Category Archives: Warhammer 40K

Are the costs involved with Warhammer 40K an integral part of participating within the game?

Wednesday the 13th March, 2013 marks the 26th Birthday of Warhammer 40K. Games Workshop who publishes and sells the game and its components has reported a 40% rise in profits following the launch of the Warhammer Sixth Edition in 2012. With over 500,000 active players worldwide and almost three times as many collectors, Warhammer 40K remains as popular as ever. Despite the enduring appeal of Warhammer 40K, the cost of participation and the gigantic profits reaped by Games Workshop remain a controversial issue. Many Warhammer enthusiasts claim the expensive prices of models, scenery, rule books and codices are not only unfair but also make the game elitist and elusive. Although Games Workshop have constructed a table top empire, in which their monopoly on production of Warhammer 40K prevents external competitors from undercutting their prices, this article asks whether the costs involved are in fact an integral part of enjoying and participating within the game?   

The Cost of Participation

A brief look at the Games Workshop catalogue may be enough to deter any budding Warhammer novice from joining in the game play. Basic individual figures start at £8.20, yet models such as the as the Ravenwing Dark Talon kits can cost up to £90 per item, and specialised scenery may cost up to £175.  It costs around £200 pounds to establish a reasonable army and to play at tournament level. A starting box set which includes two armies, the rulebook, dice, measuring sticks, etc costs just under £50 pounds (approximately £100 if bought separately). Building this up to an army worth over 1000 points costs approximately £150, and this does not even include the paint. It is not uncommon to find Warhammer enthusiasts owning collections worth over £10,000 pounds. As these collections are often being transported to and from tournaments and conventions, players are often required to take out specialised insurance akin to the gadget insurance one might take out on a laptop or mobile phone.

Why are the costs so high?

On average the production costs of Warhammer models, including design, materials, implementation, packaging and shipping, are about 15% of the retail price. Ordinarily, such a high mark up would lend itself open to the risk of being undercut by competitors. However, Games Workshop and the Warhammer 40K brand have such a strong monopoly over their game and their product, they are able to keep prices very high. From a manufacturer/ business point of view Warhammer 40K can be considered the ideal product. Games Workshop who publish and sell all Warhammer products also construct (and sell) the rule book. A rule book which not only states that in order to play the game you need to buy X amount of components from our shop, but also if you want to be good at this game and compete at the highest level, your chances of success will increase dramatically if you buy more and more items. When you think about it there are very few other competitive games which adopt this approach. Imagine if Wilson, the makers of tennis rackets, were also allowed to decide the rules of the game and the equipment which is allowed to be used. Furthermore games Workshop are able to make further money, by constantly renewing the editions of the game every four to five years, requiring enthusiasts to purchase new models, rule books and army guides.

Collective Power 

As stated above, the game of Warhammer 40K operates within a closed system allowing games Workshop to maintain high prices which cannot be undercut by competitors. However, despite the fact that Warhammer fans consistently bemoan the escalating costs of participation, would the game be the same without it? What has to be remembered is that players do not buy in to the gamesmanship, fantasy and craftsmanship of Warhammer alone; they also enjoy the collectable aspect of Warhammer. The fact that Warhammer figurines are both rare and expensive increases their value as a collectable product, and the enjoyment of Warhammer as a collector’s pursuit. Furthermore collectors pride themselves upon the individuality of their battalions, both in terms of selection and the time spent constructing and painting the models. If players weren’t interested in this aspect of the game, Warhammer 40K could just as easily be played using coin like tokens or cards. But the fact is the collectable aspect of Warhammer 40K is part of what makes the game so special. Like so many collectable pursuits, Warhammer 40K does not invite the amateur to start competing at the highest level. Rather, the amateur must earn his stripes, dedicating time and money in order to build up specially crafted collections over several years or months. This is an essential part of both the game and the enduring appeal of Warhammer 40K.

CCLAP Fridays: On Being Human: Warhammer 40K Space Marines

I continue my CCLaP essay series “On Being Human”, this week exploring the dark world of Warhammer 40K and the Space Marines.

CCLaP Fridays: On Being Human: An Introduction

My introductory essay to my themed essay series, “On Being Human” has been posted at CCLaP.

