SENTRY FORCE #0 Provides an Entertaining Glimpse at Tiny Supers' "Gallantverse"

Gallant Knight Games ran the Kickstarter campaign for their Tiny d6 based super hero role playing game Tiny Supers in July/August 2018. I've chatted about Tiny Supers on the Geekerati Podcast, but haven't done a full review of the game. The tl;dr version is that the system has quickly become one of my top 10 super hero rpgs ever. It's easy to learn and very flexible. I loved the system so much that in the blog post for the Tiny d6 episode of the podcast, I did quick conversions of two members of the Fantastic Four (The Human Torch and the Invisible Woman).

I'll do a full review of the Tiny Supers game later this week, but last week Gallant Knight Games' own Alan Bahr sent Kickstarter backers a copy of Sentry Force Prime #0, the first (and hopefully not only) comic book based in their in house Gallant-Verse super setting. I've had a chance to read the comic, several times and in a couple of formats, in order to give it a thorough examination. Before I get deep into the weeds of my analysis of the book, I'd like to give you my overall impression of the book.

TL;DR/Overall Impression

I like it a lot. It's not perfect, and suffers from what I call "pilotitis" when discussing television shows, but it is a fun and engaging book. I love the illustration style and I am impressed with Alan Bahr's attempt at writing a "team origin story" for his first ever comic book script. The short and sweet? Buy it and make sure you read the pdf in "2-page mode" in order to get the most out of Nic Giacondino's art work.

The Good, the Bad, and the Awesome

There are two things that are essential in order for a comic book to "work, you need good writing and good art and in that order. Sentry Force has both. They aren't perfect (as will be discussed in "The Bad" section) but they are good.

When I was an undergrad I took a couple of creative writing classes with an award winning Science Fiction and Fantasy author. Over time, she became one of my most supportive mentors and I am eternally grateful to her. One of the most important lessons she taught me was that "writing a novel is hard, but writing a short story can be even harder." What she meant by this is that readers of novels will allow the writer to meander, but readers of short fiction demand tight, lean, and compelling prose. The medium itself demands it. While comic books may have the benefit of beautiful art, their word count is small and if you are writing a fully contained origin story for one-shot title, you've given yourself quite a writing challenge. There's a reason that the Avengers comic book was written after the characters had their own stand alone books, and there's a reason the Marvel movies started with solo stories rather than jumping right into the first Avengers film. It's easier to create one compelling protagonist at a time than to try to connect readers with multiple protagonists in one go.

It's a difficult challenge to meet, but author Alan Bahr manages this task. The Sentry Force is filled with an interesting array of characters that fit a nice array of super hero archetypes while retaining a touch of their own personality. Velocity, the techie "Iron Man" proxy and the hero who assembles the team, is presented as a man desperately outmatched in a city on the edge of collapse as new villains emerge. He's running as fast as he can to keep the city safe, but he cannot do it alone and what heroes there are in Sentry City have yet to work together in any meaningful way. Velocity wants to help, but all he can do is triage. A fitting metaphor as in his secret identity, he runs a medical supply company. The character is a nice balance of arrogance, vulnerability, and desperation. He might also be, as is revealed in the comic's "voiceover," one of the causes of the rise of meta-humans. Bahr crams in a lot of backstory without a lot of exposition. That gives depth to the setting, but it also leaves room for interpretation and development. Did Velocity's tapping into the Tachyon Bridge merely result in the creation of his Velocity armor, or is it a partial explanation of the emergence of meta-humans? I'm guessing it's just the first, but the second possibility could be developed into some fun story lines.

