Warlord Wednesday: Gambit

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...

"Gambit"

Warlord (vol. 1) #35 (July 1980)

Written and Pencilled by Mike Grell; Inked by Vince Colletta

Synopsis: We open where we left our heroes last time: Morgan is about to bid farewell to Mariah, Machiste, Mungo Ironhand, and the Age of Wizard Kings, and use the hellfire sword to return to Skartaris. Morgan is indeed transported out of Wizard World, but instead of Skartaris he finds himself in some body's 20th-Century Earth living room, in what he intuits to be (perhaps) New Jersey.

Morgan doesn’t have a lot of time to consider this strange development, because an armored woman named Agnes announces her presence and declares her intention to battle the mighty Warlord. Morgan is dubious, but Agnes attacks, so he’s forced to fight back. The two fight there way into a den. Morgan demands to know how he got here and how he can get back to Skartaris.

Agnes claims to know, but distracts him with thrown pool balls, and makes a dash for a gun cabinet. She snatches up a rifle, but in some higher realm someone cries “foul!”

Giant figures in shadow seem to be looking down at the combatants, discussing the events as if they’re part of some game. One declares Agnes a “Chaotic Good Primitive, without a knowledge of modern weaponry.” The other concedes the argument: “Point, Morgan!” he says.

Morgan quick-draws his pistol and fires at where Agnes was, as she fades out of existence. Morgan thinks he could use a drink right about now, and suddenly there’s a bar and bartender in the room to oblige. He pours Morgan a scotch, but also pours something else out of a small vial. Morgan drinks. By the time he’s realized he’s been slipped a Mickey, he’s sliding to the floor.

Red robed figures enter a door behind him. They bear Morgan away for “the sacrifice.” Morgan is placed on an altar--or table. The lead cultist raises an electric carving knife over him. In the other realm, two dice roll and one player decries “a lucky throw.”

Morgan suddenly awakens and grabs the leader. He tosses him into his fellows, then snatches up his sword. Morgan cuts into the cultists. The leader realizes the only way to keep Morgan from “winning” is to spill blood and release the demon--even if its his own! He stabs himself with the carving knife.  Elsewhere, a demon playing piece is placed on board, while Morgan faces a being of fire, emerging from the burners of the stove.

Morgan fights back, but he can’t cut what isn’t solid. The demon blasts him out a window and into the front yard. It comes charging out after him. He picks up a car off the curb, then tosses it at Morgan. Dice roll. Morgan dodges, and the car hits a hydrant. The torrent of water released reduces the demon to a cloud of smoke.

Morgan tries to lean against a tree--and it topples over. It’s not even real. A piece with two figures is placed on a board. The sound of a chainsaw starting gets Morgan’s attention. He turns to see Tweedle Dee and Tweedle Dum, with a chainsaw and battle-axe, respectively.

Again, dice roll. Morgan fights the two, and discovers they aren't real either--they have no blood or internal organs. Morgan finally defeats them, but by that point the house is engulfed in flames from the demon.  Morgan fears he’s trapped in this lunatic world.

Elsewhere, gods (with familiar names) finish a game:

The gods box up their game of Devils & Demons, promising they have even more in store for Morgan.

The hero in question arrives back in Skartaris, where Shakira and the mayor of the dwarves have been waiting. Shakira asks where he’s been, but Morgan replies she wouldn’t believe him if he told her. Morgan accidentally cuts his thumb on the hellfire sword, and Mungo Ironhand’s admonition that the sword must always draw blood holds true.

Things to Notice:

• Dungeons & Dragons seems to have provided some inspiration for this issue.
• Morgan can somehow tell he's on the east coast, probably New Jersey.

Where It Comes From:
The last panel of this story gives its inspiration  as a nightmare:

Like most representations of these characters, Grell's renditions of Tweedle Dum and Tweedle Dee seem informed by John C. Tenniel's illustrations.

"Agnes" may have been inspired by Robert E. Howard's swordswoman of the same name, Agnes de Chastillon.

The "gods" gaming with Morgan's life are Mike Grell, Jack C. Harris, and Joe Orlando.