Introducing CCLaP Fridays

I’m proud to a new feature, CCLaP Fridays.  I recently became involved as a writer for the Chicago Center for Literature and Photography.  Every other Friday I will post on their website, alternating between general book reviews and themed reviews.

The general reviews will focus on fiction and non-fiction books published in the last 24 months.  My themed reviews focus on the question, “What does it mean to be human?”  I will be looking at attempts to answer that question through books, TV shows, movies, and role-playing games.  Everything from Warhammer 40K’s Space Marines, Iain Banks’s Culture, Samuel Beckett’s Trilogy, and a Jim Thompson hard-boiled novel will be analyzed.  (This will dovetail nicely into my more in-depth analyses of Warhammer 40K and Battlestar Galactica/Caprica on Coffee is for Closers.)

It will be a unique privilege to write for CCLaP, since I’ve been an avid reader of their reviews and essays for years.

As always, I will post notifications on this blog to let you know when my reviews and essays appear.

Mechanicum (The Horus Heresy, Book 9) by Graham McNeill

The Horus Heresy series continues in Graham McNeill’s epic Mechanicum.  Graham McNeill is one of the Black Library’s “dream team” writers.  The other members of the trio include the hyper-prolific Dan Abnett and Ben Counter.  The trio wrote the first three novels of the Horus Heresy series.

The first three novels functioned like a self-contained trilogy, chronicling the Warmaster Horus and his descent into heresy and madness.  James Swallow’s Flight of the Eisenstein (Book 4) was a taut thriller with crisp writing and wonderfully orchestrated space battles.  Since then, the Horus Heresy has had its ups (Legion by Dan Abnett) and downs (Descent of Angels by Mitchel Scanlon).  This reviewer happily reports that Mechanicum brings the series back up to fighting trim.

In the novel, the readers encounter the adepts and forge masters of Mars.  Centuries ago, the Emperor and the Fabricator-General created a union between Terra and Mars.  The Mechanicum is one of the pillars of the Imperium of Man.  The novels functions as an institutional history, similar to earlier volumes that chronicled the origins of a specific Space Marine legion.  Only Graham McNeill could pen a compelling narrative based on supply chain logistics and portraits of the mechanically modified denizens of Mars that humanize them.

The novel includes many competing plots (and competing plotters).  Adept Koriel Zeth wants to build the Akashic Reader, a device capable of giving someone unlimited knowledge.  Fabricator-Generator Kelbor-Hal wants to open the Moravec caverns, sealed by the Emperor’s command.  Finally, Dalia Cythera, a lowly transcriber drafted by Adept Zeth to construct the Akashic Reader, deals with her visions of a dragon and a secret long buried in legend and deception.  During this historical period of the Imperium, there is no single interpretation of the Omnissiah, the so-called Machine-God worshipped by the Mechanicum.  To use more familiar figures, Adept Zeth, a champion of scientific exploration and eternal skeptic, could be seen as Dr. Richard Dawkins.  She does not believe that the Machine-God actually exists.  Fabricator-General Kelbor-Hal, a cold-blooded figure of monumental avarice and ambition, could be seen as Reverend Pat Robertson.  Kelbor-Hal, a servant of the traitorous Warmaster Horus, will use every means at his disposal, including unleashing the demonic forces sealed away by the Emperor.  And like Pat Robertson, he is not moved by the death of millions, but only uses it as a means to acquire more power in the name of the Machine-God.

While these machinations and theological debates occur, the Mechanicum suffers catastrophe after catastrophe.  The atrocities lead to the inevitable split, with those loyal to the Emperor arrayed against those loyal to the Warmaster.  The novel also includes great battle scenes with rival Titans, Reavers, and Knights fighting each other.

The novel is a wonderful continuation of the Horus Heresy, bringing a mix of space battles, ideological debates, and gothic imagery.

Battle for the Abyss (The Horus Heresy, Book 8) by Ben Counter

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Battle for the Abyss by Ben Counter begins with the construction of the gigantic battleship, the Furious Abyss, within the hollow center of Thule, a moon of Saturn.  The Mechanicum construct the ship using the ancient technologies they preserve.  Unbeknownst to the Emperor, the Mechanicum build the massive warship for the Word Bearer Traitor Legion.  Those familiar with the Cylon basestars of Battlestar Galactica will recognize the Furious Abyss.  Heavily armed and holding a contingent of fighters, the Furious Abyss is an intimidating force.  Unlike the sleek basestars, the Furious Abyss resembles a giant battlestar with Chartres Cathedral sitting on top.

