Wednesday Comics: DC, September 1980 (wk 2, pt 1)

My goal: read DC Comics' output from January 1980 (cover date) to Crisis! This week, I'm looking at the comics at newsstands around June 26, 1980.

DC Special Series #22 - G.I. Combat: Just what I wanted, extra Haunted Tank! In the first story Kanigher and Glanzman would have us believe they put tanks on pneumatic skis in the War. I can find no internet verification of this. The ever-resourceful tank crew uses a big snowball to take out a German gun. In the "P.O.W" story, "Monster of the Wehrmacht" German soldiers are just as eager to get revenge on a sadistic prison camp commandant as the prisoners. Jose Montales Matucenio's art here has a Alex Nino sort of looseness I like.

In "Live -- or Die -- by the Cross" a medic breaks his vow to do no harm to fight off the Japanese attacking a hospital in Bataan. His inspiration is his latest patient--a chaplain that broke his own vow. The O.S.S. story by Kanigher and Cruz is a typical tale of double agents and double-crosses. Arnold Drake and Ernesto Patricio deliver the cleverest story of the issue, with the lucky survival of a group of U.S. soldiers in the Pacific Theater predicted by their respective fortune cookies. Kanigher and Glanzman bring it to a close with a somewhat better Haunted Tank yarn than the one we started with.

Action Comics #511: Luthor does what any criminal who has seen the error of his ways would do: he hijacks the TV signal and makes a broadcast declaring his newfound respect for the law and his desire to help Superman. He also provides a cure for the mysterious disorder effecting his new love interest to the world. Luthor wants Superman to take him to the Fortress of Solitude and subject him to all sorts of mental scrutiny to prove he's on the level. Superman obliges, and the tests say Luthor is legit, but when Terra-Man and his alien goons attack, Luthor leaps to Superman's aid, proving he wasn't as neutralized as he was supposed to be. But then Superman knew that, and it was all part of the test! Two parts in and Bates and Swan are sticking to the reformed Luthor. I'm interested to see how it plays out. 

Adventure Comics #475: Aquaman returns to the book courtesy of DeMatteis and Giordano. In this story, Aquaman is seeking an Atlantean doctor for a sick Mera, but has to tangle with the Scavenger. It's pretty good, but it's most interesting because of a scene whether Aquaman, rallying in his fight with the Scavenger, speaks to the (mis)perception that he is some sort of "third rate hero." He says he was saving the world when the likes of Firestorm and Black Lightning "where still in diapers" (which is odd, unless DeMatteis believes Aquaman was the first Silver Age hero, or maybe he's the same guy as the Golden Age version?) and goes on to list his powers and titles. In the 00s, we saw these sort of defenses of Aquaman mounted. It's surprising to see there was felt to be a need for them back in 1980. 

The Starman and Plastic Man stories are more of the same. Starman feels like it might be drawing to its conclusion with Prince Gavyn confronting the villain who usurped his sister's throne. Plastic Man is in Vegas dealing with another Gouldian villain, Even Steven.

Brave & the Bold #166: A Batman/Black Canary team-up by Fleisher and Giordano. The Penguin breaks out of jail (where is was put by Robin in the last issue of Detective Comics), and goes after the former henchmen that rolled over on him who all have fled to Star City. Penguin is sticking with his bird motif and trying to kill them all in a canary-themed manner (because they sang, I suppose). It's a clever enough set-up to get Black Canary involved, and the Penguin is suitably malevolent and as crazy as the Joker (though in a different, less flamboyant way). The Penguin ultimately captures Canary and puts a decoy in her costume to lure Batman into a cyanide-laced kiss. It's interesting that Penguin thinks Batman might be susceptible to that. Is her relationship with Green Arrow not known publicly? Of course, they are on the outs following last month's JLA. Once Batman rescues Black Canary, she does in fact give him a kiss, so Fleisher may have been trying to stir something up here.

The backup story is the first appearance of Nemesis, created by Burkett and Spiegle, who will go on to be a member of the Ostrander Suicide Squad. There is a real "men's adventure" genre feel to this story; it's different from the Punisher, but in the same genre. 

Detective Comics #494: The first story here is a near classic: "The Crime Doctor Calls at Midnight!" by Fleisher and Don Newton/Bob Smith. The Crime Doctor makes "house calls" diagnosing problems and helping criminals with their crimes. He's respected physician Bradford Thorne, but he's become bored with his regular life and turned to crime for excitement. Thorne renders medical care to Bruce Wayne, which leads to him to realizing Batman's identity when he meets him later. A group of criminals who don't want to give the Crime Doctor his take lure both the doctor and Batman into a trap. To be continued.

"Tales of Gotham" by Harris and Spiegle has a pinball wizard runner for organized crime develop a conscience and give up his own life to save a a kid who idealizes him, in one of the better stories in this series. Batgirl encounters organized crime entwinned with civic corruption in a forgettable tale by Burkett, Delbo and Chiaramonte. Back at Hudson University, Robin cracks the case of a murder posing as a hazing incident in a story by Harris and Nicholas/Colletta. DeMatteis and Forton win the prize for best title of the issue in "Explosion of the Soul," where Black Lightning takes down a vigilante killer ("The Slime Killer") who wears a purple costume with a very familiar, skull motif.

Green Lantern #132: Kupperberg and Staton present a more "street level" and more humorous Green Lantern adventure than what we usually get. Thieves have hidden some stolen diamonds in an aircraft seat and are stealing a new fighter to get it back. They briefly stymie Jordan with a yellow tarp, but ultimately he wins the day. Toomey and Saviuk conclude "The Trial of Arkkis Chummuck" which I enjoyed thoroughly. It ends with the prosecutor forced to "put up or shut up" and become the tutor for the fledging Green Lantern he recently tried to get booted out.

The second backup is an Adam Strange story by Harris and Rodriguez. A giant is attacking cities of Rann. It turns out to have been created by the Akalonians and directed by psychic energy. Strange appeals to the desire for peace among the dissident scientists powering the creature and they rebel, destroying it.

