A Look at the First Flash Gordon Role Playing Game

I recently received my copy of the Flash Gordon Role Playing Game for the Savage Worlds system. I cannot be more excited to crack it open and try to convince my players to game in this wonderful setting. Like Shane Hensley (the creator of the Savage Worlds rpg), I am a huge Flash Gordon fan from serials to comics to 80s cult-classic, and am eager to see the setting emulated in a game system designed with this setting (among others) in mind.

Before I review the new game though, I thought I'd take a moment to reflect on the first Flash Gordon role playing game, a game that was among the first licensed role playing games ever published.

In the nascent days of role playing game yore -- 1977 to be exact -- Fantasy Games Unlimited published one of the first Science Fiction role playing games to hit the market with Flash Gordon & the Warriors of Mongo. The first two science fiction role playing games were TSR's Metamorphosis Alpha (1976) and Ken St. Andre's Starfaring (1976). Flash Gordon was one of a couple of games Fantasy Games Unlimited published that was co-written by Lin Carter -- yes that Lin Carter, the one who is responsible for most of Appendix N being in print -- with another being Royal Armies of the Hyborean Age.

Where Royal Armies was a set of miniature warfare rules set in the Hyborian Age, the Flash Gordon role playing game was an attempt to create an entirely self contained role playing game complete with campaign setting and campaign in one 48 page volume. That's quite a thing to attempt and I have been surprised at how well Flash Gordon accomplishes its goal -- especially given the low esteem in which the RPG.net review holds the game.

The book has its flaws, but it also has its brilliance. The flaws lie within the underlying rules for the conflict resolution system. The brilliance lies within the freeform campaign implementation system, a system remarkably similar to the Plot Point and Encounter Generation system mastered by Pinnacle Entertainment Group in their Savage Worlds series of games. More on this later. It's time to look at Flash Gordon & the Warriors of Mongo.

System Mechanics

In a brief note at the beginning of the book Lin Carter sets out his chief objective in the drafting of Flash Gordon. "My own personal debt to Alex Raymond, and my enduring fondness and admiration for Flash Gordon made this set of rules a labor of love. I was dead set against Scott's [Scott Bizar] first idea of doing a book of wargame rules and held out for adventure-scenarios, instead."

Carter wanted a game that was able to capture the excitement of the old Flash Gordon serial through the use of a collection of adventure-scenarios bound by a single rules set. Rules that were intended to "provide a simple and schematic system for recreating the adventures of Flash Gordon on the planet Mongo." With regard to their goals, Carter and Bizar both succeeded extremely well and failed monumentally.

The system is simple...and confusing...at the same time.

Characters roll three "average" dice for the following four statistics -- Physical Skill & Stamina, Combat Skill, Charisma/Attractiveness, and Scientific Aptitude. It's an interesting grouping of statistics that demonstrated FGU's willingness to look beyond the "obligatory 6" statistics created by TSR. The inclusion of Combat Skill as a rated statistic is in and of itself an interesting choice.

At no point is it explained what an "average" die is. Is an "average" die a typical six-sided die that you can find in almost every board game ever published, or is it one of those obscure and hard to find "averaging" mentioned in the Dungeon Master's Guide? The rules aren't clear regarding this, but the fact that "rolls of over 12 indicate an extremely high ability in the specific category" [emphasis mine] hints that it is the "averaging" die to which they are referring -- later difficulty numbers hint that it might be the regular dice that are used. The new gamer would have only this clue, but wargamers of the era would know that an "average" die was a sis-sided die with the numbers 2, 3, 3, 4, 4, 5 printed on it instead of 1 through 6. This die was used to reduce the influence of uncertainty on outcomes in wargames at the time. More recent games, like Warhammer, rely on regression to the mean and buckets of dice to reduce uncertainty. It may seem counter intuitive, but the more often you roll the less uncertainty influences outcomes because the likelihood that the total distribution of the rolls is normal increases.

Not that it matters much, as you will soon see.

After rolling statistics, players choose from one of the following roles -- Warrior, Leader, and the Scientist. This leads one to wonder which group Dale Arden fits, but that is another conversation entirely. The primary effect of choosing a particular roll is to add one point to the statistic most related to the profession.

These attributes are later used to determine success based on a very simple mechanic. Stat + d6 > TN. For example, if the players are in the Domain of the Cliff Dwellers it is possible that they will encounter the deadly Dactyl-Bats.



