Going Beyond the Wall

 

A couple of weeks ago, my 5e gaming group agreed to give Beyond the Wall a try as a bit of a change of pace. While the setting is only defined in the broadest of strokes to give room to decide some things in play, it's the same setting as in the triads I presented here.

There was a bit of a learning curve. A couple of the players had either only ever played 5e or either hadn't played older D&D in a long time, and both rely on a virtual tabletop for running their characters, so had to discover or rediscover some terminology and how things fit together. That's a wrinkle that's worth considering when introducing players to a new game coming from 5e/Pathfinder: The new game may be less complicated in an absolute sense, but if they can't lean on a VTT, that might not help in getting the game up and running.

Anyway, once we got into the group character creation and associated village (and environs) creation everybody got into the spirit and enjoyed it. One player remarked it was the most fun that she had had in character creation. I gave them their pick of the playbacks in the original book and several supplements. In retrospect, I might have limited them a bit more or modified them slightly if I had thought to do so, but it will work out, I'm sure.

I did not follow BTW's advice and rush to complete chargen and play an adventure in one setting. I know that's meant to be one of the primary points of the game, but it's an advantage not really needed with our group, and we had a player out, so no reason to leave him behind.

Ozoom Revisited

Scott Martin can be blamed for this post for pointing out the similarities between Oz and Edgar Rice Burroughs fandom....

Mars is dying and has been for millennia. The only truly fertile land left is the squarish Land of Oz, surrounded on all side by deadly desert.

Oz has four countries, each home to a different race of men. The east is the home of the Blue Men, short in stature and friendly. It was once under the tyrannical rule of an ancient crone, but she was felled by a little girl from Earth. In the South is the Country of the Red Men, ruled by a benevolent queen. In the west are the Yellow Men, who are renowned for their technological skill. They are ruled by a metal man. The northern country is the land of the Purple Men. They've been ruled by a succession of queens, each with a mastery of the powers of the mind.

In the center of Oz is the Emerald City-State, and it's lofty spires and magnificent domes are made entirely of crystal. Their true color is in a part of the spectrum neither human nor Martian eyes can perceive, but the city's people wear optics which convert the color to green. It was formerly ruled by a man of Earth, a charlatan and huckster, but the rightful queen has been restored, after having spent her youth in exile, disguised as a boy.

Young Dorothy Gale was transported to Mars by a strange storm that tossed her, along with her dog and her home across the astral void. She killed a witch, exposed a charlatan, and helped restore the rightful ruler of Oz. She didn't do it alone. She was aided by a Lion Man, exiled for his supposed cowardice, an artificial man without the ancient brain that formerly guided him, and a Yellow Man whose mind was had been placed in a metal body. The companions took the Golden Road that followed the ancient canals that terminated in the great Emerald City, then undertook a quest to depose the witch that ruled the Yellow Men and who forced them to use their knowledge to build her an army of conquest.

This was only the first on many trips Dorothy Gale made to Mars. That young farm girl became a dying world's greatest hero.

The original version of this post appeared in 2018.

Wednesday Comics: DC, October 1984 (week 2)

I'm reading DC Comics' output from January 1980 (cover date) to Crisis! This week, I read the comics released the week of July 12, 1984. 

Superman #400: I remember seeing this issue on the stands and thumbing through it, impressed by all the artists gathered, but not being much interested in Superman at the time, I didn't buy it. Reading it for the first time 41 years later, I think it's a better anniversary issue and commemoration of the character than Batman #400, which I did pick up. 

Maggin's sprawling story examines the meaning of Superman people of Earth across future times. In 2199 (rendered by Al Williamson) on U.S. lunar colony, an elderly snake oil salesman and his son weave a tale of an encounter with the now-legendary Superman to move their elixir. In 2230, in a segment with art by Miller, researchers announce discovery of 1950s media from an alternate earth that reveals the secret ID of Superman was Clark Kent, but commentors dismiss their findings in favor of the more popular theories regarding Morgan Edge or Bruce Wayne. In the most resonant segment (with art by Marshall Rogers), the U.S. ruled by a tyrannical oligarchy, until a homeless man seeking shelter in the forbidden Metropolis library discovers Superman's costume and puts it on. He is quickly killed by security forces who figure out the suit is impervious, but the man isn't, but his actions inspire the gathered crowd to resist, triggering a rebellion and, eventually, a Second American Revolution.

