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Tuesday, 11 February 2020

Horn function in Arsinoitherium OR... the ArSUMOitherium Hypothesis™

Hello, 2017 painting of sheathed-horn Arsinoitherium zitteli. Time to see if we can figure out what those horns were for, other than looking regal in artwork.
Recently, I was in the Teylers Museum, Haarlem, for the opening of their sensational palaeoart-themed Dinomakers exhibit*, where a fine cast of the skull of the Palaeogene Afro-Arabian embrithopod Arsinoitherium zitteli is perched in the main fossil gallery. Arsinoitherium is a pretty darn fascinating mammal that we're all familiar with, yet we rarely give exclusive focus too. I assume this reflects its scientific vintage. Arsinoitherium was discovered well over a century ago and is now featured in so many books and museums that it's part of the popular palaeo furniture. Its size, fantastic cranial horns and status as the last of the embrithopods make it a remarkable and charismatic fossil species, but it just doesn't seem to be cutting it with the kids.

*If you're a regular reader and are in the Netherlands before June, you really want to check this out. It has heaps of original palaeoartworks, including many by classic artists - Hawkins, Knight, Burian, and some exceptional modern work from the Kennis brothers. I have stuff there too.

Today, Arsinoitherium is mostly discussed by palaeontologists documenting new Palaeogene faunas in Eocene-Oligocene sites of Africa and the Arabian Peninsula, but several fascinating behavioural and ecological revelations about this sometimes controversial mammal have also been published in recent years. It's increasingly apparent, for instance, that Arsinoitherium was anatomically conservative, the oldest members of the lineage being little different, morphologically speaking, to the youngest. Despite this, it was a very long-lived and widespread genus which must have been highly adaptable to demonstrate sustain such a broad geographic and stratigraphic range (Jacobs et al. 2005). It evidently lived in a range of habitats, the most surprising of which are upland regions well away from the coastlines and estuaries thought to be traditionally Arsinoitherium country (Kappelman et al. 2003). This adaptability occurs despite the unusual multifunctional dentition of Arsinoitherium being adapted to specialised browsing (Court 1992): perhaps it was more of a generalist than we realised.

More specific insights into Arsinoitherium palaeobiology have been proposed too. Studies of their ear anatomy, principally for their phylogenetic signature, have found adaptations to hear infrasound in the same manner as modern elephants (Benoit et al. 2013), and a compelling case is being built against the popular idea that Arsinoitherium was a hippo-like semi-aquatic animal. This proposal was founded on both functional and taphonomic grounds (e.g. Court 1993) but a suite of opposing data, including tooth wear, occurrences in relatively dry palaeoenvironments, the presence of graviportal limbs and details of bone chemistry, are now pointing to more terrestrial habits (e.g. Clementz et al. 2008; Sanders et al. 2010). Revisions to Arsinoitherium taxonomy are also shedding insights on behaviour. Two Arsinoitherium species are now recognised - the well known A. zitteli and the larger, relatively longer-legged A. giganteum - and prior taxonomic distinctions accounting for a third species are now interpreted as evidence of probable exaggerated sexual dimorphism in A. zitteli (Sanders et al. 2004, 2010). Behind the scenes, we're building a developed picture of what Arsinoitherium was like as a real animal, and not just a long-standing museum fixture.

Image result for arsinoitherium knight
One of my favourite images of Arsinoitherium is this 1907 piece by Charles Knight, published in Osborn (1907). Despite that awesome headgear, Arsinoitherium isn't often illustrated doing much else than standing around, so it's nice to see it having something to do. Hat-tip to Chris Manias for posting this image and making me aware of it.
But one aspect of Arsinoitherium palaeobiology that does not seem to have been discussed at length is horn function. Long-term readers may recall that this is not the first time I've mentioned these structures, as the life appearance of Arsinoitherium horns was the exclusive subject of a 2017 blog post. The take-home of that article is that we artists have probably been incorrect in generally restoring Arsinoitherium horns with facial skin. Rather, their horn surface texture, structure and growth mechanic is consistent with a bovid-like horny sheath. This is not a new idea, with sheathed horns being proposed by several authors (e.g. Andrews 1906; Sanders et al. 2010), but contradicted by others (e.g. Prothero and Schoch 2002; Rose 2006).

Assessing life appearance already tells us something about horn function as a covering of tough, insert tissue has some major biomechanical implications. Arsinoitherium horn cores are deceptively delicate on account of their hollow construction. Despite the skulls of these animals reaching over 80 cm long and their owners attaining masses of around two tonnes (Sanders et al. 2010), Arsinoitherium horn cores were constructed from bones just 5-10 mm thick. Without additional protection, such delicacy might prohibit antagonistic use and a more passive function would seem likely, such as visual communication or acoustic augmentation (sensu Benoit et al. 2013). But modern species show that a horny sheath over a hollow horn core creates an amazingly strong, impact-absorbing and bending resistant organ that can be used to bludgeon, wrestle and lance other animals or to forcefully modify the surrounding environment. The physics of this is pretty simple: the hollow bone core provides great bending resistance and reduces weight, while the horny sheath absorbs and dissipates shocks and impacts (Drake et al. 2016). We've seen this exact configuration evolving time and again across Tetrapoda, and its presence in Embrithopoda shouldn't be viewed as weird or improbable.

Partly restored left horn of the Teylers' Arsinoitherium zittelli skull showing the characteristic epidermal correlates (numerous oblique foramina and anastomosing blood vessels) for a bovid-like horn sheath. These horns are identical in texture to what you might see under a cow horn.
But while the horns themselves look formidable enough, their use would be limited without a substantial neck to support and wield the head. It's for this reason that I was pleased to see the Teylers' skull without any pesky postcrania obscuring details of its posterior face. The rearward aspects of animal skulls are often overlooked in favour of more spectacular anatomy but, if you're seriously interested in the functional morphology of fossil animal crania, you need to look at the occiput and other aspects of the posterior skull surface to assess the head/neck soft-tissues. These regions reveal much about neck muscle size and distribution, as well as something of head mobility via the shape of the occipital condyle. Even at a glance, you can often say something intelligent about how animals were wielding their heads by looking at the posterior skull.

I was thus greatly interested to see that the Teylers' posterior Arsinoitherium skull bore several features unfamiliar to me from other large animals. Here's what you can see of the back the skull as it stands in the Teylers gallery. I think there's some reconstruction in places but the skull of Arsinoitherium is completely known from several specimens, and any sculpting seems to be a faithful recreation of real anatomy.

Posterior view of the Teylers Museum Arinoitherium zitteli skull cast, as seen in January 2020.
And here's the same thing, more or less, as illustrated by Andrews (1906):

Image from Andrews (1906, courtesy Wikimedia), public domain.
The exciting parts here are not the unsurprisingly robust nature of the skull-neck junction or the general indications of expansive neck musculature. Nor even is it the substantially-sized occipital condyle that is almost as wide as the skull itself, and has a shape seemingly permitting more dorsoventral motion than lateral (a thought posited previously by Andrews, 1906). Rather, the interesting aspect is the unusual configuration of the bones surrounding the occipital condyle. Most animals, even species with large, heavy heads, have relatively flat occipital faces, but the medial dorsal region of the Arsinoitherium occiput is deeply recessed between two large protuberances which extend posteriorly almost as far as the occipital condyle. The dished medial region extends forward quite some way, projecting far over the braincase to form a deep depression in the skull roof (below). The neighbouring protuberances are prominent, posteriorly-directed outgrowths of the dorsal occipital margin (the superior nuchal line) which curve somewhat towards the skull midline, and are supported below by thick bony buttresses. I've looked for similar anatomy in a number of other large mammal skulls and, while my research isn't exhaustive enough to claim Arsinoitherium has an entirely unique posterior skull configuration, I'm happy to declare it unusual.