In the novel, we meet several Space Marine legions, each with their own specialty and genetic modification.  The aforementioned Word Bearers are a Traitor Legion combining martial skill with a fanatical adherence to the Word of Lorgar, their Primarch.  In the unfolding galaxy-spanning civil war, the Word Bearers resemble Oliver Cromwell at his most theocratic, fanatic, and tyrannical.

Members of the five legions meet up on Vangelis to resupply their ships.  Everything proceeds apace, with the Space Marines prepping themselves for their future engagement, to must at Calth “in preparation to launch a strike on an ork invasion force besieging the worlds of the neighboring Veridan.”

Following a psychic attack on Vangelis, Cestus, Brother-captain and fleet commander of the Ultramarines 7th Company, discovers that the Wrathful Abyss will strike the Ultramarines homeworld of Ultramar.  Cestus commandeers the Wrathful, a ship of the legendary Saturnine Fleet.  The Fleet has a history that predates the Empire of Man.  Members from three other Space Marine Legions accompany Cestus.  Skraal, Brother-captain of the World Eaters Legion, fights with a psychotic ferocity that frightens the other Space Marines.  Brynngar, Captain of the Space Wolves Legion, with his lupine incisors and penchant for drinking, has serious misgivings about Mhotep, Brother-sergeant of the Thousand Sons.  Mhotep raises Brynngar’s ire because the Thousand Sons, shunned at the Council of Nikea because of their psychic abilities, embody an irrational, unknown force.  At this stage of Imperial history, people possessing psychic powers still pose a threat to the Emperor’s embrace of rationalism and reason.  The Word Bearers broke their oath with the Imperium because their fanaticism and superstition met with censure from the Emperor.

When the Furious Abyss destroys the Waning Moon, the loyalist Space Marines have to make the decision to wage war on their battle brothers.  The prophecy given to the Alpha Legion (in the previous book, Dan Abnett’s Legion), about the Imperial Civil War has come to pass.  The loyalist Space Marines have their loyalties tested.

Battle for the Abyss provides plenty of action, including ship-to-ship battles.  Ben Counter, author of the Soul Drinker’s Omnibus, fills the pages with adventure, excitement, and gore.

Legion (Horus Heresy, Book 7) by Dan Abnett

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Can Dan Abnett save the franchise?

After the underwhelming Descent of Angels by Mitchel Scanlon, the Horus Heresy series is in desperate need of revival.  None is better equipped to revive the flagging franchise than the prolific Dan Abnett.  Abnett, author of Eisenhorn, the Ravenor series, the Gaunt’s Ghosts series, and other titles for Marvel and Doctor Who, has the rare gift to write well and to write a lot.  Like the space fantasy version of William T. Vollmann, he churns out full-length novels at a ridiculous rate.

In Legion, Abnett throws the reader into a desert landscape, a war that has lost forward momentum, and paranoia sweeping the ranks.  The parallels to modern desert warfare and the situation in Iraq are unmistakable.  The Imperium of Man wages a war against the inhabitants of Nurth.  We follow the Geno Five-Two Chiliad of the Imperial Army, a unit of the Imperial Army that traces its lineage back to Terra and its genetic heritage to that of the Space Marines.  Their formidable nature and fierce loyalty make the military stalemate even more frustrating.  The Chiliad operates through uxors and hetmen.  Uxors are psykers and communicate through the hetman officer corps mentally.

John Grammaticus, a powerful psyker, meets up with the Chiliad in the guise of Konig Heniker.  Grammaticus is a member of the Cabal, a secretive interspecies organization that has important knowledge it needs to communicate to the Alpha Legion of Space Marines.  Grammaticus has to get close to the uxors to impart this knowledge.  He describes the uxors thusly: “As he sat down opposite Uxor Rukhsana, he reached out.  Instantly, he tasted feeble immature ‘cepts, chitter-chatter minds, the moist, unwholesome mental architecture of the pubescent aides.  The technical inability to conceive made most uxor-aides gruesomely promiscuous.  Grammaticus was repelled by the lurid, shallow thoughts that washed towards him.”