If the players decide that they want to fight off the Dactyl-Bats the success or failure of the action will "depend upon the military skill of the most skilled member of your group. Roll one die and add the result to your military skill. A final total of fourteen or greater is needed to drive off the Dactyl-Bats." Failure indicates the character is wounded and that the party must rest. It's a simple resolution, but one that lacks any significant cinematic quality. It feels awkward, and other mechanical resolutions in the game are similarly weak. Typical punishment for failure on an action is a loss of a certain number of turns. These turns are valuable as players need to recruit enough allies to defeat Ming before he has time to become powerful enough to squash any rebellion. While the statistics of the game are firmly rooted in roleplaying concepts, the resolution and consequence system still echoes board game resolutions. This is a weakness in this game, as is the inconsistency of resolution techniques. Fighting a Snow Dragon is resolved in a different manner than the encounter just discussed.

I imagine one could build a good game conflict resolution system built around the statistics highlighted in Flash Gordon, but this book lacks that system. I think it might be interesting to try to use a modified version of the Dragon Age pen and paper rpg system as a substitute for the mechanics in the Flash Gordon rpg. They are simple enough that it wouldn't require a lot of work. One could also use the OctaNe system if one wants to stick to the "narrative" feel that Bizar and Carter seem to have been attempting here. OctaNe succeeds where this game fails mechanically -- and OctaNe's system is ridiculously easy to learn and use.

Game Campaign System

This is where Flash Gordon really shines. The game's basic structure is that of a "recruitment" campaign where the players must journey from land to land -- based on how they are connected on an abstract schematic and not based on actual geography though the schematic takes those into account -- where they encounter various challenges and face various foes. For example, let's say our stalwart heroes find themselves in the Fiery Desert of Mongo. If they are mounted on Gryphs he journey will be easier than if they are not. It is possible, though not guaranteed, that the players will encounter Gundar's Gandits who will attempt to capture the players and sell them into slavery. The players may also encounter a Tropican Desert Patrol made up of troops loyal to Ming. The end goal of the area is for the group to recruit Gundar and his men, but that requires role playing and/or defeating the Tropican Desert Patrol. The description of the Desert and the possible encounters are abstract enough that they could easily inspire several sessions of roleplaying -- with a robust system like Savage Worlds -- all it lacks is a nice random encounter generator like the one found in The Day After Ragnarok to fill in the holes.

In essence, the Flash Gordon role playing game includes one or more major encounters for each geographical region of Mongo. As they players wander from place to place, they can/will face these challenges. What is inspired, and ahead of its time, about this structure is that the encounters are "story plot points" that must be achieved but can be achieved in the order of the player's choosing. There is room for exploration of the world at the same time that the players are succeeding at mandatory plot points. It is a narrative campaign without the railroading. Pinnacle Entertainment Group uses a similar structure in their Rippers, Slipstream, and Necessary Evil campaigns. It is a system that allows for narratively meaningful and fun play without the need for extraordinary planning on the part of the Game Master. All it lacks is a method, like the random encounter generator I mentioned above that is used by most plot point campaign systems, to fill in the scenes between the set pieces. Though it should be noted that there is sufficient information within the Flash Gordon rpg to easily construct a set of encounter generators with very little work.

Conclusion

Criticisms regarding the underlying conflict mechanical system, or lack thereof, are spot on when it comes to Flash Gordon. Character generation and conflict resolution lack any feeling of consequence or depth. BUT...If you want a campaign road map to use with another game system, preferably a fast-furious-and-fun one or a "narrativist" one, then this product is a deep resource. It will save you from having to read pages and pages of the old Alex Raymond strip in order to get an understanding of all of the minor details necessary for the creation of a campaign. You should certainly read the Alex Raymond strips, they are wonderful, but reading them should never be made to feel anything remotely like work. Bizar and Carter have done the work in presenting the campaign setting, all you have to do is adapt it to your favorite quick and dirty rpg mechanical set.

SyFy's "The Mercury Men" -- Lots of Small Quibbles, but Lots of Fun So Far.

I checked out the first episode of SyFy's new web series "The Mercury Men." At first glance, it appears to be an amalgam of all those wonderful b/w serials I used to watch with my Opa late on Saturday nights. That means it warms a special nostalgic place in my heart, but it also means that every slight flaw feels like a great betrayal. I've got a list of pros and cons below the video, but before I taint your experience watch the show. Only then read my pros/cons.