Dorsolateral view of the Arsinoiherium zittelli occiput, showing the large basin formed by the dorsal region and the two neighbouring projections. Note the complex surface and texturing, indicating scars and attachment sites of neck musculature.
Since seeing this, I've been wondering what it tells us about how Arsinoitherium neck tissues were arranged and what that might mean for horn function. I decided that a good place to start was a stab at reconstructing the muscles of the occipital region, which you can see below. A word of caution about this image: this is not a watertight study of Arsinoitherium specimens based on days and days of work, but more an attempt to get a basic understanding of what that peculiar anatomy represents if we assume conventional mammal occiput myology. I like to think it's not total garbage, but don't treat it as gospel either. I included the classic Gray's Anatomy human occiput illustration in there, scaled to the size of an average human adult (≈ 30 mm wide foramen magnum, apparently), to ram home how large the skulls of Arsinoitherium are.

My attempt to figure out what's going on at the back end of the Arsinoitherium skull. Skull outline after Andrews (1906), with some minor modification (including removal of the restored horn tips). That's an 'average' human occiput on the right, taken from Wikipedia (public domain). Does anyone else feel weirdly inadequate when looking at this image? I mean, I know it's not all about size and all, but still...
If my noodling on this is correct, then dorsomedically-anchoring muscles typically involved with elevating the neck (e.g. Semispinalis capitis, Trapezius) are now anchored partially on the skull dorsal surface, with the anteriormost located some distance forward of the occipital condyle. Such a configuration surely means that their contraction would not only elevate the neck (as expected) but also tip the head upwards to an unusual extent, and the increased distance between the occipital condyle and these muscles signifies a longer lever arm, and thus greater torque, on the head-neck joint. The lateral protuberances aren't quite in the right place for neck elevators however, and I initially wondered they were something to do with jaw musculature. Expanded temporalis muscles often create extended crests at the back of animal skulls but this is not the case in Arsinoitherium, where the temporal muscle housing clearly terminates well anterior to the occipital face. It seems more likely that these protuberances are something to do with laterally-placed skull-neck muscles - perhaps a set of considerably expanded obliquus capitis superior. These are muscles which run between the atlas (the first neck vertebra, a structure which is also huge in Arsinotherium) and the posterior skull to deliver fine control to head elevation and lateral rotation. But because the protuberances have migrated to somewhat overhang the atlas vertebra, the vertical action of these muscles was likely enhanced relative to other mammals. As with the muscles of the dished medial occipital region, this realignment of the oliquus capitis superior would likely see the head pitching up during contraction. Further large muscles are indicated by the broad mastoid and jugular processes, regions which anchor muscles that variably elevate, rotate and laterally flex the head and neck.

All being equal, it seems that the posterior Arsinoitherium skull wasn't just about supporting the head with a series of big, powerful muscles, but also specifically configured to enhance the extension of the craniocervical joint - in other words, to forcibly swinging the head upwards relative to the neck. Much of the rearrangement of the posterior skull seems to be geared towards this, both in terms of expanding muscle attachment area and also reorienting muscle vectors to better serve vertical head motion. This, of course, also fits well with observations that the occipital condyle is structured to facilitate more dorsoventral movement than lateral. I suspect we do not see an equivalent configuration in other mammal skulls because most heavy-headed mammals also possess expanded head-neck muscles anchored to withers (tall vertebral spines of the shoulder region). This configuration allows them to lift their heads and necks around using drawbridge-like actions whereas Arsinoitherium, which lacked significant withers (Andrews 1906), probably had to rely more on muscles localised around neck vertebrae to support and move its head.

Skull variation in Arsinoitherium, as figured in my previous blog post on Arsinoitherium. Note the changing posterior shape from the smallest to the largest skull.
What might all this mean for horn function? It goes without saying that enhanced adaptations for swinging a skull upwards could have a lot of functional implications when that skull is covered in horns. It seems reasonable to assume that Arsinoitherium could use this for a number of practical purposes, such as taking forceful swipes at predators or using its headgear to knock over trees and other vegetation to access certain food sources. However, it's noteworthy that the only the biggest (potentially male?) Arsinoitherium that have the most developed version of the complex occiput morphology outlined here (see image above), suggesting that enhanced head and horn motion was of principal use for big, mature animals concerned with territories, mates and other resource competition. Might this indicate that intraspecific combat, such as horn-locked wrestling matches with rival individuals, was an adaptive pressure here? I'm not aware of tests to see how well Arsinoitherium horns interlocked (as has been done for horned dinosaurs - see Farke 2004) but they certainly look like they'd slot between each other in a way that would allow for intraspecific wrestling, and powerful neck and head elevators would be useful to shove and unbalance opponents, deliver pointed jabs and parry incoming blows. If Arsinoitherium sheathed horns were as strong as those of modern mammals I suspect they could easily withstand the strain of such bouts, and their wide occipital condyle and cervical series would do well to resist the torsion incurred by wrestling activity. Of further significance is that Court (1993) noted that the limbs of Arsinoitherium were adapted for forceful retraction, a feature he assumed was useful for swimming. But a terrestrially wrestling Arsinoitherium would find that useful too, as powerful limb actions would push the body forward against a rival. I'm not sure these retractors would indicate running and charging behaviours however because, even with strong limb muscles, Arsinoitherium has stumpy distal bones ill-suited to rapid locomotion. In my mind, I'm visualising this hypothesis as four-horned sumo wrestling over jousting or fencing.

The idea of Arsinoitherium using its horns aggressively is not, of course, a radical or special insight - any three-year-old could make the same suggestion based on the observation that sharp, pointy bits of animals tend to be used in such ways. But I think it's neat that there might be an overlooked functional signature of this behaviour in the predicted tissues and structure of the horns as well as the morphology of the posterior skull, and suggest this might warrant further research. It seems to fit multiple aspects of Arsinoitherium functional morphology and chimes well with behaviour in large living herbivorous mammals: it's actually difficult to think of large mammals with substantial horns or tusks that don't use them for intraspecific fights. It'd be cool to see this investigated further, but that's beyond the scope of this article. For now, I'll leave you with my artistic take on what's clearly got to be called the Arsumoitherium Hypothesis - with a name like that, this idea has to be correct, right?

Two Arsinoitherium zitteli engaged in a wrestling bout - does antagonistic behaviour explain those powerful head extensors? Those neck humps aren't muscle, by the way, but rhino-like pads of neck tissue. Also, has anyone else rendered Arsinoitherium in this way? I can't find any other examples, but also refuse to believe that no-one has illustrated something similar since Arsinoitherium was described in 1903.