House of Mystery #284: "Ruby" by DeMatteis and Zamora is really the only decent story in this issue. A couple (the Paulsons) in a "small mid-Western town" decide to adopt a small girl that comes stumbling out of the darkness and passes out on their porch. The sheriff can't find any reports of a missing girl so he declares the kid theirs (lax laws they have in the Midwest!). Soon the family dog is dead. Then an elderly woman in town seems to recognize Ruby, and is found dead the next day. Linda Paulson awakens at 2 am to see Ruby crawling down the outside of the house. Shefollows Ruby to town where the girl reveals herself to be a vampire and meets with her undead victims. Rick Paulson happens to be out in the middle of the night doing research at the library where he uncovers that Ruby is really a young girl who disappeared 70 years ago after a European traveling circus came to town. Ruby attacks her adoptive parents, but sheriff appears in the nick of time with a handy stake. As the shocked Paulsons head home--twist!--the sheriff reveals himself to be a vampire. He didn't want Ruby's actions blowing his cover!

The next story by Simons, Giffen and Celardo (giving us a bit of a Hal Foster vibe on art) has a knight teaming up with a dragon to bring a comeuppance to a greedy king. "Friend to the End" by Kelley and Lofamia is a dumb story about jealousy that ends with the murderer getting killed by a pitching machine. Jodloman's and Wessler's "Deadly Peril at 20,000" is even dumber. A man dies of "pneumonic plague" (no, Jess Jodloman, that isn't the black death) on board a transatlantic flight. A doctor realizes his body needs to be disposed of, but his grief maddened wife won't allow it. A quick thinking (and ruthless) stewardess throws a hammer through their window, and the couple is sucked out by the pressure. 

Westwind Garden

If you do Roll20, you should check out Westwind Garden, a whimsical 5e one shot for all ages written by two of my friends and gamers in my group, Gina and Jim Shelley. It's kind of anthropomorphic animal adventure (in the vein, say, of something like Redwall), but provides a rationale for why this is occurring in a human-centric campaign. It's got great art with a70-80s Disney or Don Bluth sort of vibe. Our regular group really enjoyed the playtest.

It's Roll20 features include:

• 22 Colorful Maps - Temples, Greenhouses, Observatories, and Gardens, all in bright and inviting colors
• Helpful Macros - Initiative Macros and Location Macros to help speed up gameplay
• Side Quests - A huge cast of characters with different goals allows your players to explore the setting in different ways
• A Magical Scavenger Hunt - The party must collect several objects to break the curse, but there are multiple ways to find what they need.
• Dynamic Lighting - All maps come with prebuilt dynamic lighting
• Custom Tokens - 23 custom tokens sure to bring a smile to all your players
• Printable DM Guide - All handout materials have been collected into an easy-to-read Downloadable PDF DM Guide so you can easily review game details on your favorite electronic device, or print it out and read wherever you like.
• Printable Player Character Sheets - All eight Player Characters sheets are included in the DM Guide to help them pick the character they like best, and provide easy reference during the game.

Operation Unfathomable Covers

 Jason Sholtis tells me that the work on the remaining Operational Unfathomable Kickstarter items is drawing to close, which is good news to a lot of people. Jason requested I send him all of the cover designs I had brainstormed for the various products. I had not looked at any of these in 4 or 5 years, but once I dug them up and thought they were worth sharing, though none of them may get used on the actually products.

This was my first design for the Completely Unfathomable omnibus. I mainly just wanted to give it an omnibus sort of feel.

This is for the same book, but thinking a bit more out of the box. It's meant to look like an old bubblegum card wax pack wrapper. 

This is the is the second design I did for Odious Uplands. It's meant the reference the sort of WPA national park posters. 

This was my proposal for the DCC version of Completely Unfathomable. It references the Skywald Publishing horror magazine style (even with a riff on it's "horror mood" tagline). It's my least favorite of these.

Dark Sun: The Templars

 

We're told in the original Dark Sun campaign setting that the Templars are "clergymen devoted to the sorcerer king of their city. Like other priests, they are granted spells in return for their worship." Also, they "dominate the king's bureaucracy." The revised box set expands on this slightly saying they serve as city guards and in the army, they oversee the city's administration, and they "maintain the illusion that the sorcerer king is a god by using their absolute power to enforce worship and homage to their ruler."

The problem with these portrayals is it seems at odds with what we are told about individual city-states and their sorcerer-kings. Some sorcerer-kings are viewed as gods, it's true, but some (we are explicitly told) just style themselves as rulers or whatever. Also, despite their name implying the existence of temples, we are not, across all the city-states, given any indication of temples' existence or what the practices within them might be. The first Dark Sun novel, Denning's The Verdant Passage supports the view of the setting material, with Kalak of Tyr viewed as a king and little evidence he is worshipped by anyone (though there is a mention of the templar's leading his "veneration.").

Without providing a unified "origin" for the templars and their role, I feel like not only should their exact nature vary from city-state to city-state, but also their name. I suppose for ease of discussing them as a class, templar serves as  well as anything, though. For most city-states I like the approach of the setting material and the novel: sorcerer-kings are venerated but not worshipped. (The distinction, may admittedly, be a fine one, but it exists.) The sorcerer-king forms the core of the city-state's civic religion: it's holidays, festivals, and foundational myths. There are no gods on Athas, but there is an afterlife, so perhaps fidelity to the sorcerer-king is tied in dogma to reward in the hereafter. The templars officiate at public observances (except when the sorcerer-king is present) and punish those who don't appear sufficiently devoted. As bureaucrats they also have a role in legal preceding that interact with the civic religion. 

Many of the city-states are probably a bit more fascistic than ancient world cities in the popular imagination. I feel like scarcity of resources would tend to push them the direction of Immortan Joe's Citadel in Mad Max: Fury Road. I could see some smaller ones having a cult (used in the modern sense) kind of character.

Streets of Fire and the 50s-but-80s Setting

On other social media, Paul "GRIDSHOCK 20XX" Vermeren mentioned he had watched Streets of Fire for the first time after hearing that it was influential to Mike Pondsmith. I've seen people call it "proto-cyberpunk" which means, I guess, that they see it as punk without any cyber. While I can see how aspects of it would influence the aesthetics of cyberpunk, I think it's difficult to say it's "proto" anything. It's really more like an evolutionary dead-in; a path that wasn't taken.

