Warlord Wednesday: Links

Life interrupted my regularly scheduled review of the continuing adventures of Travis Morgan, the Warlord.  We'll return to that next week.  In the meantime, here's some Warlord-related links to check out:

MikeGrell.com - the official website of the original writer/artist and creator of Warlord.
The Warlord - Scott Dutton's great Warlord fansite.  He's also got a page of links.
Fanzing's "The Warlord Reading Guide" - A short analysis of the first Warlord series with recommendations.  Also look for "The Quotable Warlord" on the same site.
Hardin Art Studios - The blog of the artist who did great work on several issues of the most recent Warlord series.  The art on this post is his.
Edit: Jim Shelley suggests I add my college term paper style musings on Warlord as a fable on imperialism at the Flashback Universe.

Legend & Folklore in a Fantasy World

Perusing The Sutton Companion to British Folklore, Myths, & Legends got me thinking about the place of the strange, mysterious, and magical in fantasy worlds. The British Isles have got stories of all sorts of fairies, lake (and well) monsters, and more than a few witches--all of which could be easily approximated in local tales of nearby monsters in any fantasy rpg setting.

But real world folklore gets weirder than that. Ned Dickson’s skull on Tunstead Farm in Derbyshire would tap against windows to warn farmers about sick animals or cause the walls to shake as a sort of burglar alarm. Several phantom coaches roam the night roads. Every ghost is a story, not a monster to be battled.

It seems to me that most fantasy game encounters are mundane compared to this sort of stuff--or perhaps, utilitarian is a better word. As it has been said before, there ought to be more weird, unpredictable things in game settings.  Not just in the Weird Tales sense, but in the good, old-fashion folktale sense.

Beyond that, there ought to be more stories told by the local tavern denizens that are just stories. I don’t think the demonstrable existence of magic in a world, would make people less likely to make up tales to explain odd events or simply to pass the time--if anything, a world full of magic that the common man doesn't understand would seem likely to increase this sort of thing.  More events would need folk explanations; more fears would need comforting.

Player characters (no paragons of scientific rationalism, themselves) ought to never know whether the rumor they’re hearing is the inside-scoop on a local monster or another tavern tale. There ought to be as many fake magic items being horded away as real ones--maybe more.

Warlord Wednesday: Back Out

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...

"Back Out"

Warlord (vol. 1) #69 (May 1983)

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

Synopsis: Morgan, Jennifer, and Shakira are preparing to return to their own time through the magic mirror before its power fades. Machiste and Mariah are staying behind, as is (apparently) Rostov.

The three step through—but only Jennifer arrives back in Castle Deimos.

Morgan and Shakira awaken in a modern city. When Morgan sees the Syndney Opera House, he realizes where they are. The two begin to explore. Strangely, there are no lights on, nor any people around.

Well, almost none. There are these street punks dressed like an 80s pop band:

Before the punks can do anything but pose, Shakira changes into cat form and jumps on the leaders face. Flashdance punk pulls a gun, but Morgan is quicker with his own pistol. The woman has her gun out, but she sees the look in Morgan’s eye and surrenders. Morgan confiscates their guns and ammo, but lets the surviving two go. He gives a gun and holster to Shakira.

Morgan thinks he knows what happened and explains his theory to Shakira: A nuclear war must have occurred, but Australia wasn’t a prime target so it wasn't bombed. Radioactive fallout would have spread here, though, killing the people and leaving the city empty.
Morgan believes their only way back to Skartaris is to make for Antartica and go through the south polar opening. Any other course would take them through greater exposure to radiation. The two begin a trek to Australia’s southern coast.

They travel for several days relatively uneventfully. Then, in the desert, Morgan sees fresh hoof prints left by a shod horse. Morgan follows them, interested in seeing what civilization is out here.

They come to a cliff overlooking a large farm surrounded by a high fence and barbed wire. They discuss the possibility of getting some horses, but then:

Things to Notice:

• Morgan likes to draw maps in the dirt, if you haven't noticed.
• Morgan's just assuming there's a south polar opening to Skartaris.
• We get a hint that Shakira may have been to the surface world before.

Where It Comes From:
The title of this issue certainly refers to Morgan meaning "back out" of Skartaris, but is also a play on "Outback"--where some of the story takes place.  The Australian post-nuclear war setting may owe something to On the Beach (either the 1959 film or the novel), where survivors wait for a cloud of radioactive fallout out to arrive and kill them.

In the Blood

The element iron has a special status: it carries oxygen on our blood; it’s the most abundant element in the earth’s crust; and it has the most stable atomic nuclei. More to the point for fantasy gaming: "cold iron" is said to ward off or harm fairies, ghosts, and/or witches.

In the novel Enterprise of Death by Jesse Bullington, magical attitude is inversely related to iron in the blood. A necromancer explains it this way:

“Iron, as I’ve told you, is one of the only symbols that represents what it truly is, here and on the so-called Platonic level of reality...Because it is true material and not just a symbol of something else, iron restricts our ability to alter the world, be it talking to spirits or commanding symbols or however you put it.”

