Warlord Wednesday: Savage Empire

This week, let’s take a look at Warlord’s prehistory--not the Atlantean origins of Skartarian civilization, but the origins of the series itself. Before there was the hollow world, the eternal sun, and Travis Morgan, Grell conceived of an archeologist transported back to ancient Atlantis to become ruler of a Savage Empire.

While attending the Chicago Academy of Fine Art, Grell created a comic strip called Savage Empire, born of his admiration for Hal Foster’s Prince Valiant and Burne Hogarth’s rendition of Tarzan. In 1973, Grell went to New York to try to sell the strip to a syndicate editor, but was unable to even get an interview to present it. He was told: “Adventure strips are dead.”

During that trip, he also went to New York Comicon. He left with a job at DC Comics, but Savage Empire was still in limbo. While working at DC, he pitched the idea to Atlas Comics. When DC publisher Carmine Infantino found out from Jeff Rovin about the meeting with Atlas, he wanted to hear Grell’s idea. While Infantino took a phone call, Grell had a few minutes to rethink things, and so when he pitched what came out was Warlord.

The two strips had a lot of similarities. The heroes looked something alike, and the female leads do too--they both look like Raquel Welch. In fact, the love interest of Savage Empire was named Tahnee (which happens to be the name of Welch’s daughter, also an actress, born in 1961). This Tahnee was “a lovely savage from the jungle kingdom of Valka” (perhaps showing some Robert E. Howard influence as “Valka” is the name of the favorite deity of his Atlantean savage turned king, Kull).


Raquel, "Tahnee," and Tahnee



Jason Cord, archeologist, was exploring a tomb on the isle of Kalliste (Santorini) when he was caught in the “laser-like light of a mystic jewel” and transport to the fabled lost continent. He was just in time to save Tahnee from sacrifice by the priest...Deimos. Obviously, the genetic relationship between Savage Empire and the Warlord of First Issue Special #8 is clear.

Grell relates this history and more in Back Issue #46 from TwoMorrows. Check it out and see more great Grell art.

Captain America Throws His Mighty Shield

I managed to pull myself away from SDCC to see Captain America: The First Avenger while I was out there.  My verdict: Best superhero film of the year.  It doesn't really do anything surprising, but it does what you expect it to do very well.

The film follows familiar lines, as telegraphed by the trailer.  "The formula that made a man out of Steve Rogers!'  with bits from the Ultimate Universe and the 1991 limited series The Adventures of Captain America: Sentinel of Liberty.  A few new twists have Bucky being the senior partner in their duo (at first) and Cap as a war bonds sales performer before becoming a real soldier.

The World War II period is pretty well evoked (at least for a film like this)--it was certainly more convincing that X-Men: First Class' 1960s.  True, its Hydra seemed less Nazi and more Cobra at times (in fact, Nazis seemed to have been oddly verboten in this WWII film), but by the time they're playing a major role, the story was moving along too fast for me to care.

This film had to carry the weight of all Marvel references from the previous films to get them to the upcoming Avengers movie.  It could have easily collapsed under their weight, but the script handles the cosmic cube, the Howling Mad Commandos (if not in name), and Howard (father of Tony) Stark as if they were all there naturally and not as fan service.  As always, stay through the credits for the inevitable link to the next film.

After the (slight) dissappointment (or maybe just weariness of the genre) with Thor, The First Avenger has renewed my excitement to see the team get together.

SDCC 2011: The Curtain Falls

This is my buddy Brandon in the shot he orchestrated to commemorate his Comic Con experience.  It wasn't easy to get--mainly because the ladies got a lot of attention and were difficult to get to.

I managed to make it over to the few gaming related booths (Chessex and Steve Jackson Games for rpgs).  There was also a "Cthulhu Library" booth right next to SJG which had Lovecraftian merchandise of all sorts, including games.  I picked up Kenneth Hite's Bookhounds of London, and let myself get talked into a purchase of Delta Green: Targets of Opportunity on the grounds that the hardcover limited edition is hard to come by.  This delving into Yog-Sothothery led to the stunning revelation that Brandon had never heard of Cthulhu or HPL!

