Clerics of the Far Future

Clerics of the Latter Ages do not serve the many gods of Old Earth, those protectors of cities and ancient ruins and the old knowledge of humankin. They are not priests. In fact, had they not been set upon the path the communications between the gods and lesser spirits would have driven them mad. They could hear, but could no more return the correct responses than any of their kin who were deaf to the unending, unanswered transmissions.

What saves the cleric from such a fate is the holy symbol. These devices made or found by the Ancients and brought back from the stars allow a cleric to enter a state of communion with the transcendent, the Divine. The signal of the Divine clarifies or attenuates the babble of the gods and spirits, and opens the way for clerics to command them, wielding their borrowed power as a conduit for Divine will.

Some scholars claim that the holy symbol merely provides contact with minds no great than the gods of Earth, only located on other planes or worlds.  Some even hold simply places mind of the cleric in an altered state, that a holy symbol only facilitates self-deception. Clerics are above such speculations. They have the surety of faith.

Despite their unbelief, wandering clerics are given shelter and support by the priesthoods as they can aid in determining a god's wishes at times when even priests may be at a loss.

Wednesday Comics: The Fourth World Reread Week 4

The story in New Gods #7 reveals the pact that had maintained a truce between New Genesis and Apokolips and the origins of Orion and Scott Free, infants exchanged to be raised on worlds not their own. Orion became a warrior for good, albeit one constantly challenged by his nature. Scott Free was given over to Granny Goodness to be trained to conformity, perhaps to become another cog in the Apokolips machine, except that his nature wins out and he escapes. Mister Miracle #7 (1971) has Scott and Barda return to Apokolips to face the horrors of their upbringing and its architect.

The social order of Apokolips is a little hard to fathom. On one hand, we are shown Granny's fascist training camp orphan where conformity and submersion of individuality is all important. On the other hand, the villains from Apokolips bedeviling the heroes of the Fourth World titles are a diverse, even eccentric, lot. It's unclear how many of the villains we see are a product of Granny's tutelage, but certainly Virmin Vundabar and at least some of the Female Furies seem to be.

I suspect some of the Apokolipsians (Doctor Bedlam, Desaad, Kanto) are products of the older, aristocratic society of Steppenwolf and Heggra that Darkseid has transformed into a fascist state. The others are probably the most "successful" graduates of Granny's schooling. These strong-willed enough to retain some individuality, while still being conditioned for Darkseid's service. This presumably is the outcome Darkseid intended for Scott Free. Unless the irony of the son of High Father being merely a faceless grunt in his army appealed to him. This seems unlikely to me, because Darkseid seems more calculating than pointlessly cruel.

Mister Miracle #7 gives us our most extended look yet at the hell that is Apokolips. It's an armed camp emblazoned with grim, fascistic slogans. Workers are dressed something like a combination of Medieval serfs and German work camp prisoners. Here, they're attacked by Kanto, an assassin who looks like he grabbed his style from the Italian Rennaissance. He's a man of honor after a fashion. He let's Free and Barda go out of respect. His sort of evil is out of place in the more mechanized, modern Apokolips.

Showdown in Dhoon

Our Land of Azurth game continued last night. The party sprang its ambush on the demon Porcus. After he cornered them in a side room, he surprised them by wanting to parley. On the condition they leave town, he revealed that he had nothing to do with the fay-flower blossoms and had only been summoned by the townsfolk cultists afterwards. He alleges the true culprit is a wizard from a neighboring town.

This is Dhoon on the banks of scenic Lake Dhoona. The party makes their way there and discovers the local lord, Lorn of Dhoon, has recently had a personality change and has been making some really nonsensical decrees. His latest sees dwarfs banished form the town under penalty of stretching on the rack.

Turns out there is no wizard in town anyone knows of, but there is a dark druid, high priest of the chaotic Church of the Dark Flower, named Slekt Zaad. That was the name Porcus gave them they couldn't remember!