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References

  • Andrews, C. W. (1906). A descriptive catalogue of the Tertiary Vertebrata of the Fayum. Publ. Brit. Mus. Nat. Hist. Land. XXXVII.
  • Benoit, J., Merigeaud, S., & Tabuce, R. (2013). Homoplasy in the ear region of Tethytheria and the systematic position of Embrithopoda (Mammalia, Afrotheria). Geobios, 46(5), 357-370.
  • Clementz, M. T., Holroyd, P. A., & Koch, P. L. (2008). Identifying aquatic habits of herbivorous mammals through stable isotope analysis. Palaios, 23(9), 574-585.
  • Court, N. (1992). A unique form of dental bilophodonty and a functional interpretation of peculiarities in the masticatory system of Arsinoitherium (Mammalia, Embrithopoda). Historical Biology, 6(2), 91-111.
  • Court, N. (1993). Morphology and functional anatomy of the postcranial skeleton in Arsinoitherium (Mammalia, Embrithopoda). Palaeontographica Abhandlungen A, 226, 125-169.
  • Drake, A., Donahue, T. L. H., Stansloski, M., Fox, K., Wheatley, B. B., & Donahue, S. W. (2016). Horn and horn core trabecular bone of bighorn sheep rams absorbs impact energy and reduces brain cavity accelerations during high impact ramming of the skull. Acta Biomaterialia, 44, 41-50.
  • Farke, A. A. (2004). Horn use in Triceratops (Dinosauria: Ceratopsidae): testing behavioral hypotheses using scale models. Palaeontologia Electronica, 7(1), 10p.
  • Jacobs, B. F., Tabor, N., Feseha, M., Pan, A., Kappelman, J., Rasmussen, T., ... & Massini, J. L. G. (2005). Oligocene terrestrial strata of northwestern Ethiopia: a preliminary report on paleoenvironments and paleontology. Palaeontologia electronica [electronic resource]. Vol. 8, no. 1 (2005): 19 p.
  • Kappelman, J., Rasmussen, D. T., Sanders, W. J., Feseha, M., Bown, T., Copeland, P., ... & Jacobs, B. (2003). Oligocene mammals from Ethiopia and faunal exchange between Afro-Arabia and Eurasia. Nature, 426(6966), 549-552.
  • Osborn, H. F. (1907). Hunting the Ancestral Elephant in the Fayûm Desert: Discoveries of the Recent African Expeditions of the American Museum of Natural History. Century Company, October 1907, 815-835.
  • Prothero, D. R., & Schoch, R. M. (2002). Horns, tusks, and flippers: the evolution of hoofed mammals. JHU Press.
  • Rose, K. D. (2006). The beginning of the age of mammals. JHU Press.
  • Sanders, W. J., Kappelman, J., & Rasmussen, D. T. (2004). New large-bodied mammals from the late Oligocene site of Chilga, Ethiopia. Acta Palaeontologica Polonica, 49(3), 365-392.
  • Sanders, W.J., Rasmussen, D.T., & Kappelman, J. (2010). Embrithopoda. In: Werdelin, L., Sanders, W.J. (Eds.), Cenozoic mammals of Africa. The University of California Press, Berkeley, Los Angeles, London, pp. 115–122.

Friday, 17 January 2020

Recreating Prehistoric Animals in Art: a new palaeoart short course for March 2020


Here's some pleasant news for the start of 2020: it's time to announce that I'm running a palaeaort short course in association with the University of Portsmouth: Recreating Prehistoric Animals in Art. That's right: a three-day intensive series of lectures, workshops and seminars all devoted to reconstructing fossil animals in art. What's more, it's happening soon: the 4th-6th of March, 2020*. It's time to get excited and book your place if you'd like to come along.

*Yes, this is a short notice announcement - factors beyond our control have meant we've only just recently been able to sell places on the course, hence this 11th-hour post.

The idea for this course came about after writing The Palaeoartist's Handbook. Palaeoart, the artistic process of reconstructing extinct organisms and landscapes using a combination of geological and biological data, is such a deep and complex discipline with its long, rich history, array of conventional techniques and practises, and varied philosophies and approaches, that it's surprising we don't already have courses of this type all over the globe. As regular readers will know, palaeoartworks are not created by merely draping skin over the bones of fossil animals but through a long and detailed restoration process and the application of specialist knowledge. Recreating Prehistoric Animals in Art will be an introduction to all these topics, packing our three days with information, discussion, and practical exercises to help us understand all that goes into rebuilding ancient worlds and species. Over six lectures, one seminar, and five practical sessions, we will cover:

1. An introduction to palaeoart theory
What are the limits and achievable goals of palaeoart? Do all depictions of extinct organisms or fossils qualify as palaeoartworks?
2. Palaeoart history
The evolution of palaeoart from pre-scientific ages to the modern-day
3. Reconstruction principles
Core palaeoart methodologies and essential research skills
4. Reconstructing animal anatomy
Including skeletons, musculature, fatty tissues, skin, facial organs, colour, and tissue depth
5. Reconstruction case studies
Group discussion of life appearance of select fossil groups, including key controversies and debates
6. Restoring ancient landscapes
Using geological data to place reconstructed subjects in appropriate settings
7. Restoring the behaviour of extinct organisms
How fossil data and modern animals can guide choices of animal pose, behaviour and attitude
8. The art in ‘palaeoart’ - composition and style
The interface of art and science: what do decisions of style, composition and colour say about our hypotheses of extinct animal appearance and demeanour?

Some of the skulls we'll be using in the course, from my personal collection. I won't be bringing the Star Trek models on the middle right, though. My wife would ground me if I tried to play with them.
What makes this course different to, say, reading about palaeoart in a book or online, is that we'll be working as much as possible with modern and fossil specimens (both real and replica) to augment our learning about the science behind palaeoart. We'll be learning how to interpret imperfect or incomplete fossils and turn them into convincing-looking restorations; how to identify key muscle attachment sites on skeletons; how to reliably interpret function - and thus movement and behaviour - from bone proportions and shape; and checking out epidermal correlates of living animals to identify them in their extinct relatives. I'm designing the course to be as hands-on as possible rather than simply three days of talking.

While I'll be running the course for the majority of the time, we'll have a couple of hours set aside so that students can decide what topics we cover. This will be a great chance to thrash out some of those major palaeoart controversies, such as debates over anatomy, philosophical questions like "how speculative is too speculative?", or to simply work through some difficult reconstruction questions for weirdo groups.

The azhdarchid pterosaur Hatzegopteryx, and use of the phrase 'weirdo groups'. I draw no links between these, but leave you to draw your own conclusions.
It's also worth stressing is that, while artists will obviously get a lot out of this course, non-artists and palaeo enthusiasts should also find a lot to enjoy. Most palaeoart theory concerns interpreting and understanding fossils and anatomy, so folks who are interested in learning about extinct animals, and how we are able to reconstruct them, are welcome too. There are a few times when students will be asked to pick up paper and pencils but we should be working in an informal, fun setting where artistic ability is secondary to learning. Nor will I be expecting everyone on the course to be fluent in scientific jargon and an expert on fossil animals. All content will be delivered at the same level as my books and blog posts, and it will be absolutely fine to stop, backtrack and make sure we're all on the same page when needed. So long as you have an interest and basic understanding of natural history, you'll be fine.

Where, when, and how much?

We'll be running Recreating Prehistoric Animals in Art entirely from the University of Portsmouth, which has its campus located close to Portsmouth's high street and major train station. If you've never visited before, Portsmouth is a small city located centrally on the UK's south coast. The city has a long and rich history (with particularly significant military and literary aspects) and its coastal walks offer some very pleasant views across the Solent and Langston Harbour.

Portsmouth and the Solent from the air. The sun always shines here, and it never rains. Photograph © University of Portsmouth.
A number of sites around Portsmouth will be of interest to visiting palaeoartists too. Langstone Harbour and Farlington Marshes are both rich in waterfowl and wading birds, and are great for viewing and sketching modern dinosaurs from life. The excellent Marwell Zoo is just a 40-minute drive (or accessible via train and a short bus ride) and offers additional animal viewing and sketching opportunities. Further afield, the fossil-rich Isle of Wight is just a 10-minute hovercraft ride away, and the island's trains will expedite you (in a rattly, hold-on-to-you-butts sort of fashion) to the famous dinosaur-bearing sedimentary rocks of Yaverland and the associated museum, Dinosaur Isle, in under 30 minutes. The island has many more fossiliferous outcrops and some terrific scenery, all of which can be accessed via buses. The awesome, scenic and richly fossiliferous Jurassic Coast of Dorset is commutable from Portsmouth with a c. two-hour travel time, and the Crystal Palace Dinosaurs - historically important Victorian-age reconstructions of dinosaurs and other prehistoric animals likely very familiar to readers of this blog - are a similar distance away in southeast London. The fantastic natural history museums of London and Oxford are also easily reached from Portsmouth. The course dates conveniently back up to a weekend so there are options for some palaeo-filled days in and around Portsmouth after the course. Heck, I might even be persuaded to visit some of these places myself, if collective interest was sufficient.

