Worldbuilding Wednesday 10/21/20: Halloween
xxxxCostumes 2020


french bulldog trump

Many people would agree that it’s been a terrible year. Usually such a year would generate some cleverly epic Halloween costumes, but there’s nowhere to show them off, except virtually. And that’s not a lot of fun.

Still, if you’re up for it, here are some randomly generated ideas.

(And check out costumes for 2018.)


Halloween Costumes for 2020

French Bulldog President Trump

Scooby Gang member Joe Biden

Vampire “Karen”

Day of the Dead Dr. Fauci

Alcoholic Prince Harry and Meghan Markle

Top Gun Pilot Mitch McConnell

Stoner Baby Shark

Ancient Greek Epidemiologist

Doughnut bitten by Ruth Bader Ginsburg

White Supremacist Bigfoot

Republican Executioner

COVID Mask-wearing Werewolf

Hello Kitty Coronavirus

Antifa Zombie

Proud Boy Aerobics Instructor

Ninja Kamala Harris

Unemployed Vampire

Home-Schooled Elvis

Fascist Video Game Streamer

Baby Vladimir Putin

Self-Quarantined Llama

Robot Corgi

Angry Nintendo Switch

Unicorn TERF



Hypnose, by German artist Sascha Schneider (1904)

All Things Charn (Part III)

Previous parts of this essay:

Part I

Part II

Since it’s pretty certain that Charn had biblical origins, can we say the same of Jadis? Is she the same as the infamous Whore of Babylon, or is she something more?

One thing Jadis is not, is European. In her own element she wore no tight bodices, no crinoline skirts. Any depictions like this are just wrong. I picture her chemise as clinging but free-flowing, secured with jeweled girdles and scarves.  Her hair is free-flowing also, secured with some spectacular headpiece. She is both barbarian and temptress, as well as a magic-using Queen whose sorcerous abilities, fierceness, and pride place her far above the common populace.

Bayne’s depiction in The Magician’s Nephew gets it half-right.

In her illustration Jadis wears a “mystical” star pendant and a twisted snake arm bracelet, a staple of Orientalist fashion for women. The long cloak she wears of some filmy material is embroidered with eyes, hinting at the Egyptian symbol for knowledge, and her pose is swaybacked with her abdomen thrust forward like a harlot’s. She’s dangerous and slinky in the way that femme fatales of the 1920s were, with their tubular figures and gowns belted low at the hip. The getup recalls, in fact, the fashion sense of silent film actress Theda Bara, whose depiction of Cleopatra tried for exoticism (Bara designed her own costumes) but stayed within the ethos of its time.

The same sense of Edwardian-era Orientalism can be seen in these fancy dress ball costumes of the late 1800s, so beloved of the English nobility, which strive to look otherworldly but remain stuck in their decade.

I wonder if a figure like this was what Lewis envisioned. She certainly looks elegant and queenly. But at any rate, since he gave only hints of Jadis’s dress and appearance, Baynes didn’t have a lot to base Jadis’s costume on.

Jadis’s persona, that of a powerful witch-queen, harks all the way back to the goddesses Inana and Ishtar. They weren’t actual historical figures, but were leaders in their respective pantheons and were also associated with war. They weren’t human either, but neither is Jadis; she is part giant, of the line of Lilith… another connection to antiquity (and as it turns out, apocrypha.)

Other ancient queens may have also influenced Lewis’s depiction. First, Jezebel.

Jezebel is a much-maligned Queen of the Bible whose name has become synonymous with scandalous, sexually provocative behavior.  I still remember my mother calling a young cat of ours a “Jezebel” the first time she went into heat. However the Bible reserves judgement on Jezebel’s sexual expression, instead damning her for instituting the worship of false gods (Baal and Asherah, deities of her homeland Phoenicia) in the nation of Israel. That’s her first wicked deed. Her second was executing a vintner whose vineyards her husband King Ahab coveted.

After a condemnation uttered by the prophet Elijah, and backed up by Yahweh, things began to go south for the royal family. The King is killed in battle and the son who succeeds him dies also. The commander of the army stages a coup and when he enters the city, Jezebel taunts him from a window wearing cosmetics, a wig, and other finery, an act for which she is branded as a hussy though it’s more likely she was merely keeping up appearances as Queen. Her story ends when she is thrown from a window, trampled by a horse, and eaten by stray dogs.

