The Monster Behind the Myth

In my posts on a science fantasy truth behind Greek mythology, I've given some pretty science fictional remaking of classic monsters, but the "truth" behind the monster need not always be elaborate. It's just more science-based and less mythological. Here are couple of easy ones that are more prosaic--and more pulpy, maybe.

Giant Boar
Greek myth has at least three giant boars: Calydonian, Crommyonian, and Erymanthian. While giant boars are relatively "realistic" as it is, there's no reason to hypothesize genetically engineered giants, as we've got a real animal (or a family of animals) close enough to fit the bill: the dinohyus ("terrible pig") and the whole enteledont family.

 Dinohyus was 12 ft long and 5' 1" at the shoulder. That's plenty to give Heracles a challenge!

Satyr
The familiar image of the satyr of a half-goat, half-man creature is a later invention. The original conception was of a some hirsute guy with big ears, a pug nose, and a goat-like tail.

A Hellenistic era satyr

In other words, not really much different (except for the tail) from the wildman or woodwose--in other words, the cryptozoological hairy hominid. Further supporting this idea, is that the Libyan satyrs and satyrs described living on the Satyride Islands off the coast of Africa, seem pretty clearly to be monkeys or apes.

Drakones
Last but not least are the drakones or dragons. These are almost always depicted as just as big snakes in Greek art. Not as cool as modern conceptions of dragon? Well, it was good enough for Conan! And there's titanoboa upping the ante on very real world giant serpents.

Three Titanides

MNEMOSYNE

Mnemosyne embodies memory and so is both archive and archivist. She forms a shared conceptual space linking the intellects of all her fellow Titans. Olympians and humans may access her through certain passcode rituals and altered states of consciousness. Mnemosyne very rarely appears in a physical form, but when she does it as a giant bronze mask of a woman’s face.

PHOEBE
Partnered with Koios, Phoebe is the programmer of causality and the engineer of future probabilities. She was once the operator of the Oracle at Delphi, but is now subservient to Apollo on that project. Phoebe appears as a woman whose body is made of gently pulsing white radiance, her face a stylized golden mask, etched with lines of bright light.

THEMIS

Themis embodies divine order and cosmic law. She punishes violations of causality and reality, and wards against extracosmic incursions. While she didn't side with the Olympians in the coup, her desire for order led her to support Zeus’s rule once he was enthroned. Themis appears as a giant woman clothed in golden body armor. The lower half of her face is bare, but her eyes are covered. She carries a golden sword.

An Enclopedia of Ooo

I picked up the Adventure Time Encyclopedia this week (or to give it it's full title: The Adventure Time Encyclopædia: Inhabitants, Lore, Spells, and Ancient Crypt Warnings of the Land of Ooo Circa 19.56 B.G.E. - 501 A.G.E.). If you're not familiar with Adventure Time, this post will give you the basics.

Everyone caught up? Anyway, this encyclopedia purports to be written by Hunson Abadeer, evil Lord of the Nightosphere, though there are humorous annotations by Finn, Jack, and others. It basically gives Abadeer's dismissive take on the people, places, and things of the land of Ooo.

Beyond the setting inspiration, it has another interesting element possibly worth stealing for rpg use. The entries on the major characters have a list of rumors about them. This strikes me as a good thing to write up for NPCs. Maybe some are true and some are false (a random die roll might decide), but in brainstorming you could put down whatever came to mind.

The Dionysos Syndrome

Dionysos is not a superhuman Olympian or a Titan from beyond the Cosmos. Any human worshipped as that god (and there have been several) is actually an infected carrier of a nanomachine virus that the Olympians call "Dionysos." The origins of the nanomachines are unclear; Some tales imply it was born in the Underworld (perhaps created in a plot for revenge by the imprisioned Titans), while others suggest Zeus is it's creator. Whatever its origins, the Olympians seem unwilling or unable to stop its spread.

