The Arborean Experience

One of the paradoxes of Chaos is that, whatever the pronouncements of it's Powers and Lords, it is defined by ideas they were only possible when a lack of Unity was manifest in the multiverse. Philosophers have noted that as with Mechanus, the Plane of Law Absolute, there are core paradigms or truths without which the planes of Chaos could not exist. It is the centrality of those truths that separates the border regions of Chaos from the more encompassing Chaos of Limbo.

Arborea is a plane built upon the ideal of sensate experience. Its inhabitants reject any notion that formlessness or nonbeing is equivalent with being, and they reject the shackles on experiences and individual freedom regarding them that Law would forge.

Arborea typically appears as a vast, archetypal forest. Within there are glades or small manors where in the revels take place. These are sometimes open to the view of passersby, sometimes not, and they may be larger internally than they appear; effectively they are subrealms of the plane. Dramas of love, intrigue, daring, and violence, play out within these alcoves, but only among the likeminded who have chosen those experiences. The games are impermanent; diversions lead to no lasting harm, and may be replayed again and again, or abandoned and others taken up instead.

The only crime in Arborea is coercion or the abrogation of choice (unless a participant's choice was to have limited abridgement of choice). Violators of this rule who don't heed a warning are given over to the caprice of the eldarin, who devise a lesson of some sort--which like all the pleasures of Arborea, is not permanent. Habitual violators are barred from the plane.

The Devils are angered by the very existence of Arborea. Its uncoupling of actions from consequences, and the general frivolity and indolence of its inhabitants, make it an frequently cited example of what the cosmos would be like if Chaos got it's way.

Wednesday Comics: 2021 Holiday Gift Guide

 The DC 80s review will take this week off, so I can make some suggestions for holiday gift-giving in the comics arena:

Monsters by Barry Windsor-Smith: Windsor-Smith turned a rejected Hulk story idea into a magnum opus about trauma and the horrors of war that just can't seem to stay in the past. It can be tough going given the subject matter, but it's well-worth the effort.

Head Lopper by Andrew MacLean: Follow the adventures of the Norgal, a mighty warrior and the eponymous Head Lopper, as he and his companions take on evil wizards and monsters. Four volumes of this Sword & Sorcery series are available now.

DC Through The 80s: The End of Eras: This is one of two volumes presenting a survey of DC in the early to mid-80s. This one focuses on the era as a time of change. The Moore/Swan "Whatever Happened to the Man of Tomorrow?" is here as well as his "Twilight of the Superheroes" pitch, but there's also a grab-bag of other genres--horror, Western, fantasy, and science fiction--that were destined to die away as superheroes solidified their hold at the Big Two.

Marvel Classic Black Light Posters Portfolio: This is a massive (actually poster size) collection of many of Marvel's 70s black light posters, all suitable for framing. It's pricey, true, but a great gift for any Bronze Age Marvel fan.

Cowboy Bebop and the Faithful Adaptation

I've watched one episode of Netflix's Cowboy Bebop. so I could be wrong, but I think I already see how this is going to be. I don't think it's awful, but there are definitely things I'm not fond out.

Watching it brought to mind Rodriguez's first Sin City film. That film is a pretty faithful adaptation of the comic, down to the composition of shots, but my reaction on first viewing was very different from my reaction to the comic. It felt silly; I was vaguely embarrassed by it. It's not that I missed that Sin City the comic is over-the-top in some ways, and part of that over-the-topness is Miller's dialogue and narration. But when I read it, I get to decide how the characters deliver the lines, and the almost superhero comic level action scenes are just Millerisms to be translated to real world terms. (Much in the same way I know when reading a comic that characters don't have time for long discussion while they trade a couple of lightning quick blows. It's mere convention of the form, not something to be taken literally.) But on the screen their were actors not selling the clunky lines they were saying and all the action was taken all too literally.

Cowboy Bebop came from a cartoon not a comic so it's closer to film, but it's also the product of another culture (and honestly, another era) so maybe that all washes out. The show gets the details right in cosplay sort of way, but it doesn't feel the same. Gone is grubby future and much of the range in tone. The action is similar in prosaic description but what seemed dynamic in the anime feels fairly flat here. It may be less wacky than the cartoon, but then my tolerance for wacky is much less in live action.

