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Erica R. Edwards is Associate Professor of English and Presidential Term Chair in African American Literature at Rutgers University. She is author of Charisma and the Fictions of Black Leadership (2012), which received the MLA's William Sanders Scarborough Prize, and co-editor of Keywords for African American Literature (2018).

When I consider the neck, the first things that spring to mind are guillotines, beheadings, executions. Which does seem a little strange, since we live in a country where executions do not take place, there are no guillotines, and beheading is thus an entirely marginal phenomenon in the culture. Nevertheless, if I think neck, I think, chop it off.

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This may simply be because the neck leads a hidden existence in the shadow of the face, that it never assumes a place of privilege in our thoughts about ourselves, and only enters the stage in these most extreme situations which, though they no longer occur in our part of the world, still proliferate in our midst, given the numerous decapitations in fiction. But I think it runs deeper than that. The neck is a vulnerable and exposed part of the body, perhaps the most vulnerable and exposed, and our experience of this is fundamental, even without a sword hanging over us. In this sense, it is related to the fear of snakes or crocodiles, which may as well appear in people living on the Finnmarksvidda plateau as in Central Africa, or for that matter, the fear of heights, which can lie dormant in people who have never seen anything other than plains and sand dunes, lowlands and swamps, fields and meadows.

But the symbolic language that radiates from or the associations that converge on the neck, are not only about being struck, that is, being a passive victim of a surprise attack, or having something taken away from you, but also the opposite, where vulnerability is something that is offered. When we wish to show someone respect or to be polite, we bow to them, in other words, we expose our neck. It is a way of showing trust, and of giving something of yourself to the other, in an ancient system of differentiation where, in face of the supreme, you not only make a deep and sweeping bow, as to a king or other dignitaries, but kneel and lower your head to the ground, as you would before an altar or on a prayer mat. The gesture is humble, self-surrendering, it means laying your life in the hands of others.

And perhaps this is the real and simple insight afforded by the sacrifice, that we are creatures of flesh, filled with blood, and that we are going to die. What sacrifice does is to penetrate every layer, every veil of culture, and in a gesture devoid of meaning in any other sense than this, it reveals to us the otherwise always inaccessible truth about our existence, of what we are in the world.

This, you are probably thinking, says more about me than about childhood. For if childhood is supposed to be the zenith of life, what about sex? What about the desires of the flesh? What of ambition, zeal, heroics, career? What of insight, wisdom, experience, the accumulated weight of life? How about progress, conquest, riches, and splendor? Politics, science, the project of the Enlightenment? To put children and childhood before all this testifies not only to a considerable regression, but to an enormous resignation. Knowledge increases pain, the Bible says, and surely only an immature person could opt for ignorance in order to evade pain. Being able to handle complexity is part of being an adult, and as for sex, which is the central obsession of our culture, and which, when all is said and done, may well be the most powerful force in our lives, to ignore it bears witness not only to puritanism and notions of purity, and not only to the fear of the body (which in my case must be understood as a fear of women) inherent in these two concepts, but to a longing for simplification which at its core is barren, unproductive, lifeless, even dead: the child does not create anything, it simply is.

Now that I have children of my own, I look at the self-mirroring and the self-listening not as a result of narcissism or self-absorption (though it was that, too), but as part of being socialized, becoming an independent individual. To be socialized is to learn to see yourself as you appear to others. To bring up a child is really nothing other than representing or personifying this, the gaze and the voices of others, for at the outset the child possesses only a sort of undifferentiated self, permeated by feelings and needs, which can be, as it were, lit or extinguished, but not otherwise controlled. Since this is all, it is also nothing, that is to say, unknown. Something is lit, something is extinguished. All the boundaries one gradually imposes as a parent, all the prohibitions and commands, do not only have to do with teaching the child how to behave, are not just about making it function without friction in daily life, though that is perhaps often the motivation, but it is also always a gaze, it is also always a place from which the child can see itself from the outside, from a place other than the self, which only then can emerge as its own, whole self. It becomes an adult. One process is completed, and another sets in: slowly the world turns its face away.

