Judge Dredd: Mega-City One in Development from Rebellion and IM Global Television

Fans of Judge Dredd received some potentially good news today with the announcement that Rebellion and IM Global Television will be producing a television show that takes place in the Dredd-verse called Judge Dredd: Mega-City One. From early press materials, including the interview with Producer Brian Jenkins and Rebellion CEO Jason Kingsley embedded below, it appears that the main character of the show will be Mega-City One and not Dredd. From a creative standpoint, this is will allow showrunners and writers to explore a wider array of stories, and delve deeper into Dredd-lore, than might be possible if the creative team focused on Judge Dredd. Not that there aren't many great tales featuring the Judge, but the comic's biting commentary on American culture will be stronger if the city is a strong character.


Jenkins and Kingsley show a lot of enthusiasm for the project in their interview, but they admit their own novice status as film and television producers and highlight their partnership with IM Global Television. Founded in 2007 by Stuart Ford, IM Global Televsion has recently announced a number of major television projects in development including Judge Dredd: Mega-City One and series based on Glen Cook's The Black Company and Kurt Vonnegut Jr.'s science fiction novel Cat's Cradle. It's a relatively ambitious line-up for the relatively young company, but IM Global's President Mark Stern has a solid resume of work on genre properties from his time at the Syfy network where he was President of Original Content.

It's still very early in the development process, but as someone who owns many Judge Dredd collections, board games, and rpgs, I'll be looking forward to seeing what Rebellion and IM Global Television put together.

Of Black Widow and "Boy's Toys" #WheresNatasha

It has recently been reported by Jenna Busch at Legion of Leia that Hasbro opted to solicit a toy based on one of the more exciting scenes in the recent Avengers: Age of Ultron movie. In this particular scene, S.H.I.E.L.D. agent and Avengers member Black Widow springs into action by dropping out of the Avenger's Quinjet on a suped up motorcycle.

It's a pretty amazing sequence and a scene I look forward to watching repeatedly in the future. It's one of those ideal moments when film manages to capture the magic of the comic book page and translate it into real life. Throughout a progression of Marvel inspired films, Scarlett Johansson has managed to bring the Black Widow character alive on the screen with a nice balance between snark and charm. This moment was created to give her character a well-deserved action spotlight. This makes the scene an ideal choice for a toy play set based on the film.

There's only one problem.

 

Hasbro's play set based on the scene doesn't include Black Widow. It doesn't include her in the box as an action figure, and it doesn't feature her as a member of the Avengers on the cover of the box. This is a huge problem that has been discussed at length on a number of Feminist and Geek sites. If you are interested in their discussion, and you should be, I'd direct you to start with the Legion of Leia  and The Mary Sue and move on from there. Even though I'm the father of seven year old twin daughters who adore Black Widow as on of the - too few - female super heroes featured on a regular basis, I don't have anything to say from that perspective that hasn't already been said better.

Instead, I thought I'd take a moment to address what I believe is an underlying assumption that informed Hasbro's decision to exclude Black Widow from their offerings. Surprisingly, this isn't the assumption that these toys are "for boys." That may be one of the assumptions over at Hasbro HQ, but I think this falls into the "boys wouldn't want to play with girls as toys" sub-category of that assumption. I think that Hasbro not only assumes that these toys are for boys, but that boys would have no interest in pretending to be Black Widow battling the minions of Hydra and Ultron.

They are wrong on so many levels. Way back in the before times, in the not now, when the consensus view of the 21st century was Zardoz... Okay, that time never existed, but let's stick to the before times, in the not now. A time we will call "The Eighties." During this dark and mysterious age, action figures were a relatively new phenomenon. Sure, full sized GI Joe's had been around for a while, but the smaller action figures that would come to dominate the action figure market were relatively new. I don't know if Star Wars action figures were the first of this new line of toy, but they were an early one and they inspired toy makers to create new action figures for kids to play with. 

Those toys included a new and exciting line of GI Joe action figures that tied in with an animated TV show of the same name. The first "series" of Joe figures included three characters who were then, and are now, my favorite characters in that line. I played with those toys for hours on end. I pretended to be these characters as they battled COBRA and its nefarious plots. To me, these three characters are my "core Joes." They define who I most liked imagining myself to be. They were Snake Eyes, Stalker, and...in a turn that makes Hasbro's decision to cut a character played by Scarlett Johansson all the more ironic.

Scarlett.

 

What was the name of the company that made this mysterious female toy that both boys and girls (ages 5 and up) could play with? 

Hasbro.

As I mentioned earlier, Scarlett was one of the characters I most liked to role play when I was fighting against Cobra. She had an awesome skill set, just look up and check it out, and she had a hand crossbow. A freakin' hand crossbow! 

So I'd just like to add to the chorus of voices that are pointing out that young girls just as valuable as consumers, fans, and players. That it is also true that there are probably young boys out there who would be eager to pretend to be Black Widow as she defends the world against the forces of Hydra. Heck, I even know a father of seven year old twin girls who would jump at that opportunity.

 

Intrigued by 20th Century Fox's FANTASTIC FOUR

I've fluctuated in and out of being a fan of Marvel's iconic family superhero team The Fantastic Four. I love reading some of the original stories due to their raw Kirby-ism. Similarly, I enjoy much of the John Byrne era for the way it incorporated X-men style soap opera drama to the book. And the Waid/Wieringo era is wildly entertaining. As a whole though, the Richards family has always seemed a little out of place in the Marvel Universe. Sure Reed stopped Galactus, but that victory merely highlights the separation. The Richards family are first and foremost explorers who encounter cosmic entities of vast power and keep them destroying mankind through a combination of scientific know-how and a never-say-die spirit.

The key point here is that the Richards (and Grimm) are explorers. They are Marvel's version of the Challengers of the Unknown, another Kirby creation, with the addition of superpowers and foes the like that only Superman would encounter in DC. As great as the powers of the Fantastic Four are, they pale before Galactus, Annihilus, Ronan, and Kang. When the FF books are at their best, they focus on the super-science, exploration, and family elements. When they are at their worst, the writers portray the team as a superteam more like the Avengers than the explorers they are.

Neither the Roger Corman, nor the more recent Chris Evans vehicle, captured the team in all of its glory. The Corman movie gets some things right, but it also gets so much wrong. Similarly, Chris Evans and Ioan Gruffud are perfect casting for their characters, but the interaction with Doom was off and don't get me started on the Silver Surfer film. I really wanted to like that movie, and I own it, but it just falls flat. With these failures, I wasn't surprised the 20th Century Fox would attempt something completely new with an "update" to the franchise. Like most fans, I was baffled by the choices they were making. The actors cast in the film have talent as performers, but they somehow didn't match what my concept of this team should be.