Perhaps the biggest disappoint is some of the choices they made. The first episodes of the anime and the live action show have the same basic plot, but are otherwise fairly different. The anime opens with Spike's dream (enigmatic at that point) then goes into spare scenes of the solitary, early morning rituals of Spike and Jet, accompanied by blues harmonica. There is a lonesome feel to this sequence, and there is nothing like it in the live action show, which instead opens with quipy action. The cartoon returns to a bit of this somberness later with Spike's discussion with Katerina. This is also quite different in the live action episode. The show perhaps gets Bebop's silliness right, but misses the anime's mix of tones, except as absolutely requisite to the plot, and then it can't quite land it.

There's also the indication that we will be seeing hints of the Vicious-Spike conflict every single episode. This is no doubt to make a "season arc" fit for a modern streaming show. Cowboy Bebop the anime was structured like old school tv, with "stories of the week." Over-exposing Spike's arc robs it of any sense of slow reveal or discovery and has the potential to make everything else feel secondary.

Anyway, I'll keep watching. The wife likes it, and I've still got the animated series to watch when I want.

Every Devil is a Cop

"So sooner or later, everybody's working for the Man."

- Go (1998)

Hell was born when border Archons of the Machine became convinced that It's algorithms would never conquer Chaos. Stronger measures were needed. These warriors cut a path into Chaos and fixed it with iron, stone and fire, and created Hell.

Though Hell's propaganda won't admit it (devil's have been rendered back to Lermure-hood for saying it), the War on Chaos has not gone well over the aeons. The Infernal Marches once safely reached to the Black Iron Prison of Carceri. Chaos not only has refused to be subdued, but it has been able to turn formerly loyal soldiers. Does anyone in Hell's hierarchy trust the Yugoloths or Gehreleths? No, they've both been compromised and will be the next targets as soon as the demon threat is ended.

If there's one bright spot it's the Material Plane. Diabolic agents have been able to turn an unexpected action by Chaos into a key recruiting tool. The soul-stuff of material beings may be relatively modest in absolute magnitude, but every transgressor that can be brought over and gotten under contract is added to the Infernal warchest.

Minor devils and trusted agents work to uncover (one might even say tempt) wayward, souls all in the name of recruiting--coercing--them as assets. Let the priggish supplicants of the Mountain fret about "right." There is no right in a fallen cosmos, outside the Law. And right now, the Law needs strength more than mercy.

And the fires of Hell are not eternal for those see their error. With toil and penance the most Chaos-ridden soul can become a devil, a stalwart soldier in the armies of a new order for the all things. Is that not mercy? 

Not all beings turned by infernal influence are small. Big fish are particularly prized, those with influence over other souls. Even Gods and their cults have been suborned to the diabolic agenda. Of course, there are also devils posing as gods to the unsuspecting people of material worlds.

Wednesday Comics: DC, February 1981 (wk 2 pt 1)

My goal: read DC Comics' output from January 1980 (cover date) to Crisis! This week, I'm looking at the comics at newsstands around November 25, 1980.

Action Comics #516: I like the cover on this one. Wolfman's Vandal Savage story continues with Superman out for vengeance against the immortal. Luthor quickly spills it that Savage is traveling through time. He even gives Supes a device to detect where Savage is. Everywhere Superman pursues the dictator, though, something goes awry and their is a big explosion. Olsen and White smell a rat. They get Luthor to tell them more, which includes the origin of Vandal Savage and that Superman's actions in the past now are actually what brings Savage to power. It seems their are time-changing bombs Superman is inadvertently setting off. Luthor sends Olsen back in time to stop all this--which is just another part of his master plan. He's going to see to it that Savage, Superman, and Olsen die in one big explosion, leaving him to be ruler of the world. Back in the Age of Dinosaurs Savage gloats he's about to be struck by a fireball from space like the one that made him immortal, and then his victory will be complete. Superman has finally caught on and doesn't destroy the fireball. Savage's victory is foiled (and Luthor's too). Jimmy and Superman return to a restore timeline where Lois is still alive. 