In the typical infected individual, Dionysos causes an extreme losing of inhibitions, exacerbated by uncontrolled use of any intoxicant available, most often wine and plant-derived hallucinogens or deliriants. In some cases, Dionysos itself causes hallucinatory experiences. Groups of Dionysos infected will often go into an estatic frenzy of sexual abandon and compulsive violence. They congregate in groups, roaming the countryside following one of their number that they believe to be Dionysos. The so-designated individual acts accordingly. The role shifts after a period of days to weeks, though the shift may occur abruptly.

Must Dionysos infected celebrants will be normal humans, though satyrs, nymphs (called maenads, though this term is sometimes applied to all infected females), sileni, and centaurs will also be found among them at times. When a group of Dionysos infected are encountered, a roll on the Monster Reaction Table determines how they respond. Resisting their demands to join their revels, causes a +2 penalty on the roll. Anyone in close proximity to an infect individual (within 3 feet) must make a save versus poison or join the revelry for 1d6 turns. Thereafter, as long as the individual remains in proximity to the infected, a failed saving throw means the effect continues for 2d6 turns, and a success 1d6. Three failed saving throws in a row mean the effect is permanent until cured by sorcery or "divine" intervention. Contact with body fluids of infected give a -2 to saving throws.

Warlord Wednesday: Ballad Part 2

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

"Ballad Part 2"

Warlord (vol. 2) #2 (February 1992)

Written by Mike Grell; Art by Dameon Willich and Rick Hoberg

Synopsis: A man trudges through the snowy wastes of what must be the Skartarian Terminator. He carries something wrapped in his cloak, something that compels him in his task. In the town of Hazrak, he’s confronted by robbers eager to get a look at what he holds so dear, but he dispatches them easily. Nothing will get in his way.

He arrives at a strange temple. Inside a woman, a priestess, is waiting.

He lays his burden upon an alter and:

Meanwhile, the minstrel accepts the challenge the veteran gave last issue—but only if the veteran accompanies him. The old man agrees.

They’ll need horses for their journey, though, and neither has any coin. The minstrel picks the purse of a passerby. He grew up on the streets and knows how to get by.

After acquiring horses, the two ride to Castle Deimos:

Initially, they are chased from the gate by phantom monsters. The minstrel realizes that he and the veteran saw different monsters and notices the horses weren’t frightened. It’s an illusion, based on fear. They advance again, cautiously, and this time pass through the phantoms unharmed. A man greets them and says the Mistress will see them, now.

She says the minstrel has “come seeking a hero” like she “came seeking a father.” She fears they both will “have to get use to disappointment.”

The sorceress relates how her father (devastated by the death of her mother, perhaps) shipped her off to live with an aunt, while he went off to fight in a war. When he didn’t return, she went looking for him, and found him in Skartaris. Even there he couldn't stay committed to the rebellion he started or the warrior queen he loved. He always needed a challenge: something new to discover, something new to conquer.

He comes and asks for her help from time to time. She never denies him, but she never lets him close anymore.

She leaves the minstrel and veteran with one final thought: “He’s not a bad man,” she says. “Not in his heart…”

After the two have left Castle Deimos, Jennifer Morgan looks into her crystal ball and sees and image of her father. She tells him she misses him. Though of course, there is no one to hear.

Things to Notice:

• On the cover, Grell puts Jennifer in the tiara she wore in her first "in-costume" appearance in issue #54.

Where It Comes From:
Grelle expands a bit here on the details he presented in issue #38 in regard to Jennifer's and her father's pre-Skartarian histories.

The flashbacks in this issue show Jennifer's hair as white in her childhood. This is consistent with her earlier portrayals where it was blonde until she learned magic. (The change in her hair color was never explained in-story.)

A Roadside Distraction

After the busy with this swamp witch, the crew in my WaRP Weird Adventures game finally arrived in Fort Lagarto, the town closest to Urst's opulent estate, Shamballa. After getting situated in their hotel, they went out to buy "adventuring supplies" (determined not to get caught without the necessary items this time--they spend a lot of time prepping), they became curious about a tourist trap they saw called the Snake-a-torium. So curious, in fact, that they delayed their journey to Shamballa to take it in.

