Wednesday Comics: The Lion, The Witch & Her Wardrobe

"The Lion, The Witch & Her Wardrobe"

Artesia #5 (May 1999) Story & Art by Mark Smylie

Synopsis: Artesia is weary. Her army has been pushing forward without rest. Her crow (really the war-spirit Demidice) returns to show her visions of what transpires in the wider world: She sees the Thessid forces breaching falls and destroying the watchtowers. The Empire's armies are triumphant thanks a a traitor.

Then she sees what will transpire in the future:

She "dreams of the death of the world" and her "heart sings with joy."

She awakens, unsure of what she has seen, though her lieutenant Ferris recognizes the mark of the lionheaded goddess Hathnalla upon her. Coincidentally (or not) her bannerman Hueylin has returned from treatment by the surgeon's of Hathnalla's cult. Artesia instructs Hueylin and a group of men to stay behind to speak for her army--and make sure the food, supplies, and coin keep flowing to keep them in the field, whether King Bran joins them or not.

Two captains approach with word from Pavel, the emissary. Bran will not parley. The citadel is sealed and none enter or leave. Artesia had a bad feeling. She sends the two captains to watch Dara Dess and she rides out to a shrine to Djara.

She's joined at the shrine by a pale woman, Urgrayne, Witch-Queen of the Harath-Eduins. She knew Artesia's mother and what she could have been--what she could have made Artesia, instead of the soldier she has become. Now she goes to fight for the Middle Kingdom that turned her king against her--and killed her loved ones:

They were all murdered because they laughed at the Agallite's defeat at Artesia's hands. The Agallites had killed Lysia the night before, even though Bran wished her spared as his seer. The priests cursed them as they died so the death guides couldn't find them. At the urging of Lysia's spirit, Urgrayne searched and found these others as the Wild Hunt rode the night. Some were lost though.

Artesia thanks Urgrayne for saving them, but she has not:

Artesia must bind them, but she only knows how to do minor charms or make war spirits her servant. The ghost of Lysia says there are other ways, and she will show her. Artesia strips her armor and draws sigils on her skin. She performs the ritual and binds them to her body, makes them part of her.

Things to Notice:

• We see the goddess Hathnalla for the first time
• And the Isklids--more on them in later issues.

Commentary: 
The title is a bit jokey for the heaviness of the issue, but it's an accurate one.

Hathnalla, Ferris's leoncephalic goddess, was likely inspired by Sekhmet and equally leonine Egyptian goddess whose purview was also war and healing. Her name suggests both Anath (a Semitic war goddess) and Valhalla (the Hall of the Slain in Norse myth).

Djara as a goddess of crossroads, resembles the Greek goddess Hecate. Her idol is depicted as three faced, just like Hecate's. Urgrayne, who is (perhaps poetically, perhaps not) is a variant on Ygraine or Igraine, ultimately derived to Eigyr, the mother of King Arthur.

Grimmer Fairy Tales

So for oh, a century or so, genre writers have been trying to "rehabilitate" fairies and put the scary back in them. The fact that Guillermo del Toro has still got to talk about that on director's commentaries for films like Hellboy II and Don't Be Afraid of the Dark suggests Machen and Blackwood, et al. just didn't get through to the masses. So I'm not going to convince you fairies can or should be scary, I'm going to suggest some different campaigns you can use them in if they are.

Unseelie Apocalypse
Malign fairies associated with death stalk the world and humanity is in danger of extinction. I've pitched the Faerie Apocalypse before, but that version was more analogous to the alien invasion plot or perhaps something like Planet of the Apes. This is the Faerie Apocalypse as more akin to zombie apocalypse films. It's more Walking Dead than Falling Skies, which mostly comes down to tone and some small details. Get read of the shining courts and anyway to negotiate with the Folk and play up their relentless murderousness. Fairies have a connection with the dead--take a look at the slaugh--so they're already something like zombies.