Livin' on Marvel Time

Gary Gygax said: “You can not have a meaningful campaign if strict time records are not kept.”

I wonder if that applies to superhero games, too? If so, its a bit difficult to find that strict time-keeping in the source material--at least at Marvel and DC. Both companies long ago adopted de facto “sliding timelines,” and have since enshrined them in company policy, more or less.

For the uninitiated, in the Marvel Universe, this means that the current “heroic era" never gets more than about 10-15 (depending on who you ask) years-old. The Fantastic Four originally got their powers in the sixties. In the Lost Generation limited series in 2000, that event seems to have occurred in the late eighties-early nineties; now, it probably happened around 2000.

Now, the number of events between the beginning of the current age and the ever-advancing now keeps increasing, though the distance between those two points remains constant. Eventually, there'll be a major crossover everyday of Peter Parker’s life since he was 16.

It was not always thus. As George Olshevsky’s Marvel indices show, early Marvel, seemed to follow “real time”, more or less. The reason comics abandon it, like most serial media, was presumably to have evergreen brands.

A superhero rpg campaign doesn’t need brands. There’s no reason why heroes in a Marvel-inspired rpg campaign couldn’t grow old, have children, and retire and make way for the next generation. DC has toyed with this in comics themselves (safely placed on Earth-2, for the most part), but this would be fairly new territory for Marvel.

I’ve run a Mutants & Masterminds campaign based on that premise in the past, constructing a timeline from Olshevsky’s work, and my own collection of date references from comics. I could have saved myself some work, had I discovered the The Wastebasket blog and Tony’s chronology work on what he calls The Original Marvel Universe. Though my conclusions sometimes differ from Tony’s, the detail and analysis he puts into the OMU is great.

I suspect if I ever run that campaign or a similar one again, I’ll find the OMU indisplensible.

How About Masters of Fantasy?

Showtime’s Masters of Horror was in the grand tradition of TV horror anthologies and aired over two seasons from 2005-2007. It featured famous names in horror film (Argento, Gordon, Carpenter, Miike, and Hooper, among others) directing episodes, several of which were based on famous short-stories, or stories by famous authors, including Lovecraft, Barker, Bierce, Matheson, and Lansdale.

Masters of Science Fiction was a short-lived ABC show with a similar premise, though devoted, as the title suggests, to a different genre. It featured adaptations of stories by Robert Heinlein, Harlan Ellison, and Robert Sheckley among others.

It would seem to me that in the wake of the Lord of the Rings trilogy, the Harry Potter films, and with A Game of Thrones on its way to HBO, the way might be paved for a fantasy anthology--a Masters of Fantasy, perhaps?

In thinking of stories to adapt, one would have to think of things that could be done justice in an hour time-frame, in the budgets it would likely have, and for the audience of cable TV. Like the anthologies mentioned above, a mixture of classics and new stories would probably be what we’d see.  Of course, while their would probably be a temptation to go with stories set in the modern era, what I'd want to see would be a mixture of settings, both mundane and fantastic. 

Here are some stories, off the top of my head, I think would work in those parameters:

• “The Charnel God” by Clark Ashton Smith
• “People of the Dark” by Robert E. Howard
• “Only the End of the World Again” by Neil Gaiman. (I would love to see “Murder Mysteries” but it might be a bit ambitious)
• “Undertow” Karl Edward Wagner
• “O Ugly Bird!” by Manly Wade Wellman
• “Mai-Kulala” by Charles R. Saunders
• “The Sustenance of Hoak” by Ramsey Campbell
• “The Cloud of Hate” by Fritz Leiber

What about you guys: What would you like to see? What would work?

Down South

art by Glenn Orbik

“...snake-charmers, phoney real-estate operators, and syphilitic evangelists.”
-H.L. Mencken

The region between the hegemony of the City, the Smaragdine Mountains, and the eastern coast of the New World is known generally as the South. Popular conception holds a dim view of the South, and its people are painted with various unflattering stereotypes. The poor are viewed as over-religious, unwashed dullards, and its would-be gentry as grandiose eccentrics living in the past.

It is true that the South has been slower to embrace the industrialization and engagement in the wider world that mark its neighbors like the City and the Steel League, and its folk are often hidebound and insular. These traits aside, there are many things which might draw adventurers here.

