Planets For Planes

I alluded to this yesterday, but I thought I should expand on why I have a bit of trouble with the "Planes as Planets" idea. First, I should say, I think this is fine for a certain sort of "magic is misunderstood science" pulp settings, and it would work wonderfully with a conception of planet something like the ancient idea of the crystal spheres because then the planets basically are planes. (GURPS Cabal by Kenneth Hite sort of takes this approach.)

True, the planes as typically presented are a bit abstract, and any many cases it might not be immediately apparent what adventurers should do with them. On the other hand, "planes as planets" runs the risk of too much mudanity. In a magical setting, I feel like the environments need to be sufficiently strange (and challenging!) to explain why you just don't have them exist on the main setting world (or beneath it).

I think science fiction might offer some suggestions. This can get tough, because adventurers don't usually go around equipped with the sort of gear space explorers have to deal with hostile environments (though it certainly could be available to them). This means sticking a bit more to pulpier sci-fi with more human-friendly environments for inspiration.

Here are two examples from the work of Stanley Weinbaum I think would work:

Weinbaum's Uranus from "Planet of Doubt" is permanently shrouded in green-gray mists (visibility only out to a few feet) and heated not by the too-distant sun, but by volcanism. There are strange, swirling beings (or what appear to be beings) of solidified mists with "the faces of gargoyles or devils, leering, grimacing, grinning in lunatic mirth or seeming to weep in mockery of sorrow. One couldn't see them clearly enough for anything but fleeting impressions—so vague and instantaneous that they had the qualities of an illusion or dream."

Those apparitions are not what they seem, but I won't spoil it for you--and of course, it doesn't really matter to your setting what Weinbaum did with them, anyway.

Then there are giant, tubular beasts resembling a larger, stranger version of the processionary caterpillars of Eath--or when they are forming a "train," Jason Sholtis's googlopede. They are a hazard that can't be defeated by brute force (probably, though multiple fireballs cure a lot of problems!), but rather have to be overcome strategically.

All you need is the addition of some treasure player's might want, and Weinbaum's Uranus is ready to be explored.

Weinbaum's Venus from "Parasite Planet" is even more interesting, though its shear hostility may make it less suitable. It's tidally locked, with a desert hot side and a frigid cold side, and a strip of more hospitable (relatively) twilight zone. That zone is a mostly jungle, hotter than anything on Earth, plagued by mud eruptions that make encampment tricky. It's teeming with life of an unsavory, but gameable, sort:

A thousand different species, but all the same in one respect; each of them was all appetite. In common with most Venusian beings, they had a multiplicity of both legs and mouths; in fact some of them were little more than blobs of skin split into dozens of hungry mouths, and crawling on a hundred spidery legs. 

All life on Venus is more or less parasitic. Even the plants that draw their nourishment directly from soil and air have also the ability to absorb and digest—and, often enough, to trap—animal food. So fierce is the competition on that humid strip of land between the fire and the ice that one who has never seen it must fail even to imagine it.

If that's not enough, the air cannot be safely breathed, except right after a rain, due to the risk of inhaling mold spores that will sprout in the lungs. Food or water left exposed for even a short period of time begins to growth fuzz.

Terrans brave Venus because of its bounty plant-derived substances for pharmaceuticals, predominantly an anti-aging drug. Similar "potion ingredients" might tempt adventures. Venus also as a very D&Dish creature:

...the doughpot is a nauseous creature. It's a mass of white, dough-like protoplasm, ranging in size from a single cell to perhaps twenty tons of mushy filth. It has no fixed form; in fact, it's merely a mass of de Proust cells—in effect, a disembodied, crawling, hungry cancer. 

It has no organization and no intelligence, nor even any instinct save hunger. It moves in whatever direction food touches its surfaces; when it touches two edible substances, it quietly divides, with the larger portion invariably attacking the greater supply. 

It's invulnerable to bullets; nothing less than the terrific blast of a flame-pistol will kill it, and then only if the blast destroys every individual cell. It travels over the ground absorbing everything, leaving bare black soil where the ubiquitous molds spring up at once—a noisome, nightmarish creature.

Again, something that brute force might not be the best way of countering.

Those are just a couple of examples. Weinbaum's fiction is in the public domain at least in some countries, so visit the internet and read more about them.