The first Gallant Knight Games product I backed on Kickstarter was the Powder Mage Roleplaying Game based on the excellent book series by Brian McClellan. It was a very good attempt at adapting McClellan's fictional world to the Savage Worlds rules set. It was especially rich as a Black Powder Mage Universe world guide. In another world, that might have been the only Gallant Knight Games product I purchased, but that would be a world where Alan Bahr didn't work with great artists. From the first time I saw concept art Michael Leavenworth put together for the 2nd Edition of the Tiny Dungeon Role Playing Game, I knew I had to back that game. From their, Bahr introduced me to a number of talented illustrators who's work was different than that being used by other role playing game companies. Of the Gallant Knight Games pool of artists, one stands apart from the others in my esteem. Nicolas Giacondino is the Jack "King" Kirby of the Gallant Knight Games stable. His work is consistently evocative and fun and brings to mind many of my favorite comic book artists. When I see a Giacondino page, his work brings to mind the layouts of Keith Giffen and the art of Matt Wagner, Chris Sprouse, Ty Templeton, and Mike Wieringo. All of these artists have clean line work and demonstrated that the 4-color illustration style of the Silver and Bronze age of comics could be as sophisticated and dynamic as the best of the Iron and Digital Age illustrators.

You can see the influence of these artists on Nic's work in many places, but one place I wanted to examine briefly is in how Giacondino approaches page layouts. Take a look at these three pages with art by Matt Wagner, Keith Giffen, and Nic Giacondino. It should be noted that I intentionally chose one of Giacondino's "least interesting" pages in order to make this quick demonstration, but it should also be clear from even this basic page that Giacondino understands how to tell a story graphically. Each of these pages is a riff on the classic "9 panel page." Two of them are expressly 9 panel pages. Giacondino's page uses the structure of the Giffen (center) page, but uses narrative techniques demonstrated in both the other comics. Notice how Giacondino starts at a wide anger and zooms in one step at each step of the conversation. He's playing with point of view and demonstrating the increasing intensity of the argument between the characters. It's similar to what Wagner is doing in the panels from MAGE #1, which alternates from mid-shot to close-up to match the information being transmitted in the dialogue.

One of the things that stands out in the Giancondino piece, though this really should wait for "The Awesome" section, is that he hand inked the pages. Inking by hand and not digitally or by color coding gives his illustrations a nice depth of space more closely aligned with the Wagner illustration on the left than the more flat-space dominated Giffen art from LEGION OF SUPERHEROES in the middle. Even in a "boring" Giacondino panel, you see variety and texture. We'll see more of his work as I move through "The Bad" and "The Awesome." I do have one small quibble with the page and that is with the lack of window frame behind Camila Cantor. The yellow space behind her is a paneled window and those panels are shown on the next page and add needed background to the page.

Which brings me to "The Bad" elements of the book, none of which are too bad but all of which need to be discussed honestly if I want you to trust my opinion about comics and other media. I really liked this book, but has roughness around the edges.

The first patch of roughness comes in the use of exposition. Bahr doesn't use a lot of it, but there is one case where it needed significant tightening. In presenting Velocity's backstory on page 3, Bahr has the following two sentences back to back. "We were exploring tachyon physics to cure muscular disability and illness, but we stumbled onto the Tachyon Bridge..." and "I had to shut down the research, lock it up, and control it, because what we unlocked with the Tachyon Bridge was bigger than anything I'd ever dreamed of." What is striking here is the repetition of the term Tachyon Bridge. The second sentence could easily read, "I had to shut down the research, lock it up, and control it, because what we unlocked was bigger than anything I'd ever dreamed of." By eliminating the repetition of "with the Tachyon Bridge" it reads quicker and cleaner. There are a couple of small things like this. They aren't deal breakers by any means, but they demonstrate a writer learning to write in a new medium. Comic book story telling needs to be tight and this is a little loose. To be fair to Bahr, I've been reading some older Gardner Fox books (his CROM comic book if you must know) and Bahr's work here is significantly better than Fox's on that title. Let's just say that when you're work is better than Fox's, at any point in his career, you're doing fine.

