Wild Wild West Wednesday: The Night of the Skulls

This post appeared over at Flashback Universe a couple of weeks ago. Consider this a teaser and reminder that Jim and I are doing a Wild Wild West rewatch over there...

 

"The Night of the Skulls" 

Written by Robert C. Dennis and Earl Barret
Directed by Alan Crossland Jr.
Synopsis: West is a fugitive after appearing to shoot and kill Artie. It's a ruse, they leads him to a secret organization, rescuing fugitive criminals for a sinister purpose.

Jim: This episode really encapsulates some of the things we've been discussing the past few days.

Trey: That's right, folks. We talked about WWW even when not getting ready for one of these posts! But yes, I feel like it brings weirdness I like to see. Sure, a villain building a band of fugitive criminals for some caper, we've seen before, but it's the details: the skull make up and colorful robes, the kidnap hearse, the trial, and the insanity of the main villain and his motley, chosen group all lend what I view as the essential WWW touches. 

The writers are reported to have said: "We saw The Wild Wild West as a comic book type show, so we camped it up." I agree with their approach!

Jim: There is a good bit of humor in this episode. And the third act cliffhanger with West shooting Artemis (again) is one of the better ones. 

Like you,  I really liked the cloaked skull faced cabal in this episode-- though I found it amusing that the "girl of the week" Lorelei just got a domino mask.

Trey: Emblazoned with a skull, though.

Jim: I'm always impressed with the dining rooms of these secret, criminal cabals. The stylish chairs and sumptuous dinner makes a nice juxaposition with the various notorious thugs and murderers.

Trey: I feel like we may have seen that same table and chairs in a previous episode, but I'm not sure.

Outside of the camp and presentation, I think it's well done episode, with a fair amount of action and stuff for both Artie and Jim to do. There's a hint of friendly rivalry between them here which I think works. 

Jim: I was impressed with Artie in three different disguises. I found the aged minister at the funeral particularly good. It's no wonder he was nominated for an Emmy for this role, albeit not until the fourth and final season.

Trey: The only complaint I have is that Skull Judge and his crew are really quick to believe West has turned villain. I mean, even if he murdered Artie in a crime of passion, it seems a stretch that he's willing to help you overthrow the government.

Jim: That's the least of Skull's problems with rationality, I think.

Trey: True!

Jim: I have to say, seeing him rant at the end about how he's the rightful president of the United States hits a little too close to home!

Star Trek Endeavor: Hard Rock Catastrophe

Episode 4: "HARD ROCK CATASTROPHE"

Player Characters: 

The Crew of the USS Endeavour, NCC-1895, Constitution Class Starship (refit):
Andrea as Lt. Ona Greer, Chief Engineer Officer 
Bob as Capt. Robert Locke
Gina as Cmdr. Isabella Hale, Helm Chief

Eric As Lt.Cmdr. Tavek, Science Officer

Jason as Lt. Francisco Otomo, Chief Security Officer
Tug as Dr. Azala Vex, Trill Chief Medical Officer

Synposis: Stardate 6054.1, answering a distress can from a Saurian colony, Endeavour finds the planet's settlements are suffering periodic attacks from giant rock monsters. The crew discovers that the monsters have been transported to the planet by an ecoterrorist group trying to destroy all cities. They fail twice in stopping assaults from the creatures, but do discover a pheromone which may control them, and the location of the terrorists' base.

Commentary: This is a published adventure written by Christopher L Bennett, who has written several Star Trek novels I've enjoyed. It ties in to the Animated Seris episode "Mudd's Passion" and makes several references in chapter titles and the like to kaiju films.

The Saurians (of Saurian brandy fame) have been seldom seen on screen, at least until Discovery.

Cowboy Bebop and the Pulp Solar System

The anime series Cowboy Bebop may not seem to have much in common with the sort of stuff you'd find in the pulp magazine Planet Stories in the period around World War II, but I feel like there are more similarities than one might think:

• The action occurs in version of the solar system where a number of bodies are habitable. Sure, Cowboy Bebop says that were terraformed, but the story takes place in the 21st Century and the terraformed versions of the Galilean moons and the like are as fanciful as anything from Planet Stories.
• Jet is a former cop and Spike and ex-gangster. These sort of hard-boiled backgrounds certainly wouldn't be out of place in pulp fiction of the 40s, and not unheard of in science fiction.
• Both draw on influences like Noir and Westerns.

Sure, there are also a lot of differences, as are bond to happen when two works are the products of two different cultures and half a century. But it does some to me you could do something resembling Cowboy Bebop that fight squarely in the pulp context (in the era where bebop originated), or say pull Eric John Stark into a world more like Cowboy Bebop.

Exploration and Science Fiction Settings

 On a pulp science fiction reading kick lately (mostly stuff out of Planet Stories or Thrilling Wonder Stories), I've come to conclusions about something in the structure of these stories that has previously bothered me. It's not uncommon for these stories to take place on a "Io no one has ever explored" or "a seldom visited Ceres" or the like, despite the fact the story suggests fairly developed civilization or at least trade lanes around these bodies. Why is (for instance) Ganymede a thriving colony world and Callisto unexplored?

The problem is not so much with the stories as with my expectations of them. I'm used to thinking space as divided into explored and explored territory, something like Star Trek or the like: here is civilized space, there's a border, there's the hinterlands. Sure, you might have outposts in the "wilderness" or "uncharted worlds" in otherwise fairly civilized areas, but mostly the unexplored is demarcated from the known. It's model inherited, perhaps, from simplified views of the Age of Exploration and the discovery of the New World.

