Naffata in SAGA and history

While discussions of incendiary devices in pre-modern times usually begin and end with the Byzantines and Greek Fire, the use of fire dates to Biblical times. Bronze age armies of the middle east and eastern Mediterranean figured out how to take the pitch or oil from naturally occurring wells and turn it into a weapon capable of being thrown by hand or hurled by catapult. The Byzantines deserve credit for weaponizing available fuel sources into something more potent. In the mid-eighth century, the eastern Roman Empire looked as if it would soon go the way of the western half. It was beset on its frontiers, from the Arabs to the south and Bulgars to the north. Drawing on ancient Greek records and scientific tradition, Byzantine alchemists developed Greek Fire. Primarily a naval weapon, special fire ships were fitted with tanks of fuel and pumps that could spray Greek Fire at enemy ships. 

By all accounts, it was a fearsome device. Supposedly, it ignited on contact with water and could not be extinguished. In reality, some sort of primer or pilot light ignited the fuel, and it only appeared to ignite on contact with the sea, but it would certainly burn on water making it a devastating naval weapon. It could only be put out by smothering. Byzantine fire crews kept sand and vinegar on hand in case of accidental fire.

Its exact composition was a state secret. The liquid mixture was produced by very few (a single family by one account) and the troops who used it knew nothing of its preparation. A similar level of secrecy also applied to the working of the projection device. An infantry version of the pump/flame thrower device was also used with mixed results. It could be clumsy and slow. Once, the Bulgars managed to capture some of the Greek fire, but were unable to operate the equipment. 

Sometime in the mid-tenth century, the armies of the Caliphate also began using a similar pump/siphon device that was handheld, in the fashion of the Byzantine device. Whether this was a result of reverse engineering of the Byzantine invention or the outright acquisition is not known. Incendiaries were devastatingly effective against Crusader siege engines. Saladin's use of naffata troops is well documented. Saladin sent troops armed with Naphta grenades against houses and civilians during an uprising in Egypt led by African troops. The Christian defenders of Jerusalem noted his use of incendiaries in catapults used to attack the city walls. During the Third Crusade, Swimmers smuggled containers of the fuel into Acre during the Crusader's siege of that city. 

While the Greek Fire of the Byzantines was a closely guarded secrets, Arab alchemists were more ready to commit their recipe to paper. One of Saladin's chroniclers describers the burning substance as a mixture of tar, resin, sulphur, dolphin fat and goat fat.

I suspect, the cost, availability and unreliable nature made widespread usage of naffata troops less than common.

Overall, it is safe to say that outside of the navy, fire troops were not common, and very rare in the kind of fast moving skirmish combat that SAGA depicts. Because of its limited range and unpredictability, it was most often used against soft targets (civilians and civilian structures and in sieges).

Naffata in SAGA

Gripping Beast and Essex (far right) figures 

In SAGA, a unit of four Naffatun troops can be purchased for a single point. Up to two models can then be assigned to a unit of warriors, but not levies or hearthguard. Naffata shoot with a movement activation, similar to javelin throwers but only at short range.  Since their weapons are an area effect attack, they have +2 to hit on attack rolls. They can generate between one and three hit dice each, up to the controlling player. Why not choose all three? That brings us to the Naffata's disadvantages. If a Naffatun rolls a "1" an accident has occurred and a friendly model must be removed from the unit, controlling player's choice. Another disadvantage, a considerable one in my opinion, is that unlike other shooting attacks, a naffata attack puts a fatigue token on its own unit. However, the defending unit takes at least two fatigues if it suffered any casualties.   

I would like to play these in my next match, mostly as a test of their balance in the game. AS SAGA as advanced, some of the new units have moved to the extremes in terms of bonuses and drawbacks. Correctly deploying them is more tricky than the shield wall and charge combat of early SAGA.  I probably will put them into as large a unit as possible, not a 6 person squad shown above, given their propensity for friendly casualties. 

