Improve Your Vocabulary The Weird Tales Way!

Tired of your hum-hum, unadorned locution? Bored with your terse email correspondences? Frustrated by your lack of adjectives to describe the horror or wonder of your existence?

Well friends, I've got the book for you.

Weird Words: A Lovecraftian Lexicon by Dan Clore puts all the fecund phraseology of weird fiction at your fingertips--and into your brain!  Clore provides a dictionary definition of each word (and tells you whether or not it can actually be found in the Oxford English Dictionary) and gives, in most cases, multiple examples of the use of the word in weird fiction.

Just edify yourself with these examples:

Cat-lady...or ailurophile?

Is this Goth...or Charonian?

What a stink? Or what a fetor?



 
Jibber no more like a man moonstruck! Quit looking like an agrestic buffoon! Claim your desiderate erudition today or be an energumen of illimitable ignorance evermore!

Order today, and never fear to engage in colloquy again.

The Unquiet Library

The Library of Tharkad-Keln is considered one of the wonders of the known world. Built in an earlier age, possibly by the mysterious Dungeon Builders themselves, the library is said to hold a copy of every written record of note in the Thystaran sphere. Hyperbole aside, the library is undoubtedly the greatest repository of knowledge currently in existence and a center for scholarship.

The library is a many-floored, conical stone structure—almost like an artificial mountain peak—situated on a volcanic plug just off the western coast of Arn. It’s connected to the mainland by a series of bridges across two smaller plugs. It seems to have powerful magics worked upon it so that it stays an almost constant temperature and humidity on the interior—though their have been times where this protection waned for unknown reasons in areas. Most rooms are filled with rows upon rows of ceiling high shelves in various arrangements made of an unknown material. Many walls are decorated with reliefs of an owl-headed man with a muscular body, dressed only in a breechclout and sandals. This figure resembles Seiptis, the Thystaran god of knowledge, in the traditional depiction—which held to derive from the stereotypical dress of an ancient Thystaran amanuensis. The presence of these images in a structure that predates Thystara’s rise is puzzling.

The library’s inhabitants and staff are demihumans called “gnomes.” This name creates some confusion as the library folk aren’t “true” gnomes (those being part of an ultraterrestrial incursion from the elemental planes), but instead an offshoot of halfling stock. The gnomes came to Tharkad-Keln sometime before the Thystaran Empire reached Arn, perhaps as long ago as the collapse of the Thalarion Hegemony, which is believed to be the fallen, final remnant of the Godmaker culture in Arn.

At first, the library merely provided shelter for the proto-gnomic tribes. Over time, the scrolls and codices found therein began to take on a cultural significance for them. Wars were fought between tribes occupying the natural philosophy and literature sections. Annals written from oral tradition dating to that time suggest there was once a bloody chieftain who rose to found a dynasty from the recesses of the culinary stacks. Even into historic times, when scholars first began to make pilgrimages to the library, care had to be taken to pay tribute to the various gnomic gangs that lurk in less traveled wings and move about through secret passages to prey upon the unwary.

Over time, the halflings came to see the books and learning as of preeminent, almost religious, importance. Generations changed them from a culture of savages to one of scholars. The old tribal system was replaced by guilds which are involved in various aspects of tending the library and serving visitors; there are guides to help pilgrims, runners to carry messages, and guardsmen to enforce the peace.

Thystaran records recount the first visit of their scholars to Tharkad-Keln over a hundred years before the fall of the Empire. The leader of the gnomes, named Atoz Yoron (the “brek” cognomen had not yet been adopted), is already given the title of “magister”—a title which survives to this day, though currently there is rule by a magisterial council rather than an individual.

The gnomes have developed an unusual supplementary language which contains a number of monosyllabic affixes that are reference codes to bibliographical citations of accumulated gnomic wisdom. This allows the gnomes to communicate very complicated and/or detailed bits of information in a concise fashion. This language isn’t secret, but neither is it actively taught to non-gnomes.