Then I saw today's teaser trailer. Now I'm intrigued. It looks like the movie will be focusing on a Challengers of the Unknown style narrative, and that is where the FF really shine. I know it's just a teaser, and that teaser's always look good, but I'm willing to give the film a chance. It may not be THE Fantastic Four, but it might just be A Partially-Exciting Four. Besides, the final shot of the trailer is just so STAR TREK V that if the film is terrible, it may just be terrible in the best ways.

Now to decide what game system to use when I convert the film into a campaign.

#RPGaDAY 6: Favorite RPG You Never Get to Play -- DC HEROES in a Landslide

As I mentioned in the second post in this - behind schedule - series, DC Heroes is the first game I ever truly Gamemastered. I was an undergrad in college at the time and had just finished playing in a couple of remarkably well GM'd games.

There was Roger Frederick's GURPS Riverworld extravaganza that was a wonderful role playing experience and set us at odds with Horatio Herbert Kitchener. To this day, I despise Kitchener beyond all reason. There was the D&D campaign in which Rob Faust's character and mine were half-brothers...my character was "so strong he carried hemp rope." There was also a fun Amber game I played in that demonstrated both how well that system could be run and how lame it could turnout -- all due to the diceless mechanic.

I had also read a couple of books that discussed role playing games and how to run them. The best of these were Aaron Allston's Strike Force for the Champions RPG and the stuff in The Fantasy Role Playing Gamer's Bible based on Robin Laws' writings on player types.

I was ready to run an rpg and I was in the mood for a super hero game. I had recently acquired the 2nd Edition of the DC Heroes RPG and the sheer toy factor of that boxed set convinced me that this was the super hero game I wanted to play. That and the fact that TSR's Marvel game has some really wonky bits when it comes to certain match ups. Picture for yourself what a comic book smackdown between Captain America and The Everlovin' Blue-eyed Thing looks like. Got it? That's not at all what it would be like in the TSR Marvel system. There's a lot that is good about the TSR game, but unlike Champions (and to some extent DC Heroes) having a system where Captain America can hurt The Thing isn't one of them. Oh...and depending on the Wolverine write up, he can't hurt The Thing either.

So I wanted to us the DC Heroes system, but I wanted to use it in a manner that was "comic universe neutral." My DC Heroes earth had both Marvel New York and DC Metropolis. Captain America and the Invaders joined Sandman and the Justice Society in their quest to bash Nazis around. Conversion between TSR's Marvel to the DC Heroes system was a cinch since - in my view - DC Heroes APs correlate 1:1 with Champions DCs. Using this guideline the Hulk had either a 12 Strength or a 20 depending on whether I adhered to TSR's "carrying capacity" or just converted Strength 1:1 to Champions. I did the latter and my "DC" Hulk has a 20 Strength. Using the DC system, there is little need to give him the "grows as he gets mad" mechanics one might build into a Champions character. DC's "hero points" mechanic has that covered. If the Hulk needs to hold up a mountain - ala Secret Wars - he can push his Strength and spend the points. This had the effect that some of DC's more epic heroes were slightly more powerful than their Marvel counterparts, but close enough for government work. A battle between my "DC" Hulk and Superman wouldn't be without significant collateral damage, and it wouldn't be a cake walk for Supes.

What do/did I like most about DC Heroes? What makes it special? Most of these come down to Greg Gorden's design work on the game. If you don't know Greg Gorden's name, you should. He worked on the James Bond 007 RPG, Torg, Earthdawn, DC Heroes, Deadlands, and a host of other games. The games he worked on seem to share an ability to capture "cinematic awesomeness." The Bond game has areas of expertise where the PC is so good at stuff he/she doesn't have to roll to succeed. DC Heroes has the Hero Point mechanic and open ended die rolls on doubles. Hero Points can be spent to "push" abilities, but they can also be spent to "alter the environment." Did Hawkman drop his mace and desperately needs a replacement? Spend X number of Hero Points and there might just be a crowbar on the counter. DC Heroes pushes the players to become active narrators in the game play. DC even rewarded players for creating and playing out purely narrative sub-plots, this is very much like TSR Marvels use of Karma rewards for having Peter Parker pick up the laundry.

The game is great. It has clean mechanics. It's easy to learn to play and run. But it's out of print. None of the players in my group own a copy and while it is easy to learn the basics there are some maneuvers available in combat and non-combat that are more complex in concept. They are all easy in implementation, but you have to become familiar with them. The game also has a point based build component and even with this excellent character generator program, that means homework for the players or a PC generation day and my players don't tend to like those. Oh, and they also suffer analysis paralysis with questions like "How smart are you compared to Hank Pym or Batman?"

So I never get to play the game. That's okay. There are some other great superhero games out there. The Marvel Saga game and the recent Margaret Weis Productions Marvel game are pretty darn fun too.

Make Mine Savage -- What Statistics Can Tell You About Baseline Super Strength and Converting the Hulk

Sorry that it has been so long since my last post -- pretty much exactly one month -- you can blame that on my busy work and school schedule. I'm a full time Ph.D. student in Political Science at UC Riverside and work full-time as well. Add to that the fact that I actually spend time with family and game twice a month, and it leaves little time for blogging.

I'm a huge fan of Savage Worlds and the more that I play it, the more I find that the system falls into the sweet spot of where I am in my gaming life right now. I need a game that is relatively intuitive, that is flexible, that has some good tactical rules, has some good "abstract" rules, and can be played in a hurry. Savage Worlds is one of those rules sets. Recently, my group has been playtesting FENG SHUI for Atlas Games and playing around with the Accursed setting for Savage Worlds. In the near future, I hope that my group will be interested in playing a Savage Worlds based supers game. Before I ask my players to make that leap, I do want them to be more comfortable with Savage Worlds as a system. Super hero campaigns push any rules set to the limit and demand a lot of players with regard to knowledge of the rules set, so I won't likely be asking the players until early next year.

When I do run the campaign, I will likely be running a Marvel game or a Marvel/DC mashup game and so I'll be converting a number of characters as well as using some conversions I find online. As I've mentioned a couple of times in the Make Mine Savage series, one of the challenges in character conversion is avoiding "power exaggeration." This occurs when a player/GM substitutes their own power fantasy about a given character to set the assumed baseline instead of starting with the game's mechanical baseline and moving from there. The prime example of a power fantasy setting a baseline in relative power discussions often occurs when chatting about whether The Hulk or the Juggernaut is stronger. For gamers/comic fans of a certain age, one only has to wait until the second or third round of discussion before the scene from Secret Wars where The Hulk holds up a mountain range comes into play.

Let's just say that if you are setting your baseline for what The Hulk needs to be capable of at "Fifty Billion Tons" as a mechanical necessity, this is beyond even the Cosmic Level of Savage Worlds which would set d12+12 at 10,000 tons. Were I adjudicating the mountain scene above, I'd use the Dramatic Tasks rules and apply appropriate penalties with each failure on The Hulk's behalf equating to a level of fatigue.