Pro -- The music and special effects are quite good. The lead does a credible job and I love his costume. There is some good humor. This looks like it could be great inspirational material for a Savage Worlds Slipstream campaign.

Con -- 1975? Are you sure? It doesn't look like 1975? The employee looks 50s, the hero 30s/40s, the girl has modern eye makeup and 60s youth quake hair. How many shots does the hero get per round of ammunition? The acting on the part of the older employee is a little over the top.

I'll keep watching, but it is going to be a battle between my forgiving genre eye and my extremely critical nostalgic eye. If you are trying to capture the magic of a Buster Crabbe serial, then you had better capture that magic.

So far, they are meeting the test.

An RPG Ahead of Its Time -- Flash Gordon & the Warriors of Mongo

In the nascent days of role playing game yore -- 1977 to be exact -- Fantasy Games Unlimited published one of the first Science Fiction role playing games to hit the market with Flash Gordon & the Warriors of Mongo. The first two science fiction role playing games were TSR's Metamorphosis Alpha (1976) and Ken St. Andre's Starfaring (1976). Flash Gordon was one of a couple of games Fantasy Games Unlimited published that was co-written by Lin Carter -- yes that Lin Carter, the one who is responsible for most of Appendix N being in print -- with another being Royal Armies of the Hyborean Age.

Where Royal Armies was a set of miniature warfare rules set in the Hyborian Age, the Flash Gordon role playing game was an attempt to create an entirely self contained role playing game complete with campaign setting and campaign in one 48 page volume. That's quite a thing to attempt and I have been surprised at how well Flash Gordon accomplishes its goal -- especially given the low esteem in which the RPG.net review holds the game.

The book has its flaws, but it also has its brilliance. The flaws lie within the underlying rules for the conflict resolution system. The brilliance lies within the freeform campaign implementation system, a system remarkably similar to the Plot Point and Encounter Generation system mastered by Pinnacle Entertainment Group in their Savage Worlds series of games. More on this later. It's time to look at Flash Gordon & the Warriors of Mongo.

System Mechanics

In a brief note at the beginning of the book Lin Carter sets out his chief objective in the drafting of Flash Gordon. "My own personal debt to Alex Raymond, and my enduring fondness and admiration for Flash Gordon made this set of rules a labor of love. I was dead set against Scott's [Scott Bizar] first idea of doing a book of wargame rules and held out for adventure-scenarios, instead."

Carter wanted a game that was able to capture the excitement of the old Flash Gordon serial through the use of a collection of adventure-scenarios bound by a single rules set. Rules that were intended to "provide a simple and schematic system for recreating the adventures of Flash Gordon on the planet Mongo." With regard to their goals, Carter and Bizar both succeeded extremely well and failed monumentally.

The system is simple...and confusing...at the same time.

Characters roll three "average" dice for the following four statistics -- Physical Skill & Stamina, Combat Skill, Charisma/Attractiveness, and Scientific Aptitude. It's an interesting grouping of statistics that demonstrated FGU's willingness to look beyond the "obligatory 6" statistics created by TSR. The inclusion of Combat Skill as a rated statistic is in and of itself an interesting choice.

At no point is it explained what an "average" die is. Is an "average" die a typical six-sided die that you can find in almost every board game ever published, or is it one of those obscure and hard to find "averaging" mentioned in the Dungeon Master's Guide? The rules aren't clear regarding this, but the fact that "rolls of over 12 indicate an extremely high ability in the specific category" [emphasis mine] hints that it is the "averaging" die to which they are referring -- later difficulty numbers hint that it might be the regular dice that are used. Not that it matters much, as you will soon see.

After rolling statistics, players choose from one of the following roles -- Warrior, Leader, and the Scientist. This leads one to wonder which group Dale Arden fits, but that is another conversation entirely. The primary effect of choosing a particular roll is to add one point to the statistic most related to the profession.

These attributes are later used to determine success based on a very simple mechanic. Stat + d6 > TN. For example, if the players are in the Domain of the Cliff Dwellers it is possible that they will encounter the deadly Dactyl-Bats.



