Warlord Wednesday: X

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...

"X"

Warlord (vol. 1) #46 (June 1981)

Written and Illustrated by Mike Grell; inked by Romeo Tanghal

Synopsis: Morgan, Aton, and Shakira arrive at the coast at the wreck of the Lady J, Jennifer Morgan’s ship. Morgan says they should split up to search for her, Aton going south, and Morgan and Shakira, north. If either finds her, alive or dead, they plan to bring her to Shamballah.

Morgan gallops off, and as Aton watches him go he pities his leader for the hardships the fates have brought him. What Aton doesn’t know is that Morgan's restless, warrior’s heart relishes this--the dangers and challenges to come...

One of those dangers presents itself soon in the form of one of Skartaris’ orange carnosaurs. The beast charges. Morgan draws and fires right into its maw. The bullet blasts through its skull, killing it instantly, but its momentum sends it crashing into Morgan, Shakira, and their mount, toppling them all.

Morgan is briefly unconscious, but as he awakens in a daze, he sees his old friend--sexy, personified Death--in front of him:

Morgan follows her gesture and sees Shakira (in cat form) lying apparently lifeless! Morgan cries out in denial as he sees Shakira's human spirit rise to follow Death. He staggers to his feet to go after them. He calls to his friend, but she doesn’t heed him. They pass through doors in the mouth of a cave, emblazoned with the legend: “Abandon All Hope Ye Who Enter Here.”

Morgan follows without hesitation. His mind reels as he enters a a subterranean realm of evil where demonic beings use humans as play things. He hesistates only a moment before following his companion’s path.

The doors slam shut behind him, and Morgan is accosted by the shades of previous enemies--Shebal, Stryker, and Chakal in the fore. They’ve been awaiting for Morgan. Waiting for revenge.

Morgan doesn’t waste time fighting the already dead. He takes a leap of faith into the pit of flame below while calling out Death’s name: “Azrael!” She hears him:

Morgan demands she return Shakira. Death calls him “my love” and declares him a faithful servant, but denies him. He bargains with her, offering his life in exchange. Again Death denies him, saying he serves her too well to take now, but she gives a counter-offer: ten years off his life is her price.

Morgan agrees. Death strikes him, causing a scar like a Roman numeral ten to appear on his breast--a symbol of their deal.

She shows him Shakira in the grip of a serpentine demon, and says: “Save her if you can.”

Morgan jumps from her hand. He cuts down the demon, then takes up Shakira in his arms. Fighting of off more demons, he makes his way back to the great doors, barely ahead of his pursuers. Once through, he makes it back to his mount before collapsing.

He awakens with Shakira’s hand on his shoulder. She’s relieved he’s alive; she thought the lizard had killed him. Shakira remembers nothing of what happened, and Morgan might chalk it up to a blow to his head himself.

Except for the X-shaped scar in his chest.

Things to Notice:

• The cover illustration bears no relationship to this issue, but is a reasonable facsimile of last issue's events.
• Death (or Azrael) returns.  We last saw her in issue #14.
• Orange dinosaurs stll abound in Skartaris.

Where It Comes From:
See my commentary on issue #14 for my thoughts on Grell's depiction of Death.  New here is a name for her--Azrael.  This is the name of the Archangel of Death in some traditions, including some Islamic and Judaic lore.

The legend on the doors to the underworld ("Abandon all hope, ye who enter here") is a common translation of the Italian phrase "Lasciate ogne speranza, voi ch'intrate," which is the inscription over the gates of Hell in the Inferno section of Dante Alighieri's fourteenth-century epic poem, The Divine Comedy.  Grell also has Deimos use this quote back in issue #6.


Several previous Warlord foes appear as undead here.  Shebal is the gladiator trainer from issue #2, Stryker, the CIA agent from issues #4 and 13, and Chakal is the mercenary who gains a cybernteic arm from issues #25-27.

In Any Language

In my collection, I have two role-playing games that I am unable to read because they're in non-English languages.  Both of them I bought for their gorgeous art.  One of these games is the 6th edition of the venerable Swedish fantasy rpg, Drakar och Demoner ("Dragons and Demons").