Another distinctive gnomic accoutrement is the geithi stick. These walking staffs serve as a sort of curriculum vitae. Gnomic scholars have glyphs representing their major scholarly accomplishments carved upon their geithi sticks. Approval for each glyph carved must be given by a peer review committee, and a dictionary of authorized glyphs is held (predictably) in the library’s gnomic culture section.

Warlord Wednesday: Arena of Death

Continuing my examination of DC Comic's Warlord, the earlier installments of which can be found here...


"Arena of Death"
Warlord (vol. 1) #2 (March-April 1976)

Written and Illustrated by Mike Grell

Synopsis: Morgan, still tied to the tree where slavers left him at the end of last issue, is about to be a snack for two sabretooths.  He manages to break the branch he's tied to, and falls to the ground.  He's able to impale one cat on the end of the branch, but is only saved from the attack of the other by an arrow.   His rescuers are a group of men led by Drogar the Terrible.  When Morgan tells them he's bound for Shamballah, Drogar offers him passage on his ship.  In Bal Shazar, Drogar's treachery is revealed as he introduces his club to the back of Morgan's skull. 

When Morgan regains consciouness, he's a galley slave, sharing an oar with Machiste.  After a failed rebellion and a battle with pirates, Drogar figures the pair are worth more to him if he sales them to Shebal, the gladiator trainer.  After a training montage, Morgan and Machiste are forced to fight each other in the arena for the amusement of visiting Prince Eris.  Morgan glimpses his old wrist watch on Eris' arm, he and Machiste stage a revolt.  The captured Eris tells him he got the watch from a slave girl (Tara!) he sold to Deimos--now king of Thera.  Morgan rallies the former gladiators to form the nucleus of an army to invade Thera.

Things to Notice:

• This issue has the first of the two-page title spreads that will become a Warlord mainstay.
• The tree Morgan was tied to in issue #1 appeared to be on a grassy plain near the edge of the desert, but this issue it seems in the middle of the forest.
• Racial prejudice seems to exist in Skartaris, at least among the Gryfalcon's crew.
• Machiste is no more believing of Morgan's tales of the outer world than Tara.  One wonders why he insists on telling people.

Where It Comes From:
This issue seems primarily inspired by historical epics and sword and sandal films.  It hits a couple of the common tropes: having the protagonists be galley slaves (like in Ben-Hur) and gladiators (like Barabbas, Demetrius and the Gladiators, and Spartacus among others).  Morgan's rallying the former gladiators for "freedom" at the end has overtones of Spartacus (both filmic and historic, perhaps).

Machiste's name betrays the story's sword and sandal origins, too.  "Machiste," or more properly "Maciste" (pronounced ma-CHEES-tay), is the name of a frequently-appearing heroic figure in Italian cinema. Dating back to the silent era with Cabiria (1914), the character appeared in numerous pseudo-historical or mythological themed films. He was revived for more adventures in the 1960s with the sword and sandal fad touched off by the 1959 Italian production of Hercules with Steve Reeves. Many of these films had the hero’s named changed when they were imported to the U.S. (and dubbed into English) to a more recognizable brand, such as Hercules, Samson, Atlas, or the like.

Ultimately, Maciste derives from a Doric Greek word makistos meaning “tallest” or “greatest.” It is said to have been one of the epithets of Heracles (Hercules). Interestingly, machiste also means “macho man” or "male chauvinist" in French.

While I don’t have any definitive proof of this, I suspect Machiste's physical appearance was modelled on professional football player turned actor, Jim Brown:

See what I mean? 

Coincidentally, Brown co-starred with Raquel Welch (who we know Grell was a fan of) in the 1969 Western, 100 Rifles.

Grell is perhaps playing a little literary joke with his naming of the “wastrel” Prince Eris. Eris is the goddess of strife in Greek mythology (her Latin name is Discordia). The appearance of Prince Eris in the story certainly brings discord, ultimately, to Shebal's gladiatorial academy. Also, The Iliad gives Eris as a sister of Ares, which would make her aunt to Deimos—an allusive hint at the connection between the Grell's Eris and Deimos revealed at the story's end, maybe?