The three-course days run Wednesday - Friday, 4th-6th of March, 2020. These days are pretty full with a provisional schedule running from 9:00 on the first day and 9:30 thereafter, with finishes around 17:00 each day. In short, please plan on being in Portsmouth for three full days if you want to experience the full course.

Of course, we need to talk about money. We've managed to whittle the Recreating Prehistoric Animals in Art fee down to £200 for the three days, or £160 if you're a full-time student of any institution. This is at the lower end of pricing for specialist short courses as many are well over £1000. The low cost means that we are not able to cover accommodation or meals (other than some obligatory tea, coffee and biscuits, which are palaeoart essentials) but Portsmouth is full of hotels, restaurants and bed and breakfasts catering to a range of bank balances, and we figure that gives attendees options to budget accordingly. Our venue is also five minutes away from Portsmouth and Southsea train station, making commuting an option for folks living close by.

How to book

And that, my friends, is Recreating Prehistoric Animals in Art in a nutshell. I'm really looking forward to our first stab at this and am thrilled to see people are already signing up - I look forward to seeing you in March. The aim to run Recreating Prehistoric Animals in Art annually and develop a distance learning option eventually, but I stress that these are success-dependent. What I'm saying is that, if this sounds like it is of interest, I encourage you to come along in case it never happens again!

My take on Paraceratherium musculature, based on Greg Paul's skeletal. Learning about the relationship between skeletons and muscles will be a big part of day 2.
This brings us neatly to the most final, and most important point: if you want to book a place on Recreating Prehistoric Animals in Art, you can purchase your place using the University of Portsmouth online store. I really hope to see some of you in Portsmouth in early March!

Friday, 6 December 2019

Interview with Abby Howard, author and artist of the Earth Before Us series

Following on from last months' review of Luis Rey's Extreme Dinosaurs Part 2, this month we're spotlighting another palaeoart-heavy book - or rather, books - by comic author and illustrator Abby Howard: the Earth Before Us series. This trilogy of educational graphic novels has been published over the last three years, beginning with the Mesozoic-focused Dinosaur Empire! in 2017, then the Palaeozoic Ocean Renegades! in 2018, and finally the Cenozoic Mammal Takeover! earlier this year. It's no exaggeration to say that I can't think of enough nice things to say about these books: they are genuinely some of the best child-focused palaeo outreach I've ever seen. I've actually had to buy two copies of all three, as my first set - which was meant as a present for my nephew - didn't quite avoid assimilation into my library. If being moved to steal from children is not a recommendation for Earth Before Us as a Christmas gift, I don't know what is. 

What they're calling "the best trilogy since the original Star Wars films": Abby Howards' Earth Before Us series. Available now from Amulet Books (1st, 2nd and 3rd books) as well as good online book retailers.
To celebrate the completion of the Earth Before Us series a few months ago, I invited Abby for an interview here at the blog, and she has very kindly agreed and furnished me with images to show off the books. Abby's background saw her skirting close to academia with studies into evolutionary biology, but she took a left turn into the world of writing and illustrating comics. Abby has created the ongoing webcomic Junior Scientist Power Hour and The Last Halloween (as well as many more projects - see her online portfolio) and these are well worth your time (I'm still partway through The Last Halloween and mean to finish it soon). But before I hand the reigns of the blog over to her, I want to briefly outline why the Earth Before Us books are so terrific, and why they're a must-buy for any young palaeo fans in your life.

Each of the Earth Before Us books is an affordable (RRP £10.99/$15.99), well-produced hardback with a solid, durable feel, of about 130 pages long*. They feature the time-travelling adventures of two characters, school pupil Ronnie and her palaeontologist friend and mentor, Miss Lernin. Initially inspired to visit the Mesozoic to help pass a class exam on dinosaurs, Miss Lernin and Ronnie then travel to the Palaeozoic after visiting an aquarium (Ronnie is surprised at the antiquity of many invertebrate lineages) and the Cenozoic when Ronnie wants to see how ancient humans dealt with cold. These human plots are really narrative bookends and, instead, the pacing and story developments stem from the evolution of life throughout the Phanerozoic. Journeying rapidly through time and space, our characters visit different organisms and locations so that the books never become boring or repetitive, swapping intimate moments with small critters to double-page spreads packed with gigantic animals. There are no clunky narrative devices to move Miss Lernin and Ronnie around, either. Save for starting their journeys in time by climbing into various bins (of course), they otherwise instantaneously travel to wherever they need or want to be, and without fear of the consequences. It's a smart narrative device that reminds me of the 'Ship of the Imagination' used in the TV series Cosmos, focusing attention on what our protagonists have to say, and the worlds they encounter, rather than tying them to a tedious travelling mechanism. They periodically return to the Learning Centre, a tranquil location equipped with a whiteboard that's periodically visited to explain a major concept of biology or palaeontology, but otherwise Miss Lernin and Ronnie move through time and space with pace and fluidity.

*I learned when finishing this article that paperbacks are now also available, RRP. £6.99/$9.00 

This speed is not to say that Earth Before Us skimps on detail, however - far from it. These books are dense, with heaps of information and depictions of extinct organisms, landscapes and climatic conditions. In the wrong hands, this could be overwhelming, or a barrel full of outdated data and misinformation. Neither fear is realised. Abby is terrific at distilling complex geological, evolutionary and anatomical information to words which are understandable to young people and lay audiences, all without dumbing down or patronising her readers. The interpretations she presents are accurate to modern science, and she takes time to explain why some ideas are superior to others or where gaps lie in our knowledge. The scientific concept is a major success of the books, and teachers, parents, exhibition designers and other authors looking for effective ways to teach natural history should pay close attention to her craft. Topics such as cladistics, extinction events, speciation, natural selection and so on have rarely seemed so graspable, and I can only see these books as a window into a wider world of learning for readers young and old.

Double page spread of Late Cretaceous South America from Dinosaur Empire! - note the swimming birds and fluffy baby Carnotaurus. I really like the sense of scale in these images: the human characters obviously help a lot in this regard, but the use of light and space does a lot of heavy lifting too. © Abby Howard.
As demonstrated by the accompanying images (kindly provided by Abby - many lack their speech bubbles so we can see the art more completely), the artwork in Earth Before Us is superb. Abby's illustrations are wonderfully clear, detailed, and characterful. On more than one occasion I found myself chuckling over the wordless reactions or expressions of the protagonists (see, for example, Miss Lernin's reaction to Ronnie riding a Tyrannosaurus, below). The fossil species are also well-executed, being thoroughly modern (lips and fibres abound on dinosaurs, animals are given generous amounts of soft-tissues etc.) and anatomically accurate enough to be recognisable to their fossil skeletons. The presence of human characters on every page gives a great sense of scale to the animals and, by using both in the animal's expressions and their interactions with Miss Lernin and Ronnie, Abby imbues heaps of character into her extinct subjects. It's clear that Abby sees extinct species as being animals, not monsters, adding another welcome contrast to so much child-focused palaeo content.

There's lots to like about the general tone of the Life Before Us series as well. They celebrate education and learning, and present knowledge and science as tools to solve problems. The arcs of each book involve Ronnie gaining greater knowledge and understanding of not just the past, but natural history and learning in general. Subjects that were once of no interest to her become fascinating, and in one book she's shown imparting her knowledge to others. The books are also not afraid of tackling difficult topics, such as climate change and our current biodiversity crisis. These are addressed in a frank, but also hopeful fashion, which is appropriate for younger audiences. I hope, as the books suggest, that these sections inspire children to ask more of adults as goes taking responsibility for these disasters.