The second patch of roughness comes in the art work. I know I praised the art earlier and I'll praise it more because Nic is AMAZING, but he's not perfect. Let's take these two pages of action. Where Velocity foils a bank robbery by the villain Darklight. We've got great action flow on the first page, but then WHOAH! What's happening? That top panel on page 5 has me wondering who's PoV we are seeing from. It's not the guy Velocity saved. We can see him on the top of the panel. Who is looking at the world upside down and why? It really pulled me out of the action. Which is too bad, because the action of the panel is fantastic if confusing at this PoV. I can see what Nic is attempting using the split faces on the top of the page, and that's nice, but a small modification really helps the page pop in my opinion.

Sentry Force Pages 4 and 5 (as Published)

What if we didn't feel it was necessary to keep the compelling split faces as the top of the page and instead let them go to the middle of the page? As you can see, since Darklight is in the upper left of the panel when we flip it right side up, we cannot put the face there. We have to have the faces on the bottom of the panel if the action is right side up. And look at that action! It's dynamic. Bullets are flying, Velocity is running to the action, and our hapless customer is falling. The scene has emotional appeal and it brings to my mind the combat panels from the interior of the 2nd edition of the Champions role playing game, and that's a good thing.

Page 5 Image Flipped and Mirrored

Let's add this flipped panel back to the original page and give it a look. To me this is an improvement, especially when viewed in 2-page mode. The action from page to page, and these pages are paired in Acrobat, look dynamic and there is no confusion of the action in my mind. Your mileage may differ. You may prefer the original layout on the page, but this works better for me. Regardless of which works better for you, the illustrations by Nic are a lot of fun.

Sentry Force Pages 4 and 5 (post Tweak)

And that brings me to "The Awesome." There is so much that is great about this book. It starts with a complete vision for the setting. Alan Bahr has stories he wants to tell and he wants you to experience them. Whether we get them as an RPG campaign or as a comic book, I'm sure we will see more of the Gallant-verse. Bahr is a font of ideas on a Walter Gibson (the creator of the Shadow) scale. He's always writing and publishes RPG products on a schedule almost unmatched in the industry. Bahr and Wiggy Wade-Williams are old school writers who pump out quality material on a schedule. I'm in awe of Bahr's abilities and his imagination. He's put together a great team and a compelling universe with characters ranging from the Magician Asher Solomon (a mash-up of Constantine and Dr. Strange who is now one of my favorite super-wizards), Bulwark (a "Brick" and a little more), the Eagle, many more, and...the super-heroine Gallant (the Gallant-verse's "Superman" equivalent). These characters are all discussed in detail in the excellent Tiny Supers RPG and Bahr has provided a fun Gallant-verse adventure in the back of Sentry Force #0 for you to play.

If I wanted to go into "The Awesome" as much as I wanted, I would do a page by page breakdown of all the interesting characters and detailed examination of Nic's artwork. It's really a lot of fun to look at, though I'd desaturate the colors a little to make the very strong line art pop a little more, and he manages a couple of "Perez Pages" where the panels are filled with a horde of characters who manage to be distinct and dynamic and for me the ability to do "Perez Pages" is the measure by which all comic book artists are measured.

Instead of doing all of that, I'll just leave you with the panel introducing Gallant. It's pretty darn EPIC. It has all the emotion and power I want from a character introduction.

A _SnarfQuest_ Adventure Game is on the Horizon

I've been a fan of SnarfQuest for quite some time. Larry Elmore's comic tale of a young warrior's quest for fame and fortune as he aspires to become king of his tribe is one of the classic comic strips of Dragon Magazine's heyday. The character first appeared in issue #75 of Dragon. That issue also included a breakdown of some of the Nine Hells and a brief Orcish to Common dictionary for use in your D&D game.

Looking back at that issue today, I'm struck by how good this era of Dragon was. Like the first 100 issues of White Dwarf, this era of Dragon magazine was in a period of "pre-professional" creativity. That doesn't mean the magazines weren't professional in presentation, they were, rather than they included content from fans as well as professionals...fans who would become reliable designers in the future. Magazines during this period were melting pots of creativity, and remind me of the Old School Renaissance and Savage Worlds communities. It was also a time when you might find gaming articles written by Fantasy and Science Fiction authors like John M Ford or Katharine Kerr. Many of today's authors discuss how D&D shaped their literary development and allow their creations to be used as game settings, but early gaming was also shaped by authors in a very direct way.

