Wednesday, May 10, 2023
Wednesday Comics: DC, August 1982 (week 2)
Monday, May 8, 2023
Journal of Eternian Studies: The Search for Skeletor
Skeletor is the principle antagonist of the so-called Masters of the Universe myth and literary cycle. His inhuman physical appearance, magical power, and dedication to conquering Eternia through usurpation of the power of Castle Grayskull are consistent throughout the various stories, but other aspects of his character, including his origins and the seriousness of his menace, vary wildly.
It has long been the prevailing view among scholars that his depiction as blue skinned links him to the Gar people1. The Gar civilization existed on the so-called Dark Hemisphere of Eternia, but came into conflict with groups on the Light Hemisphere in the islands of the Ocean of Gnarl and on the land bridge between the continents. By the time of the Randorian Renaissance, the Gar were a ethnic minority who suffered a good deal of prejudice owing to the belief that a Councilor of their ethnicity had betrayed and murdered the founding hero King Grayskull in the service of King Hiss of the Serpent Men2.
Later stories explicitly make Skeletor King Randor's brother Keldor who was transformed by forbidden magic, in some versions specifically Hordak worship. While the identification is not without controversy, Keldor was depicted as Gar, or at least half-Gar. There are scholars that argue that Keldor himself is a fiction created for later anti-Gar polemics, but the more common view is the he was indeed Randor's half-brother, a perhaps the illegitimate offspring of Miro and a Gar woman. Keldor was, for a time, a serious rival to Randor's power owing in part to a strong powerbase among traditionalist Gar clans.
Skeletor, however, existed in myth and legend prior to his association with Keldor. He was depicted as an otherworldly or demonic entity who had arrived on Eternia through accident or intention, but now wished to re-open that portal to bring his people through to aid in his conquest.
What is likely the oldest known legend associating the two is curiously restrained regarding the specifics of their relationship. Keldor is shown as meddling in dangerous magic and disappearing after a mishap. Skeletor is depicted as attempting to thwart any investigation into Keldor's current whereabouts. The gaps n the narrative invite the audience to assume that Skeletor and Keldor one and the same, but do not make the link explicitly. It is argued that this structure is an indicator of the stories origins as Randorist propaganda either during the time when the throne was contested or shortly after Randor secured it. Further, the effectiveness of such propaganda would hinge on Skeletor as a character already known to the intended audience.
It could be that Skeletor's pre-existing Gar traits made this linkage with Keldor possible, but it is also possible that Skeletor's Gar coloration is a later addition. Certainly it is no accident that Skeletor's shade of blue has a long association with the supernatural in the Eternian mind. It has been suggested that both the Gar people and Skeletor are depicted as blue simply because of the rarity of the blue pigments in the Light Hemisphere used in art in the Gar ruins on Anwat Gar to depict rulers such as Shokoti and the persist association of the Gar with magic due to their status as diviners and purveyors of charms and curses.
Recently, archeological evidence of a skull faced god or demon that appears to have been the focus of ritual activity in the region around Castle Grayskull in the putative era of the first "He-man." Any correlation of this entity with Skeletor or the Gar is highly speculative.
______________________________________________
1. The Gar were typically depicted as blue-skinned. Whether they literally were, either naturally or as some form of body-adornment, or this depiction has symbolic significance is unknown.
2. If there is any truth to this allegation at all, it likely conveys persistent Serpos worship among the Gar during the period where Goddess worship was becoming dominant on the Light Hemisphere.
Friday, May 5, 2023
Toward a System for Four-Color Sword & Sorcery
I've been thinking about cobbling together a system for a Bronze Age of Comics Sword & Sorcery rpg, a rarefied genre, perhaps, but one I'm quite fond of. I figure it will be a Frankenstein's monster of ideas from Year Zero Engine games, Broken Compass, and a few things from 2d20, maybe. Like all of those games, I'm thinking its a d6 dice pool system. The base roll will be akin to the Attribute+Skill of those systems.
The attributes with the appropriate flavor came relatively easily:
- MIGHT: Force and physical power.
- DARING: quick motion and boldness of action.
- INTELLECT: Intelligence and reason.
- INSTINCT: Intuition and perception.
- CUNNING: Deception and manipulation.
- PRESENCE: Charisma and force of personality.
The skills though have been much harder. I was never able to get the list as comprehensive and right-sized as I wanted. Ultimately, I decided to go the direction of some of the 2d20 games and the Atomic Robo rpg (which uses a form of Fate) and go with something a bit broader than standard skills. I settled on calling them "Domains."
- SWORDS: The use of weapons and the general application and defense against violence. It also covers a practical knowledge of armor, weaponry, martial styles, tactics, and strategy.
- DEEDS: Acting boldly and physically to alter or navigate the environment or withstand its rigors. It is used to climb or leap, push on despite exhaustion, or smash physical obstacles, but also to pass detected, hide, or hold one’s drink.