The place was run by a Southern gentleman-type named Gaston Redfoot:

(He wasn't dressed this nice at the Snake-a-torium)

Gaston guides them through some fairly shabby enclosures with an albino alligator and various and sundry snakes. Nothing is particularly of interest, until they get the final room that contains a naga. She eyes them, but does not speak--and Redfoot warns them about disturbing him. The player's are pretty sure this all is important and they are even more certain when Redfoot shows them to the gift shop and there's a shelf full of snowglobes almost identical to the one that is supposedly the "key" to Shamballa!

Is there a connection or are the player's just seeing things that aren't there? We'll find out.

Mother Earth

Though intimately connected to biological life in the Cosmos, Gaia is a Primordial and mother to titans and monsters. She predates matter and time, but apparently chose to sacrifice that transcendant existence for reasons known only to her.

Gaia is the Earth. The molecular substrata of her nervous system run through the soil and powers itself from the magnetic field generated by churning magma in the planet's core. The infrastructure of her consciousness weaves through the limbs of trees, transmits signals through the emergent patterns of birds in flight; and absorbs data from nanite motes carried on the winds and rains and molecular machinery in the bloodstreams of animals.

Her mental architecture as it is, Gaia's thoughts and experiences are alien to more limited beings, though she is aware of all those connected to her in a deep way. Gaia has subsystems or partial avatars instantiated with consciousnesses more relatable to humans and Olympians called nymphs. They allow her more specialized actions and directed experiences than she is able to get otherwise. Nymphs are often classified by a geographical feature, locations, or specialty. It's unclear if Gaia herself makes any such distinction, however.

Brief manifestations of a nymph are typically of the faces or bodies of women formed from a convenient medium, generally the one to which the nymph is "related" (i.e. water for a naiad). Longer manifestations are full physical beings, gynoids built from their associated medium (if practical) but more commonly from biological materials. It takes Gaia less than five minutes to assemble a nymph body under normal circumstances.

Some nymphs have long lifespans and develop very distinct personalities and attributes, though not all of the beings the Greeks classify as nymphs are actually avatars of Gaia. Some of the frenzied maenads in Dionysos's retinue are nymphs, but the Lampade will-o'-wisps that accompany Hekate and other so-called "underworld nymphs" are different sorts of servitors.

NYMPH
No. Enc.:  1d6
Movement:  120' (40')
Armor Class:  9
Hit Dice:  3
Attacks: 1
Damage: 0 or by weapon
Save:  L4
Morale:  6

This represents an embodied (long manifestation) nymph. They may possess slightly different abilities based on their particular type. Nymphs appear as beautiful young women, often nude.

All nymphs possess the abilities empathy and regenerative capability. They can functionally teleport (as per the Mutant Future power, but with no chance of error for unfamiliar surroundings) by being "re-absorbed" into Gaia and re-assembled elsewhere. Examples of the abilities specific to certain types:

Anthousi (flowers): fragrance development
Dryades (trees and forests): natural armor

The Future of the Past

Angus McKie

Back when I talked about the Strange Stars "Appendix N," I mentioned how I saw the stylings of this particular future as harkening back to previous decades. I imagine spaceships like in seventies films, seventies and eighties book covers and comics books, and particularly the Terran Trade Authority books.

Terran Trade Authority

Also, the groovy fashions of late sixties and seventies book cover art, the euro-sensibilities of Heavy Metal, and disco-era comic book sci-fi in the U.S. inform how I view the fashion and material culture. Sure they're silly in a lot of ways, but often so are clothes from real historical eras to modern sensibilities.

Chaykin's Monark Starstalker

Mike Grell's Charma

Now as anyone who's been reading the posts knows, I'm not doing retro-sci-fi, overall. It's just that it seems like the there is a narrow range of how the future is viewed in any given era. Science fiction done today tends to look the same: a lot of darkness, sleek suits, and electric blue holograms, etc. I'm certainly not immune to recent influences, but I feel like those things get too familiar. The future needs to seem exotic and going back to the past is a way to restore some of that exoticism. At least it reminds me (and maybe other around my age) of a time where the future looked different, and we were young enough to be encountering these images and the ideas behind them for the first time.