So where would we set The Hulk within a Savage Worlds framework? What is the appropriate level for The Hulk? The old Official Handbook of the Marvel Universe, as well as the old FASERIP system, place The Hulk at the 100 Tons range which is d12+9. This is useful as far as it goes, but doesn't really tell us a lot. This is especially true if the GM is using my alternate "dials" with regard to lifting or is using the following Edge:

Super-Brawny 
Requirements: Novice, Strength and Vigor d12+
     Your super-bruiser is significantly stronger than other characters in the setting. This is either because the character is large for his or her size category, or because she or he is very fit. The character is more resistant to damage than other characters (+2 to Toughness). Additionally, the character can lift or carry more that most characters with the same strength. This character can carry 10 times the amount listed on the Superhuman Strength chart. This edge may be taken multiple times where the multiplier stacks logarithmically (2xSuper-Brawny = x 1000 lift, but the character only receives the Toughness bonus once. If you wish, you can require the expenditure of a bennie and a STR roll at -6 to activate this ability. A failure on the roll equals 1 level of fatigue. Characters who become incapacitated from this fatigue must rest until they recover.

 I'm a fan of the above Edge because it allows for increased carry/lift capacity without altering the underlying damage mechanics of the game. One of the seeming truisms of comic books is that really strong characters, characters capable of lifting battleships, often punch street level heroes without turning them into paste. This emulates that aspect of the game.

A feat like the above, gives a tool that allows Savage Worlds to accommodate what The Hulk can lift, but it does little to tell us what The Hulk's combination of Strength and Damage should be. To establish this baseline, we need to ask how easy it is for the average "Brick" to destroy some very big and very impressive vehicle or piece of hardware. I think that the M1A1 Abrams serves this purpose nicely. The Abrams weighs approximately 68 tons and for all intents and purposes serves as a nice baseline for "Super Tank." According to the Savage Worlds Rulebook, the Abrams has a Toughness of 77/58/29 (60/41/12), or in "real" terms a toughness of 17. What I mean by "real" terms, is Toughness - Armor. This is because in the Savage Worlds baseline campaign it is possible for super heroes to add the "Focus" modifier to their "Attack, Melee" combat power. The Focus modifier allows attackers to ignore armor if they make a to hit roll at a penalty. One can imagine two kinds of Supers games. In the first, all "Bricks" worth their salt have the Focus modifier. In the second, none have the modifier. For the purposes of the statistical analysis here, I will assume that they do have the Focus Modifier.

This makes our question -- assuming that the "Mean" super hero can "destroy" an Abrams with one punch -- what is the right combination of Strength and Damage to achieve this task? Destroying a vehicle requires causing 4 wounds (+16 above the Toughness) and thus requires a roll of 33. We can set our bar lower to require only that the character be able to "Damage" an Abrams, but that is a setting dial. For our current dial, let's assume 33.

Using the calculator at Anydice - set to default settings -- this provides us with the following answer:

 

=31.81 σ = 7.99 min=13 max=116

If you prefer, you can make it d12+9 which makes x-bar 32.81 and increases the min and the max by 1 while having no effect on the standard deviation. In fact, at Attack, Melee 4d6 the amount of Strength above 12 provides a great dial for use with regard to punching holes in Abrams tanks and crippling them.  If you wanted to increase the spread of pluses, you could set the baseline as:

STR d12+5 with a 5d6 Attack, Melee Power with focus. 

=32.99 σ = 8.59 min=11 max=131

 Doing so would allow for some more control over where the supers fall in the distribution as influenced by the plus component rather than the d6 component. We can use the statistical information to decide where The Hulk falls within our super hero world.  First we have to decide in what percentile we want the Hulk to fall and then we can use a procedure called "Standardizing a Normal Distribution" to give us our number. We use the following formula in this case:

Z is a value that corresponds with a certain percentage of outcomes. For example, 90% of outcomes will be equal or less than z =1.645, 95% will be less than or equal to z =1.96, and 99% will be less than z =2.57. If The Hulk is stronger than 90% of really strong people in your game, you should set z to 1.645. If stronger than 95% of crazy strong people, at 1.96 etc. We would have an equation that looks something like:

1.96 = (x - 32.99)/8.59

Hmmm....the first thing that jumps out is that this tool isn't necessarily useful for our purposes. Another way to translate this is STR = d12 + z(Bonus - 5) + 4d6 attack.  What this means is that if we wanted The Hulk to be stronger than 95% of other Bricks we'd have to increase the "flat" number by 17.18 and that takes if off the chart. This tells me that the Abrams may not be the best baseline to use even if it's cool. This is largely due to the "swingy" nature of the open ended die rolls. Setting the baseline at such a high number means that we cannot use an actual distribution based on the likelihood of actual occurrence based on rolls and have it be very useful. In fact, even if we set the "average" Brick Strength at:

d12 + 2 with a 1d6 Attack, Melee

We get the following:

=13.27 σ = 5.83 min=4 max=56

Even at this level we see that The Hulk would have to be (1.96*5.83) points higher than average (11ish points) to be stronger than 95% of all other Bricks.

Does this mean that we cannot use a normal distribution to help us in our converting of characters? I don't think so. I do think it means that we cannot base our conversions on a distribution of damage, rather we have to create an arbitrary distribution and mean. Let's say we keep the mean around d12 + 6 (we can set the number of d6s of Attack based on how likely we want the character to be to damage, hurt, destroy an Abrams with each of those being an added die above 2d6). Given that a "normal" can have a strength of up to d12 without Edges (we can assume that the Edges allow for characters beyond human and in the low end of Brick like Captain America), this gives us a working range of +1 to +12. If we choose 2 (arbitrarily) as our standard deviation this gives us a distribution that looks like:

=6 σ = 2 min=1 max=12

If we use this in all of our calculations, we will get The Hulk as having a d12 + 6 + (1.96*2) Strength. In other words, a d12 + 10 Strength if we want him to have a Strength higher than 95% of other Supers. He'd have a d12 +9 at 90% and the percentage of people at d12 +8, +7, and +6 become larger until you hit 50% of your target population. Then the pattern repeats the other way with 95% of your Bricks having more than d12 +6 - (1.96*2) or d12 +2 Strength. That leaves only 5% of your Bricks with d12+2 or less. You can use this as a guideline to shape your campaign and should try to follow it as much as possible. This way if players as "How Strong is d12 +9?" You can answer that it is stronger than 90% of all other "Brick" caliber characters and be correct in saying so.