This edition, published in 2000, is set in the world of Trudvang, which (perhaps unsurprisingly) has a strong "Northern thing" going for it (though I gather this something of a departure from more generic fantasy in previous editions).  Check this out:

The whole thing is in sepia which is nicely evocative.  The art avoids the sins of modern D&D art, thought it hardly could be said to be "old school."  Instead, its perhaps more classical illustration in style.

Here are a couple of the PC races:

Trollish races:

Of course, those are all my best guesses of what those images illustrate. I can't read the text.

Pretty pictures, though.

Will Eisner's Spirit

Yesterday (as Google kindly pointed out) would have been the 94th birthday of graphic storytelling giant. Will Eisner. Eisner was the author of numerous comics and graphic novels, but his most famous creation, The Spirit, appeared in newspapers.

The domino masked crime-fighter known as the Spirit appeared in June 1940 in a syndicated Sunday newspaper supplement. The strip would continue in that format until October 1952. Later, Kitchen Sink Press and DC Comics would bring the Spirit into traditional comic book format--and of course there was the movie that should have been called Frank Miller’s Spirit since it bore only a passing similarity to Eisner’s work.

The most interesting thing about The Spirit was the way the stories were told. Unlike conventional hero comics, the Spirit was often merely an observer or a minor player in the events depicted--which were frequently character studies or musing on aspects of urban life. Sure there was a good bit of violence, noir crime, and femmes fatale a plenty, but there was also a good deal of humor. All of this was delivered in a visual style showing a greater sophistication and awareness of techniques from film than most other artists of the era.

The Spirit would be good inspiration for many sort of urban campaigns, particular in the pulp and low-powered supers genres. It certainly had an influence on the City, both directly, and  indirectly through Moore and Veitch’s Spirit homage, Greyshirt.

The Evilest Little Cathouse in Freedonia

Visitors to the small, rural town of Butterwort, Freedonia, will find themselves encouraged to sample the pleasures offered by Stang House (supposedly named for the New Ylourgne madame held to have opened it in '52)--a “sporting house” in the antiquated local parlance. A short trip to the edge of town will reveal suggestive silhouettes behind gauzy curtains in the house’s windows, and the faint, but seductive sounds of feminine laughter, music, and general merriment coming from within.

Those entering the house will find things very different from what they expected. The inside is pink-walled and pulsating. The undulating floor is slick with secretions, and possibly strewn with glistening (and softening) bone. Should one try to turn and run for the door, he will find the opening tightly sealed. Then the caustic, acrid smelling liquid will begin to spew forth in gouts from the walls....

Living House: AC 6 (outside) 10 (inside); HD 20; Attacks: 1 (acid, 2d6 per round).  There is a 50% chance that the house will disgorge its prey after it has taken 25% or more of its total hit points in damage.

The living cathouse was inspired by the gardinel from the stories of Manly Wade Wellman.

Adventures in One Panel

Here again are some vignettes clipped from Golden Age (mostly) comics chosen for adventure inspiration.  I've placed them in the world of the City, but they could take place almost anywhere...

Ominous rumors surround the Mircalla Karnstein Finishing School for Young Ladies. 

The new ape at the Empire Park Zoo was certainly unusual--more unsual than anyone could have imagined.  Who could've guessed he was the last of a prehuman race of simian sorcerers?  That is, until it was too late...

Kidnapped beauties plus a lecherous lich equals a bizarre pangeant with a macabre first prize.

Illegally imported Vegepygmeus anthrophagi pods turn a rich man's greenhouse into a slaughterhouse.

All Those Monsters

Most role-playing games that run more than one book prove a catalog of monsters. D&D in its various incarnations provides us with more than one. I would suspect most gamemasters are like myself and have never employed every monster in any of those books, much less all of them. I wonder, though, how people decide which monsters to play versus which to leave on the bench?

In my oft-revised, ever-evolving D&D to GURPS to Wizards & Warlocks setting (now answering to the named The World of Arn), I first employed whatever monsters struck my fancy from the three AD&D monster manuals and various issues of Dragon. I had the vague notion that any monster was fair game, but some spoke to me more than others--and some were just lame.

Later, when the world took a Sword & Sorcery turn, under the heady influence of Leiber and Howard, actually monsters (except humanoids) became rarer--human foes were the order of the day, and various prehistoric animals (the setting being in a mythic prehistory in good Howardian fashion) in wilderness adventures. Later, I wanted my own "signature" monsters (like Tolkien had his orcs) so I played up obscure entries from Dragon over standards. Why have the same old orcs when you can have cynamolgi (from Dragon #141 for you completists)? I mean, even the cartoon set itself apart from the norm by pushing bullywugs to prominence.