In a segment with art by Wendy Pini, historians debate the reality and nature of the Superperson whose costume is now a historical relic. Then, Kaluta draws the virtually reality adventures of two young boys who create their own Superman for play. In 5902 (as drawn by Janson), the real, time-lost Superman shares dinner with a family on Miracle Monday, the holiday established to commemorate him--though only one of them knows who he is. To end the issue, Steranko writes and draws an Olaf Stapledon-esque sweep of the even farther futuristic eras, making the last remnant of humanity escaping a dying universe also the descendants of Superman.

Interspersed are pinups by various artists. I don't any of them are real standouts, but it's an eclectic array of artists. I think this would be a good issue for a facsimile edition.

Arak Annual #1: The Thomases, and I believe, all the artists that have worked on the series thus far complete Arak's quest to request his friends from the Lord of Serpents. Satyricus and Arak trek across the desert and are ensnared by illusions: Arak of his Quontaukan village, and Satyricus of the Underworld and his friend Chiron. Only Arak's will and the use of Gabriel's sword is able to save them. They finally reach the lair of the Serpent Lord, and as he promised, Arak hands over the sword in exchange for Alsind and Sharizad. When a minion of the Lord of Serpents tries to claim the sword, it explodes with radiance and power. Arak shields his friends with his shamanic power, and the Lord of Serpents survives but his minions are destroyed. The Serpent Lord battles Arak one on one, and Arak wins. The sword then returns to Heaven, and Arak makes his escape with his friends. However, the Lord of Serpents, though wounded, also gets away.

Batman #376: Moench and Newton/Alcala introduce "Nightmare, Inc." a "scare for hire" operation new to Gotham that may be tied to robberies at the same locations, if Bruce's suspicions are correct. Turns out the leader of the group, Sturges Hellstrom, has a criminal record as well as a history in horror film special effects. Bruce hires Nightmare, Inc. for a party at Wayne Manor to lay a trap. Batman later goes to the group's hideout and tangles with Hellstrom, who manages to pull out some special effects fakery (and then a flamethrower) to get the upper hand and escape.

Later, in a cave on the outskirts of Gotham, Hellstrom trumpets his successes, despite setbacks, to the woman he's trying to woo, the true mastermind of Nightmare, Inc.: Nocturna.

Flash #338: Bates and Infantino/McLaughlin have Flash escape the demon-related deathtrap the Pied Piper put him in and defeat his foe. The Piper (previously noting he was already under stress) has some sort of nervous breakdown, which the media suggests is organic in nature, related somehow to excessive speed the Flash exposed him to. The other Rogues Gallery members take this as absolute truth plan revenge on the Flash for the escalation in their games of breaking the Pied Piper. They give armor supplied by the Monitor (that guy's into everything!) to a mental patient, turning gentle giant Dufus into a powerful super-villain dubbed Big Sir and send him against the Scarlet Speedster.

G.I. Combat #270: In the Haunted Tank story, the crew is split up so that their superior skills can help increase the competency of other units, but Stuart's Raiders don't do so well when split up, then wind up getting back together anyway in a stolen German tank after a mission goes badly. The brass sees the error of their ways and puts the crew back together.

In the first of the nonrecurring stories, an American sub captain gives his "Last Command" telling his crew to shoot his own dead body out of a torpedo tube so they can trick and destroy a Japanese ship, Akibi. In the second by Kashdan and Patricio, a ne'er-do-well brother saves his sibling from capture and torture by the Germans, finally becoming the family hero. 

The final story is another Sgt. Bullett and the Bravos of Vietnam installment. Again, we get high body counts and racial slurs as the group grimly makes their way down river on a raft after a helicopter crash under almost constant Viet Cong assault. 

