Happy Thanksgiving

I hope everyone celebrating today has a good holiday.

May all your wishbone-wishes come true.

Warlord Wednesday: Death from Above

Here's another installment of my examination of  the adventures DC Comics' Travis Morgan--The Warlord.  The earlier installments can be found here...

"Saga Part 6: Death from Above"

Warlord (vol. 4) #6 (November 2009) Written by Mike Grell; Penciled by Chad Hardin; Inked by Walden Wong & Wayne Faucher

Synopsis: When last we saw our heroes, it looked like Ned Hawkins, aka the Golden God, had used ancient Atlantean technology to bring an avalanche down on the Shamballan army--with Tara, Jennifer, and Machiste leading it.

Turns out not:

Morgan and Ewan McBane ride down to meet them. Their all quickly joined by Tinder leading a motley troop of volunteers he was able to round up in the villages and the homesteads. Morgan is skeptical as to their abilities and their motivations. A one-eyed man tells Morgan that they don't fight for Tinder, or the Warlord; They fight for the cause he once spoke of: Freedom.

Morgan's shamed by the man's words. Morgan admits he forgot the cause he was fighting more long ago. He admits he was wrong, but he also charges that the people who followed him were wrong in thinking that freedom was something he could give to them.

Unaware of these events, Hawkins is certain he has defeated the Warlord. "What can he do without an army?" He asks Mariah.

"Terrible things, Hawkins." is her reply.

Hawkins isn't convinced. He goes to greet his returning mercenaries who have brought him a box he was looking for that had been "buried deep beneath a temple of the ancients." In payment, he grants them the rights to slave trade in the conquered kingdoms. Hawkins agrees and suggest that start with his paramour Kate. He explains to her that she's challenged him too much of late. That's when:

The army of freedom is here. They storm the fortress. Jennifer uses her magic to Hawkins's Atlantean super-science/sorcery at bay. She says he's not bad for "an amateur" as she blasts him. Mariah snatches up a sword, kills a few guards, and goes after Kate for payback But when Machiste and McBane fight their way to her, Kate has a gun on her. Kate tries to seduce McBane back to her side.

It doesn't work.

Meanwhile, Alysha has been captured and taken aboard Hawkins's skyship as he tries to make his getaway. The damaged (thanks to an RPG fired by Morgan) crashes at the base of the temple with the portal to the Himalayas. Hawkins plans to take back magic and conquer earth! Morgn has tagged along though. Hawkins pushes Alysha at him, then runs for the temple. Morgan quickly sets the skyship's weapons to fire--and blows up the portal.

Their comrades arrive. Morgan proclaims this a new beginning. Tinder asks what became of Hawkins--the Atlantean armor made him basically invulnerable. Morgan replies he's got a new world to conquer...

Things to Notice:

• Hawkins doesn't seem to think all those superheroes in the DCU will stop his attempts at conquest.

Where it comes from: 
Finally, Morgan gives a response to charges of him abandoning the cause of freedom he sold people on rather than guilt or cynicism. Grell seems to be setting the stage for the Warlord to become a full-fledged hero again.

Variations on a 4-D War

I enjoyed "Day of the Doctor," but the last battle of the Time War seemed a little--prosaic--for a protracted conflict between two ultra-powerful, reality-spanning powers. It got me to thinking about the gaming potential of a Time War, or as Alan Moore had it Doctor Who Weekly: A 4-D War. I've got two ideas.

Version One: 

"'Nowhere' was run by an old sasquatch named Lukashev. Found as a baby at 25,000 feet, he was captured and trained. His youth was spent as part of a super-naut space program along with a chupacabra and a dinosaur from the future."
- Brandon Graham, King City

This version goes full Kirby and quite possible layers on the gonzo. The Time War is strange--and fought by strange combatants with stranger weapons. Lords of Creation probably has some inspiration for this version (it might even provide a system if you could figure out how to play it.).

The combatants might be as starkly good and evil as Silver Age superbeings, or they might be painted in shades of gray with the protagonists (the PCs) cheerfully unconcerned with their superiors' ultimate goals--or even possibly their identities.

Version Two:

"Just remember this: All agents defect, and all resisters sell out."
- Naked Lunch (1991)

Maybe there's no need to be that cynical, but this version is Philip K. Dick by way of John le Carre. The time war is more of a cold war with brief flashes of violence. The weapons are still strange; they just get used less often. Individual agents might be a bit like 007 for a bit, but ultimately they may discover they've become Number 6 and all of spacetime is the Village.

