Peacemaker And The Charlton Action-Heroes

Peacemaker is over, for now, and I am working on some basic research so I can do some profiles of Charlton Action-Heroes for the blog. I have some research materials ordered, that will hopefully arrive soon.

Dawn of DC: Birds of Prey #1

I don't often finish reading a comic and think "Holy shit. I have to say something about this." Honestly, if that were the case I would have a lot more posts here on my blog. Today I decided to get out and go to the comic store, something that I haven't done in a while. I have been good with money lately, so I decided to treat myself with a couple of comics in print (rather than my usual digital purchases). After perusing the store for a bit I picked up a couple of trades (the Golden Age, Neil Gaiman's start on the Miracleman comic from back in the 80s, and DC's Pride Through The Years). Emerald City Comics, a local comic store that I've gone to for years now, is smart and they have a mini rack of comics at the register. I decided on a whim to pick up the first issue of the Dawn of DC "event" for a new ongoing Birds of Prey comic.

Am I glad that I picked up this comic.

I am a fan of Kelly Thompson's Marvel work. Her runs on the Kate Bishop Hawkeye and Black Widow are some of my favorites of either character. I figured that I would like this book, but I still had high expectations.

I had seen some previews for the book, so I knew that the art was phenomenal. Drawn by Leonardo Romero, and with colors by Jordie Bellaire, the art is everything that you want and expect from a super-hero comic. Romero's work is dynamic, and plays to the strength's of Thompson's writing. One of the things that Thompson writes well are dynamic fight scenes that flow across the page, and Romero brings this to life. Bellaire's colors move from restrained when showing the motion of characters, to vivid and "gaudy" in that way that great super-hero coloring can be.

Look at this page:

The art and color combine in a way that makes the page come alive. You can see the movement of two of the best fighters in the DC universe. You can feel the impacts of their blows against the ninjas they're fighting (only the League of Assassins would put ninjas in orange jumpsuits), and you can feel the bodies hitting the ground.

Back to the writing. The character interplay is stellar. From the reaction of Black Canary in the first panel of this page, to the conversation between her and Batgirl on the rest of the page, to how Harley Quinn gets involved with the team is all top material. The dialog is crisp, and each character has their own unique voice, such as with Big Barda (who has honestly never had a unique voice going back to when Kirby wrote her). Barda's referring to Cassandra as "small bat" throughout their interactions is just heartwarming. Barda has respect for Cassandra from their first interaction, and the nickname isn't meant to to belittle Cassandra, but shows the respect that she has for Cassandra as a hero and a fighter.

Zealot doesn't have a lot to do in this book, but it is all about the setup and many of the characters meeting for the first time. It is obvious that they know about each other, and their reputations precede each other. That's important because this is story about reputations. Black Canary is carefully assembling a team that will have a reputation for being dangerous. Black Canary. Batgirl. Big Barda. Zealot. Harley Quinn. All of these characters are characters that are the "best at what they do," and it is refreshing to see a team like that built around characters who are women.

Once upon a time, the only way that you would have been able to tell these characters apart would be because of the colors of their costumes, because women in comics were all drawn very similarly for a long time. The fact that each of these Birds of Prey have a different body type is another reason why Romero's art is so wonderful on this issue.

And, holy crap. That last page reveal. There's no way I am spoiling it, but holy crap. It is a deep cut that fans of certain Gotham related books of the last decade will really be shocked and amazed by. I don't say that lightly. What I can say is that you need to buy this comic, and if this first spectacular issue is any indication, you need to put this title on your pull list.

Unlike other Dawn of DC books that I've picked up, this doesn't look to be a limited series. I hope that, like with many of Thompson's Marvel books, we get one of her solid, and lasting runs on the book. I am excited to see where she takes the story, and what she does with these characters.

After the Batgirls book by Becky Cloonan and Michael Conrad, it is good to see Cassandra Cain on the front line of a comic again. If you haven't read that, you should really pick up the trades for it. Cloonan and Conrad are one of the great writing teams in comics right now, with great characterizations and stories in their books. I think their runs of Wonder Woman and Batgirls are going to be held up as some of the great runs not just of this era of comics, but for these characters in the long haul.

If the ongoing Birds of Prey book holds on to the potential of this first issue, Thompson's run is going to become a definitive one for the Birds of Prey.

Happy Birthday Dear Multiverses

June 14, 1961 and Barry (The Flash) Allen travelled to Earth-2 for the first time. Comics would never be the same again.

Before the Silver Age of comics, comic books tended to have a loose interpretation of continuity. If previously published comics fit into a story that a creative team was currently telling, that was awesome. If it didn't, someone sat around trying to figure out why and then they published something in a comics fanzine somewhere.

But, as of 1961, there were two Flashes, and they lived on Earth-1 and Earth-2. Weirdly the heroes who were around first were relegated to Earth-2. But for the first time there was an in story rationale for the then current Flash, Barry Allen, and the original, Golden Age Flash, Jay Garrick, to more or less coexist. And if both of these Flashes lived in the same universe that meant that the two characters could team up together. Fans of the Jay Garrick Flash of the 40s could read new stories about the character they loved, and hopefully find out what he had been doing with himself in the interim.

Action-Heroes RPG: Ground Division

 

I am working on some expanded setting material for my Action-Heroes game that will end up, at the very least, in the hands of the backers of my Patreon. Ground Division is 90s-style conspiracy/espionage action inspired by movies of the era and a number of comics from that time.

In the ramp up to launching the Kickstarter for the game, I talked about a couple of the primary influences on my design choices for the game. The name Action-Heroes is an homage to a line of characters originally published by Charlton Comics, and now owned by DC Comics. Back in the late 60s and early 70s, when Charlton was at the height of its publishing (such as it was, unfortunately) they had a line of heroic fiction that was a mix of offbeat revamped costumed heroes from the mind of Steve Ditko, espionage and military comics, and a couple of martial artists that haven't aged well. But, at that time the term "super-hero" was a trademark co-owned by DC Comics and Marvel Comics. Dick Giordano, then editor at Charlton Comics, came up with the idea of calling their characters Action-Heroes (with the hyphen) instead. He felt that label fit their characters better since they weren't really mainstream super-heroes, like those published by the other comic companies.