Gaming Kane

After writing yesterday's post, I remembered that Karl Edward Wagner's Kane had a history in gaming.  In the early days, Dragon Magazine featured a column called "Giants in the Earth" wherein writers statted up characters from fiction.

In Dragon #26 (June 1979), in what may have been the debut of "Giants in the Earth,"  D&D translations of Jack Vance's Cugel the Clever, Talbot Mundy's Tros of Samothrace, and Wagner's Kane appeared.  Here's Kane's stat-block excerpt:

The article goes on to give a brief rundown of Kane's appearance and history.  It also notes that Kane may be in disguise when encountered, and that he be on an assassination job.  In fact: 

"There is an 05% chance that when Kane encounteres a party, he is out to assassinate one party member (at random)."

but:

"Kane's long life has made him whimsical.  He may unaccountably befriend a player character (regardless of that character's alignment).  Roll Kane's reaction to each party member.  A 12, on two 6-sided dice, shows he has befriended a character for 1-100 turns.  Kane will not assassinate a friend."

The writer also goes through some contortions to try to fit Kane's behavior to D&D's alignment system.  He notes Kane's the "eternal rebel" and that (horrors!) "he's not even true to his alignment" and at any particular time "there is a 10% chance he's acting out of character." The author suggests in these cases that a d8 should be used to determine Kane's alignment at present.

The presentation of Kane is this article caused a bit of controversy.  In Dragon Magazine #30, Gary Gygax warned in his "From the Sorcerer's Scroll" column that Kane as presented was too powerful.  He suggested that 20th level fighter/16th level magic-user/12th level assassin, was more reasonable for his class abilities, though still on the high side.  He promised a closer eye would be kept on future "Giants in the Earth" installments.

The Mark of Kane

"His long red hair was torn by the wind despite the rain. His eyes seemed to glow with cold blue fire in the burst of lightning. In his left hand he carried a long sword; in his right hand he held a human head."

- Karl Edward Wagner, "The Gothic Touch"

While not exactly what you would called a forgotten hero of sword and sorcery, Karl Edward Wagner's immortal anti-hero Kane is criminally under appreciated today. Of course, it could certainly be argued that outside Howard's heroes and perhaps Fafhrd and Gray Mouser that all sword and sorcery heroes are under appreciated, but that's a lament for another time. Still, Kane's low profile is particularly unfortunate. I believe he stands with Charles R. Saunder's Imaro as one of the two most significant sword and sorcery characters of the seventies revival--which makes him one of the most important sword and sorcery characters since the death of the pulps.

Kane is Wagner's re-imagining of the Biblical first murder. Created by a "mad god" who wished humanity to be his play thing, Kane rebelled against the "sterile paradise" offered and slew his brother (or half-brother, it's hinted) who was the god's favorite. Perhaps realizing what he had loosed upon the world, the god cursed Kane. Immortal, he would wander the world bringing only violence and strife, only able to find death through violence. Men would know him by his startling blue eyes, the eyes of a killer--the Mark of Kane.

In his essay "Once and Future Kane," Wagner tells us that the primary inspiration for the character was gothic fiction, particularly Charles Robert Maturin's 1820 novel of another unfortunate, cursed to immortality, Melmoth the Wanderer. Certainly, the gothic touch can be seen in the Kane tales, but filtered through Wagner it's (as he put it) "acid gothic"--which is to say it has a tinge of psychedelia about it (or maybe phantasmagoria would be a better word) and some "experimental" (for a fairly conservative genre) stylistic flourishes on occasion.

Darkness Weaves with Many Shades (later just Darkness Weaves) was the first Kane novel, published in 1970 by Powell, in a badly edited edition. Darkness Weaves has some first novel shakiness but it's great piece of pulp fantasy for all that, cheerfully mixing science fantasy, horror, and a little hard-boiled attitude.

In 1973 it was followed by Death Angel's Shadow, a collection of three novellas from Warner. In "Reflections of the Winter of My Soul," Kane takes on a werewolf in a sort of And Then There Were None-ish mystery. "Mirage" features a seductive vampire, while "Cold Light" has Kane up against a righteous paladin and his party in a Die Hard-esque confrontation in a ghost town out of an Almeria filmed Spaghetti Western.

