16 coaches online • Server time: 08:19
* * * Did you know? The most casualties in a single match is 21.
Log in
Recent Forum Topics goto Post Mega-Stars never wen...goto Post Replays - Fumbbl Cupgoto Post S2 of PEBBL
Beware The Sticks And Stones
Retired [X2] Khemri

<B>Winners of the inaugural NBL Masters tournament with a 5-1-1 record</B>

By “mummy movies” I include not only those films that have a living (or, rather, undead) mummy stalking about but that entire genre that uses a mythologized ancient Egypt as the foundation for stories of mystery, horror and romance. As a genre, these films are ordered by a series of common themes, expressed here as oppositions:

<b>Life / Death</b>. The categories of life and death are confounded in mummy movies. The living mummy, the immortal king, the reincarnated princess, the possessing spirit all complicate and reconstitute the boundaries of life and death.

<b>Past / Present</b>. Mummy movies create imagined worlds in which the past and the present exist in a tension. Lives (in the sense of reincarnations) and loves transcend time. In some films, the past is more real than the present – as in The Mummy’s Ghost where Amina becomes her “true” self, the princess Ananka, as she is carried into the swamp.

<b>Ancient / Modern</b>. The ancient world of Egypt protrudes into the modern world through its architecture. It is not a coincidence that many of these films are set during the British colonial period. Pharaonic architecture gives the lie to the colonial assumption of the white man’s burden and demands to be answered. The mythology of the mummy films, as well as the racial stereotypes they employ, offer one set of answers to this dilemma.

<b>Magic / Science</b>. Ancient Egypt is posited in these films a repository for “wisdom” – a gloss for magic. Modernity – particularly as represented by explorers, doctors, university professors, museum curators, librarians and so forth – is a repository for science. A central trend in these films is the scientific quest to colonize ancient wisdom by recuperating it and representing it and making it part of knowledge. In the process, however, the ancient wisdom proves not only resistant but dangerously alien and powerful. The battle to destroy the mummy is often a battle to exert science over magic. Interestingly, alternative “wisdoms” like Islam or Christianity have no utility or power in these films. Science is pragmatically real in these films, as is ancient wisdom. But the monotheistic religions are ineffective.

<b>Us / Them</b>. These films are inevitably about transnational transgressions. Europeans and Americans enter into Egypt searching for treasures that bring them doom or avenging Egyptians (often members of Pharaonic cults that have survived the centuries) travel to England and America in an Orientalist revenge narrative that goes back at least to Wilkie Collins’ The Moonstone. Ethnic stereotypes and other alterities abound in these films. One of the most interesting is the connection of past and present through the blood of Ancient peoples. Egyptians become repositories for their own distant past. Amina in the Mummy’s Ghost is a cosmopolitan, Western-educated woman yet her blood betrays her; instead of marrying the hero she becomes her ancient self, Ananka. The same is true not only of Helen/Ankhsenamun in The Mummy (1932) but of the Nubian servant in the same film; he is especially susceptible to Imhotep’s power because of “the ancient blood.”

<b>Male / Female</b>. These are gendered films and complexly so. In general, they involve a single woman who is surrounded by a number of men who have various complex and overlapping relations toward her – fatherly, protector, seducer, manipulator, and so forth. One of the central motifs of all mummy films is the love/passion that lasts through the ages, that transcends time, space and even body. This motif is probably borrowed from H. Rider Haggard’s She (Ayesha herself was once a priestess of Isis) but the mummy movies have appropriated it and transformed it in many various ways. There is also common in these films that hypergamy that is expressed by nearly all Orientalist novels: the possibility for women but not men to marry up, across racial boundaries.
New Team Page Beta
Player Ma St Ag Av Skills Inj G Cp Td It Cs Mvp SPP Cost  
1
Vengeance Of Egypt
Mummy
3 5 1 9
Mighty Blow, Regenerate
   12 0 0 0 1 0 2/ 110k
(123)k
  
3
Curse of the Aztec Mummy
Mummy
3 5 1 9
Mighty Blow, Regenerate
Guard, Tackle, Multiple Block
   22 0 0 0 17 2 44/ 170k
(180)k
  
5
The Mummy's Ghost
Thro-Ra
5 3 2 7
Pass, Regenerate, Sure Hands
Dodge, Kick, Tackle
 n 23 2 8 0 2 3 45/ 140k
(131)k
  
6
The Mummy's Hand
Thro-Ra
5 3 2 7
Pass, Regenerate, Sure Hands
Hail Mary Pass
   6 3 1 0 0 0 6/ 90k
(110)k
  
7
I Was a Teenage Mummy
Skeleton
5 3 2 7
Regenerate
Tackle, Guard
   23 0 0 0 4 2 18/ 80k
(95)k
  
8
The Mummy's Revenge
Skeleton
5 3 2 7
Regenerate
Tackle
   23 0 0 0 4 1 13/ 50k
(55)k
  
9
Dawn Of The Mummy
Skeleton
5 4 2 7
Regenerate
+ST
   8 0 0 0 1 1 7/ 80k
(115)k
  
11
Tale of the Mummy
Skeleton
5 3 2 7
Regenerate
Dirty Player, Tackle
   23 0 5 0 4 0 23/ 70k
(115)k
  
12
Bram Stoker's The Mummy
Skeleton
5 3 2 6
Regenerate
Tackle, Dirty Player
 -av 22 1 1 0 0 3 19/ 70k
(95)k
  
13
The Mummy's Tomb
Skeleton
5 3 2 7
Regenerate
   5 0 0 0 0 0 0/ 30k
(30)k
  
14
The Mummy And The Curse Of The Jackals
Skeleton
5 3 2 7
Regenerate
Tackle, Strip Ball
   14 0 2 0 2 3 25/ 70k
(85)k
  
15
Blood From The Mummy's Tomb
Skeleton
5 3 2 7
Regenerate
   9 0 0 0 0 0 0/ 30k
(30)k
  
12 players  
Coach: tzilacatzin Re-Rolls (140k): 6  
Race: Khemri Fan Factor: 13  
Current Team Value: 0k Assistant Coaches: 3  
Treasury: 120k Cheerleaders: 0  
Team Value: 1570k Apothecary: No  

Games Played:23 (9/5/9) |TD Diff:0 (20 - 20) |Cas Diff:15 (48/25/15 - 31/26/16)
Last Opponent: Be Lethal Or Cromm Kills