Reading Grant Morrison's The Invisibles In 2023

Please note: This series is currently on hold. Over on the Facebook page for the blog I wrote this: "I know that one of the things I promised for the blog in the new year was an ongoing series talking about Grant Morrison's The Invisibles. I started a re-read with that intent, and as I read I realized that there have really been a lot of people who have covered this ground, and I am not overly sure that I have enough that is new or interesting to contribute to make the work worth the effort."

This upcoming Fall will be the 20th anniversary of my blog. I've tried to get more active in posting here over the last couple of years, but it has been difficult. The stress from online harassment really curtailed my desire to comment on things, but I really need to not let the harassers wins. So, I think the answer to getting more serious about writing here at the blog is to get more regimented about my posting.

One of my "projects" for the new year is going to be a re-read of Grant Morrison's comic The Invisibles, originally published through the Vertigo imprint at DC Comics. I don't know if the book is still in print physically or not (I have digital copies of the collections that I picked up on Comixology along with the original floppies) or what arm of DC Comics is handling it currently.

This post is going to set the tone for what I hope to do with this series of articles.

Kind of like with Neil Gaiman's The Sandman, I was not a big fan of The Invisibles at first, but for entirely different reasons. With The Sandman, I didn't really get into the book until it found its vibe around the time of the "Sound of Her Wings" story. I think that moving away from a direct involvement with the general DC Universe was a good idea for The Sandman. With The Invisibles the book just didn't grab me like other works of Morrison's had. The first arc of The Invisibles, dealing with the initiation of Dane McGowan into the group, had a "been there, done that" feel to me. I dove back into the book with the controversy over the second story arc, and found that the story clicked with me, and I ran with it until the end.

Probably one of the most difficult things to do in a new comic, with a new universe, is to create the feeling of an established universe right out of the box. This is something that comics have struggled with since there were comics. In regards to what a lot of comics readers consider to be an "established universe," it is really a build up of plot points that have more or less accidentally accrued around comic characters. A comic universe is like a build up of barnacles, or a growth of coral, where little bits build upon other little bits until a structure comes out of it.

I think that is why neither of these books clicked with me. For The Sandman that introduction leaned heavily into the DC Universe to provide the structure that Gaiman probably thought that his new universe needed, when really all that he needed was to push through far enough to get the growth of coral that eventually brought the Sandman Universe into existence. With The Invisibles, Morrison wasn't using an existing universe as a support structure, in the way that Gaiman did, but instead they leaned into the time honored "world outside your windows" approach that Marvel popularized in the 1960s, but they made their universe, the universe of The Invisibles as a group, much, much weirder than even much of the Marvel Universe was. 

The problem for me was that this weirdness really wasn't enough. Things like magic, "magick," conspiracies and UFOs have been an interest of mine for a long time. I blame 1970s TV as a kid for putting all of that weirdness into my head. This might upset some more diehard fans of Morrison's work, but like I said above it made me feel like that first arc was something I had seen before. Now, I am intrigued to be looking at the book from the perspective of a world where a lot of weirdness and conspiracies have become weaponized in our worlds (both online and off).

My approach for these posts will be to break things down by story arc. I haven't decided if the various one shot stories that appeared during the run of The Invisibles that Morrison wrote for various anthology books will be tacked onto a story arc that feels appropriate, or if I will write about them on their own. I don't know yet how in-depth I will go into things on these posts. Some will probably be explored more deeply than others.

What these posts won't be is a series of annotations and explanations about what happened in the various stories. Annotation posts have their place, and I've enjoyed them for a number of properties that also have a number of concepts that could need explaining to readers, but I don't really have the temperament to do those kinds of posts. This series of articles will be mostly my commentary and criticism. What I think works, and what I think doesn't work. There will probably be some explanations of material, but that won't be the focus of the series.

Will I get through the entire series with these articles? I hope so, but I can't make any promises. I don't know how frequently I will be making these posts, because they will depend upon my reading and working out concepts as I go along. Some arcs will probably take longer to write about than others.

Here is looking forward to the new year. It is probably appropriate, or at least a serious synchronicity, that I announce this on a Winter Solstice.

The Shape Of The DCU To Come

Over at Newsarama, one of their writers talked about how many of the story seeds dropped by Scott Snyder at the end of his run of events at stories over at DC Comics didn't all pan out as expected. All of this is completely speculative on my part, as I have no idea where things are going to land.

This is what happens when 1) publishers rely too much on a treadmill of events to sustain interest, and 2) the architects of the big events don't stick around to sprout the seeds lain by their events. As Scott Snyder lead the DCU through Dark Nights, the No Justice Era and then into Death Metal, successive stories picked up what was being laid down because the writing architect was there threading the needle through the events and story arc. Then with Death Metal, Snyder laid out the after effects of his massive run...and then went off to do creator-owned books.

The Sound Of Breaking Glass

I think that it is time to jump back into the reviewing game, because I have missed doing it. Let's talk about one of the new young adult original graphic novels that are being put out by DC Comics, in this case Harley Quinn: Breaking Glass. This is a poignant story that redefines the character of Harley Quinn in ways that make her interesting again. In this review I will look at the new original graphic novel (OGN) that I picked up the other day.

This is probably not something that I would have picked up, if I hadn't seen some of the previews for the book. I am not a fan of the current interpretation of the character that is rooted in her dysfunctional and harmful "relationship" with the Joker. I don't consider those sorts of relationships to be healthy, or the kinds of relationship goals that anyone should be shooting for. I do like the power of the Harley Quinn character, but I hope that when we get to the next phase of young creators in comics that someone will recast the character in way that doesn't make it an extension of something harmful.

