Bring Out Your Undead

There certainly are a lot of different types of undead in D&D and games inspired by it, aren't there?  As Zak pointed out in his Alphabetical Monster Thing, the D&D way seems to have been find a synonym for the name of a monster you’ve got, and you’ve got a new monster (e.g. ghost, spectre, wraith, phantom, etc.)

So what do we do with all those? Fight them, sure--or ignore huge swathes of them, maybe. I wander though, if one assumes all those undead types exist, what does say about the metaphysics of the world that includes them? Are the names distinctions without a real difference (other than game mechanics), just variations among individuals, or do they represent some sort of like a power level hierarchy in some fighting anime?

Characters might not know (or care) about the answers to these questions, but they might impact the setting in some interesting ways they would be in a position to uncover.

Any thoughts on the use (or lack of use) of the multiplicity of undead?

Warlord Wednesday: The Mark

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 Mark"

Warlord (vol. 1) #67 (March 1983)

Written by Mike Grell (Sharon Grell); Penciled by Dan Jurgens; Inked by Mike deCarlo

Synopsis: In Mungo Ironhand’s castle in Wizard World (the high magic past of Skartaris) Jennifer is trying to cure Rostov’s lycanthropy (but having no luck) while the rest of our heroes watch. Morgan and Mungo busy themselves drinking martinis.

Suddenly, Rostov (in wolfman form) bursts free from the magical energy that bound him and goes after Jennifer. Machiste and Morgan are unable to restrain him. Jennifer, unphased by the snarling manbeast right in front of her, casts a spell that somehow blocks the moon's power and returns Rostov to human form.

Jennifer decides that understanding the origins of his curse might help her cure it. She pulls shard of crystal from a small chest of Mungo’s. They can use it to look into his past.

Mikhail Ivanov Rostov, a Cossack, happens upon a gypsy camp where he sees a girl, Gitana, dancing. It’s love at first sight. The problem is Gitana is the woman of Ostrap, a man with a fondness for handle-bar moustaches and pink clothes.

So it’s a duel with sabers over a pit of snarling wolves. Mikhail makes quick work of his rival. He swoops up the swooning Gitana, carries her off to her wagon, and (in a bit of Comics Code approved raciness):

“The smell of blood mingled with the scent of perfume…And in that night they both knew love for the first time.”

There are trials ahead for the lovers. Mikhail is shot in the back by an angry gypsy. He’s near death, but Gitana performs a magical ritual to save his life. She must use the blood of a wolf to sustain him.

Mikhail recovers, and the two are wed. Soon Gitana is pregnant. When their twins are born, they discover that the magic she used to save him had a price:

Mikhail snatches up the bestial child and takes it out into the snow. He raises it above his head to throw if off a cliff, but he can’t go through with it. Holding the child close, he jumps himself.

Gitana is left with her one surviving infant—a girl. Rostov is the descendant of that girl and inherited (according to Jennifer) the “chromosome imbalance” leading to lycanthropy.

Things to Notice:

• Mungo yet again shows he has some source of knowledge on modern earth for his "humorous" references.
• The events in "the present" of Skartaris are really only a frame for the sort of gothic romance tale.
• The panels in the story of Gitana and Mikhail often have a tattered parchment sort of border.

Where It Comes From:
This is issue is sort of a gothic romance.  In keeping with that feel, Mikhail Rostov seems to bear a resemblance to the werewolf Quentin Collins in the gothic soap Dark Shadows (1966-1971):

"Gitana" is a Spanish word meaning "female Gypsy." Gypsies are, of course, another gothic staple.

Museum of Dangerous Art

A façade of steel plates and heavy bolts with a thick, round door, at home on a vault or boiler room, isn't what one expects from an art gallery, but then the City's Museum of Dangerous Art (Open weekdays 10 a.m. to 6 p.m., Godsday noon to 6 p.; Admission 25 cents; free on Loonsday) isn't the usual sort of gallery.

The anonymous group of prominent collectors (rumored to have been the shadowy cabal called the Unknown), whose sponsorship made the museum possible, are presumed to have had two goals: one was to encourage the appreciation and study of thaumaturgical artworks, and the other was to imprison these works where they can do the least harm. The collection includes paintings, sculpture, illustration, handcrafts, and film; the only requirements are that a work has some aesthetic purpose--and that it’s potentially harmful.

All of the art exhibited is placed behind wards or otherwise neutralized so that viewing them is not dangerous.  Patrons are reminded not to touch the art.

Here's a small sampling of the art in the collection:

Still [sic] Life
Title only given on typed card attached to frame.
Media: Oil on canvas.  Artist: Unknown, but believed to be van Snood.
Desc.: A bowl of decayed fruit which returns to freshness as the painting drains life from a victim (causes energy drain per hour like a hit from a wight).