Rock City is scary, but probably not scary enough

Goblin Market
Roadside Picnic isn't genre horror, but it has some horrific elements to it. What if, instead of aliens, the Visitation had been fairies. What if there were zones of fairies? Neil Gaiman's Stardust sort of depicts a Fairy Zone, as does the urban fantasy series Borderland. (Both of those were borders rather than circumscribed zones, true, but close enough!) Neither of them are particularly horrific, though. But if you played up the alien weirdness of the Fae Zones (think Wackyland except terrifying lethal and just plan hostile to human life), you can probably get there. This would play pretty close to the "dungeon as horror" thing except all the creatures would be of the Fae.

Four Flavors of Fantasy in Azurth

I've written a number of posts now about the Land of Azurth, my new 5e setting, but I've only done a couple where I "pull back the curtain" and discuss my thought process about the setting as a whole. So here goes.

My initial statement of influences was essentially sword & sorcery comics of the 70s, Oz, Scott Driver's Dwarf-Land, and Adventure Time. As happens, those have gotten refined a bit over time, and perhaps more focused in terms of what I'm taking from them. It occurred to me that the touchstone for Azurth are fairytales and the earliest works of fantasy literature.

I wanted Azurth to sort of resemble Oz--and so it does. A land divided into quadrants. In Oz, the different lands are pretty similar. There inhabitants vary, true, but they aren't as differentiated as say Aquilonia and Cimmeria in Conan's Hyborian Age or Darokin and the Minrothad Guilds in Mystara. Thinking of the Mystara Gazeteers in general got me thinking about each country as a mini-setting unto itself.

Unlike Mystara, though, I wanted the countries to work within the boundaries of "fairytales and earliest works of fantasy literature," and mostly, I think I was able to do that.  Here's what we've got:

Noxia; A farytale land where the Evil Queen has won and taken over.
Yanth: A Oz-like, fantasy Americana/American fairytale sort of land, in the main.
Sang: Planetary Romance/boy's fantasy adventure.
Virid: Girl's fantasy adventure. She-Ra or Golden Girl sort with a bit of Golden Age Wonder Woman and Amethyst: Princess of Gemworld and perhaps a little Disney Princess.

All of those have the common element of owing as much to fairytales as to Tolkien (indeed, the clearest antecedents of two of them are pre-Tolkien). All of them (from fairy tale kingdoms to Barsoom to She-Ra's Etheria) share the motif of a larger realm with odd wainscots within it. Most of them engage in quite of a number of hoary tropes/cliches that mainstream fantasy lit and most fantasy rpgs find too cheesy/twee/juvenile to engage in (so instead they engage in modern tropes/cliches far more overused currently, potentially making them boring and samey).

Conceptually, all the countries fit together, but it will be interesting to see how it works in the game. Noxia connects to Yanth by way of their fairy tale underpinnings and things like Wicked, but Yanth to Sang might be a little harder, though some 70s comic fantasy, and things like Lt. Gullivar Jones: His Vacation might prove informative. We'll see.

Campaign Rumors

I wanted to run my new Land of Azurth campaign as more of a sandbox than my Weird Adventurs campaign (which tended to be more "mission style" as it was mystery oriented). I still intend for their to be mysteries in the current campaign, but they be more of an "easter egg" variety, by which I mean something cool if the players figure it out, but probably never essential to an adventure.

To this end, I borrowed a technique from Chris Kutalik over at the Hill Cantons, who runs the best sandbox campaign I've had the pleasure to play in: use of rumors, both as an adventure menu for players and to provide a window into ongoing background events in the setting. (Chris has a lot of other useful and stealable ideas of running this sort of campaign. Just check out this recent post.)

Anyway, here's the first set of rumors I gave the players at the end of the first session. This establishes the existence of the Publick Observator, which can serve both an in-game and metagame purpose:

In games where I have the time, I like to have the characters meet. It gives them a chance to get warmed up for roleplaying (and shows me how much they want to roleplay--which has implications for how I handle later sessions) and it gives them a chance to make up some background material that may be good grist for future adventures. I had asked each player prior to the first session to come up with a reason (or what they would give to others as the reason) they might be coming to Rivertown to seek an audience with Clockwork Princess Viola. One of the players suggest her ranger was coming to discuss a poaching problem--dovetailing nicely with one of the rumors I had thought of but not yet told the PCs about, of course!