Law v Chaos (2)

Darkseid by J.G. Jones, from Final Crisis published by DC Comics

Over in Gallant Knight Games' first Tiny Zine Compendium there is an essay by me about the forces of Law and Chaos in fantasy role-playing games. It serves as an early promo for my Demon Codex fantasy role-playing game (still in development/writing).

I am going to go back over some of the basics from that essay here, but I'm going to also talk about the inspirations that have helped develop my take on Law and Chaos in my gaming. Click on the link above and get a copy of the Compendium, there's plenty of cool stuff in it to balance out what I wrote. Yes, that is an affiliate link.

What COULD Happen If Disney Stopped Publishing Marvel Comics?

There is an interesting article on (of all places) a site focused on Disney and Disney-related theme parks that asks the question Will Disney Stop Publishing Marvel Comic Books? We all know that one of the basic rules of journalism is that if your headline asks a yes/no question, the answer is typically no.

The thing is that this headline asks a pretty valid question that once would have been a resounding "no," but with the state of the comics market, and the fact that Marvel Comics has been bleeding readers for a while now, I don't know that it is that simple of a question any more. Neither Marvel Comics nor DC Comics are the powerhouses of the comics market that they were 30 or 40 years ago. In fact, the comics market itself has never really recovered from the market's speculator-lead bust of the 90s. Sales of DC Comics are up from what they were a few years ago (thanks mostly to the bump in sales that came about due to the Rebirth initiative that the company started about a year ago), but across the industry the sales numbers are no where near sustainable in the long term.

A Peek At Warren Ellis' The Wild Storm

From Ellis' newsletter Orbital Operations again:

Hey, Jon Davis-Hunt did a promo piece for our forthcoming project THE WILD STORM and DC forgot to use it during the announcements, so I'm going to run it here because I feel like it deserves to be seen.  Copyright DC Entertainment of course, and please link to orbitaloperations.com if you use it on your website.

I probably shouldn't be doing this. But I really wanted Jon's work to be seen.

It looks intriguing. I'm guessing that is Zealot in the bottom panel, and Sentinel in the second from the bottom?

Edit: Apparently that is the revamped version of Warren Ellis creation Jenny Sparks. It looks like she is getting upgraded to being the Spirit of the 21st Century now. That's a bit of a disappointment. I would have liked to have seen Sparks kept as the Spirit of the 20th Century, and have them keep the character of Jenny Quantum as the Spirit of the 21st. I liked that the Spirit of the 21st Century wasn't a white person.

The Strange Approach For Fate Accelerated

This is another rough sketch of a Fate Accelerated rule addition, this time a new Strange approach. Most people who know me know that I am a huge fan of early/pre DC/Vertigo comics like Peter Milligan's Shade The Changing Man and Grant Morrison's  Doom Patrol. I like them for their unadulterated strangeness and how they challenged the preconceived notions of what comic book stories could do. As a gamer they could be frustrating to try to bring over into a tabletop RPG because of their very openendedness. (Yes, probably not a word.) This post is basically a slight polish on some notes that I made recently.

After reading the second volume of the COPRA trades over the weekend, getting at characters with this openness starting running through my head again. I've been in a Fate Accelerated headspace lately, because of some professional projects, and that it is my favored version of the rules. What I came up with is a new approach to handle strange and surreal instances.

A big part of the reason why I like Fate Accelerated so much is because of the approaches. Because Fate gets away from the standardized idea of using attributes in role-playing games, and Fate Accelerated takes that a step further with approaches getting rid of skills, it frees you up as a player and GM to focus on the end result of what you what characters to do, rather than the mechanics of how that happens. For me, that is a great thing, and why I lean so heavily on the Accelerated rules.

This isn't freeform, because you still have a mechanical justification to hang things on within the game, the parameters of those mechanics are just loose. That looseness allows some of the more surreal bits to leak into your games. This can lead to a bit more work on the part of both the player and the GM. The player has to be more descriptive in what they are doing. Where "I forcefully overcome the steel door and break it down" is fine in a "mundane" occurrence during a game, it doesn't fit as well for the types of games that we're talking about here. For example: "I strangely overcome the steel door by bypassing its reality through sidestepping it by passing into Grey Plane of Despair and reimagining myself on the other side of it."

Easy, yes? Well, with some practice it can be.

So, let's outline the new approach:

Strange: A strange action is something out of the ordinary, even in worlds with magic and people with super-powers. It is about doing something that side-steps reality, or the basic laws of nature. Tears of blood from statues, rains of fish and other inexplicable happenings can be the result of strange actions.

Not every game will allow strange actions, and those that do should use them in dramatically important ways. A strange action is something that provokes hindbrain reactions in those who witness them, because it is rewriting primal and fundamental rules of the universe. A strange action is causing something that should not happen to happen.

Whenever you take a strange action, the outcome should never be mundane. When you attempt to strangely overcome a reinforced metal door you don't just "phase" through it, you open a portal into the Realm of Metal Hungry Spirits, allowing a stream of starving Necrosprites through to devour the metals of the door. When you strangely attack, you shunt opponents through a tear in your sleeve that transports them to a demiplane of Misery that erodes their will and destroys their mind.

Strange actions aren't going to be for all players, so don't require that a rank be put in that approach. Do not let a player get away with using a strange action mundanely. Put a situational modifier of -2 on attempts to take a strange action without doing something strange (and do not allow a Fate point to offset that modifier). There should be consequences of failure to try to take a strange action without doing something strange. Trying to create a "normal" energy blast as a strange attack would instead manifest as a stream of fiery dolls hitting the target. Part of the challenge of this approach is that, regardless of what the character intends to do, the outcome is something weird.

There should be an aspect, preferably the character's high concept, that gives the permission for strange actions. Otherwise a character's strange approach can never be more than +0. Your character can attempt strange actions, but they have no innate ability to do so.

This post is just a starting point on suggesting how you can bring strange actions into your Fate Accelerated games. The destination is up to you.