Eventually, Grammaticus gets in touch with the Alpha Legion, the newest and most enigmatic legion of Space Marines.  Abnett even subverts the “legion-primarch trope” in this volume, highlighting a Space Marine legion that specializes in stealth and espionage.  Even though the Space Marines, like their brother legions, are genetically engineered superwarriors that stand nine feet tall, he makes their covert tactics seem plausible.

The Alpha Legion already know what Grammaticus knows, but under a different name.  In one form or another, the Imperium has been battling the forces of Chaos.  The Cabal has a different name for the predictable enemy: the Primordial Annihilator.  The name is clinical, menacing, and opaque all at once.

The Cabal offer the Alpha Legion a choice, but the reader is kept guessing while the stakes increase on Nurth.  Factions have their own agendas, whether it’s the 670th Fleet Commander, the Imperial Army, the Cabal, or the Alpha Legion.  While conditions on Nurth deteriorate, people are forced to act.  In Legion, you are left guessing to the last page.

Book Review: Descent of Angels (The Horus Heresy, Book 6) by Mitchel Scanlon

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The Horus Heresy series continues in its sixth installment, Descent of Angels, written by Mitchel Scanlon. The series makes a major reversal with this series. Scanlon has written previous novels for the Black Library, but his work involves the Warhammer brand, the epic fantasy sister ‘verse to the space fantasy of Warhammer 40K. Unlike previous volumes, the action occurs on one planet under circumstances one could label “low-tech.”

Descent of Angels begins with an original story, telling the tale of how humanity settled on the planet Caliban.  The settlers became separated from the rest of humanity because of warp storms (the Warp being the means of interstellar travel).  The separation lasted 5000 years.  In that space of time, the human settlers created their own mythology, culture, and defense systems.  The major obstacle to settlement on this heavily forested planet was the great beasts, nightmarish monsters reminiscent of H.P. Lovecraft’s Cthulhu mythos.

The novel follows Zahariel, Knight Supplicant of the Order, in his rise to full knighthood.  The Order, unlike other knightly orders, considers all men created equal, regardless of birth or position.  Zahariel is in awe of the Order’s future Grand Master, Lion El’Jonson, a superhuman giant found in the woods battling beasts with his bare hands.

During Zahariel’s ascent to full knighthood, he becomes aware of a “gift” he possesses, an uncanny ability to “read” people.  He keeps this gift secret until members of the Dark Angels Space Marine legion descend upon Caliban, ending 5000 years of separation.

The novel can be seen as a Pre-Contact novel, to borrow the phrase from colonial studies.  The majority of the novel does not involve the Imperium of Man and the Space Marines arrive well into the book’s second half.  Ideologically, the book takes place when the Imperium espoused a rationalistic, explicitly atheist position.  A previous volume, Flight of the Eisenstein, traces the transition from this militant atheism to the “Church Militant” phase, when the Emperor was considered a living god.  It is nice to see a franchise not adhere to a rigorously linear storyline between volumes.  The vastness of the Warhammer 40K universe and multitude of Space Marine chapters offers more opportunities to non-traditional storytelling.  In addition, it is easier to drag out a series when it is not the standard linear storyline.  (The sitcom How I Met Your Mother, a 3-camera sitcom, excels in plot contortions and subverting the standard linear storyline.)

In full disclosure, standard fantasy is not my favorite genre to read.  I enjoy the Warhammer 40K space fantasies.  It was enjoyable to read this volume of the Horus Heresy series because it was not the usual Tolkien Boilerplate Knock-off, although Warhammer 40K originated as such in the 1980s.

Descent of Angels is another exciting read in the ever-expanding Horus Heresy series.

***

On a personal note, I was underwhelmed.  In a word, “Meh.”

The Art of Reviewing: Introductory Remarks

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Every blog needs a large-scale project. The Art of Reviewing will explore reviewing as an art form and as a valuable element to understanding society.  During this project, I will profile specific reviewers of merit.  Several specific cases also explore other facets of reviewing.

What makes a good reviewer?