Jemm, Son of Saturn #2: Potter and Colan/Janson pack a lot into this one. Jemm and Luther try warm themselves by a trashcan fire but get hassled by some homeless people. After that brief brawl, one of the homeless folk, Crazy Freddie agrees to help them find a place to put Gramps body to rest. He takes them into the sewer, but they are pursued by a Saturnian robot (I think), and then Jemm must battle perhaps the last surviving White Saturnian who has the power to inhabit and control inanimate material. He defeats and apparently kills her, so Gramps can have his burial at sea in the sewer. Meanwhile, the government is concerned with aliens loose in New York after the death of the scientists, and turns to an old associate, the crime boss Claudius Tull for help locating them. As it turns out, Tull's goons have, of course, already met Jemm.

Omega Men #19: This goofy story just keeps getting weirder. The asteroid the Omega Men are on is heading toward Euphorix, so Kalista (not knowing her estranged love is there) launches an unmanned drone to destroy it. The Omega Men still trying to solve the weird mystery facing them, explore the giant Tigorr, but for some reason are put t sleep and dream some of their origin. When they wake up, the giant Tigorr forms pustules that grow new, regular-sized Tigorr clones. They take refuge in a cave and discover the Psion monitoring the experiment. Meanwhile, Lobo, answering their distress call, races the missile from Euphorix to the asteroid.

Tales of the Teen Titans #47: Wolfman and Perez/de Carlo reveal that Raven rescued the other Titans at the last minute. The team rallies and renews their assault on the H.I.V.E. base. H.I.V.E. is revealed to something of a mismanaged entity. Attacking the Titans to begin with was merely a miscalculated attempt to gain notoriety, which is the aim behind their current attempt to destroy Atlantis. In the end, the Titans prevail, and Atlantis is saved. The mistress of H.I.V.E. commits suicide to avoid capture and kills her inner circle. The Monitor, monitoring these events from elsewhere, is disappointed with the H.I.V.E. 

Meanwhile, things start to look up for Changeling as his high school sweetheart returns. However, he still secretly harbors his plans for vengeance against the Terminator.

Prophet of the Wyvern's Word

Though the deadline's are tight, I thought it would be fun to join the Appx. N Jam over on itch. The challenge is to create an adventure homaging the style of the pulpier fiction of the fantastic of Appendix N. Your given a title and you have to work with that to create your short adventure.

I got "Prophet of the Wyvern's Word," for which I think I'll take inspiration primarily from one of my favorite's: Leigh Brackett, as well of a lot of general pulp fiction ambience. It will be a challenge getting everything done in the time less than 25 days remaining, but since it has to be 4 pages of less, I figured it was worth a shot.

Above is my work on a banner. I based it on the hand drawn title text of the Ace Double of People of the Talisman from 1964.

Wednesday Comics: DC, October 1984 (week 1)

My mission: to read DC Comics' output from January 1980 (cover date) to Crisis. This week, I'm looking at the comics that were at newsstands on the week of July 5, 1984. 

Vigilante #11: Another great Andru cover. Vigilante's investigation leads him to the Controller and reveals his plot to take control of the various crime families. Vigilante infiltrates the Controllers mansion and faces an army of goons, robots, and deathtraps to finally reach the boss. He's nearly done in by lasers, but a well-placed throwing star wins the day, shorting the Controller's cybernetic support and leaving the villain immobile, in pain, and begging for death. In the end, Chase can't bring himself to kill J.J.'s killer, which (as several letters in the letter column point out) is a change from the Vigilante we were initially presented with. In fact, the letter column is interesting for both Wolfman's defense of the character and the arguments for and against "killer vigilante" methods. Oh, and Chase agrees in coda of this issue to take the judgeship.

Legion of Super-Heroes Annual #3: The title and numbering of this issue is a bit weird in that being been designated the third annual would mean that it belongs to LoSH volume 2, but volume 2 has already ended (being renamed Tales of...) and there's a new volume 3 concurrent--which will later get its own annuals.