Stymphalides

No. Enc.:  2d4 (4d6)
Movement:  90' (30')
         —Fly:  120' (40')
Armor Class:  3
Hit Dice:  1
Attacks:  2 (1 talons, 1 beak); or 1 feather volley
Damage:  1d4 / 1d4; 1d8
Save:  L2
Morale:  12

Stymphalides are sometimes called Stymphalian birds or birds of Ares, but they aren't actually birds at all. They're self-replicating robots, resembling something like a cross between a heron and a mosquito, made of bronze knives. The blades that form their wings aren't merely decorative: They're able to launch them at opponents. The Stymphalides got their name from the flock encountered by Herakles at Lake Stymphalis in Arkadia, but the Argonauts also fought a group tasked with guarding the Amazonian shrine to Ares in the Black Sea.

Ares (or one of his servitors) designed the Stymphalides as weapons of terror. They consume human flesh (indeed any animal flesh), filtering essential metals and nutrients from it. They excrete a waste product toxic to animals and crops (Poison Class 1 in Mutant Future terms).

Warlord Wednesday: Ballad: Kilt Him A B'ar

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

"Ballad Part 1: Kilt Him a B'ar"

Warlord (vol. 2) #1 (January 1992)

Written by Mike Grell; Art by Dameon Willich and Rick Hoberg

Synopsis: A lone minstrel makes his way on horseback across the dangerous wilderness of Skartaris to the Terminator and the dangerous “civilization” of an outpost named Hazrak. He takes a gig in a tavern, but finds it ill-suited to songs of love. Finally, he hits on the ballad of the Warlord and that gets the room to pay attention.

After the performance, he’s approached by a grizzled veteran who tells him he’s a fool for believing that heroic nonsense—just like the man he’s singing about. The minstrel chides the old man for defaming a hero.

The man agrees the Warlord is a legend, and that he could have been a hero.

The Warlord had been a great warrior, and inspired men on the battlefield. He also inspired with his words:

But in the end:

The veteran recounts the Warlord’s origin: how he came from another world, one the heart of a warrior queen, rose from slavery in the gladiatorial arena to lead a revolution across Skartaris. That was when the veteran (who had been a scholar-slave for a Theran noble) came to meet him. The Warlord told the scholar a little about his home world, but also revealed what he knew of Skartaris’s Atlantean past.

The minstrel is skeptical about all of this. The old scholar turned veteran issues a challenge:

Things to Notice:

• Grell provides the cover.
• None of the Warlord regular cast appear in this issue except in flashback.

Where It Comes From:
From the outset, it's clear that Grell is looking to chart a different course in this limited series than the writers that followed him on the original title. He returns to the theme of the flaws--the fundamental tragedy--of Travis Morgan's character and amplifies it.

This series serves to balance the view Morgan's perspective on his life as somewhat illustrated in the appearance in Green Arrow. There he's Peter Pan. Here we see the how the adult world reacts to him.

In presenting Skartaris to us, Grell shows a unicorn being eaten by a carnosaur. Like I mentioned way back in my commentary to volume 1 issue #12, the unicorn again seems to represent the beauty and fantastic nature of Skartaris.

Centaurs

The Kentauroi tribes are one of several cross species hybrid creatures including satyrs, sileni, and the bull-horned centaurs of Cyprus. The centaurs (and possibly all the hybrids) were the creation of two unusual gods. Nephele was an intelligence distributed through a cloud of nanites that (perhaps as a joke on the part of Zeus) typically coalesced into a semblance of Hera. Nephele's co-researcher and transport was an intelligent saucercraft called Ixion. Nephele provided gentle persuasion, while Ixion's weapons provded force when necessary.

The centaurs were loosely based on the design of Chiron, a forgotten creation of Kronos, and an immortal in his own right. Nephele and Ixion's design for a hominid-equine cross didn't have Chiron's intelligence or immortality. An initial breeding population was released in the area of Mount Pelion. Once this group became established, some were relocated to the western Peloponesse.