While some of this conversation may seem obscure, I think it is important to have some structured guidelines that help GMs and players when they are creating/simulating characters especially when it comes to abstract things like emulating the comics. The same player who might balk at The Hulk having "only" at d12 + 10 Strength when told it is 200 Tons might smile with joy when they find out that this is the level better than 95% of all super strong characters in the campaign universe...a campaign universe that includes Galactus and many others of the ultra-cosmic scale.

Additionally, we can see how Savage Worlds dice have a pretty big standard deviation due to the open ended nature of the rolling and the combination of several dice. The analysis was also useful for looking at what it really takes to create a character who can destroy an Abrams Tank in a single blow. It is easily possible through a number of combinations that are affordable at character creation.

For me, I wouldn't set that as the baseline for my "Bricks." I'd probably set it at around 21 which is the amount of damage it takes to do 1 wound to an Abrams, but YMMV.

Colossus -- Savage Worlds Style (A Beginning)

Way back in 2004, I started a blog with the bold title "Savage Worlds Character a Day" with the audacious desire to convert one character from comics, history, or television into the Savage Worlds game system per day. Needless to say, I didn't accomplish the goal. What I did do was to stat up quite a few characters I enjoyed and spark some discussions with friends. I've decided to move those write ups over to this blog in the hopes of both centralizing my "writing" and spurring more discussion.

I do not present these write ups as the only way to represent characters in the SW system, rather I hope to see your ideas and enter into a conversation with you about how you would write up the same characters. These are starting points. Let's chat and come up with a "merged" write up so I can create a page of "finalized" characters. The statistics below were adapted using the original Savage Worlds supers rules as presented in the original Necessary Evil campaign guide. Let's update this using the full Super Powers Companion.

Colossus (A Savaged Version)

Security Level: Novice

Race: Human (Mutant)

Attributes: Agility d6, Smarts d6, Spirit, D6, Strength d8 (d12+5), Vigor d8 (d12)

Skills: Fighting d10, Guts d6, Intimidate d6, Throwing d8, Knowledge (Art) d4

Charisma: +0, Pace: 6, Parry: 7, Toughness: 6 (10/Heavy Armor)

Hindrances: Mutant (Major as Minor Wanted and Outsider), Heroic (Major), Loyal (Minor), Enemy (minor)

Edges: Arcane Background (Super Powers), Brawny, Power Points

Super Powers:

Living Steel Form: [Super Attribute (8pp) +7 steps Strength and +2 Steps Vigor requires activation; Toughness (4pp) +1 and Heavy Armor requires activation]

Attack Melee (3pp) +2d6 requires activation

Security Level: Seasoned

Race: Human (Mutant)

Attributes: Agility d6, Smarts d6, Spirit, D6, Strength d10 (d12+7), Vigor d10 (d12+2)

Skills: Fighting d10, Guts d6, Intimidate d6, Throwing d8, Knowledge (Art) d4

Charisma: +0, Pace: 6, Parry: 7, Toughness: 8 (11/Heavy Armor)

Hindrances: Mutant (Major as Minor Wanted and Outsider), Heroic (Major), Loyal (Minor), Enemy (minor)

Edges: Arcane Background (Super Powers), Brawny, Power Points x2 (20 total), Take the Hit

Super Powers:  

Living Steel Form: [Super Attribute (11pp) +8 steps Strength and +3 Steps Vigor requires activation; Toughness (4pp) +1 and Heavy Armor requires activation]

Attack Melee (5pp) +2d6, Knockback, requires activation

Security Level: Veteran

Race: Human (Mutant)

Attributes: Agility d6, Smarts d6, Spirit, D6, Strength d12 (d12+8), Vigor d12 (d12+2)

Skills: Fighting d10, Guts d6, Intimidate d6, Throwing d8, Knowledge (Art) d4

Charisma: +0, Pace: 6, Parry: 7, Toughness: 8 (11/Heavy Armor)

Hindrances: Mutant (Major as Minor Wanted and Outsider), Heroic (Major), Loyal (Minor), Enemy (minor)

Edges: Arcane Background (Super Powers), Brawny, Power Points x3 (25 total), Take the Hit, Hard to Kill (2pp), Arcane Resistance

Super Powers:

Living Steel Form: [Super Attribute (10pp) +8 steps Strength and +3 Steps Vigor requires activation; Toughness (4pp) +1 and Heavy Armor requires activation]

Attack Melee (9pp) +2d6, Knockback 4 AP, requires activation

Little Geek Girls: Don't Say Superheroes are "Just for Boys"

On Tuesday, Kirk Hamilton at Kotaku shared a music video by The Doubleclicks entitled "Nothing to Prove."  I'll be honest and say that the song itself doesn't do much for me and sounds a bit like a song that would be performed by Carrie Brownstein on an episode of Portlandia, though I guess comparing a song to a song by a member of Sleater-Kinney isn't exactly an excoriating review. The aesthetics of the song notwithstanding, it was the visual content of the music video that really resonated with me. In particular the woman holding the "Don't tell my daughters that Lego, Robots, and Superheroes are for boys."

That sentence struck me like lightning and with almost perfect timing. As regular readers of this blog know, I am the father of two young girls I call History and Mystery in my blog posts and who are the two "Twin Princess Superheroes" referred to in the right sidebar. To give you a picture, this is them on a "Fancy Day."

As you can see, they are wearing Fancy Nancy-esque clothing with sunglasses, domino masks, and History is holding forth a Captain America shield. This is them at their "Princess Superheroiest," well accepting when they where their Bell and Aurora dresses kitted with Merrida bow and arrow and Iron Man masks and "Boomers." All of which is to say that they have acquired many of their mom and dad's geek obsessions. I cannot express how much fun it is imagining playing D&D with the twins when they get older. I'm giddy right now thinking about it.

As you might guess, my daughters live a pretty happy life. They have parents who share their interests and who play are willing to play any game or support any interest. But that's not to say that these young innocents haven't already faced the dreaded "you aren't allowed to be interested in that" assertion by some of their peers. There was one student at their school - a student that History had a crush on no less - who saw that History and Mystery were wearing superhero tennis shoes (Cap and Iron Man) and who took it upon himself to point out to my daughters that "Superheroes" are for boys. What's more, the boy also pointed out the "Blue" is for boys too.

Blue.

BLUE!

Are you kidding me?! This kid tried to lay claim to a color? Ugh.

Back to the story. This young boy's attack upon their preferences was the first time that my daughters had been told that something was outside their purview. Sure, Jody and I have told the girls that we cannot afford certain things or that they have to wait until they are "bigger kids" to play Advanced Squad Leader with dad, but we've never told them that any given entertainment was reserved for a particular subset of society. Jody and I find that concept to be absurd on its face. No one is going to stop me from DVRing REAL HOUSEWIVES (OC and Jersey only), and certainly no one is going to tell Jody she cannot watch JUSTIFIED or THE AVENGERS because she's a woman.