I do think, though, that taken on something closer to it's own terms, it would suggest a pretty interesting rpg setting, not by adding cyber or other fantastic elements, but rather doing action or adventure stuff in a world that never was. For lack of a better descriptor, a world where the 80s was more like the 50s. Or maybe the 50s was more like the 80s would work, but I think the former is better.

The styles of cars and clothes resemble the 60s, but the urban sprawl is more like the urban decay of the 70s into the early 80s--where it isn't exaggerated for fanciful effect. There was a long war, which was aesthetically perhaps more like Korea, but the public perception of its pointlessness and the difficulties its soldiers had upon return resemble more the popular conception of Vietnam. The gangs that are sometimes the bogeymen of 80s films just look more like the gangs in The Wild One than the gangs in Fort Apache the Bronx. I feel like the media presence Chaykin pushes in American Flagg! (which is, of course, set in the future but like most sci-fi speaks to the fears/concerns of its era, the 80s) or The Dark Knight Returns, could be interesting translated to 50s television without loosing much.

So what would the characters do other than what we see the characters do in the film? Well, just pick any present-day set 80s action movie and give it a bit of a 50s veneer.

Wednesday Comics: DC, September 1980 (wk 1, pt 2)

I'm reading DC Comics' output from January 1980 (cover date) to Crisis! This week, I'm continuing my look at the comics at newsstands on the week of June 12, 1980. 

Secrets of Haunted House #28: I don't understand the ending to the first story by Kelley and Rubeny. A Hollywood agent plans to jumpstart his career by pulling a recluse former star out of retirement. On the way to get the star back in the game, the two are in a car wreck and the star dies. Luckily, an island shaman shows up and offers to revive the star, but it will require another life in his place. One assistant's demise later, the star is ready for his close up. Trouble is, it takes periodic deaths to keep him alive. Eventually the agent tires of all this and goes back to the shaman to beg him to end the star's life. Twist! The shaman is in cahoots with the star, and it's the agent that meets his end. But why? It was established previously that just not killing for him would lead to the star dying. 

Next, Barr and Cruz give us a hillbilly Romeo and Juliet among feuding mountain families, except there's also a corrupt revenuer framing them for making moonshine. Ultimately, the apparition of a burning man (in this case the revenuer, on fire) is just the omen the families need to bury the hatchet and have themselves a wedding! The last story, by Kelley and Carrillo in the most EC-like of this issue. A bullied, young warehouse worker loses his tormentors to something in a deep freeze. When forced to confront it himself, he finds a vampire that he dispatches through quick thinking.

Superman #351: This continues Conway's and Swan's story of the fallout from Prof. Tolkein (not that one) demonstrating his "genesis machine," and instead empowering some sort of creature from the subconscious. If this were a Marvel Comic of the era, the creature would be wrecking all kinds of havoc, and though it does fight Superman, there isn't really a sense of danger to it. Lana talks with Tolkein to piece together what happened, and it turns out he tried to create a psychic circuit from the minds of students (without their consent) back a decade ago, and re-activated it to power the genesis machine at the reunion. The trouble is, the circuit didn't work right because Clark Kent wasn't a part. He's immune to hypnosis, naturally. Once this is revealed, Superman joins the circuit, allowing it to discharge safely. Everyone's mind is sort of reset, so none of the participants remember what happened. 

In the backup story, written by Denny O'Neil Mr. Mxyzptlk causes trouble at a circus, and Superman has to fill in to keep the performances going for the kids. In the end, Mxyzptlk is undone by one of the children's favorite toy, a tape recorder. This is lightweight, but fun and has Garcia-Lopez art.

Superman Family #203: I will say this for this title, it makes the members of the Superman Family seem more interesting to me than they have historically. I wouldn't say I'm eager to read about their exploits, but it does make Lois Lane and Jimmy Olsen more worthwhile as characters. Harris and Mortimer/Colletta provide the Supergirl story this issue, which is more horrific to me than what they intended. A young woman who has been in a coma for 7 years (miraculously thriving, though she doesn't eat) suddenly wakes up and thinks she's Supergirl. And she has the powers to prove it. X-kryptonite is the culprit and the woman got exposed to it at Supergirl's crash site. There's some nonsense with an industrial spy who Supergirl deals with, but tragedy of the woman who lost her childhood  after contact with an alien technology is sort of glossed over, focusing on the reuniting of the family rather than the loss. Tales from the Loop made whole downer episodes from that sort of material!

Next Bridwell and Tuska treat us to a really trivial Mr. and Mrs. Superman story where Lana Lang arrives at the Daily Star and gets a job as a tv critic. After a poison pen review, a tv writer tries to kill her (and Lois) in an elevator. I'm uncertain when this story is suppose to take place. I would have guessed the 70s based on the fashion, but Earth-2 Clark and Lois are still pretty young, and TV seems to be in black and white. The early 60s maybe? The Clark Kent story by Rozakis and Janes has Clark helping a movie star whose developed the power to predict disasters. "Helping" in this case means convincing her she really doesn't have the power anymore, so then she really doesn't? 

Rounding out the issue, we have Lois and Jimmy stories. In Wolfman's and Oksner's Lois Lane piece, Lois is captured due to a trick elevator (bad elevators are a theme). A deprogrammer with a high tech apparatus steals her memories for some shadowy someone. Before they can kill her, she escapes. Suffering from amnesia she meets a widower haunted by the past, and they have a whirlwind romance-- Before goons show up to try to kill her. To be continued. Jimmy Olsen overhears a plot to kidnap a congressional candidate, but he has a hard time getting anyone to believe him, particularly after the criminals feed him false information to discredit him. Ultimately, it's revealed that the candidate too good to be true is really in league with the criminal element, and Jimmy has a target on his back.

