Red-Eyed Goblin

A goblin made with Hero Forge, colors accurate to the AD&D Monster Manual, except the hair where I had to guess.

And here's a Hobgoblin:

Weird Revisited: Different Dwarves for 5e

Relevant to my earlier post on vanilla fantasy...

The Tolkien-inspired, Nordic-derived dwarves of standard D&D aren't the only dwarven subraces out there. There is another dwarvish tradition: a more folklore and fairytale one. The dwarves of the Country of Yanth in the Land of Azurth are that sort of dwarf.

Compared to the average D&D dwarf, they tend to be more social and affable. They are fond of good food and drink and are renowned brewers. While they may be miners or metalworkers, they are not as oriented toward these tasks as others of their race, and are just as likely to loggers, woodworkers, or farmers.They have no more love or precious metals or jewels than humans.

Unless otherwise noted, the folkloric dwarf subrace has the traits of the standard dwarf.

Art by Jerad S. Marantz

Ability Score Increase. Wisdom increased by 1.
Lucky. Like a Halfling's.
Size. Folkloric dwarves vary more in height than other dwarven races. Most are medium, but a few are under 4 foot and so small.
Dwarven Combat Training. They eschew the battleaxes and hammers employed by other dwarves, but are handy with the axe and short sword.
Tool Proficiency. Their choices for proficiency are smith's tools, brewer's supplies, cobbler's tools, woodcarver's tools, or cook's utensils.

Wednesday Comics: Bronze Age Book Club - Marvel Spotlight #33

Last week saw a new episode of the Bronze Age Book Club podcast released Friday.


Listen to "Episode 15: MARVEL SPOTLIGHT #33" on Spreaker.

My Flavor of Vanilla

Since my post on my occasional craving for vanilla fantasy, I've been thinking about what sort of vanilla setting I would do, if I was to do one. At least, what sort I'm leaning toward right now.

I would start with a setup substantially similar to Tolkien's Middle-Earth at the start of the Lord of the Rings. A great war, devastated the shining human kingdoms of the West. Amid the ruins are scattered petty kingdoms and free cities, "points of light" in the D&D parlance, dominated by the Small Folk--dwarfs mostly, but more of the folklore or fairytale variety than a Tolkienian one.

There are still humans there, of course, but the human dominated lands are mostly to the South. Elves exist too, but they are diminished (quite literally) from their Golden Age. They were once fairy lords, but now the elves of the West are short in stature and decidedly less magical. The Dwarf Folk view the elves with some suspicion, since some of their race sided with the forces of darkness.

The approach would be a bit more The Hobbit than Lord of the Rings; leaning more whimsical than epic. The 1937 original version of The Hobbit would be the most central of Tolkien's work. Other influences include Weirdworld, Wally Wood's Wizard King series, selected stories from Lord Dunsany, Scott Driver's Dwarf-Land, and bits of The Princess of the Goblin and a smidge of my own Land of Azurth, particularly some early ideas that got abandoned.

Enter the Lumberlands!

Erik Jensen of the Wampus Country blog and related publications is Kickstarting a new zine in that setting called Lumberlands: 

"...spend some time in the misty Lumberlands, a vast expanse of enchanted forest where brawny lumberjacks ply their trade, seek adventure and fortune, and defend the frontier from horrible sasquatches."

I loved playing in Erik's Wampus Country game in the days of G+ and I'm pleased it's been resurrected in this zine. Check it out!

Weird(world) Revisited: Middle Earth the Mighty Marvel Way

My recent post on "vanilla" fantasy made me think of Weirdworld and this post from 2010...

"For those who thrilled to J.R.R. Tolkien's "Lord of the Rings"--An All New Adventure into Epic Fantasy!"

So cried the cover blurb on Marvel Premiere #38, the second appearance--first in color--of Marvel's decidedly un-Sword & Sorcery fantasy series. As such, it stands as an interesting artifact in comics history, fitting neither with the pulp inspired fantasies of earlier comics, or the D&D-influenced ones that were to follow.

The titular "Weirdworld" is a fantasy land inhabited by dwarves, elves, and goblins, and perpetually under threat from wicked sorcerers and other magical menaces. Its protagonists are two elves--Tyndall and Velanna--who are outcasts with mysterious (even to themselves) pasts. Their obligatory companion and comedy relief is Mud-Butt, an irascible dwarf.

