Weekend Matinee

Hammer of the Gods, despite sharing a title with a Led Zeppelin band biography, does not have a single Led Zeppelin song in it--not even "Immigrant Song." Actually, the Doors might have been more appropriate, as Hammer of the Gods is essentially Viking Apocalypse Now. That's a bit of a spoiler, I suppose, but one that will hopefully make you more likely to check out the film.

It's 871 CE and the Vikings trying to conquer lands in the British Isles have hit a setback with their king mortally wounded. He sends one of his sons Steinar on a quest to seek his exiled older brother Hakan and return with a suitable king for their people. The journey will take him across hostile Saxon territory through the deaths of friends and allies and straight into (heh) the heart of darkness.

The film might could have used some of the more artsy direction of Nicholas Refn's Valhalla Rising--then again, maybe its more straightforward action flick first half makes where it's going more of a pleasant surprise.

Bounty Killer isn't as heavy. In a post-apocalyptic future, bounty killers deliver grim (if it wasn't so humorous) justice to the white collar war criminals that brought the world to its current state. Few bounty killers are more successful than the enigmatic Drifter and celebrated Mary Death.  A conspiracy puts the two at odds and leads to a chase across the devastated wastes to confront the secretive rulers, the Council of Nine. 

Bounty Killer plays out like Cowboy Bebop crossed with Mad Max--with a dose of 80s British comic book gallows humor. For what must be a fairly low budget film, it's got good action sequences and a chase scene out of the Road Warrior. Plus, they had to pay Gary Busey's no-doubt exorbitant fee for his small roll.

It also introduces the concept of the "gun caddy"--a henchman for our time (well, the post-apocalyptic future). Barak Hardley steals the show as the would-be best gun caddy in the world, unobtrusively slipping magazines into empty guns or producing new weapons when needed from a dufflebag.

Of course, there's also Christian Pitre as Mary Death to like about the movie: 

Typhon

Typhon was a doomsday weapon created by the Titans in the depths of Tartarus, a matter worm designed bring system failure to the Cosmos--a final revenge against the usurpation of the Olympians. Typhon was defeated before it could reach full virulence, but only after infecting Echidna and turning her into the mother of monsters.

Typhon appears as a storm of black dust--actually a gigantic storm of rapacious micro- and nanobots. Those caught in the storm may be temporarily blinded on a roll of 1 on a d6. Even those not blinded can become confused per Mutant Future. The Typhon storm inflicts 2 points of damage to any character engulfed, double damage to those without some degree of protection (at least thick clothing or armor). Hiding in a body of water halves damage. Even after leaving the storm, a victim with take damage for 3 rounds. The swarm takes no damage except from fire or area effect energy or cold attacks.

Anyone who dies in the swarm rises as a zombie-like vector of Typhon. They develop a random physical mutation as their DNA is overwritten by Typhon. Anyone who takes damage but does not die must make a save vs. Poison or be infected:

Typhon Infection
Save Modifier: -2
Infection Duration: 2 weeks
Affected Stats: INT -1, WIL -1
Damage: 1d4
Further, every week of infection carries a cumulative 20% chance of developing a random physical mutation for the duration of the infection. Those infected hear the whispers of Typhon in their minds, urging them to destruction.

A Weird Adventures Halloween

The comparable holiday to Halloween in the world of the City is Revenant Night at the end of the month of Redfall. It's a night where folklore says the walls between the realms of the dead and the prime material plane thin, allowing spirits who haven't yet moved on to their plane of final reward can slip back into the world of the living. This seldom seems to occur in this modern age, but it can't be ruled out entirely. And there are other strange menaces adventurers might face:

In Motorton, it's the Night of Misrule, where the Dwarf might invite you to the Red Room. Out West, it's a particularly bad time to drive into a ghost town. In the Shambles neighborhood of the City, you can hunt (or be hunted) by a maniacally killer under the influence of the Lord of the Cleaver. Just about anywhere, calliope music might signal the arrival of the Carnival Pandemonium the mysterious Viscount Marzo.

Trick or Treat.

Warlord Wednesday: Shadowland

Here's another installment of my examination of  the adventures DC Comics' Travis Morgan--The Warlord.  The earlier installments can be found here...

"Saga Part 3: Shadowland"

Warlord (vol. 4) #3 (August 2009) Written by Mike Grell; Penciled by Chad Hardin; Inked by Wayne Faucher, Dan Green & Walden Wong

Synopsis: Morgan and friends come upon a group of refugees fleeing for a Shamballan fort to seek the protection of the Warlord. One man has Morgan's sword, given to him by a young man matching Tinder's description. Tinder had warned them of the raiders' approach and sent them to seek the Warlord's protection.  Then, he set fire to the fields and stayed behind to cover there escape. The farmer's saw him fall under a raider's arrow.

Morgan realizes Tinder was right and that he should have listened to him. Shakira says there's nothing he can do, but Morgan counters there is: He can finish what he set out to do.

Meanwhile, Alysha Grant is running through the jungle. She comes upon a pool where a unicorn is drinking. Struck by the wonder of the scene, she wades out to touch the creature, but then:

The carnosaur turns it's attentions to Alysha, but she's pulled from harm's way by Tinder. The dinosaur chases the two over a cliff. They might have fallen to their death, but Alysha manages to save them with her climbing axe. Later, after she's bandagaed Tinder's wound and cooked them something to eat, Alysha tells Tinder how she got to Skartaris (essentially relating the events of the first issue). She says everything that's happened is her fault. She set an evil power loose. Tinder believes the united people of Skartaris can defeat it--and he knows a man who can do it.