Anyway, Saturn Girl is about to deliver her and Lightning Lad's child. Starfinger tries to mess things up by mind controlling Lightning Lad, but he's shut down instantly. The conflict this issue comes from goings on elsewhere, as a group of Legionnaires are looking for signs of Mordru on the other (than Orando) magic planet, Avalon as they think he might be behind the Legion of Super-Villains. But he isn't as Darkseid turned him to stone and stole his power, but now a crazy cabal of evil wizards are trying to resurrect him, and they kidnap Shadow Lass and Shadow Kid to do it. The spell causes darkness to spread across the galaxy, even to where Saturn Girl is giving birth.

The Legionnaires put an end to all this, and Saturn Girl's baby is born healthy, but in the epilogue, we get the point of all this. Saturn Girl and Lightning Lass actually had twins, but the other child was stolen in the darkness to be taken back in time to become Validus, thus fulfilling Darkseid's curse via a retcon. 

Atari Force #10: Conway and Garcia-Lopez/Baretto reveal the return of Blackjack back, and we learn how he was rescued from his apparent death by the Dark Destroyer and held captive on the Destroyer's ship. Speaking of the Destroyer he's busy completely some sort of super-weapon and gloating about how he's preparing for his final vengeance after feigning defeat.

Meanwhile, Christopher is still on New Earth, trying to stay one step ahead from the security forces while learning the backstory of the enmity between the Destroyer and the original Atari Force. He's rejected by his ex-girlfriend then betrayed by Dr. Orion who too late realizes Martin Champion is right about the Destroyer being back.

DC Comics Presents #74: Rozakis/Mishkin and Saviuk/Tanghal team-up Superman with the Hawks (Though only Hawkman gets cover billing. Hawkwoman's mentioned on the title page, though.) and deliver a follow-up to two other DCP stories: the team-up with Hawkwoman in issue 37 and with Atom in issue 51. An encounter with those pesky tech thieves the Orgons, leads to the recovery of Superman's time-lost grandfather Var-El. Unfortunately, also puts an Orgon on an attack Thanagar with the aim of stealing absorbacon tech. Superman and the Hawks try to stop him, but it's Var-El that secures victory with the ultimate sacrifice. The heroes will always remember his bravery, of course--until Crisis wipes him from existence.

Fury of Firestorm #28: Cavalieri is scripter here with the plot still from Conway. The 2000 Committee is still trying to capture Lorraine Reilly, so they call that shadowy guy in a satellite, the Monitor, who subcontracts them Slipknot, a rope-wielding villain, to distract Firestorm. This is actually a bit of a less asymmetric fight than you might think, and Slipknot's ropes are organic so Firestorm can't affect them. Still, once Firestorm is able to go on the offensive its over for Slipknot, and the Monitor is irritated at the expense.

Justice League of America #231: As promised in the previous issue, here are Busiek and Kupperberg/Buckler to tell us where the League's heavy hitters were during the Martian invasion. It turns out they were teaming up with the JSA dealing with (as the cover teases) an out-of-control Dad. Research scientist Joshua Champion has been missing but recently an image of him appeared to his two kids and his sister boasting of tremendous power and acting weird. The Champions go to the League for help in finding their real dad. They split up and go to likely meeting points but keep having to fight mythological or fictional creatures made real. In a city on an alien world, they find a building where the force inhabiting Joshua Champion is centered and where Champion himself is being held. They're blinded by a beam which sends them into fantasy where their fondest desires come true. Except for the blind Dr. Mid-Nite! He blacks out the beam and appears to free them. They find the unconscious Champion, and with Dr. Fate and Starman taking care of the city's inhabitants, the Champions transport everyone back to Earth--but everyone except Dr. Mid-Nite is now under the control of the brain that controls Dr. Champion.

New Teen Titans #2: Picking up where the last issue left off, the skies are black and full of storms, as the Titans ask for help from Lilith. She says they also need to get Wally West back given his (former) close relationship with Raven. Once everyone is assembled, she leads the group in a seance. They contact Raven, but she rejects their help, and then the Titans are transported to Azarath which is being destroyed. There's nothing they can do. Raven appears in New York in a demonically transformed state and heralds her father's coming. Titans Tower is transformed into stone, and a gigantic Trigon appears atop it.