The picture to the left by a contemporary artist holds true to the hussy archetype by posing her in the same  swaybacked stance Baynes does. Her expression is set in petulant, weary demand. In addition, she’s barefoot and wearing a transparent shift and two sets of cloth and metal girdles, the first under her breasts, the second at her hips … and that snake armlet. It’s a wonderful costume, but too revealing for Jadis, who more than likely safeguarded her sexuality.

In the end pride was the ruin of both women. Jezebel sealed her fate by dressing up and taunting the general, showing herself as having an exaggerated sense of self-worth, as Jadis does when she utters the Deplorable Word.

Zenobia’s Last Look on Palmyra, by Herbert Gustave Schmalz (1888)

Queen Zenobia, who ruled Palmyra, a kingdom of Syria, in the third century AD, may have been another inspiration for Jadis.  Defying the rule of the Roman Empire, she ceded Palmyra from Rome and set herself and her son up as Emperor and Empress. Rome put its boot (sandal, rather) down, and after a mighty battle, she was captured and sent into exile. She weathered the years better regarded than Jezebel. Today she’s considered a national heroine of Syria.

Her costume here is similar to Jezebel’s, but less scanty. She looks determined, saddened, ruthless in this painting. The scenery is very Charnlike with its red sun, high terrace, and city stretching to the horizon. I wonder if the young Lewis saw this painting or its reproduction somewhere and it lodged in his mind (minus Zenobia’s chains of course.)

Yet, I don’t think either of these looks was what Lewis was after.

The third powerful Queen who may have inspired Jadis is Semiramis, who ruled Assyria in the 9th century BCE.  Like Jadis, her name has a snaky, decadent feel, and also  like Jadis, she was both Queen and warrior, and not fully human: she was the daughter of a mortal and a fish-goddess, abandoned by her mother and fed by doves. With such parentage, she was also a sorceress. When her husband King Ninus died, Semiramis disguised herself as her own son and tricked the army into following her directives. She eventually conquered much of Western Asia and built numerous temples, monuments and palaces. As she was heavily mythologized by later scholars, however, it’s hard to separate the facts of her history from the fictions.

Like Jezebel, Semiramis suffered sexual slander after the rise of Christianity. She was said to have had an incestuous relationship with her son and invented both the chastity belt and the means to create male eunuchs, and an Armenian legend has her going to war against a king who refused her advances. The poet  Dante to place her in the second layer of Hell, that of Lust, in his Divine Comedy, because she warred like a man and went after the lovers she wanted, also like a man.

The plot gets thicker. In the mid-19th century Semiramis began to be associated with the Queen of Babylon — yes, that Whore of Babylon — by a Protestant clergyman who wrote an entire tract about it. His reasoning was rife with faulty logic and bad history; the historical Semiramis had little to do with either historical Babylon or the allegorical Babylon of the Biblical Book of Revelations.  But the damage was done to her life and reputation. Unfortunately, some still accept her as the war-mongering, decadent Whore to this day.

Including, I’m sure, Lewis, who may have heard the theories even if he did not totally believe them. She’s a powerful archetype.

There! Circle drawn, from Babel to Babylon to Semiramis and Assyria, and back to Babylon. Assyria was fertile ground for Lewis, as he very likely based Tash on the Assyrian god Nisroch.

It’s hard to find a decent picture of Semiramis (well, there’s the fancy dress photo above, but that’s not really Semiramis) that shows her as the ballbreaker she was. But, I’m going to try.

Semiramis on the battlefield, holding a bow with a bracer on her left forearm, amidst battle machinery and fallen warriors.

Many depictions of Semiramis show her as naked, or nearly naked, from her Babylon association; yet she is still Queenly.

Semiramis, the Queen of Assyria, by Georges Antoine Rochegrosse

The above painting is by French painter Georges Antoine Rochegrosse. who had a special fascination with Semiramis. He was a historical and decorative painter with a sensationalistic flair, halfway between the sensual, opium-scented pre-Raphaelites and the wholesome brushstrokes of Renoir, with a dash of the historicism of Sir Lawrence Alma-Tadema thrown in. Unlike Alma-Tadema though, his subjects aren’t proper Victorian people playing dress-up. They may look like them (the same models, and all that) but they seem more of an ancient time.