So after this boy attacked my daughter's love for superheroes Mystery comes home weeping. She's upset that she's no longer allowed to like Captain America - who has fought off more Closet Monsters than I care to imagine - because he's for boys. Needless to say, it didn't take me long to inform my daughter that Captain America is for everyone and to give Mystery several real world examples of the women in my and Jody's life who are fans of "Steve." After which we watched a couple episodes of EARTH'S MIGHTIEST HEROES and called it good. My daughters seemed satisfied. Heck, History started wearing blue (Mystery's favorite color) in solidarity with her sister.

But the story doesn't end with having a supportive mom and dad who have supportive friends. Sadly, this little punk has already sown the seed of a mental weed that must be constantly pursued and extracted as quickly as possible. I've already had History ask me if there REALLY are any female race car drivers and heaven knows what the next moment will be. One thing I do know, I'll have to be vigilant. It's no longer enough to just share the things I'm passionate about with my daughters. I now have to be prepared to help my daughters defend their enjoyment.

I'm happy to do it, but it's something that shouldn't have to be done. Stop attacking "Fake Geek Girls." Some of the kindest, warmest, and giving people I know are Geek Girls (yes I'm talking about you Jody, Susan, Shawna, and America...and many others). There is nothing fake about them.

And for those of you who spend the time "vetting" to see if a "Fake Geek Girl" is actually a real geek. You know that vetting time would be far more enjoyable if it was just a normal conversation where you both geek out right? Sure, you might end up fighting about whether Alan Scott or Hal Jordan are the better GL or how big a jerk Dan Didio is, but I guarantee that you will be more likely to leave that conversation with a friend than you will if you begin your "conversation" with an oral exam in which you scrutinize even the slightest error.

Watch THOR: THE DARK WORLD Trailer and Ask..."Hey, where's Drizz't?"

Looks pretty good to me.

 

Wouldn't it be great if Hasbro released a Heroscape based skirmish game for this film? 

Batman Doesn't Kill...Or Does He? Patton Oswalt's Penguin Addresses the Issue

I don't think they had to make Batman so dense to make their point, but this is a pretty amusing video regardless. I also think they should have added a moment where Batman feels betrayed by Alfred when he figures out what's going on.

CollegeHumor's Favorite Funny Videos

Man of Steel: Still Looking Good

While there are still to many shots "taken" from Richard Donner's two excellent Superman movies in this trailer, there is enough here for me to think that MAN OF STEEL looks promising. Any Superman film has the difficult task of choosing which version of Superman to use -- Gold/Silver/Bronze/Tin/Byrne -- and Snyder seems to have leaned a little in the Byrne direction.  This can be a good thing, but it can also backfire. Too many directors -- I'm looking at you Andrew Stanton -- think that "modern audiences" can't handle white knight characters unless they have a shade of grey. Thing is, authors have been making that mistake for generations. It isn't having "troubled" or "grey" heroes that audiences find compelling. It's having heroes who experience conflict and for whom there are stakes. Donner got that with his Superman, and Burroughs understood that with his John Carter. I hope that Snyder gets it.

MAN OF STEEL -- Does Zack Snyder Get It?

If the most recent trailer for the new Superman film MAN OF STEEL is any indication, the answer is a resounding YES!

I have long argued that Superman is my favorite character because he is the most complex of all superheroes.  He isn't merely the first, he is the most interesting.  He has layers and layers.

To often authors and illustrators focus on what Superman can "do" and not "why" he does it or "what" he needs.  Superman is the living embodiment of the question Aristotle poses his Politics.  In Book One of THE POLITICS, Aristotle writes about man and society: "But he who is unable to live in society, or who has no need because he is sufficient for himself, must be either a beast or a god: he is no part of a state. A social instinct is implanted in all men by nature, and yet he who first founded the state was the greatest of benefactors. For man, when perfected, is the best of animals, but, when separated from law and justice, he is the worst of all; since armed injustice is the more dangerous, and he is equipped at birth with arms, meant to be used by intelligence and virtue, which he may use for the worst ends."

Like all men, Kal-El has the instinct to live within society.  He desires to be a part of humanity.  It is why he has a secret identity at all.  Superman has no need for a secret identity except as a way to connect himself with "The City."  Unlike Spider-Man and Batman, Superman wears no mask in his heroic identity.  He lets the world see him as he is.  But he knows that his superheroic identity can not be a part of society.  Superman is godlike and disconnected.  He would be naturally rejected by the society.  Not out of spite or fear, though some would feel that way, but out of awe.  Yet Kal-El isn't sufficient in himself.  Yes, he can survive the vacuum of space without protection.  He can survive a nuclear explosion and lift mountains, yet he is alone.  He is the "Last Son of Krypton."  He needs society and the only way he can have that is through the creation of the adult Clark Kent.

Without Clark Kent and the merging with society that persona gives Kal-El, he might well become a beast.  The tragedy is that through the creation and maintaining of Clark Kent as a persona, Superman puts those he loves at greater risk.  Spider-Man's adoption of a secret identity is done to protect Aunt May, and with some exception it does exactly that.  Superman's secret identity puts Lois, Lana, Jimmy, and Ma and Pa Kent at greater risk than otherwise.  Since Superman is a public figure, he could spend all his time in the Fortress of Solitude with no private life.  Villains would attack the Fortress and only attack civilians in typically villainous ways.  By having roots in society Kal-El puts those people at risk of being targeted as individuals due to their connection with him.  Yet he needs them to become fulfilled...to be a part of law and justice...to work with intelligence and virtue.

He is a truly tragic figure, and I have always been moved when writers are able to capture that small part of him.  Sadly, too few capture that conflict.  They are too often trapped by looking only at Superman as mythic figure and not as someone with the social instinct.

The new preview shows a Clark that yearns for that connection, but whose powers not only separate him from society but cause him pain.  Imagine Clark -- the child -- who can hear all the sounds of the world at once pounding into his eardrums.  Every conversation, every tear, every rain drop.  How alone he must feel.  The voice over with Ma Kent reflecting this in the trailer is magnificent.

[Vintage RPGs] CHAMPIONS 1st Edition -- A Blast from the Past

The CHAMPIONS super hero role playing game is one of the best super hero role playing games ever designed, and the game to which all super hero rpgs are compared.  CHAMPIONS wasn't the first role playing game in the super hero genre, that honor goes to the game SUPERHERO 2044 which I discussed in an earlier blog post.  CHAMPIONS even builds upon some of the ideas in SUPERHERO 2044.  CHAMPIONS used the vague point based character generation system of SUPERHERO 2044 -- combined with house rules by Wayne Shaw -- as a jumping off point for a new detailed and easy to understand point based system.  CHAMPIONS was also likely influenced by the melee combat system in SUPERHERO 2044 in the use of the 3d6 bell curve to determine "to-hit" rolls in combat.