DC Comics Rebirth?

It will start with a voice, "I love this world,  but something is missing."

"It" being the next "event" (my words, not theirs) from DC Comics: DC Universe Rebirth. According to CCO Geoff Johns, DC Universe Rebirth follows in the steps of Green Lantern Rebirth and Flash Rebirth. A next chapter in the DC Universe.

Each of the previous Rebirth minis were about returning something to the DC Universe. Green Lantern Rebirth brought back Hal Jordan, Sinestro and the Green Lantern Corps to the DC Universe. Flash Rebirth returned Barry Allen as the Flash. So, it stands to reason that DC Universe Rebirth will be about returning something to the DC Universe. But what?

What they seem to be saying is that DC Universe Rebirth will bring back the aspect of Legacy to the DCU. 

The more important question is...is it too late?

To be completely honest, neither of the so-called Big Two comic publishers have ever completely bounced back from the crash of comics in the 90s that nearly ended comics. These days, standard operating procedure is to bounce from one big Earth-shattering, status quo changing event to another, dragging readers along on a ride of change and "rebirth" where everything is "All-New" and "All-Different," and of course everything gets a shiny new coat of paint and a fresh set of new #1s to prop up sales.

Until the steam runs out on that, and everyone realizes that things have to change again because they need the sales.

According to an interview with DC Comics CCO Geoff Johns at the Comic Book Resources website some of the basics are:

With "Rebirth," the mainline DC Universe titles will be renumbered with new #1s -- except for "Action Comics" and "Detective Comics," the two longest-running series in DC's lineup, which will return to their original numbering at #957 and #934, respectively. All DCU books will return to a $2.99 price point (currently their lineup is split between $3.99 and $2.99 single issues), and select core titles (details to come on exactly which) will shift to a twice-monthly schedule.

Yes, because nothing will set readers straight quite like 30-some comics with shiny new #1s, and two books that are numbered in the 900s.

It started when [DC Co-Publishers] Dan [DiDio] and Jim [Lee] came to me and said that they wanted to end things at #52, and work build back to a shared universe and big stories. They wanted to take another look at everything.

I think that a lot of this goes back to the last "event" at DC, the less than spectacularly selling Convergence. There were some really good stories in that event, and some old time readers were happy to see the return of "their" heroes, even if for just a short time. The problem was that those readers wanted everything turned back to what they were used to. Personally, I think that would have been a bad idea.

I liked what I have read of DC Comics' "New52" line. They brought a lot of freshness and showed a willingness to do comics that weren't "just" super-hero books. We saw the return of horror and war comics, westerns and science fiction, as the powers that be at DC tried to regain the interest of lost readers, and gain new readers. Some of it worked, some didn't. A lot of books ended up getting cancelled because they couldn't find an audience, and the realities of post-Crash comics (even with deep corporate pockets backing the Big Two) mean that comics that once could have been given time and attention to find an audience no longer were given the chance.

This ended up creating a further disconnect between publisher and readers, as books fell to the wayside. It wasn't just DC doing this either, Marvel has had spates of cancellations of low selling books as well (particularly recently). This is just supposition on my part, based with talking to a lot of comic fans of all different walks of life over social media, but it seems to me that this is one of the lowest points for reader faith in the big comic publishers.

Over at Comic Book Resources, Johns says:

I've been a fan for years -- I have over 60,000 comics and 99 percent of them are DC Comics. I really see this as an opportunity, and like I've said before, take all the characters and thematics that we love -- from the past and the present -- and build a story that brought them all together, revealed new secrets and truths and mysteries, and moved it all ahead. Again, as someone who absolutely loves the DC Universe, to me it's maybe lost some things. Not only characters, but more intangibles. Some essence to what makes the "DC Universe" unique and brilliant and unpredictable. And every single character matters -- from Batman to Cassandra Cain to John Stewart to Saturn Girl to Blue Beetle to Lois Lane-- everyone is someone's favorite. And in comics, anything's possible.

"Everyone is someone's favorite." That right there is the bedrock of fandom, and why waves of cancellations brought dissatisfaction to readers. "Everyone is someone's favorite." This is something that I see often come up in comics conversations online, people don't feel that they should invest themselves in comics because they will probably end up being cancelled. With DC we've seen Blue Beetle, Static Shock and Jonah Hex books get caneled. Soon we will see books like Black Canary go away. Why? Because they want to bring back Birds of Prey (apparently).

I am not alone in feeling that the current (at the time of this writing) Black Canary book is pretty great. It is quirky and original, taking a character who was fairly generic in the New52 relaunch and making her interesting. The creative team found a way to make the character engaging, and something more than what she had been previously. I had always enjoyed this character, but in its 50+ years of history and stories it was typically little more than a face in a group, or part of the side story of some other character. For the first times in my decades of comic reading, I wanted to know what was going to be happening next month with Black Canary. The character became the lead in its adventures, rather than just an adjunct to another character's story.

Having Birds of Prey come back is great, particularly if it means that we will get to see a return of Lady Blackhawk to comics. But, part of my problem, part of where this disconnect between publishers and readers is that for those of us for whom Black Canary has found engagement cancelling her book so that the character can go back to being a team player is nonsensical. Women-lead comics shouldn't be a zero sum game.

It's in the same vein as "Green Lantern: Rebirth" and "The Flash: Rebirth." Some things alter and change, but it's more character-driven, and it's also more about revealing secrets and mysteries within the DC Universe about "Flashpoint" and The New 52 that are part of a bigger tapestry. A hidden and forbidden secret.

So, DC Universe Rebirth is going to be about restoring a legacy to DC Comics. We're going to get a new Justice Society book. The currently ongoing Titans Hunt mini is going to restore the classic Teen Titans to the DC Universe (I'm still not entirely sure how they're going to get around some of the changes like Cyborg being in the Justice League, but I'm guessing that he isn't going to have been a Titan now period). But, still, is it too little, too late?

