M Helsdon

Morlotes is possibly related to the Genertelan Mralot.

Yelm has eight sons/daughters, and none quite match... For my (probably over deep) analysis of the issue, see: https://basicroleplaying.org/topic/7262-elmal-yelmalio-thing/?do=findComment&comment=111872 The attributes of none of Yelm's sons/daughters quite match Yelmalio or his sister Yelorna, and the history of the architecture of the temples is probably misleading. Perhaps there will be new information in the new Gods of Glorantha...

Just another perspective. And Little Yelm may or may not be be Yelmalio - Yelmalio is a relatively recent name for the Cold Sun god... and of decidedly Southern Pelorian origin, like Elmal, but unlike the Dara Happan sun gods. During Time, the religions of the southern Pelorian Cold Sun god(s) have been influenced by the styles and outlook of the northerners, but are still quite distinct. It's a bit like the numerous Indo-European storm gods - lots of names but very similar characteristics, over many millennia, and they blur with the Mesopotamian storm gods to a degree.

Or bring in the tanks - sorry, I mean triceratops, complete with howdah containing Dragonewt warriors. Stomp stomp stomp. No shield-wall...

They are probably avatars of the same entity, viewed through different cultural perspectives. The tension between the Elmal/Yelmalio cults is the sort of religious dynamic that was common in the real ancient world, where the syncretism of different gods was common. Yelmalio and Elmal are examples of the many different 'Little Sun Gods' in southern Peloria, of which there are many, and most seem to have gradually amalgamated into Yelmalio. It's an aspect of the cultural and social interaction of Solar and Storm cultures in Saird. For that matter, the Dara Happans don't recognize Yelmalio as a son of Yelm... In terms of the rulebook, this is probably a factor of page count and relative importance. The forthcoming Gods of Glorantha book may cover this in more detail - I haven't seen the Yelmalio chapter. For that matter, the Solar Polaris and the Storm Rigsdal are the same god, but expressed very differently in the two cultures.

The thought was... a near subsonic hum that trolls can hear as a 'come hither'...

That sword is both a blessing and a curse, because Humakt will expect it to be used for its intended purpose. If it isn't used, or is lost, the consequences could be serious (the most extreme, being for the character to give an account of themselves in Humakt's Hall - which means they'd be... dead). Powerful swords often taken on a life of their own, and frequently bring doom upon their wielder. Whilst it isn't mentioned in the rules, it is also possible that there is a physical effect when the sword is in the presence of its intended victims (perhaps it starts to glow or hum), and possibly even a spiritual effect, as a troll shaman tied to the Death Rune might be aware of its nearby presence.

Interesting material there.

You may, or may not, be correct. This is one of many areas of Gloranthan myth where absolute answers aren't possible (unless you are a God Learner, and we know what happened to them...) For that matter so many mythologies were utilized and interfered with by the God Learners that it probably isn't possible to determine the truth. Even so, different cultures will have their own truth. So, the truth is what ever works for you.

Thank you everyone for information. It seems likely that the symbol of Darleep being used by a Stonewall regiment on their shields is now defunct.

Almost all made up (or derived from terrestrial equivalents), this may be of interest: [Small subsection from my non-canonical book on warfare in central Genertela] War Dances Legend says that after Orlanth was born, he soon set off to challenge the Young God, Yelm, to a dancing contest. Orlanth did a war dance while Yelm performed a ballet. Skalds and bards often speak of the dance of war, as a metaphor for combat, but this is not just poetic metaphor. Dance is a form of athletic exercise, and can also teach coordination and balance. Dances bearing arms and armor accustom the fighter to their weight and bulk. This exercise increases their strength, gives them training in the use of their weapons, and will aid them in pursuit or retreat. War dances are also the basis of contests of one against one, two against two, and teams of ten each, with rules for blows to inflict or avoid to win. Such ritual combat is important in several war cults. Armed march-dances are a part of Yelmalion religious observances. Humakti perform deadly sword-dances to honor their grim god, all the more impressive in that blood is only shed by a failure of skill, and shames the dancer. Fighters of both Solar and Storm traditions dance, though in different ways. Dances are performed to banish fear, to honor the gods, as part of magic rites to neutralize the enemy's strength, and more practically, to teach and learn the steps and motions required in combat, training young warriors to avoid attacks and to deliver their own. Such dancing is an integral part of war training, reinforcing timing and drill, and providing a spectacle to awe onlookers. Orlanthi dance to flutes and drums, clashing their swords together; Uroxi stomp their feet, head-butting and bellowing. Pelorian hoplites dance in unison with spear and shield. The Lion-men of Pelanda roar and pounce, emulating their god. There are many other traditions. In some cultures, variants of these dances are also performed after combat, as part of purification rituals to cleanse the warrior, acting out the trauma of war, and to enable their return to ordinary society. The advance of a shield-wall or phalanx requires a coordinated pace; some fight to a three-step rhythm expressed in a chant or paean. One step forward is taken on the first two short beats, and on the third longer beat, the other foot and shield are swung forward. When two battle-lines crash together, the beats are used to synchronize the pushing and shoving; often the front ranks have no breath to spare, and rely upon the concerted chanting of the ranks behind them to time their efforts. Tactics and choral dancing both require the coordinated movement of groups moving in a mass to achieve specified goals.