The Weird Solar System of "Life on Other Worlds"

"Life on Other Worlds" was a feature that appeared periodically in Planet Comics in the 1940s. Most were drawn by Murphy Anderson, but the writer is unknown. I am not completely sold on the sometimes promulgated "Planes as Planets" idea in regard to D&D's Outer Planes, chiefly because I think it sometimes sells planes and planets a bit short on weirdness, for some reason. Reading some of these "Life on Other Worlds" segments and thinking about them as planes as caused me to rethink that position.

Take Saturn, for instance:

Mercury is more conventional, but still:

Encounters In A Martian Bar Before the Gunfight Started

Art by Jeff Call

01 A jovial human trader eager to unload a large, glowing jar containing squirming creatures he claims are Mercurian dayside salamanders.

02 A shaggy, spider-eyed Europan smuggler waits nervously for her contact.

03 Four pygmy-like “mushroom men," fungoid sophonts from the caverns of Vesta. They are deep in their reproductive cycle and close proximity gives a 10% chance per minute of exposure inhaling their spores.

04 A Venusian reptoid lowlander with jaundiced eyes from chronic hssoska abuse and an itchy trigger-claw.

05 Two scarred, old spacers in shabby flight suits.  They're of human stock mutated by exposure to unshielded, outlawed rocket drives.

07 A cloud of shimmering lights, strangely ignored by most patrons, dances around twin pale, green-skinned chaunteuses. It's  actually an energy being from the Transneptunian Beyond.

08 An aging, alcoholic former televideo star (and low level Imperial spy) with 1-2 hangers-ons.

09 A Venusian Wooly who just lost a Martian chess game to a young farm-hand who doesn't know any better.

10 A Martian Dune Walker shaman on his way to a ritual at a nearby Old Martian ruin, with a bag of 2d6 hallucinogenic, dried erg-beetles. He dreams of driving all off-worlders from Mars.

Dungeons of High Camp Revisited

Art by Jim Holloway

This is an update to a post from 2017, originally conceived as I was reading Hero A Go-Go by Michael Eury. That book chronicles superhero comics' response (and influence on) 1960s camp pop culture. It's a combination that didn't always work well; many of the works now seem more goofy kitsch perhaps, and some are really just unfunny parody of superheroes. Still, when it works there is a certain charm to a lot of folks, as the revival comics Batman '66 and Wonder Woman '77 indicate.

I wonder why there hasn't been as much of a concerted attempt at published camp works for Dungeons & Dragons? Certainly, farcical humor abounds at the gaming table, and a number of comedic adventures have been written (a lot illustrated by Jim Holloway), in fact a couple of my Hydra colleagues have been taken to task for humorous elements in their work. There are, of course, humorous illustrations in the older AD&D books. But as far as I know, there has never been a camp setting or camp-informed setting--unless maybe HackMaster counts? Maybe it's just too difficult an approach to sustain well throughout a written project?

I should back up a bit here and define what I mean by "camp," since it's not a term with a universal, clear definition. What I mean in this case, is not the farce or cheese, but a sort of knowing amusement. An "engaged irony." As Isherwood would have it: "you’re not making fun of it; you’re making fun out of it." The "it" in our case being elfgames.

The settings of some OSR-related folks seem to me to have elements of camp without going all-in: Jason Sholtis' Operation Unfathomable, Chris Kutalik's Hill Cantons, some of Jeff Reints stuff, and my own Mortzengersturm. Dungeon Crawl Classics with its "airbrushed wizard van" elements could be taken as camp, but I'm unsure whether that is the intention.

Art by Jim Holloway

Armchair Planet Who's Who

I haven't posted an update on this in a while. The project is still on-going, it's just been moving slower of late due to real life stuff for both myself and my collaborator. Here's another piece of art for it, though: another look at Futura by Julian Shaw.

Wednesday Comics: Some Things I Read

Moving as left me no time for reading Storm, so his adventures will have to wait a little longer. Instead, here's the rundown on some stuff I read recently:

Spider-Man: Life Story 1: The 60s
Chip Zdarsky and Mark Bagley begin the story of Peter Parker's life as Spider-Man, if it hadn't been untethered from the era in which it was written and proceeded in real time. As readers of my Omiverse essays have likely guessed, this is the sort of thing I like. The first issue didn't wow me, but it was competent, and I'm on board. There are hints that it may develop into a fairly different Marvel Universe along the lines of the differences to the DC universe seen in the similar DC New Frontiers or maybe even as variant as Batman & Superman: Generations. We'll see.

