Warlord Wednesday: Of Captives and Cannibals...

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...

"Of Captives and Cannibals... Scavengers and Kings"

Warlord #118 (June 1987)

Written by Michael Fleisher; Art by Ron Randall

Synopsis: The ship taking the blonde stranger to New Atlantis is attacked by a strange scorpion-looking vehicle. The stranger flies from the ship, blocks stinger blasts with her bare hands, and starts punching the craft open, The pilot distracts her by blasting the ship in half.

The stranger flies back the ship. Holding the halves together, she carries it to a nearby island. There the crew can make repairs, but it looks like the stranger will be flying to New Atlantis.

In Shamballah, Morgan is saddling his horse to ride out looking for Tara. The Queen for her part is on her way back, presumably, just stopping to water her horse. That’s when the former Vathek Y’Smalla makes her move:

Using Apokolipsian illusions, she gets the drop on Tara and knocks her out.

Morgan comes across a woman being attack by an weird, orange, insect monster. He dispatches it in his usual way, but the girl--far from thanking him--tells him to stay away, then she faints. Puzzled, Morgan picks her up to carry her to a nearby town.

Morgan brings the girl into an inn. He doesn't get the welcome he expected:

Desaad’s smear campaign has turned the townsfolk against him. He has no choice but to fight them. Luckily, a blind man who was tortured by Desaad (then freed by the Warlord) shows up to vouch for him.

Elsewhere, Redmond is in the hand of tribesmen about to sacrifice him in the flaming maw of their idol. He manages to get free, and lobs a couple of grenades at them. In the chaos the follows, Redmond retrieves his and makes his escape.

In Shamballah, Jennifer is practicing to get her magical mojo back. She’s interrupted by Mariah, who has come to tell her goodbye. Mariah feels guilt about how her actions have made everyone else miserable, and she’s leaving:

The blonde stranger has reached New Atlantis and finds it deserted. Her thoughts reveal her to me the superheroine known as Power Girl. She used to believe she was Superman’s cousin, but now she knows herself to be the granddaughter of Arion, Lord of Atlantis. She doesn’t plan to leave New Atlantis until she finds out more about her parents and grandparents.

A bit later, Morgan rides back into Shamballah. He’s greeted by an angry Machiste who suckerpunches him. Machiste is angry about Morgan’s relationship with Mariah. He declares their friendship over and rides off.

Things to Notice:

• This issue marks the first time a DC Universe superhero has appeared in Skartaris.
• Mariah, Morgan and Jennifer are back in their old costumes (though Mariah still sports her new eye make-up).

Where it Comes From:
This issue marks the beginning of a series of retcons over decades to the origin of Power Girl. When Power Girl first appeared in All Star Comics #58 (1976) she was Kara Zor-L, Kryptonian cousin--essentially the Earth-2 version of Supergirl. Post-Crisis there was no Earth-2, and post John Byrne's Man of Steel Superman reboot, Superman was the last survivor of Krypton.

Power Girl needed a new origin. In Secret Origins vol 2 #11, she got one: She was now the descendant of the Atlantean sorcerer Arion, and she had been in suspended animation for a long time.

Selling Dreams

The Phantasists are renown throughout the galaxy as dream merchants. No purveyors of mere sims or other mass produced neural trickery, the Phantasists use ancient arts to craft neurochemical mixtures that deliver an individualized, specific, and vivid oneiric experience.

The Phantasists inhabit the sky city of Eidolon (believed to be a folly constructed by a prelapsarian plutocrat), floating above an environmentally damaged world populated by nightmare horrors. They generally appear as baseline humanoids with pale complexions and blue eyes, though they are a creative people and sometimes wear other more varied bodies. Phantasist society is a syndicate subdivided by guild and class. At least when dealing with the public, all Phantasists affect an air of ancient nobility. Though their own official history is perhaps purposefully obscure on their origins, historians believe the Phantasists are descended from an artists’ colony that took up residence in the city during the age of decline before the Great Collapse.

Phantasists have made extensive study of dreams. Their technicians (or “oneironauts” in their advertising copy) delve into simulations constructed from centuries of dream log data gathered in their sleep laboratories from a myriad of sophonts. Comparing the subjective experience with real-time neurologic data they have been able to isolate dream elements and experiences. All this knowledge goes into the synthesis of their oneiric neuronanochemical cocktails for high paying clientele.