In the darkness of the Terminator, Morgan, Shakira, and Machiste ambush the returning raiders and use their clothes to disguise themselves to sneak into the Golden God's fortress. There, Mariah is being interrogated by Ned Hawkins, who is now the Golden God. He wants her to share what knowledge she has to help him uncover the secrets of Atlantean magic and technology. Kate is jealous, but Ned reins her in. Ewan, for his part, just documents it all with his camera. He's the only one of the three still in his earth duds.

Ned continues to try to convince Mariah. He tells her there is an inevitability to this: "New worlds were made to conquer." Morgan disagrees:

Ned shoots a blast from his golden armor and knocks Morgan out. His guard's overwhelm Machiste. Mariah quickly agrees to help Ned to save Machiste's life.

As Morgan and Machiste are taken away, Shakira (in cat form) watches from the shadows.

Things to Notice:

• This issue gives us a name for the story arc: "Saga."
• Ned rightly points out that Mariah has been studying Skartaris since before Kate was born. That may well be true, since she's been there since 1977.
• Again, we see a unicorn eaten by a carnosaur.

Where it comes from: 
Alysha's first meeting with Tinder has some parallels to Travis Morgan's first meeting with Tara, only this time it's the woman who's the outsider and the man who is Skartarian. In both cases, they wind up saving each other, ultimately.  The dinosaur in this case looks like a carnatosaurus rather than a deinonychus.

Like last issue, this one continues the theme of the 1992 limited series of Morgan being a fallen hero who abandoned his ideals. While this is touched on in the original series, it's not emphasized nearly to the same degree it has been in the Grell-pinned series since.

Mo' Mummies

For Secret Santicore last year, I wrote a piece on variant draculcas (vampires). I think that most neglected of classic monsters, the mummy, deserves a similar treatment.

MUMMY, BOG
These mummies were naturally created but are instead products of being buried in peat bogs. They aren't wrapped in bandages, their skin in tanned black, and they are more flexible than their fellows due to calcium phosphate in the bones being dissolved by bog acid. They only do 1d8 damage and have one less hit dice, but they can vomit acid for 1d4 damage.

MUMMY, GIANT
Humans weren't the only ones to be mummified, or to rise as fearsome undead monsters. Giant mummies have hit dice one better than what ever giant humanoid their size resembles or one better than standard mummy hit dice, whichever is better. They have all the standard mummy abilities, except (in some cases) mummy rot. (Check out Gomdulla above statted here.)

MUMMY, LOVELORN
These mummies got caught in a forbidden romance and were mummified as punishment. When first revived, they look like regular mummies and have all the pertinent abilities, but within 1d4 days, they shed their wraps (and most of their powers) in favor of a brooding, exotic charm. They typically become convinced someone is the reincarnation of a long dead love, and will go about trying to woo the lost lover, killing those that get in the way. They are able to Charm (as per spell).

MUMMY, WELL-PRESERVED
These mummies have several unusual traits--most obvious of which is they are as attractive as the day they died, instead of being desiccated corpses. They don't have the mummy rot or the fearful reaction, but to do possess a charm ability (as per the spell). Typically, some sort of ritual is needed to fully resurrect one (involving some sort of item important to them in life and several blood sacrifices) of these mummies, but until then they are able to exert their will by control of others.

Monster Apocalypse a Go-Go

Zombie apocalypses are all the rage these days with films, books, and even a tv show. But other classic monsters deserve their (proverbial) day in the sun, too:

Vampires: The most obvious non-zombie contender for virtually extinction of the human species. Richard Matheson's I Am Legend and it's various movie adaptations have already ventured into this territory (as has the film Stake Land) --and the comics Planet of Vampires and Vampire Hunter D have already shown on vampire overrun post-apocalypses. Trading bloodsucking for flesh-eating is almost too obvious.

Piscoids: Cast them as Creatures from Black Lagoons, Manphibians, or walking catfish men, fishy humanoids are ready to climb from the depths and overwhelm the surface world. Perhaps a full-fledged takeover is the ultimate goal of the Deep Ones in Shadow Over Innsmouth? Global warming and rising sea levels would no doubt be part of their plan. A piscoid apocalypse might wind up looking more like Waterworld than Walking Dead.

Werewolves: Like vampires and zombies, werewolfism is passed by a bite, making them a reasonable stand-in. I don't know of any media werewolf apocalypses, but Dog Soldiers sort of does the "trapped in an isolated farm house" riff of Night of the Living Dead. Depending on exactly how the werewolves worked, things might be pretty tough for humanity: zombies are slow and dumb, while vampires have to sleep in the day time. Werewolves have neither of those limitations. Of course, their just humans in the day, trying to scourge for survival just like everybody else. Only at night would they join packs of killers to howl at the moon as they hunt through the ruins.

Frankenstein's Monsters: This seems like the biggest stretch given than Frankenstein had only one monster (or maybe two, depending on who you believe). Still, two monsters can overrun the world (unless they're giant, which still movies us out of zombie apocalypse analogous territory). Technology has advanced a lot since Frankenstein's day, though. Wein's and Wrightson's Un-Men in Swamp Thing (and Burroughs' Synthetic Men of Mars, for that matter) point the way: Mass production of monsters. In some ways, this would resemble an alien invasion apocalypse or robot apocalypse more than a zombie one--though perhaps the monsters "consume" humans by dragging them back to their secret factories to use as raw materials for more monsters?

Frankenstein's Mega-Monster

Frankenstein's Monster might might frighten simple villagers, but it takes a truly monstrous monster to present a challenge for a Giant Space Robot. Luckily, advances in technology have allowed mad scientist to play god on a titanic scale.

An everyday Giant Frankenstein's Monster might use zombie stats (bearing in mind they everything is giant in Giant Space Robot). A regular Giant Frankenstein's Monster energized by radiation or lightning, or one that is actually an alien is a more formidible foe and should be statted like a flesh golem.