More Opp Shop Scrounging

Found this gem the other day, I had heard about it but never had the chance to read it.

Rommel? Gunner Who? was written by Spike Milligan with Jack Hobbs.

This book is really funny and also very honest at times. It is about Spike Milligan’s time as a gunner in North Africa during World War II. Rommel? Gunner Who? is not really about the war as a campaign or a series of battles; it is about what war feels like. It shows confusion, fear, boredom, and exhaustion. It is about the everyday things that happen during war—the shouting, the sand that gets everywhere, the shellfire, and the endless waiting. Milligan does not make war look exciting or heroic. Instead, he shows the truth of it, which is often ridiculous, ugly, and deeply sad. The story is told entirely from ground level, where war is not a plan or a strategy but something you hear, see, and feel moment by moment.

The book is really about showing that many of the stories people tell about war are not true. It is the opposite of the big-picture view. Figures like Rommel, the “Desert Fox,” loom large in official histories and officers’ briefings, but to the gunners, Rommel is just a name they hear when they are being shelled. Milligan shows what it is like to be small, powerless, and largely unaware of what is going on, used as part of something far bigger without ever understanding it. The book makes it clear that ordinary soldiers often do not know where they fit into the war at all.

Milligan’s comedy is exactly what you would expect, but it is also more important than it first appears. It runs through the entire book. His humour shows how soldiers kept themselves mentally intact. He jokes about pointless orders, petty rules, incompetent leaders, and the gap between what the military claims to be doing and what actually happens. His writing can be strange and disjointed at times, sometimes stopping abruptly, which mirrors the mental state of men who are completely worn out. The comedy and the fact that people are dying exist side by side throughout the book.

What really matters is that combat is never made to sound exciting or impressive. When fighting starts, it is terrifying and confusing. People are so frightened that they freeze or wander around not knowing what to do. Milligan’s descriptions of explosions, wounds, and fear are powerful because he does not try to make them dramatic or noble. He simply tells the truth. There are no heroes, just people who are shocked, hurt, lost, or missing. Combat comes across as chaos, fear, and humiliation, and his descriptions of sound, pain, and confusion feel painfully honest.

One of the things that makes the memoir so effective is that Milligan clearly cares about people. He is very blunt about officers and the military system, but at the same time he writes with real affection for the men he served with—gunners, drivers, cooks, runners. These were ordinary people who went through terrible experiences together and still found ways to laugh. Milligan never turns them into stock characters from a war story. They matter because they are ordinary.

This book is important for many reasons. It is about history, but it is also about the human mind. At the time Milligan was writing, people did not openly talk about what we now call combat stress. He writes about the psychological effects of soldiering with remarkable honesty. If you know what later happened to Milligan and others like him, parts of the book read very differently. The humour does not feel like a way of avoiding reality; it feels like a warning signal that something is wrong. The jokes act as a survival mechanism, a way to stop everything from becoming unbearable.

Rommel? Gunner Who? is a special book because it tells the truth about war without dressing it up. Milligan does not try to make war meaningful or glorious. He simply shows it as it was lived. Some readers may not like it because it does not focus on maps, tactics, or detailed battle plans. But for anyone who wants to understand what it was actually like to be there, this book is invaluable.

It will be most appreciated by readers who enjoy sharp comedy, personal storytelling rather than formal history, and writing that captures anxiety, boredom, and absurdity as much as danger. Rather than celebrating war, Milligan shows how soldiers endured it, laughed at it, and were permanently affected by it. In doing so, he wrote not just a comedy memoir, but one of the most honest and moving personal accounts of the Second World War.

If you haven’t already gathered I “really like” this one!

Rating: 5 out of 5.

League of Ancients Melbourne 14 December 2025

Went to the “League” today to drop off some figures that I had sold on Facebook and to catch up with some guys I hadn’t seen for a while. A variety of Games were being played – predominately 15mm.