Peter Cannon: Thunderbolt #2
I mentioned issue #1 of this here. I admit after the clever first issue, I expected issue #2 would start getting down to brass-tacks superheroics of dealing with the "evil" (we assume) Not-Ozymandias-But-Peter-Cannon of the alternate Earth, but nope, Gillen chooses to go full Morrison, with characters entering (and breaking) the nine panel grid like it was  a magic circle. I want to say it was a bit too clever for its own good, but maybe its because I was expecting it to do what it did. Regardless, they have on board for next issue.

Just Another Omniverse Monday

Gameroom in Progress.

I spent most of my weekend packing books and assembling a new gaming table, so all I've got for you today is two new previously only available on Google Plus Omniverse posts.

These delve into the lesser known periods: the secret vigilante past of the future Commissioner Gordon of Gotham and the heroes who combated the monster surge of the 1950s, the Monster Hunters.

Maps of Inner Space

I posted these maps/diagrams from Marvel's Micronauts before, but it has been a few years. They're always good for a gander...

Here's the Homeworld of the Micronauts:

And here's the insides of their ship, Endeavor.

Weird Revisited: Celluloid Rocketship

This post was originally from 2013. It doesn't related to any of my recent Solar System speculations, pulpy or otherwise, though of course it could. He bared repeating for Lester B. Portly's animated title...

By the mid-thirties, the major film studios were all exploiting the public’s interest in the exotic worlds of the solar system. Of all the one-reel travelogue series produced, perhaps none was more popular than The Rocketship of Movietone, debuted in 1931.

Several of the earliest films dealt with Venus. “Giants of the Jungle” focused on the exotic and dangerous Venusian saurians. In early 1932, “Lost Cities of Venus” used footage from the Markheim survey expedition's dangerous foray into one of the ruins of the ancients.

Of course, Mars figures prominently in the early subjects. The low canal markets and bazaars were featured. Another dealt with the desert tribes--though the tragic fate of the expedition that provided the footage was wisely kept from the movie-going public.

While the initial run of films dealt predominantly with the inner worlds and their satellites, one was made from footage shot by one of the earliest commercial missions to Ganymede. While the footage is limited (still photos had to be used at times) and of lower quality than what was coming from film crews on Mars or Venus, it did give the public their first view of the eerie necropolises of that cold and distant moon.

More than one spaceman of the fifties and sixties sited these early Rocketship of Movietone films as an important influence on their lives.

Wednesday Comics: Classic Star Wars: Devilworlds #1-2

If you ever wondered what an Alan Moore Star Wars story would be like, this two issue limited series from Dark Horse (and released in digital format by the current licenseholders, Marvel) will be enlightening. Devilworlds reprints stories from various Marvel UK titles from 1982.  Besides Alan Moore, it features work by the likes of Steve Moore, Steve Parkhouse and Alan Davis.

The stories don't quite feel like Star Wars--or at least, don't feel like Star Wars of 2018 or even 1999. How they would have read in 1982, when there were only two films and a Christmas Special, who can say? Today, they feel much more like stories from 2000AD archives or Doctor Who Magazine, which isn't surprising given the writers did work for those titles.

Allow me a couple of spoilers to illustrate. In "Rust Never Sleeps" Artoo and Threepio end up on the Imperial junk planet of Ronyards, and encounter a droid cult that worships a scrap god. In "Tilotny Throws a Shape" (with art by John Stokes) Princess Leia and a group of pursuing Stormtroopers have a strange encounter with group of extradimensional or spirit beings (they would be a good portrayal of the Fair Folk in Exalted) who have vague grasp of the concepts of matter and time.

If this sounds like the sort of off-kilter Star Wars you can tolerate, then you'll be glad to know the issues are a mere 1.99 each on Comixology.

Days of Azurth Future Past

art by Jason Sholtis

Deposited in the future by the whim of the wizard, Phosporo, the party in our 5e Land of Azurth game, found Rivertown in ruins and Castle Machina again mobile and stalking the land. What's more the Toad Temple--the Frog Temple in this time-- could be seen in the distance and was painted a brownish orange and had a decidedly friendly cast about it.