While CHAMPIONS wasn't the first super hero rpg, it was the first that presented a coherent system by which a player could design the superheroes they read about in comic books.  The first edition of VILLAINS & VIGILANTES, which predates CHAMPIONS, did a good job of emulating many aspects of comic book action but the ability to model a character in character design wasn't one of them.  CHAMPIONS was released at the Origins convention in the summer of 1981, and it immediately captured the interest of Aaron Allston of Steve Jackson Games.  Allston gave CHAMPIONS a positive review in issue #43 of the Space Gamer magazine, wrote many CHAMPIONS articles for that publication, and became one of the major contributors to the early days of CHAMPIONS lore.

Reading through the first edition of the game, as I have been doing the past week, can have that kind of effect upon a person.  The writing is clear -- if uneven in places -- and the rules mechanics inspire a desire to play around in the sandbox provided by the rules.  George MacDonald and Steve Peterson did more than create a great role playing game when they created CHAMPIONS, they created a great character generation game as well.  Hours can be taken up just playing around with character concepts and seeing how they look in the CHAMPIONS system. 

There are sites galore about CHAMPIONS and many reviews about how great the game is, and it truly is, so the remainder of the post won't be either of these.  Rather, I would like to point out some interesting tidbits about the first edition of the game.  Most of these will be critical in nature, but not all.  Before going further I will say that though CHAMPIONS is now in its 6th edition and is a very different game today in some ways, the 1st edition of the game is highly playable and well worth exploring.

• One of the first things that struck me reading the book was how obviously playtested the character design system was.  This is best illustrated in the section under basic characteristics.  In CHAMPIONS there are primary and secondary characteristics.  The primary characteristics include things like Strength and Dexterity.  The secondary statistics are all based on fractions of the primary statistics and represent things like the ability to resist damage.  Where the playtesting shows here is in how players may buy down all of their primary statistics, but only one of their secondary statistics.  A quick analysis of the secondary statistics demonstrates that if this were not the case a buy strength then buy down all the secondary stats related to strength infinite loop would occur.  
• It's striking how few skills there are in 1st edition CHAMPIONS.  There are 14 in total, and some of them are thinks like Luck and Lack of Weakness.  There are no "profession" skills in 1st edition.  To be honest, I kind of like the lack of profession skills.  Professions in superhero adventures seem more flavor than something one should have to pay points for, but this is something that will change in future editions.  
• There are a lot of powers in CHAMPIONS, but the examples are filled with phrases like "a character" or "a villain" instead of an evocative hero/villain name.  It would have been more engaging for the folks at Hero Games to create some Iconic characters that are used throughout the book as examples of each power.  The game does include 3 examples of character generation (Crusader, Ogre, and Starburst), but these characters aren't mentioned in the Powers section.  An example using Starburst in the Energy Blast power would have been nice.
• The art inside the book is less than ideal.  Mark "the hack" Williams has been the target of some criticism for his illustrations, but his work is the best of what is offered in the 1st edition book.  It is clear why they decided to use his work in the 2nd edition of the game.  Williams art is evocative and fun -- if not perfect -- while the work Vic Dal Chele and Diana Navarro is more amateurish.
• The game provides three examples of character generation, but the designs given are less than point efficient and one outclasses the others.  The three sample characters are built on 200 points.  Crusader can barely hurt Ogre if he decides to punch him (his punch is only 6 dice), and his Dex is bought at one point below where he would receive a rounding benefit.  Ogre has a Physical Defense of 23.  This is the amount of damage he subtracts from each physical attack that hits and it is very high.  Assuming an average of 3.5 points of damage per die, Ogre can resist an average of 6.5 dice of damage per attack.  Yes, that's an average but the most damage 6 dice could do to him would be 13.  That would be fine, except Crusader has that 6d6 punch, and Starburst...oh, Starburst.  All of Starburst's major powers are in a multipower which means that as he uses one power he can use less of the other powers in the multipower.  The most damage he can do is 8d6, but only if he isn't flying and doesn't have his forcefield up.  Not efficient at all.  One might hope that character examples demonstrate the appropriate ranges of damage and defense, these don't quite achieve that goal.
• The combat example is good, if implausible.  Crusader and Starburst defeating Ogre?  Sure.
• The supervillain stats at the end of the book -- there are stats for 8 villains and 2 agents -- lack any accompanying art.  The only exception is Shrinker.  
• Speaking of artwork and iconics.  Take that cover.

• Who are these people?!  I want to know.  The only one who is mentioned in the book is Gargoyle.  It's pretty clear which character he is, but I only know his name because of a copyright notice.  Who are the other characters?  Is that "Flare"?  Someone once told me the villain's name was Holocaust, but that could just be a Bay Area rumor.  If you know, please let me know.  I'd love to see the stats for that guy punching "Holocaust" with his energy fist.

CHAMPIONS is a great game, and the first edition is a joy.  If you can, try to hunt down a copy and play some old school super hero rpg.

[Gaming Library] Aaron Allston's STRIKE FORCE: A Must Own GM Resource

At the Origins convention in 1981 Hero Games released what would become one of the best selling super hero role playing games of all time, a game that is still around and which has served as the IP behind a  computer MMORPG.  That game is CHAMPIONSand it is one of the great games that the hobby has produced. 

CHAMPIONS has a large and active fan base, though it does seem to have dwindled a little between the 5th and 6th edition of the rules.  That dwindling may soon find itself reversed with the recent release of CHAMPIONS: LIVE ACTION and upcoming release of CHAMPIONS COMPLETE.  I've been of the opinion the past couple of editions of CHAMPIONS and the HERO rules have become a little bloated, and it seems that the designers behind CHAMPIONS COMPLETE agree as their upcoming rulebook is only 240 pages in total.  While much can be, and has been, written about the CHAMPIONS game, there is one supplement for the game that transcends the game itself and is one of the best "how to run a campaign" supplements ever produced...for any game system.

When CHAMPIONS was released in 1981, Aaron Allston worked for The Space Gamer magazine which was then a publication of Steve Jackson Games.  Steve Jackson returned from the Origins convention with news of the game and asked Aaron to review the game for the magazine.  Aaron did so and his positive review appears in issue 43 of The Space Gamer.  This article was quickly followed by a "proto-Strike Force" article entitled "Look Up in the sky..." in issue 48. 

In the article in issue 48, Allston describes how he came to be a CHAMPIONS player and game master -- he would later become one of its premiere contributors.

The superhero campaign of CHAMPIONS which I run, which is successful enough that it's been thrown out of TSG playtest sessions (it was crowding out all the other games), began as an irritation. Steve Jackson came back from Origins with the news that some new company in California had nabbed the name CHAMPIONS; I'd hoped to use CHAMPIONS on a personal game project.  I could review the Hero Games offering if I wished.  Wonderful.