The centaur tribes are considered savages by the Greeks. They have not mastered metallurgy or agriculture. They trade with more advanced cultures for metal weapons and alcohol--if anyone is foolish or greedy enough to give it to them.

Mutant Future Centaurs would be the same as their Labyrinth Lord counterparts, except of course they have the mutation aberrant form. Cyprian Centaurs with horns are able to substitute their one weapon attack or their two hooves for a head butt doing 1d6 damage.

Jewel in the Skull

Anybody who has been reading my blog for a while, knows I like to do posts where I do a setting riff off an image. This actually harkens back to one of my first world-building attempts, when I was only a player thinking about dungeonmastering where I tried to make a coherent setting out of what the painting and sketches in Frank Frazetta, Book Two. I decided to start a tumblr blog to indulge that a little more, at least in the area of Sword & Sorcery-esque fantasy. In addition to the setting snippets, it will also be a repository of random fantasy art I come across. Check it out here. It will also be added down in the "Blogs of Interest" section of the sidebar.

In case anyone wonders, I am by no means abandoning this blog and plan to keep up my same posting schedule.

Communication Breakdown

With human-descended cultures and associated xenosopohonts spread out over 3000 cubic parsecs, hundreds of thousands of forms of communication are in use. While regional trade languages exist, the problem is mostly side stepped by the use of translation software. Upon arriving in a new place and connecting to its metascape, any necessary translation software integrates itself seamlessly with a visitor's netlink. Only the most backward or isolationist habitats deny complete translation, and even most of those find it expedient to allow limited translation of signage, official communications, and the like.

The visitor will hear speakers in their native tongue (though their netlinks will note the actual languages used), unless they utilize more primitive visual-only links, in which case the translation will appear as "subtitles."   For those with a need to blend in, direct neurologic download of language software is employed. This was once more widespread, but it's susceptibility to hacking proved its undoing.

The most notorious of these attacks was caused by the "23 Enigma" virus in the time of the Radiant Polity. It is believed to have been perpetrated by a hacker collective called the Nova Mob, though there was never any official statement of responsibility. The virus was named for a quirk (or perhaps a signature) in its code that left its victims unable to speak the words "twenty-three." Instead, they would replace it with a close approximate ("twenty" or "twenty-five," perhaps). The virus was a bit of nanomachinery, phage-delivered into the microbial vector employed to carry the translator code to the brain of biologics. The changes caused a global aphasia and lowered stress tolerance, leading to explosive reactions when communication with anyone was (predictably) ineffective. This reaction was particularly pronounced against moravecs and infosophonts, likely by design.

The malware vector was aerosolized, so it spread quickly throughout habitats. Quarantines were put in place, but these were often policed by bots, which only intensified the anger of the populace. It was weeks before the virus was contained in the most places and civil order restored.

For years afterward, it was a frequent conspiracy theory in the noosphere that hacks of Enigma 23 existed that were more subtle, that shadowy forces were using it to surreptitiously shape the language (and therefore the thought process) of the populace.

Warlord Wednesday: Green Arrow

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

"Enter..." / "Seige"

Green Arrow (vol. 2) #27-28 (Dec 1989-Jan 1990)

Written by Mike Grell; Pencils by Dan Jurgens, Inks by Dick Giordano and Frank McLaughlin

Synopsis: A stranger keeps getting hassled on the streets of Seattle by thugs and criminals who mistake him for the new “Robin Hood” vigilante. Some of them begin to suspect he’s a different guy, as he deals with his opponents in a more ruthless way than the vigilante in green has previously.

The stranger (Morgan) is getting irritated at all this attention and tracks down the guy responsible: Oliver Queen, the Green Arrow. Morgan tells Queen that he's pissed a lot of people off and offers some advice:

After getting knocked down by Dinah Lance (the Black Canary) for suggesting she should “stay in the kitchen.” Morgan makes his apologies and explains who he is—leaving out any specific mention of Skartaris. As he talks over the way the world has changed with Ollie and Dinah, the crime boss whose car he shot earlier gathers a squad of goons to assault Dinah’s home and take out both his adversaries.