Kully's got a plan to frame any mayhem on their rivals, Prof. Marvelo and the Eccentrics, while invoking Mayor Drumpf's name in a sting on Slekt Zaad. They go to the temple and get an audience with the high priest. He seems disinterested in their fake offer, but their dogged insistent regarding the fay-flowers eventually ticks him off. Slekt reveals his true face: he's some sort of plant man:

He has the doors shut by his guards, and even offers the party the first shots in the the throw down. None of this particularly worries them being a brave--or foolhardy--bunch. However. none of their attacks seem able to hurt Slekt Zaad. Eventually they switch tactics and grapple him. He can't escape, but they still can't hurt him!

His wizard ally shows up and tosses a fireball. Slekt is still threatening to kill them. Erekose is dragging the grappled high priest toward the door--but then he's paralyzed!

Magic from the Machine

A post last week led to discussion of what constituted science fantasy. In discussion those admittedly ill-defined genre boundaries, I thought of one type that is fairly common in comic books but not that common elsewhere: the blurring of technology and magic.

This is not quite the same thing as Magitech, or perhaps more accurately it's a subtype of it. Magitech can be lame (or at least uninspired) stuff like magic carpet taxi cabs or soldiers armed with fireball shooting wands. I'm talking more things that have the appearance or origin of technological devices but seem to have effects that are magical. Jack Kirby employed a lot of this stuff, particularly in the New Gods, where the characters evolved from the remnants of mythological beings, but who possess and advanced technology of a sort. The Cosmic Cube is another such artifact as is the Miracle Machine in the Legion of Super-Heroes. Heaven is depicted as full of this sort of technology in Morrison's JLA.

I feel like this sort of aesthetic is ripe for use in rpgs. Maybe Exalted does some of this, perhaps Godbound, but mostly science fantasy in rpgs is pretty standard. I think it would be pretty easy too. Potentially as simple as reskinning magic items with a technological look and a few features.

Post-Apocalyptic Greyhawk

A great deal of change separates the North America of the 21st Century from the future age of the Free-City of Greyhawk, sitting on the ruins of ancient Chicago. The upheaval around the Anthropocene Thermal Maximum lead to mass migrations and alteration of the landscape. Four emerging peoples would be largely responsible for shaping civilization of the Greyhawk era.

The ancestors of the Bakluni were sea nomads and climate refugees from Asia who had settled on the southern Pacific Coast of North America. Pressure from groups fleeing north from the Tropic of Cancer led their culture in a more warlike direction--and also pushed them both east toward the Rockies and northward.

The Pacific Northwest was the domain of the Suel culture. It evolved in the main from separatist groups with racial supremacist leanings during the fracture of the United States and Canada. An upper-class of "pure-blooded" nobility ruled over a "mixed race" lower class in a feudal society. The inbred ruling class commonly displayed a unique mutation in melanogenesis that led to pigmentless skin and hair, and violet eyes.

The underclass of the Suel was similar (and indeed often derived from) the peoples of diverse ethnic origin that were the primary cultural group from the Rocky Mountains eastward. These were collectively known as the Flan, though they did not initial share any real concept of national identity. Most Flan lived in small, nomadic or semi-nomadic tribes.

The final group, the Oeridians, were a people of less certain origin, but they seem, like the Suel, to be derived from North Americans of European descent, but with genetic markers indicating a significant contribution from Native American ancestry. They were a tribal people known to both the Bakluni and Suel--and employed by them both as mercenaries.

Weird Revisited: Scavengers of the Latter Ages

I think I might right another follow-up to this post, so it was worth revisiting from the distance past of 2018...

Art by Bill Sienkiewicz

Here are some further refinements/elaborations on the idea I presented in a previous post for a 5e (or any sort of D&D really) game that was actually far future science fiction replicating fantasy.