The Atom backup story by Rozakis and Saviuk is pretty forgettable. Chronos is committing crimes but being really good about not leaving clues. Perhaps too good. Chronos does not come off as particularly impressive either in the story or in Saviuk's depiction of him.

Brave & the Bold #171: Conway and Garcia-Lopez bring us a really off-beat crossover, which well, only happens in Batman's mind, I guess? Bruce Wayne wins an auction for a jewel box once owned by Martha Jennings, the "Florence Nightingale of the Civil War." While Bruce is admiring his $10,000 box he confides in Alfred he had a crush on Jennings when he was a schoolboy, which really tells us that Bruce was a nerdy kid. (Or maybe not, as Garcia-Lopez depicts her as pretty attractive, but I digress.) He finds a secret compartment with a note with the bat symbol on it! As one does in these situations, he goes to see an old professor from college who has a "time hypnosis" technique. Under hypnosis, Bruce goes back in time to see what's up. There, he meets Jennings and Scalphunter, and the two heroes help Jennings get supplies through Confederate lines. Bruce really spends a lot of time wondering what makes that enigmatic Scalphunter tick. But did he ever really meet Scalphunter? And what is time hypnosis? Conway is following in Haney's time-honored "just go with it" writing style.

Nemesis is back in the backup by Burkett and Spiegle. This time there's casino action, and Nemesis actually gets shot, which is a big deal in a way that I suppose is realistic but seems odd for comic book action heroes.

Detective Comics #499: Conway and Newton/Adkins open with Blockbuster contemplating killing Batman, who lies unconscious in a mine in West Virginia, but the corrupt union leader's goons set off in explosion to cause a collapse before Blockbuster can act. In the aftermath, with Batman struggling to help the the crusading reformer, Macon, the giant has befriend, Blockbuster decides to ally with him for now. They all manage to escape the cave, then Batman and Blockbuster go after the badguys who have kidnapped Macon's daughter. In the end, justice is done, and Batman decides to let Blockbuster stay "dead" and remain here.

In the backup, we reach the end of the "Barbara Gordon, Murderer" storyline. Batgirl has to escape from a watery death-trap and rescue Doreen the secretary who helped frame her--all before Barbara is found in contempt for not showing up to her own hearing. In the end, Batgirl gets there in time to reveal the true murderer. The wrap up seems a little bit to quick for how long this drug out--and maybe it is. It seems like from previous issues there was a conspiracy against Barbara (though I'd have to look back).

Green Lantern #137: The Wolfman/Staton tale of GL visiting the future continues. I apparently missed a plot point last issue by not carefully reading one panel: Jordan was drawn to one point in the future but instead wound up in a different point (apparently 1000 years earlier, or something) where he Space Ranger. So the Gordanians attack Earth twice. Anyway, the story opens with GL and Space Ranger in the hands of the enemy who are getting ready to throw cables around the Earth and drag it to Vega so the Citadel can auction it off. Space Ranger breaks them free, but Jordan is still without his memory, so he doesn't know how to use his ring and is useless in the fight. Space Ranger's girlfriend, Myra Mason, shows up to lend a hand, but once she is injured the battle turns against them. At that moment, GL is yanked back to the 58th Century. Apparently he's met these people before as Iona is in love with him from meeting previously (that would be in Green Lantern #51, but the issue has no footnotes anywhere to tell you that). They manage to restore his memory, and GL defeats the Gordanians in this time, then wipes Iona's memory of him so she'll stop pining. He jumps back to help Space Ranger before returning to his on time.

The backup is another Adam Strange story by Laurie Sutton, joined now by Infantino on art. It's an improvement. This is mostly an Alanna solo story, though Adam shows up at the end (courtesy of the zeta beam) to rescue her from bird-riding tribesmen with blowguns. It turns out Sardoth had sent her somewhere to distract her until he and Adam could complete a surprise (big goof on that one, Dad. You almost killed her!) Anyway, a double zeta beam is ready to take her with Adam for a trip to Earth.