Tyndall starts out solo and in black and white in Marvel Super Action #1, where he good-naturedly undertakes a quest on behalf of bigoted dwarvish villagers in "An Ugly Mirror on Weirdworld" (1976). Velanna joins him by that story's end, and they run afoul of a rejuvenation-seeking sorcerer in Marvel Premiere #38 (1977). Their next appearance, publication wise, would see them travelling with Mud-Butt to the City of Seven Dark Delights and crossing paths with the sorcerous Dark Riders, who were seeking to resurrect their fallen god, Darklens. The defeat of Darklens and the discovery of other elves, were related in the three part epic, "Warriors of the Shadow Realm" in Marvel Super Special #11-13 (1979). Epic Illustrated #9, and #11-13, in 1981 and '82, featured the "Dragonmaster of Klarn" storyline, that revealed more about the mysterious elves and their relationship with dragons. Finally, in 1986, Marvel Fanfare vol. 1 #24-26 saw a lost tale of Weirdworld--the first meeting of Mudd-Butt and the two elves, and vanquishing of yet another evil sorcerer. Work on this story had actually began back in the seventies, but it had been left unfinished.

Weirdworld was the creation of Doug Moench, and artistically designed, at least initially, by Mike Ploog. "Warriors of the Shadow Realm" had art by John Buscema, and featured a redesigned Mud-Butt--though no one knew it, since Ploog's original design didn't see print until nearly a decade later. Pat Roderick provided the pencils for the last two Marvel Fanfare issues.

I would have thought Weirdworld bore the influences of Bakshi's animated fantasy features Wizards and The Lord of the Rings--but it actually predates both of them. Any artistic resemblance may be due to Ploog's reported involvement in those two projects, or it may be coincidental. Tolkien would seem to be a likely source, but Moench maintained in that he had never read The Lord of the Rings in his essay on Weirdworld's origins in Marvel Super Special #11. He did admit to having read The Hobbit in high school, but denied remembering much about it.

Despite the superficial "Tolkienian" elements, I think we see in Weirdworld an artifact of a time when The Lord of the Rings-style portrayals of elves and dwarves (by way of D&D) were not taken as standard. The dwarves of Weirdworld bear more resemblance to the Munchikins of Oz than the ones from the Mines of Moria. Buscema's artwork in particular gives most of Weirdworld a kind of fairy-tale-ish look (inspired by Arthur Rackham, among others) that reminds me a little of later works by Brian Froud. The elves are likewise not wise and puissant beings superior to men in every way. Instead, their short and maybe more like non-Tolkien, pop-culture elves--like the sort that sell cookies or work for Santa. They're probably part of the pre-Tolkien lineage that influenced early D&D art (as James Maliszewski outlined here) and certainly seem to be kin of hapless Indel in the 80s D&D comic book ads.

Weirdworld offers a portrayal of stock rpg elements refreshingly free from the influence of the rising cultural familiarity with The Lord of the Rings, and the ouroboros-like D&D-ization of fantasy. Nothing in it is new, but their might be something there worth revisiting.

Talislanta: The Sarista of Silvanus

French Talislanta art

The Silvanus woodland of Talislanta is primarily home to the Sarista. They are clearly inspired at least to a degree by stereotypes of the Romani people, in fact, they are often called gypsies in the various texts, so it's not subtle.

Tamerlin's account tells us they are "a nomadic race of indistinct origin," and they are of "slender proportions" and have "skin the color of rich topaz, dark eyes and jet black hair." (Again with the topaz skin! I suspect their origins to be Phaedran, then whatever the mystery.) They tend to dress in a gaudy, ostentatious, or seductive way (their clothing sounds theatrical, to me), and they are known as "folk healers, fortune tellers and performers--or as mountebanks, charlatans, and tricksters."

These things are stable across all editions of Talislanta, with only minor differences in the text. Sarista have the distinction of having had a supplement devoted to them in the third edition, and are also otherwise fleshed out in the deuterocanonical Cyclopedia Volume IV. That work reveals the Sarista to be the descendants of criminals, witches, and various nonconformists that fled Phaedra when the Orthodixists took over. It also suggests that Saristan fools are called Rodinns after the ancient wizard.

"Let them scoff as they see fit! I will never compromise what I consider my art, especially for the sake of gain!" 
"For the sake of gain I’d compromise the art of my grandmother,” muttered Zamp under his breath. 
 - Jack Vance, Showboat World

I think I would de-emphasize the "gypsy" aspect of the Sarista, and certainly dispense with distasteful stereotypes like child-stealing, to portray them as perhaps less an ethnicity and more a vocation or society. The texts mention that the Silvanus Wood isn't conquered by the Aamanians because its the kind of playground/preserve of the nobility of Zandu. Sarista are part theater troupe, part carny. They make their living traveling the forest circuit performing for their mostly Zandu visitors, and fleecing the rubes as they can. Sure, some may be outright thieves, but not near so many as the texts suggest--that's just prejudicial slander.