They cut the power before beginning the raid, but Morgan’s keen hearing still gives our heroes a bit of warning. Oliver arms himself with his bow, Morgan with his pistol, and Dinah with an uzi she takes off one of the assailants, and they defend the house against the siege.

There are just too many, though. Dinah and Ollie run out of ammunition and Morgan disappeared after an explosion. They believe him to be dead. Suddenly, he appears, clothes tattered but sword in hand, and lays into the rest of the mobsters. The boss tries to make a break for it, but:

By the time the police arrive, Morgan is gone. All Ollie and Dinah can do is tell them what happen. They do reveal that Morgan gave an address of a sort:

Things to Notice:

• Morgan apparently tried to get Veteran's benefits during this visit to the Earth.
• The story seems to imply Morgan hasn't been to the surface world in some time, but that really isn't true given the post-Grell Warlord. His last visit would have been in roughly 1986 (depicted in Annual #5).

Where it Comes From: 
The similarity in appearance of Olliver Queen and Travis Morgan plays an important part in this story and may even have been the inspiration for the crossover. Queen's Van Dyke was courtesy of Neal Adams and debuted in Brave and the Bold #85 (1969). Morgan was drawn with the facial hair Grell had at the time.

This is the second time Grell has used the Disney movie Peter Pan quote "second star to the right, straight on till morning" (the word "star" is omitted in Barrie's original) to loosely refer to Skartaris. The first time was in Warlord #6 (1977), which described the first time Morgan revisited the Earth.

Images from the Strange Stars

Art by Michael Golden

Thraxu blades are older than the thrax warrior culture that now wields them. The moiré pattern evident on close inspection of the (presumably inactive) sword's edge represent guides for programmable matter that (when the blade is energized) create a quantum virtual edge capable of cutting spacetime. Power packs for the ancient weapons are hard to come by, and so thrax knights wisely conserve their usage of high power settings.

Art by Gerald Parel

A menace on the Coreward Reach, the Scavengers are opportunistic pirates who follow the Locusts, a giant swarm of von Neumann machines that devour any habitats they encounter. The Scavenger scouts perform hit and run raids before the arrival of the mass of the swarm, and the majority of their fleet sweeps up any surviving ships once the swarm passes. Scavengers commonly have obvious and primitivist cybernetics, the better to frighten victims into submission.

Art by Fernando Fernandez

The Sisterhood of Morrgna zealously protect their habitat in the Zuran Expanse from outsiders. Sometimes, however, warriors like this one are glimpsed in mercenary cadres on other worlds.

Mother of the Minotaur

Pasiphae conceived the Minotaur, but not in the salacious way the imaginations of the Greek mythographers would have it. They said that she (like her sister Circe) practiced witchcraft, but they could not understand the advanced biological sciences the sisters' could command. They were the "children" of titans and immortal. They both had access to bio-assemblers that could splice the genetic material of different species. Circe was an artist, after a fashion; Pasiphae created her Minotaur for revenge.

Minos was an unfaithful husband. Pasiphae, with the help of her pupil, the genius Daedelus, sought to publicly shame her husband by the creation of the Minotaur. She blended the genetic material of a sacred, sacrificial bull and her husband's own. Minos hide the creature from public view, but the beast's hunger demanded sacrifice.

As the stories have it, Prince Theseus eventually killed the Minotaur. Minos's shame was widely known, and Pasiphae likely cared little that she was slandered, as well.

That still didn't stop Minos's philandering. It's said that later Pasiphae created sexual transmitted nanites that would consume any woman but her herself and infected Minos with them.

Pasiphae's Laboratory:
The laboratory of Pasiphae (or Circe) contains a small assembler device capable of making almost anything it has plans for, but mostly used to biotechnological purposes. It can produced any of the drugs and medications listed in the Mutant Future book, and thereotically almost any handheld equipment, but would be limited by the plans in its computer databank.

Near the assembler is a larger tank full of a light green nanomachine goo, that can either dissemble and scan anything biological put into it or "build" a biological entity to certain specifications. It can used to replicate the activities of all the medical devices listed in Mutant Future.