Old Hag Quilt
Media: Hand-stiched fabric. Artists: A witches coven in the western Smaragdines.
Desc.: Appliqués in black and white show the successive phases of the moon interspersed with a nightscape where a female figure appears then moves to the forefront of the image.  The last square reveals her face to be a skull.  The quilt causes nightmares in anyone who uses it.  After a fortnight, a hag crawls from beneath the quilt.

Abode of Demons
Media: Marble. Artist: Unknown.
Desc.: A statue of male figure whose open cloak revealed distorted, demonic faces.  It's unclear what the activating mechanism is, but for every hour of darkness (sunset to sunrise) the statue is activated, 1d4 shadows emerge from inside the cloak.

Other malign works exhibited include the Damnation Photo, the Recursive Horrror, Grasping Hands, and Summer Daisies and the dreaded Sunny Day in Crayon (Queenie, age 4).

The Cabinet of Curiosities

I mentionted back in April that Ann and Jeff VanderMeer had another collection in the works bearing the name of the learned (and fictious) Thackery T. Lambshead: The Thackery T. Lambshead Cabinet of Curiosities.  The volume is subtitled "Exhibits, Oddities, Images, and Stories from Top Authors & Artists," which means it's enough weirdness to fill a couple of d30 tables of the bizarre. 

The book's conceit is that Lambshead has died and a cabinet of "artifacts, curios, and wonders" was discovered in his estate.  Famous authors (abetted by artists) relate vignettes and short-stories about these items.  For examplle, Cherie Priest details "the clockroach," and China Mieville reveals the "Pulvadmonitor" (and what it has to do with the British Dental Assocation Museum).  Other contributors include Michael Moorcock, Ted Chiang, Alan Moore, Caitlin Kiernan, and Tad Williams.

Some of my favorites are the shorter entries in "A Brief Catalog of Items." The names alone are evocative in many cases: "Bullet Menagerie," "The Decanter of Everlasting Sadness," "Mellified Alien," and "The Night Quilt, American."

Plenty of inspiration to be had.  Check it out.

Warlord Wednesday: Wizardwar

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...

"Wizardwar"

Warlord (vol. 1) #66 (February 1983)

Written by Mike Grell (Sharon Grell); Penciled by Dan Jurgens; Inked by Mike deCarlo

Synopsis: Having stepped through the magic mirror, Morgan and Jennifer arrive just in time for Jennifer to stay Machiste’s hand and keep him from braining Rostov. She holds the combatants long enough for everyone to calm down so that introductions can be made. Mungo Ironhand is (unsurprisingly) particularly taken with Shakira.

Rostov and Mariah go off to have a private talk. Jennifer tells the others that they must prepare to fight the Evil One for the sake of the future. Mungo carries the Hellfire sword, but its gem is missing, so it’s without its anti-magic power. They’ll have to find some other way.

Meanwhile, Rostov tells Mariah how he came to the inner world to find her and hopefully to find a cure to his lycanthropy. So far, he has been unsuccessful in the second goal; Jennifer Morgan is his last hope. Mariah dashes his hopes of reconciling with her, as well. She’s in love with Machiste now.

When the two rejoin the group, Jennifer tells everyone that they must form an alliance with all the wizards of Wizard World. She has a plan to draw the Evil One from his lair so they can destroy his source of power—the Necronomicon. They plan to take all the remaining gold he so covets and place it beyond his reach, protected by a potent spell. Then he’ll have to come to them.

Sitting in his lair amid large (though not Uncle Scroogian) piles of gold and gloating to himself, the Evil One decides to scry what the other wizards are up to. He sees them hiding all their treasure in a step pyramid. He swoops in to steal it now that it’s in one place. He howls with rage when he finds he can't penetrate the pyramid and vows revenge.

Meanwhile, our heroes teleport into his liar. Jennifer uses magic to locate the Necronomicon, but the Evil One appears before they can grab it. Morgan’s response:

The Evil One isn’t even fazed. He entraps our heroes in bubbles of mystical energy. He demands they tell him how to open the pyramid--before he kills them. Mariah, begging for her life, agrees to tell him. The secret (she says) is hidden in the pommel of her sword:

Unfortunately, that trick doesn’t stop him either. He puts an unnecessarily convoluted spell on our heroes so that their brains will convince their bodies they’re dead, and thereby kill them.

As luck would have it, the Skartarian moon chooses that moment to rise over an opening in the top of the cave. Rostov turns werewolf and attacks. As a “mindless beast” he’s free from the Evil One’s spell. The Evil One blasts him, returning him to human form. The Evil One’s distraction, however, weakened his spell, allowing Jennifer to break them free.