House of Mystery #289: "Brother Bob's Home for Wayward Boys and Girls" by DeMatteis and Rubeny is the opener. It's starts off with the familiar sort of sanctimonious disciplinarian who runs up against a new resident, Joshua, who seems able to thwart him and inspire the other kids to petty rebellion. Bob is convinced Joshua is Satan, but in the end Joshua reveals he works for the other Guy--whose vengeance is also terrible! Kashdan and Zamore follow with an odd tale (told in a different style, it could almost be a Ligotti yarn) of two thieves wanting to steal a treasure from cultists in a cave. In order to win it, they impersonate Kronus, the god of the cult, and Braxus he's opponent in myth. The Kronus imitator kills his companion, seemingly possessed by an unnatural rage. He ascends the throne to claim his treasure, but finds the cult won't let him leave, and if he removes his costume, they'll kill him. He hears the dark laughter of Kronus ringing in his years. DeMatteis returns with Amongo for a story of a reclusive "hippie" musician trying to make a comeback, but when taunted by the crowd looking for something newer (they're all over the place wanting Alice (Cooper), disco, and the Village People--harder not to see DeMatteis making some comment on post-60s music), he lets his vampiric hunger take over and kills them. He flies off into the dawn as a bat and dies, leaving the crowd awed by the theatrics and the promoter wanting to repeat the show tomorrow night.

Everyone Comes to Sigil

I've said before that Sigil is perhaps the most interesting thing about Planescape, and it doesn't really rely on the Great Wheel for the things about it that are interesting. For most people, who seem the dislike the Great Wheel, that may be a design feature. I happen to like the Great Wheel (As a concept. I can't say I'm particularly excited by a lot of the execution. On the other hand, I also feel like a lot of the "what do you do with this?" response to it shows a willful lack of creativity. That's perhaps a topic for another post.) so I think a setting meant to make the classic planes of D&D a setting, but instead makes a setting that can mostly ignore them, has some flaws in execution.

We are told gods can't enter Sigil. This is very convenient, because it provides a base of operations very much like the Prime Material Plane (where gods can go, but don't much) for the PCs to run around in. It also raises a lot of metaphysical questions, which sure, might have interesting answers, but I feel like it would be just as interesting--maybe more--not to keep the gods out. Sigil is the center of a plane surrounded by all these hostile forces. It's a Neutral Zone, a DMZ, a Free City with no allegiance to any of those eternally warring philosophies. 

It would be a good place for the gods to come together to make treaties and talk, but also maybe a good place for them to vacation and let their hair down. What happens in Sigil, stays in Sigil. I'm thinking it should be a bit like the bathhouse in Spirited Away, a bit like Cold War Berlin, Throne from Kill Six Billion Demons, and Yu-Shan from Exalted. (Yu-Shan being the capital of Heaven has more bureaucracy than Sigil would have, certainly, but I mean in terms of a place crawling with spiritual powes minor and major.)

I think this would make Sigil more colorful perhaps, as part of the thing the PCs must navigate is avoiding offending visiting dignitaries. Of course, they have more room to be daring and burn the gods in some scheme or confidence game in Sigil, as the gods are constrained in what they can do within the city. Even still, it would be a risky play, but perhaps a tempting one. It would also supply a ready supply of quest-givers or dubious patrons.

The Petrified Polyhedron Forest

 

Our Land of Azurth 5e session last Sunday saw the party continuing their exploration of the strange, underground tunnels as they searched for the Cyan Sorceress. They had no luck in that regard, but they encountered a number of weird things. Waylon took a bracer off an alien skeleton that allowed the wearer to reach into a pocket dimension. They discovered a room where the walls were covered in green filaments, though they couldn't discern its purpose. Then there was the room where the emanations of a crystal seemed to have frozen a number of people (both aliens and recognizable folk) in time. 

The group freed a couple of the humans, who were priests of the oracular temple above and had been frozen for hundreds of years. The party hoped the priests might be able to shed some light on everything that was going on, but no such luck. They pointed the confused priests in the direction of the surface and went on.

The last room they came to had a column of light that they figured out acted as some sort of teleportation beam. They all used it and came out in a vast, underground cavern, full of a petrified forest of sorts--or perhaps a garden of standing stones might be more accurate. Except the stones are all "natural" and in various geometric shapes. They come in sizes from merely imposing to positively gigantic. And the party discovered that some of them move.

In fact, the party figured out how to nudge who of these rolling stones in a forward (deeper into the forest) direction, and they followed in its wake to the central hill.