These pulp studies model themselves on somewhat more modern conceptions. I think we can loosely place in them in three categories:

• The Jim Bridger Model: I'm wandering around areas others have passed through, seeing things they missed.

• The Amundsen/Hillary Model: Let us prepare to go to this place no one has yet been able to reach.

• The Shipwreck/Crashed Bush Pilot Model: People avoid this place because there isn't much to recommend it. I'm hear and I don't want to be, and I've found something weird.

Model Three and One mostly differ by intention, and can overlap.

These three models suggest a setting that is mostly explored, or at least explored around the edges and the primary exploration of the current age is "filling in the blank spots" to varying degrees.

Their are obvious parallels to traditional D&D style fantasy settings. The classic "wilderness exploration" game looks more like Star Trek, but the dungeoncrawl sort of game is more filling in the gaps exploration.

In making a sci-fi setting it seems to me you'd want to think about what sort of exploration you want to have (if that's going to be a focus) and the implications of the size and layout of setting "space."

The Solar Frontier

In a universe other than our own, the early observations of the planets were not proved fanciful misperceptions by the march of science, but instead bolstered by it. By the time space probes were sent, the people of Earth knew Mars and Venus were inhabited.

In time, the three species of the inner planets formed a partnership: the Vrusk of Mars, and from fecund Venus the Hadozee and Dralasites. With their combined efforts, the alliance of worlds made rapid scientific advances, and they would need them. Beyond Mars, the Alliance encountered the vessels of a mysterious new civilization, one that would eventually learn was called the Sathar.

There were other species out in the deep beyond of the solar system, but the Sathar ruled there and they had turned their double-pupiled gaze to the inner worlds.

Wednesday Comics: Pre-Crisis Wonder Woman

Over the holidays, I got the quixotic idea to do a survey of DC Comics in the 80s prior to Crisis. Having just watched Wonder Woman 1984, I decided to start there. Some of the late 70s covers looked intriguing in that Bronze Age sort of way, so I started a bit earlier with Wonder Woman #250, cover dated December 1978, but on the stands in September of 1978. So far, I have made it through December 1980.

The quick summary is: none of it is very good. 

In a bit more detail, it seems largely that no one is sure quite what to do with Wonder Woman. It starts with Steve Trevor dead, and Diana Prince becoming an astronaut, but they seem uncertain about that, because they give her excuses to come back to New York City. She also briefly gets replaced by another Amazon as Wonder Woman, which I think happened in the 70s at some point, too.

Jose Delbo and Vince Coletta are providing art, and Jack Harris is writing this uninspired stuff. Then Paul Levitz comes in and tries to stick to astronaut thing, but that doesn't really work either. Finally, she quits the astronaut program and leaves Houston for New York City, after a potential love interest is revealed to be the leader of the Royal Flush Gang.

That's part of the problem: A lack of compelling adversaries. I mean, she fights Angle-Man several times in this stretch. Angle-Man who got half a page in Who's Who and probably hasn't appeared Post-Crisis. Then there are two appearances by Bushmaster who is less compelling than the Marvel villain of that name, which is pretty damning. He doesn't even show up in Who's Who.

So, Gerry Conway to rescue. Or not. I mean, he shakes things up by having reports of Diana Prince's flakiness (owing to her secret identity) leading to her not being able to get her old job back at the UN. So Wonder Woman briefly gets fired up about modern society's lack of privacy with it's files and government records and whatnot. Then Ares and crew make her a little crazy, so the people in New York for a while reject her.

She's fed up with Man's World, and returns to Paradise Island. If all that seems like it might have been going somewhere...well, the only place it was going was a reboot. A young Steve Trevor flies in from a parallel dimension, allowing Wonder Woman to re-enact her origin, then her mom wipes her memories of her previous life as "a kindness."

She follows the new Steve Trevor back to Man's World to be his assistant, and the reboot circle is complete. Angle-Man's still there, though. Good ol' reliable Angle-Man.

These issues end with the introduction of the second Cheetah. There's an interesting (to me) bit of comic chronology there, in that the second Cheetah is the niece of the first, who the story suggests recently died, and appears to have been elderly. Yet, that Cheetah apparently fought the Earth-1 Wonder Woman (no universe crossing shenanigans are suggested), which makes one wonder how long Conway believes Wonder Woman has been active?

And after all that, I decided to take a break. I plan to get back to it. Then again, maybe another title might be the place to start...

Weird Revisited: The Hanna-Barbera Superhero Universe

This post originally appeared in December of 2014. After I wrote this DC did a big crossover series Future Quest with some of these characters...

Art by Carlos Mota

I have, at various times, considered a supers campaign set in the universe of Hanna-Barbera's superhero cartoons.

One unusual thing about Hanna-Barbera's supers characters is that, when you leave aside the licensed properties (Super Friends, The Fantastic Four) and the completely comedic ones (The Impossibles, Atom Ant), very few of the characters follow traditional superhero conventions. For example, few are set on modern day Earth, or have a stable base of operations and supporting cast. The only one that does (Birdman) is unusual because he's a superhuman agent of a governmental organization, not unlike the THUNDER Agents.