It’s a battle of sorcery! Jennifer and the Evil One seem at a stalemate. Thinking fast, Morgan knocks over the podium holding the Necronomicon and yells to Mungo. Mungo uses his magic to guide the book into a pit of fire.

The book destroyed, the Evil One reverts to Craetur and lopes off. Before they can possibly give chase, the cave ceiling begins to collapse, suggesting the volcano is about to erupt.

As our heroes watch from a safe distance, Morgan asks why Jennifer didn’t destroy Craetur. Jennifer replies that the thing embodies evil, so it can never truly be destroyed.

Things to Notice:

• Mungo again shows he has some source of knowledge on modern earth for his "humorous" references.
• The Evil One isn't just a would-be conqueror, he's a greedy would-be conqueror.
• At first Jennifer seems not to be a match for the Evil One, then later she is.  Perhaps he just got the drop on her the first time?

Where It Comes From:
This issue largely ties up a number of loose ends from previous Warlord stories.  Morgan encountered the unopened black pyramid in the modern era in issue #31.  Mariah, Machiste, and Mungo first encountered Craetur before he became the Evil One in his volcano lair in "Book of the Dead," a back-up story in issues #41-42.

The Evil One's visual appearance is that of a devil or perhaps the Devil.  His lair also fits the common conception of Hell.  And then there's his name!  Given that Wizard World is inhabited by centaurs, dwarves, and other creatures of mythology and folklore it's a bit surprising a link was never explicitly drawn between the Evil One and at least the popular conception of Satan.

Dangerous Fairies to Know And Love

Blackwood's Guide to Dangerous Fairies is a novel by Guillermo del Toro and Christopher Golden that serves as a prequel to the recent remake of Don't Be Afraid of the Dark.  What's most interesting (and most game-inspirational) about it is that Blackwood's tragic story is interspersed with an (un)natural history of malign fairies of the world, illustrated by Troy Nixey standing in the the fictional Mr. Blackwood.  Nixey's art reminds of Guy Davis or Duncan Fegredo--which means it really fits the material well, even if it doesn't exactly look like the work of a guy (Blackwood) who the movie tells us that some people thought was "better than Audobon."  Check these out:

Croque-Mitaine: Bogeyman en francais.

This is an Oakman.  It has a evil Swamp Thing sort of feel, I think.

When tooth fairies go bad--the toothbreakers.

Just flipping through the pictures ought to provide plenty of monster fodder for fantasy, urban fantasy, or horror games.

Weird Days in Aldwood

Aldwood is the most isolated of the City’s districts—and not simply because of its location. Wooded, quiet Aldwood has been entirely overtaken by a fictional world.

Aldwood was a normal, suburban district until Midsummer’s Eve some thirty-four years ago. Perhaps not coincidentally, this was the night of the final Broad Boulevard performance of the musical adaptation of the popular children’s fantasy, The Magical Monarch of Mu. Aldwood residents reported hearing strange music that night, and laughter. By the next morning, the forest had grown thicker and wilder, and many trees had become animate—and opinionated. Stands of man-sized mushrooms had cropped up, and fanciful creatures were encountered with regularity.

Many of Aldwood’s residents chose to flee. Law enforcement was dispatched to investigate. They were naturally disinclined to negotiating the cession of the district with an animate, pumpkin-headed scarecrow, but attempts to reclaim Aldwood by force were repulsed by a cast-iron giant, smartly-uniformed elfin pikemen, and china doll marital artists.

The next two years saw intermittent skirmishes between the City and the invaders. Reconnaissance confirmed that many were identifiable characters from The Magical Monarch of Mu. Attempts to locate the author F. Marsh Loam for questioning proved ineffective, even with thaumaturgical aid. Ultimately, pragmatism prevailed, and a peace treaty was signed making Aldwood a reservation within the boundaries of the City.

Visiting Aldwood is allowed, though only through the checkpoints guarded by the diminutive and quaintly armored soldiers of the Monarch. Care should be taken to stay on designated roadways: The new Aldwood is somehow larger than the old, and it’s easy to become lost. Politely refusing offers of food or drink from the natives is generally advisable. Most everything in Aldwood is highly magical; “naturally” occurring soda fountains, gumdrop fruit, or moonshine distilled from genuine moonlight are novel treats, but they may also carry hidden risks.

Taking items or creatures beyond the boundaries of Aldwood is illegal, but collectors and thaumaturgic researchers are often willing to pay adventurers a handsome sum for specimens. Beyond run-ins with the authorities, expeditions carry a degree of risk. While most denizens of Aldwood are benign, some are not, and many are surprisingly resistant to harm.

Some scientists worry that the annexation of the earthly plane hasn’t ended with Aldwood, and that the bubble of fictional reality continues to grow.