This gave the them a good reason to select what they wanted to do next session. Of course, the other goings-on they chose not to investigate may not just go away. Some will have longterm consequences or will show up again, maybe with more dire connotations, next week. Over time, of course, these pre-session rumors will compete with goals and plans completely generated by the players.

Over the Garden Wall

Over the Garden Wall is a mini-series on Cartoon Network, running in 2 parts a night, every night this week, but I'm sure it will be repeated. Created by Patrick McHale (previously of Adventure Time), the series tells the story of two brothers lost in the woods--a magical forest, called the Unknown. There they meet talking animals, undead townsfolk, and avoid a dark Beast that people say roams the woods.

It's part Grimms' fairy tales, part Wizard of Oz (and maybe a bit Sandberg's Rootabaga Stories), imbued with great deal of folksiness. Where Adventure Time has rap and chiptunes, OtGW has parlor music and ragtime. Where Adventure Time has non sequiturs and weirdness, Over the Garden Wall has whimsy (not that it isn't weird at times).

Whimsy like a possum playing a dobro, which is just the right kind, I think.

If you like stuff like my Land of Azurth posts or Wampus Country, then you will probably like Over the Garden Wall. Even if you don't like those things, you probably should check it out just to see. Here's the first episode on Youtube.

Wednesday Comics: Artesia's Homeland

We'll pause in our story to get a little bit more of Smylie's great world-building. These two pages come from Artesia Annual #2, and give background on Daradja, the land in which the story began.

Warning: The text contains some spoilers for the series (though mild ones, I think). Read at your own risk.

Azurthite Bestiary: Hobgoblin

Art by Filip Cerovecki

In the Land of Azurth, hobgoblins are what comes from small folk or goblin warlocks who give themselves wholly over to some dark power. Exhorted to ever greater infamies in the name of arcane power, they barter their souls all at once or piecemeal, until they are dragged from this world to be fashioned into something more—and less—than what they had been. All hobgoblins are driven mad to one degree or another by their ordeal, but this only serves to increase their unpredictability and capacity for evil.

Hobgoblins have lairs in creepy locales, dark plots and sinister henchmen (villainous elves or dwarves, beast folk, clockwork monstrosities, minor demons or umber hulks are possibilities).

HOBGOBLIN
Small fiend, chaotic or neutral evil
AC 15 (natural armor)
Hit Points: 30 (7d6+6)
Speed: 30 ft., fly 60 ft.
STR 10(+0) DEX 14(+2) CON 12(+1) INT 14(+2) WIS 14(+2) CHA 16(+3)
Skills: Arcana +9, Intimidation +10
Damage Resistances cold, fire, bludgeoning, piercing, and slashing from nonmagical weapons
Damage Immunities poison
Conditioned Immunities poisoned
Senses darkvision 60 ft.
Languages Common, Goblinic, Infernal

Chilling Laugh. The cackle of the hobgoblin causes any creature within 300 ft. and able to hear it must succeed at a DC 11 Wisdom saving throw or be frightened for 1 minute.
Spellcasting. The hobgoblin is (at least) a 7th level spellcaster. Its spellcasting ability is Charisma (DC 18). It has a number of spells like a 7th level warlock.
Exploding Death. If reduced to 0 hit points, a hobgoblin explodes--messily. Any creature within 20 ft. must succeed on a DC 15 Dexterity saving throw or get slimed with hobgoblin ichor or be stunned for 1 turn.
Respawning. A destroyed hobgoblin will reform with full hit points by the next new moon unless their soul is found and destroyed.  Their souls are always kept hidden but generally are close by.  They have the appearance of insects or other crawling things molded from congealed shadow--inky black, confection-sticky,and unpleasant in texture. These souls can be destroyed by fire or magic, but possessing one affords a means to leverage a hobgoblin to do the possessors bidding.

Actions:
Claws. +5 to hit, reach 5 ft. Hit: 6 (2d4+1) slashing damage.