Some readings used to research this post: 

A History of Greek Fire and Gunpowder, by J.R. Partington
Medieval Siege Weapons (2), Byzantium, the Islamic World and India 476-1526 AD by David Nicolle

Book 4, Chapter 19, Section 3 of William of Newburgh's history of English monarchy

The Capture of Jerusalem by Saladin from De Expugantione Terrae Sanctae per Saladinum

Frostgrave Pics and More

This week's painting work was mostly Frostgrave, but a slight conversion bears its posting here. First, two more sprues of Frostgrave plastics painted. These are some really nice plastics, great for hirelings in your RPG game or as "rabble" in your late twelfth/thirteenth century wargame. Of course, some weapons will need to be toned down a bit - that two handed sword is a little over the top.

The Frostgrave soldier's come with loads of extra bits. Work well with Gripping Beast's plastics, especially these Arab figures. If you need an eastern themed Frostgrave army, or just want to spruce up your moors with axes and crossbows, the Frostgrave kit is not a bad place to pull from.

Dark Ages Media Recommendations 

Toil and Trouble 

I am always on the lookout for historical/historical fantasy comics set in the Viking Age, and this is an excellent find. Toil and Trouble retells the MacBeth story with a greater focus on the witches, specifically one of the three here named Smertae. The writer, Mairgrhead Scott, tells a familiar story with some key differences between this and other versions. Instead of observers of fate, the witches are active shepherds of fate, choosing who lives and dies by their power. Book one ends where Shakespeare begins, with the battle against the Viking invaders. The real joy is this book is the art. Kelly and Nichole Matthews handle both expressive faces and epic landscapes with equal skill. Their style is built on clean lines and bright colors, and contains influences of Disney's Sleeping Beauty. Three issues are already out, buy them or wait for the collection.

The Last Kingdom 

After the first two episodes, my tv viewing time became very limited, and this show dropped off my agenda. Thankfully, I was able to binge watch more of the episodes through my cable provider on-demand service. Though I am two shows away from the end,  I am quite impressed. While I still think the producers should have given us an entire episode with Uhtred as a boy before advancing to his early manhood, the rest of the series is very well done, much better than History's The Vikings, which it begs comparison to. 

The Last Kingdom and Sagas of the Northmen

THE LAST KINGDOM

Bernard Cornwell's Saxon series features a Saxon born, Viking raised hero named Uhtred at the time of King Alfred. It has been a great series to read, and one that probably inspired me to collect Viking and Saxon miniatures.

Here's a link: The Last Kingdom

 The first two episodes do have a lot to recommend, primarily the acting. Matthew MacFayden as the main character's father is spot on with the book, as is Ian Hart as Beocca, the kindly priest. The actor playing Uhtred, Alexander Draymon,  is fine for the young version of the character. If he can mature into the steely and brutal character from the novels remains to be seen. And any scene with Rutger Hauer is eminently watchable.



My main critique with the first episode is with some of the pacing and story direction. If this is the first episode of an eight part miniseries, and this miniseries intends to only adapt the first book, The Last Kingdom, then this first episode has churned through quite a bit of the book. The heart of Uhtred's story is his internal conflict between his Saxon heritage and his assimilated Viking identity. A great deal of character development is lost when we advance so quicly from Uhtred's childhood abduction by Ragnar into his late teens. One key childhood event that sets up later conflict is shown, but very little of his embrace of the pagan religion. I understand that devoting two episodes out eight to a child may alienate action-seeking viewers, but I think it is essential for understanding Uhtred's torn loyalties between Saxon and Viking.

On a more positive note, the battle at the end of the first episode showed shieldwall combat as two forces pushing and jabbing at each other. Whereas the History Channel's Vikings, a good show with great characters, shows shieldwall combat as two armies forming into walls, and then running like crazy at each other.

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Here are some remaining Gripping Beast plastic Saxons I painted this week with the Last Kingdom as inspiration. My color choices are a bit brighter than the series - thank you Peter Jackson for turning all medieval themed costuming into blacks, browns and greys.

These are one of the oldest plastic Dark Ages sets available, and I think it shows. While better than the Wargames Factory line, the posing and options are limited, and the definition on the chain mail is muddy, especially on the sides.

Nonetheless, they are great for building up an army in a Hail Caesar type game, but for your elite troops in a skirmish game, one might want something with a little more distinctiveness.