Despite this different in focus and presentation, I think many of them could be adapted to a more traditional superhero mold. Call it "Ultimate Hanna-Barbera," if you will.  Let's run the list:

Art by Alex Ross

Space Ghost: A very superhero-y and well realized character as-is. Perhaps like the Legion of Super-Heroes he is a futuristic character in the same universe as the others? A future Phantom/Batman in the same way Captain Future is kind of a futuristic Doc Savage. The other option would be to make him sort of Green Lantern-like. A space cop assigned to protect earth. Or some combination of the two?

Young Samson: (Also known as Samson & Goliath) A teen with a Captain Marvel schtick who wanders around Route 66 or Incredible Hulk style, getting into adventures, works pretty well as-is. As suppose, it would be better to have him settled down and become more of a Peter Parker.

Shazzan: The cartoon has two kids transport to an Arabian Nights fantasy-land after finding their genie, but they could have just as easily stayed in the modern day. Two teens sharing a genie to fight evil would be an interesting concept.

Mightor: A Stone Age Thor, essentially. There isn't any reason a worthy successor couldn't find the magic club and become Mightor in the modern day. Of course, the character is a bit on the silly side and would probably work best for a Silver Age vibe rather than a Modern Age one.

Herculoids: In a comic book universe, the Herculoids could be sort of Ka-Zar type characters where their Savage Land is a world in another dimension, or they could be treated like a primitive Forever People and have them arrive on Earth to be super-powered fish-out-of-water.

Art by MarioPons

The Galaxy Trio: These teen heroes are probably better candidates for Forever People stand-ins. You can transport them to the modern day and have them be alien heroes stranded on Earth for some reason.

No Elves

 

This is not a Talislanta post.

While D&D has added a number of new "races" to the game over the decades, it has remained strongly humanoid-centric. Nothing wrong with that, but I have wondered on occasion if fantasy of a more or less standard variety would feel any different if you placed the D&D races with say, the species in Star Frontiers (just one example, but these have the advantage of already having appeared in D&D via adaptations to Spelljammer)? Not as an addition, but as a replacement for the usual elves, dwarves, and halflings.

Sure all sorts of gonzo PC types appear in various Old School sources, but these tend to move the game away from classic fantasy toward science fantasy or post-apocalytpicness. I think it would be interesting to see how it works if they were inserted into something more basic. 

What's to be gained? Well, for one thing, science fiction has different cliches than fantasy. There are warrior races and superior beings in both, but they don't get packaged quite in the same way. Special relationships to nature or magic are out, for instance. No one assumes Dralasites have Scottish accents, at least.

Security Robots and Dead Chickens

Our 5e Land of Azurth game continued this past Sunday with the party warned by the automated voice at the gates of the Gander Foods Chicken Plant that security was on the way. When the four metal men armed with paralyzing batons arrived, the party perhaps regretted their decision to hang around. Still, they ultimately did prevail, but were so depleted they opted for a place to hide and a short rest.

They found cover on another side of the plant behind an old vehicle of some sort. Waylon managed to find a red keycard while trying to find away to activate the vehicle.

With keycard in hand, they were able to enter a side door of the building where they discovered a long hallway with many doors. Behind the first couple, they found numerous chicken cages, a smashed metal man, and the body of a dead chicken humanoid.

TO BE CONTINUED

Weird Revisited: When Noom Comes

This post first appeared in 2015...

There is one holiday in the Land of Azurth that can never be scheduled because it comes when it will. Loonsday, it is called, and on Loonsday, Noom, the shy, hidden face of the Moon, turns toward Azurth. When the light of smiling Noom shines down, many strange things have been known to happen.

Here are ten strange visitations that have occurred on a Loonsday, under Noom's beaming face:

1. Street cobblestones are disturbed as by ripples in a pond.
2. A strange, scintillant mist attaches itself to a person and follows them around for sometime making a soft sobbing sound.
3. People don strange hats and spontaneous start a parade, winding through the streets of the city, as if in some ecstatic trance. At some point, they cease their marching. The participants throw their hats aside and return to their previous business. They profess no memory of the events.
4. Inanimate household objects have come to life and demanded their freedom from enslavement for perhaps an hour before returning to normal.
5. A rat-king and its retinue emerge from the sewers to hold court in a city square. He will answer 3 questions about the future, promising that at least one prediction will not be a lie.
6. Someone finds a kazoo whose sound will banish lesser devils.
7. Shadows take on weight and texture of a thin piece of felt and detach from their owners with a bit of tugging.
8. A rain of frogs occur over an area of the city, but each frog drifts down slowly under a tiny parasol.
9. A swarm of small, translucent portuguese man-of-war fly through like balloons in a strong wind. They strike anyone in their path like thrown boxing gloves.
10. Small groups of people in odd clothes with their heads replaced by glowing orbs are seen in the streets. If accosted or hindered in their obscure tasks, they will search their pockets or purses and produce a few alien coins and give them to the person confronting them. The coins hum and writhe gently in the hand.

Loonsday inserts itself into the more sensible and regular calendar of Azurth without warning. The appearance of Noom in the sky will always signal that it has begun. When Noom has set (and not in the normal way but by simply drifting away like a handful of sand blown on the wind) Loonsday is over and the normal precision of time resumes.

The New Old Solar System

The "Old Solar System" with a wet, fecund Venus, and a habitable desert Mars, doesn't have the be the relegated to pulp retreads with gleaming, silver rockets. S.M. Stirling wrote a couple of alternate histories in his Lords of Creation series wherein Venus and Mars just happened to be habitable (well, not just happened to be, but no spoilers), but the stories were otherwise fairly hard sci-fi. The anthologies Old Venus and Old Mars have a few stories in a similar vein.