SnarfQuest isn't a perfect comic. It's snarky and plays around with Fantasy tropes and featured a less than noble hero. Sometimes the humor works, sometimes it doesn't, but it was clearly a labor of love and I enjoyed it's high concept story filled with Dragons, Orcs, and Androids.

This week, I noticed an advertisement on Steam promoting an adventure game based on the classic comic. The initial graphics capture the feel of the strip pretty well, as can be seen by the image below, and the adventure game format is one I enjoy.

 

I am mildly concerned about some elements of the game, from a "will it be fun?" perspective. While the character modeling captures the whimsy of the comic, the animations of movement and dialogue seem a little off in the game play trailer for the game. Speaking of dialogue, the voice acting for the characters in the trailer is not at all close to what my mind's ear created. The dialogue is delivered in an almost emotionless fashion. If this game is going to capture my imagination and get repeated play, that will need to be fixed. The game will get my money regardless, as I want to see a good Snarf game, but it may not get my fervent recommendation if it doesn't change the voice acting. I'd rather just read the dialogue than here the current actors.

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.

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.

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!

It was the Best of Conans, It was the Worst of Conans

Do me a favor and give a quick look at the Conan poster below.  It shows Conan battling against some tentacled horror.  Think about it for a few seconds.  Do this because the review and discussion I am going to write below may not be exactly what you are looking for.  I'm not going to write with great ire about the Neo-Nihilism of the film, or how it fails to meet Howard's vision.  Nor am I going to blog about how it perfectly captured the "Panther like grace" of Howard's epic hero with a visually stunning world that for the first time has captured Hyboria.  

If you want to read reviews by other passionate Howard fans, you can find Leo Grin's here, James Maliszewski's here, and John R. Fultz's here.   All three are people who have written critical comments about Pulp, Howard, and/or Role Playing Games that I have found thoughtful.

I want to write about Conan: The Barbarian (2012) from a different perspective, from the perspective of "vast narrative," and how the phenomenon of "vast narrative" doomed this particular theatrical adaptation of Conan to be a troubled film at best.

Keep your thoughts about this image of Conan in your mind as I discuss "vast narrative" below.

What is "vast narrative" and why is important when discussing an adaptation of a character who has his roots in the pages of a much admired Pulp magazine?

In Pat Harrigan and Noah Wardrip-Fruin's book Third Person: Authoring and Exploring Vast Narratives (published by MIT Press in 2009), they discuss certain types of "vastness" that might appear in combinations for some narratives.  In particular, there are the following types of vastness.

First, is vastness of "narrative extent" which is akin to The Wire taking a single season to cover one investigation, or Patrick Rothfuss taking 600 pages in order for his fantasy hero to go to college and acquire student loans -- thus beginning his journey to greatness.

Second, is vastness of "world and character continuity" where characters "operate withing less cyclic narrative models" and where "often ingenious methods [sustain] open-ended narratives are a major theme of the project."  Think of a narrative that attempts to adapt the stories in order to keep up with the times.  Soap operas have this kind of vastness.

Third, is vastness of "Cross-media Universes."  This is the kind of vastness we will be most discussing regarding Conan and Harrigan and Wardrip-Fruin describe this vastness as follows: "Though it is now typical for a blockbuster narrative (e.g., The DaVinci Code or Harry Potter) to sprout multiple instantiations (e.g., novels, films, games, comic books, or narrated tours of real locations), one narrative form is generally still considered "canonical," from which the others are derived.  On the other hand, some narrative 'universes,' such as those of Doctor Who and Star Wars, instead treat contributions from many media as authorized (often elaborately authorized) elements of a vast fictional quilt." (emphasis mine)

Fourth, is "procedural potential" which represents how computational power has allowed interactive narrative techniques to far exceed the paper forms of Choose Your Own Adventure books. The Fabled Lands novels achieve high vastness in this area, as do many interactive video games.

