Top Tens – History: Top 10 Types of War (Special Mention) (14) Biological Warfare

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.

 

RATING: A-TIER (TOP TIER)

Top Tens – Comics: Top 10 Comics (Special Mention) (5) Bill Willingham – Fables

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

 

 

(5) 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.

 

RATING:

A-TIER (TOP TIER)

Top Tens – Comics: Top 10 Comics (Special Mention) (4) Pat Mills – Requiem Vampire Knight

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”.

 

RATING:

A-TIER (TOP TIER)