All the devices work on voice command, but they are still complexity Class 3 (on the Technology Roll) to get anything useful from.

Here Comes the Sun

The post I intended didn't get written last night, but here's another titan from the science fantasy Greek myth idea I had posted a snippet on on G+ that hasn't been mentioned on the blog:

Helios is the titan personifying the Sun to the Greeks, but is in actuality an intelligence of plasma and magnetic fields encoded into the sun's surface. He stayed neutral in the war between the titans and the Olympians and still rules over the other plasma intelligences dwelling in his realm.

His avatar is seldom seen on Earth.

Strange Stars Art

Here are representatives of two historical cultures of the Zuran Expanse, courtesy of Jez Gordon, illustrator extraordinaire.

On the left is one of the zurr. They flourished between the time of the Great Collapse and the present era. The Expanse is named for them, though how much of the territory their civilization actually controlled is a matter of debate. The zurr are only known from their iconography (images of tall humanoids in unadorned, flowing robes and elaborate, non-representational masks), some ritual sites with oddly angled monumental structures, and a few apparently functionless artifacts. Mysteriously, they left no information technology or tools necessary for an advanced civilization behind, but their presence is attested on multiple worlds. They are blamed for unleashing the ssraad upon the galaxy.

On the right is one of the researcher-sadists called Faceless Ones. In the time of the Great Collapse, a cabal of  like-minded individuals set themselves up in a orbital sanctum and set about to explore extremes of sensation. They replaced their faces with featureless metallic masks that were actually incredibly sensitive sensory and recording apparatus. Their lower limbs they likewise replaced with mechanical ones covered with sensory fibers in a variety of modalities. The Faceless Ones strove to experience and archive everything they could about their depraved experiments on those they fell into their hands. Ultimately, they created the Algosians as their servitors and collaborators.

Warlord Wednesday: And the Cosmos Ends

Let's re-enter the lost world with another installment of my issue by issue examination of DC Comic's Warlord, the earlier installments of which can be found here...

"The Death-Knell of the Universe: Chapter 2: And the Cosmos Ends"

Warlord #133 (Winter 1988)

Written by Michael Fleisher; Pencils by Jan Duursema, Inks by Tom Mandrake

Synopsis: Ishum leads Morgan and Tara and the group of warriors freed from Yk’Kphat’s jewels back to Skartaris. In her sanctum beneath the volcano, Khnathaiti gloats to her demons that the destruction wrought by Anu will lead to the creation of a new universe with her as its queen. And the cosmos draws to its end.

Morgan and crew arrive in Shamballah and he’s reunited with Jennifer and Shakira. Ishum raises the horn to his lips to blow it but:

Yk’Kphat has played on last trick.

The prophecy of doom begins to fulfill itself. Anu releases beams of fire, and the nine worlds begin to burn. Ice follows, flash freezing everything in touches. Then comes stone, turning men and beast in statutes. Morgan and his friends can only watch helpless, but protected behind a magic shield courtesy of Jennifer.

All of a sudden, Aoife emerges from a portal with the real god-horn in her hand. Before he can, one of Anu’s blasts turns him to stone. He drops the horn, but Morgan dives over the edge of the precipe their standing on and catches it. Anu grabs Morgan with one its tentacles. Morgan resolves to take Anu with him if he’s going. 

He blows the horn:

Anu returns to his plane of rest. The nine worlds are saved.

Jennifer goes to confront Khathaiti. It turns out that won’t be necessary: Khnathaiti and her minions have been turned to stone, victims of the forces they released.

Aoife explains to the others what happened. Yk’kphat was miffed at Khnathaiti’s arrogance, so he let Aoife carry the horn to them, but he doesn’t grant favors without exacting a price. He demands the return of the warriors freed from his jewels. Knowing that Morgan loves Tara and not her, Aoife as agreed to substitute for Tara.

The warriors reluctantly agree, knowing that is the only way to keep petulant Yk’Kphat from summoning Anu again. They boast they’ll all escape together one day.