28mm Saga

15mm Glory is Fleeting

15mm Glory is Fleeting

15mm Glory is Fleeting

15mm Chain of Command

15mm What a Tanker

28mm Hail Caesar

15mm L’Art de la guerre

15mm L’Art de la guerre

28mm Bolt Action

15mm Strength an Honour “Zama”

15mm Command and Colours “Zama”

There was also a game of “Don’t Mind the Bill Hooks” going on, but they had packed up before I had a chance to take a photo.

If you haven’t been it is well worth a visit. The Caulfield RSL venue is spacious, atmospheric, and has great food and bar.

AI and its impact on the development of wargaming rules.

This has greatly influenced wargaming rules design since a designer can now test an idea fast and confidently. AI does a faster analysis of rules compared to traditional play testing. Indeed, flawed mechanics, dominant strategies, and surprising results can easily be recognized in the earliest stages of design. The change now compels game designers to put across rules that are more flexible in nature, reflecting uncertainty, morale, fatigue, and command challenges.

AI has really changed the way we’d abstract complex history down to a game. The intelligence reveals to the designers which factors in a given scenario most drive the outcomes, helping them focus on decision-making, team play, and endurance without blurring the message with too much technical detail. For that reason, many modern rules reward good judgement and timing more than raw power or optimization.

Examples include advances in the field of AI, improving enemy behaviour to be more realistic and adaptable. Instead of rigid sets of rules, games nowadays utilize systems that dynamically change according to player actions, thus making the game easier to manage. This enhances the solo experience without calling for any complicated record-keeping.

Overall, AI’s impact on the design of wargaming rules is to enhance clarity and speed of development rather than to replace designers-at least, not yet. When used effectively, AI helps create stronger rules clearer in purpose and more realistic for human conflicts. And if you believe all that, then I’m a wise little Guru!

I wanted to try out how AI designed a simple game. So Hi Ho, Hi Ho is onto Chatgpt we go.

This is what I typed in”

“Design a simple one page set of rules for cavemen fighting a Woolly Mammoth. Needs to require little resources- just some cavemen and one mammoth plus a small amount of terrain on a 300mm X 300mm table. Design like a standard QRS style.”

Here is what it came up with:

I have no changes here except to turn the information into three columns.

I also have two more sets of rules which are similar in genre: “Tusk” and “Prehistoric Settlement”. Here is my quick comparison:

Mammoth Hunt, Tusk, and Prehistoric Settlement are all prehistoric-themed; however, each has a rather different style of play. Mammoth Hunt is a fast, one-play game wherein a small group of cavemen are trying to hunt one dangerous mammoth. The rules are very simple: few statistics, a behavior table to make the mammoth unpredictable instead of a balanced enemy. It is fast and tense-a great deal of lethality can be involved, and not all hunters may survive.

Tusk is a campaign-based skirmish game featuring various tribes, characters, equipment, and creatures. It is more structured and forgiving than Mammoth Hunt, allowing the players to befriend their figures and develop ongoing stories across multiple games. Combat in the game focuses on the player’s tactics and not on chaos.

Prehistoric Settlement is less about fighting and more about surviving and prospering. It’s all about resources and population, and making choices that will have consequences far down the line. The action unfolds not in pulse-pounding single takedowns but incrementally as a society comes to terms with its environment.

Mammoth Hunt is ideal for quick, portable, high-risk games; Tusk caters to players interested in character-centric storytelling; Prehistoric Settlement-for when strategy and long-term survival appeal more than combat.

Hmmmm. Adds fuel for thought doesn’t it?

I also asked Chatgpt to simulate a play test of the rules and here is what it came up with:

A standard test setup uses six cavemen against one mammoth on a 300mm square table with five small terrain pieces. The cavemen deploy on one edge, the mammoth in the centre. On turn one, most cavemen will move and attempt either harassment or spear throws. With six cavemen, you can expect two to three successful harass or spear results on average. This usually produces one or two wounds on the mammoth and often triggers agitation. At this stage the cavemen feel fragile but active, which is correct.

