Morgaine
le Fey is a powerful sorceress with a long history.
She
was introduced in Geoffrey of Monmouth’s The
Life of Merlin around 1150. Since then she has appeared in numerous works
of literature and has been depicted in various ways by different authors,
though she is almost always cast as an enemy of King Arthur. The reason for her
hatred of Arthur also varies, but it is usually related to sibling rivalry,
albeit in its most extreme form.
The
spelling of her name varies, as well, but the meaning remains the same. The
word “fay” (also spelled “fey”), as any fantasy fan can tell you, refers to
supernatural spirits that dwell, unseen by most humans, in forested areas: fairies,
elves, brownies, et cetera. Their proximity to trees suggests that magic
(shorthand for the supernatural) flourishes in areas where nature’s
concentration is the greatest. Deforestation diminishes its power, it seems.
Man’s interference weakens it. “Fey” can also mean “wild,” which is certainly a
related term. We frequently use the word to suggest erratic or unpredictable
behavior, but let’s not forget that it also means “untamed,” as in not adhering
to the standards of civilized society.
While
magic is a difficult term to pin down, it’s generally understood as an inscrutable
force that permits the existence of creatures and phenomena beyond that which
is considered “normal.” In the ancient world, it was the go-to explanation for
anything unusual. In mythical terms, it is a permutation of the life force
endemic to our plane of existence. Its trappings are alien to us because they
represent a different arrangement of the elements. (I am referring here to
earth, water, wind, and fire, rather than to the chemical elements found on the
periodic table.) The ability to harness it is the bailiwick of the wizard and
the witch. Tapping into it is certainly a task unto itself, but learning to
control and manipulate it is the real rub.
While
little is actually known about the druids, it has been suggested that they
subscribed to a belief in pantheism, the notion that God’s essence permeates
all of creation. This is, at its core, a similar concept to magic: the
dissemination of the “divine” throughout nature, finding its greatest strength
in vessels that can best contain it.
The
upshot of all of this is that when we put it all together we come out with Morgaine
the Supernatural. Is she by her very nature a magical creature? Something other
than human? Her name could be interpreted as such.
In
some stories Morgaine apprentices under Merlin, which is interesting because in
this way he has a hand in creating his liege’s greatest foe. It’s difficult to
say unequivocally, but in the Arthurian legends it seems that there is no
distinction made between what constitutes “white” magic and “black” magic. It
all derives from the same source, and a sorcerer’s preferences are all that
determines on which end of the spectrum he or she operates. The universal, ongoing
battle between good and evil that echoes through the ages requires a balance
between the two sides; otherwise one would too easily defeat the other. It
makes sense, then, that the two sides have access to similar weaponry.
The
rivalry between Morgaine and Merlin is about as good as anyone could hope for,
and it forms the foundation of Jack Kirby’s foray into fantasy/horror.
The Demon #2 picks up right where the first issue left off. Morgaine’s
forces have infiltrated the catacombs beneath the mysterious Castle Branek and,
as such, are struggling with the “resurrected” Etrigan (he has been imprisoned
in the body of Jason Blood for centuries). It soon becomes clear that they are
no match for him, and Morgaine is forced use her sorcery to subdue him. When
the smoke clears, it is the form of Blood that lies unconscious on the
flagstones.
When
his senses return, Blood finds himself being lifted into a sitting position by
three men, including one Inspector Stavic (seen briefly in the previous issue),
from the nearby village. They are eager to know what business he has at the
castle and what happened there. Blood tells them that they are in Merlin’s
tomb, and that the “phantoms in black” (Morgaine’s men) escaped with “what they
came for.” The gargoyle statues surrounding the crypt spring to life suddenly
but crumble to dust at the slightest touch. At this, Merlin’s shadow
materializes before the astonished men and apprises them that Morgaine has
stolen a powerful spell but that Blood’s “memory” will help them find her.
Meanwhile,
Morgaine has repaired to Walpurgis Wood, a “place of witches,” according to
Stavic. As fires blaze and occultists dance around in the throes of sorcery,
she removes her mask and begins to weave the spell taken from the crypt, which
will restore her youth. Blood and Stavic arrive, but before they can stop the
ritual, they are attacked by a monstrous “gorla” guarding the perimeter. Blood
is no match for the creature’s strength, and the bullets from Stavic’s gun have
no effect.
Thankfully,
Blood’s friend Randu, a U. N. delegate from India, senses that something is
wrong. Using mystical abilities akin to ESP, he mentally sends the words that summon
Etrigan across the thousands of miles to Central Europe. Blood again transforms
into his demonic alter ego and dispatches the gorla. He then disrupts the
ritual, causing a huge explosion that leaves a smoking crater and no sign of
Morgaine or her henchmen.
Back
in human form, Blood assesses the devastation, knowing that they’ve not seen
the last of the sorceress.
It
is clear by end of this issue that the series is already beginning to find its
footing. Many of the characters and concepts introduced in the first issue make
more sense here, and the story is better structured. Kirby’s art is, of course,
fantastic and provides the reader with an almost palpable sense of wonder not
seen since Marvel’s “monster” comics of the late 1950s. It is remarkable just
how much he packs into a single issue, into each page. His creative energy, at
this point, seems inexhaustible. The dialogue, his frequent weakness, is even
effective. Two issues in, we’ve already gotten to the “meat” of the comic.
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