Semiramis Queen of Assyria in the Throne Room, by Georges Antoine Rochegrosse

Another by Rochegrosse. Semiramis sits on her throne, while around her a ritual seems to be taking place. I wish he had given this one the detail of the painting above.

The Queen of Assyria, by Georges Antoine Rochegrosse

This staring figure may also Semiramis, though she looks kind of… glazed and disturbed. She’s wearing red so this may be her Whore of Babylon aspect.

Great Semiramis, Queen of Assyria, by Cesare Saccaggi

Semiramis is more decorative here in this depiction by Cesare Saccaggi, who can be thought of as the Italian version of Rochegrosse.  She wears a pleated gown with scanty beadwork over her boobs and huge circular “earmuffs” that are part of her headdress and look a lot like chariot wheels. The snow leopard is snarling but entirely under her control. She’s coy and crafty but not so regal.

Rhona Fleming in The Queen of Babylon (1954)

Redhead Rhonda Fleming as Semiramis from the 1954 movie The Queen of Babylon, which also starred a hunky young Ricardo Montalban. Her crown with its hanging decorations is a good compromise between the Western idea of a crown and the more caplike Assyrian crown for Queens.

Fleming’s (who recently passed) red hair is not no accurate for a Syrian woman, yet it also harks to some fanfic depictions of Jadis as having red hair. It may be the “Evil Redhead” trope, or the red-hair Jadis who appears on the cover of The Magician’s Nephew in this boxed set.

Semiramis also got a turn in the Italian sword-and-sandal epic The Slave Queen of Babylon, also known as I Am Semiramis, in 1963. But the costuming was more in line with 1960s fashion than ancient Assyria, similar to the body-hugging zippered gowns Elizabeth Taylor wore in Cleopatra. In fact, I’m sure it was a total Cleopatra ripoff.

* Smirk *

For my money this is the best depiction of Jadis in Charn that appeared in any of the Narnia books or other media. The style looks similar to this cover so I’m guessing it’s Deborah Maze, the same artist. While not as graceful and whimsical as Barnes, or as skilled as any of the movie concept artists, she paid closer attention to the text and actually did some research. Well, maybe not — Charn’s sky is bluer than blue, when it should be blue-black. But the city, if a mix of architectural styles, looks impressive and exotic, and Jadis looks impressively exotic as well — Egyptian / Superian / Assyrian — and her skin is as pale and white as described in Lewis’s text. Her gown is red, like that of The Whore of Babylon, while also alluding to the war in which she spilled blood like water. She is appropriately crowned and bejeweled for a Queen. It’s a shame this depiction  didn’t get wider attention and languishes on the cover of a truncated, forgotten adaptation.

Well! After all this, I think it’s safe to say a major part of Charn was inspired by the mythologized Babylon, its Whore(s) and Semiramis, both legendary and actual.

Next we’ll look at that war between the sisters.

Worldbuilding Wednesday
10/14/20:The Best of
xxxxTwittersnips (Food and

Yes, there is such a thing as beer for dogs. You can buy it here.

One of my favorite things to randomize is food. Because it itself is so random — most people don’t know exactly what they’re going to eat that day. They grab a hot dog from a cart on the street, have a work meeting at a Starbuck’s, and on getting home, eat some leftovers from the fridge, then get a knackering from some popcorn. The same principle applies to food any characters in a story would eat.

Here are some of my favorite food daily Twitter postings from 2017 – 2019.


Food and drink

Chocolate gingerbread ice cream

Flying Russian cocktail

Pickled lamb kidneys served with fried bulgur

Tangy beans with herring

Chicken liver sausage with apple relish

Fool’s Onion (a pale, sour beer made from wheat mash)

Shullyshin’s Pride beer

Flaxborne Sweet beer

Peach bourbon ice cream

Sweet blackberry cider ice cream

Oxtail flavored with tarragon and capers, roasted with parsnips

Beebury, a strong, zesty wine made from mountain grapes

Grenoble Deep Roast coffee blend

Pendip, an alcoholic beverage made from fermented goat’s milk sweetened with raspberry syrup

Lover’s Pear, a shiny red-orange citrus fruit with bulbous flesh


Untold Horror

I really have to wonder what stories these Japanese illustrations are telling.
First, someone in a caped costume meant to depict a skeletal ape menaces miniature children standing in teacups.