There is one industry the South excels at—bootlegging. Though the South’s tradition of fire and brimstone Old-Time Religion ensures that most counties are “dry”--and even more liberal localities prohibit alcohol sales on Godday--this hasn’t stopped the manufacture and smuggling of alcohol. The lowland moonshiner typically sticks to alcohol; he’s is less likely than his Smaragdine brethren to also be involved in bootleg alchemicals in general (though it may only be a matter of time). Southron bootleggers are famous for their skill behind the wheel of their suped-up automobiles (sometimes even magically enhanced) used to outrun authorities on rural highways and back-roads. Both sides of the moon-shining equation offer opportunities for people of action.

In addition to the highways, the lesser travelled waterways of the South are conduits for bootleggers, smugglers, and criminals on the lamb. Bayous and swamps can hide a multitude of sins, if one can deal with the hostile locals (including conjure-men or hoodoo doctors), skunk-apes, gator-men, and dangerous animal life. Outsiders should be cautious before choosing to follow a local fugitive into the interior. The largest of these swamps are the closest thing the Northern continent has to the Grand Cinnamon River basin in Asciana.

There is also perhaps a little money to be made, and a lot of justice do be done, in defending Black or Native communities from terrorizing by the Knights-Templar of Purity. This can be a dangerous proposition as Black-Folk are legally disenfranchised in much of the South, and the Knights-Templar wield more power here, so near there place of origin, than in most other places. Some whole towns are under their sway, so that knowing who is an enemy and who is not can be difficult to discern.

If adventuring, or perhaps just do-gooding, wears thin one can always visit one of the cities the South does have to offer. The old and decadent canal-city of New Ylourgne, largest city in the South, offers a respite from the rural. It also boasts a higher concentration of magical practitioners than even the City, and magic shops well-stocked with exotic material components.

More Images from the City

Where you’d never expect it.  The famous Ealderdish hit-man Anton Mocata--known as “the Ghost”--was responsible for 112 (known) murders before he was finally brought to justice.  His use of a magic ring conferring the power to open dimensional doorways allowed him to strike easily at even the most well-protected targets.

Adventurer prepares to enter the belly of the beast.  The preserved carcass of a great leviathan in a melting iceberg offers a challenge.  Groups of adventures raced to be the first make the treacherous descent into the creature's gullet to see what ship-bound treasures it might have swallowed in life.

Night of the Vermilion Butterfly.  A secret society among some of the joy-girls in brothels of both the City and San Tiburon Yiantowns rose up to challenge the Yianese criminal guilds.

A danger even to itself.  An Ebon-Land basilisk, petrified by its on gaze and a clever adventurer with a mirror, was put on display Empire Park.

Frontier Adventure.  A scene from a comic book adaptation of James Ynismore Drakeland’s beloved Buckskin Tales, depicting an encounter with a "rustic giant" out of the Smaragdines.

Veterans Day

It's Veterans Day, and I'd like to commemorate some of the lesser known--but no less brave--men and women who've served their country in uniform--however tattered or non-regulation those uniforms often seem to be...

What special forces squad would be daring enough to go after Hitler?  Well, the same one that served in every U.S. conflict from World War II to Vietnam--and did it their way.  I refer of course to Sargeant Nick Fury and his Howling Mad Commandos!

They say you can't pin a medal on a gorilla (see, they're doing it right there on the cover!), but I say: why not?  So what if he doesn't meet the grooming standard?

War's ugly and so were they--but they got results.  And their name's alliterative.

And of course, who could forget the Warlord, formerly Captain Travis Morgan, USAF.  He proves the old adage, "old soldiers never die, they just become Sword & Sorcery heroes in the hollow earth."

All frivolity aside, I'll put one nonfictional veteran on the list.  U.S. Army trauma surgeon, and my best friend from med school, T (née Tara):

Happy Veterans Day!

Warlord Wednesday: The Sword of the Sorcerer

Wednesday again.  Time to 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...