Next came two short-stories. "Lynortis Reprise" has Kane returning to the site of an old battle, and re-imagines the Trojan War with the horrors of World War I. "Dark Muse" is a horror story evoking Chambers' The King Yellow wherein a poet seeks an ancient, magical artifact with ruinous results, and Kane is a side-player/observer.

The second Kane novel, Bloodstone (1975), got a Frazetta cover, and has Kane trying to take over the world with the eponymous ring which controls a sentient, alien super-weapon. 1976's Dark Crusade finds Kane leading a mercenary army for the prophet of a revived (and evil) ancient cult--and of course, trying to turn the whole affair to his advantage.

Over the next few years, Kane short stories appeared elsewhere. "Two Suns Setting" has Kane helping the last hero of giant-kind attempt to regain the crown of their greatest king. "Sing a Last Song of Valdese" is ghost story with Kane helping a wronged sorcerer and his love get their revenge. "Raven's Eyrie" introduces Kane's daughter, Klesst, and his old supernatural enemy, Sathonys. These stories, plus "Lynortis Reprise" and "Dark Muse", were collected in Night Winds (1978).

At the dawn of the eighties, Wagner was devoting more of his time to horror, but not far into the eighties that too would begin to falter. There were a few more Kane stories--including the crossover with Elric, "The Gothic Touch" (1994). Two of the others moved Kane out of his prehistoric past and into the modern day. The much discussed Kane novel, In the Wake of Night, was never completed. Maybe Wagner was tiring of Swords and Sorcery? We'll never really know.

Wagner died in 1994 at the age of forty-eight. It was apparently due to complications of alcoholism, though the internet also relates he had "tick fever" (presumably that means Rocky Mountain Spotted Fever), but David Drake suggests this was an unconfirmed (and dubious) self-diagnosis on Wagner's part--and an excuse.

Flawed though the creator may have been, he gave his creation immortality. Kane lives on. Though out of print, the Warner editions and the handsome Night Shade Books hardcovers can still be found and are worth whatever you pay might for them.

"He strode away laughing into the cold night;

Kane had returned, a new challenge begun."

- Karl Edward Wagner, "The Midnight Sun"

Gloom, Rising from the Underground: The Derro

The derro, as presented in AD&D, always seemed a little superfluous. Okay, the original Jim Holloway art from S4: The Lost Caverns of Tsojcanth gives them a sort of Celtic twist (biker moustaches, spikey hair, and plaid pants), but essentially they're just evil dwarves--and that's the duergar's thing.

The derro are kind of bland, really. I'd expect more from a monster inspired by the delusions of a man likely suffering from paranoid schizophrenia.

"They recognize no other living thing as friend; to a dero all new things are enemy."

- Richard Shaver and Ray Plamer, "I Remember Lemuria!"

"Dero" (only one "r" here) are from the stories of Richard Sharpe Shaver, edited by Ray Palmer and published in the pulp magazine, Amazing Stories. Shaver was a welder who had begun to hear voices being projected into the welding equipment he used, which he believed came from an underground civilization. These voices, visions he received, and ultimately memories he began to recover from his past lives revealed to him a secret history. He learned of the Elder Race from another world, who had been forced underground by increasing solar radiation. Over time, the elder race degenerated into the "teros" or integrative energy robots, who were helpful to mankind, and the "deros" or detrimental energy robots, who were sadistic and tormented humanity. Robot, it should be noted, doesn't mean a mechanical being in Shaver's terminology. Both races were biological, presumably.

Shaver sent a letter to Amazing Stories detailing his discovery of the ancient source of all human languages, which allowed him to pick out the hiding meanings in English words. This interested Palmer. He claims to have applied Shaver's formula to samples of other languages with "interesting results." Palmer published the letter in the December 1943 issue, and got a big response from readers.