Special attention must also be drawn to the main characters. Palaeontological outreach has a strong bias towards casting white men in prominent roles, and especially white men in wide-brimmed hats and field gear. As explained by Elsa Panciroli in an excellent 2017 article, this stereotyping of palaeontologists goes to the core of our profession. Like many sciences, palaeontology struggles with gender and ethnic diversity, and our lack of varied faces in outreach probably doesn't help this. It's very welcome, therefore, that the Earth Before Us books exclusively features two female protagonists, one of whom is black, and without a cowboy hat or rock hammer in sight. Miss Lernin even wears a dress throughout the second book, showing that you can have extensive knowledge about the history of life without wearing Gore-tex. Also noteworthy is that the books do not question the qualifications or intentions of its main characters either: there's no "but you're a lady?!?" revelation that Miss Lernin is the series' palaeontologist or whatever. The characters are simply allowed to be who they are without second-guessing. It seems strange to feel that this is such a big deal in 2019, but, times being what they are, I am very pleased to see Earth Before Us giving a much-needed injection of cultural, gender and ethnic diversity into mainstream palaeo media.

So, in sum, these are great books. The science and artwork are superb, they're both smart and funny, and they manage to make important points directly (climate change, extinctions) and subtly (gender and ethnic diversity). I can't recommend them highly enough, and even if your kids are a little too young to read them on their own, I think they'd be fantastic to read with them. But that's enough about what I think: let's see what Abby has to say about her work. All artwork shown here stems from Abby herself, and is reproduced with her permission.

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MW. The Earth Before Us books are packed with personality and charm, and were clearly written by someone with a major passion for natural history. How much of your own interests do they reflect? Do you share Miss Lernin's enthusiasm for just about everything that walks, crawls or flies, or did you initially have interests in a few fossil groups, and branched out for this project?

AH: Thank you! I did start each book with favourites in mind, but as I spent more time thinking about and researching the creatures in the series, I came to love almost all of them. The script is basically word for word the way I fawn over wildlife. I'm insufferable at museums and zoos.

It seems that if someone spends enough time researching a plant or animal, it's easy to become enamoured with it, which is fortunate for folks like me who may have started a book series about ancient beasts while not being particularly passionate about things like ancient echinoderms. As it turns out, they were really weird and interesting and fun to draw! I was also not so keen on temnospondyls for some reason, despite now feeling like they have great horror potential. We don't take their modern relatives very seriously, since they're pretty cute and small, but I feel as if amphibians are some of the coldest, least discerning modern predators that'll swallow almost anything that moves near their mouths. It's cute when it's my axolotl trying to swallow my relatively gigantic human fingers, but if it were a 20-foot-long river monster trying to swallow my entire human body... anyway, as a horror fan, once I gave temnospondyls the time of day, they easily became a new favourite.

But there are some beasts that never wound up winning me over, namely trilobites. Don't get me wrong, I'd still cry tears of joy if I saw one in real life, but they're not exactly in my top ten. Or top fifty.

It turns out that lots of extinct animals are surprisingly happy to be petted: here's the proof. Ronnie's responses to certain animals are not always as gushing as Miss Lernin's, but several species - and not always those you'd expect - score very high cute points. I expect Mesozoic crocodyliforms to be every kid's favourite fossil animals after reading these books. Excerpt from Ocean Renegades, © Abby Howard.
You have a background in comics and writing, as well as a huge passion for horror films - where does prehistory fit into this? How often have extinct animals featured in your projects, illustrated or otherwise?

I think these things feed into each other more than one would expect, especially when it comes to worldbuilding and creature design. Knowing how the world came to be is, in my opinion, the best way to know how to build a new one, and that goes for building creatures and monsters, as well. Even if you're creating something humanoid! I'm constantly using my database of weird critters that exist or have existed to make my designs more interesting. Grounding your design in reality, while it may seem counter-intuitive when trying to create something otherworldly, has proven to be really effective for me.

Well, that and looking up gross corpses. Those are my two types of monsters: critters and corpses.
As for examples of how prehistory has bled into my other work, I'm currently working on a book of short horror comics set to be published next year, and one of the stories features a nessie-esque lake monster that's a mashup of an alligator, a marine iguana, and of course, a plesiosaur. The recent research on the body shape of plesiosaurs has, I think, finally made them look more like believable living creatures, and I leaned heavily on their new meaty shape for the silhouette of the monster in the story.

A busy scene from Ocean Renegades. Despite Abby's horror leanings, this is about as 'monsterised' as the Earth Before Us restorations get, which is terrific. We get the sense that these animals are dangerous carnivores, but not that they are ravenous killing machines. © Abby Howard.

Child-orientated palaeo education often seems less concerned with learning and knowledge than simply using dinosaurs as kid-friendly entertainment. The Earth Before Us series, in contrast, is smart and educational while also being entertaining and approachable. Indeed, the content and clarity of your books makes them great for anyone to read, not just kids. Can you tell us what inspired you to write them, and how you see them in the context of other child-focused palaeo outreach?

Honestly, this may be a little petty, but I was unsatisfied with a lot of the dinosaur books I was seeing. Even beyond the books that are outright inaccurate, I hadn't seen any that went far enough in their explanations to satisfy what I thought could be done with the genre. I wanted something that showed these creatures in their natural habitat, surrounded by diverse animal life and at least one human for scale. That last part was important to me-- I felt it would contextualize the size of ancient beasts in a way that simply throwing out lengths and weights can never do. You can tell me the height of a T. rex til the cows come home, but unless I see a human standing next to it, it won't stick with me. Though I'd be lying if I said I didn't also love drawing myself next to all my favourite extinct creatures.

I had also seen a lot of books that tackled the "what if the information in the book is obsolete in the next few years" issue by simply not embracing any current research at all, and just giving nods to the by now widely-accepted fact that certain dinosaurs had feathers (while still drawing them as skeletal monsters with huge teeth and claws and maybe a couple feathers sticking out of their heads). That was so frustrating, especially since it could be turned into a useful teaching moment about scientific theories and perhaps lead to fewer adults becoming horrifically incensed when palaeontologists dare add anything to dinosaur models. So I wanted to make a book that was as up-to-date as I could, and didn't worry about whether it'd all be obsolete in a few years. And it sort of is-- my T. rex is far too fluffy! The naked skin samples were found the year after the first book was published. But I don't beat myself up about it, because it's better to take risks than to perpetuate ever-more-outdated perceptions.

A double-page spread of the glorious late Eocene from Mammal Takeover. The unobtrusive labelling adds a layer of additional information to every page, and gives the opportunity to learn about species not being directly discussed by the main characters. © Abby Howard.

I'm curious how you approached the Palaeozoic-focused Ocean Renegades and Cenozoic-focused Mammal Takeover, given that they lack audience-pleasing (and thus bookselling) non-avian dinosaurs. How did the general lack of A-list fossil species in the Palaeozoic and Cenozoic affect the creation of these books? Were you ever tempted to tell your story in one volume to get around this issue, or did you always envisage a comic trilogy?

I was surprised at how easy they were to sell to the publisher, and I'm so glad they decided to take a chance with the series. I'd originally planned to do one book (just about the Mesozoic), but they offered me three so I felt it would be a good idea to go ahead and cover everything that's ever lived, if I could. And since the first book was pitched as a deep dive into the Mesozoic, specifically focusing on creatures that don't usually get the spotlight, writing follow-up books about even more obscure creatures was an easy sell! I feel incredibly fortunate to have had very understanding editors who didn't push back when I wanted two-page spreads about early annelids and echinoderms, bless their hearts.

I also think in some ways the fact that I highlighted so many different animals was itself marketable. Kids love illustrations with a lot going on and lists of facts, and my books definitely have those things. I wrote these books for the encyclopedia-reading kid I used to be, and as it turns out, there are a lot of kids who are looking for books like these.

Your depictions of fossil animals are very modern: there is fluff and fuzz on your dinosaurs, most animals are lipped, and all they sport generous amounts of soft-tissue. At the same time, the reconstructions are necessarily stylised to some extent, to fit the comic world you've created. Can you take us through how you created your fossil animals? Where did you find the compromise between your own style and following fossil data?