"Sword of the Sorcerer"
Warlord (vol. 1) #34 (June 1980)

Written and Pencilled by Mike Grell; Inked by Vince Colletta

Synopsis: The mayor of the dwarves declares Morgan a hero for his actions last issue. As such, he feels Morgan is worthy of treasure: a gleaming sword from the Age of Wizard Kings called “Hellfire.” Morgan notices an opening in the blade near its hilt. The mayor says that legend holds there was once a gemstone there, but it was shattered, then stolen, long ago. Recognition dawning, Morgan pulls out the pieces of the hellfire gem and fits it into the blade. The sword “seems to shimmer with new life.”

In the ancient past of the Age of Wizard Kings, Machiste, Mariah, and Mungo Ironhand ignore the posted warnings and enter the castle of Wralf the Wretched. They hope he can return Machiste and Mariah to the present of Skartaris.

Wralf appears before them and is unsympathetic to their plight. He tells them he can’t help them, but when challenged on this by Mariah, he amends that to say he won’t.

At that moment, energy leaps from the hellfire sword. Spacetime is split open, and Morgan is transported to the Age of Wizard Kings and in the middle of his friends’ encounter with Wralf.

Wralf doesn’t give the reunited companions time for pleasantries. He demands Morgan surrender the sword. When Morgan declines, Wralf presses opens up two trapdoors--one which Morgan falls through, and one that swallows the other three.

The trapdoor drops Morgan onto a slide. He manages to stop himself from a precipitous drop, by wedging his sword between the walls. He climbs up a distance, then goes looking for his friends.

Meanwhile, another slide has dropped his friends on to a pathway. Mungo casts a light spell and begins to lead them out of the darkness. Unfortunately, they encounter a furred monster with scythe-like hands.

Mungo’s response is to run, but Machiste grabs his cape and pulls him back. They need the light to fight by. Machiste and Mariah battle the monster--unaware they’re actually fighting Morgan disguised by Wralf’s magic!

Morgan tries to hold his friends off while not hurting them. Mungo realizes there’s magic at work. He casts a spell himself, which dispels Wralf’s illusion.

Mariah remarks that Wralf must have changed Morgan into a monster, but Mungo corrects her. The spell was on them; the hellfire sword makes its bearer immune to magic. Mungo adds that Morgan has the same sword Wralf wears.

The three explain to Morgan that only Wralf is able to return them to Skartaris. Obviously, he’s being uncooperative.

As if on cue, Wralf appears among them. He's is tired of toying with them, and wants the sword. Morgan replies he’ll have it over his dead body. Wralf replies “that can be arranged,” and pulls his sword. He also magicks a glass dome over the other three so they can’t interfere.

Morgan and Wralf fight, their twin swords giving off magical energy as they do. Finally, Morgan delivers a mighty blow right on the gem in Wralf’s sword--and splits it, knocking it from the blade! Morgan realizes (at last) that Wralf’s blade is the one he now wields, but in the past.

That sword now seems to move of its on accord, and thrusts into Wralf’s heart. Morgan is confused. 

With Wralf dead the other three are freed.  Mungo says he should have told Morgan about that characteristic of the sword before--once the hellfire sword is drawn it must always draw blood. This is the price one pays for the immunity to enchantment the blade confers.

Morgan’s eager to show Deimos that power, but with Wralf dead, how can they return to Skartaris? Mungo clarifies: the sword grants Morgan the power to return, it’s only Mariah and Machiste that can’t. If he sheathes the blade, it will return him whence he came.

Mariah and Machiste urge him to return. They say they’ll find a way back somehow--and until then, they have each other.

Morgan sheathes the sword, and bids his friends farewell, promising he’ll see them again.

Things to Notice:

• There's a hook horror beneath Wralf's castle (sort of).
• Mungo Ironhand is implied to be the ancestor of the dwarves of Skartaris.

Where It Comes From:
The title of this issue is the same as a 1976 Sword & Sorcery novel by Gardner Fox.  The whole sword "cursed to have to draw blood" is reminiscent of the folklore around the swords of Japanese swordsmith, Muramasa Sengo.

Again, the comedic elements, and some of the design elements, of The Age of the Wizard Kings seem reminiscent of Ralph Bakshi's 1977 animated feature, Wizards.