It was all very strange, but the party had a job to do. They went searching for the ruins of the Dove Inn to find their Armoire of Holding and the Book of Doors contained therein to get Phosphoro off their back. On their way there, they encountered a sleeping young man in strange clothes. He wasn't sure if Azurth was real, or even if he was real. There seemed to be some gaps in his memory. He knew he was a member of something called "the Golden Dawn" and that his name was "Roderick Drue." He remembered an old man had sent him here--or maybe it was the opium he had smoked. He recalled a place he had been, called the World Exposition.

The party didn't know what to make of any of this, but they allowed him to accompany them. They arrived at the ruin of the Dove Inn to find their armoire likely buried in rubble. (The presence of something was confirmed by detect magic.) Before they could begin searching, there were gibbering voices and something protoplasmic rose from the debris and coalesced into a spheroid in front of them.

Its eldritch gibbering paralyzed the group for some time. Its many mouths bit them, and its eyes blasted them with baleful magic. In the end, they drove it back with Dissonant Whispers and wore it down, until it collapsed into goo. Exhausted, but only mildly harmed (except Erekose who took the brunt of its assault), they began digging into the rubble.

More voices. These belonging to a group of little people who claimed to be from another world. They had taken up residence in the very spacious interior of the armoire. They agreed to turn over the book in exchange for getting to keep everything else. They also related that war had destroyed Rivertown. They suggested the party could find shelter with the benevolent religionists of the Frog Temple.

The party was nervous about doing so, but ultimately did. The rustic beast folk welcomed them warmly. Their frogling leader revealed that they venerate a frogling of the past--Waylon! They also revealed that the war had ultimately been a civil war between the Wizard of Azurth and the Clockwork Princess. They reported the forests were now the domain of a fierce elf called the Dread Queen of House Perilous. The party is sure that this is their own Shade.

Intrigued and troubled by all this, the part stays the night in the temple to consider what to do next!

Through A Superhero Lens

One of the charming (to me) things about Silver Age/Bronze Age comics is that often series with settings and elements of other genres have a superhero veneer. Either the creators though that was what the audience wanted, or that's just the vernacular they were used to expressing themselves in. Define "superhero" elements, you ask? Well, things like code names, secret identities, costumes, costumed villains with themes or motifs, and of course, super-powers. Not all of these are present in every case, of course, and some of the elements were part of the pulp or adventure hero tradition prior to superheroes. By the 60s, though, superheroes were the most conspicuous purveyors of those tropes.

This doesn't just show up in comics. Hanna-Barbera's Mighty Mightor (1967) is just the Captain Marvel (or Shazam for you kids) of the Stone Age. The late 50s and 60s seems to have been the biggest era for this since we got Super-Chief, the Legion of Super-Heroes, and Captain Comet during this era, as well as the cartoon characters Space Ghost and Mightor.

By the 70s and 80s, either writers were getting more sophisticated to their approach to other genres or they thought there audience wanted something different. Still, I would argue that some of the fantasy characters of the era (Warlord, Atlas, and Stalker, perhaps?) have traces of this, as do space operas like the Micronauts, and modern/military action like G.I. Joe. Certainly, Masters of the Universe is other-genre supers in spades.

This genre-bending seems to have been mostly ignored in superhero rpgs. There are a few Legion of Super-Hero-esque science fiction supplements, and there are short, sidebar discussions of other genres in places. Warriors & Warlocks for Mutants & Masterminds touches on this for fantasy. Given the number of superhero games and the popularity of other genres in rpgs like fantasy and science fiction or even Westerns, there have been very few.

Maps of Eternia

Check out a couple of the maps put out as posters with the Masters of the Universe Classic line. Plenty of good adventure fodder to be had!