If the players decide that they want to fight off the Dactyl-Bats the success or failure of the action will "depend upon the military skill of the most skilled member of your group. Roll one die and add the result to your military skill. A final total of fourteen or greater is needed to drive off the Dactyl-Bats." Failure indicates the character is wounded and that the party must rest. It's a simple resolution, but one that lacks any significant cinematic quality. It feels awkward, and other mechanical resolutions in the game are similarly weak. Typical punishment for failure on an action is a loss of a certain number of turns. These turns are valuable as players need to recruit enough allies to defeat Ming before he has time to become powerful enough to squash any rebellion. While the statistics of the game are firmly rooted in roleplaying concepts, the resolution and consequence system still echoes board game resolutions. This is a weakness in this game, as is the inconsistency of resolution techniques. Fighting a Snow Dragon is resolved in a different manner than the encounter just discussed.

I imagine one could build a good game conflict resolution system built around the statistics highlighted in Flash Gordon, but this book lacks that system. I think it might be interesting to try to use a modified version of the Dragon Age pen and paper rpg system as a substitute for the mechanics in the Flash Gordon rpg. They are simple enough that it wouldn't require a lot of work. One could also use the OctaNe system if one wants to stick to the "narrative" feel that Bizar and Carter seem to have been attempting here. OctaNe succeeds where this game fails mechanically -- and OctaNe's system is ridiculously easy to learn and use.

Game Campaign System

This is where Flash Gordon really shines. The game's basic structure is that of a "recruitment" campaign where the players must journey from land to land -- based on how they are connected on an abstract schematic and not based on actual geography though the schematic takes those into account -- where they encounter various challenges and face various foes. For example, let's say our stalwart heroes find themselves in the Fiery Desert of Mongo. If they are mounted on Gryphs he journey will be easier than if they are not. It is possible, though not guaranteed, that the players will encounter Gundar's Gandits who will attempt to capture the players and sell them into slavery. The players may also encounter a Tropican Desert Patrol made up of troops loyal to Ming. The end goal of the area is for the group to recruit Gundar and his men, but that requires role playing and/or defeating the Tropican Desert Patrol. The description of the Desert and the possible encounters are abstract enough that they could easily inspire several sessions of roleplaying -- with a robust system like Savage Worlds -- all it lacks is a nice random encounter generator like the one found in The Day After Ragnarok to fill in the holes.

In essence, the Flash Gordon role playing game includes one or more major encounters for each geographical region of Mongo. As they players wander from place to place, they can/will face these challenges. What is inspired, and ahead of its time, about this structure is that the encounters are "story plot points" that must be achieved but can be achieved in the order of the player's choosing. There is room for exploration of the world at the same time that the players are succeeding at mandatory plot points. It is a narrative campaign without the railroading. Pinnacle Entertainment Group uses a similar structure in their Rippers, Slipstream, and Necessary Evil campaigns. It is a system that allows for narratively meaningful and fun play without the need for extraordinary planning on the part of the Game Master. All it lacks is a method, like the random encounter generator I mentioned above that is used by most plot point campaign systems, to fill in the scenes between the set pieces. Though it should be noted that there is sufficient information within the Flash Gordon rpg to easily construct a set of encounter generators with very little work.

Conclusion

Criticisms regarding the underlying conflict mechanical system, or lack thereof, are spot on when it comes to Flash Gordon. Character generation and conflict resolution lack any feeling of consequence or depth. BUT...If you want a campaign road map to use with another game system, preferably a fast-furious-and-fun one or a "narrativist" one, then this product is a deep resource. It will save you from having to read pages and pages of the old Alex Raymond strip in order to get an understanding of all of the minor details necessary for the creation of a campaign. You should certainly read the Alex Raymond strips, they are wonderful, but reading them should never be made to feel anything remotely like work. Bizar and Carter have done the work in presenting the campaign setting, all you have to do is adapt it to your favorite quick and dirty rpg mechanical set.

Is Filmation's Old Series "Flash Gordon" Done Right?

A couple of weeks ago, my friend Steven gave me The New Adventures of Flash Gordon - The Complete Series DVD for my birthday.

He meant it as a gag gift. We have an ongoing, "let's watch bad stuff, ridicule it, and see just how awful something has to be before we turn it off" game going on. It started with my Birthday "Bad-movie-athon" viewing of In the Name of the King and has included things like Jesus Christ Vampire Hunter and Knights of Bloodsteel. So far, only Jesus Christ Vampire Slayer has been so horrible that even mockery wasn't able to make it watchable.