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SAGAS OF THE NORTHMEN 

If you are looking for some more Viking themed media, I highly reccomend a new graphic novel I received recently through a Kickstarter I backed.

Sagas of the Northmen is a 64 pages black and white graphic novel. An anthology format, it contains a number of seperate, unconnected stories by multiple artists and writers. Anthology can be hit mess The writing is consistently good and most of the art is excellent - with a few exceptions,

It is a $6.99 digital download currently, with a print edition promised later.

Sagas of the Northmen at Drive Thru Comics 

MacBeth in film, drama and wargaming

MacBeth has been hovering at the edge of my awareness lately for several reasons.  Perhaps it is the upcoming movie with Fassbender, which seems to be as much influenced by Game of Thrones and TV's Vikings as by William Shakespeare.

MacBeth in History and Shakespeare 

MacBeth as history has taught us, was a Scottish lord, who received a prophecy from three witches that he would one day be King of Scotland. Slowly descending into madness, he murdered his king, and many others, friend and foe alike, at the urging of his power hungry wife. Shortly thereafter, he was killed by the rightful heir and an army of men wearing Dark Age ghillie suits.  

Right?...Not exactly, but it does speak to the power of Shakespeare in particular and literature in general to alter our perceptions of history.  In discussions I have had with Lit teachers, it is fair to say that a number of them take Shakespeare's plays for more or less accurate representations of events. Sure, Julius Caesar was really killed in a theater and not in the Senate, but the deed and perpetrators played out on stage as it did in reality. Similar discrepancies from history can be found in Antony and Cleopatra, the Henry cycle, but to suggest that MacBeth was a good king and hardly the murderous madman the Bard depicts goes against even their broadest interpretation of artistic license. 

MacBeth or Mac Bethad mac Findláich, was born in the early eleventh century. The monarch of Scotland through much of the period was Malcolm II, whose long reign was made possible by the strategic marriages of his several daughters to powerful families in Scotland and the Orkneys.  Some sources place Macbeth as being born from one of these marriages eventually elevating himself to be the lord of Moray. Thus, after Malcolm's death and the succession of his grandson Duncan to the throne, Macbeth found himself as a vassal to his cousin. For reasons not quite clear, Duncan invades Moray and was killed. Either because of his victory or his blood descent from Malcolm, MacBeth was elected High King in 1040. His reign was long and stable, enough that he was able to go on a pilgrimage to Rome in 1050. A few years late he was challenged by Duncan's son Malcolm, and the king met his death in battle in 1054. Malcolm did not become king immediately, for he had to kill MacBeth's stepson Lulach.  After accomplishing this task, Malcolm was installed as King Malcolm III.

Shakespeare's play The Tragedy of Macbeth premiered around 1606, a few years after the coronation of the Scottish King James. Not coincidentally, England's new monarch affected Shakespeare's writing in some very specific ways.  Obviously, the Scottish setting was the most important, so much so that superstitious actors sometimes refer to MacBeth as "The Scottish Play."  Furthermore, one of James' ancestors and MacBeth's victims is flatteringly depicted. 

Double, Double Toil and Trouble

The Witches of MacBeth by RAFM. The CD-base diorama was  mostly sculpted from Miliput and flocked.

The most intriguing influence by King James on Shakespeare's MacBeth is inclusion of the three witches in the first scene. King James was fascinated by the study of witchcraft and he even wrote a text on identifying witches called Daemonologie. Shakespeare was certainly playing to the contemporary interest in witches when he made them a major part of his story. Highly recommended is the 2010 Patrick Stewart adaption of the play which modernizes the setting and show the three witches as hospital nurses. 

Macbeth - beyond Shakespeare

King Hereafter by Dorothy Dunnett - a book I try to re-read every couple of years.  It's massive in scope, and ambitiously proposes that MacBeth and Thorfinn of Orkney were not cousins, nor half-brothers, but the same person. It is not a literary gimmick, and the author genuinely believed it to be true based upon her interpretation of the various sources in her research. Thematically, the novel covers the end of the Viking Age, the decline of paganism and the incorporation of the northern European hinterlands into the realm of Christendom.