The latest iteration brought me full circle in a way, with all the glorious, crazy, D&D creatures stalking the world, albeit perhaps in a more “rationalized” fashion. And still some of the dregs got ignored. (Sorry flumph.)

The world of the City presented a challenge of adaptation. Here, I’ve been more planful about what monsters I’m gong to use. They have to be able to “work” with the more modern setting, and I really want to have in mind what the beastie's roll is in the setting--even if that’s just “monster of the week.”

So how do you decide what monsters are in your setting, be it D&D or otherwise? Grand plan? Whimsy?

Warlord Wednesday: Nightmare in Vista-Vision

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...

"Nightmare in Vista-Vision"

Warlord (vol. 1) #45 (May 1981)

Writing and art by Mike Grell; inks by Vince Colletta

Synopsis: On a remote Skartarian beach, Jennifer Morgan tries to communicate with the brutish, hooded man who found her, but finding the language barrier difficult. Jennifer mentions the name of her father, “Travis Morgan,” the eyes of the man harden. Suddenly, he lashes out with his sword...

...and slashes a sabretooth tiger as it pounces. Jennifer feels she misjudged the man--he just saved her life, after all. The man’s attention is now focused on his bronze-bound, wooden box which has been overturned. He rushes to it swiftly and closes it. Calling it “master” he whispers to it that he’s certain the girl did not see. And yes, he heard her say the name of his master’s mortal enemy--Travis Morgan.

Meanwhile, Morgan, Aton, and Shakira ride into the tree village of the dwarfs. Morgan asks if they’ve happened to find his old sword he left on his last visit. The mayor of the dwarfs leads him to it. Morgan just taken it in hand, when they hear a scream from outside. Running toward it, they find:

The fight doesn’t favor our heroes.  Morgan and Aton wound out sprawled out, while the cyclops lumbers away with the sack full of dwarfish maidens. Morgan’s got a question for the mayor:

But there is something Morgan can do. He and his companion race after the cyclops. They soon come to a fallen tree bridging a ravine. They stop a moment to strategize.  When the plan is made, Aton stays behind while Shakira and Morgan cross the bridge.

They come open a cobbled together skeleton strapped to a cross. Morgan thinks its some sort of warning; it means they’re on the right track. He’s proved right as they come around a rock outcropping and find a cave with three cyclopes tending a fire--and a cook pot. The dwarf women watched worriedly from a nearby hanging cage.

Shakira’s also worried, but Morgan reminds her he has a plan. Soon, Shakira (in cat form) is creeping across the branch toward the dwarf ladies. When she’s close enough, she jumps to the cage and changes to human form so she can set them free.

As they’re making there escape, the cyclopes notice and give chase. That’s when Morgan comes swinging in on a vine and slams into them. Despite their size, the giants are staggered. Morgan drops to the ground and pulls his sword.

He deals the closest a deadly blow, then runs for the tree bridge. The other two cyclopes give chase. Morgan is half-way across the tree, with the cyclopes behind when he shouts “cut it!” to Aton. Aton chops through a large root that seems to be holding the tree in place.

As the tree falls into the ravine, Morgan jumps to safety. The cyclopes aren’t so lucky. One falls to his death, though the other manages to grab hold to the cliffside.

Before he can climb out, our heroes push a boulder off the cliff onto him. Morgan’s plan worked! Still, Aton’s got a good question:

Things to Notice:

• The dwarf men (last seen in issue #33) look like munchkins from The Wizard of Oz, but the ladies are decidedly cuter and more curvaceous--like Elinore from Bakshi's Wizards.
• This issue features filmic transition captions.

Where It Comes From:
The title of this issue references vistavision, a widescreen film format developed by Paramount as a competitor for CinemaScope.  This fits in with a number of film references in the issue.  Captions between scene changes in the issue are all film transition terms. 

Also, there are a couple of set-peices seem homages to specific sequences in film.  The tree bridge greatly resembles the who from the original King Kong (1933).   The bone scarecrow on a cross resembles who the Talyor (Charlton Heston) and his fellows come across in Planet of the Apes (1968).