The compromise was mostly made for me based on the limitations of my own style! The way the creatures are drawn was often was as good as I could get them with my current skillset and the looming deadlines. I would start with the best material I could find for the particular critter-- for this, I thank both you and Scott Hartman (of skeletal drawing) for the paleoart resources you provide. I also thank all the people who take pictures of fossils in museums that are too far away for me to visit and put them online, though I wish more of them would include a photo of a plaque saying what animal it actually is. And like any paleo-artist, from there I used slightly similar modern animals for soft tissue anatomy reference, which helps the drawing look more like something that could be alive. From there, the stylization was up to how well I could translate the reference material into shapes that didn't look awful, haha.

I think the hardest part was fitting so many animals on each page. That wound up setting limitations as well, since I had to make sure the animals weren't blocking each other too much but were also interacting in an engaging way.


The plump plesiosaurians of Dinosaur Empire! These animals are not stylised to look this way: there is good fossil evidence that Mesozoic marine reptiles were covered in thick, fatty tissues, just like living secondarily aquatic tetrapods. It's good to see these discoveries being reflected in modern books. © Abby Howard.

The lack of fighting and violence in these books is a breath of fresh air. Even Tyrannosaurus, which by unspoken Laws of Palaeo Media should be shouting and stomping its way around the Late Cretaceous, is depicted more like a lazy cat. While the images and text don't downplay the fact that many extinct animals were probably dangerous, and we see several predatory acts, you demonstrate prehistory with nuance: fossil animals can also be cute, majestic, nurturing and amusing, as well as aggressive. Was this a deliberate response to all the aggressive behaviours featured in palaeo-themed books aimed at children?

Absolutely! I feel like the emphasis on violence in paleoart is super boring, especially in the way it makes people feel like ancient beasts are movie monsters rather than actual animals, and that if they aren't scary they're dumb and lame. I'm a big proponent for paleo media that depicts ancient beasts as normal animals with a normal level of aggression, and can't help but roll my eyes when a narrative focuses on The Hunt or culminates in a big fight between toothy, scaly monsters.

Though I do like when nontraditional predatory behaviour is depicted-- when I was young I saw a documentary that featured spinosaurus hunting for fish and LOVED it because it wasn't just some big monster fight. It felt so much more like an animal just trying to live. This goes for scavenging, as well. I always found the "debate" about whether large predators like T. rex were active hunters or scavengers to be so pointless. As if any self-respecting predator would pass up a perfectly good rotting carcass. That's a free meal!

But my personal favourite media is always the stuff that emphasizes the quiet moments-- a creature wandering through a rainy forest with the bellows of a far-off beast in the background, napping in the shade on a hot day, chasing bugs, taking care of its babies. I go nuts for that stuff. My kingdom for a documentary with no narration that follows a dinosaur through its daily life.

The Dinosaur Empire! take on Tyrannosaurus. This mighty beast is roused from its slumber having sensed human prey, rises to its feet, opens its mouth and... yawns. Note the crushed ferns where it's been lying down: this Tyrannosaurus evidently enjoys a good snooze. © Abby Howard.
I want to talk to you about the protagonists of Earth Before Us, Ronnie and Miss Lernin. Palaeo media still largely depicts palaeontologists as rugged, Indiana Jones-esque men, and young dinosaur fans tend to be boys. You've turned this on its head by featuring a young black girl and a female palaeontologist who - holy cow - doesn't even wear field gear! How do you see Ronnie and Miss Lernin in context of wider conversations about stereotyping scientists, and the growing call for more diverse voices in science and education?

I'm very glad I was able to contribute my little piece to help change the public perception of who is interested in and pursues this sort of work. I want kids to take for granted that yes, of course women and people of colour can be palaeontologists. I want it to be a given, and I hope seeing characters like mine can help.

I was fortunate enough to be part of a natural history program that was led by both men and women, and the undergrads I took classes with were majority women. However, it's still the case that many femme folks don't feel comfortable pursuing higher degrees in their field after graduating. I'm sure a large part of this is the competition in these fields-- most people in general won't pursue a higher degree. But there's definitely a discomfort when you're applying for positions and the people you'd be working with clearly think less of you and think you aren't as capable. A friend of mine applied for field research positions after she graduated, and one of the interviewers wound up telling her that she wouldn't be able to "spend a lot of time in the mornings doing her hair and makeup". As if her merely being a woman meant she did those things, took a lot of time each day even while camping in the desert to do those things, and that it would be a great detriment to her career to want to do those things. The fact that this was something the interviewer felt needed to be brought up just because she was a woman speaks volumes about how he perceives women, and how he clearly doesn't think they could be prepared for field work, despite the fact that my friend had field experience. I know I wouldn't want to work with that person. And if every person you encounter is like that, of course you might decide not to pursue that career.

I will say, however, that I left the program not because I felt uncomfortable being a girl in STEM, but because I was a terrible student, haha. I make a much better cartoonist.

Mammal Takeover devotes several pages to discussing human-led environmental crises, a circumstance paralleling a book I've just finished on the history of life. To me, humanity's major and lasting environmental impacts feel like an essential part of the story of life on Earth, and omitting them feels somehow complicit and accepting of our deepening environmental crisis. Did you have similar thoughts working on Earth Before Us? And how do you sell issues like conservation, the politics of climate change etc. to young audiences?


Those were very difficult and depressing pages to work on, but definitely necessary. Not only because it's a subject that needs to be discussed at every opportunity, but because it's a huge part of the world we're living in today. I couldn't just leave it at "and then all the modern animals evolved and we all lived happily ever after" when the presence of humans is causing the sixth mass extinction.

One of the gutsiest parts of the series is the closing segment of Mammal Takeover, where Ronnie asks Miss Lernin about the sixth great mass extinction and the role humans are playing in it. As demonstrated by this page, the tone struck here is frank, but also hopeful and empowering. © Abby Howard.

Writing about climate change for kids was no small task, and I hope I did a better job than the media I grew up with. I've always had a disdain for the way climate change is discussed with kids-- there always seems to be an emphasis put on personal accountability, which for me mostly led to anxiety and hopelessness. I would stress about leaving the water running or driving places instead of walking, meanwhile corporations I have zero control over are out there tearing down forests and ripping holes in the ozone layer. I didn't really want to put in any of those "here's how you can help" tips to avoid doing that same thing to the next generation, but when the time came to write that section, I didn't want to just say "oh yeah, rich people are just wrecking the earth and there isn't really anything you can do except beg your parents to vote for people who say they'll do something about it, which is also not a guarantee that something will be done about it". So I did wind up putting in some little tips, because otherwise it would have been a pretty dismal chapter. Plus, I do think there's no harm in doing these seemingly small things to help out in whatever way you can. You don't have to be perfect, but as I said in the book, if those folks are gonna keep ruining the environment no matter what you do, you might as well go ahead and plant that tree or get those LED lightbulbs or go vegan. Because if so many people wind up doing these things that being a little environmentally-conscious becomes the norm, that's still a net positive!

Do you have any future plans for the Earth Before Us series? I can see this readily lending itself to museum exhibitions, TV shows and toys. Will we at least get more books with these characters? "Miss Lernin and Ronnie...IN SPAAACE"?

Alas, these are the only three books I had planned! I don't know anything about any other subjects. Especially space, which I don't think I'd ever be able to make anything but horror comics about. Space is scary! No one should be up in it!

A TV show would be an interesting idea, though, and extremely fun to write. I may have to keep that in mind...

Finally, where are the best places to keep up with your work online, and how can we support you creating more art, comics and books?

The best place is probably my twitter, where I'm most active: @abbyhoward. I also have a website where I post links to my webcomics and various books: https://abbyhowardart.myportfolio.com/. You can support me on Patreon to help me keep making comics forever: https://www.patreon.com/abbyhoward. And I also have an online store! https://topatoco.com/collections/abby-howard

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Thanks to Abby for giving her time to answer my questions, I hope you found her insights into this awesome series as enjoyable to read as I did. There's still time to grab Dinosaur Empire!Ocean Renegades! and Mammal Takeover! as Christmas gifts: steer your browsers towards those links (or the book store of your choice) and grab them before it's too late!