I have extremely fond memories of the Filmation Adventures of Flash Gordon series. Memories that I didn't believe were mere fabrication. Unlike my memories of how awesome Hawk the Slayer was -- which is now awesome for completely different reasons -- I was pretty sure that my fond memories were right on target in this case. Still, one does have to be wary of the memories of what one considered awesome during their youth. These things can come to bite you in the ass, as going back to watch episodes of Scooby Doo after the team began encountering Scooby's various relatives has proven to me. I loved the various "Doo's" as a conceit when I was a kid, I despise them now and blame Boomerang for letting me discover my childhood pleasure was a lie.

Needless to say, the DVD set of Filmation Flash Gordon episodes has been sitting on my shelf for the past couple of days as I deliberated whether to watch them with Jody and my twin daughters -- which would assume that the cartoons held up -- or to wait for a day when Steven and some other friends were over so we could MSTK the episodes -- which assumes that the cartoons would fail to live up to childhood memories.

Thankfully, our good friend Bill Cunningham over at Pulp 2.0 posted a blog entry discussing this very animated series which included a link to the invaluable SPACE: 1970 blog where Christopher Mills puts to rest all of my concerns. According to Mills, the first season of this animated series is a good adaptation of the classic comic strip.

I'll be ripping these open tonight for some family fun.

Now for some bonus material for Savage Worlds gamers out there. A few years back, I did some Savage Worlds character conversions of Flash and Ming the Merciless. I had intended on doing a full update of a number of the characters from the comic strip and serial, but haven't done any more to date. In order to encourage myself to post more character conversions from the Flash series, I'm going to post Flash and Ming here. If you want to see any future updates, you'll have to check my overly ambitiously named blog SAVAGE WORLDS CHARACTER A DAY.

Name: Flash Gordon


Yale graduate and famed polo player Flash Gordon is one of a small band are the world's only hope for salvation against the armies of Ming the Merciless.

At the novice level Flash has just parachuted to the ground near Professor Zarkov's secret rocket base and is about to begin his journey. At this time he has no "known" skill at shooting or piloting. Flash begins his journey with only the clothes on his back. No weapons...no armor...no food...

Race: Human

Hero Rank: Novice

Attributes: Agility d8, Smarts d6, Spirit d6, Strength d8, Vigor d6

Skills: Fighting d8, Guts d8, Swimming d8, Throwing d6, Streetwise d4, Piloting d4, Shooting d4

Charisma: +2, Pace: 6, Parry: 6, Toughness: 5

Hinderances: Loyal, Heroic, Enemy: Ming the Merciless

Edges: Attractive

Equipment: none.

Flash and his companions crashland on the mysterious planet Mongo and encounter some of the native beasts, two large lizard-like creatures. They are seemingly rescued by rocketships...only to discover that they have been caputured by the malevolent ruler of Mongo, Ming the Merciless. Flash makes a quick escape, but must leave Dale behind. He is still weaponless, but has acquired a new set of clothing (equivalent to leather armor) and flies off in a rocketship.

Hero Rank: Seasoned

Attributes: Agility d8, Smarts d6, Spirit d6, Strength d8, Vigor d8

Skills: Fighting d8, Guts d8, Swimming d8, Throwing d6, Streetwise d6, Piloting d8, Shooting d6

Charisma: +2, Pace: 6, Parry: 6, Toughness: 6 (7)

Hinderances: Loyal, Heroic, Enemy: Ming the Merciless

Edges: Attractive, Command

Equipment: Leather Armor.

After crashing in his rocketship, Flash meets his first ally Thun the Prince of the Lion Men. Our heroes journey into the Cave World of Mongo (Flash's eventual hideout). They rescue dale, only to crash when attacked by mysterious creatures. Eventually they end up in the land of the Shark Men of Mongo where Flash must fight hand to hand for his life against the King of the Shark Men. He spares the life of his opponent, only to be betrayed and place in a death trap. He is once again separated from Dale.

Hero Rank: Veteran

Attributes: Agility d10, Smarts d6, Spirit d6, Strength d8, Vigor d8

Skills: Fighting d10, Guts d8, Swimming d10, Throwing d6, Streetwise d6, Piloting d10, Shooting d8

Charisma: +2, Pace: 6, Parry: 8, Toughness: 6 (7)

Hinderances: Loyal, Heroic, Enemy: Ming the Merciless

Edges: Attractive, Command, Block

Equipment: Leather Armor, Rapier, Laser Pistol.