A big part of the problem that DC Comics has had with issues of its own continuity have always been because the "fresh starts" have always been half steps. Whether it was Crisis On Infinite Earths, Zero Hour, Infinite Crisis or even the New52, each time there has been a reboot they have tried to make everything new and not change anything that they didn't have to change. For the New52, DC had Grant Morrison rationalize a way for a new character...who could still access the old stories (like Doomsday). In the Batman books Batman had three Robins over the course of five years, one of them dying and coming back to life. So much could have gone so simpler with a clean sweep each of these times.

But they didn't, and that is partially what brought DC to this point today.

Comics have been an important part of my life since before I could read. They've inspired many other of my hobbies throughout my life. Now I am wondering if this might now just be the jumping off point for the Big Two.

Update: DC Comics has announced the schedule for the next few months, so we know what titles are surviving and some of the new launches. None of these have announced creative teams.

June:
Rebirth Specials:
• AQUAMAN REBIRTH #1
• BATMAN REBIRTH #1
• THE FLASH REBIRTH #1
• GREEN ARROW REBIRTH #1
• GREEN LANTERNS REBIRTH #1
• SUPERMAN REBIRTH #1
• TITANS REBIRTH #1
• WONDER WOMAN REBIRTH #1

New #1 Issues (Shipping twice monthly):
• AQUAMAN #1
• BATMAN #1
• THE FLASH #1
• GREEN ARROW #1
• GREEN LANTERNS #1
• SUPERMAN #1
• WONDER WOMAN #1

New Issues (Shipping twice monthly):
• ACTION COMICS #957
• DETECTIVE COMICS #934

July
Rebirth Specials:
• BATGIRL & THE BIRDS OF PREY REBIRTH #1
• HAL JORDAN & THE GREEN LANTERN CORPS REBIRTH #1
• THE HELLBLAZER REBIRTH #1
• JUSTICE LEAGUE REBIRTH #1
• NIGHTWING REBIRTH #1
• RED HOOD & THE OUTLAWS REBIRTH #1

New #1 Issues (Shipping twice monthly):
• HAL JORDAN & THE GREEN LANTERN CORPS #1
• JUSTICE LEAGUE #1
• NIGHTWING #1

New #1 Issues (Shipping monthly):
• BATGIRL #1
• BATGIRL & THE BIRDS OF PREY #1
• THE HELLBLAZER #1
• RED HOOD & THE OUTLAWS #1
• THE SUPER-MAN #1
• TITANS #1

Fall
Rebirth Specials:
• BATMAN BEYOND REBIRTH #1
• BLUE BEETLE REBIRTH #1
• CYBORG REBIRTH #1
• DEATHSTROKE REBIRTH #1
• EARTH 2 REBIRTH #1
• SUICIDE SQUAD REBIRTH #1
• SUPERGIRL REBIRTH #1
• TEEN TITANS REBIRTH #1
• TRINITY REBIRTH #1

New #1 Issues (Shipping twice monthly):
• CYBORG #1
• DEATHSTROKE #1
• HARLEY QUINN #1
• JUSTICE LEAGUE AMERICA #1
• SUICIDE SQUAD #1

New #1 Issues (Shipping monthly):
• BATMAN BEYOND #1
• BLUE BEETLE #1
• EARTH 2 #1
• GOTHAM ACADEMY: NEXT SEMESTER #1
• SUPERGIRL #1
• SUPERWOMAN #1
• SUPER SONS #1
• TEEN TITANS #1

• TRINITY #1

One Million Moms Goes After Olive Garden Over Fox's Lucifer Show

This has been all over much of the comics-related geek media, but the organization known as One Million Moms has targeted restaurant chain The Olive Garden over its sponsorship of the new Fox TV show Lucifer. Lucifer the TV show is in turn based upon the successful Vertigo Comics comic that itself spun out of the even more successful Sandman comic by Neil Gaiman and a variety of artists.

This organization has previously attempted boycotts against the 21st century when they fought against a gay male character in Archie Comics, railed against both Marvel and DC Comics for including gay characters in their children's entertainment and an "adult" version of The Muppets.

One thing that you will note that is in common with all of this organization's "campaigns" would be a lack of success. I think that is is interesting that they target The Olive Garden, while leaving both Fox and DC Comics (parent company of publisher Vertigo Comics alone). Part of this is because Fox was targeted when the show was announced...to a resounding lack of success...and DC Comics have been target any number of times by anti-diversity groups (also to a resounding lack of success).

The thing is that inside of the geek communities, we have similar regressive elements to deal with. We have to deal with misogyny from within our communities, most particularly those people who think that they are being helpful to "lady gamers." Every community has its share of stupid, but perhaps because of social fallacies, they get a gimme because "he's a nice guy" or "you just don't know him" or any other number of reasons. As a middle-aged white guy, it is particularly dismaying to see so much of this coming from my particular demographic. I will admit that I have not always been the most enlightened of people, and that I have made mistakes, but it would scare me if I still held beliefs now that I held in my childhood, or even 20 or 30 years ago.

The slurs against gays that were once considered okay, are not okay. Treating woman as if they need guidance from men is not okay. Being an ass to someone because of the color of their skin, or because of their belief system is not okay. More and more anymore, I wonder why it seems that so many people are still struggling with the idea that people are just people. Yes, it is easier to hold onto old views, old ideas, but fighting against the changes in the world, or better saying that people who are against your archaic views are the actual problems, isn't going to magically roll things back and make it 1972 again.

Fanaticism, regardless of the group that it comes from, is not pleasant. We need to do better, we need to treat people better than this.

Sometimes Super-Hero RPGs Don't Have To Be About The Superpowers

Two of my favorite comic runs are John Ostrander's Suicide Squad and Kieth Giffen and J.M. DeMatteis' Justice League books from the late 80s/early 90s. Both of these spun out of one of DC Comics' post-Crisis on Infinite Earths events called Legends. Legends was a pretty cool mini-series written by Ostrander and with art by John Byrne that dealt with one of Darkseid's many plots to conquer the Earth (this time by attacking the "legends" of Earth's super-heroic guardians in order to soften them up for his attack).