• The Distance Future: Millions of years certainly, though exactly how long is obscured by the mists of time and the humankin's fickle devotion to data storage formats. It is possible that biologic humanity even disappeared at one point but was resurrected by its nostalgic offspring. Scholars are aware that more than one civilization has come and gone and the Height was long ago.
• A Neglected Garden: Earth was once an intensively managed paradise, maintained by nanotechnology and AI that were integrated into the natural world. Most of the animals were heavily modified by genetic engineering and technology, and some were of exozootic stock. Even humans were integrated into this network, and everyone born still carries the nanotechnological  system within them. Though technological spirits and godlings still live in nature, they no longer heed humans on any large scale, at least in part due to the fact that few humans can activate the necessary command codes.
• Diverse Humankin: Through genetic engineering, different clades of human-descended biologics have developed. The reasons for the modifications from baseline seen in these "races" may not always be apparent. Perhaps some were just art projects for some creative god?

Art by Laura Zuccheri

• The grist: Commoners speak of "magic users" in dim memory of the fact that everyone of Earth is a "user" in the computer science sense, but wizards know there is no such thing as magic, only grist (or maybe mana), the shells of nanotechnology that envelope the world. Everyone uses it to a degree, but few have the aptitude to develop the skill to employ the grist to work wonders.
• The ether: The underlying grid of spimes and metadata, which supports the nano and once integrated it with the internet, is known as the Etheric Plane or Ether. Wizards and other magic users are aware it plays an important part in their spells and also in the powers of gods and incorporeal intelligences, but they are like mice within a palace, ignorant of its total function and potential.
• The Outer Planes: Civilization at the Height was not confined to the Primal Earth, but extended through the stars. Some of the posthumans that went to other stars disassembled planets to convert to computronium, then huddled close to stars for power. Their civilizations sometimes became very strange, perhaps even went mad. Many of their networks still connect to Primal Earth through ancient but robust relays. Humankin of Earth are often in grave danger when they venture into such places.
• Treasures Underground: Earth's current society is built on the detritus of millennia. Current humankin seek to exploit it in rudimentary ways, and more advanced civilizations of earlier times sought to do so in more advanced ways. The tunnels they dug still exist, but so do the guardians they put in place and the dangers they encountered.

Wednesday Comics: The Fourth World Reread Week 3

I had intended to talk about Mister Miracle #6 and Funky Flashman this week, but I just read Forever People #8 (on sale February 1972), and I feel like that better encapsulates the oddness of what Kirby was doing with the Fourth World saga.

There is a lot going on in this issue. A man known as Billion-Dollar Bates lives out in the desert with a barrier and deserted town guarded by para-military private security. He's involved with a Satanic cult called "The Sect" who has a ritual space beneath his mansion and wears weird looking masks. He's holding a group of prominent citizens against their will with some "power."

If that isn't enough, someone is infiltrating Bates' compound, wearing the masks of the Sect, and killing his guards. Then the Forever People show up.

Ultimately, we discover that Bates (like time-lost Sonny Sumo) has the "Anti-Life Equation," the innate ability to control minds. Unlike the virtuous Sumo, who worried about ever using the power, Bates has made himself wealth and powerful--and still has the desire to gloat to others about his deeds. It ends badly for him:

The inflitrators are Darkseid and his minions. And accident keeps Darkseid from the Anti-Life Equation: bullets through Bates. This is the second time Kirby has introduced the Equation in the flesh, and the second time he takes it off the table. Presumably he feels if it's ever here to stay he's reached the climax of his story.

With his ribbon tie, big cigar, and jowled face, Mister Bates is a rich man caricature. His very name hints at the self-gratifying nature of his use of the power and the way he has lived his life. He also fancied himself a "wheeler dealer," he tells his captives, but then the Sect revealed the true nature of his power. His life blessings almost literally derive from Satan.

The weirdest thing in this issue is, when confronted with the Forever People, Darkseid starts sort of playing drill sargeant and lines them up to berate them. Later Darkseid reveals it was a ruse to throw the Forever People off-guard, suggesting he fears them a bit. It's not at all how Darkseid is portrayed in the modern DCU.