There's some reason you could put a pulp-derived but more rigorous in its details Mars or Venus in the background of an rpg setting like Transhuman Space or The Expanse or any other nearer future or solar system only sci-fi thing.

A habitable Mars or Venus doesn't require much of a stretch of scientific plausibility, but it might be fun to go full Edmond Hamilton or Leigh Brackett with fungal forests on Saturn or mud-mining on Io. I can't think of any reason why in an rpg you couldn't overlay the trapping of hard/near future science fiction on a completely pulp solar system.

Ravenloft 1934

Perhaps it was merely all the death from war and disease that open a portal some dread place, or maybe it was the purposeful act of malevolent intelligence of the Outer Dark? Whatever the cause, at the end of the Great War a strange mist settled over much of Europe.  Supernatural beings of legend were again free to walk the Earth...

The idea is to take the style and ahistorical setting of the Universal and RKO horror films of the 30s--what in Shadows Over Filmland Robin Laws called the "Backlot Gothic"--and apply it to Ravenloft, whether the Masque of the Red Death version of Ravenloft or the original recipe would be up to you, but I think recasting various Ravenloft denizens as "off-brand" Universal Monsters stand-ins would be the way to go.

Wednesday Comics: We Only Find Them When They're Dead

 

"The Gods are always beautiful...And the Gods are always dead."

Writer Al (Immortal Hulk) Ewing and artist Simone Di Meo imagine a science fiction future where, in an inversion of Galactus yarns, working stiffs mine (or perhaps "butcher" is more apt) the titanic corpses of cosmic gods for the needs of humanity. Captain Malik and the diverse crew of the Vihaan II have had enough of corporate wage-slavery, though, and devise a daring plan to escape and do what no one has ever done: find a living god.

The first few issue really only use the god corpses as a backdrop. The real focus is on the system that traps the ships crews and keeps them working for the company. It sketches the various members of Malik's crew and their reasons for wanting to risk all they've got to break free.

Ewing has an interesting premise, and Di Meo's art is like some European comics I've seen in the past decade with vibrant colors and character designs that seem somewhat animation inspiration.

The collection of volume one is due out in May.

Spelljammer 1961

"Thinking beings of earth planet. This message was sent subsequent to the bravery of Yuri Gagarin and the achievements of the Soviet Union, but its intended recipient is every individual of your species. We are the Esoteric. We are now honored to admit you into the interstellar society. Many things we have to show you will definitely shock you and cause confusion. We have regret in that our policies mean you are living in a controlled environment where your understanding of physics has been restricted. We guarantee that this was done to protect you. Now, you are graded ready to have the safety guard removed to more fully experience the universe. We look forward to meeting with your government representatives and giving you a menu of offered services."

The poorly translated message broadcast to the entire planet was from beings who called themselves the Arcane. They revealed the image of the solar system taking shape from modern observations was an illusion. The real solar system was teeming with life, and ships powered by something more like magic that rocketry sailed through the heavens.

Once the principals were understood, humanity was able to get impossible, physics-defining things to happen even deep within Earth's gravity well, but it was always easier the thinner the atmosphere was. Humanity wasted no time in establishing orbital colonies and bases on the Moon, though they were ultimately more fantastic than anything science fiction had dreamed since the Victorian era. Once trade started with Mars and magical wood was imported, even private individuals were able to build all manner of spacecraft.

The Space Age had truly begun.

Wild Wild West Wednesday: The Night of the Whirring Death

Let this re-posting of a Christmas-ish episode of Wild Wild West serve is a reminder that Jim and I are reviewing the series here on his blog...

 

"The Night of the Whirring Death" 

Written by Jackson Gillis
Directed by Mark Rydell
Synopsis (from IMDB): Jim and Artie are collect money from millionaires buying bonds to save California from bankruptcy. The problem is, Dr. Loveless is back and blowing up the would-be benefactors with booby-trapped toys to steal the money.

Trey: This is the closest WWW came to a Christmas episode. It isn't stated in the episode to be Christmas, but the winter weather, focus on toys, and other story elements give they vibe. It aired, however, in February of 1966.

Jim: It starts off with a nice tip of the hat to Charles Dickens’ A Christmas Carol with Jeremiah Ratch taking the place of  Scrooge. Ratch is played by Norman Fell, aka Mr. Roper from Three’s Company. Fell’s comedy chops come in handy as he hams it up with the Ratch character for the short time he’s on the screen.

Trey: This is Dr. Loveless' third appearance and the first not written by his creator. It sticks pretty close to the established Loveless schtick though: he's still trying to carve his own kingdom out of part of California. Voltaire (Richard Kiel) and Antionette (Phoebe Dorin) are back, as well.

Jim: I believe this is the one and only time Loveless is ever shown smoking. It’s mostly for comical effect, admittedly, after he's revealed as the “child” who gifted Ratch toy soldiers.

Trey: Voltaire speaks for the first time, too. It's note as being a change within the episode. One Loveless related conundrum: Why does the brilliant doctor continue to employ lovely female assistants in his plans, who he knows by now are only going to fall for West's charms?

Jim: He tries to maneuver Priscilla away from it, but to no avail! She is the most wide-eyed innocent of the group, so far.