Macbeth the King, by Nigel Tranter - A straightforward historical account of Macbeth's rise and fall. Tranter is no great stylist or revisionist, but there is an efficiency in his prose and his prolific output is nothing to sneer at.

Macbeth in SAGA

The official mini for MacBeth is huge (over 32mm), as are most of the SAGA line's hero character. Below, a comparison shot with a Crusader mini (left) and a Reaper Barbarian.  The scale of most of Gripping Beast's Hero characters are more in line with current fantasy ranges. 

As a named hero, MacBeth is fairly typical in abilities, with little chance of game-breaking especially if paired off against another hero. 

Hero of the Viking Age. MacBeth generates three SAGA dice.  This is mandatory if I play a hero character. If I spend a point on a hero, I need the extra dice. I admit that I am not a skilled enough player to make use of special heroes who generate less dice, but have other abilities to compensate.

Norman Exiles. One unit of eight hearthguard can be mounted Norman knights. A number of these served in MacBeth when the Godwin's began to exert more control over the Norman favoring English king Edward. This is perhaps the earliest example of the Scottish-French alliance against their English rivals.

Great Ruler. As long as MacBeth is on the table, you always roll six SAGA dice. A great power, but doesn't it make his three SAGA dice ability irrelevant? Another minor ability in place of Hero would be better.

A six point Scot warband led by MacBeth:

February Painting Update - Finns, Irish and Scots

No historical content this week, but a few pictures of my painting efforts these past couple of weeks.

More Dark Age Finns, this time some Black Tree Design unarmored Bondi:

Also from Black Tree, some skirmishers with Javelin.  I kept them nondescript enough to use anywhere from the Byzantines to Ireland.  

Four Irish mounted fianna from Gripping Beast: 

Finally, mounted Scot warriors from Crusader Miniatures:  

Surprisingly, these were my only disappointment.  Usually, Crusader is my favorite manufacturer, but these were a bit of a let down.  Part of is my fault for mistakenly ordering the wrong pack (I wanted the Thegns with chain mail) but I was also a bit disappointed in the casting quality.  The horses were fine, but the men had excessive flash, and the faces are "muddied." 

Anglo-Saxons

The Gripping Beast plastics are a fantastic product, and I have purchased at least one box of all of their releases.  However, the Saxons were one that never caught on for me.  Originally purchased for some Viking and Saxon matchups inspired by Bernard Cornwell's Uhtred series, I assembled the Saxon Thegns, but never got around to painting them.  Other new shiny things caught my eye and a couple of years passed by.

As a firm believer in delayed gratification, I thought I would attack the Lead and Plastic mountain from the direction of items that had been in it the longest, rather than recent or more desirable projects.  So pulled them out last week and got to work.

After painting up a unit of 10 (SAGA's magic number for Saxons), I based them on 25mm round bases from Proxie Models.  Then I hot glued the figure, and filled the lipped base with some PVA glue:

I then added some bits of rock leftover from a Woodland Scenic kit:

After drying, I add bits of moss (green foam) and grass clumps.  

Now only 30 more to go...

I have no real plans to ever play the Anglo-Saxon board in SAGA nor do I have the time or money to build a Hail Caesar size army so maybe they will end up for sale.  I might interested in seeing what is the going rate for some painted minis on eBay or TMP. 

The Knights of Islamic Spain

Gripping Beast's Plastic Arabs are good for the bulk of your force, whether you are skirmishing or doing mass combat, but you are going to need to supplement them with some heavy infantry.  And for that, metal figures are currently the only option. My first era of interest in wargaming was El Cid Spain and over the years I have picked up a decent variety of ranges from a few companies.

Gripping Beast produces several lines of Arabic or Islamic themed miniatures.  Below are some Andalusian infantry, the Arab or Arab-Spanish warriors of early Medieval Spain, which I painted recently.

The knights of Cordovan Spain were poets as well as warriors. Christian warriors from Europe including the mighty El Cid often took up service among the rival emirates in southern Spain. There, the Christians were exposed to ballads, poems and refined court manners.  After returning to their own lands, the influence of Muslim Spain can be seen in the culture of troubadour songs, chivalry, and courtly love that developed in feudal Europe during the high Middle Ages.