Flash as he begins to form alliances with the "Princes of Mongo."

Hero Rank: Heroic

Attributes: Agility d10, Smarts d6, Spirit d8, Strength d8, Vigor d8

Skills: Fighting d10, Guts d8, Swimming d10, Throwing d8, Streetwise d6, Piloting d10, Shooting d10

Charisma: +2, Pace: 6, Parry: 8, Toughness: 6 (7)

Hinderances: Loyal, Heroic, Enemy: Ming the Merciless

Edges: Attractive, Command, Block, Fervor, Inspire

Equipment: Leather Armor, Rapier, Laser Pistol.

This is Ming the Merciless as Flash first encounters him on the planet Mongo. He is fearless, intimidating, and powerful, but we have yet to see him in "action" as a combatant.

Ming the Merciless

Threat Rating: Veteran (50)

Attributes: Agility d8, Smarts d10, Spirit d10, Strength d6, Vigor d6

Skills: Intimidation d10, Shooting d8, Piloting d6, Persuasion d10-2, Guts d10, Fighting d8, Knowledge (Law) d8

Charisma -2, Pace 6, Parry 6, Toughness 5

Hindrances: Vengeful, Bloodthirsty, Mean.

Edges: Noble, Charismatic, Command, Rich, Natural Leader.

Now that Flash has become a nuisance in Ming's backside, Ming has begun to display new powers. Ming displays physical capabilities beyond what we have originally witnessed, and a hint of mystical powers.

Threat Level: Legendary (80)

Attributes: Agility d10, Smarts d10, Spirit d12, Strength d6, Vigor d6

Skills: Intimidation d10, Shooting d10, Piloting d8, Persuasion d10-2, Guts d10, Fighting d10, Knowledge (Law) d10

Charisma -2, Pace 6, Parry 7, Toughness 5

Hindrances: Vengeful, Bloodthirsty, Mean.

Edges: Noble, Arcane Background (Psionics), Connections, Charismatic, Command, Rich, Natural Leader.

Powers: Fear, Mind Reading, Puppet.

Hulu Recommendation Friday: The Phantom

One of the oldest costumed superheroes, and arguably the first to wear the ever present skin tight costume, is Lee Falk's 1936 creation The Phantom. The Phantom, as a character and narrative construct, helped to establish the basis for the modern superhero tale. His origin, though it included some elements likely inspired by Burrough's Tarzan, can easily be seen as the model which has dominated the genre.

The 1996 film, starring Billy Zane as The Ghost Who Walks and directed by Simon Wincer, was produced during a time where Hollywood wasn't quite sure which direction to go with comic book characters. The films of the era -- Batman, The Shadow, and The Phantom (to name a few) -- were simultaneously serious and campy. Hollywood hadn't yet reached the point where it could trust that superhero narratives on the big screen could be presented "straight." One would think they would have learned the lesson from the Superman franchise, which had two excellent entries -- neither of which were particularly campy -- and two awful entries -- both of which were campy.

Of the three films mentioned above, Batman (directed by Tim Burton) was the least campy, but it did have its moments of campy awkwardness that seemed to clash with Burton's moody expressionist representation of Gotham. Burton's Batman is a great Bruce Wayne film, but it isn't a great Batman film.

The Shadow, though campier than Batman, is almost a perfect representation of the title character -- it's so close that fans can see what the film would have been if it had been serious. It would have been a great serious movie, but it is also an entertaining campy movie. The reflexive ironic jingoism of Alec Baldwin's character is wonderful, as is Margot Lane, leaving only the over the top Tim Curry (who I usually love) lessening the enjoyment of the film. Well...Tim Curry and the weird prosthetic makeup that Baldwin wore as the Shadow are what are wrong with the picture. Still it is an entertaining piece.

All three of the "transition" films were entertaining, and that includes The Phantom. One doesn't have to look past the one sheet to realize that the film falls more on the campy side of things than to the straight, which is a shame. Treat Williams and Cary-Hiroyuki Tagawa would have been excellent in a straight version of the film. They are entertaining here as well, but by deciding not to update the look of The Phantom's costume, the film doomed itself to campville. As camp, the movie is a fun ride with some genuinely entertaining action sequences. It's also fun to run around shouting "Slam Evil," as my friends and I did while displaying our collection of Phantom rings (the promotional item used to promote the film).