Trey: Unbelievably naïve is the better descriptor! I wonder if her toy maker grandfather raised her with no contact with the outside world?

Jim: A funny bit is the look of cynical disbelief on lovely Antionette’s face when Priscilla is convinced by Loveless that the exploding toy train is a perfectly fine toy.

Just putting this out there: with the naivete Priscilla displays, I think a nice plot twist for the episode would’ve been to have her be revealed as a human sized animatronic created by Loveless. 

Trey: I could buy that.

Jim: In general, I think the level of technology in this episode seems a bit advanced. We see electric trains and phonographs.

Trey: The phonograph was an anachronism noted in Loveless's first appearance. The electric train is similarly just a bit ahead, having been invented in the 1890s. Incidentally, this episode actually gives us an onscreen place and time: "San Francisco, 1874."

Jim: One of the unintentionally funny bits to me: After West is ground zero at the explosion in Ratch’s shop, Gordon proclaims that he's fine and just needs some rest. Supporting him in this dubious claim is a city cop who says, “He’s right lady. Working this beat, I’ve seen enough to know he’ll be fine.” Just how violent is this neighborhood?

Trey: Thinks are hard in California in this alternate 1874, apparently. I mean, the governor's plan here is explicitly laundering money for rich people with shady, possibly criminal, business practices to keep his state solvent. 

Jim: Vote Loveless! How could it be worse?

Reconquest of the Surface

The war, known now to the survivors as The Fury, was devastating. As many as could be saved were moved into underground habitations built for this very eventuality. Not everyone was lucky enough to have a place in the shelters, and when the leaded doors were closed and sealed, many people were left to fight for survival in the gloom, as the radioactive and mutagenic haze played strange tricks with the light of the sun and moon, and death burrowed into their bones.

The species survived, though, and in those underground redoubts, so did civilization. The old nations were forgotten with time and new ones formed, as fresh tunnels linked farflung bunkers. They only need to wait and endure. Eventually, the scientists said things might be safe, and so scouts were sent outside.

They were not prepared for what they found. The natural world, as they had hoped, had healed itself. There was no trace of the world that had been or the war that destroyed it. Things were lush and green--though that didn't mean all the horror or strangeness it was gone.

There were people on this new Earth, apparently the deformed descendants of those who had been left outside. Dwarfish ones one had perhaps come from makeshift bunkers not sufficiently sealed as they too spent much time underground. People of the forest, grotesquely thin and large eared, and then the most numerous people who lived in primitive cities. All of them were hideous. There was sometime neotenic about them in a way that made the skin crawl: their teeth were so small, their foreheads flat, their jaws receding.

Councils were convened to consider this information. The technological know-how of the people was superior to their mutated cousins, but they were limited in their access to resources and many of their machines had broken down. They were, ironically, fewer in number than those who had survived the terrors of fallout. 

The decision was made not to wage an all out war for the surface, but instead to look for out of the way places to recover resources. They would approach the mutants, when necessary using similar technology--they could not afford to have any more advanced devices fall into the primitives' hands. They could perhaps surreptitiously influence them, maybe create allies to prepare for their return. Some might have to die, of course, but perhaps the more could be shepherded toward civilization.

It would be a long project, but humanity was up to it. For now, they would have to embrace the name "orc" given to them by the mutants and play the expected role.

Christmas Special Reruns

Years ago, I managed to do three "Christmas Specials" in my two Weird Adventures campaigns (though I only did 2 write-ups): "Twas the Fight Before Yule," and it's sequel, and "Another Weird Yule." In 2016, there was a holiday related cameo in my Land of Azurth game.

I at one time considered doing the reskin of Slumbering Ursine Dunes involving the Weird Adventures version of the Tunguska Event, the mysterious Siberian cauldrons, a captive Father Yule, and talking bears. I never did it, but I still think it would be great.

Lumberlands

Erik Jensen's Zinequest entry Lumberlands delivered not too long ago. It's not yet available in physical copy, but that's coming.

Lumberlands is a region of Erik's Wampus Country setting, for which we are still, lo these many years later, awaiting some sort of overview setting publication. I had the privilege of playing a number of sessions in Erik's Wampus Country campaign back in the days of Google+, and so I was eager for Lumberlands.

Can it be you've never heard of Wampus Country? Well, allow me to sketch it in brief: It's an old school D&D setting that borrows its visual trappings from the American history, folklore, and fakelore to a large degree. Its fighters might be more Mike Fink or Davy Crockett (subject of the Disney series, not the real-life Congressman), than Aragorn or Conan. Still, it would be a mistake to think of it as merely "Frontier Fantasy." It has that as it's base, certainly, but Wampus Country exploits the fruitful incoherence that is D&D at its core and weaves in all sorts of sources, so that many sorts of character types and potential adventures are possible.

But anyway: Lumberlands! Lumberlands narrows the Wampus vibe geographically to a fantasy take on the Pacific Northwest and Paul Bunyan-y concerns, while in no way being bound to the imaginative parameters of that inspiration. It details the differences between the version of the classes in the setting (i.e. the traditional ones with a lumber- prefix and flannel-centric illustration). It sketches the human habitation of Squeemish, but also the squirrel city of Baudekin and the dimensionally unstable region of Portal-Land. 

There are monsters with pun names (clever ones!) and a selection of humorously sketched hench-folk available for hire. And Sasquatches, which are actually arachnoid aliens. 