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Friday, 29 November 2019

Book review: Luis V. Rey's Extreme Dinosaurs Part 2: The Projects

Cover art for Luis Rey's 2019 book Extreme Dinosaurs Part 2: The Projects, featuring the latest incarnation of Luis' Deinonychus. Notice the presence of lips. Image borrowed from the Luis V. Rey Updates Blog
Unbelievably, the sun is already setting on 2019 and the holiday season is fast approaching. In keeping with the season, over the next two posts, I want to draw attention to two palaeoart-heavy products that I think are worthy of a place under your Christmas tree. 

First up is a book by renowned Spanish-Mexican palaeoartist Luis V. Rey: Extreme Dinosaurs Part 2: The Projects. I bought Luis’ book earlier this year at TetZooCon and felt it worthy of writing up, not the least because, as a self-published volume, any and all advertising and promotion is helpful. Extreme Dinosaurs 2 is available in both hardback and paperback editions (my review is based on the paperback) from Amazon and eBay for £25 and £20, respectively, which I think is a very fair price for these well-produced, high-quality books. These are not print-on-demand self-published books that roll the dice with aspects like printing and trimming: they’re pre-printed and Luis-approved products that you’re buying directly from the Rey household. 

Cover of the first Extreme Dinosaurs, borrowed from Amazon.com, featuring the earliest version of Luis' Deinonychus. Such extensive feathering was pretty radical for Deinonychus in 2000, and there's an even more 'extreme' version inside.  
Extreme Dinosaurs 2 is billed as a sequel to Luis’ 2000 book Extreme Dinosaurs, though they are quite different in format and organisation. Extreme Dinosaurs is a fairly conventional popular dinosaur book at heart, overviewing dinosaurs from around the world in several themed sections. Fulfilling the promise of ‘extreme’ dinosaurs is Luis’ compositionally and anatomically radical dinosaur art which, in a palaeoart era dominated by Sibbicks, Pauls and Halletts, was unlike anything seen before. Luis’ enthusiasm for the then newly discovered Chinese feathered dinosaur fossils gave his work an additional revolutionary edge. Today, Extreme Dinosaurs is available only through second-hand markets but it is worth tracking down for the classic Luis Rey art it contains, as well as to own a time capsule from a major transitional period in dinosaur palaeoart.

Extreme Dinosaurs 2, in contrast, has a slightly narrower focus. It documents four major palaeoart projects and exhibitions executed by Luis in the last decade and feels like a more specialised volume as a result. While the opening section of the book, devoted to the evolution of feathers and skin, serves as a general overview of dinosaur palaeobiology and appearance (featuring art from Luis’ Dinosaur rEvolution exhibition), the rest of the book is more eclectic, with sections on Archaeopteryx and maniraptorans (from the exhibition: Feathers Fly; The Art of Archaeopteryx), dinosaur parenting behaviour (Hatching The Past), and Mexican dinosaurs (Dinosaurios Hechos En Mexico). It holds together as a book and contains many 'firsts' as goes restorations of newly discovered Mexican taxa but, as a collection of personal projects, it doesn’t work as well as the first as an introduction to contemporary dinosaur palaeontology. This isn't a problem of course, but it's worth noting - if thinking about this as a gift, say - that readers who aren't already fairly nerdy about dinosaur palaeontology might struggle with some of the content. As with Extreme Dinosaurs, I suspect its main appeal will be the vast quantity of Rey artworks it contains. At over 130 pages it’s more than twice the size of its forebear, and the number of illustrations is extraordinarily high. It really is a bonanza of Reyian dinosaurs, where animals lurch at you or at each other with every page turn. Luis’ artistic flourishes make this a tour through the Mesozoic like no other - a Reyozoic, if you will - and if you’re a Luis fan, it’s a must-have for this reason alone. 

Mexico! B
A lot of Rey artwork features predation, but it's not all animals leaping from the page towards your face. Here, the giant Mexican hadrosaur Magnapaulia is pursued by albertosaurines. I particularly like the purple and yellow hues in this scene, and the size of the Magnapaulia is conveyed well. The inclusion of many obscure, rarely illustrated Mexican species is definitely a plus point for Extreme Dinosaurs 2. Image from Luis' blog, © Luis V. Rey.
This is not just an art book, however. To the contrary, there's a surprising amount of text and it's clear that Luis did not want this to just be a book of pretty pictures. Rather, we obtain a detailed insight into the science behind his artwork, as well as the themes his images are constructed around. Luis' passion for pushing dinosaur restorations is obvious, and I found his text both enjoyable and interesting to read. This is not only because of the insight it gives into the creation of his distinctive art, but also because Luis played a major role in shaping the modern look of dinosaurs, and experienced a lot of pushback from the 'birds are not dinosaurs' crowd and folks who felt his artwork was too outrageous. This gives his commentary a depth, historic perspective and unique voice unavailable to younger palaeoartists. Moreover, while Luis has a genuine reason to feel vindicated by some of his 'extreme' takes on dinosaurs being confirmed by fossil data, there's not a whiff of aggression, arrogance or ego to his commentary. He is open about the difficulties of restoring certain animals and admits that new discoveries will require him to revise and update his work in future, as he has already done for many images in this book. I feel this is a sensible attitude to have in the palaeoart game.

One of the aspects I admire most about Luis' artwork is his consideration of integument. Although guided by phylogenetic bracketing, he plays with skin variation within clades and across individual animals, creating unique - but not implausible - takes on species such as Deinonychus and Nothronychus. From Luis' blog, © Luis V. Rey.
Of course, most people will be buying Extreme Dinosaurs 2 for the art. To paraphrase Alan Partridge, Luis' style has evolved since the first book, but not revolved: his use of media has changed, his hues are slightly more grounded, but his images are still classically Reyian with fantastic colours and dynamic compositions. I think that time has been kind to Luis' portfolio, thanks to palaeoart culture normalising towards ideas he was applying years ago. I recall first encountering Luis’ artwork in the early 2000s and, having mostly grown up on a palaeoart diet of John Sibbick, it would have been easy to dismiss his renditions as a madman’s view of prehistory. Indeed, if it weren’t for the fact that I first saw his work at the University of Portsmouth - and thus in a wholly scientific and educational context - I might have done so. But though unusual, Luis' work was always produced within the confines of available data. His reconstructions were different because he was pushing ideas and information further, as well as exploring the uncertainties and unknowables of fossil animal form. This philosophy was far ahead of its time in the 1990s and early 2000s and, juxtaposed with his unusual animal arrangements, behaviours and compositions, we have to view Luis as an early practitioner of what we’d eventually label the All Yesterdays movement. While time has altered what we consider anatomically ‘extreme’ in palaeoart (many reconstructions in the first Extreme Dinosaurs would be considered par for the course today), this reflects our changing attitudes and fossil data shifting the bar in Luis' direction. 

Allo-Steg wound project copy
Luis remains entirely unafraid of creating extreme takes on fossil animal behaviour and form, and that takes... whatever this Allosaurus used to have where those spikes are now. This image is based on a real Allosaurus specimen with a pathological pubic boot, as outlined at Luis' blog. Image © Luis V. Rey.
While it’s difficult for Extreme Dinosaurs 2 to recreate the anatomical wow factor of the original book, the boldness of Luis’ work remains as strong as ever. Luis’ palaeoart has a reputation for polarising opinion but, whether you’re a fan or not, it’s hard to argue that his art is not thought-provoking, ambitious, and an important reminder to never get too comfortable with convention. Indeed, there’s a fearless quality to Luis’ work. It confidently challenges expectation about what ancient animals looked like, while never advertently straying from the confines of fossil data. Look beyond the saturated colours and elaborately fuzzy animals and you'll notice that Luis is often highly attentive to details of specimens and palaeoecological scenarios, creating whole scenes around pathological specimens and overhauling older works to bring them up to date with modern science. Several such examples are seen in Extreme Dinosaurs 2, such as new art showing Triceratops being decapitated by Tyrannosaurus (as suggested by fossil data) and older paintings being updated to better match current interpretations of feather distribution or soft-tissue arrangements. The addition of lips to most of the dinosaurs in Extreme Dinosaurs 2 feels like a major departure from older Luis works, the lipless jaws of his foreshortened animals being, in retrospect, an obvious characteristic of many of his paintings.