Weird War Tales #91: I'm a bit surprised by the first story here because it's about the U.S. (conventional) bombing of Japan in WWII, and it takes a critical view. I wouldn't have expected that in a kid's comic in 1980. JM DeMatteis and Ernesto Patricio present a sadistic bomber captain, a young Japanese boy with pyrokinetic powers, and the war-weary bomber crewman that somehow helps facilitate the boy's revenge for the loss of his family. It's only marred by the narrator hitting us over the head with the fact that all the principles died, both righteous and wicked, because "this is war--where their is no justice--no happy ending--only death!"

The next story by Bernstein and Ayers and Adkins is much more standard issue. Some Italian soldiers decide they're done with the Germans and seek to surrender to the Allies. The Germans don't take too kindly to that and pursue them into the catacombs to kill them. Ancient Roman bones rise up to defend their descendants. In the next yarn, Haney, abetted by Sutton's intricate art weaves the tale of the doom of Harold, the Norman Invasion, and a certain comet. Finally, a futuristic tale of prejudice that I think I may have seen as a kid. Kupperberg and Ayers/Celardo present a post-apocalyptic world where "muties" with skins like California raisins are mistreated by a racist soldier--until he is cast down after his wife bears a mutant child, thanks to the mutants placing a source of radiation under his bed. Seems like neither side takes the high ground here. The future is like a weird mix of cod Roman Empire and modern day which the art fails to sell.

Wonder Woman #271: I'll be brief with this Conway/Delbo reset. Diana saves Steve Trevor's life, again (not the one from her Earth than had died, but another one). Then, she wins the right to be Wonder Woman again in a competition. Then, she leaves with Steve Trevor again for Man's World. Years of continuity dumped with no fuss, no bother. There's a backup story starring the Huntress by Levitz and Staton which isn't bad.

Two digests the first half of June: Best of DC #7 focused on Superboy and DC Special Blue Ribbon Digest #4 full of Green Lantern stories.

Weird Revisited: Zone Commandos!

The original version of this post appeared in 2017.

 

THE SETUP: In 1985, a deep space probe returns to Earth after being thought lost in a spacetime anomaly. It returns to Earth, dropping otherworldly debris in its wake. Across the globe, zones on anomalous phenomena and monstrous creatures are created!

Twenty years later, only special UN troops stand between humanity and the destruction of civilization as we know it!

It’s Roadside Picnic meets 50s monster and sci-fi movies/kaiju and 60-70s action figures like G.I. Adventure Team and Big Jim.

THE HEROES are mostly buzz cut military men like the MARS Patrol but with code names and personalities more like 80s G.I. Joe. Their ranks many be augmented by beings that appeared from an anomaly (Kirby-esque amazons, aliens) or people enhanced by barely understood and dangerous technology acquired from them (Atomic Man, THUNDER Agent sorts)

THE DANGERS are strange environments, monsters of all sorts of 50s and 60s sorts, from Zanti misfits to human mutates to giant mutant dinosaurs.

This is a refinement/re-imaging of my Rifts 1970 campaign idea, just a little more militarized and more informed by the early 60s.

The Mutants of Dark Sun

 

Under the description of humans in the original Dark Sun campaign setting it's noted that:

On Athas, centuries of abusive magic have not only scarred the landscape—they've twisted the essence of human appearance, as well. Many humans in Dark Sun look normal... Others, however, have marked alterations to their appearance. Their facial features might be slightly bizarre; a large chin or nose, pointed ears, no facial hair, etc. Their coloration might be subtly different, such as coppery, golden brown, hues of grey, or patchy. The differences may be more physical, such as webbed toes or fingers, longer or snorter limbs, etc. 

This interesting tidbit doesn't really get much play in the rest of the 2nd edition version of Dark Sun. The revised campaign setting doesn't mention it at all. The 4e campaign setting does not that Athasian humans have unusual traits and exaggerated features, but it only hazards that it might be the effects of the magic that brought ruin to the land.

This might not count as minor

I think this is a feature that enhances the post-apocalyptic element of Dark Sun and further plays into the theme of magic as ecologically ruinous. It would be particularly good way to set apart the tribes of the wastes or hinterlands from the people of the cities. Perhaps some prejudice exists against those too tainted in some city-states? (It would fit with their generally oppressive, slaveholding, heavy-stratified nature.)

In any case, it gives us an excuse for an array of Masters of the Universe or Carcosa style people with unnatural skin tones, a variety of Star Trek alien foreheards/ear shapes and the like.

Dark Sun: Sorcerer-King Ascension

 "I am a brother to dragons, and a companion to owls. My skin is black upon me, and my bones are burned with heat."
- Job 30:29-30

One thing I forgot to touch on in my last Dark Sun post--and it's a key trait of the Sorcerer-Kings--is their transhuman state. The first box set gives us very little on this, other than it's references to the dragon, but by the time of Dragon Kings, it is established that all defiler mages can potentially walk a path to becoming the monstrous personification of destruction, a dragon. Preservers, it turns out, can become the the mothman-looking avangions.

This is presented somewhat differently in the novels between the first box set and the hardcover. In Crimson Legion, Hamanu appears as a leonine creature. In Amber Enchantress, Nibenay is sort of immense arthropod-type monstrosity. Later works will suggest Hamanu can appear however he wishes and retcon Nibenay to having a dragon-type form. 

Admittedly, there is room to interpret their appearances in the novels as not their actual forms. They are mighty sorcerers and psionicists, after all. It seems just as likely to me, though, that the original plan was to have every Sorcerer-King have a unique transformation. In any case, there's nothing stopping me from running with that idea, whatever their intention. Maybe they're all going to be "dragons" (so as not to change the terminology), but dragon is a broader class of forms than a single, reptilian-humanoid body plan? It certainly dovetails with the elements I want to emphasize to look at it that way.

Wednesday Comics: DC, September 1980 (wk 1, part 1)

I'm reading DC Comics' output from January 1980 (cover date) to Crisis! This week, I'm looking at the comics at newsstands on the week of June 12, 1980. 

Now that I've "caught up" with the same month all back in 1980, I'm going to slow down my pace, keeping it in line as much as possible with release dates. Also, I won't have to read as many comics a week!