Then, a cyclops lady with a flying, detachable head spews freezing breath
at a stage magician and a teenage boy.

Anyone have a clue?

Worldbuilding Wednesday 10/7/20: Cocktails


Cocktails, or mixed alcoholic drinks, are one of those workhorse culinary items whose exact origin is unknown. Most pinpoint it to the United States in the early 19th century. But it wasn’t until the 20th century until they really took off, especially after WWII when boozing and socializing went hand-in-hand with the middle class suburban set. Home bars and mixology waned in popularity after Woodstock, eclipsed by pot and coke. Cocktails were seen as fusty, old-fashioned, and establishment. If alcohol was served at parties, it was guzzled, not savored.

But mixed drinks made a surprising resurgence post – 9/11, reaching new and baroque heights like the Bloody Mary concoction in the picture, which comes with chicken wings, avocados, and battered shrimp on a stick. In recent years The Sugar Factory chain of restaurants upped the ante with rainbow-hued, highly alcoholic drinks that spumed smoke and dripped with toys and candy. Sadly, the COVID pandemic brought all this to a screeching halt. Can the cocktail survive personal distancing and closed social venues?

In case it does, here’s a list of mixed drinks that might come to be.


Mixed Drinks

Texas Flirt

Psycho Monty

Singapore Shake

Chocolate Dawn


White Jungle

Harvey Gumshoe

Rolling Redhead

Rumpled Bed

Sugarplum Slip

Salty Sniper

Sleepy Hustler

Ruby Shaker


Burning Nun

Brazilian Hipster

Spendy Mistress

Moscow by Moonlight

Hawaiian Uncle

Raspberry Sucker

Whiskey Shooter

Fruit Yeti

Frisco Cola

Acapulco Ice

Sour Cherry Slammer

Ugly Bastard

Red Crawler

Lazy Thunder

Slippery Wolf

Russian Licorice


Timely Swinger

Screwy Sandy

Pink Bliss

Northern Yoga

Cranberry Screamer

Blue Shag Carpet

American Newton

Lazy Bastard


Brooklyn Brown

Jamaican Rosie

Blown Kiss

Miami Red

Lemon Margaret

Jackfruit Tommie


Carnival Style

“Why yes, they’re veneers. I’ve got a good dentist.”
Carnival in Bolivia, with sumptuous masks and costumes.


Farewell to Narnia

Guess I can’t stretch this summer out any further, can I? It’s time to say farewell to Narnia, at least for this year.

I still have some articles to finish and will be doing that.

Tash the Inexorable

Tash is the antithesis of Aslan the lion. In The Last Battle he’s the principal god of Calormen,  a horrid epitome of an ancient Middle Eastern deity who receives sacrificial victims in bizarre and novel ways, like being tied up inside a brass bull which is heated by a wood-burning fire from below. He’s cut from the whole cloth of the Bible as much as Jadis is. Historically, he’s Moloch, Marduk, and Tanis combined… though in truth Lewis must have have been most influenced by Nisroch, an Assyrian deity with an eagle’s head.


Pauline Baynes was the first to illustrate Tash and her vision is the iconic one. Her Tash is skeletal yet ornate, wearing a wide metal collar, earrings, and a headress, with a fancy loincloth covering his privates and a tattered, fluttering cape. He has cat’s paws for feet but his hands are the talons of a predatory bird, and though unwinged he bristles with sharp, curving spines. Though described in the text as vulture-headed, his beak resembles that of an ibis, like the Egyptian god Thoth.

Tash, ink drawing by Pauline Baynes

It’s not a bad depiction of an ersatz-Middle Eastern god. But Baynes’s depiction owes more to Aztec than Assyrian history. Her Tash looks more like an Eagle Warrior, the elite of the Aztec Emperor’s fighting force.

Aztec Eagle Warrior

All those spiny things coming out of Tash’s back are really decorative feathers like those on a Las Vegas showgirl. I guess the part about a bloody human sacrifice on an altar influenced her. And the mass blood sacrifices of the Aztecs certainly were horrifying, though they did not think of them that way.

In any case, Rishda Tarkaan is correct to be out of his mind in fright at seeing a being he had long dismissed as a plebian conceit in the live and actual flesh. Bayne’s drawing is horrific, but it’s humorous too. A dark humor and perhaps the darkest she got in the series.