As you may have guessed Lumberlands does not take itself to seriously, so if grim is your only mode of roleplaying well it isn't for you. But the rest of you, I urge you to check it out.

Wednesday Comics: DC Through the 80s

 

Somehow, I missed the original solicitation of this one, though I did see what is presumably the follow-up: DC Through the 80s: The Experiments. It was tempting, but ultimately I thought it was too scattershot to warrant a purchase.

DC Through the 80s: The End of Eras, despite it's to my ear awkward title, seems more like one for the shelf. Many of the good comics reprinted here I already own, but there are others I have never read and there's some interesting supplemental material, including (supposedly) Moore's proposal for Twilight of the Super-Heroes.

What's in here that I would recommend? Well, there's Moore's and Swan's "Whatever Happened to the Man of Tomorrow?" Of course, you've probably already read that one. There's also story I recall fondly from my childhood: A crossover of the Earth-Two and Earth-One Batmen by Mike Barr and David Gibbons from Brave and the Bold #200--the final issue of that title. There's a less good, but still fun crossover between Lex Luthors of those same Earths from DC Comics Presents Annual #1 by Wolfman and Buckler.

Pulling from some non-supers titles of the era, we have Blackhawk #258 by Evanier and Spiegle where the Nazis destroy Blackhawk Island with an atom bomb. This whole run is probably under-appreciated. 

There are a number of DC horror titles and the sci-fi anthology Timewarp represented. And there's war comics, including Weird War Tales #93--the first appearance of the Creature Commandos. 

And there's a random issue of Warlord! 

The Land of Azurth Year in Review

While we have one more session of our Land of Azurth campaign before the end of the year, it's a good time to look back at what the "Masters of Mayhem" (as the party calls themselves) got up to in year six, game sessions 53-69.

The Vault Job
The party returned from a trip to a dark future to find the Clockwork Princess of Yanth Country in seclusion, and Drumpf the new, authoritarian mayor of Rivertown. The lure of gold convinces the party to help the former mayor Gladhand liberate some of this gold, currently being held in the vault of Sly Took, member of the Raccoon Thieves Guild and banker to the underworld. The party hatched an elaborate scheme involved a magical armoire and succeed in getting Gladhand's gold.

With the heat on, and wanting to talk with the Queen of Virid about events in the future anyway, the party headed out on the road.

Servants of Shadow

Near the northern border Yanth Country, they party stopped to help a village of cervid centaur folk who are being menaced by a bickering couple of Umbral drakes who emerged from a shadowy vortex within an ancient ritual circle. The party kills the drakes, but it turns out they are only the first incursion of agents of Umbra, the Shadow Moon. A group of Gloom Elves are inhabiting a half-dilapidated tower.

Uncharacteristically, the party winds up reaching a compromise with the elves. They hold a cryptic conversation with a vaguely familiar shadow man who steps through a door opened by the elves.

Shkizz

Further down the road, they decide to spend the night in the town of Shkizz. They discover the townsfolk are priggish and uptight in the day, but wild libertines at night. The discover a cult worshipping a pig demon, but it turns out he is only taking advantage of the situation, not its cause. He blames it on the High Priest of the Church of the Dark Flower in the neighboring Duchy of Dhoon.

Slekt Zaad

The party finds Dhoon suffering under a series of nonsensical decrees of from the Duke, who no one has seen in some time. The party confronts Zaad who reveals himself as some sort of plant being. He also reveals he's allied with the captain of the Ducal guard and they have the Duke ensorcelled. After busting out of jail, the party makes there way to an ancient fane hidden by kudzu, where discover Zaad's magical botanical laboratories--and they recover the gem that holds Zaad's soul. With that gem, they defeat him and lift the curse on the Duke.

The Demon Barber of the Sapphire City

Finally, the party arrives in the Sapphire City and become intrigued by a series of disappearances and mysterious, magical tonsorial makeovers. It turns out to involve dopplegangers of magic hair and the machinations of a hag and her adoring humanoid tribe. 

The party is reunited with their old comrade Calico Jack who was being held captive beneath the barber shop.

A Famine in Ffalgo

As word of their deed spreads, two teens from the village of Ffalgo on the Sang border seek out the party to request their help in journeying to an ancient castle in Sang, said the magical produce an endless supply of chicken...

The Metaphysics of D&D

"The wearer of the amulet is filled with Chaotic Evil, which is how I grew up so…"
    - Hunson Abedeer, Adventure Time!

In L. Sprague de Camp's 1942 novella The Undesired Princess the protagonist is transported to a world that follows Aristotlean logic, where everything is either one color or another with no mixing and shapes, besides the animals are all simple: The princess has hair that is primary color red; tree leaves are regular polgons of blue or yellow.

D&D as written often describes a world just as foreign as that. Even ignoring things that you could argue are merely abstractions for the sake of the game (like movement), you still have things like alignment (and in some editions alignment language), leveling, people with classes vs. nonclassed NPCs, clerical healing and the like.

I've read things in the past that posited a world where D&Disms got rationalized a bit (I've maybe written one), but discussion yesterday with a reference to the perennial "baby orc" argument made we think it would be interesting to throw rationalization somewhat out the window and play in a setting where the world just sort of runs on D&D (meta)physics.

We're talking about a world where some people start to develop superhuman resistance to injury and various abilities--and these keep increasing so long as they acquire treasure from underground hordes. Where there's some sort of metaphysical orientation to the universe that leads people to automatically acquire a language recognized by every member of the club when they join up. A world where sentients with lifetimes much longer that humans just can never learn to be better than humans in arms or magic. Stuff like that.