Batman #327: Great Kubert cover here. This issue continues the Professor Milo secretly controlling Arkham plotline from last issue. Maybe I've gotten too used to modern comics pacing, but it feels like (given we had a whole issue of setup) this storyline should have at least run 3 issues. But no, Wein and Novick resolve it here. The guy we saw getting sent to Arkham last issue turns out to be Batman undercover. He doesn't realize that Milo has cameras in the rooms, though, so he's busted. We get one of those "try to drive the hero crazy" bits were Milo tries to convince Batman he isn't really Batman. The Dark Knight falls for this all too quickly even though he knows he's been drugged, but then seeing his enlarged pupils in a mirror reminds him, and he instantly shakes it off. Milo, of course, falls prey to his own insanity causing drug.

There's a backup Batman and Robin story by Mike Barr with art by Dick Giordano and Steve Mitchell. Batman calls Robin "chum" in the way he does in Barr's Detective run later in the 80s, so he's consistent with that mildly 60s throwback characterization. The action of the story takes place on a train, but in the two days since I've read it, I've forgotten pretty much everything else.

DC Comics Presents #25: Not unlike the Batman/Deadman team-up from last month, this Superman/Phantom Stranger team-up isn't really much of actual team-up. A cover blurb tells us that "the fate of Jon Ross is revealed"--Jon Ross being Pete Ross's son. Apparently Levitz and Dillin are revisiting the events of DC Comics Presents #13-14. Pete is in a asylum tearing up pictures of Superman after the hero and (and his childhood friend) failed to rescue his son who was kidnapped by aliens. Phantom Stranger narrates all this to us as his wont. Anyway, Superman didn't rescue Jon because the Legion told him the future depended on him not doing it. Superman feels really bad and is having attacks of intense pain. Phantom Stranger shows up to give Supes a pep talk and tell him not to give up, but he also goes and fights his old nemesis Tala who has been using a witch to manipulate Superman in hopes of acquiring his soul. While he's busy there, the combined effect of the enigmatic pronouncements of the Stranger and Lois really laying into Clark snap him out of his funk. He goes and rescues Jon fairly easily. As soon as father and son are reunited, Pete's madness evaporates. 

The backup story here is the first of a pretty fondly remembered series in some circles: "What Ever Happened to..." In this case, it's Hourman, as presented by Rozakis and Charles Nicholas. It's really just Hourman coming back for an adventure after retirement, so not the most auspicious start.

Flash #289: It turns out the original Al Desmond (as opposed to his "astral clone") is one of the good guys now after all, which really isn't much of a surprise despite Bates wanting to play it coy. He and the Flash team-up indirectly to defeat the evil Al Desmond. There are several wrong things said about elements in this story ("titanium is one of heaviest elements known") and fictional substances are presented as real ("cavorite") but hey, it's entertainment not education. In the epilogue, we see Barry Allen's attractive but unfriendly neighbor claiming he intends to kill her!

The backup story by Conway and Perez/Tanghal stars Firestorm. Ronnie decides its time to finally tell Stein what's going on, instead of letting the poor guy think he's going crazy with all these memory lapses, which is an excuse for a retelling of their origin.

Ghosts #92: The first story Wessler and Nicholas has a reporter character as a narrator as if he's somebody we have seen before, but I don't think we have. Anyway, the yarn's ultimately about a P.I. trying to help his murderous clients get rid of the ghost haunting them. Instead, the exorcism he commissioned gets rid of the clients themselves and now the ghost is haunting him. In "Unburied Phantoms," Kashdan and Henson bring to light the perils of a career in construction--if you happen to be an ex-Nazi war criminal who buried people you murdered in a shallow grave. Kashdan (this time with Newton) also brings us the next tale, where a rich guy with gambling debts tries playing Scooby-Doo villain to keep some Americans from buying his ancestral home only to die by accident and become a real ghost. The last story features an actor haunted by the ghost of his twin who's threatening to steal his life if he doesn't murder the twin's ex-lover. It's a different spin, at least.

Jonah Hex #40: Fleischer's story recalls the plotting of some Western TV shows of the the 60s, where the titular character gets less "screentime" than a new character who the episode focuses on. In this case, it's a rainmaker named Cal, who is actually a fraud and a thief. He eludes Hex, kills his criminal confederates, and will probably get credit for the rains coming at last, but ends up in the hands of the vengeful Paiutes he cheated at the beginning of the story. Don Speigle's Hex is more handsome than most, but it's still always a pleasure to see his art.

The backup story stars Scalphunter, a man without a title since Weird Western Tales was cancelled out from under him. In the first part of this tale by Conway, Ayers and Tanghal, he's attacked by a crazed white man, but then saves the man's life in some rapids. The guy then tries to steal his horse. Scalphunter has the patience of a saint, is all I can say.

Justice League of America #182: Conway and Dillin pick up right after the end of last issue with Green Arrow walking the streets of Star City, doing a little light crimefighting as he ruminates on why he quit the JLA. He gets teleported back to the satellite to explain to to his former teammates why he left the team, because they didn't find the reasons he gave sufficient. He refuses to talk, and they refuse to send him back to Earth. While the most powerful superheroes on Earth are acting like adolescents, we learn that Felix Faust is reformed (following primal scream therapy in prison. Seriously!) and is working as a librarian in Star City. He still, weirdly, wears his supervillain outfit. In going about his duties, he gets possessed by the spirit of a legendary warlock, Nostromus, when he opens an ancient tome. Faust's spirit contacts the JLA for aid. Everyone but Arrow and Canary run off the Europe to stop the warlock from reviving his old, entombed body. The possessed Faust's elemental powers defeat them, and he's about to complete the ritual, when Green Arrow shows up and puts an arrow through the book, ending the whole thing. He's still leaving the League, though, and he and Black Canary split up because she wants to stay. I guess Ollie can't even date a League member? Anyway, Conway seems to like Green Arrow a lot--we get two stories in a row where he saves the day--but at the same time he seems to be trying to get him off the team. 