During the first mammoth phase, the behaviour table immediately creates pressure. Rampage and Trample results occur two-thirds of the time, meaning the mammoth is usually moving aggressively and threatening multiple cavemen. Automatic hits followed by a 3+ kill roll mean cavemen die quickly. In most test runs, one or two cavemen are killed by the end of turn one. This reliably creates tension without immediately ending the game.

By turn two, the core loop is clear and functional. Cavemen are forced to choose between attacking for wounds or harassing to control behaviour. If they focus purely on attacking, the mammoth remains unpredictable and kills hunters rapidly. If they coordinate harassment, they gain short windows of improved effectiveness but still suffer losses. This trade-off works and requires no additional rules explanation.

Morale triggers at the right frequency. Losing two cavemen in one turn happens regularly but not automatically. The morale roll introduces a real chance of sudden failure, which matches the theme of a fragile hunting band. Importantly, morale does not trigger too often; most games reach at least turn three unless the players are reckless.

Across multiple simulated games, outcomes are consistent. With six cavemen, the mammoth is killed in roughly one third of games. With eight cavemen, success rises to about half. With five cavemen, success is rare. Average game length is four to six turns, comfortably within a 20–30 minute play time. This indicates the wound count, hit chances, and kill rolls are broadly balanced for a one-off scenario.

No rule contradictions or dead moments appear during testing. There are no phases where players have nothing meaningful to do, and the mammoth always acts. The behaviour table produces enough variation to prevent repetition without requiring extra bookkeeping. Terrain rules are simple and are remembered in play without reference.

The only minor friction identified is that thrown spears are very strong early and irrelevant later, but this is historically and thematically appropriate and does not break the game. If desired, limiting spear throws to half the cavemen rather than all would slightly extend average game length, but this is optional.

Overall, the rules function as intended. They produce fast, tense games with high lethality, clear player choices, and minimal overhead. No essential rules changes are required for the stated design goal of a simple, QRS-style mammoth hunt.

This is a powerful tool if you are designing your own game.

Buildings for the Africa Corpse (2)

The second in this series. This time a small dome structure.

Yo can see the partially opened door,

Catch up tomorrow. Not sure what will be on the menu as a couple of books arrived on the “Queensland Frontier War” for me to review. One on the Battle of One Tree Hill where the settlers were decisively defeated a by Frank Kerkhove and Frank Uhr, and the second also by Kerkhove on “How They Fought” which looks extremely interesting. Un fortunately these will be a new year review.

A very busy day.

Just a quick post today as I have been busy cat wrangling, gardening, preparing “toys” for sale, and getting a book launched on Amazon

The book is currently available on kindle and shortly in both paperback and hard cover. This is the publishers blurb, but don’t believe a word of it!

Threads of Liberty — The Women Who Stitched TogetherAustralian Democracy rewrites the story of the Eureka Stockade from the ground up, revealing a chapter of Australian history that traditional accounts have overlooked. Although the Eureka Flag has become one of the nation’s most powerful symbols of justice and resistance, its creators — three remarkable women — slipped from the historical record for more than 150 years.

Drawing on archival evidence, textile analysis, oral testimony and recent scholarship, this book shows how Anastasia Withers, Anne Duke and Anastasia Hayes transformed domestic skill into political action. Stitch by stitch, they produced the banner under which miners swore their legendary oath — not in safety, but in danger, exhaustion and secrecy. The rebellion that followed has long been understood as a male turning point in the democratic movement; this book proves it was a communal one.

Threads of Liberty offers a groundbreaking interpretation of Eureka as a story not just of armed resistance, but of families, households and women whose labour made democracy possible. It reclaims their courage, restores their legacy and expands our understanding of what — and who — forged Australian identity.

The book has been a labor of love over a long period of time and the Authors note sums up my thoughts:

This volume gathers together a collection of essays written over many years, each shaped by its own moment, its own concerns, and my own evolving understanding of Eureka. I have chosen—deliberately—to present each essay in its complete form, preserving its original voice, perspective, and scholarly apparatus. Each stands alone, with its own footnotes and bibliography, because each represents a distinct stage in my engagement with this history. You may notice certain themes, arguments, or insights recur across chapters; this has been left intentionally. These recurrences mark the development of my thinking and serve to reinforce the central motifs that have drawn me repeatedly back to Eureka and to the people who lived it.