Needing to patch this gap in his geek education, I encouraged Brandon to buy one of Penguin's Lovecraft collections.  Later this afforded me the opportunity to mock him, by dramatizing his discovering HPL for the first time.  He took a picture of it:

Our luck with panels wasn't very good (all the ones we wanted to attend were had too long lines), but we did get into the Immortal panel by inadvertently breaking in line.  After hearing Tarsem Singh talk about his artistic goals, and seeing more footage from the film.  I'm a bit more interested in this than I was before.

That's the Con highlights.  It was interesting comparing this year to last.  The crowds seemed less on Thursday and Friday than the previous year, and the convention floor seemed less busy, whereas the panels seemed moreso. One thing that doesn't change is that it remains quite a spectacle.  Where else can you see four slave-girl Leias crossing the street in a loose approximation of the Beatles on Abbey Road?  Alas, I was too slow to photograph that bit of quintessential con, so you'll just have to take my word for it.

Comic Con-fidential

I'm in San Deigo for Comic Con International, and again this year, the first bit of excitement centers around getting my pass.  This time, I get a text from a man who identifies himself as "Aric" who wants me to meet him in the lobby of a hotel in the gaslamp district.  After I final locate the hotel in question (which was much harder than it should have been owing to hotels and streets with almost identical names) Aric passes on the badges for myself and my friend Brandon (who always arranges these exchanges that somehow get left to me to carry out) marking us as "Professional Guests" (which amuses me to think we've somehow elevated the art of "guesting" to a degree as to actually be professional at it) and our oversized and gaudy souvenir bags that are the mark of SDCC attendance.

I thank Aric and make my way over to the covention through the crowds--and in the shadow of a giant inflatable Smurf.  Beyond that, the overwhelming message of the San Deigo streets is that I shoud play this Arkham City game because billboards are everywhere, including on the backs of moving vehicles.

Anyway, inside the convention center its the usual mixture of fairies, steampunks, and cardboard Daleks--though my impression so far is that there are fewer costumes than last year.  Ignoring the cosplay, I buy myself an $8 personal pizza and $4 bottled water and set out to do some shopping.  Several major genre book publishers are there, but they mostly disappoint me by serving up a plate of Star Wars or video game tie-in novels or fantasy with smoldering covers hinting at romance undertones.

I do see that The Thackery T. Lambshead Cabinet of Curiosities is out, though I resist buying one at that momemt.  Also Grant Morrison's history of/meditation on comics Supergods: What Masked Vigilantes, Miraculous Mutants, and a Sun God from Smallville Can Teach Us About Being Human is out, so that I quickly download it to my Kindle.  I've only read a couple of chapters, but its great. Morrison's insights into the iconic comic characters are at once exactly what everybody says, but at the same time delivered in such a way as to seem fresh and insightful.  Maybe I'll do a fuller review at some point.

Back at the Con, Heavy Metal tempts me with the latest of Jodorowsky's and Mannara's Borgia and 2000AD woos me with a Nemesis the Warlock collection, but both lose me to the wonder of an almost 3 foot long shark swimming stately through the air above our heads, its tail moving sinuously as it goes.

I'm told these are called "Air Swimmers" amd will soon be available at a toy store near you.

After that I try to go to a Batman panel.  Too long a line.  I don't even try A Game of Thrones as its line already stretches into infinite.

Maybe I'll have more patience for standing in line on Day 2...

A Map of Reality I Drew While I was Waiting...

...for my car to get repaired.

It's a bit incomplete--and not up to the standards of the illustration my posts usually have--but it summarizes what I've discovered so far about the multiverse of the Strange New World.

For instance, the Positive Energy Plane is just the beginning of the Prime Material--or the etheric echo of that beginning.  The Negative Energy Plane is the other bookend.

The highest Heaven is the domain of the Creator(s).  Most dead don't make it to the highest Heaven but maybe some lesser "heavenly" realm--like maybe the Elysian Fields (also called Summerland or the Fiddler's Green).  It's the counter-plane to the Wasteland, embodying "hope."  There are more of these heavenly realms.

At the "bottom" of reality is the Pit, the Abyss.  It's the place that fell the farthest in the Fall.  The place of beings with no place in creation who want nothing more than to tear it all down--the demons.  "Circling the drain" of the Pit, falling into it at different velocities, are hellish realms of various sorts.  Hell (appropriately) where the fallen angels hope to stage a coup in creation and then forestall its slide into the Pit.  Closer to the ultimate nullity are the Wasteland and the grim Black Iron Prison (which I left off the my map!) where the odious Deodands (named, interestingly, for an archaic legal term for a thing "forfeit onto God for causing a death") imprison, punish, and re-educate souls caged in their Escher maze prison hell.