Andalusian warriors were also showy in their dress and armor. The poem below, from eleventh century Spain, makes note of the brilliant styles:

The Two Moorish Knights

Upon two mares both strong and fleet,
White as the cygnet's snowy wing,
Beneath Granada's arching gate
Passed Tarfe and Belchite's King.

Like beauty marks the dames they serve;

Like colors at their spear-heads wave;

While Tarfe kneels at Celia's feet,

The King is Dorelice's slave.

With belts of green and azure blue
The gallant knights are girded fair;
Their cloaks with golden orange glow,
And verdant are the vests they wear.

And gold and silver, side by side,
Are glittering on their garment's hem;
And, mingled with the metals, shine
The lights of many a costly gem.

Artizan Designs also produces a line listed as "Moors," an overly general term, for their offerings include Andalusians, Berbers and Sudanese Africans.

This pack of eight included two poses, one of whom wears chainmail under his robes and the other quilted armor.  I painted these a couple of years ago (or more) but did some retouching, especially on the shields.

Overall, I think the Artizan wins the shoot-out.  The Gripping Beast figures have less distinct facial features and some of the chain mail detailing is a little muddy.  And while the splayed arm pose on the Artizan figure is awkward, it is dynamic on the game table.

Gripping Beast Plastic Arabs and Old Glory Cavalry

This past week I have continued to assemble and paint my Gripping Beast Arabs like a number of SAGA players waiting for the Crescent and the Cross release.  I also picked up a few Old Glory Arab cavalry from a dealer at a show selling them in packs of two (rather than 10).  It was probably less economical but more convenient than buying OG's large packs.

Shown first are some of the plastic spearmen.  Three of the figures below have shield transfers from Little Big Man and it's probably hard not to guess which. While I have no complaints about the transfers, it would cost over half the box price to buy enough transfers for 32 spearmen, so hopefully the hand painted shields do not seem overly wanting next to the transfers.

Below, a very easy conversion of an Arab turbaned head fixed on a GB Dark Age Warrior body. This would be good to mix into Andalusian or steppe armies.

Archers, which are probably my favorite part of the box, and far more adaptable than one would expect.  

Using the veiled head I created a unit of Black Guard, elite troops used by the Almoravids in their push into Spain in the late eleventh century.  In hindsight, I wish I added more variation to their paint scheme such as a lighter colored veil after my son looked at my finished product and said, "Daddy, I like your ninjas!"  Note: the hide shield are not a part of the Arab box set. I made most of them by sculpting a prototype and casting duplicates in Instant Mold.

Here is a four man unit of cavalry by Old Glory.  I like the sculpting, and the horses seem to be an improvement over the last Old Glory figures I purchased. There was a slight mismatch on the fit between horse and rider on a couple of the figures, but it was easily filled with a dab of green stuff.  

The two camels are Old Glory as well. I know from the Studio Tomahawk blog at least one faction will use camels, but these were more of an impulse buy than anything.  Never painted camels before, and it was quite fun.  I'll probably get some Black Tree Design camels next.  

Finally, a couple of command figures.  While not specifically identified, the figure on the left with the smaller horse and long braided hair would probably be a Seljuk and the figure on the right looks more appropriate for the mid to late twelfth century, with his Saladin like figuring.  

Reading Recommendation:

The Crusades Through Arab Eyes by Amin Maalouf.  Maalouf integrates numerous Arab chronicles into an entertaining narrative history explaining the reaction of the Turks and Arabs to the Crusaders. He writes with a slightly affected period voice - such as calling the Crusaders the Franj - as they would have been referred to at the time.  The epilogue is particularly useful for clearing away numerous misconceptions by both the West and Arabs over the causes and lasting effects of the Crusades.

1066 Part 5: Odo of Bayeux

Companion to William the Conqueror, Bishop of Bayeux, Earl of Kent - Odo certainly collected many titles in his sixty-plus years but he his best remembered for the famous Tapestry housed at his bishopric, which he probably commissioned himself.