The Spartans of our world performed various war dances, with the Pyrrhichios remaining their national dance even when they were conquered by Rome. John Ruskin unfairly described it as 'exactly like a microscopic view of a small detachment of black beetles, in search of a dead rat'...

It's worth noting that in terrestrial hoplite cultures, there were forms of dance intended to practice the moves required in combat. The most famous being the Pyrrhichios. In the Anabasis, Xenophon describes a number of war dances: It is therefore very likely that Sun Domers have a number of martial dances performed either as a group or in ones or twos.

I believe that's reused TOTRM art. Something I've just seen suggests what I thought I knew about Stonewall shield decoration is now out-of-date...

In Ancient warfare, a dagger was carried, not only as a weapon of last resort but also as a tool and eating utensil. It was, in effect, the Ancient multitool.

Darleep is the 'home city' of the Beryl Phalanx. Their shields all display variations of the symbol of their headquarter city. Thank you.

Two questions. Does anyone know (and can they tell me): The symbol of the city of Darleep. Who (or what) is Verrogors.

Another situation to consider, is that phalangites certainly, and probably hoplites weren't restricted in all situations to their primary weapon. For example, when climbing a ladder in an active siege, a spear isn't practical. Secondary and substitute weapons The weapons of heavy infantry are often unwieldy for many actions, such as forced marches, climbing scaling ladders, fighting aboard ship, or operating in difficult terrain. In many circumstances, troops leave their primary weapon with the baggage train and resort to using their secondary weapon, or take up a substitute weapon, such as replacing a long spear or pike with a shorter spear or a javelin. There are historical accounts of a phalanx routing, but not everyone throwing away their shields and spears. In the Athenian rout at the Battle of Delium, Socrates and his friends retreated in good order, keeping their weapons and shields. The enemy left them alone - there was easier prey.

That's the form used in displays. The reality was probably more complex, especially as there wouldn't be that many javelins in a rider's quiver, so there was a need to ride to the supply wagons and 'reload'.

There's some 'Greek' style armour in that picture, but some that definitely isn't Greek.... ;-)

'Secondary weapons' from left to right: short sword on the right hip; axe on the left hip; (long) sword suspended from a baldric and a long dagger on the right hip. I'm guessing that MOB gave a very specific outline to the artist.

But really difficult to carry wearing hoplite panoply. Whilst hoplites at one point, in terrestrial history, seem to have carried two spears, one for throwing, one for thrusting, it isn't practical for a phalangite because they use a different shield and a much heavier two-handed spear. Unless a phalanx was in rout, it would be possible for a hoplite/phalangite to take the spear of a rank behind them. In a hoplite phalanx only the first rank or two can actively stab and jab with their spears; in a phalangite phalanx, the sarissa of the first five ranks were engaged. If a spear breaks, it's likely that the fighter could take over one from the rank behind them - another benefit of formation depth. A secondary weapon like a sword really only becomes useful when your formation is in real trouble. Yelmalio is one of those complex gods who is sometimes Orlanth's foe, sometimes his ally, sometimes his friend, so absolutes are unlikely to stop someone using a practical weapon. Sun Domers with swords...

I recommend reading Ann Hyland's Training the Roman Cavalry: From Arrian's Ars Tactica. Whilst it relates to Roman javelin cavalry, like much of the Roman military machine, the tactics were lifted from others. The best mounted javelin skirmishers were expected to be able to throw one on the straight, a second as they passed the target, and often a third as they veered away. The most skilled could apparently throw a fourth back over their shoulder. The best ergonomic technique made use of a quiver carrying three or more javelins, with the quiver mounted on the rear right of the saddle with the shafts pointing forward, heads down, so that the rider could smoothly and rapidly draw, raise, and throw. So most would be thrown on the approach, turning away and then receding. Riding along the front of a hostile formation is not conducive to survival, either mounted, or in a chariot...

The Macedonians were about as Greek as the Thracians, in some degree, especially in material culture (and there's ongoing debate as to whether they spoke a (distant) dialect of Greek or a sufficiently different language for it to be distinct), so the Macedonian application of combined phalanx and shock cavalry were a winning combination that broke the Greek armies, before they were unleashed on the Persians... The Macedonian cavalry were an elite nobility, but also well trained, well organized, and highly disciplined, compared with other cavalry of the time.

In the real world, the secondary weapon of choice for a hoplite or phalangite was a matter of choice - in details of both armour and arms, there was no regimented requirement for exact equipment, and so other than the primary weapon and basic equipment (we know that Macedonian soldiers could be issued hefty fines if they lacked important kit such as torso armour and shields) it's down to individual choice. There's also debate whether a phalanx spear could be reversed to use the sauroter (sharp spear-butt) as a replacement spearhead - possible in a hoplite phalanx, probably less so for a sarissa. So, a hoplite or phalangite is going to carry a short sword or a long dagger. Historically, the Greek hoplite would carry either a straight-bladed xiphos or the curved-bladed kopis. The kopis may seem surprising, but it came in a variety of sizes and weights, and some could be used for thrusting but were primarily a chopping weapon. In Glorantha, it's going to be a mixture of personal preference and temple location. In Glorantha, the kopis was introduced to the Pelorians by the Pentan horsemen and is now the defining weapon of the Lunar Empire. It's likely that the Sun Dome temples near Pent or closely associated with the Lunars are more likely to use it.