A review is only good as the individual reviewing the work.  But what is meant by good?  Good – like value, civilization, and culture – is a loaded term.  It should be not be used in a cavalier fashion or overloaded with moral baggage.  Does the reviewer have a technique, a perspective, and a knowledge base?  If any of these is found lacking, then the entire enterprise will become suspect.

Below are basic requirements for any review, regardless of length or intent:

  • Knowledge of genre/medium.

Every reviewer should have a basic understanding of what he or she is reviewing.  If not, they aren’t much of a reviewer in the first place.  One facet of this understanding is a general knowledge of the genre and/or medium.  While a complete understanding is impossible, since humans lack omniscience, a reviewer with the contours and trends of the genre is a valuable commodity.  The same goes for reviewers with a keen understanding of technological change and its impact on the audience as it relates to the work’s medium.

  • Knowledge of the author.

A reviewer should have a basic understanding of the author’s biographical details, including historical, cultural, and political information relevant to the discussion.

  • Critical wisdom.

Critical wisdom is conceptually vague, since it is hard to quantify.  A reviewer who misses a basic biographical fact or a major work in the genre can be slighted for the mistake, but how does one measure critical wisdom?  The nebulous nature makes it hard to quantify, but age, experience, and previous work may be helpful.  One gains wisdom not through the raw accumulation of information, but through the discerning use for that information.

  • Right to change his or her mind.

Humans, the ones writing the reviews, are fallible.  We all make mistakes.  Critics aren’t immune.  One of the risks of reviewing is speaking with confidence about a work and rendering judgment.  In the end, that judgment may be false.  A reviewer has a right to change his or her mind regarding any judgment rendered on a work.  This isn’t the same as bowing down to pressure from the mob or giving in to coercion.  Intellectual flexibility and humility are characteristics of a good reviewer.

  • Unique perspective.

Everyone has his or her own perspective.  A reviewer is no different.  With the plethora of information available in all kinds of media, there are hordes of reviewers out there.  Most are interchangeable and otherwise forgettable, evaporating mist on the critical landscape.  A reviewer with a unique perspective stands out among others.  A unique perspective also bespeaks of individuality and ownership.  “This is my opinion and I’ll stand by it.”  In the end, reviews are unique cultural products about another cultural product.  Even in the most perfunctory review, there should be more there than a mere rating and measurement.

  • Acknowledging biases/prejudices, etc.

Similar to the issue of critical wisdom, a quality reviewer recognizes his or her own biases and prejudices.  Every year, tons and tons of stuff get produced.  Reviewers see only a fraction of this.  Because of the impossibility to know every genre or author in totality, biases and prejudices are bound to pop up sooner or later.  This is another inevitability of humanity.  The reviewer should recognize the biases and prejudices within their work.  Readers should also be discerning enough to recognize them, since no reviewer is the absolute authority.  Reviewers should be questioned about their biases and prejudices.

The function of reviewing

Our culture easily dismisses the reviewer.  “Who listens to critics anyway?” is a common refrain.  What does reviewing offer?  The only difference is that the monetary investment may be smaller.  Before one buys a house, one should probably read up on sub-prime mortgages and reviews of the neighborhood.  Or one should read product reviews from Consumer Reports before buying a DVD player, TV, or some other essential appliance.  Why not do the same before buying a book or seeing a movie?  On the practical side, at least know the rating and bare outline of the plot to protect your children from any unwarranted swearing or nudity.

At root, the review is informative.  It should inform the reader.  Short reviews excel at this function.  Longer reviews can also be informative, going into more detail about the artist, adding historical context, and enlighten the reader are about similar works relevant to the discussion.  The function of the review is dependent on the needs of the reader.  Sometimes a reader needs a brief summary.  At other times, a more detailed discussion is necessary.

Blogcritics.org offers short informative reviews while the London Review of Books offers essay-length reviews.

The art of reviewing

Reviewing is writing and writing is an art form.  It is also a craft, but when a craft is well wrought, it transcends mere technique to become art.  A majority of reviews out there are craft.  They serve the function to inform the reader about pertinent information.

