Comic-Con Day 2 and part of Day 3

Day two at San Diego Comic Con starts late because my co-conspirator, Brandon, doesn’t arrive in San Diego until 2:30 AM having been cutting the trailer for a talking animal film until late in LA.


We attend a “State of Animation Panel” which portends ill because it is boring. Particularly after the anticipation of standing in line half and hour, and getting yelled at by con staff. The exhibit hall is even more dense than Thursday, and going anywhere is swimming upstream. Con disillusionment rears it’s head.

Then, Guillermo del Toro makes it right with his profanity-peppered intro to teaser footage from the remake of the 70s horror classic remake he’s producing and scripting Don’t Be Afraid of the Dark. It looks really cool, and he’s really cool.

Things go good for a bit, and I pick up a cool ERB retrospective illustrated and signed by Mark Wheatley and a pulp art book. Then there’s the Star Wars pavillion where you can take a picture than makes it look like you’re an action figure in blister pack on a Boba Fett card. Rumors of invites to Disney’s TRON sequel party or DC’s party entice us, but Brandon’s friend’s text messages are all over the place, and vague.

We instead end the evening with anime and drinks at the hotel bar.

Day three dawns with a panel on the increasing profile of comics in popular culture. This is interesting, but its our second choice as we would have preferred to attend Warner Brothers film teaser mega-presentation, but for the multiple tents full of eager attendees who arrived way before us . After that we make the rounds in the exhibit hall again and I score an advanced reader’s copy of Tony DiTerlizzi’s new illustrated book The Search for Wondla which looks great.

Then, we’re Brandon’s friend finally comes through and we’re whisked to Wired’s party, where True-Blood is served, and several cast members from Chuck and True Blood are in attendance. DVD sets of season two of True Blood come as door prizes. Did I mention this was all courtesy of Patron, who has a make-your-own Margarita booth? Well, it was.

Gotta go.  I have to find a way to pack the things I've bought and the ephemera I've acquired in my bag for the plane.

Combat at Comic-Con

A friend of mine recorded this footage as we watched the tourney on top of the San Diego Convention Center:

 

Fear and Loathing at Comic-Con

One day down in San Diego, and alright--there wasn't any loathing, and only a little fear, but the title sounded good...

It was a long day, boarding a plan on the east coast a 7:30AM with comics blogger/journalist Chris “Invincible Super-blog” Sims, who has it turns out is afraid of flying (“the takeoffs and landings,” he says) and not afraid of having a Mai Tai before 11pm.

Five hours later, we’re in San Diego, and I have to find the mysterious woman whose name I have only seen in a text message. and try to get my ticket. When I finally talk to her she says I can find her under the purple SyFy balloon and: “I’m tall.”

She isn’t kidding. The pretty, bright-smiling, giantess leads me into the convention center—losing me briefly as the gendarmes detain me at the door, but quickly retrieving me—and I get the passes and associated swag for myself and my as-yet-to-arrive friend from LA.

But what about the con? Well, parked outside is the black beauty, but the outfits of the three Green Hornettes in front of it seem impractical for crime-fighting. People take plenty of pictures, though. Everywhere, people are barking things at you like carnies, conspiratorially handing you dubious ephemera like they’re trying to invite you to a rave, or to a church revival. And everywhere, there’s the press of humanity like a general admission concert.

Of course, you’re not even in the exhibit hall yet.

Inside, well, imagine a carnival if every carnival ride was as commercially-motivated as an 80s toy tie-in cartoon, then combine that with a big trade show of some sort, what ever kind you’re familiar with, as long as it has glitz and plastic-pretty sales folk with big smiles. Then liberally apply cosplayers—teen anime characters being moody in packs, older girls favoring the most revealing superheroine outfits. Guys in multi-color body-stockings.

Then, of course, there’s content. A panel on “genre-bending” where all the authors say they do it because its cool, except contrarian China Mieville who worries it may not be—and Scott Westerfield gets to give a PowerPoint demonstration on his new novel, which argues persuasively that tanks would be better with legs.

Before that, there was a panel on urban fantasy where the last question posed was “which class of supernatural being do you find the sexiest?” The answer involved musing on vampires and the possible downside of no circulation.

And with that, we draw the curtain on day one.

Coming soon...

I'd like to officially announce Weird Adventures--a supplement based on (and expanding upon) the world of the City that I've been discussing here for many a post.  What you see above is the tenative cover design, featuring a painting by Doug Stambaugh.

The supplement will be geared toward the generic "old school" game, but feature mostly setting material usable for any game system.  I'll probably get into more detailed rules-related digressions here on the blog.

Planned contents include:

• A guide to the City giving a map and an overview of its five baronies, numerous neighborhoods, and places of interest to adventurers.
• A whistle-stop tour of the strange New World from the rural Smaragdine Mountains inhabited by hillbilly giants, to the occult witchocracy of glamorous Hesperia, and a whole continent in between.
• A monster manual detailing about two dozen creatures from "bugbear" (of the living nightmare variety) to "zombie, black-dust."
• Several adventure seeds for the setting.