One of the things that made these comics interesting to me was the fact that they focused as much on the characters of the books as they did super-powers, sometimes the focus was even more on the characters.

This is good because on of the things that tabletop RPGs do well is to focus on the player characters and their interactions. For many gamers, whether with new or old school approaches to gaming, this is why they game...to tell stories around their characters. For fans of these kinds of games, it makes comics like these excellent models for their games/campaigns.

One of my longest running Classic Marvel Super-Heroes RPG campaigns was influenced by these two books, mostly because they were what I was reading each month as I GMed the campaign. Roleplaying was important to these campaigns, and while we would have elaborate knock-down, drag out fights in the games the players also spent a lot of time talking and developing their characters. Relationships happened. Characters married NPCs. Characters died as players left the group, or decided they wanted new characters. It was interesting because, when we started the campaign, most of the people had never played the game, so I asked them what they wanted for a character and modeled it for them in the rules, or game them a character from my notebooks and they ran with it. One of the cornerstone characters of our campaign, a stereotypical conservative super-hero named Real American, was based off of the character of Golden Boy from the Wildcards novels. The player (who was not all that conservative in real life came up with someone who was a play on conservative super-heroes like Guy Gardener) took the bones of the character and molded a new personality and motivations for the character and made it his own.

One of the ongoing protagonists in our campaign was the super-terrorist group The Jihad from the Suicide Squad comic. After one of the players spent a Christmas missionary trip to Haiti (weirdly during the Haitian Revolution in the 90s), I added a Haitian character to the group patterned after the New Warrior named Night Thrasher. In fact, that player's character was a semi-generic "ninja" who split from the Kali Cult that the Jihad member Ravan belonged to.  Grey Mist tried to turn his training into something for good.

However, this post isn't about how to appropriate characters and tropes from comic books and to use them in your super-hero games. That could probably be a post all on its own.

Honestly, you have to have the "right group" of players if you want a game that is going to focus on characterization and interpersonal relationships. Not wanting to do this isn't a bad thing, but it isn't going to be what ever group is interested in doing (or even capable of doing). You have to be upfont about wanting to run this sort of game, so that players do not have the expectations that this campaign will be more "standard." There is a certain type of player who wants to fight everything all the time, and while they may have a place in some games...in others they can be a detriment.

Now, obviously, you can play this sort of game with any type of roleplaying game, if that is what you want to do. We did it for years with the Marvel Super-Heroes game, so it can be done. Again, though, not everyone is going to want to use a game and "never touch the dice for sessions." They are going to want some sort of mechanical basis for these sorts of interactions. For that, I suggest going with their preferred game to handle these sorts of things mechanically.

For me, running this sort of game could easily be handled by the Fate Accelerated rules without any sort of alteration to the rules. Remember, we're talking about super-heroes "without the super-powers," so a game with a laundry list of powers and abilities could be detrimental to what we want to do. Plus, Fate Accelerated has a number of free options available for grabbing the rules to the game.

One of the first things that you have to come up with, for this kind of game, is a strong theme. For the Teen Titans you could say that the theme is "Teens coping with their powers and difficulties by joining together and helping each other." For the Suicide Squad it could be "Misfits and criminals looking for redemption." The theme for the Justice League of the time could be "B-List Heroes Looking For Recognition." You could probably come up with a couple of variants on these themes, or different ones all together, from each of these comic's stories. The idea is to figure out which sort of story that you want to tell.

Next, once the theme is decided, the players need to decide how they want their characters to fit into this theme, and what sorts of personalities that they want for their characters. Using Fate Accelerated was our guide, we can come up with aspects for Suicide Squad stalwart character Deadshot like this:

High Concept: He Never Misses His Shot...
Trouble: ...Except When He Loves A Woman

I don't think you're often going to see two interrelated aspects like this very often in a Fate character. It fits for the characters, at least as how it was interpreted back in the 80s, and they both work. I like how they sound like a tagline from a movie poster. Some GMs might want you to make these into one aspect, but I think that would be too specific of an aspect, personally. You could change the trouble aspect into something more social like "...Except When He Wants To Fit In" instead. I like the idea of the tough as nails character who knows that he has that flaw when it comes to women/relationships. It makes for a very noirish type of character. Can that trouble be flipped to "...Except When He Loves A Man"? Of course! Play your game how you want to play it.

Use one or two of the aspects remaining to talk about the character's powers, and then fill out the rest of the character's personality. With our de-emphasis on powers, we don't need to sweat a detailed writeup of what Deadshot can do. We already know that he "Never Misses His Shot.." I would use an aspect like "His Battle Armor Is His Weapon To Kill And To Keep People At A Distance." This should be easy to invoke when a combat situation does come up, and it can easily be compelled during other times. While cliched, Deadshot is certainly an archetype for the "Checkered Past" aspect, and "Can't Take The Shot Against Batman" could round out his aspects.

I enjoy this sort of a game, but it isn't going to be for everyone. The important thing to remember when adapting your favorite comic stories to gaming is to look deeper than the surface of the stories that you are enjoying. While the flashy powers are there, and available, in the games, they don't always have to be the focus of your game. There are some really good games that are all about building and using powers. However, this is why variety in available games and playstyles is important to gaming. Ultimately what is important is that each and every group find the system and approach to gaming that works best for them and gets their game on.

Why I Love Superhero RPGs

Comic books have always been my thing. I got into them before I could even read. When I was still a toddler, my parents owned a couple of convenience stores, and they had those wonderful, mythical spinner racks in them. The draw of the brightly colored comics was too much for my young mind, and I was hooked. Even before I could read them.

I really don't know what the first comics that I "read" were, but from vague childish memories I am pretty sure that The Avengers was on that list, most likely (due to my age) something during the Roy Thomas years.