- WILDS: Wisdom taught by the wilderness and living close to nature. It covers discerning the best way to move through difficult terrain, finding or building shelter, and tracking and reading sign, but also interacting with wild and domestic animals and knowledge of plants.
- CITY: Knowledge born of the habitations of humans and their societies. It covers a character’s learning and ability to find and acquire new information, but also their sophistication in regard to social graces and etiquette.
- WORDS: Relating to and communicating with others. It is used to influence, inspire or sway others through impassioned or reasoned arguments–or lies, or to discern the intent of others doing the same.
- SORCERY: Knowledge of the arcane or occult arts. It covers the reading of mystic tomes, the recalling of esoteric lore, the performance of spells or rituals, and sometimes resisting the effects of magic.
Wednesday, May 3, 2023
Wednesday Comics: DC, August 1982 (week 1)
Monday, May 1, 2023
Weird Revisited: The Anthology Crawl
Simply pick an anthology. Read every story in it (even the duds--but skimming is ok) and pick some interesting element out of each, be it a monster, encounter, location, or item. Place these on your map in order, or arrange them to taste. You could even get more "madlibs" about it and predetermine what you were going to take from each story (an item, a place, an encounter), before you read (or re-read) the story, forcing you to stretch your creative a bit more to fit it in.
Thursday, April 27, 2023
The Grind of Acheron
There is a realm where the obdurate, crystalline structure of a Mechanus shatters and fragments, floating free into the void of half-formed concept. This is a border, though not any physical border because the clockwork nirvana is infinite and redundant in its mechanism, but a conceptual border where the Prime Mover's certainty no longer holds, where the grand program fails. This was the place where, after the fall from Unity (as Law sees it), rebellious Archons sundered themselves from Mechanus. This is the ideaspace separating Pure Law from Hell. This is Acheron.
It's a hell of sorts in its own right. Its acolytes know it as the Crucible. Here, they contend, new truths of Law are formed. Perhaps one day there will be one stronger and surer than either Hell or Mechanus? Adepts of Pure Law view it as gall on the purity of Order, the place where Hell's error abrades it. The Lords of Hell see it as an opportunity.
Pieces of supernal machinery break off at the edges of Mechanus, twisting and reforming, to store failing Order within, into planet-size Platonic solids which continue to degrade, erode and crumble. These have been colonized by numerous beings: malcontents from Hell, reformed things of Chaos, and authoritarian souls with iron dreams of their own version of Order. All the would-be dictators and tyrants begin to gather their followers among the lost and the beaten and forge their own armies of conquest. And then they go to war.
The struggle is as senseless as it is endless. None of the despots or authorities are ever able to overwhelm the others and seldom do they convert them. The strength of Law is shattered, after all. Also, none of them have clear vision of Unity, for they were only born after it. They merely ape what they know of Hell, crudely.
One might be tempted to view Acheron as a place of Chaos, but philosophers point out that when taken as a whole, the plane is as predictable as Mechanus. Its war machines grind forever on at the behest of devils who will never achieve the godhood they crave.
Wednesday, April 26, 2023
Wednesday Comics: DC, July 1982 (week 4)
Friday, April 21, 2023
Weird Revisited: Comic Book Swordswomen of the Seventies
"Sword-swinging fantasy protagonist" has generally been a male gig. The pulps gave us a number of Sword & Sorcery heroes of renown, but Jirel of Joiry, CL Moore's "gal Conan," is the only heroine of note from the era--Howard's Dark Agnes being a "historical" adventuress. It wasn't until the Sword & Sorcery revival of the late seventies-early eighties that more women joined the fray.
Despite the smaller number of Swords and Sorcery heroes in comics, there's a much larger percentage of swordswomen. This can probably be attributed to the visual nature of comics--and the inherent appeal of scantily-clad warrior ladies to a predominantly male audience. Despite that, the beauteous women warriors of comics are for the most part more obscure than their male counterparts. It's time they got their due, starting with the trailblazers of the 1970s.
The first swordswoman of the seventies didn't have to deal with sorcery, but she did exist in a post-apocalyptic-fantasy setting, so I'm going to give her a nod. Lyra of the Femizons is from the pages of Savage Tales (vol. 1) #1 (1971) in a story called "Fury of the Femizons." This might be Stan Lee's update on William Moulton Marston's psychosexually underpinned Wonder Woman concept, or an alarmist "cautionary tale" of women's lib gone wild--or, you know, an idea he scrawled on a napkin at a local deli to fill pages.
Lyra's 23rd Century is essentially a reverse Gor, or The Planet of the Apes if you replace "apes" with "Amazons." Lyra is the toughest gladiatrix around, defeating (and killing) the weak for the "vicious voluptuaries" of Queen Vega's court. That's until she meets hunky slave Mogon and agrees to help him with his revolutionary aims for the sake of love. It all ends tragically, of course--well, mostly for Mogon. Lyra is forced to kill him to "prove" her loyalty to Vega. But she feels really bad about it and realizes, "when a man is but a slave--it is the women who live in bondage." Not sure what Lee meant there, but let's move on.