Odo was born around 1030, several years after his half brother, William. Their mother Herleva was not, as many claimed an believe, the daughter of a common tanner, but definitely not from high nobility.  After a youthful and unconsecrated relationship with Duke Robert I of Normandy resulted in the birth of William c. 1027, Herleva was married off to Herluin, Vicomte of Conteville. She bore him two sons, Odo and Robert, both of whom later played significant roles in the conquest of England. The date of Odo's birth is unknown, but when he was made bishop of Bayeux in 1049, his age was between 14 and 19. Very young to be sure, but not too surprising for one so well connected.

Being a bishop did little to suppress Odo's worldliness and greed, and in fact probably gave license to his corruption.  His wealth did allow him to patronize a variety of artistic and architectural endeavors. In 1066 William entrusted Odo with the task of raising ships and supplies.  He directed troops in the Battle of Hastings, though he probably did not personally engage in melee. After the conquest, Odo was given numerous estates in England and held the title of Earl of Kent.  Afterwards, William spent most of his time in Normandy, leaving Odo as his regent in England.  

On the Bayeux Tapestry, Odo is depicted wielding a club or mace.  Victorian historians attributed this to a supposed ban on religious leaders carrying swords and shedding blood in battle.  While early Medieval church reforms discouraged bishops from engaging in battle, no such proscription on swords exist.  In truth, Odo's club was a symbol of authority not piety.  Undoubtedly, this image and associated stories served as the inspiration for the requirement in Dungeons and Dragons that the Cleric class could only carry blunt weapons - because braining your enemy to death is much more compassionate that stabbing them!

Odo spent his later years out of favor with his brother. This was largely Odo's fault, for he was imprisoned for a variety of corruptions and plots. On William's deathbed, the king ordered the release of all his prisoners with the single exception of Odo. William's advisers, specifically their brother Robert, pressed for Odo's freedom and succeeded.  even attended Wiliiams funeral.  Later, Odo was forced to leave England for plots and remained an advisor to William's son Robert, who inherited Normandy, but not England. He joined his nephew on the First Crusade, but died en route in Italy in 1097.

Modeling and Playing Odo

Like William the Conqueror, the top Dark Age manufacturers Crusader and Gripping Beast sell figures for Odo. Gripping Beast's mounted Odo is very close to the depiction on the Tapestry with its triangular patterned quilted armor.

Below, Odo from the other side, leading a pair of Conquest Games plastic Normans. 

For an Odo on foot, Crusader makes a figure in padded armor.  I used one of Gripping Beast's Angry Monks, with chainmail and a sword, indicating a higher ranked official than just a lowly monk.  

From Crusader Miniature's website, William and Odo

For SAGA, Odo can only lead a Norman warband and may not employ any swords for hire.

Hero of the Viking Age—As a Norman Lord, Odo generates 3 SAGA dice per turn instead of the usual 2 for most Warlords.

Bishop— As a lord bishop, Odo benefit's from the Lord's protection. During melee, Odo can discard Attack Dice in exchange for an equal number of Defense Dice, rather than half as is normal.

Greedy —On the other hand, Odo was quite rapacious, seeking every advantage possible. At the start of each turn, Odo can roll seven SAGA dice instead of six, assuming his warband can generate that many dice. 

Two of his abilities have been used before for other SAGA heroes, and the Bishop ability was created to emphasize Odo's "lead from the rear" approach.  It makes him hard to kill, but less offensive.

click here for PDF download of this card

1066 Part 4: William the Bastard, ahem, the Conqueror

William the Bastard Conqueror

As far as name recognition goes, few historical figures compete with William the Conqueror.  Maybe Alexander the Great, Christopher Columbus surpass him, but in the English speaking world "William the Conqueror" and "1066" are an enduring pair.

Born around 1028 to Duke Robert, second son of Duke Richard II (the Good) of Normandy. Richard's death in 1026 left succession to his eldest son Richard III, who died suspiciously a year later.  Robert's complicity has always been assumed and for that reason and other conflicts with the Church, he was encouraged to take a pilgrimage to Jerusalem in 1034. Knowing that death on such a long journey was highly possible, he named his illegitimate son William as his heir.  He also made his vassals swear an oath of allegiance to the child. After reaching Jerusalem, Robert took ill and died.