Here's Preternia (get it?):

And for your sci-fi or space opera needs, here's the "Extent of the Horde Empire":

Random Mercury

Mercury is the least defined of the inner planets in pulp and early sci-fi. Beyond it being tidally locked  (which we've since learned it actually isn't), Mercury had no fixed characteristics, other than being generally more inhospitable than the other planets I've already dealt with: wet Venus or desert Mars. A lot of stories use Mercury for "Man Against Nature" stories, either for survivors of some sort of disaster or rescuers of survivors. But hey, when you've got your own Mercury, you can do what you want with it!Let's randomize:

Problems with Getting There?
1 None
2 Solar Storms (heat, radiation)
3 Magnetic Anomalies

Where’s the Action for Earth Folk?
1 Day Side
2 Twilight Belt
3 Night Side
4 The whole planet

Day Side Life?
1 None
2 Silicon-based lifeforms
3 Insect/Arthopods
4 Energy/Plasma beings
5 Whoever they are, they live underground
6 Alien robots/cyborgs

Earthlings on Day Side?
1-2 Not if they can help it. It’s got lethal heat and radiation with special gear.
3-4 Crazy prospectors in protective domes
5-6 Maverick archeologists after ancient artifacts
7-8 Fearless scientists studying the Sun (or Vulcan!)
9-10 Just robots

The Twilight Belt Terrain:
1 Badlands
2 Mountains, canyons and a cave network
3 Weird, crystalline forest
4 Torrid jungle, wracked by storms

Twilight Belt Life?
1 Hairy humanoid primitives
2 reptilian monsters
3 Plant-like
4 the same sort of beings as Day Side

Earthlings in the Twilight Belt?
1 Criminals hiding out
2 A small, struggling colony
3 Castaways
4 A scientific expedition

Night Side Terrain:
1 Cold, rocky desert
2 Odd crystal formations
3 Ruined Cities (and roll again)
4 Ice

Night Side Life?
1 None
2 Crystalline beings with telepathy
3 Incorporeal ergovores
4 Androids left by ancient inhabitants
5 Viscous, slime-like colonial intelligence
6 Creatures strangely resembling supernatural terrors of Earth legend

Earthlings on the Night Side?
1-2 Not if they can help it. It’s cold, dark, and unexplored.
3-4 Wanted men
5-6 Maverick archaeologists after ancient artifacts
7-8 Survivors from a long-lost rocket crash
9-10 Exploratory robots

Wednesday Comics: Attack of the Clones Revisited

There's been a lot of Star Wars talk over on my discord channel, so I thought it was a good time to revisit an old post about Star Wars' effect on comic books, even in its first decade. It's perhaps unfair to call the series below clones exactly, but some sort of force is clearly with them.

Since science fiction comics and Star Wars draw on some of the same influences, it's not always easy to know what is Star Wars inspired and what isn't. Chaykin's Ironwolf had a rebel fighting a galactic empire in '74--3 years before Star Wars! Still, if one looks at Chaykin's follow-up, Cody Starbuck,(also '74) the pre-Star Wars appearances have the look of Flash Gordon and the widespread swordplay of Dune. In the post-Star Wars appearances, costumes have a bit more Japanese influence and guns are more in play; both of these are possibly Star Wars inspired innovations.

Star Hunters (1977)
Empire? A sinister Corporation that controls Earth
Rebels? Sort of, though the protagonists start out forced to work for the Corporation
The Force? There's an "Entity" and a cosmic battle between good and evil
Analogs? Donovan Flint, the primary protagonist, is a Han Solo type with a mustache prefiguring Lando's.
Notes: If Star Hunters is indeed Star Wars inspired, its a very early example. The series hit the stands in June of 1977--on a few days over a month after Star Wars was released.

Micronauts (1979)
Empire? A usurpation of the monarchy of Homeworld. So, maybe a lateral move, except for EVIL!
Rebels? Actually previous rulers and loyalists; a mix of humans, humanoids, and robots.
The Force? The Enigma Force, in fact.
Analogs? Baron Karza is a black armored villain like Vader; Marionette is a can-do Princess; Biotron and Microtron are a humanoid robot and a squatter, less humanoid pairing like Threepio and Artoo.

Metamorphosis Odyssey (1980)
Empire? The Zygoteans, who have concurred most of the galaxy.
Rebels? A disparate band from various worlds out to end the Zygotean menace.
The Force? There's Starlin cosmicness.
Analogs? Aknaton is an old mystic who know's he's going to die a la Obi-Wan. He picks up Dreadstar on a backwater planet and gets him an energy sword.