Wonder Woman #320: Wonder Woman tows a nuclear sub off-course to give the captain time to reconsider the false order he was sent with nuclear launch codes. It's a distraction by Dr. Cyber, but for what? Meanwhile, Cyber's got Sofia Constantinos prisoner and she muses about implanting her brain in Sofia's unmarred body. Griggs and Diana break into Cyber's stronghold to prove Diana's innocence of the theft last issue, and they run into Steve Trevor and his gremlin buddy Glitch who have already infiltrated the place. Steve and Wonder Woman battle Cyber, who defeats them, teasing that she killed Trevor once before. Wonder Woman ends up entangled in wire that heat up as she struggles. Cyber gloats that soon Wonder Woman's body will be as scarred as Cyber's face.

In the Huntress backup by Cavalieri and Woch, Huntress is troubled by dreams about her mother's criminal side and she's having blackouts, so she asks that medical resident that has a crush on her if he knows any psychiatrist. He introduces her to one, and she immediately goes into therapy. As she's on the couch, starting to talk about her childhood, the therapist pulls a gun!

The Case for Planetary Romance

Richard Hescox

I feel like planetary romance (sometimes called Sword & Planet, though I think that might be better thought as a subgenre or sub-subgenre) is, I think, a genre well-suited for rpg exploitation, but despite this utility is oddly under-represented. Sure, a search for "sword & planet" or "planetary romance" on drivethru turns up a few pages of entries, but many of those are only sort of "planetary romance informed" (like Dark Sun) or really other genres (like Old Solar system space opera). 

Genre boundaries are admittedly, fuzzy things, so I suppose I should first define what I mean. Planetary romance is a genre about exploration of the biospheres, societies, and cultures of an alien world. Typically, the exploration of the world doesn't just entail the usual activities of naturalists or explorers, but additionally the uncovering of a mystery or mysteries. Planetary romance worlds are more than they appear. The protagonist of these stories is most often an outsider like the reader because that gives the author the greatest freedom into working details about the setting into the narrative. Since a singular world and its exploration is essential to the genre, world-hopping works may share stylistic similarities to planetary romance, but I don't think they belong in the genre--though one could have a planetary romance series where every installment was a different world. Works with a non-outsider protagonist might likewise be excluded*, otherwise some secondary world fantasies would be up for inclusion, though mostly I'd exclude those for their settings being too Earth-like. Lord Valentine's Castle, I'd say, one could call a Planetary Romance and has no outsider protagonist, but it has an amnesiac one, which serves the same purpose.

Sword & Planet, I think, is a subtype of planetary romance, where the planet being visited is (mostly) less technologically advanced (at least in surface ways), and the plots mostly involve action. That action typically resembles swashbuckling fantasy or Sword & Sorcery fiction. The exemplar and progenitor of this type is Burroughs' A Princess of Mars. Swords and sci-fi (like Star Wars or any pulp era space opera stories) have anachronist/inconsistent tech like Sword & Planet but lack the focus on a single world.

Anyway, definitions aside, why do I think it's a good genre for games, perhaps particularly those of an old schoolish bent? Well, the focus on exploration for one thing. Planetary romance easily fits a hexcrawl or pointcrawl model. Planetary romances like Vance's Tschai/Planet of Adventure series or the Alex Raymond years of the Flash Gordon comic strip involve covering a lot of ground and uncovering new things.

Panel from Flash Gordon comic strip by Dan Schkade

Secondly, while actual dungeons are perhaps few (the Cave World of Kira from Flash Gordon not withstanding), ruins to explore are quite common. A number of dead cities, for instance, turn up in Burroughs' John Carter series.

Third, there is an element at least close to picaresque in a lot of planetary romance. While the protagonists aren't typically rogues or anti-heroes, their adventures are episodic and involve navigating or outsmarting corrupt or stultified social systems. Money and food are concerns, depending on the story, and the protagonists often have to get menial sorts of jobs or get imprisoned for petty offenses. Don Lawrence's Storm, for example, is more than once forced into some sort of labor for basically not knowing local customs.