"But no!" You'll protest. "That would be really silly!" 

Sure, but isn't that often the case with D&D?

See?

And this would actually elevate the silliness by making it a thought experiment.

All kidding aside, it perhaps wouldn't be the stuff of a long campaign, but I don't think the implications of that sort of thing would be interesting to think about.

Quest for Chicken

This past Sunday, our Land of Azurth 5e game continued with the party stopped in their preparations to leave Sapphire City on their way to Virid by a request for aid from two youths: Tagg and Dynda. These kids are from the village of Ffalgo near the Sang border. They've been suffering form a famine that blighted their crop and sickened their animals placed on them by a wandering warlock. 

They have a desperate plan to seek out a castle close by in Sang where there is supposed to be a never-ending supply of meat, specifically chicken, waiting for someone to claim it. Sang is dangerous and the elders of Ffalgo are cowardly, so they won't go, but these teens hope heroes will try. The party agrees.

The party is the guest of the village overnight, then the teens lead them to the border where they can take the black road made of some mysterious, durable material to the castle. 

On the way, they are attacked by small, reptilian creatures operating a smoke belching siege machine of some sort. The party's attacks blow the machine up, greatly disappointing Waylon the Frogling who had hoped to claim it on their own. 

When they arrive at the castle, they find it isn't a castle at all but some sort of fenced complex. A sign names it the "Gander Foods - Chicken Plant." Their first attempt to enter leads to Shade getting an electric shock, but the party is persistent.

TO BE CONTINUED

Wednesday Comics: 2020 Holiday Comic Gift Guide

 Still looking for something for that comic lover in your life or maybe anticipating having gift cards to spend on yourself after the holidays? Here are some collections I would recommend.

Deadman Omnibus
Deadman has always been one of those deep-bench DC characters I have been fond of. Truthly, also more for the artists than the writing with the likes of Neal Adams, Jose Luis Garcia-Lopez, and Kelly Jones depicting him at various times. I already have the Neal Adams Deadman collection, but looks like I'll be getting that material again plus some never before collected material.

First Knife

I talked about this post-apocalyptic sci-fi series written by Simon Roy back when it was coming up in monthly issues and was called The Protector. 

The Goddamned: Before The Flood (Oversized)

This brutal, revisionist take on the Antediluvian parts of Genesis written by Jason Aaron is now on its second volume, but what better way to get ready for that collection scheduled for release in February with this version of volume where Cain meets Noah.

The Immortal Hulk Omnibus

It's surprising it took so long to get a take on the Hulk that plays like a horror story, but that's what the Immortal Hulk does. It's the sort of a "new take" on the character and his mythology that it seems like was more common in the 90s than today. 

Star Trek Endeavour: The Evictors

Episode 3: "THE EVICTORS"

Player Characters: 

The Crew of the USS Endeavour, NCC-1895, Constitution Class Starship (refit):
Andrea as Lt. Ona Greer, Chief Engineer Officer 
Bob as Capt. Robert Locke
Gina as Cmdr. Isabella Hale, Helm Chief

Eric As Lt.Cmdr. Tavek, Science Officer

Jason as Lt. Francisco Otomo, Chief Security Officer
Tug as Dr. Azala Vex, Trill Chief Medical Officer

Synposis: Stardate 5927.1, a festival on the planet Nraka celebrating its 10,000 year of civilization is disrupted by the arrival of gigantic starship carrying a group called the Sanoora who claim to have left Nraka to escape a cataclysm--and now demand the current inhabitants vacate their world!

Commentary: This adventure was based on issue 41 of the Gold Key Star Trek series from November of 1976. In that story, the Sanoora wind up attacking the Enterprise and so the starship helps the Nrakans drive off the would be invaders. Spock only discovers their is some truth to their claim in the coda.

The Endeavour crew handled things in a bit more genuine Star Trekian fashion. They discovered the truth that the Sanoora were indeed from the Nraka, and the Nrakans were descended from the people they left behind when leaving the planet. In a bit of diplomacy, they convinced both sides to stand down, and brought them to the table to negotiate a mutually agreeable solution. The Federation took over from there and sent in a team of real diplomats.

Weird Revisited: The Galactic Great Wheel

So here's the pitch: Sometime in the future, an early spacefaring humanity encounters a gate and gains access to a system of FTL via hyperspace (or the astralspace) and gets its introduction to an ancient, galactic civilization with arcane rules and customs a bit like Brin's Uplift universe. At the "center" of the gates is Hub, a place with a gigantic neutral territory station--like Babylon 5 on a grander scale. Hub connects to all the various worlds. Here's a short sampling:

Archeron: A war world, possibly one where a decadent civilization has kidnapped warriors form different times and worlds to battles for their entertainment.

Baator: The world of beings who (like the Overlords in Childhood's End) look suspiciously like devils from Earth belief, and indeed act very much like them, destabilizing worlds with Faustian bargains somewhat like in Swanwick's Jack Faust.

Beastworld: A planet where many animal species share a group intelligence.

Carceri: An environmentally hostile ancient prison planet.

Limbo: A world in an area of reality warping "broken space" where hyperspace spills in leading to a graveyard of ships.

Mechanus: Robotic beings out to bring order to the galaxy via assimilation. A somewhat (maybe) more reasonable Borg.