Phantasists don’t seek to create crude and causality-bound simulations of physical reality; Their aim is the crafting of experiences with the particular sensation of a dream. There are rumored to be rogue oneirochemists who are willing to create jamais vu traps and  unwaking nightmares for special clients, but the Phantasists vigorously deny that any of their number would participate in those practices.

[For Brutorz Bill who's been wanting new science fiction material. More to come. ]

How Do You Like Your Sci-Fi?

My recent science fiction posts in multiple settings (Star Trek, Pulp Space, Talislantan Space) has got me thinking about the different levels of "hardness" in science fiction. (A topic that TV Tropes--unsurprisingly--has some thoughts on). This scale is a bit granular and more detailed (and perhaps a bit more judgey). Here's my sort of summary of the basics of both of these:

Hard: So, on one end we've got fairly plausible stuff that mostly extrapolates on current technology. This includes stuff like William Gibson's Sprawl series and the novels of Greg Egan (from the near future mystery Quarantine to the far future Diaspora). A game example is this category would be somethig like GURPS Transhuman Space.

Medium: Getting a little more fantastic, we arrive in the real of a lot of TV shows and computer games. One end of this pretty much only needs you to believe in FTL and artificial gravity but is otherwise pretty hard. Powerful but plausible nanotech might fall here, too (like in John C. Wright's Golden Age triology). The fewer impossible things you're asked to believe (and the better rationalized the ones you are asked to believe in are), the harder it is. The middle of this group adds in something like psionics (Traveller gets in here, and a lot of science fiction novels, like Dune and Hyperion). The softer end throws in a lot of too-human aliens and "pure energy" beings (Babylon 5, most Star Trek).

Soft: Here lies fantasy but with a science fiction veneer and context. Some Star Trek (the animated series, particularly) comes in here, and Farscape. This is also the domain of Star Wars. Simon R. Green's Deathstalker cycle turns up here, too.

Ultra-Soft: Some Star Wars tie-ins in other media come in here, as do things that include magic (or similar fantastic elements} mixed in with an otherwise soft sci-fi universe: This would include superhero sci-fi properties (the Legion of Super-Heroes and Guardians of the Galaxy) and comic book epic sci-fi (what might also be thought of as Heavy Metal sci-fi) like Dreadstar, The Incal, and The Metabarons. It's possible it stops beings science fiction on the mushiest end of this catgory and just becomes "fantasy."

So what consistency of sci-fi is your favorite--particularly in regard to rpgs?

Talislantan Space: In the Expanse

The Zaran Expanse is a region of decimated star systems and damaged worlds, the epicenter of the devastation of the Great Disaster. The area gets its name from the ancient Zaran Empire, though how much of the territory the empire actually controlled is a matter of debate. Traversing through and residing in the Expanse are a mix of species from all over the galaxy:

A Nagra bounty hunter draws on his quarry. The Nagra's "spirit tracking" ability allows them to trace the psychic ripples of their prey's passing, even across space.

A group of Zandir fencers perform an exhibition bout.

Two Batrean females run a confidence game.

A rare glimpse of a Muse Empath outside the Seven Worlds Alliance.

Warlord Wednesday: Legacy of Nightmare

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...

"Legacy of Nightmare"

Warlord #117 (May 1987)

Written by Michael Fleisher; Art by Ron Randall

Synopsis: As Shamballah celebrates the end to the aging plague caused by Muldahara’s magic, Queen Tara is still troubled by traumatic dreams of the mental tortures she suffered at Desaad’s hands. She’s got to find away to get over her fears. She heads out of the palace without telling Morgan where she’s going, reminding him in passing of all the times he’s done it to her.

Meanwhile, Machiste confronts Mariah. He wants to know who she ran out on him for. She resists telling him, but ultimately the truth comes out: It was Morgan.

Tara rides out toward the only place she can truly face her demons: Desaad’s citadel (actually, it’s unclear in the story that that’s where she’s heading, but it’s the only thing that makes sense). Crossing a desert landscape, she attracts the attention of a group of bandits. Though she’s deadly with her bow, she’s outnumbered. The only place close enough for refuge--the citadel, of course.