Don Lawrence

So, given what I've said, why isn't Planetary Romance more popular? Mainly, I think it's because there hasn't been a recent example that reached a wide audience. Burroughs' work seems old fashion (as the failure of the recent film perhaps shows) and newer examples (like Scavengers Reign) tend to position themselves more firmly in science fiction than as something that sort of mixes fantasy and sci-fi.

*There are certainly books in planetary romance series that have native protagonist (books in both Burroughs' Mars series and Akers' Kregen series come to mind), but these notably occur after several books with outsider protagonists to get things established, so I think my point still stands.

What it's Like to Travel The Stars

Presumably no one on Earth has yet experienced interplanetary space travel. When the creators of space travel-related media go to describe it or evoke the feeling of it for their audience they tend to analogize it in terms of some idiom of travel their audience is familiar with. The ways in which travelers interact with travel, the stylings of ships and controls, and the attitude of the world toward pilots--all of these things are typically informed more by the specific analogy employed that the speculative mechanics of the travel.

For example, the most pervasive of these is likely space travel as sea travel. This occurs at the level of language where we usually talk of "spaceships" instead of craft or vehicles and crew rankings/positions typically follow naval models. This analogy is evident in Star Trek in its naval organization and the conduct of its space battles, but also in the particular romanticization of both vessels, voyaging, and at times, captaincy. In Star Trek V, Kirk quotes the 1902 poem "Sea-Fever" by Masefield: "All I ask is a tall ship, and a star to steer by," and it's not at all out of place with the vibe.

Star Wars engages in the sea travel analogy, too. It and its imitators like Battlestar Galactica have capital ships acting as aircraft carriers. The Millenium Falcon is a tramp freighter with a captain supposedly inspired by Humphrey Bogart's screen persona (and perhaps his famous role as a tramp steamer captain in The African Queen (1951)). His adventures with Chewbacca prior to Star Wars probably look a lot like episodes of the radio series Voyage of the Scarlet Queen just translated from the South Seas to the Rim. Cowboy Bebop really hits you over the head with the tramp sea vessel analogy by having the Bebop land in water and being built from a sea-going vessel.

Star Wars likes to mix things up, though. It also employs the second most common analogy: space travel as air travel. Dogfights between fighters have moves out of World War II and hotshot pilots are almost as important to the narrative as they are in Top Gun. The cockpit controls of the Millennium Falcon, and the fact "she doesn't look like much" but "she's got it where it counts" could easily be the way a cargo pilot in some pulp adventure describes his aging sea plane, as in Tales of the Gold Monkey (or more accurately, the sort of fiction that inspired it) or the cargo planes in the early years of the Steve Canyon comic strip.

The third analogy that comes to mind is trucking. I define this as a focus on space travel as performed by rather unromanitic figures, blue collar-working stiffs, often solitary and with few amenities in their utilitarian-appearing vessels. It is not nearly as common as the other two, but it is specifically evoked in Alien and in Cowboy Bebop in the episode "Heavy Metal Queen." The farhaulers of the Transhuman Space setting also have some of this vibe. 

Are there other analogies? Probably. I think some media gestures toward spacecraft as automobile, often in a sort of plot where automobile itself is just the modern stand-in for the freedom of a "fast horse." Leigh Brackett has several protagonists on the run from the law in a fast, small ship like an outlaw escaping on horseback in a Western or a muscle car in a 70s car movie. Battle Beyond the Stars, the Star Wars-inspired space opera retread of the Magnificent Seven (and thus, Seven Samurai) has several of its "hired guns" traveling in solo spacecraft, and at least one is a cowboy. These are less convincing, though, because spacecraft tend to only analogize to cars or horses in media in limited ways. They always occur in "mixed metaphors."

And there are a lot of those of course, with Star Wars being the obvious example, as I said. Still, I find it interesting just how clear these analogies often are.