In addition, it will feature great artwork from the aforementioned Doug Stambaugh, Chris Huth, Seth Frail and others.

I'm tenatively planning for a late fall release.  More details to come...

Warlord Wednesday: Special Guest Star

Taking a break this week from my issue by issue review of DC Comics's The Warlord as I get ready to head out to San Diego and Comic-Con, I thought instead I'd take a look the Warlord's appearances in the wider DC Universe.

Travis Morgan's first appearance outside his own title was in Crisis on Infinite Earths #5 (1985).  Like just about everybody else in the DC universe, Morgan had a walk-on in this world-shattering (literally) crossover.  He even gets a line:

Next, he turns up in Seattle, of all places, in a two-parter in Mike Grell's run on Green Arrow vol. 2.  Fun was poked at his more than passing resemblance to Oliver Queen.  Here's the cover of the second issue (#28) of that story from 1990:

After that he made a regretable appearance in the equally regretable Justice League Taskforce series, then it was back to Green Arrow (this time Connor Hawke) for three issues.  Dan Jurgens, always a Warlord fan, brought the Teen Titans to Skartaris in 1997.

2000 saw Morgan going toe-to-toe with Aquaman, again courtesy of Dan Jurgens:

Down in Undertown

The ghouls of the City’s world aren’t undead, but rather a subspecies of humanity whose origins are lost in history. If they were in Ealderde, the Old World, their presence is well hidden, perhaps obscured by legends of vampires and the like. In the New World, after centuries of mistrust and antagonism, the ghoulish community of the City has struck an unease truce with its human neighbors.

Ghouls appear as thin, sometimes almost cadaverous, humans with unnatural pallor and sharp teeth. Ghouls have little to know body hair. Young ghouls have hair on their head, but most have lost it by middle age. Their pupils are larger than humans, and reflect light like those of cats.

Their appearance, though somewhat unsettling, isn't the (heh) bone of contention between them and humanity. It’s their dietary habits. Ghouls are eaters of carrion, and have a taste for human flesh. They do not, as often portrayed in pulp stories eat live humans, or attack them like a predators. The truth, though, is perhaps equally lurid--in addition to their taste for human meat, they require the consumption of human brains periodically. Scientists feel they require some essential nutrients present in human gray matter. Those who don’t consume it in 14-28 days (depending on the individual) begin to suffer from a degenerative, neurological malady.

Ghouls have always lived underground, and tend to come out to scavenge at night. In the City, the underground construction which produced waterworks, steam tunnels, and the subways provided spaces for the ghouls to inhabit. These more modern structures they managed to connect with more older, labyrinthine structures built by the Ancients from some inscrutable purpose. This ramshackle area of ghoul communities is known as “Undertown.”

Undertown is a sovereign city, but has only been able to survive by making connections with the human city above. Ghouls relay grave valuables and things hauled from the underground to policemen, organized crime, and low-level bureaucrats, and no one notices bodies that disappear from potter’s fields, or even the City morgue.

Ghouls produce no physical works of art or literature, as far as is known. Their only material culture is scavenged from the upper world, or looted from graves.  They do however produce strange music, which many find unsettling, but others strangely appealing. They also have been known to put on plays--unsurprisingly comedy’s filled with “gallows humor.”

Occasionally, ghouls get hopped up on fungus from abandoned subways, or drunk on brain’s soaked in the bootleg liquor from their stills, and they go on a bit of a tear, scaring upper-folk and generally make a nuisance of themselves. Then, police and deputized civilians are sent down to crack a few ghoul skulls, and some ealdormen make noise about the “ghoul menace.” Mostly, though, the two peoples remain segregated.and mistrustful, but willing to live and let live.

Infamous ghoulish Vaudevillian Abaddon Blanchefleur in his last performance before his arrest.
(Thanks to Matt, dwelling East of Eden in the Land of Nod for this pic)

Images from the City

The Mundy Guides are a series works detailing locations in the New World.  One of the most famous is The Mundy Guide to the City: A Comphrensive Guide to the Five Baronies of the Metropolis.  The guide is illustrated with photos, artistic reproductions, and comissioned artwork.  Below are some images from the original edition of the work and their captions:

Workmen atop the Baldanders Building, doing repairs.  This eagle-gargoyle was briefly the perch for nightgaunts (thought to originate on the moon) until powerful thaumaturgic wards were installed.

The poster advertising the infamous last performance of Evard Kellar.  Panic at the performance resulted in the deaths of three, the hospitalization (including psychiatric) of at least ten.

Artist's sketch of the famous Cathedral of St. Bernward, designed by so-called "mad architect" Jostan Geoffry (also designer of the Church of Our Ladies of Sorrows in the City).  The largest of the three bell towers was once haunted by a malign spirit that manifest as a hunchbacked dwarf with the head of a crow and eyes that glowed like lanterns.

Posterity Plaza, bneath the "Colossi of Industry."  The site of the yearly "Champion of Innovation" competition, which draws inventors of a both technological and thaumaturgical bent--and spies of foreign nations.