A world away on Dinosaur Island, Redmond has found a cave that he believes may provide an entry point to Skartaris. He’s still convinced that Morgan went over to the Russians at some point. Even though Morgan has spent most of the last decade in a sword & sorcery fantasyland, and he couldn't have given the Soviets any information recent or useful, Redmond’s going to get his man.  He immediately runs into trouble:

Tara makes it to Desaad’s Citadel. She plans to hide inside, luring the bandits in after her, then take them out one at the time Die Hard style. The former Vathek assassin, Y’Smalla hides in the citadel, planning to watch events unfold on the monitors but not interfere.

Tara manages to separate off some of the bandits and kill them, but there still too many, and she’s on the run. Cornered in a room, she accidentally triggers some of the illusion creating machinery. The bandit is disoriented, making him easy pickings. She begins luring the men into rooms and using the illusions to her advantage. The last bandit has gotten wise to the trick, though and doesn't fall for the illusion. Tara puts on Desaad’s helmet that allows the experiencing of the subjects emotions--and the exploitation of their greatest fears.

As she causes the bandit believe he's being squeezed to death by eel-things, she gets a jolt of the sadistic pleasure Desaad experiences.

She finally is able to stop, but the man is dead, and killed in a horrible way by her hand.

Meanwhile, the mysterious blonde stranger is trying to book passage to new Atlantis. The captain wants to head south instead of north. When a cargo net full of crates threatens to crush his daughter and the stranger saves her with a speed one might call faster than a speeding bullet...

...he relents and agrees to take the woman where she wants to go.

Things to Notice:

• Despite wearing her old outfit on the cover, Tara (just like everybody else) sports her new outfit in the story.
• On the subject of new outfits, Mariah's eye makeup has gone totally 80s and combined with her new headband, she looks like a member of Jem and the Holograms. 

Where it Comes From:
This issue continues to deal with the dangling plot threads of the "Morgan's Quest" storyline. The new costumes tend to abandon some of the 70s-ism--and some of the fur. They didn't make the lasting impression Grell's outfits did, though.

Celluloid Rocketship

By the mid-thirties, the major film studios were all exploiting the public’s interest in the exotic worlds of the solar system. Of all the one-reel travelogue series produced, perhaps none was more popular than The Rocketship of Movietone, debuted in 1931.

Several of the earliest films dealt with Venus. “Giants of the Jungle” focused on the exotic and dangerous Venusian saurians. In early 1932, “Lost Cities of Venus” used footage from the Markheim survey expedition's dangerous foray into one of the ruins of the ancients.

Of course, Mars figures prominently in the early subjects. The low canal markets and bazaars were featured. Another dealt with the desert tribes--though the tragic fate of the expedition that provided the footage was wisely kept from the movie-going public.

While the initial run of films dealt predominantly with the inner worlds and their satellites, one was made from footage shot by one of the earliest commercial missions to Ganymede. While the footage is limited (still photos had to be used at times) and of lower quality than what was coming from film crews on Mars or Venus, it did give the public their first view of the eerie necropolises of that cold and distant moon.

More than one spaceman of the fifties and sixties sited these early Rocketship of Movietone films as an important influence on their lives.

Hwuru

Hwuru are bipedal sophonts bearing some physical resemblance to Terran apes and sloths. They are shorter than humans but powerfully built with arms longer than their legs, and digits with claw-like structures (actually bony projections covered with horn) on their dorsal surface. They're covered with shaggy fur except on the anterior surface of their torsos, which are covered with leathery plates.

The hwuru evolved from arboreal insectivores. They have small, beak-like snouts (like the Terran echidna) and extendable tongues to aid in snatching up arthopods or their larvae in hard to reach places. Hwuru can’t swallow anything very large and must have bulkier foodstuffs made into a mash before they can consume it. Most hwuru have a mild dependence on chaoofsh a chemical attractant released by the trees native to their world. When off-world, they tend to wear a breathing apparatus to deliver this chemical.

On their native world, no hwuru have advanced beyond the Iron Age, and most live in tribal societies that use stone tools. Interaction with starfaring civilizations has afforded hwuru the chance to leave their planet, and they are sometimes found among the stars where their physical traits make them useful as hired muscle.

Stats for Starships & Spacemen:

Encountered: 2d4 (5d10)
Movement: 120' (40')
Intelligence: Average
Psionic Potential: 2d4, inactive
Hits: 1d8+1
Armor: -1
Combat Skill: 12
Save: L1
Attacks: 1 weapon or 2 claws
Damage: by weapon or 1d3/1d3
Morale: 9
XP: 15

Notes: This is an alien species of my own devising, inspired by an unnamed character in an episode of Superman: The Animated Series.