Pandemonium: A world only inhabitable in subterranean caverns, but even those are swept by winds that generate infrasound that can drive humanoids insane like the titular Winds of Gath.

Werewolf Trooper!

 

Art by Jason Sholtis

The werewolves were supreme in the 32nd century. Only the destruction of the moon final broke their reign.

Star Trek Ranger: Prime Time

Player Characters: The Crew of the USS Ranger, Federation scout ship:
Aaron as Lt.(jg.) Cayson Randolph

Andrea as Capt. Ada Greer

Dennis, as Lt. Osvaldo Marquez, Medical Officer
Paul as Cmdr. D.K. Mohan, Chief Helmsman

Synposis: Ranger is on a cultural exchange mission to Viden, an advanced world who has given up space travel for television. When the crew intervenes in the apprehension of a sitcom who tries to escape his contract, they find themselves the unwilling subjects of a reality show.

Commentary: This adventure was based on IDW's Star Trek: Year Four #4 written by David Tischman. It's a humorous story in the comic in the manner of the TOS episode "A Piece of the Action," though its plot bears some resemblance to "Bread and Circuses" in it's satire of the television industry. The player's certainly took to it in the way it was intended.

The Three Planeteers

In my short Thanksgiving travels, I managed to complete the audiobook of Edmond Hamilton's The Three Planeteers, originally published in the January 1940 issue of Startling Stories. Other than providing the inspiration for the name, Dumas' novel has little bearing on Hamilton's work.

In a future (Sometime in the 28th Century, I believe. An exact date isn't given.) where humanity has settled all the worlds in the solar system and gradually adapted to them. The fascist dictatorship of Haskell Trask has spread from Saturn and its moons, to all the outer planets, forming the League of Cold Worlds, which now menaces the Alliance of the inner worlds.

The titular trio are the most famous outlaws in the solar system: John Thorne of Earth, Sual Av of Venus, and Gunner Welk of Mercury. It turns out they aren't really outlaws at all, but special agents for the Alliance, pretending to be criminals so the Alliance has plausible deniability regarding their actions against the League. 

With war looming, the only hope of the Alliance to defeat the massive League war fleet is an experimental new weapon which requires the ultra-rare substance radite to work. Good news is there sufficient radite on the trans-Plutonian world of Erebus. Bad news is no one has ever returned from Erebus alive. Well, no one except, it's rumored, a former renegade turned space pirate. Said pirate is now dead, but his daughter reigns as pirate queen in the Asteroid Belt.

Besides the classic space war plotline, Hamilton gives a lot of space opera color: "joy-vibration" addicts, hunters in the fungal forests of Saturn, and the deadly secret of Erebus. It could be easily shorn of some it's old-fashionedness and moved outside of the solar system. Pieces would be easy to drop into Star Wars or any other space opera game.

Go to Very Distant Lands

Art by Steve Ellis

 Adventure Time ended its original run in 2018, but there's a now series of single episode stories on HBOMax. Watching those reminded me how a lot of rpgers were excited about Adventure Time, at least in its early seasons. It's sort of gonzo, post-apocalyptic setting seemed very much cut from the same cloth as a lot of rpg worldbuilding.

No official AT rpg has ever appeared in English, and in the end the show is a kid's cartoon, perhaps more character driven, than exploration based, but I think it would be pretty easy to derive inspiration from the form of AT's Land of Ooo, as opposed to exact content. In other words, if you wanted a D&D campaign for adults to do D&D stuff that was just in some ways reminiscent of Ooo, this is how I would go about it. (If this thread gets comments someone will no doubt mention the Far Away Lands rpg. Let me preempt that by saying that it has slightly different goals. It's more doing an AT but not AT rpg. I'm thinking of "if you want D&D to have more of a resemblance to AT" without going full cartoon.)

So this is what I think:

• Make the setting more expressly post-apocalyptic. Not in the usual Tolkienian way that D&D usually is, but in the Gamma World way.
• Avoid the standard versions of standard monsters. You can use names like "dragon" if you want, but avoid the standard fantasy dragons of D&D. Ok, maybe goblins or giants can stay, but no orcs. My suggestion: borrow a lot of monsters and races from Gamma World, and lean heavy on the AD&D Fiend Folio derived monsters.
• Elementals are important, but maybe not the standard Greek ones. They seem to be part of a fundamental magic structure of the universe, but Fire, Water, yada yada may not be where it's at. Luckily, D&D gives us para- and quasi- elementals that are weirder.
• Don't be afraid of the player's getting ahold of more advanced tech, but not weapons so much. Let them freely pick up a bit of the 20th or 21st Century here and there, but don't make weapons or combat related. Let them find record players (or ipods), or gameboys and the like.
• Mutagens and weirdness. While AT doesn't dwell on it, it has decree of weirdness and even body horror that seems drawn from the most fevered of post-apocalyptic or atomic war fiction. The zones of Roadside Picnic have more in common with it that you might think.
• Negotiation is always an option. Very few creatures should be attack on sight sorts. Most of them have got the same sort of troubles and aspirations as the adventures, just a different point of view.
• Don't be afraid of humor. The first edition of Gamma World embraced the silliness of its premise and with something like this, you should too.

Wild Wild West Revisited Wednesday

Instead of watching some parade on Thanksgiving, you can sit back and read the installments you've missed of "Revisiting the Wild Wild West" a rewatch and commentary on selected episodes by Jim "Flashback Universe" Shelley and myself.