Within a few years, I was going full tilt into comics. The 70s were a great time to get into comics. Marvel was doing some of the best work of their history with creators like Roy Thomas, Steve Englehart, Gerry Conway, Steve Gerber, Neal Adams and Jim Starlin among so many others. I do think that DC Comics came along and stole a lot of the thunder of Marvel in the 80s and 90s, with more cutting edge storytelling, but that is a matter of opinion.

I love comics. I love all sorts of comics. I love mainstream super-hero stuff. I love alt comix. I love the indie books (stuff from the 80s...wow). I love the foreign stuff. France has had some great SF comics over the years. 2000 AD and/or Pat Mills have revolutionized the British comics scene. If you have an interest in a genre or type of storytelling, there is probably a comic for it. And that is an awesome thing.

This is where I have always fallen a little out of step with other gamers, I'm just not as big of a fan of fantasy or SF stuff as I have been of comics. Luckily there's always been a strong fantasy tradition in comics (whether any number of Conan comics or quirkier fare like Stalker from Paul Levitz and Steve Ditko), so I've had that to keep me afloat, but I have never really had much of an interest in fantasy literature outside of a couple of authors. I tried some of the "Appendix N" writers with mixed success.

Then in 1985, I stopped playing D&D. It has just never really engaged me in the way that other games have since. Although at the time, if it hadn't been for the original Marvel Super-Heroes game and Call of Cthulhu, I may have stopped gaming altogether.

The Marvel game not only appealed to my being a fan of comics (even though by the time the game came out I had switched my allegiance to DC Comics), but it had that breathtaking simplicity that people talk about when they wax nostalgic over the early editions of D&D. Yes, there were other super-hero RPGs, but the only other that was as fun for me would have been the British Golden Heroes, put out by Games Workshop in the later 80s. The sensibility of that game was so in sync with the British comics of the time, and the American comics that they would later inspire, that the game was really ahead of its time.

There was also the college fling with Palladium's Heroes Unlimited, a game that I also have enjoyed over the years, but only when I need that "class and level" scratch itched.

Why is it that I keep coming back to the Marvel RPG? I think that it hits that personal sweet spot of simplicity and robustness. The game's underlying mechanics look back to an earlier era where a more freeform and imaginative route was encouraged, in that time before people thought that something not addressed directly by the rules of a game meant that the game couldn't do that thing. But mostly, I like the fact that comics, and super-hero comics more specifically, are about just about anything: science fiction, romance, adventure fiction, mythology, horror, magic, intrigue, espionage. All of these things are in super-hero comics, and all of those things can and should be in super-hero RPGs. A good super-hero RPG can be about anything, and for me that is what the Classic Marvel Super-Heroes RPG is. A good super-hero RPG that can do anything.

I'm not going to lie and say that it is a perfect RPG. There's no such animal. What it is, however, is something that is nearly perfect for me. It has flexibility and variety. It holds up fairly well at the high and low ends of the power spectrum for super-heroes. Most super-hero RPGs, I think, hold up better at the higher end of things than the "street level," but there are work arounds for a game like this, and that is why I like it. It has a good framework that I can hack into the game that I want at the table. That is really all that I can ask out of an RPG.

It is true that this game gave my friends and I hours and hours of enjoyment back in college. Everything from random, stupid fights to intricate intercharacter interactions. The rules didn't always support what we wanted to do, but they didn't get in the way of them either. And that, for me, is the point behind an RPG.

Mapping The Multiverse

Maybe it is because I received a copy of the newly revised edition of the Supers! role-playing game in the mail today. Maybe it is because of the fact that Comic Con International: San Diego is going on and I am jealous of all of the comic-related news coming out of there.

I don't make a secret that I am a fan of Grant Morrison's work. I loved his Doom Patrol and Justice League runs more than is probably legal in a number of states. Moreso even than Warren Ellis and his Stormwatch/Authority run, I think that Morrison redefined the super-hero team book during his JLA run. So, today, at Comic Con, on the Multiversity panel (for Morrison's upcoming mini-series redefining the DC Comics Multiverse) they revealed maps of the Multiverse, according to Morrison's story.

What do these maps make me want to do? They make me want to run a super-hero game that runs across worlds and planes of existence. Something that kicks some major ass. On the panel Morrison said:

"It has a concordance of every earth, with who lives there and which superhero teams are there.  There is a big story there too with Kamandi and Batman,” Morrison added.  It will literally define each of the 52 universes explicitly while showing what is going on in each one.  It was inspired by an old issue of Jack Kirby‘s Kamandi where Kirby drew a map of the western hemisphere to show what has been happening in different places. 

 How can this be bad?

Constantine And Flash Pilots Leaked To The Internet

So, this week the pilot episodes for the upcoming The Flash and Constantine series were leaked to the internet. They are easy enough to find, if you are so inclined. This post is going to talk about these pilots, so if you don't want to know anything until they air...click away now.

Invisibles Friday: Poor People Gonna Rise Up...

So, every Friday now I am going to post about an issue of the Grant Morrison comic The Invisibles. Part of me wants to just pick issues at random and talk about them, but I'll be good and stick to talking about the run in order. I'm going to be honest, despite having loved comics like The Doom Patrol and Sebastian O, I was not a huge fan of this comic at first. The first story arc  just didn't connect with me like some of Morrison's previous work had done.

I read the first story arc and decided that the book wasn't for me.

Then months later I read about the controversy surrounding the book in the comic press (back in the days when we read magazines to find out about what was going on in comics). DC Comics had some dialog changed in the book, in one case a line spoken by the Marquis de Sade was changed so that it would not sound as if children were being "used" in the story, and in another case a reference to Walt Disney was blacked out. What is interesting is the fact that both bits were restored to what Morrison intended in the collected editions.

However, the article that talked about the censoring also talked about the second story arc Arcadia, and the article intrigued me enough to pick the book back up and start reading it again. I didn't stop until the book ended its run.