 Looking over the rulebook, though, I was impressed.  The game appeared clear and coherent after a single read-through and seemed to faithfully simulated the four-color stuff of comic books.  Extensive solo playtesting ensured almost immediately, with the heroic Lightbearers waging a running war with the criminal mastermind Overlord.

In the end, Overlord's munitions-running scheme was wrecked; the Lightbearers disbanded, with one member dead and two others unwillingly allied with the villain; and I had chosen to run CHAMPIONS on a regular basis.

 There is a good deal more to the article in which Allston shares with potential players and game masters some guidelines and some pratfalls that might happen as one plays a super hero campaign.  How does one exactly acquire a super hero secret headquarters anyway?  One can see the foundations for the book STRIKE FORCE in the article, and Allston provides a nice glimpse into what can contribute to the running of a successful game.  As good as the article is, it pales in comparison to the CHAMPIONS sourcebook that Allston wrote based upon that early -- initially merely a playtest -- campaign.

Aaron Allston's STRIKE FORCE is one of the better campaign sourcebooks ever written.  It has a very simple arrangement.  It begins with a section on campaign use.  This section is not a how to plot an adventure section, as by 3rd edition CHAMPIONS had a pretty good chapter on that, rather it was advice for dealing with very specific problems.  This chapter covers the following:

• The "Character Story" -- discusses how to help players develop the character stories that they dreamed up when they initially created the character.
• Simulating the Comics -- discussed how to keep the players behaving in a four-color fashion.
• The New Player
• Aging the Hunteds -- How to make "Hunted" behave like real world constant interactions rather than as a mere random roll done each week.
• Listening to Your Players
• Ground Rules
• Translation Follies
• Types of CHAMPIONS Players -- The Builder, The Buddy, The Combat Monster, The Genre Fiend, The Copier, The Mad Slasher, The Mad Thinker, The Plumber, The Pro from Dover, The Romantic, The Rules Rapist, The Showoff, and The Tragedian.
• Character Conception Checklist
• How to Ruin Your Campaign

If Allston had written no other sections than the "types of players" and "how to ruin your campaign" sections of the sourcebook, this would be an invaluable resource.  Allston's breakdown of player types builds upon some of the discussions which had been going on in Different Worlds magazine and other places in the game-verse, but his clear description of the varied motivations of players is spot on and extremely useful.  Between STRIKE FORCE and Robin Law's book on Game Mastering Rules, you have almost everything you need to run any game successfully...if you follow the advice that is.

In addition to the overview on Campaign advice -- generic campaign advice -- Allston then continues providing an invaluable tool by giving us a look into his own campaign in the subsequent chapters of the book.  We are given an "Abbreviated History" of the STRIKE FORCE campaign, which can be used as an example or as an outline for one's own campaign.  He provides the full roll call of the STRIKE FORCE and SHADOW WARRIORS teams as well as Independent heroes and a number of Villains from the campaign.  This is followed by a detailed history of the campaign -- both his real world work and the in game history.  In the history, Allston shares some of the storytelling challenges he faced and how he overcame them in play.

If you can find a copy of the book, I highly recommend it.

THE AVENGERS (1952) -- Pre-Make Trailer

I've been a fan of the "Premake" series of You Tube videos for some time.  They display a nice combination of deep knowledge of older pop culture with a genuine desire to show that awesomeness to a younger generation of viewers.

Some of my fondest childhood memories are of watching old Flash Gordon and Buck Rogers serials at my Oma and Opa's house on the weekends.  My Opa loved these old serials and he instilled in me nostalgia for stories that had been filmed before my parents had been born.  I still love these tales, and they have shaped the types of genre fiction I still enjoy today.  I blame these old serials for my seeking out of Edgar Rice Burroughs and that led to a discovery of Leigh Brackett, and the rest is as they say "history."

I cannot wait to share the old serials with my lovely twin daughters History and Mystery.  They already love super heroes and Star Wars -- even if they think that Yoda is Darth Vader's personal Goblin.  It won't be long before they are watching Buck, Flash, and Emma Peel.  Speaking of Emma, I hope that I can give my daughters enough knowledge of the show THE AVENGERS that they will appreciate how awesome a Diana Rigg version of Black Widow would have been.

For your viewing pleasure...THE AVENGERS 1952.

Sherlock Holmes vs. Dracula? Yes Please!

Bill Cunningham -- the mad pulp bastard -- and his crew over at Pulp 2.0 are releasing a string of exciting products over the next few months. This week, they announced the release (digitally and physically) of THE MIRACLE SQUAD, a comic series that was originally published by Fantagraphics in 1987.

This is the first time that THE MIRACLE SQUAD has been sold in a collected edition, and the book provides a nice glimpse into the halcyon age of independent comic books. During the 1980s, direct comic book stores were on the rise and so were quality independent titles. It was an exciting time to be a fan of comics, a time when the medium itself was in transition as it adapted to new business models (the "death" of newstand and the birth of "direct sales" which allowed greater access to customers and greater interaction with customers) and new technologies (more sophisticated printing techniques, better paper).

In many ways, it was a period like today. The market is once again becoming more consumer driven as creators become less dependent on retail stores to give them direct access to consumers, just as the direct market allowed companies to target a market more accurately than convenience stores, supermarkets, and newstands. Bill, and the folks at Pulp 2.0, understand this market change isn't "coming," it's here. There upcoming line of books seeks to demonstrate that not only is the new market capable of allowing companies to profit with new offerings, but that it allows a unique opportunity to make sure that no product ever goes out of print again. Let me say that one more time.  

The new publishing market provides a unique opportunity to make sure that no product ever goes out of print again!

This means that publishers big and small, and creators have opportunities to generate revenue that were before unimaginable. Enough about the market, how exciting it is, and how smart Bill is about this topic. Let's get to the real issue being discussed here, Dracula and Sherlock Holmes.

This December, Pulp 2.0 will be releasing a 25th anniversary collected edition of SCARLET IN GASLIGHT by Martin Powell and Seppo Makinen. The series collected in the 25th anniversary edition has been praised in the Washington Post -- of all places -- and is a highly entertaining read. Rumor has it that Bill has licensed additional books in the series as well. SCARLET IN GASLIGHT was published by the now defunct Eclipse Comics (publishers of MIRACLEMAN, THE ROCKETEER, and SCOUT) presents a confrontation between two of the most iconic figures in literature, Sherlock Holmes and Count Dracula. In 2011, this is a pretty common mashup idea, but Powell and Makinen execute the idea very successfully. I cannot wait to see how the Pulp 2.0 crew have packaged this edition. I'm sure to buy it in print and digitally!