Enjoy the film, but enjoy imagining what might have been as well.

RHI Entertainment, who brought us the excellent Tin Man and the horrible Flash Gordon, are working on a new television version of The Phantom -- the preview is below -- which looks promising. The RHI series looks like a combination of The Phantom, TNT's Leverage, and Remo Williams, but that could be fun...and at least they updated the costume.

Marc Bernardin and I Agree. Buffy Doesn't Belong on a List of Women Who Shook Sci-Fi

Marc Bernardin, Cinerati/Geekerati friend and writer for Entertainment Weekly, has a brief discussion of Total Sci-Fi's "The 25 Women Who Shook Sci-Fi." Bernardin asserts, and I strongly agree, that Buffy has no place on a list of Science Fiction leading ladies.

Fantasy and Science Fiction are not the same thing. Yes, Science Fiction is technically Fantasy -- even hard science icon Isaac Asimov had the Mule with his psionic talents and his PSYCHOLOGY using leading man in Second Foundation. Like it or not, there is no real scientific evidence of mind control powers, even when possessed by sterile genetic mutations. Science Fiction often deals with the fantastic, because it is a sub-genre of Fantasy. This means it is more specific, it deals with science. If the vampires of the Buffyverse were the product of a disease as in Richard Matheson's I am Legend, or The Last Man on Earth starring Vincent Price which was inspired by that tale, then she might qualify. But that isn't the case. You see, there is this thing called the Hell Mouth in the Buffyverse and that's straight from the Fantasy playbook.

But my beefs aren't limited to the inclusion of Buffy. I'm peeved at those who were left out of the list in order to include Fantasy characters like Buffy and Willow.

What about Wilma Deering (as played by Erin Grey)?



Or how about Lornette "Mace" Mason?



Or, if you want to reach into crossover genre territory, Emma Peel?



And that's just some of the important TV and film leading ladies left out. Don't even get me going on how egregious it is for any list of SF&Fantasy heroines to leave of Jirel of Joiry. Not to mention real life heroines of SF&Fantasy like Catherine Lucille Moore and Leigh Brackett (to mention only two).

Space Vulture Now Available in Paperback

Last March, Gary K. Wolf (Who Censored Roger Rabbit) and Archbishop John J. Myers' wonderful pulp science fiction novel Space Vulture was released in hardback. The novel contains a gripping and action packed yarn that is reminiscent of the serial movies that once played in theaters. Reading the book one is transported into a world of rocketships (not spacecraft), rayguns (not lasers), and where Faster than Light travel exists regardless of any scientific explanation. In short, the novel contains pure fun and none of the baggage that can weigh down "hard" science fiction.



While it might be easy for some to dismiss Space Vulture as "juvenile" fiction, I would recommend against such shortsightedness. While the tale is certainly appropriate for youth, and also conforms to the old "Space Opera" stereotype of being a Western in Space, there is nothing wrong with that as long as the tale is well written and has some greater truth (or Truth) to offer the reader. Space Vulture does indeed have the layer beyond the yarn that transforms a story from a story read during ones youth that is merely looked back upon nostalgically, for fear that the reality doesn't live up to the nostalgia, into a story that is worth reading again as a treasure to share with one's children.

Space Vulture subtly addresses the philosophic underpinnings that lead us toward a moral, or immoral, life. Of the four adult characters (two "heroic" and two "villainous"), two begin the tale as apparent two dimensional characters. The other two contain the complexities necessary to draw the other two adult characters from the "four color" and into the "real." This is a story that speaks to the importance of family, of the proper relationship between siblings, and to what really makes on a hero. Good stuff this, even if it lacks a discussion of Unified Field Theory.

Last year, I was lucky enough to have both Gary and John visit my podcast Geekerati for a little conversation. Have a listen.

Then, after your appetite for adventure has been whet buy the book. It just came out in paperback.

Flash Gordon and Highlander to See Big Screen

It seems that Hollywood is hell bent on destroying my childhood and teen years.

First, they made a campy version of STARSKY AND HUTCH which, like the Tom Hanks DRAGNET, was entertaining but made a mockery of something that was at times pretty dark. Okay, that applies more to DRAGNET than S&H, but the Michael Mann episodes of STARSKY AND HUTCH hold up very well and are good neo-noir.