Dreadstar (1982)
Empire? Two: the Monarchy and the Instrumentality.
Rebels? Yep. A band of humans and aliens out to defeat the Monarchy and the Instrumentality.
The Force? Magic and psychic abilities.
Analogs? Dreadstar still has than energy sword; Oedi is a farm boy (cat) like Luke; Syzygy is a mystic mentor like Kenobi; Lord High Papal is like Vader and Palpatine in one.
Notes: Dreadstar is a continuation of the story from Metamorphosis Odyssey.

Atari Force (1984)
Empire? Nope.
Rebels? Not especially.
The Force? Some characters have special powers.
Analogs? Tempest is a blond kid with a special power and a difficult relationship with his father sort of like Luke. There are a lot of aliens in the series, so there's a "cantina scene" vibe; Blackjak is a Han Solo-esque rogue. Dark Destroyer is likely Vader-inspired, appearance-wise.
Notes: This series sequel to the original series DC did for Atari, taking place about 25 years later. The first series is not Star Wars-y.

Random Mars

Mars shows less variation that Venus in pulp and old sci-fi sources. Still, not all Marses are alike, so you deserve your own unique yet very derivative one! Let the randomizing commence:

Basic Theme:
1-2 Dying - The world is desiccating and civilization is trying to stop it/adapt to it. 
3-4 Worn Out - It lost the planet formation lottery and is a dried up, "failed earth." Civilization is of any sort
5-6 Doomed - The world is drying up, and civilization is too decadent to care.

Atmospheric Density:
1-2 Complete breathable
3-4 Anyone not from the Andes or Himalayas will need to acclimate
5-6 Earth folk need oxygen

Temperature:
1-2 Like Southern California
3-4 Gobi Desert Spring in the day, Gobi Desert winter at night
4-5 Artic Circle

Water?
1-2 Poles and canals only
3-4 Nothing above ground, no canals
5-6 Some shallow seasonal wetlands where once were mighty seas

Dying World Civilization:
1 Wise and Noble but tinged with Melancholy
2 Overly Cerebral
3 Passionate and Vibrant but Tradition-bound and/or Factionalized
4 Post-technological
5 Post-sophont
6 Only the Robots are Left

Decadent Civilization:
1 Atavistic; Fallen into Primitivism
2 Withered bodies, minds consumed with the distant and abstract
3 Devoted entirely to bloodsports and other dubious pleasures
4 Consumed by meaningless sectarian struggle
5 Enslaved by something
6 Destroyed by war, with few mutated survivors

What do Earthmen Want?
1 More room
2 Drug Tourism
3 Ancient Technology
4 Powers of the Mind
etc.

Random Venus

Modern science tells us Venus is a hellscape resulting from runaway greenhouse effect, but that was not always the way we imagined it to be. Early sci-fi and pulp sci-fi Venus was general assumed to be verdant under its eternal cloud cover. Sure, even before space probes spoiled all the fun, Venus had already been conceived of as a harsh desert wracked by storm (see Anderson's "Big Rain"), but mostly it's drippy jungles.

That still leaves a lot of variation. Here are some random charts to make your own pulp Venus or similar worlds:

Basic Terrain:
1-2 Oceanic
3-4 Desert
5-6 Jungle
7-8 Swampy/Low-lying
9-10 Tidally Locked (as seen in Weinbaum's "Parasite Planet."  Dayside is a desert and nightside is frozen. Action's in the Terminator)

Basic Theme (probably applies to anything but desert, but up to you)
1 Eden - Almost too pleasant and inviting
2 Primeval - Like Earth in an earlier age, perhaps the Mesozoic or Triassic?
3 Hostile - Too hot, too wet, too fecund, too alien. Humankind finds it tough. Roll below.
4 Hell - Like hostile turned up all the way. Roll Below.

Why So Inhospitable?
1 Endless Rain (Bradbury, "Death-By-Rain")
2 Parasitic Life
3 Horrible Storms
4 Giant Monsters
5 Everything Wants to Eat You
6 The Natives Have a Horrible Secret

Dominant Lifeform
1 Reptilian* (includes Dinosaurs in the pulp era)
2 Amphibian
3 Plant/Fungal
4 Icthyoid
5 Humanoid
6 Hyper-evolved - brain things/energy creatures

One Notable Thing
1 Gaseous Sea
2 Alluring Slave Girls/Guys
3 Rare Element
4 Mysterious Artifact
5 Giant Trees
6 Ancient Ruins
add your own!