Our next swordsman is a little less obscure. Red Sonja, the so-called She-Devil with a Sword, debuted in 1973 in Conan the Barbarian #23. Sonja was Roy Thomas' Hyborian Age adaption of Sonya of Rogatino in his Conan-ified interpretation of Robert E. Howard's historical actioner "The Shadow of the Vulture." Thomas' Sonja got magical puissance with a blade from a goddess, along with geas that she would never know (in the Biblical sense) a man until he had defeated her in fair combat. After her Conan appearances, she got a famous chain-mail bikini from artist Esteban Maroto and a lot of further appearances, including a succession of three self-titled series.
Marvel's loss of the Howard licenses couldn't sheathe Sonja's sword. She came back, and so did her chain-mail outfit so beloved by artists and fans. After a couple of one shots at other companies, Dynamite Entertainment picked up the character in 1999, and she's still going strong in an ongoing series and a succession of limiteds.
Just as Red Sonja was beginning to climb in popularity, DC unleashed their own swordswoman. Raven-haired Starfire got her own title from the start, debuting in 1976. The creation of David Micheline and Mike Vosburg, Starfire swung her sword for her world’s freedom from the alien Mygorg and Yorg for only 8 issues. Like Lyra, she had a dead love for motivation, and like Red Sonja, she was always spurning the advances of men.
The next two heroines chronologically have a connection to Red Sonja. The first, and the one to appear in the seventies, was Ghita of Alizarr. Frank Thorne took over the pencilling chores for Red Sonja in Marvel Feature #2 (Jan. 1976) and continued through the eleventh issue of her first self-titled series. Thorne spent most of the seventies getting photographed with attractive women--mostly by dressing up like a wizard and judging Red Sonja lookalike contests at conventions:
Ghita appears in three issues of 1984 and also in several collections where Thorne gets to play Thenef the Wizard in the cover photographs.
And here our heroines ride forth out of the seventies.
Thursday, April 20, 2023
Go Ape
Over on the Flashback Universe Blog, Jason Sholtis and I have started an episode by episode review and commentary on The Planet of the Apes 1974 TV show.
Head over there are check it out if that short of thing interests you.
Wednesday, April 19, 2023
Wednesday Comics: DC, July 1982 (week 3)
In "Destruction from Below" a violent leader of a Stone Age human tribe leads them underground, but then he falls into some weird mushroom patch and sleeps for a looong time. When he awakens, he attempts to lead the degenerate descendants of his band, but the modern world is too much for them to handle when they emerge in a city park. In the final story with art by DeMulder, an F-4 Phantom pilot's dream of a dogfight with a dragon is symbolically prophetic of the way he escapes an enemy in a dogfight the following day.
Monday, April 17, 2023
Four-Color Swords & Sorcery: Monsters!
Earl Norem |
Big monsters are a hallmark of Bronze Age Four-Color fantasy of the Swords & Sorcery mode. These creatures are often are the antagonist of the "big battle" of the issue, the full manifestation of the menace posed by the main villain--and occasionally the main villain themselves. Less formidable big monsters may be an obstacle to the final confrontation with the villain.
The monsters come in a variety of forms from merely giant to gargantuan natural animals to animate statues/automata of humanoids or animal shape. Tentacled, tendriled, or pseudopod-waving creatures seem to particularly common. I suspect so their threat is made clear in a way that doesn't immediately injure the heroes or result in a Comics Code Approval imperiling amount of blood.
So are multiple heads. Both of these have the added benefit particularly in games of allowing one creature to engage multiple heroic opponents more easily.
These creatures, at least the bigger ones, are seldom defeated by hacking them until they die. In game terms, the simplest to defeat require a "critical hit" or called shot of some sort, often an injury to their eye. Others are dispatched by a trick of some sort: using the environment or their own abilities or natural weaponry against them. Finally, some can only be killed using a special item or weapon, typically obtained earlier in the adventure.
What does this meaning for emulating the genre in gaming? These are my take aways:
- Unique, big monsters need to show up regularly. Maybe not every adventure, but most of them.
- The best way to defeat the creatures should seldom be the most obvious brute force method.
- This means the GM needs to reward creative thinking by the players to handle these encounters.
- If the ways of defeating the monster are particularly limited, the means must be telegraphed to the players and be available to them.
Friday, April 14, 2023
Outgunned
Two Little Mice, the designers of Broken Compass, have a new game on the way called Outgunned, which is billed as "a cinematic action rpg inspired by the classics of the action and heist genre, from Die Hard to True Lies, passing through James Bond, Lethal Weapon, Kingsman, Ocean’s Eleven, Hot Fuzz, and the latest John Wick."
The Kickstarter hasn't launched yet, but the "quickstart" (really more of a preview) is available on drivethru as pay what you want. It's basically the same system as Broken Compass, though has a few new features and refinements. It's a bit less rules lite than BC, though still very much a rules lite game.