Automotive reviewing offers an example of technique versus art.  Purchasing an automobile is a serious investment.  MotorWeek, the public television staple, offers informative reviews of cars for the prospective buyer.  Profiled vehicles along with a voice-over and graphics listing off the relevant statistics offer an informative hour of television.  Then there is Top Gear and specifically Jeremy Clarkson, a loudmouth prone to saying sensational things.  Gone are the statistics and purchasing information, replaced by gorgeously produced segments that turn the sports or luxury cars under review into gorgeous baubles.  Infotainment at its best.

The value of reviewing

People should value reviews.  They offer insight into the products of a culture.  The practical side is being more informed before you go purchase a product.  The other side is that one is more informed about the contours and trends of the culture.  A reviewer should tell you why or why not a particular thing – book, TV show, automobile – is good and why.  A discerning reader or viewer will make up his or her own mind.

Reviewing is not a one-way street.  Reviewers are hardly the high priests, giving their audience information with unquestioned authority.  A nation without a strong critical press is in danger of descending into authoritarian madness.  People who didn’t read the reviews shouldn’t complain about their expectations being quashed.  South Pacific is not the same type of movie as Saving Private Ryan. If you don’t like being critical, stay home on Election Day.  Who listens to critics anyway?

Profiled Reviewers:

  • Jeremy Clarkson (Top Gear, London Times driving reviewer)
  • Clive James (author, columnist, polymath, wit)
  • Nathan Rabin (AV Club hip hop reviewer, My Year in Flops)
  • Special Case File #1: The movie 300
  • Anthony Burgess
  • James Wood (book reviewer for the New Yorker)
  • Anthony Bourdain (author, cook, world traveler, host of No Reservations)
  • Harold Bloom (critic, author)
  • Susan Sontag (critic, author)
  • Roland Barthes (author, theorist)
  • Joe Bob Briggs (film critic)
  • Joris-Karl Husymans (Against Nature, 1884)
  • Special Case File #2: The Kindly Ones by Jonathan Littell
  • Walter Benjamin (cultural critic, theorist)
  • Michel Foucault (critic, theorist)
  • Special Case File #3: Reviewing Warhammer 40K fiction

Fulgrim (Horus Heresy, Book Five) by Graham McNeill

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The epic tale of the Horus Heresy continues in Fulgrim, the fifth volume of a planned twelve-volume cycle in the Warhammer 40K series. In the previous book, Flight of the Eisenstein, Battle-Captain Nathaniel Garro flies to Terra to warn the Emperor of Mankind of heresy. Not just any heresy, but heresy led by Warmaster Horus to overthrow the Emperor.

Fulgrim tells a story parallel to the events of Eisenstein, eventually meeting up where the previous volume left off. The Fulgrim of the novel is the Primarch of the Emperor’s Children, a Space Marine legion priding itself in its fighting perfection.

The Primarch engages an alien enemy and comes in possession of a powerful sword. Fulgrim’s desire for power and aesthetic beauty cause friction with the policies of the Empire of Man. One of those policies is the blanket extermination and subjugation of alien (xenos) races. Fulgrim initiates a policy of his own, using xenos technology and genetics to improve his legion of Space Marines. The combination of human and alien causes dissension in the ranks.

In the novel, we also meet Ferrus Manus, Primarch of the Iron Hands. The friendship between Fulgrim and Ferrus Manus is legendary. Each forged a weapon for each other, which they exchanged. While Ferrus Manus remains loyal to the Emperor, he begins to see telltale signs in Fulgrim: a vanity that expresses itself in make-up and filling his warship with artworks.

Fulgrim is unique in Warhammer 40K novels in its depiction of artistic work and sexuality. While the Warhammer 40K franchise thrives on grim, bloody warfare, whether against space demons, alien races, or human rebels, the depiction of sexuality has always veered on the PG side. One does not see a lot of female nudity, let alone females, in this RPG (role-playing game) setting.

As the Emperor’s Children Space Marines legion slides further into open treason, the astute reader will find references to The Book of Urizen by William Blake and The Picture of Dorian Gray by Oscar Wilde.

This volume is pivotal because Warmaster Horus prepares by separating those loyal to his cause and those loyal to the Emperor. When the opposing sides are finally assembled, the Horus Heresy transforms from covert operation to open rebellion.

Readers who enjoy military science fiction, epic fantasy, and British science fiction will thrill at the strange alien races and the epic battles studding this novel like bullet holes in battle armor.