Between Heaven and the Pit are planes more neutral to "good" and "evil"--or more accurately, they're places where the struggle between angels and demons is seen as beside the point.  The denizens of Machina (polyhedral nanomachines, forming the distributive conscious of their Singular god(dess), and other worshippers like the Mantid Warrior-Nuns) believe that only absolute order can restore creation to an unfallen state.  In constrast the formless, fluid intelligences of the Gyre (who often send technicolor clowns as their emissaries) believe that endless change is the only hope to recreate the conditions of the original Singularity of All and lead to the multiverse's reunion with the Godhead--or at least that's one of their myriad ideas.

Warlord Wednesday: The Path Branches Ahead

Though we’re not quite at that point yet, there are some branches ahead in the trail, Warlord fans. Issue #71 is the last that bears the name of the series’ creator Mike Grell--though as I’ve noted before, since issue #53 it was actually written in part or in whole by Grell’s then wife Sharon Wright. Given that Grell returns to the character in a 1992 mini-series and then in a 16 issue on-going in 2009 (which brings an end of sorts to the saga), it would be reasonable to jump to reviewing those series after #71 on Warlord Wednesdays and view the remainder of the first series as apocrypha.

On the other hand, Dan Jurgens starts as regular penciller when the Grell’s are still writing it (#63) and continues through #93. If Grell is the Warlord’s father, Jurgens is at least an uncle. He’s responsible for a number of Morgan’s appearances in other DC Comics after the end of the series, and he drew the Grell written appearances of Morgan in Green Arrow (and apparently was instrumental in them occurring in the first place). Also, Cary Burketts stories in the near post-Grell period deal with important plot threads like the secret of Tinder’s origins and Tara’s relationship with Graemore, and introduce some cool new characters like Scarheart and Krystovar that seem to “fit.” Plus, I just think the "Time Paradox" and "New Atlantis War" storylines are cool.  Finishing all that would take us to issue #100.

The third option is to follow the series until its actual end. The last writer Michael Fleischer does have a Sword & Sorcery bent (giving a nod to the Clark Ashton Smith story “Isle of the Torturers”), but overall, the issues after 100 and until its end feel different that what came before. Part of it is more crossovers with the mainstream DCU, but also it just seems more like "generic fantasy comic" than Warlord. It’s not bad (mostly) and some of its pretty good, but its a new direction and less “of a part” with what went before.  But it is a part of the "official" series.

So it’s time for the mostly reticent Warlord Wednesday readership to make itself heard--if it exists, which the number hits I get on Wednesday’s suggest it does. I’ll probably put up a poll at some point, but I wanted to go ahead and throw the question out for comment. After #71, where does Warlord Wednesday go next?

Wonders from the Planes

Besides the gray dust, other outer planar artifacts sometimes turn up in the more thaumaturgically-oriented private markets of the City, or end up in some structure of the Ancients to be found be adventurers. Here are a few of them:

Skeletal key: A minor artifact of the demonic gaolers from the plane called the Black Iron Prison. It’s a six inch long key that does indeed appear to be made out of bone. It can open any non-magical earthly lock, and a specific cell block within the plane of confinement, though it will be impossible to find out which one without magical or extraplanar aide.

Madness record: Condensed from the substance of their realm by the polychromatic clowns of the Plane of Chaos, these appear to be mundane 78rpm phonograph records. If the record is played, all those who are able to hear the strange and indescribable sounds on it will be affected as per the confusion spell.

Fabrication fog: A swarm of minuscule, polyhedral automatons from the Tesseract of Machina, the Plane of Order. These beings are packed into a small square box of some light, but extremely durable alien metal with cautionary text in several different scripts (but no earthly ones) engraved on it.  When the box is open the automata appear as a glittering swarm of fly-sized bronze shapes. They will be bound to the one who opens the box and serve him for one year (their power runs out then without recharge), until he is dead, or he gives them to someone else. They act like the fabricate spell, making whatever the owner desires within the restrictions of the spell (other than the need for the craft skill--the automata can manufacture anything non-magical item with a model or reference image). There are rumored to be versions of these which perform healing functions.