[Film Trailer] Justice League: Doom -- Looks Interesting

DC's theatrical releases have been hit or miss -- I'll be posting my Green Lantern film review soon -- but their animated projects have tended to be excellent.  Everything from Batman: The Brave and the Bold to All-Star Superman has been entertaining.  By the looks of this official preview, that trend is continuing.

IT'S MARVEL!!! --- Margaret Weis Productions Announces New RPG License

For the past few weeks, Margaret Weis Productions has been hinting that they were making a HUGE announcement regarding a new RPG license they had acquired and how excited they were about producing this particular product.  Questions were being asked..."Is it Glee?"  "Is it CSI?" "Is it Star Trek?" "Is it GoBots?"

Most of the questions focused on games that players assumed would fit within the Cortex+ mechanic, with the understanding that Cortex+ focuses on relationships and not "crunchy combat."

Today, Margaret Weis Productions made the announcement at 1pm Eastern.  Their new license is...

HULK SMASH!!!

While many gamers might believe that the "relationship driven" mechanics of Cortex+ might seem an odd fit for a Superhero rpg, this is a true match made in heaven.  The grand innovation that Marvel Comics added to the comic  book superhero genre was the blending of heartbreak dating comics with superhero action.  Think about Spider-Man during the Ditko/Lee era.  How many superheroes were worried about getting a date before this book came out?  How about the Fantastic Four and their family dynamics?

MWPs Smallville game was a sea change in game design mentality, and one that will have significant affect on the industry.  Instead of having a character's success in an action being determined by how "uber" he or she is, that character's success is determined by how the character's relationships with others are affected by the action.  Instead of a Paladin's skill fighting devils being represented by a high combat score, it can be represented by a high dedication to protecting innocents and his or her relationship to individuals or communities.  The mechanic ensures that players interactions with nemesis characters matter, and the mechanics aid players and GMs in the creation of exciting and engaging narratives.

A Marvel game based in interactions and relationships harkens to what is great in comic book storytelling -- remember the Claremont/Byrne era of the X-men?  It has some epic battles, but it also has engaging tales of relationships.  When Sabretooth attacked the mansion trying to kill Psylocke (in a beautifully illustrated issue) it was Wolverine's concern for her safety -- and hatred of Sabretooth -- that fueled the issue.  A similar discussion could be had of the Juggernaut vs. Colossus fight issue.  The relationships are what make it work.

MWP plans to release 16 products within 15 months for the game structuring the expansions around major comic events.  The first product will be a Basic game, which has everything you need to play, and the first event will be Marvel's "Civil War" -- a perfect playground for relationships.  Each "event" line will have two editions an essential edition which merely has the campaign advice and an edition that includes a copy of the basic rules.  The events will be supported by three support products, and then it's on to the next event.  All of the products will be designed to be shelved with the trade paperbacks covering the same event.

This is big people!

Nostalgia and Self-Loathing -- "Legends of the Superheroes"

It is the curse of Generation X. In our youth, we experienced some of the best pop culture entertainment ever produced. We grew up watching The Six Million Dollar Man, Starsky and Hutch (you can really tell the Michael Man Episodes), Kolchak the Night Stalker and reading Watchmen, The Killing Joke, Tim Truman's Scout, and the Giffen/Maguire/DeMatteis Justice League, Star Wars, The Terminator, and Tron.

We also had to endure the legacy of the ultra-camp "too hip to like pop culture" mentality of many Boomers. Case it point is the "Legends of the Superheroes" television special. Gen X kids loved the Super Friends cartoon, especially when the show added the Wonder Twins, so we eagerly begged our parents to let us watch the "Legends of the Superheroes" special when it aired.

After all, what could be better than a live action version of our favorite show?

Apparently, a kick in the face would have been better. The show was campy and awful, and the follow-up roast was a mockery of everything the kids loved about shows like Super Friends.

LEGENDS OF THE SUPERHEROES - watch more funny videos

And yet...I still have this compulsion to buy and watch the special and relive the hopes that I had for the show, even as I re-experience the nightmare of its reality.

There must be some connection between nostalgia and self-loathing.

From Wizards of the Coast to Self Published "Devil's Cape" by Rob Rogers Now Available on Kindle

Wizards of the Coast publishes many excellent media tie-in novels, but there was a short window of time when they published a line of original fiction under the "Discoveries" masthead. The line of books had a number of excellent entries, and unlike the media tie-in books the authors kept the copyright to their creations. Of the books published in that line, "Devil's Cape" by Rob Rogers was one of the true gems. Rob's novel is a superhero tale, but one that takes place in a very realistic setting and with a realistic representation of super powered people. The stakes for the characters in "Devil's Cape" are very real, both physically and emotionally.

It is often said that no one ever "really" dies in comic books, and it is true, but it isn't true in "Devil's Cape." The heroes of this novel fight for justice in a world of corrupt politicians and policemen, and where maintaining a secret identity is vitally important for survival. The villains of the book are ruthless and cruel and motivated by real human desires.

In the book Rob asks and answers the question, "what would happen if superheroes behaved like the Avengers, while the villains behaved like real people?" He then asks, "what would the next generation of heroes look like?"

Rob's book has all the craft and seriousness of the Wildcards series with none of the staid Baby Boomer "sex and drugs" clichés that pop up every now and then in that series. The book also provides a perfect setting for a non-alien invasion "Necessary Evil" Savage Worlds superhero campaign.

I count "Devil's Cape" as one of the best books I've read in the past couple of years. It is worth your time and money, and it's available on Kindle and other e-readers as well.

Buy it, and let's get Rob to write some more tales of "Devil's Cape."

I interviewed Rob shortly after the book was originally published for the podcast I had at the time.

Zombies, Robots, GI Joe, and Star Trek?

Um...

Dan Abnett is officially my favorite person.

It appears that comic book publisher IDW has released their first "Universe Spanning Crisis Like Event," and it is so high concept that my mind is about to explode. Here's the company's description.

It begins here! The first-ever IDW event, which affects the Transformers, G.I. Joe, Ghostbusters, and Star Trek universes! This dimensions-spanning storyline begins with a specially priced 40-page story by Abnett & Lanning (The Thanos Imperative) and David Messina (True Blood). Something goes horribly awry in the Zombies vs Robots universe, threatening to tear many of IDW’s biggest realities asunder! Don’t miss the IDW event ten years in the making!

James T. Kirk, Optimus Prime, Snake Eyes, and Venkman vs. Zombies!

I'm overwhelmed.

All that remains is to begin stating up the "Infestation" using Wizards of the Coasts' Gamma World rules set. I think it should do quite nicely for the task. Either that, or Savage Worlds...or the Pacesetter system from Chill/Timemaster/Star Ace...or Risus

Which game system gets your vote?