The Elongated Man backup (guest starring Hawkman and Hawkgirl) by Kupperberg and Rodreguez is easily the best of the week. A charming little story with an amusing ending, and nice artwork by Rodreguez who is a dab hand at a women in bikinis, but also gives more than equal screen-time to Carter Hall in a speedo. Don't say I didn't warn you.

Star Trek Endeavour: The Lost Ranger

A continuing campaign in Star Trek Adventures...

Episode 5: "Agents of Influence [part 2]"

Player Characters: 

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

Eric As Lt.Cmdr. Tavek, Science Officer

Jason as Lt. Francisco Otomo, Chief Security Officer

and guest starring the crew of  USS Ranger: 

Aaron as Lt.(jg.) Cayson Randolph, Operations

Andrea as Capt. Ada Greer

Paul as Cmdr. D.K. Mohan, Chief Helmsman

Supporting Cast:

Lt. Cmdr. Galv, Chief Engineer, Ranger

Lt. Leopold, Communications Officer, Ranger

Lt. T'Sar, Science Officer, Ranger

Synposis: Continued from last session! In a flashback, we learn how the Ranger crew limped away from the encounter with the Klingon ship--and the mysterious energy force that destroyed both ships to take refugee in a deep crater. They set up a modified circle of sensor buoys to attempt to keep tabs on the outside world, but they are unaware a malfunction in one of them (a roll of a Complication in setting them up) caused one of them to broadcast a signal. 

Even worse, someone within the Ranger broadcasts a signal to the Klingons, telling them "the traitors" (i.e. the surgically altered spies) are on board. After that the untimely malfunction of one of the impulse engines begins to look like sabotage.

Both of these events have a silver lining, however, because they allow the Endeavour team, posing as smugglers in a J-Class shuttle to zero in on Ranger's location. They arrive just in time. The Orion ship that Endeavor's team encountered earlier appears to have spotted the sensor buoy array, too. They retreat, but then come back with extra ships to attempt a boarding action.

As the Starfleet crews prepare for the assault, Lt. Greer of Endeavour and Galv try to fix the impulse engine--only to have the saboteur reveal himself by disintegrating Galv!

Commentary: Continuing the adaptation of the novel of the same name by Dayton Ward. This was a crossover of the two Star Trek Adventure groups, and I think it worked reasonably well.

Dark Sun: City-States and Sorcer-Kings

art by Alcatena

The main action of the first Dark Sun material is set in the Tyr Region, also called the Tablelands. This is an area a bit bigger than the land area of Britain or a bit smaller than the land area of Colorado, for comparison. There are seven city-states, each (at least in the beginning) ruled by a Sorcerer-King.

Thinking about revising Dark Sun with the elements I mentioned before in mind, but also with any eye to the setting's inspirations, I find the Tyr region a little bland. Each of the city-states has a real world culture as inspiration (sometimes maybe a mashup of two), which gives you a bit more of a hook than just generic D&D Sword & sorcery city-states, true, but I think we can do better--at least in terms of my stated goals.

Here I would look to Planetary Romance, as it's a genre full of city-states separated by desert: Mars/Barsoom and Llarn (from two Gardner Fox novels) come to mind, but there are lot of others, and we don't need to limit ourselves to inspiration from only desert planet planetary romance. What these stories typically portray are cities at once more homogenous and more flavorful than Dark Sun's as presented. 

Most Planetary Romance takes place in a cultural region sometimes covering a whole planet. The cities in that region mostly have the same political arrangements, speak the same language, and have a consistent material culture. In order to make then distinct (and interesting places for adventure), they tend to have one unusual thing about them. It could be one of the things I mentioned above is slightly different or it could be the pursuit of some exotic pastime, a cultural eccentricity, an exotic terrain/natural resource or something physically about its people. (Flash Gordon and Mad Max: Fury Road represent the extreme end of this, perhaps, with polities that are essentially themed.) The more flavorful unique elements, of course, tend to be on the fantastic side rather than the mundane. My post on the Sword & Planet setting of Zarthoon illustrates this, though it leans a little in the Flash Gordon direction. Still, it gives you the idea.

This game in Storm is one of those unique elements

Dark Sun at once makes the cities a bit distinct in terms of mundane details, but they are mostly lacking that hook--a fantastic element to spur adventure. The Dark Sun cities in most cases don't have a high concept thumbnail description, unless you reference what real world culture inspired them.

The description of the Sorcerer-Kings themselves is part of the problem. A bit more "wizard from Thundarr" vibe would certainly help, I think. There is a transhuman aspect to what the what the Sorcerer-Kings are after, so I feel like they should, at least in some cases, feel like they are moving away from human a bit. maybe?

So from this perspective, I plan to take a look at the city-states in upcoming posts.

DC, August 1980 (part 2)

My mission: read DC Comics' output from January 1980 (cover date) to Crisis! This week, I'm looking at the comics at newsstands around May 22, 1980.

Action Comics #510: Again Bates and Swan deliver a story where at least it's hard to predict where they might be going. Luthor gives up on an opportunity to assassinate his foe for the sake of the mysterious woman Superman just rescued. He appears to have gone straight due to his new found infatuation with this woman--well, except for kidnapping her then performing supposedly life-saving surgery without her consent. That stuff she doesn't appear to mind. Where is Bates going with all this? We must wait until next issue.

Adventure Comics #474: House ads promise Aquaman is coming next issue. Maybe that will shake things up. Starman takes on some robots with a roller ball in place of feet which have a goofy charm. Ditko also gives us some good retro sci-fi aliens and costumes. Plastic Man has the criminal mastermind Archie Type putting a hit out on our hero. A bunch of pun-named assassins come after him. It's sort of fun. I might like this better if it was in a collection of its own, so I could get into its comedic vibe.

Brave & the Bold #165: Man-Bat and his wife are desperate parents trying to get ahold of an experimental South American drug that may treat their daughter's potentially fatal insomnia. Batman intervenes because the drug is being smuggled in by an unscrupulous doctor and may be tainted with botulism. Pasko has Batman initially unwilling to share information and come on heavy-handed to contrive a fight between him and Man-Bat. The issue ends with Man-Bat swearing vengeance against Batman should his daughter die, which is a pretty unusual ending for a team-up book, I feel like.

Detective Comics #493: Burkett and Newton bring us a Batman/Riddler story that seems to have been sponsored by the Houston Bureau of Tourism. Batman lands at Hobby to team up with the Vigilante's nephew, the Swashbuckler (who I'm guessing didn't have many appearances), then he gets to visit Astroworld. In the normally nonsuper-powered-lead-character Tales of Gotham feature, Red Tornado follows an elderly black lady around and gets a taste of life in a poor and stereotypical part of Gotham. Harris and Nicholas bring us their least interesting Robin story yet, but at least we find out who the guy is who has been following Dick Grayson. Wein and Giordano give us a really 70s tale of the Human Target and criminal truckers. Burkett and Delbo continue with Batgirl dealing with the fallout of a couple of issues back. Continuity!

Green Lantern #131: Barr and Staton have Evil Star out to destroy the sun after first making it's light more yellow to thwart GL. Not a bad story, but the second part of the trial of Arkkis Chummuck in the back up is still the most interesting part of the issue to me.

House of Mystery #283: The cover has nothing to do with this issue's contents. The first story by Mayer and Tanghal is really predictable, but satisfying as a life-long swindler and double-crosser believes he's made it into heaven, only to find he's been deceived this time. The second story by Kashdan and Nino might be a parable about not being prejudiced against other cultures, or it could be read as the admonition: if wives would only tell husbands they were trying to save their lives with unorthodox, folk medicine, needless deaths of legitimately suspicious friends could be avoided.

Legion of Super-Heroes #266: Conway and Janes have Bouncing Boy and Duo Damsel accidentally unleashing an evil genie. For some reason, Conway thought this plot deserved a two-parter.

New Adventures of Superboy #8: The cover shows Ma Kent at Clark's funeral slapping Superboy--and to my surprise the scene actually occurs in the issue. Bates delivers another mildly intriguing "puzzle" plot as Ma and Pa Kent mysteriously forget Clark is Superboy, leading Superboy to fake Clark's death. To be continued, naturally.

Sgt. Rock #343: The main story could almost be a comedy, though Kanigher and Redondo play it straight. Rock gets a concussion and is out of his head, just as Easy is supposed to be getting a visit from a Colonel who is all about spit and polish. The backup story "Crabs," seems like it scuttled in from a horror comic. Steve Bissette writes and draws this ambiguous tale about an island overrun by the titular creatures and the madness of a G.I. that seems catalyzed by their presence.

Super Friends #35: Romeo Tanghal fills in for Fradon on story involving a circus and imposter heroes. Very kid friendly.

Unexpected #201: The first story here by Skyrenes/Lillian and Heck is a bit Hammer Horror-ish and deals with curse on a haughty noblewoman and dated Romani stereotypes. The second story by Wessler with interesting art by Jim Craig, involves a funhouse where a Hall of Mirrors unleashes evil doppelgangers of people. It's a lot of set-up for little payoff, and I don't understand what happens in the ending.

Unknown Soldier #242: Haney and Ayers have the Soldier sent to stop a secret German plan to cripple Russia. The problem is, the Soviet spy only has half of the plans. The rest are in the hands of the mysterious Russian partisan, the Anvil. It turns out the Anvil is a woman, and the Soviet spy is a double agent. Awesome Kubert cover, but mediocre story.

Untold Legend of Batman #2: The definitive Bronze Age origin of Batman continues courtesy of Wein and Aparo. This time, the focus gets broadened to the supporting cast, giving short origins of Robin, Alfred, the Joker and Two-Face.

Warlord #36: Read more about it here. 

Weird Western Tales #70: This is the final issue of the title's 59 issue run. It continues the story from last issue with Scalphunter escaping the sadistic sargeant (and taking the woman disguised as a Union soldier with him). Pursued by some of the troops, they make a stand in an ice house, where their cunning gives them the upper hand. Scalphunter rides off into the sunset.

The Dials of Dark Sun

While I haven't heard its creators name specific works, it seems clear that the Dark Sun setting draws inspiration from Planetary Romance, Sword & Sorcery, and Post-Apocalyptic media. Paying attention to the features of these (sub)genres, one could "dial" up or down their presence in the game to tailor the setting to a specific experience, without needing to eliminate any one of components entirely.

In considering this, I realized that those three genres actually wind up having quite a bit in common. I've thought of some specific elements that 2 out of the 3 share. (I'll be ignoring similarities between Planetary Romance and S&S, because they are likely genetically related genres.) Before I present my lists, a comment about "post-apocalyptic" in regards to Dark Sun. I suspect DS is mostly inspired by Mad Max and related 80s post-apocalyptic films (The degree to which these films share some aesthetics with barbarian films in the same era in the wake of Milius's Conan, I'm also not going to get into.) I don't think DS draws much from say post-apocalyptic literature of earlier decades or even post-apocalyptic films of the 70s. The similarities I'm going to point out are with this particular Mad Max branch of the genre.

Anyway, here's what I thought of:

Planetary Romance and Post-Apoc

• Lots of wilderness, most often desert 
• Isolated, weird communities
• A mishmash of technology in use
• Lost technology

S&S and Post-Apoc

• Outsider, loner, (badass) heroes
• savagery vs. civilization
• violence
• grimness

There are major differences, of course, but it was surprising to me how well they mesh. I think it would be relatively easy to turn up the Planetary Romance by having the city-states of the Tablelands be more like the Red Martian cities of Barsoom, and the technology level of the pre-apocalypse world be higher, without really losing the post-apocalyptic struggle for survival. Alternatively, you could dial down the survival themes are play up the heroic stature of the protagonists without losing any of the other Dark Sun trappings.

There is a fourth dial and that's Dungeons & Dragons. It's probably the reason there is both magic and psionics and certainly the reason there are elves, dwarves, and halflings, different from standard as they are. The need to be marketed as a D&D campaign is probably the source of much of the dissonance in the setting, but on the other hand, a D&D setting is what it is. 

Wednesday Comics

My continued dive month by month into DC Comics of the early 80s will be delayed owing to the holiday. If you're new to the feature though, you might want to step back and take a look at the offerings with a cover date of January 1980.

Images Under A Dying Sun

 Thinking about doing something with this old post condensing my ideas about Dark Sun. Here are some images that get me in the right frame of mind. No actual Dark Sun art here, though of course a lot of that is pretty inspirational.

Wednesday Comics: DC, August 1980 (part 1)

I'm reading DC Comics' output from January 1980 (cover date) to Crisis! This week, I'm looking at the comics at newsstands on the week of May 8, 1980.

Batman #326: Wein and Novick have Batman facing a criminal he knows should be in Arkham. Gordon calls the head of the facility who assures him it's all okay, but the guy's all hidden in shadow so I'm suspicious, but Gordon just takes his word for it. It turns out it's Professor Milo with another nefarious scheme. Wein evidently likes Milo, as he brought him back in the 70s after an absence of over a decade, and brings him back again here.

DC Comics Presents #24: This is my favorite issue of this title since I've been doing this review. The basic plot is, admittedly, a little silly, but it's solidly Bronze Age. A scientist somehow hooked his heart device up to the Earth, hoping it would stabilize his arrhythmia, but instead it works the other way and causes earthquakes. Deadman is sent by Rama Krishna to get involved with this because he's being all mopey. No one in this issue sees or hears, him but he does some humorous cheerleading from Superman who is uncharacteristically hard-ass and no nonsense here. Garcia-Lopez is always great on Superman or Deadman.

Flash #288: Flash is still dealing with the returned Dr. Alchemy, who isn't who he expects. It turns out he's some sort of astrological twin, with a weird sort of relationship with the Desmond Flash has known so that they influence each other. Yeah, I don't get it either. Anyway, the original Desmond goes into action on the last panel--but for good or evil?

Ghosts #91: The thing that hurts this title compared to DC's other horror books is that the plots have a much more rigid formula: malefactor kills someone, then the murdered person's ghost somehow causes the malefactor's death. The Kashdan/Rubeny story tries a novel riff on the formula where the ghost makes it into a glassblower's glass. Haney/Landgraf have a ghost haunting a wealthy family over generations, with the twist being that the evil-doer doesn't know he's a member of the family, and the murder he committed wasn't the murder of the ghost. Nice effort, but they still feel straight-jacketed.

G.I. Combat #221: I've mentioned before that I'm not terribly fond of the Haunted Tank feature and none of the stories here change my mind, though Kanigher and Glanzman get points for sheer weirdness in "Wars Never Change" by having Stonewall Jackson's ghost mix it up with Attila the Hun's ghost--and suggesting these two are old enemies! In "Falling Star" they have a 4-F Hollywood star desperate to prove himself riding to the rescue of the Haunted Tank crew on horseback, and dying of a heart attack in a twist I didn't expect, I must admit. In other stories, a private saving his unit thanks to his adopting a stray cat, and POW gets into the ring with a sadistic German commandant.

Jonah Hex #39: Fleisher must have seen Red Sun, because we get Hex befriending a samurai looking for his kidnapped daughter (who has Chinese name rather than a Japanese one for some reason). It ends in characteristic downer Hex fashion with Hex forced to serve as second for the samurai's seppuku. The art here is by Hex co-creator Tony DeZuniga.

Justice League of America #181: Conway and Dillin  carry on the tradition of bowmen being pains in the ass in superhero teams. Green Arrow narrates this tale that starts with him complaining that the Justice League is out of touch with the "little guy" or something, then saving the day when Star Tsar returns. Notably Batman is absent, and it's sort of Batman-type "detective work" that allows Green Arrow to succeed.

Secrets of Haunted House #27: A lackluster issue with a story by Kelly with stiff Nicholas/Colletta art about a street gang terrorizing the New York subway being manipulated by a witch who wants to get back in Satan's good graces. The second story by Seeger and Redondo has a nice title ("Cold as Isis") but is a muddled tale of a mummies, reincarnation, an Egyptian god, and a swimsuit model.

Superman #350: In typical Superman fashion of this era, there is a lot going on here. Conway has Clark and Lana attending a college reunion where a number of their classmates just disappear during a boring speech by a professor. The professor's named Lemuel B. Tolkein, for no particular reason. When an office building disappears too, it turns out it all has to do with side-effects of the Prof's experiment that has turned the subconsciouses of the disappeared students into some sort of psychic monster. 

Weird War Tales #90: This one is pretty good. The first story by Haney and Cruz has a German U-boat transporting a set of coffins to South America after the fall of Berlin. The only problem is his crew keeps dying, and Hitler, occupying one of the coffins, seems very much alive! A nice riff on the Demeter parts of Dracula with some Haney twists. The second story by Kashdan and Carrillo has the French colonial army facing an army of ants in the Congo.

Wonder Woman #270: So Conway and Delbo have Hippolyte praying to Aphrodite to make Diana forget Steve Trevor and the tragedy of his death, which the goddess does. There's a fight with another elemental monster, then some Bermuda Triangle stuff, and a new Steve Trevor crashes a jet in the ocean for Diana to save. Conway's whole goal here appears to have been a reset of the Wonder Woman status quo before Trevor's death, and he's taken the long way around to do it.

World's Finest #264: I have questions about the lead Batman/Superman story by O'Neil and Buckler. Why is the Clayface of this story called "Clayface I" when he is Clayface II by Who's Who standards? Is it a mistake or is O'Neil counting him as the first Earth-1 Clayface? And since when can Clayface replicate Kryptonite? Anyway, not a bad story despite my questions. The Green Arrow story by Haney and von Eoden has Queen writing a utterly unsourced column accusing a new casino of being mobbed up (which he knew because of illegal surveillance). Then as Green Arrow, he takes down the transgender gangster running the joint. The Hawkman story by DeMatteis and Landgraf has a very Marvel vibe, to me, but B-grade Marvel, at best. Rozakis and Delbo have Dr. Light taking on Aquaman, with all the lack of thrills that implies. Bridwell and Newton bring the charm along with the Monster Society of Evil in the Marvel Family tale.