Then they made the new FLASH GORDON and BIONIC WOMAN television series, which are unarguably awful. FLASH is so bad that watching it must surely be classified as the punishment that Satan gives Judas when his jaw is getting a little tired.

Then I found out that Seth Rogan was going to play Brit Reid in the new GREEN HORNET movie. Ummm...the Green Hornet is viewed by the public as a CRIMINAL and scares the crap out of people, that makes a good Seth Rogan comedy?! I'll still go see it because it stars Stephen Chow, but I know I'll hate it.

Why can't Hollywood do these things without irony? Oh, that's right because if you do a movie, like SPEED RACER, without irony you aren't "cool."

Which brings me to the latest news. Apparently, FLASH GORDON is returning to the big screen and they're remaking HIGHLANDER. I would have hopes that the FLASH GORDON might learn from the lessons of the TV show and go retro, but as it is produced by one of the producers of the aforementioned GREEN HORNET I have my doubts. Sure he also produced the new I AM LEGEND, and the director is going to be the guy who directed SAHARA -- and I am one of the 10 people who liked SAHARA -- but anyone who makes GREEN HORNET a Seth Rogan comedy is suspect. Personally, I'd cast Vince Vaughn and play it straight

The Future Was Only 11 Days Late

SCI FI Channel has finally revealed their "deep" entry into the realm of Internetelevision, SCI FI Drive-In. When SCI FI announced the broadband channel, the stated a release date of January 21st, but I wasn't able to find the site until this morning.

So far the offerings are pretty limited, but worth a visit. If they meet their proposed content this will become one of my favorite sites of all time. Currently, you can watch The Cabinet of Dr. Caligari and Metropolis, both films that you should rush out and see immediately.

What are you doing reading this still? Go watch Metropolis, then come back and complain that the Flash Gordon serials aren't available yet. Right now I have to settle for The Lost City, Undersea Kingdom, and Radar Men from the Moon. I guess that can tide me over for a while.

Who am I kidding? This is awesome!

The Future Appears to be Behind Schedule

On January 12, at the Telvision Critics Association winter press tour in Pasadena, the Sci Fi Channel made two announcements that made cinerati's editor squeal with joy. Sadly, it appears that they are behind schedule on the release of one of products.

The first was the announcement of a new 22 episode series based on Flash Gordon featuring the classic character along with his dastardly foe Ming. SCI FI's representatives at the TCA described the new series stating, "Stellar adventures and heroic battles mark this inventive new take on the perennial science fiction classic." I am excited about the prospect of the series, but the "inventive new take" statement makes me reticent to run around giddily while squealing for joy, I am still squealing for joy. I hope that RHI Entertainment and producers Robert Halmi Sr. (Earthsea) and Robert Halmi Jr. (Farscape), remember to include the Plantetary Romance tone of the original concept. It was the Planetary Romance aspects, and not the SF elements, which really set Flash Gordon apart from Buck Rogers and similar SF serial.



Fans of Space Opera films should note that it was the original concept, and not some "inventive new take," which inspired George Lucas to create Star Wars and that the inclusion of Planetary Romance goddess Leigh Brackett in the screenwriting process of The Empire Strikes Back added to the tone of that film. I am hopeful, but skeptical given the dark tone of the new Battlestar Galactica, that the show will capture the wonder of the earlier narrative. Sadly, much of modern SF seems to think that "darkness" equals narrative complexity and forgets that hopeful utopian views of the future can be just as deep an analysis of today's problems. For every George Orwell and Aldous Huxley, there is an Edward Bellamy and Jules Verne.

As for the future being late, SCI FI promised to bring their deep entry into internetelevision to the internet on January 21, and I have yet to see hide or hair of the project. SCI FI already has their "shallow" entry into internetelevision, you can watch the most recent Dresden Files online and watch a good amount of Battlestar Galactica footage online (including online exclusive material), but I was anxiously awaiting their deep entry. SCI FI announced their broadband destination site (what I call internetelevision) SCI FI Drive-in at the TCAs claiming that it would launch on January 21st giving access to "cult films, serials, campy documentaries, and trailers...includ[ing] such films as The Cabinet of Dr. Caligare and 20,000 Leagues Under the Sea, not to mention the original Flash Gordon serial" (geeee!) Sadly, the only mention of SCI FI Drive-in I have been able to find on the SCI FI site are in the forums (booo!).