The essay titles have been adjusted to create a more coherent chapter structure, yet the substance of each piece remains unchanged. This approach allows the collection to function simultaneously as a unified work and as a record of sustained reflection—a chronicle of my long-standing, and at times deeply personal, devotion to understanding the rebellion and its legacy. My hope is that this format offers readers not only historical insight but also an authentic sense of an intellectual journey, one shaped by genuine passion, gradual discovery, and a persistent desire to confront the gaps and silences in the traditional narrative.

Part of that passion stems from a strong family connection to Eureka—intriguingly, from both inside and outside the stockade. On one side of the family stands Anne Duke, a figure of whom we are immensely proud. Her story is not myth or embellishment; it is documented, verifiable, and deeply moving. Anne Duke was heavily pregnant at the time of the uprising, yet she remained within the stockade as the attack unfolded. She was not a passive observer of events but an active participant, providing vital care, comfort, and solidarity amidst the smoke, chaos, and violence. Her presence on the frontline challenges the simplistic notion of Eureka as an exclusively masculine act of rebellion. Her courage exemplifies the often-unacknowledged female labour that sustained the miners at their most desperate hour. She is a cornerstone of my family’s story and a living testament to the essential, feminist re-reading of Eureka that has long been overdue.

On another branch of the family tree lies a far more shadowed and uncertain tale—a piece of folklore that whispers of a police constable who may have served with the government forces during the assault. The story claims that he was so ashamed by the brutality of the attack on the miners that he resigned from the Victoria Police shortly after Eureka and moved to South Australia, where he reportedly joined the police force there. Historical records confirm the existence of a constable in the South Australian Police with the same second and third initials, serving in Port Adelaide and North Adelaide. Yet nothing definitively connects these two men, and the gaps in the archival record are too wide to bridge with certainty.

It is entirely possible that this tale is a family reimagining, created to soften or redeem an uncomfortable truth. Like many family stories, it may contain a kernel of truth wrapped in layers of hopeful embellishment. The circumstantial details align suggestively, but the evidence remains elusive—insufficient to prove, yet equally insufficient to dismiss. The story sits in a liminal space between historical possibility and inherited mythology.

From a personal perspective, I find myself strangely drawn to the idea that members of my family may have stood on both sides of that rough timber barricade in the early dawn of 3 December 1854. There is something profoundly human in the possibility: the complexity of loyalty, the clash of ideals, the ambiguity that history rarely acknowledges. Whether or not the constable truly belongs to my lineage, the idea enriches my sense of connection to Eureka. It places my family within the full moral spectrum of the event—courage and compassion on one side, duty and remorse on the other. It also reminds me that history is rarely neat, rarely easy, and never entirely free of personal longing.

I cannot confirm the story, but I cannot relinquish it either. It speaks to a deeper truth about why Eureka has always mattered so much to me: it is not simply an episode of political dissent, but a profoundly human drama in which ordinary people—miners, mothers, troopers, workers, families—confronted fear, injustice, hope, and consequence. In exploring their stories, I am in some way also exploring my own.

It is in this spirit that I offer the pages that follow. I hope they illuminate not only the history of Eureka, but the enduring, personal ways in which that history continues to shape identity, memory, and meaning.


Some new figures assembled and undercoated!

Finally so “real” hobby stuff started! These are a combination of sprues and blister packs on the painting table I thought would not be too taxing.

Two German WW2 offices I will use for 0200 hrs,

4 (a sprue) of Wargames Atlantic Partisans.

Some German Konflict Heavy troopers with LMG’s. I needed to get these done as Warlord Games had increased the minimum squad size from 5 to 6 between version 1 and version 2. Codex creep. Where have I seen that before!

I have already started painting the K47 Germans.