Oaths to dead men are hard to enforce, and throughout much of his minority William was frequently the target of powerful Norman lords who wished to control the duchy by controlling him.  Close relatives and advisers died frequently.  

Some solidity to his power was brought by his victory at Val-es-Dunes in 1047, with King Henry of France adding support to William's forces against rebellious Normans.  The relationship between the Norman dukes and French kings was always a contentious one, and in this context, William's desire for the English throne makes sense.  Like all vassals, he wanted a base of power independent of his lord. His claim on the English throne was through his grandfather, Richard II, whose sister was King Edward's mother, Emma. Pro-Norman and Pro-Saxon historians have spent centuries debating Edward's intentions, but he was considered a viable successor by Edward during the period of the exile of the Godwin family.  

Favored or not in 1066, William pursued his claim in a bold crossing of the English channel and met Harold's army on 14 October, 1066.  Victory was not certain, for Norman cavalry had yet to develop into the shock troops that would mark the knights of the later Medieval period.  With the death of Harold later in the day, the English forces collapsed and William pushed on towards London.

Below: In a moment of doubt and confusion at Hastings, William removed his helmet to show his men that he still lived.

Numerous Saxon nobles submitted to William and he was crowned as the King of England on Christmas Day, 1066.  Despite the coronation, resistance to William continued for several years.  His brutal response, particularly the "harrying of the north" laid such waste to the country that even some of his contemporary supporters were disturbed.

While his numerous detractors then and throughout history might disagree, "the Conqueror" is a better epithet than "the Bastard."  Throughout his entire reign, he energetically and enthusiastically expanded his reach.  From Normandy, he made vassals of lords in Brittany and Maine.  Form England, he campaigned against the Welsh and Scots, forcing King Malcolm of Scotland to be his man.

His success against rebellions diminished in his autumn years . His eldest son Robert and brother Odo led one such uprising, even defeating the Conqueror in 1078 at Gerberoi. Supposedly, William was unhorsed and wounded by Robert.

In 1087, a raid by the French on Normandy roused the now obese William to his last campaign. While pillaging the French town of Mantes, his horse reared and William ruptured himself on the pommel of his saddle, and died days later.  One final indignity awaited the King.  As his coffin was being moved, his body tumbled out and the smell from his bloated corpse sickened onlookers.

Modelling and playing William

William is frequently depicted by miniature sculptors and as an in-game character.  Gripping Beast offers two, mounted and unmounted, as does Crusader Miniatures.

Gripping Beast's four pack includes William, his half brother Odo and two support character. William is shown raising his helmet at Hastings.

I am very fond of Black Tree Designs Norman command pack, and it includes a couple of nice miscellaneous figures.

Above, William (center) flanked by a Crusader Miniatures Norman (left) and another BTD Norman (right).  Below, a falconer from the Black Tree Norman command pack.

In rule systems with characters, he is nearly always given top ratings.  Field of Glory rates William as an Inspired Commander. SAGA's depiction is one of the most powerful historical characters.  His abilities include a limited activation of two units per turn, instead of the usual one, and the ability to field non-mounted Hearthguard archers.  

Suggested Reading:

Marc Morris' The Norman Conquest is my preferred history on English politics in the eleventh century and William's invasion of England.  It is clearly written, objective and up to date on recent findings.

For a biography on William, I like David C. Douglas' William the Conqueror.  Published in 1964, a good era for historical writing. It is modern enough to be free from antiquarian language but too early to be afflicted with the social history fads and obsessions of modern scholarship.

I suppose anything can be given a humorous treatment, including the Norman invasion. The Doomsday Book (No Not That One) by Howard of Warwick is set in the days after Hastings, as a small group of men are sent by William to scout the English countryside.  At times, it is laugh-out-loud funny with its characters and Pythonesque wordplay.  Funniest character is easily Le Pedvin, an irritable one eyed Norman whose only response to continual frustration is a desire to kill something.  The Norman with an eye-patch in the photo above is my homage to this character.

Next in my 1066 series is the Conqueror's half brother, Odo, the man perhaps responsible for the tapestry which gives us our most contemporary visual record of the Norman conquest.