The Agency is shadowy--and may in fact be the same as the Enemy, just at a different point on their timeline. All of this can be grim or even horrific, but it can also be played for satire (think G vs. E, and the relative amorality of Good and Evil in its cosmos).

Version Three:
Or, you could dial both of them back a bit and crash the two together. This is probably the Grant Morrison version (The Invisibles and The Filth would be good inspirations, here). Time agents are eclectic and flamboyant, but not usually Yeti's from alternate timelines. The weapons and battles are psychedelic, but the stakes can be grim, and the moral fog never dissipates--even in higher order dimensions.

Fairyland

They were driven out once. The world changed; the magic went away. Now, the stars are right and the ancient mounds release the hosts of Otherworld. We're all to familiar with zombie and vampire apocalypses, and I've given other monsters their fearful day in the sun, but now let's consider the revenge of the Good Folk: the Faerie Apocalypse.

So Nuada from Hellboy II (or someone a lot like him) gets their way and a lot of terrible and beautiful (but mostly terrible. Basically think of things from del Toro's other faerie movies--Don't be Afraid of the Dark and Pan's Labyrinth) fae are loosed upon the world.

A game set in this period is more War of the Worlds or Walking Dead. Ragtag survivors are combating magical fairy hordes as best they can. Move a bit more into the future though, and you get something I find more interesting: the post-fairy apocalypse.

In this setting, the faerie would have overrun the world (possibly setting up new Medieval kingdoms and the like--or not) turning into a new Fairyland. Humans might be subjugated (like in Killraven, Planet of the Apes, or DC's original Starfire), or essential hiding in redoubts that provide protection from the essentially disorganized faerie (something similar to Vertigo's new Hinterkind or maybe the post-alien invasion series Falling Skies, if humans have more a resistance left). Playing up the Medieval element here (the faerie's struck against industrial society the hardest, maybe) might give you something like El Cid crossed with Moorcock's Hawkmoon novels.

Some Art for Inspiration

I don't think you can not get at least some gaming inspiration out of one of these:

Art by Don Lawrence

Not all green giants are jolly, apparently.

Art by Barry Windsor-Smith

That doesn't sound good.

Art by Frank Thorne

Some monsters require some assembly to be truly menacing.

And you scoffed at my giant mummy post!

Hard Science Fantasy

Art by Bruce Pennington

Genre titles are really imprecise things, so let me explain what I mean: A setting that looks like fantasy, but is in fact sort of post-technological science fiction. What would make it "hard" as opposed to the usual science fantasy is that it wouldn't resort to what are essentially fantasy concepts like extradimensional entities or psionic powers to do it. The fantastic would come from at least moderately more possible sources like near Clarketech ("any sufficiently advanced technology is indistinguishable from magic") nanotechnology, cybernetics, and bio-engineering.

I haven't really seen this out there in gaming. True, Numenera presents a world utterly drenched in nanotech that can be tapped like magic by the masses, ignorant of it's nature. But Numenera still has psychic powers and extradimensional monsters, though. What I'm envisioning is more like Karl Shroeder's Ventus (where the "spirits" animating the natural world are AI controlled nanotech) or the Arabian Nights-flavored Sirr of Hannu Rajaniemi's The Fractal Prince where spirits in ancient tombs are digital mind emulations and the jinn are made of "wildcode" malicious nanotech.

Beyond nanotech, monsters would be genetically engineered creations of the past or descendants thereof. Or perhaps genuine aliens. Gods would be post-human biologic or AI entities--or often some combination of both. Or figments of human imagination. Or leftover bombs.

Why a more "rigorous" science fiction masquerading as fantasy world than the usual Dying Earths or what not? No real reason other than it seems to me starting with far future science fiction and figuring out how it would be rationalized by a more primitive mindset might yield a fresher take on the standard fantasy tropes.

Warlord Wednesday Delay

Your regularly scheduled Warlord Wednesday is delayed until next week. I misplaced my copy of the nest issue and didn't get a replacement until too late. Instead, here's a tease--the cover of the next issue:

And a bonus 2 page spread from issue #3 by Chad Hardin: