Wednesday Comics: DC, December 1983 (week 2)

I'm reading DC Comics' output from January 1980 (cover date) to Crisis! Today, I've looking at the comics released the week of September 15, 1983. 

Batman #366:  Great cover here by Simonson. Moench and Newton/Alcala continue the story from last issue. Despite the destruction of his site model and Batman's escape, the Joker moves ahead with his plans to foment even greater conflict between the rebels and the military. Batman is pretty much apolitical here. The rebels expect him to be against them, but it isn't, even after one of their number tries to kill him. His main goal seems to be preventing further violence by letting both sides know they are being played. It's shallow from a real-world political context, sure, but it's not really the Batman you would expect from social media discourse that paints him as an authoritarian figure. 

Somewhat unrealistically, Jason Todd manages to make it to Central America just in time to help defeat the Joker dressed as Robin. Given that the Robin identity isn't one Grayson has given up yet, Batman is angry about that.

New Teen Titans #37: Wolfman and Barr co-write this team-up between the Titans and the Outsiders. It starts when the Fearsome Five breakout of prison and go after Dr. Jace to get her to empower some minions for Psimon. The two hero teams initially start to fight, but it doesn't go on long enough to stretch credulity. Too much. The dynamic between Batman as leader and Robin as leader is interesting and not as forced to create tension as Wolfman has written the two in the past. Terra worries having to interact with her brother may reveal some of the lies she told the Titan, and Changeling at least does note some discrepancies. All in all, a solid team-up whose resolution will come in the Outsiders.

Superman #390: Bates is joined by new scripter Elliot S! Maggin. As seen last issue, Vartox is on his way. He was inside a comet but has no memory of how he got there. He's intent on resuming his relationship with Lana Lang, though he seems take it ok when he finds out she's seeing Clark Kent now. Well, except he keeps getting struck with these vivid, intrusive daydreams where he kills Superman. Meanwhile, Lana is dealing with a serious stalker. Like, when the guy surprises her, she accidentally kicks him off her balcony, yet he finds a way to survive but keeps on pursuing her serious.

Arak Son of Thunder #28: Riding animated statues supplied by the priestess Dyanna, Arak and Satyricus are spirited far away from Byzantium to the ruins of the Temple of Diana in Ephesus. Dyanna enters the forest and warns them not to follow but gives them a golden arrow for their trouble. While Arak uses the arrow to get them some horses (he plans to go to Baghdad to secure passage to the New World), Satyricus wonders off. Arak goes looking for him and winds up in the middle of a strange grove, where he's forced to kill a raving man protecting a golden bough. Turns out he was a priest, and according to the Amazons, Arak can't leave the sacred grove and must assume the priest's duties as protector.

In the Valda backup by the Thomases and Randall/Yeates, it turns out Creston was killed not by an archangel but by the evil wizard Baledor, who has taken over the monastery at Mount Saint Michael. Malgigi heads there to fight the wizard, sending Valda to report to Charlemagne. The King is too busy in war to listen, so Valda heads Mount St. Michael herself, but gets attacked by evil monks.

Omega Men #9: Slifer and Smith/DeCarlo lay bare the trouble with a lot of rebellions: the folks that are good fighters to overthrow a regime aren't always good at follow through. While the Omega Men try to get their individual lives back in order vulnerable worlds are again conquered or drawn under the influence of the resurgent Citadel masterminded by Harry Hokum. In the end, many Omega Men have been captured, and Primus' only recourse seems to be to make a deal with Lobo that may mean his death. 

Flash 328: Similar to last month's Swamp Thing, the story here gets dragged out--delaying Superman's response on the Flash's expulsion from the League--another month while the Flash has a flashback. Which means we get a reprint of Flash #165 by Broome and Infantino/Giella with a brief frame. The night before Barry is to marry Iris, he's transported to the 25th century by Professor Zoom. Zoom disguises himself with Barry and switches places to wed Iris. Meanwhile, the real Barry is in Zoom's cell in the future. Barry escapes, of course, and the Flash and Reverse Flash do battle, until the future law catches up with Zoom and takes him back to his own time.

G.I. Combat #260: The cover story (which is the second Haunted Tank story this issue), finally addresses the issue of Stuart's Raiders flying the Confederate Battle Flag. It's doesn't go anywhere satisfying, but some acknowledgement of the issue is, I guess, better than none. We finally get a window into the feelings of Gus, the only black member of the crew, about that flag. He isn't happy, and coincidently, neither is a visiting general who demands they remove it and destroy it. Stuart isn't happy about that particularly, but he's a soldier and will do as ordered. Gus volunteers to burn it, but before he can, the wind (actually J.E.B. Stuart's ghost) whisks the flag away. Later, the ghost drops the flag, so it obscures a Panzer gunner's vision, allowing the Haunted Tank to prevail in a firefight. After their victory, the general drops his objections to the flag and Gus isn't consulted but suggests it must be God's will or something. Of course, the reader knows it was the actions of a racist ghost so I don't know how Kanigher expects us to feel about all that. It feels like a lampshade of a story, but an ineffective one.

The other Haunted Tank story involves them loosing 2 commanding officers in a row to repetitive trauma as they crack having to send men to their deaths and write so many letters to families about it. Beyond that, there's one about a pacifist medic who saves a soldier by accidentally (and unknowingly) killing a German gunner, and one where a soldier from a future World War III helps his ancestor in World War II.

Saga of the Swamp Thing #18: Pasko and Bissette/Totleben provide a framing sequence where Swamp Thing, Matt, and Abby are overwhelmed by the monsters from Matt's brain and Arcane tells a captive Kripptman the story of his last encounter with Swamp Thing--which is a reprint of Swamp Thing #10 (1974) by Wein and Wrightson. That story involves the ghosts of mistreated slaves attacking Arcane and his Un-Men.

The Other "Good Lore"

There has been some discussion in various places over the last couple of weeks regarding "lore," which isn't a great term, maybe, but one we all understand to mean background, mostly nonmechanical elements of a setting in all their myriad forms. A lot of time is spent separating good lore from bad. Ben Laurence wrote this great post last week. I wrestled with the issue in regard to history, one of the most vexing parts of lore, here.

Anyway, I think what Ben says about "good" lore and its creation and use is smart, but there seems to me a missing category, which was the impetus for this post. One type of actionable lore that Ben neglects to mention is the sort of detail that aids the GM in conveying the world to the players at the table. This isn't "actionable intelligence" for the players particularly, but rather things that help set the scene and convey the subtle textures that might differentiate one world from another. Things that should appear in (or at least inform) the GM's description of the world, not facts to be memorized in anyway.

A good way to do this is sensory-impressionistic descriptions. Jack Shear of Tales of the Grotesque and Dungeonesque presented a brief style of locale description that included as one of it's headings "A Taste, A Sound, an Image." I've borrowed this presentation myself, as has Miranda Elkins of In Places Deep. These sorts of details help set the mood both for the players and for the GM who must great more details and could use the imaginative springboard.

Note that these can be diegetic and nondiegetic, though going nondiegetic runs the risk of the reader not getting the "vibe" because they don't know the work referenced or took something else from it.

It might be fair to say, that's not really "lore," and I guess in the strictest since that's true, but I've got more! Ben mentions "banal facts about cuisine" as irrelevant lore, and I agree, but only in regard to the "banal" part. One of the things I did with my recent Gnydrion game was go out of my way to give a description of the meal being offered when the character's had a chance to eat. This isn't something I usually do, but Gnydrion is a very Vancian setting, so I wanted to lean into that. The players weren't expected to remember these meals; it was just a bit color, but I think it helped convey the feel of the setting. The players seemed to enjoy it in that spirit. All I had to do was make a list of like 10 dishes and I wasn't concerned if what I said in play was exactly what I wrote down.

I think these sorts of details like this can at least suggest actions. Knowing that bronze can be mined from the buried bones of dead Storm Gods could be something players do something with in Glorantha, but at the very least it sets Glorantha apart from say, the Forgotten Realms. 

At the end of the day, "good" lore is going to make your setting more memorable and interesting. This may be because the players can use that knowledge strategically, but it may also because it helps the world come alive for them.

When In Inaust

Gray, misty Inaust on Whulggan Sound is a place few choose to visit except on the most important of errands. If by some strange fortune you should find yourself in that city, here are several ways to pass the time:

• Enjoy a meal of grilled slug skewers with fermented fish sauce. We recommend the establishment Respa's Hearth as a superior venue for the dish. If your finances allow for such luxuries, the salt-cured glount roe makes a sublime antipasto. The glount roe trade can be cutthroat, and sabotage of a competitor or attempting to gain an advantage by substitution of roe of less desirable fish can occur. The glount themselves are edible, though it is considered lower class fare.
• Marvel at the spectacle and clamor of the mating combats of the morhuk on several sandbanks and islets.  The bellicose and lustful creatures pose a risk to navigation at such times, but the local nobility view them as totemic and forbid their harm under serious penalty. The fishers and boat operators are less favorably disposed toward the creatures and sometimes hire groups of ruffians to hunt the beasts with clubs under cover of night. 

• Acquire a coat, cape, or hat of fur and be the talk of the town in more Southron climes as you cut a figure of exotic, rustic fashion. Be sure to consult your furrier (we recommend Omer Zwirn & Sons) regarding the current status of sumptuary ordinance. The upper classes reserve some pelts for their own use, and the most prized varieties change frequently.

For those who arrive in Inaust in a state of embarrassment regarding their finances, we offer the following means of acquiring funds which are somewhat unique to the region:

• Compete in a birling contest. There are gambling establishment in the coarser areas of town where the woodsman's diversion of trying to stay standing upon a free-floating log while pushing an opponent from theirs. Entrants are paid a sum for competing and may win larger purses for performance. Would-be competitors are urged make every effort to discern the parameters of the any contest they may participate in, as some entrepreneurial-minded hosts have enhanced their offerings by pitting traditional contestants against wild beasts.
• Find employment as a boatman. No extensive knowledge of sea or maritime lore is necessary to serve as a cranksman or treadman on one of the many paddle wheel boats that ply the Sound. Stamina is the only prerequisite, though you would do well to pay the modest dues for membership in the Propellers Union, lest you face a beating and dunking from those toiling with you.

Wednesday Comics: Frieren: Beyond Journey's End

Volume 11 of the manga Frieren: Beyond Journey's End came out in English this week. I've mentioned the anime adaptation of this series before but I thought it was worth giving a shout out to the manga by writer Kanehito Yamada and artist Tsukasa Abe, which is ahead of the anime--and may forever be, given that the first "season" has completed and it's unclear if there will be more. The manga could be one's only chance to see the end of the story.

I'll try to be light on the spoilers for later events, but as I mentioned before, Frieren is a nigh immortal elf adventurer on a long, meandering journey to retrace the steps of her original party's journey into the demon-haunted North to find the place where the dead can speak to the living, so she can talk to one of her old party members. Her companions are her apprentice (a child adopted by her old party's cleric) and a warrior who was the protégé of another one of her former comrades.

This goal led to a storyline where Fern (the apprentice) and Frieren attempted to gain status in a wizard organization who controls access to the North. The current storyline involves some of the characters and situations from that one and centers around a town turned to gold by the actions of a demon, Macht, which the wizardly organization has been "containing" for decades.

Now, the containment has dropped and the diagoldze spell threatens to spread. Macht is being aided by another greater demon named Solitär. Several mages (including Fern) have already been defeated by them. Freiren arrives, but she's armed with the counterspell to diagoldze. Still, she has two powerful demons to defeat.

The manga, like the anime, finds its strength in its characters. In the somewhat alien outlooks of the demons and the extremely long-lived elves, it also considers human relationships and their meanings. It's an unsual series, and one I highly recommend.

80s Action Cartoons Were Very Gameable

I'm not just talking about the usual suspects like Thundarr the Barbarian or The Pirates of Darkwater; or ones that already have games like G.I. Joe, Transformers, or of course, Dungeons & Dragons. Even the deeper cuts are great too. Let's take a look at a sampling and the gaming inspiration they provide.

Sky Commanders (1987)

If you're a fan of hexcrawls or even pointcrawls, could I interest you in high elevation, feature-to-feature exploration? The premise is a new continent has arisen in the Pacific thanks to some weird energy source, and a multi-national group of mountaineering-specialist good-guys fight the baddies via flight, or by using "laser cables," a fancy rappelling line shot from combat backpacks. There are all sorts of environmental hazards to contend with too, and some monsters.

Spiral Zone (1987)

The high concept takeaway here might be G.I. Joe meets the Walking Dead. In the show, an evil scientist and his Road Warrior refugee have released a weird, bioactive mist (the Spiral Zone) that turns the people in it into mindless zombies. A crack team of agents and their tricked-out vehicles and protective suits do battle with the badguys. A twist is that both sides want to limit civilian casualties as the bad guys want to use them, and the good guys want to save them. 

Defenders of the Earth (1986)

While this team-up of several King Features Syndicate characters against Ming the Merciless might seem like a low-powered supers thing (and in some ways it is), the takeaway here, I think, is genre crossover. You've got a sword & planet guy, a pulp hero (or two), and a wizard who get together to take out a villain.

Wednesday Comic: DC, December 1983 (week 1)

My ongoing mission: read DC Comics' output from January 1980 (cover date) to Crisis! This week, I'm looking at the comics at newsstands on the week of September 8, 1983. 

Amethyst: Princess of Gemworld #8: Mishkin/Cohn and Colon give us a bit of the history of Gemworld, and we discovered that the humans originated on Earth and fled to another dimension as magic began to fade. Citrina, it turns out, was the one that led the ritual. Meanwhile, the mysterious Emissaries of Varn, working as mercenaries for Dark Opal, attack and destroy the House of Diamond. Amethyst and her allies are unable to stop the Emissaries and their magic absorbing power, but they are given a reprieve by the sudden appearance of one of the priests of Diamond.

Blackhawk #265: The editorial a few issues back was just a preview as Evanier and Speigle final get around to dealing with some of the lingering racism in Chop-Chops portrayal in story. Unfortunately, it also culminates in him appearing to get written out of the story. As the Blackhawks try to track down Merson through his finances, Chop Chop is uncharacteristically irritable, feeling like he's a second-class member of the team. His attitude forces the other Blackhawks to reflect and realize he has been treated differently. After playing a pivotal role in their capturing Merson, Chop Chop makes a formal announcement that he wishes leave to go fight the Japanese invaders in his home country. Blackhawk presents him with his on Blackhawk uniform for the first time and the group salutes him, addressing him under his real name for the first time in print, Wu Cheng. 

In the Detached Service backup by Evanier and Boyette, Chuck's plane gets stolen, and he's stranded in Europe for a couple of days, while he tries to get it back. He finds some of his plane in a black-market warehouse being run by a sleazy black marketeer Dmitri Hocking. He forces the man to help him retrieve the other parts, but things don't go smoothly, and they run into Nazis. Chuck is forced to assemble a patchwork plane of disparate parts for a dogfight before it's all over.

DC Comics Presents #64: Scientist and TV host Victor Epoch's (his show Astro seems a Cosmos stand-in) time experiment brings portions of the After Disaster future to present-day Metropolis, including Kamandi. He teams up with Superman to fight off the time-displaced Great Caesar and his tiger troops. This is Kamandi's last appearance prior to Crisis, courtesy of Evanier and Saviuk/McLaughlin.

Justice League of America #221: Conway is back again with Patton/Marcos and a particularly violent and bloody story for the JLA. The JLA members individually encounter and seem targeted various sorts of anthropomorphic animal people, and those guys don't pull punches. A rhnio man impales Flash on his horn, a flock of birds push Elongated Man into a press, and scorpion men fighting Hawkman impale a bystander bloodily. Firestorm meets the only animal woman, a cat woman named Reena, who seems opposed to the others. He convinces her to come back to the satellite and tell her story. We don't hear what that is this issue, but we meet the mastermind behind this all: a lion man named Maximus Rex who's ordering around a scientist named Dr. Lovecraft.

Wonder Woman #310: Mishkin and Beachum/Marcos have Wonder Woman considering revealing her secret identity to Steve Trevor and talking it over with Black Canary during a game. Canary is against it, but Wonder Woman tells a story of the Amazon Artemis and how Ares was able to manipulate her through her love of a Greek soldier Cleon into opening up Themiscrya to attack.  

The Cavalieri and Burgard/Rodriguez Huntress backup continues the story of the baby-selling ring run by Earthworm, but not a lot happens this installment other than we see how Earthworm prays upon the desperate and addicted to get the infants he sells.

An Adventure Path like a Dungeon

B1-9 flowchart

Recently I was reading the rpg Flash Gordon and the Warriors of Mongo (1977). The usual take on this game is that it is less an rpg and more a boardgame. That's likely the way it will strike most people on first blush, but I think Christian Lindke makes a reasonable case that it is a roleplaying game of its era (and underwritten even for that) with a definite campaign path, almost like some story games of today.

I don't see any reason why a game couldn't have a definite campaign arc. I think that would work with a lot of licensed properties, and I think the "adventure path" style of modern published adventures is a way to do just that. Unfortunately, these sorts of adventures suffer conceptually, I think, from a couple of flaws. One is the desire to have the campaign arc come as a surprise to players or at least to appear to arise naturalistically from the earlier campaign events. This requires the GM to be deceptive. Two, if the players weren't getting railroaded to get them into the adventure, they certainly are once it starts because the path through the adventure tends to be fairly linear.

I think it can be done better. This is an idea akin to my previous one about running an adventure point-crawl--in fact, it's really just a slightly different approach to the same basic idea. 

Both involve a goal to achieve, a geography to cover in doing so, and certain events or scenes that might occur. These locations and their events/scenes form the "rooms" in a conceptual "dungeon," or more accurately the points in a conceptual pointcrawl. An adventure of this sort would have a conceptual/narrative map and a physical geography map, not unlike the actual Mongo mmap compared to the "Schematic Map" of Flash Gordon and the Warriors of Mongo:

How would this differ from a standard, old adventure path? Well, in at least a couple of ways. As much is possible, nothing is supposed to happen. Certain events would make completing the task of the campaign easier, but only rarely would there be no other way to get it done.

Like in a pointcrawl, players are permit to just follow the physical geography. Nothing forces them to stay on the path, but the locations on the path have special features analogous (or perhaps literally, sometimes times) to secret doors, teleportation disks or what have you that allow quicker, easier travel between "points." "Solving" a "point" might unlock other advantages like allies or items that make completing the goal of the campaign easier. Just like finding certain items or meeting certain NPCs in a dungeon.

This break from linearity would mean the points would have to have less of a causal relationship than the events of adventure paths typically do. It would work best, I think, for certain sorts of campaign arcs. A rebellion (like Star Wars or Flash Gordon) would be one, but something like Pirates of Dark Water with episodic exploration in search of plot coupons would work well, too. Anything more like a broadcast era episodic TV series with a throughline and less like a feature film.