Lastly, there is "multiplayer interaction" where fan culture creates vast narrative universes around many types of media. This includes online fiction, any fan created art, table top rpgs, and MMOs.  -- (Harrigan and Wardrip-Fruin 2009, 2)

As I mentioned above, we are most concerned with issues of vastness that arise from "Cross-Media Universes."  Like Star Wars and Doctor Who -- possibly moreso than either -- Howard's Conan exists in a vast Cross Media Universe.  What is Hyboria?  For Leo Grin, James Maliszewski, John R. Fultz, and Me it is Robert E. Howard's world in its purist form  We go back to the "canonical" texts as we find them to be the most rewarding.  They are rich tales that we, or at least I, consider to be among the great works of the American literary tradition.  You can read some of my thoughts on Conan's importance and subtlety here (I quote Plutarch in that essay).

For others though, this might not be the case.  For some the real Hyboria, and the real Conan for that matter, might be the Conan "resurrected" by L. Sprague DeCamp.  De Camp's interpretation and adaptation of the Barbarian are scorned by most modern Howard fans, but the character might have fallen into obscurity if not for his efforts -- and the efforts of Glenn Lord made sure that the harm DeCamp did could be limited.  But many only know the DeCamp literary Conan, or the Robert Jordan (yes that Robert Jordan) Conan.  Many hands have written books about Conan, often featuring Boris Vallejo covers, that many readers have enjoyed -- for all that they are depictions of Conan that lack any of the depth of the character as Howard wrote him.  For these fans, the Thrud and Blunder tales provide enjoyment, and they are what they expect to see in a Conan film.

Still others have fond memories of Roy Thomas and Barry Windsor Smith's Comic Book adaptation of the character is "canonical."  This audience doesn't come close to covering all the different Comic Book interpretations of the character which are as vast in their interpretation as Roy Thomas and Barry Windsor Smith's are different from Kurt Busiek and Cary Nord's and includes dozens more interpretations of the character.

There have been television series featuring Conan, including a children's cartoon, a couple of role playing games, and a number of video games.  Then there are the two Arnold Schwarzenegger movies.

That is a very vast array of source material to draw from, each appealing to a different audience.  To which audience should a director or producer appeal?  That may seem like an easy answer, which will certainly be based on ones own biases, but the real answer is "the one that seems to appeal to the broadest audience."  Ideally, this would be one that combines elements from some of the most populous fan groups -- and this seems to be the strategy that the Conan: The Barbarian team undertook.  In an interview with Empire Magazine, Jason Momoa -- the actor playing Conan -- stated, "if people are really stuck on Conan being their own one thing, I think it's time to address it. We wanted to give respect to Robert E Howard, but you can't just focus on his fans. There are eight decades of stories and comics and movies since him, so Conan is different things to different people. You can't please everybody, but you can re-imagine Conan every couple of generations, like Batman or Bond."


Momoa's response is straight out of a description of the dilemma I presented, and presents the thought that one can "re-imagine" a character.  Sadly for Momoa, and for the filmmakers, the recent success of Batman and Bond as marquee titles has been due to a return to emulation of "canonical" material -- even when presenting entirely new stories the "new" interpretations "feel" like the literary companions.


Combining the interpretations of multiple audiences is a tremendous challenge, but it can be done and done well.  In Pendragon and The Great Pendragon Campaign, Greg Stafford manages to interweave disparate Arthurian sources into what may possibly be the greatest role playing game products ever written.  In these texts Stafford uses material covering "Celtic Arthur," "Historical Arthur," "Early Romance Arthur," and "Late Romance Arthur" with great love and tremendous talent. (Harrigan and Wardrip-Fruin 2009, 94 -95) 


It is possible to achieve greatness while taking into account a variety of narrative audiences, and while incorporating a vast narrative.  Stafford carefully eliminates things that occurred after a certain point, and stresses certain Arthurian themes that repeat across narratives to create his game.