This version of Tash adheres to Bayne’s in its depiction of the god’s feet, collar, and headdress, but here he seems a more active, wily, and athletic opponent, like a giant crow. Not bad but also not as alien and horrific.

This Tash is more Nisroch than Aztec warrior, even being modeled in stone. It’s creepy to think of a giant stone statue gliding slowly through the forest without means of propulsion. I like it.

A nearly-naked Tash with a vulture’s head as described in Lewis’s text and zombielike, rotting flesh exposing his ribcage.

A humorous but very angry Tash wearing chain mail. Again, he keeps the headress, earrings, and collar.

This takes the prize as the weirdest Tash… a giant skeleton that is crumbling apart even as it advances, and a head resembling a Styracosaurus skull.

Tash regards his enemy face to face in this Lovecraftian depiction. Note the pyramid and eye symbol on his belt buckle lifted from American currency.

This must be an Indian edition of The Last Battle, as Tash looks more than a little like Garuda.

A supremely weird but effective Tash with his head covered in a cowl of barnacles or pebbles.

Woodpecker Tash? But I like the energy of this one even though he’s missing the extra pair of arms.

This idol isn’t Tash — it’s a god of Carthage from the 1914 Italian silent film Cabiria. But with its golden plating, oversized scale, and army of spectators watching a sacrificial rite, it could be straight from the book.

Worldbuilding Wednesday 9/30/20: Narnia XVIII

Eustace keeps Jill from falling into hysteria as Tash passes by

In The Last Battle, Lewis introduces the reader to Narnia’s equivalent of Satan: Tash. Tash is the foremost deity of the desert nation of Calormen, mentioned first in The Horse and His Boy. However, in that book we are not told what he looked like, only his temple: it has a silver-plated roof and sits at the apex of the royal city of Tashbaan, which is named after him.  That he is the most powerful god of the Calormene pantheon is evident, but in the text, he’s just a bit of Orientalist window-dressing.

In The Last Battle, though, we get to see more.

They have a god called Tash. They say he has four arms and the head of a vulture. They kill Men on his altar.

I’d forgotten about the human sacrifice bit, thinking it was fanon. The idol that oversees this bloody business  is said to be “… carved in stone and overlaid with gold [with] solid diamonds for eyes.”

It was roughly the shape of a man but it had the head of a bird; some bird of prey with a cruel, curved beak. It had four arms which it held high above its head, stretching them out Northward as if it wanted to snatch all Narnia in its grip; and its fingers—all twenty of them—were curved like its beak and had long, pointed, bird-like claws instead of nails. It floated on the grass instead of walking, and the grass seemed to wither beneath it.

This apparition appears ahead of the physical manifestation that pops out of the stable. It’s smoky and translucent and emits a deathly smell that makes Jill – but not any of the other characters – physically sick.( I remember thinking less of Jill, who still remains my favorite protagonist, at this mention.)

The illustration above depicts this moment, albeit takes liberties with it: it’s a statue of Tash rather than Tash himself, and is not smoky like the text says. Furthermore, it seems oversized. But this makes it all the more spooky, IMO.

In another world, perhaps one accessed through the Wood Between the Worlds, there might have been manifestations of Aslan and Tash like this.


Aslan vs. Tash


Isphom, a kindly gray wolf with long, hairy eyebrows

Alona, a giant, good-natured snail with long, tufted ears and a pearly shell that reflects the light

Asbia, a beautiful bird with an ivory horn on her forehead

Umlan, a powerful bear with a flowing golden mane

Avnaa, a mischievous white dragon with the power to change his size from small to large

Asperi, a wise silver-scaled serpent with tufts of long, silky hair on his jaws and chin

Uslan, a gentle white lioness with eyes that are all white with no pupil or iris


Mshver, a maiden with the head of a baboon and eight clawed arms N

Nanju, a terrible, armored human warrior with the head of a centipede that has a huge mouth and mandibles

Vash, a crocodile with the tail of a scorpion

Sharaz, an apelike skeletal being with bat’s wings

Bhranu, a demonic centaur with the head of an elephant and six legs

Khaph, a giant black horse with the scaly legs of a fowl and a flaming mane and tail

Dzach, an obese human man dressed in rich robes, with the head of a hyena