The Invisibles has received a lot of press and critical thought over the years. I am not sure what this series is going to contribute to that body of work, but we will see. My intention isn't to be scholarly or to compile annotations. I am just going to go through each issue, give my thoughts and impressions and talk about what I saw in that book. Breaking down all of the magical symbolism will probably take a stronger mind than mine.

Beetles and Beatles play an important role in this first issue. Beetles play an important part in the symbolism of birth and rebirth, and that is the running theme of this first story arc (and most of the run of The Invisibles as well). Dane McGowan must be reborn into his role of Jack Frost in order to save the world from Armageddon. This is a theme that Morrison uses often. His JLA run dealt with the Earth's super-heroes running up against the ultimate Armageddon in the form of the sleeping God Weapon Mageddon. This wasn't an unusual theme around the millennium.

John Lennon is the other Beatle toplay a part in the story. Dane see him talking with Stuart Sutcliffe on the banks of a Liverpool river, a moment of soft time when the past and the future were able to touch. Later in the issue Lennon is adapted in Chaos Magick style into a psychedelic Godshead and summoned by King Mob as an augury of the future.

Is Lennon actually being summoned, or it is just a metafictional trick of King Mob's unconscious mind, telling him what he already knows to be true? In a book like The Invisibles the answer can go either way.

For a lot of people, Grant Morrison is a fairly incomprehensible writer. He certainly doesn't write the typical comic book stories, whether he's working on a book like The Invisibles or comics like New X-Men or JLA. He has a certain psychedelic style (of which the above page is fairly representative) and an enthusiasm for the medium that I find contagious. I may not like everything that he does, but when he is on I think he is one of the best writers in comics.

The antagonists introduced in this issue show two of Morrison's influences writ large: Williams S. Burroughs and H.P. Lovecraft. The reason that I use the more generic term of "antagonist," because I am not always convinced that King Mob and his Invisibles cell are always the hero of this story. Even as the "good guys," they do a lot of things that don't set them that far from the antagonists.

Control is bad. Freedom is awesome. It is Michael Moorcock's Law versus Chaos, D&D great, eternal conflict, done up in comic book form. This isn't anything new, really. DC Comics has used a version of Moorcock's Law vs. Chaos for decades in their book. This won't be the only time that Moorcock's influence will show up in this book.

I think that for me, a big part of the appeal of this book (once it really had my attention) was the fact that it took a lot of the things that I was interested in: Moorcock, Lovecraft, Burroughs; and wrote about them in a new context. Throughout the run we will see visits from the Divine Marquis, Borges and P.K. Dick on the evolving story as well.

One thing that I will likely get to in one of these posts was the Grant Morrison Versus Warner Brothers story that happened, as Morrison claimed that the movie The Matrix took some of the concepts of The Invisibles without crediting him for them. As we will see, the theme of initiation (so important to occult thinking) will be important to this first story arc, and as initiation is a fairly universal literary/mystic theme it is not unusual that stories that deal with the theme will have some points of commonality.

Corridors are an important theme as well, as they are symbolic of journeys and traveling. This is something that will pop up more than once as we go through these comics.

Let's get down to the nitty gritty. How did this comic hold up? I almost wish that I hadn't read these comics in a long while, so that I could come at them with a fresher perspective. That said, I do still think that they hold up fairly well. Grant Morrison's The Invisibles is part of a British cultural "invasion," not all that different from the invasion lead by The Beatles in the 60s. Morrison's work represents a comic/literary aspect, falling in step with musicians like Blur and Oasis, of a movement that took the popular culture of the past and synthesized it into something that was representative of the (then) current times. A lot of the fears and insecurities that The Invisibles comments upon are still plaguing the world as well.

With The Invisibles, Morrison gives us a millennial view of Britian in comic book form, not dis-similar to what Jamie Delano gave us in the 80s with Hellblazer, the first John Constantine solo comic. Both of these comics are an attempt to look into the psyche of the nation of their respective times. In a way, it builds upon the British comics culture started by magazines like 2000AD and creators like Pat Mills.

As we will see, more even than mainstream books like JLA or even Aztek, The Invisibles will show us the heights and depths of Morrison's powers as a creator. Some of his greatest storytelling is going to happen in these pages, and we are going to go along for the ride.

Why should you read The Invisibles if you haven't already? Well, if you like any of the authors that I have listed as being influential on this comic then you might like this comic as well. If you are looking for a comic that makes you think, is more than just a passive form of storytelling, and that deals with more than just comic book super-heroes, you should check out The Invisibles. Sometimes horror, sometimes fantasy and sometimes science fiction, this comic is most likely the story that Morrison was meant to tell in comics. So, even if you have only read his work on Batman, or Action Comics, check out a couple of the early issues of this on Comixology or pick up the first trade from your local comic store (or your preferred internet seller) and give it a try. There's a lot in here for gamers to find as well. If you're looking for something new for your modern horror or adventure campaigns, you could do much worse than to tap into the energies of Grant Morrison's The Invisibles.

Next week we will be back with a look at the second issue.

Now, since music was an important influence on Morrison's writing I am going to close with an unrelated music video. I think that it ties in well enough with the story of Dane that I named this post after a quote from it.

We're talking about a revolution...

Killing Joke Original Art Raises Questions of Story's Intent (NSFW)

Did they really rethink this'd get into an issue of Batman? "Love that Joker" pic.twitter.com/g6KGKNaAgH
— Billy Hynes (@BillyHynes) December 1, 2013

This appeared up on Twitter today, and it is interesting because it adds an overtly sexual angle to the story, and The Joker's tortures of both Barbara and James Gordon. What was it that Alan Moore intended with this piece of art?

On the off chance that the art goes away from Twitter, here's another copy:

DC Nation: Wonder Woman Short

DC Comics has put the first three parts of a Wonder Woman short that is going to be part of their DC Nation block on the Cartoon Network. It is sort of Wonder Woman meets Aeon Flux meets The Prisoner set in the 1970s. Check these out.

I hope you enjoy them. I know that I did.