After seeing their compatriots off, our heroes turn to the task of reuniting Tara’s spirit with her body. Jennifer casts her spell and it’s a success. Tara awakens.

And so ends Warlord vol. 1.

Unanswered Questions:

• Is Tinder still in Wizard World?
• Will Tara and Morgan ever discover that he's really their son?
• Is Morgan really going to leave Mariah with that traitor and abuser Maddox?
• Will Machiste ever get a queen?
• What's Shakira's true origin?

Where to from here: 
The first volume of Warlord is done, but his story isn't over. In 1989, Mike Grell would return to his creation for the first time in 6 years. 

Medusa

No. Enc.:  1?
Movement:  45' (20')
Armor Class:  8
Hit Dice:  5
Attacks:  1 (tentacles or special)
Damage:  1d3
Save:  L5
Morale:  8

The legends of Medusa have there basis in a bizarre creature perhaps brought to Earth from a distant world or perhaps designed by the Olympians or titans from the DNA of some sea-creature. The only known gorgon or medusa dwells in a cave complex in mountains near a ruin city of an unknown civilization in the Libyan. The desert around the cave is dotted with statues in lifelike poses evocative of horror.

The medusa is vaguely tree-like in appearance (an upright cylindrical body covered with tendrils), but it possess a single, glowing eye-like structure. This structure is actually a light emitter that produces a beam in a pattern with effects on the nervous systems of vertebrates. Anyone looking at the medusa when the beam is fired must save versus Stun Attack or be paralyzed by neural lock for 1d6 turns (save means movement at half for 2d6 rounds).

It's tendrils release a thick goo which, combined with silicates in the environment can petrify the organic mass of a human body in 1d6+4 days. The medusa feeds off organic material displayed in this process.

Mutations:  Prehensile tendrils, toxic weapon.

Images from Medusa vs the Son of Hercules(Perseus The Invincible) 1962

Giant Monster Battles

As a wise blogging compañero has already opined: if the basic conceit of Pacific Rim seems like something you would like, you should see it.

Now with that out of the way, let's talk about the gaming potential of the setup. Of course, there's the eminently gameable setting of the film--particular in the 7 year period where humankind is holding off the kaiju threat. But we don't have to stop there.

Maybe the kaiju wind up just occupying certain territory?  The comic limited series Giant Killer by Dan Brereton posits just this sort of scenario. It also offers a wider variety of kaiju (and kaiju categories) than Pacific Rim.

Of course, that sort of situation could easily lead to a post-apocalyptic scenario were kaiju devastate and occupy more and more of the world. In the most pessimistic case, this could lead to something resembling The Night Land, where surviving humans hold out in a last redoubt and sally forth to fight for a lost cause. A less grim version might see humanity escaping to orbital habitats and sending their best mecha pilots to earth to fight to reclaim territory--something akin to Gundam G, but without the tournament element.

That's just off the top of my head. In sure there are a lot more ways to get those robots fighting giant monsters.

Okeanos

Okeanos is the name given by the Greeks to one of the Titans, the alien beings that created the Cosmos. The Greeks view him as the embodiment of the waters that surround the known world. In actuality, his vast, inhuman intellect is encoded in the quantum fabric of spacetime--the "ocean" outside the Earth. The Olympians believe that Okeanos was not a collaborator with Kronos's experiment, but was trapped in the nascent cosmos structure and compressed into his current role.

His "wife" (if such a term is really applicable to such beings) Tethys, also resides primarily in spacetime but is considered a separate being--or at least exists at separate energy state.

Their creations/partial avatars/children (again, the exact relationship is difficult to describe in human terms) are known as Oceanids. Most are equally at home in the icy Oort Cloud as the depths of Earth's oceans. Whatever their appearance, they approach the Olympians in terms of power and exceed them in some capabilities.

Since he was integral to the Cosmos (and apparently no partisan of Kronos), the Olympians didn't imprison Okeanos--though it 's unlikely they could have in any case. His manifestation appears as a giant humanoid male made from the very night sky he stepped out of. He seldom appears on Earth, though, and what little communication he has with humans is in dreams.