Not only does this nicely tie some of the real properties of iron with its folklore properties, but it would have some interesting implications in fantasy games. Prohibitions against metal armor and the working of magic make sense in this light. Even more interestingly, it might it explain why D&D mages tend to be physically sort of weak--they need to be somewhat less robust in order to work magic well. Maybe higher Constitution scores actually impairs magic, or impairs the “level” a mage can advance too? That might also example the traditional dwarven poor magic aptitude: they’re hardy, creatures of the earth (where iron’s abundant).

Buried in Brant's Tomb

Some choose monsterhood, while others have monsterhood thrust upon them. It can’t be said that the City fails to honor its heroes, whatever their failings. Case in point: the General Brant Monument—better known as Brant’s Tomb.

“Tomb” is perhaps something of a misnomer, as it implies a place of interment, of rest. The thing that was once war hero Hannibal T. Brant may be (strictly speaking) interred, but he definitely does not rest.

Brant spends periods in quiescence, so the solemnity of the monument is not disturbed for many visitors. Others are not so lucky. Brant rages within the burial vault, cursing those that imprisoned him and demanding release in a hoarse, but still commanding, voice. The doors shake with the force of his blows, but they hold—as they were made to do.

Even more unnerving are the times he begs or pleads, his voice quivering and broken with muffled sobs. There may a scratching sound, like nails dragged across stone. It can go on that way for hours. At times like these, some have been moved to cautiously approach and stare through the narrow gap in the vault doors—only recoil in horror at the glimpse of an angry yellow eye in a chalk white face, marred by spider-web cracks, staring back at them.

Warlord Wednesday: Spirit of the Wolf

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...

"Spirit of the Wolf"

Warlord (vol. 1) #68 (April 1983)

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

Synopsis: Mariah finds Rostov brooding beside a small pond. Jennifer believes she has found a cure for his lycanthropy, but Rostov wonders if she has a “cure for love.” He kisses Mariah, but after a moment she pushes him a way: “there are too many memories…to much pain” between them now.

Rostov thinks back to how proud he was of her as a fencing student, and how he fell in love. They had a time of happiness, but then his curse manifested. He began to hunt—and kill.

He meant to Gitana, his gypsy grandmother, for help. She told him the story of the origin of his wolf’s blood, but had no cure. With this sad news, he began to push Mariah away. He feared the curse might hurt her, or that it might be passed on to their children.

Then Mariah disappeared in Peru. Rostov roamed the world, searching in vain for a cure for his curse. He chanced to meet Professor Lakely and learned from him about Skartaris—a land of eternal sun. Rostov saw his chance to cure himself and find Mariah. Of course, the wandering moon of Skartaris dashed those hopes.

Machiste appears and tells them Jennifer is ready to cast the spell to separate the wolf spirit from him. They return to the castle:

The spirit leaps from his chest, a wolf of shadow! Now, however, Rostov can control it. He’s free to live—and love…

Machiste has something to say about that...

Mariah stops the two from fighting. She will not be fought over—she wishes to choose the fight. Rostov must beat her.

The two square off, but Mariah quickly gets the upper hand with some unorthodox Skartarian moves:

Mariah wins, but when Rostov gets angry at her tactics, the wolf attacks.  Rostov quickly pulls it off her.  He looks to the sorceress for an explanation.

Jennifer tells him that he's free of the wolf, but he still must control it. Rostov realizes he isn’t yet free.

He bids Mariah goodbye and sets out with the wolf at his side.

Things to Notice:

• Travis Morgan, the titular Warlord, only appears in one panel this whole issue.
• This issue repeats (in an abbreviated form) the story we got last issue.
• Mariah was only 15 when Rostov became her fencing instructor. 

Where It Comes From:
This issue continues the "doomed romance" theme from last issue, though without most of the gothic trappings.

Life and Death in the Dung Ages

If you like your fantasy of the dark, darkly humorous, and dirty variety exemplified by Warhammer fantasy, then I’ve got a couple of book recommendations for you. Jesse Bullington’s two (standalone) historical fantasy novels are just the sort of grubby, violent, and irreverent stories you’ve been looking for.

I’ve mentioned The Sad Tale of the Brothers Grossbart before. It’s probably the more humorous of the two and maybe the most violent—though that’s a close call. Bullington’s latest effort, The Enterprise of Death has a bit more sympathy for its protagonists perhaps but doesn’t lose the qualities that made Brothers Grossbart entertaining.

Set in 15th Century Europe, The Enterprise of Death concerns a necromancer’s apprentice on the run from her evil master, and the friends she makes along the way—which include real historical figures mercenary/artist Niklaus Manuel Deustch and drunken eccentric Paracelsus. There’s plenty of corpse-reviving, cannibalism, witch-hunters, prostitutes, and pox along the way.

Sometimes Bullington hews close to history: there’s a monstrous voice-mimicking hyena that comes right out of Pliny. Other times, he goes his own way, like with his interesting take on vampires.

Bullington’s gritty and ironic novels are a nice palate cleanser from typical secondary world fantasies with protagonists with heroic destinies going about saving the world—and they don’t involve a multiple volume commitment.