More Omniverse

source

Two new (old) Omniverse posts from Google+ were released today. Give her movie opening this weekend, Captain Marvel (or Ms. Marvel) gets her due in "This Woman, This Warrior," and just out of February, I examine the birthdays of both Superman and the original Captain Marvel in "Leap Day."

Wednesday Comics: Things I Read Recently

Classic Star Wars
From 1981-84, the Star Wars newspaper comic strip was written by Archie Goodwin and drawn by Al Williamson. I am a big fan of Williamson particularly with sci-fi, and these stories, while hardly standouts, are serviceable, and will make you nostalgic for the days before Star Wars became a genre unto itself with an immense backstory.

Peter Cannon: Thunderbolt #1
You know, of course, that Alan Moore had at one point pitched the idea of that would become Watchmen using the characters DC had acquire from Charlton Comics. One of those was Peter Cannon aka Thunderbolt, who was the initial inspiration for Ozymandias. Morrison used the Charlton characters in a way that referenced Watchmen in Multiversity, by DC had lost the rights to Peter Cannon by that time.  Enter Dynamite and Kieron Gillen, who (mild spoilers) pits one version of Peter Cannon against another, with the fate of the world at stake.

Martian Manhunter #3
I keep telling you this is good.

The Off-Worlder Funnel

The person from another world arriving in fantasyland is a genre staple. Typically, these off-worlders, whether they be John Carter on Mars or the kids from the Dungeons & Dragons cartoon, have some sort of edge that gives them a fighting chance or better in their new environment. But what if that wasn't the case? What if they were as unprepared as the survivors in zombie apocalypse fiction?

The death rate would be pretty high, particularly if you drop them in a typical D&D world and allow for the almost absurd horrors of the dungeoncrawl. It would be an interesting way to do a DCC-esque funnel with starting characters other than the usual suspects.

Here's another image of regular folks dying tragicomic deaths from "Planet of the Damned" in Starlord #2 (1978).

The Martian Froniter

A Martian farmhand

To many a colonist of Mars, it might seem that if there is a bright center of Solar civilization in the days of the Empire, the deserts of Mars are far from. Sodbusters and homesteaders came in with the promise of free land, but the arid land and rarefied air don't make it easy.

Strange monuments, pyramids, and the occasional ruin reveal the existence of a Martian civilization of the past, when it was perhaps a greener world. Historians are divided over whether any of the current inhabitants are related to these ancient people. The gangly limbed, barrel-chested Sand People of the deep desert that raid Earther settlements, show no cultural interest in the old places and are as ignorant of the ancient hieroglyphs as they would be the mating habits of a Venusian dracosaur. The rodentine scrappers with their crawling junkyards seem no better adapted to the Martian environment that humans.

The Amos Isley Spaceport (named for one of the early rocket barons of the Red Planet) is as raucous as most of the other farm town settlements are quiet. Many a being with a price on its head ends up hiding out here, and in fact, interplanetary criminal gangs are known to have hideouts in the Martian wastes.

Solar Trek: The Amok Trigger

These are the voyages of the exploratory vehicle, Enterprise...

In 2262, Dr. Leonard McCoy discovered the continuation of outlawed genetic practices among certain prominent families of Mars. This was revealed when Enterprise's first officer, Commander Spock began experiencing drastic mood swings and neurologic pain. Neurochemical triggers made Spock seek to return to Mars, regardless of his orders to the contrary.

The cause of his condition was an engineered gene sequence, created in the 21st Century by Martian geneticists for the purpose of making arranged marriages among their people compulsory and binding. The small, modified human population of Mars practiced arranged marriage for purposes of genetic diversity and promotion of genes critical for survival in the partially terraformed Martian environment to come over the next century. An unidentified family member of Spock's betrothed had introduced the genetic sequence through use of a viral vector when Spock was in his teens. The reasons are unclear, but may have had to do with Spock's father's diplomatic position.

T'Pring, Spock's betrothed, was absolved of any wrongdoing in regard to the genetic manipulation, but she did instigate a trial by combat that could have resulted in the deaths of one or more Space Fleet officers in order to be free of her obligation to Spock.

Dr. McCoy was able to repair the genetic damage to Commander Spock. His efforts led to a greater understanding of historic Martian gene-engineering techniques.