Tilley – The Amtrak Wars

 

 

(12) PATRICK TILLEY –

THE AMTRAK WARS (1983-1990)

 

Patrick Tilley was best known for his Amtrak Wars series of (six) books, although both he and the Amtrak Wars are less well known these days – sadly because it’s pure post-apocalyptic pulp fun.

There was just something about the 1970s and 1980s for apocalyptic or post-apocalyptic SF fiction. The Amtrak Wars is the third of my holy trinity of post-apocalyptic SF after Judge Dredd and Mad Max, albeit with nowhere near the same profile of Dredd or Max.

The Amtrak Wars series is closer in premise to Judge Dredd, not least in its setting in the former United States rather than Australia. Ironically, the books were apparently optioned by an Australian production company which might have brought them closer to Mad Max but nothing came of it.

The nature of the apocalypse – a nuclear exchange between the United States and the Soviet Union characteristic of 1970s and 1980s post-apocalyptic fiction – is either now shrouded in myth or is a closely guarded secret of the Amtrak Federation’s ruling elite, the First Family.

Speaking of the Amtrak Federation, they are somewhat like the Justice Department and Judges of Dredd’s Mega-City One, except if transplanted to Texas and the neighboring states as well as far more antagonistic. So, you know, not unlike Texas City as opposed to Mega-City One in Judge Dredd.

The Amtrak Federation originated from the elite who survived the nuclear war in an underground bunker in Texas – although the overwhelming majority of the Federation is not elite but the grunts of a highly militarized, totalitarian police state. The Amtrak Federation adapts its name from the American railway system, except for the subterranean network between its bunker-cities but even more so the heavily armed ‘wagon-trains’ they use to wage war against the other American survivors, the Mutes. So very much like the mutated residents of the Cursed Earth in Judge Dredd.

As their name indicates, the Mutes are the descendants of those who survived the war but    are mostly mutated by radiation, with some exceptional individuals. More interestingly, they have adopted “a warrior ethos and tribal society” ironically like that of the native Americans but with twentieth century urban ghetto patois – not least in their religion, with the matriarchal Great Spirit figure Motown.

Much like the native Americans with the former United States, the Mutes would have no chance against “the Federation’s vastly superior technology and weapons”, except that this time the Mutes have a ghost dance on their side – actual magic as well as the Talisman Prophecy of ultimate victory.

It gets way more complicated and intricate than that, including yet another major faction mysteriously on the Atlantic coast of the former United States. It gets particularly complicated for the protagonist born and raised as a loyal Amtrak Federation citizen who learns that almost everything he (and we as readers) start off knowing is not what it seems. And while the Mutes may have literal magic on their side, the Federation’s First Family plans to at least go out swinging – co-opting not only Mute magic but the Talisman Prophecy itself for their own side.

Apparently more books were planned for the series but never completed. However, the series does come to something of a satisfactory conclusion, albeit open-ended.

 

RATING:

A-TIER (TOP TIER)