Palmer contacted Shaver for more, and Shaver responded with a 10,000 word manuscript entitled "A Warning to Future Man." Palmer edited Shaver's work and added more of an actual plot, producing the novella "I Remember Lemuria!" published in March 1945. The Shaver Mystery series had begun, and for the next two years, nearly every issue of Amazing Stories featured a Shaver story.

Shaver's deros kidnapped humans for sadistic torture, or for food. Using ancient ray machines, they surveilled surface dwellers and projected tormenting thoughts and voices into their minds. They could also cause all manner of misfortunes, from illness to natural disasters.

It seems to me that something more akin to Shaver's deros would be more interesting than simple evil dwarves. Maybe the two "r" derro could be encountered as a mysterious evil afflicting a village or town. Villagers might disappear, others would be driven to suicide or homicide by tormenting voices. Bizarre events--anything an enterprising gamemaster might wish to borrow from paranormal or ufo lore--would have everyone in town on edge. Eventually, of course, the PCs would venture into previously hidden caves to confront the menace (and take its stuff), but until then the adventure could proceed in something of a "horror" mode--or at least a "weird" one.

The derro are no strangers to madness, and its about time they shared it.

Sword & Planet Hulk

Last week I watched the blu-ray of the animated Planet Hulk feature from Lions Gate. It’s an adaptation of the 2006 storyline in The Incredible Hulk, written by Greg Pak with art by Carlo Pagulayan and Jeffrey Huet. Having not read the comic, this was my first exposure to the material, and I found it pretty enjoyable, and one of the best of Marvel Animation's direct-to-video efforts.

The plot, in brief, goes something like this: the Hulk is rocketed into space by a group of Marvel Universe big-guns who think he’s menace. He winds up going through a space-rift and winding up on one of those mostly barbaric worlds with elements of advanced technology here and there—this one being named Sakaar. There, he’s put into the arena by the forces of the planet’s tyrant, the Red King, with sort of an eclectic group of other aliens. He proves himself in brute strength, but must overcome his sulkiness and stop being a loner. Then, he bursts his bonds to fight for justice (as it were) and takes a page from the Spartacus revolutionary handbook. Ultimately, the Hulk gets a love interest, defeats the Red King, and proves himself to have been the prophesied messiah of Sakaar all along.

The story is pure “sword and planet” or “planetary romance”—which is to say the subgenre of science fiction (or fantasy) that features an earthman (or woman) engaging in heroic adventure on other worlds. Generally these worlds are primitive—or have strange primitive elements—which is where the swords come into play. The prototype of these sorts of stories is Edgar Rice Burroughs’ A Princess of Mars, but the genre has had many adherents, particularly during a revival in the late sixties.

Planet Hulk isn’t the first fusion of superheroica and planetary romance—it isn’t even the first starring the Hulk. Harlan Ellison’s “The Brute…That Shouted Love…At the Heart of the Atom” (The Incredible Hulk #140, 1971) had the Hulk romancing a queen and winning a kingdom in the subatomic world of K’ai—most likely inspired by Ray Cummings’ 1922 novel The Girl in the Golden Atom. The X-Men’s Nightcrawler got into otherworldly swashbuckling in his 1985 limited series. He also got to stand-in for John Carter in a one-off send-up of the genre in Excalibur #16 (December, 1989).

Is there any gaming value here? Well, I think that for those playing superhero rpgs, a sword and planet sojourn might be a welcome respite from slogging it out with super-villains. My personal favorites for something like this would be the old Marvel Superheroes rpg (or maybe one of its retro-clones), or maybe Mutants & Masterminds, utilizing the Wizards & Warlocks supplement (which doesn’t offer a Sword & Planet setting per se, but does swords and lost worlds, which ought to be close enough).

The other possible inspiration would be for a Sword & Planet game with more over-the-top action and power levels than traditionally found in the literary genre. In other words, maybe something analogous to what Exalted is for fantasy --at least in terms of power level, not necessarily flavor. I don’t off hand know the best system for this—though either of the two suggested above could do it, and HERO System no doubt could as well, depending on the level of crunch one wants.