In translating Conan though, the obstacle isn't as easy to overcome as it was for Stafford in presenting Arthurian tales.  Stafford had the benefit of centuries of academic scholarship to aid him.  The Conan production team had no such allies, though they had some they seem to have underutilized.  Instead, they were faced with what John Clute described in the Encyclopedia of Fantasy as follows.

Given the fact that something like 200 story fragments were found in [Howard's] papers, and that his style was very much heavier on heroic action than on the delineation ofcharacter, it is not perhaps surprising that many of these fragments were recast and "finished" as Conan tales: in some cases, a simple substitution of Conan's name as the avenging hero probably sufficed. As a result, the Conan bibliography is quite extraordinarily jumbled...These assortments of exfoliating texts constitute a genuine assault upon the perception of the reader, and the original figure of Conan tends to become more obscure...

Granting the challenges that the Conan team faced, how did they do and what did they do?

As the title of this blog post suggests, the created the Best of Conan films and the Worst of Conan films.  The story is fractured and confused, as is the character, and the motivations of the character are mixed.  He both is and isn't Howard's Conan and this is a direct result of some of the film's inspirational choices.

They "honored" the filmic audience by taking the revenge motif and slaughtered family from the John Milius film, and by having an overarching story that echoed Conan: The Destroyer's quest to awaken a dead god through the acquisition of an artifact and the sacrifice of a "pure blood" to activate the artifact. Just looking at their filmic influences they chose elements from both what was already the best Conan film, flawed as it was, and the worst.

They honored the comic book audience by including shots and costumes that seemed pulled out of Cary Nord's illustrations.

They honored fans of Howard by providing us with Easter Egg references to stories and by pulling lines of dialogue straight out of the fiction, sadly these lines were some of the worst performed lines in the film.

They also included the Giant Monsters from the God of War inspired Conan video game, and I swear one of the sets looked just like the game -- the temple where Conan fights the "sand warriors."

The Conan team didn't seem to have a coherent vision for the character, or the world.  Some of the shots of Hyboria are spectacular, and Cimmeria looks like Cimmeria should, but others look straight out of the Milius film.  It all points to lack of overarching artistic vision.

It seems clear that the team wanted to make a good film, and you can see the money on the screen as they say.  It seems equally clear to me that they lacked any overarching artistic vision.  Given the patchwork and collaborative exercise that film making is in its nature, this can destroy a production.

Is the film worse than an Uwe Boll film?  No.

Is it Neo Nihilism run rampant?  No.

Is it crap?  No.

Is it good?  No.

I'll still buy it when it comes out on DVD so that I can watch it again, but that's because I think modern Sword & Sorcery film fans are spoiled.  Those who are overly harsh need to go back and watch Deathstalker, Gor, Yar, Ator, Zardoz, She, Deathstalker, Beastmaster 2, or one of a hundred other films from the 80s.

Those were miserable.  Conan the Barbarian was merely flawed.  I think those that are reacting strongly against it are often doing so because thy can see glimpses of just how good the film would have been with a consistent vision.

I think they should have gone back to "canon" only for inspiration, but then again I don't know how much I'd enjoy watching Conan run away from what might be a giant frog -- as he does in "The Scarlet Citadel." (To be fair it's likely Clark Ashton Smith's froglike demon/god Tsathoggua.

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!

Gaming*Mirth [Cartoon] -- GAMR GRLZ #2 "The Quests Begin"

This week, we have the second offering in my wife Jody's experiment with a gaming themed cartoon strip entitled GAMR GRLZ. She's still refining who the characters are, and what challenges they will face, but she is having a wonderful time discovering the young girls who will be featured in the comic. For those of you not familiar with Jody's work, she was the first woman to win the prestigious Charles M. Schulz cartooning award -- which she won for her fantastic Nicnup cartoon strip.

As usual, blogger being blogger and not a webpage optimized for cartoon syndication, if you click on the cartoon you will get a larger and easier to read image.