This is probably what most people are interested in when it comes to the box so is the logical starting point. All are preassembled and as a general rule of thumb do not need much work to clean up. One of the Enslaved Spirit sculpts has a visible join line that I decided to greenstuff over and Ikiryo had some mold lining on the hem of the skirt. Other than that no clean up needed (but other issues present)

From best to worst I would say the number one model(s) in the box are the guild mages. Good facial detailing, clean sculpts and generally just faithul to their art. Old man guild mage's left hand is kinda bad, molded directly to is robes and kind of hard to see but other than that these guys look great.

Next we have Ikiryo. Again very faithful to the art, she's a big lady and is the obvious centre piece model of the set. Can't wait to have her painted up and on the table. My only real gripe is that the claws feel like they could snap at some point down the line but otherwise I'm very happy with this model.

The guild gunners ( 6 models, 3 sculpts) are for the most part more interesting models than the gwishin but are massively let down by wyrd's ongoing problem of scale. One of the gunner teams is fine but as soon as you place him side by side with the remaining two you notice that the remaining ones are little baby men. The rest of the model is correctly scaled with all 3 guns being near identical size, but 2/3 gunners are just out of proportion to the rest of the box. On top of this one of the undersized gunners has an incredibly wooden pose and the entire unit is going to be difficult to paint as it is hard to reach the front of the man due to it being preassembled standing at the gun (not as bad as the Brits machine gun buggy or any of the cool mechanized stuff in abyssinia but a similar problem).

Finally the two worst models in the set are unfortunately the two models you'd hope were the best. Sonnia has a very rigid pose (much the same as the gunner) and her cloak looks much to angular compared to how most other cloaks billow in malifaux/other side. Her fire effects are very underwhelming and make her hands look kinda goofy. Other than that though her facial detail and clothing are fine, she has all the insignia on her book and leg plates, belt and dagger details are all there... she just doesn't look like a master quality sculpt, side by side with the Guild mages the mages are much cooler models. When you then compare her to either other OS commanders or title2 masters she just hasn't really got much going on.

Kirai has a lot of the same problems with not looking like a master. Her pose is cooler and her kimono is sculpted much better than Sonnias cloak, but there is very little going on with the sculpt to make it stand out as a cool commander/master other than some cool billowy hair and a mask in one hand. On top of this she has some of the biggest problems in the set. As seen in another thread her facial detail is almost nonexistant. Her eyes seem fine and she justabout has a nose but I can barely make out anything resembling a mouth on my copy. Her neck is much too long and offputting (again, discussed elsewhere and compared to that of the Huckster). Finally her left hand is a relatively flat detailing on a large flat sleeve end, not visible from the front but very disappointing to see when viewing the model from behind.

Included in the set are two tape measures, two sheets of tokens and all the bases for playing the set in other side. This does mean however that if you wish to play the models in Malifaux you will need to source your own bases for certain models as Ikiryo, the guild mages and both masters use different base sizes in the two systems. There are enough 30mm bases for the mages and masters to steal from the Enslaved spirits and make them all Malifaux compatible but there is no 50mm base to stick Ikiryo on.

The remaining tokens are 6 objective markers, 2 flamestrike markers for Sonnia, 20 double sided status tokens (10 of each for Reinforcement/Pinned and Inspired/Shaken) and 10 tactics token. Nothing much to say about these, they are the same card stock as in the other side faction boxes, plenty sturdy enough for use in play.

The Other Side cards are a bit more numerous as in addition to all the unit cards there are also asset cards and strategm cards for guild and court. For some reason all my cards came mixed together in a mostly random order. Everything was there but it was weird that they weren't organised by faction or even card type. All of the cards are the same style and quality as in the other factions on regular sized playing cards. The new Strategm cards are cool but unfortunately are currently only playable in single commander games due to the factions only having a single commander and not being able to recruit additional commanders from out of faction (due to alliance/envoy rules). ff782bc1db