I like the fact that Luis works within, but is not a slave to, phylogenetic bracketing, and his work implies that the appearance of fossil species may have varied significantly within clades. His large dromaeosaurs, for example, aren’t just larger versions of the ‘ground eagles’ indicated by small-bodied fossil specimens, but instead have ostrich-like naked legs and shaggy, messy feathers which could reflect flightless habits. He is unafraid of applying large tufts, long fibres and fleshy skin to his restorations in ways which can seem odd, but only because Bornean bearded pigs, porcupines and turkeys are not our go-to reference taxa for most dinosaurs. Luis’ lack of concern for making animals look peculiar or downright daft is a rare asset, and one of the things I admire most about his palaeoart.  

Image result for luis rey gallimimus
Many aspects of Luis' work - from his posing to his muscular, athletic animals - remind me of Bob Bakker's palaeoart - it's unsurprising that Rey-Bakker collaborations have been plentiful over the years. Here, Tarbosaurus runs down Gallimimus. Image from Luis' blog, © Luis V. Rey.
Luis lists Bakker and Paul among his greatest palaeoartistic influences in Extreme Dinosaurs 2, but I feel the Paulian link is largely philosophical: the demand that our reconstructions adhere to fossil data. Artistically, Luis’ art is more Bakkerian, recalling the energetic, contorted posing and tight framing of Bakker’s work from the 70s and 80s (e.g. images in The Dinosaur Heresies (1984), and Dinosaurs Past and Present (1987)). Bakker's palaeoart is, in itself, very striking, but Luis takes these compositions even further, adding amazing colours, clashing textures and extremes of perspective to Bakker’s foundation. The result is among the most audacious portfolio of palaeoart ever produced, and it makes mechanisms sometimes employed to make palaeoart seem shocking or arresting - such as extremes of gore or melodrama - seem clichéd, tame and pedestrian. Although other illustrators have copied Luis' once signature style of hyper-foreshortened dinosaurs, these imitators lack the flair and boldness of true Reyian foreshortening. Any artist can give you a faceful of gaping theropod, but only Luis will combine this with inflated air sacs, saturated colour schemes and some sort of crazy-complex integument. Luis fans will be happy to know that Extreme Dinosaurs 2 delivers plenty of what you're expecting from a Rey portfolio, despite the use of photo manipulation (see below) adding real-world textures and colours to his arrangements.

Extreme Dinosaurs 2 showcases Luis’ work from the last decade or so, which means it more or less exclusively features digital photo composites over traditional paintings. Many of the featured artworks are murals, and we are treated to glimpses of early sketches showing how these came together. Luis’ use of photo composition has not been universally welcomed, with some preferring his older work executed in traditional media. This might be a deciding factor for some potential customers of this book but… read on a little further before you make up your mind. I’m going to be honest and confess that I’ve not always been a fan of Luis’ digital works, but that Extreme Dinosaurs 2 has given me cause to change that view. For one, the images simply look better in this well-produced book than they do as low-res online versions, being both appreciably sharper and more detailed. I don't think they're always successful but, hey, show me anyone who can flawlessly execute 130 pages of photo-real images. In many cases, the lighting and texturing of the animals is genuinely very good, giving a great sense of three dimensions to a medium which often looks flat.

Double page spread from Extreme Dinosaurs Part 2, showing a mural with battling Tarbosaurus and Talarurus. The arrangement of this photo composite is classic Luis Rey, despite the challenges of this medium. Image borrowed from Luis' blog, © Luis V. Rey.
Secondly, in terms of ambition, Luis’ photo composites are leading the field. It’s not terribly difficult to photoshop a lizard snout onto a bird head to make a dromaeosaur, but that just wouldn’t be a Luis Rey artwork. He continues to make thoroughly distorting and extreme Reyian creations with a medium that typically inspires artistic conservatism. Extreme Dinosaurs 2 features snorting Deinocheirus with bright red inflating facial sacs, a towering Tarbosaurus kicking out of the canvas, and maniraptorans flinging themselves, ninja-style, through the air. While some artists are grounded by photo manipulation, Luis is creating some of his most adventurous and startling compositions in the same medium.

Third, after immersing myself in page after page of modern Reyian colours and composition, I started to suspect that Luis is not, as is mostly the case with photo-composited palaeoart, going for strict photo-realism. Luis has, after all, a background in surrealist and abstract art, and you can see the influence of these genres even in his traditional work. There is something pseudo-surreal and semi-abstract about some of Luis’ busy, highly active scenes of arching bodies, extremes of body size and perspective, and colliding colours and texture. Combining landscape photographs, original paintings, bits of toys and models, cropped and recoloured animal skin, cloned elements and texturing effects into classic Reyian scenarios is a terrifically bonkers way to reconstruct extinct creatures, and seems almost reflective of how we mentally conceptualise these animals from different references: a little of this living animal, some of that painting, a pose from that museum mount... and so on. This collaging effect sometimes avoids looking real, but Luis' images never fail to look alive. I have a lot of respect for Luis for pushing photo composition in his own way and think some of the results are genuinely striking. The images can still read as straight reconstructions of extinct subjects (and I think this is how most people are appreciating and judging them), but there’s an artistic quality to them which we should also admire, especially as the palaeoart community calls for more interesting styles and experimentation among its practitioners.

Scenes such as this Therizinosaurus rookery/life cycle image are so packed with action, colours, textures and characters that, for me, they transcend conventional natural history art and dip their toes into a surreal, larger than life version of prehistory. Luis has made a name for himself creating scenes like these, and his distinctive style is, I think, a terrific addition to the more conventional palaeoart that folks like myself produce. Image from Luis' blog, © Luis V. Rey.
While I generally have good things to say about Extreme Dinosaurs 2, it's only right that, in interests of providing a fair review, I mention a few things I'm less keen on. Most of these are editing and formatting errors that do little harm to the book, but were sometimes jarring to encounter. There are a few passages that would have benefitted from tighter copyediting (both for typos and phrasing), and fonts can also sometimes change from page to page, or even line to line, in a manner I'm pretty sure was unintentional. More significantly, a small number double-page spreads include important images (either whole illustrations or parts thereof) in the seam, making them all but unseeable unless you're the sort of monster who snaps the spines of their books. These issues are more tantamount to an occasional lack of polish than book-crippling problems, but picky readers might find them distracting or frustrating.

But... whatever. Extreme Dinosaurs Part 2: The Projects is an enjoyable book and a firm reminder of Luis' importance to palaeoart. It works as a fun and interesting read or simply as a vessel to own Luis' most recent illustrations, and the production quality and amount of content represent excellent value for money. In being almost 140 pages of entirely unfiltered, undistilled Reyian palaeoart this is definitely a book for Luis fans and palaeoart collectors, although there's no compromising here to convert anyone with a strong dislike of Luis' style. But, as one of palaeoart's most iconoclastic practitioners, I'm pretty sure Luis wouldn't have it any other way.

(One final word on Extreme Dinosaurs 2: if you've already got a copy, and have enjoyed it, please help Luis out by spreading the word on social media or leaving a review at the web store you used to buy it. I know from experience that word of mouth is critical to the success of self-published books and, if we want to see Extreme Dinosaurs Part 3: This Time It's Extremely Personal, we need to help this book reach its audience.)

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