Sunday, March 23, 2014

Nefertiti Overdrive Kickstarter

There's a new Kickstarter around and, if you've always wanted to punch faces in ancient Egypt, it might be for you. Nefertiti Overdrive by Sword's Edge Publishing -- whose previous titles include Kiss My Axe and Sword Noir -- is a cinematic RPG set in a totally unhistorical ancient Egypt where the focus seems to be on being and doing awesome. But does its Kickstarter page live up to this awesome? We'll see right after these messages (about the game and its setting).


As mentioned, the game is focused on cinematic action -- it's a wuxia in ancient Egypt. The setting -- as much as I got from the Kickstarter page -- is about pyramids and sand and the Nile and such. Basically, if you are looking for a detailed Egyptian setting book -- this might not be the one for you. The rules and mechanics seem to be made with speedier play in mind -- if you are familiar with their previous titles, Sword Noir and Kiss My Axe, it does seem that the rules are fairly similar which means you can check those two games out if you are curious about how Nefertiti Overdrive might play.  Or you can check out the first pledge tier of the Kickstarter.

The first thing to point out (and it is quite obvious on the page) is that this Kickstarter is in Canadian Dollars -- so be sure to convert for your regional equivalents. The second thing to point out is the first pledge tier -- CAD$1 and you get access to the playtest rules. Most Kickstarters just give you a nod for that amount, but playtest rules? That's pretty good. That being said, if you want the PDF it'll only set you back CAD$7 (and still includes the playtest rules). Print copies of the rules come in two categories -- international and Canada/continental USA. The Canada/USA option is pretty simple -- CAD$20 for a print copy (it includes shipping). The international tier is a bit different. From what I can gather it is CAD$17 to purchase a copy via Drive Thru RPG and the shipping will be an additional cost through them. Both of the book tiers also include the PDF and playtest rules. The higher tier extras include a signed copy of the book, game sessions and being a model for alternate character portraits.

Now then, on to the newer section of this article series -- my critique of the Kickstarter, in general.

The first element you see on the page is, of course, the video. Which is done pretty well. It is short and covers as much relevant information as possible. The one minor problem that I had with the video was the sound level -- it just seemed a bit low.

The Amazon, one of the playable characters.
Next is the general content of the page -- it's laid out in a standard Kickstarter way. There is plenty of description to give an idea of what the game is about, though it could use a bit of editing to clean it up and better organize the information. There is also some decent character art present. Some of the best information on the page is in the form of links to Sword's Edge Publishing's website that contains various previews and information about Nefertiti Overdrive, which is nice to see, though some of that information might should be pulled to the Kickstarter page to help flesh out the information there.

Last bit is the funding goal and pledge tiers. The goal is CAD$5,000 which I feel is reasonable. A previous Kickstarter of theirs managed to pass that (by a little bit) and the Kickstarter is almost a quarter funded (as of this post). The pledge tiers seem to be well priced, though the page count is not known for the book -- based on the prices I would assume it being of similar length to Sword Noir. That said, having lower prices in the pledge tiers will require having more backers to meet the funding goal.

If you are interested in Nefertiti Overdrive, and would like to know more, be sure to check out its Kickstarter page and Sword's Edge Publishing's website.

Tuesday, March 18, 2014

GMing Survey Over On Reddit

One of the industry mailing lists that I am on spawns interesting topics for conversation from time to time. I don't follow Reddit, so I can't comment directly on any of this, but I found the post interesting enough to talk about over here. You can find a link to the post here. The poster put up a survey for GMs that received 900 responses, and I thought that some of the responses were interesting enough to talk about. I'm not going to look at the whole survey's results. You can do that on your own.
The majority of you GM more frequently than you play. No big surprise, given the fact that this survey was aimed squarely at GMs. 39% of you reported that you GM "most of the time," while 25% said you're always the GM. Another 25% of you said that your player/GM time is about 50-50, 9% responded "rarely," and both "only when I have to" and "I want to but don't know how" each netted a measly 1% apiece.
As a full-time GM, I can see this. Obviously as the survey was directed to people who GM, there will be some bias in answers. It also shows that games need to probably be better explained and have better examples of play written up for them. Yes, that 1% of people who don't know how is only 9 people, however other people who would have answered this way might not have taken a survey like this because they have not GMed.
"World building" and "Reacting to unexpected choices from players" were your two favorite things about being a GM, with some interesting trends. These two answers made up 66% of the total responses to this question, with basically an even split (34%/32%). An interesting fact is that the fun of world-building seemed to follow a bell-curve: <22 year-old respondents favored world-building much more strongly (42% of responses), while 22-39 year-old respondents liked reactionary play more (34%) and instead spent more of their away-from-table time planning adventures than the younger crowd (15% to 10%). However, among the 40+ groups, world-building once again took the top spot (33%). My theory here is that 22-39 year-olds probably lead the busiest lives - starting families, building careers, and so on - and would rather spend their energy at the table than behind the scenes. Alternate interpretations are, as always, welcome.
I would definitely say that my favorite thing about being a GM would be world building. I like the idea of filling in the little bits and pieces, even if the players don't get to see them, and making a world that we will all have fun playing in. Of course, I also don't take the traditional approach of "THE GM CREATES EVERYTHING AND THE PLAYERS WALK AROUND IN THE WORLD" either. I like to let the players, and their paranoid imaginings, fill in some of the blanks as we play as well. It is worth it to see that look when they realize that the things they have been worrying about are true.

Of course the fact that I'm not really a module kind of guy probably is a big part of what makes me want to build worlds. Even if those worlds are just subterranean dungeons for the characters to explore.
Among Fantasy gamers, Pathfinder and D&D 3.5e are king. 46% of you chose one of those two options (Pathfinder - 31%, 3.5e - 15%). This was true among every single income and age group except for players <18 years old, where Pathfinder still reigned supreme but 4e edged out 3.5e by a narrow margin (19% to 13%).
This is a shock to no one, I'm sure.
Outside of Fantasy, Cyberpunk and Sci-Fi were your favorite genres. Cyberpunk commanded 17% of votes, while Pulp and Hard Sci-Fi boasted 16% and 15% respectively. Modern (Magical) and Horror followed close behind with 13% each. Post-Apocalypse netted 11%, with the other pre-defined categories hanging out around 2-3% each. Most of the write-in responses here were variations on "I LIKE MORE THAN ONE OF THOSE THINGS." Superheroes was the only significant new category to arise from write-ins, with <2% of total votes.
Again, probably not a huge shock. To be completely honest, there's not a lot here that comes as a big surprised to anyone who has been gaming for a while. It is nice to see someone doing surveys and trying to collect data, however. I wish that it was one of the bigger publishers who has the time and money to do this sort of thing on the right scale, and it the right ways. The marketing data from the old D&D market surveys are creaky enough at this point to be largely irrelevant, since they are a snapshot of the gaming scene before the OGL, before indie design and even before the massive increase in the PDF market for gaming.

Monday, March 17, 2014

Valiant Comics And Catalyst Game Labs Team Up To Produce Valiant Universe RPG

So, I mentioned this on Friday. Now it is official and the press release follows:

Valiant Entertainment is proud to announce that it has partnered with Catalyst Game Labs to produce role-playing and tabletop games featuring Valiant’s award-winning library of comic book superheroes. The partnership will lead off in mid-2014 with the release of the Valiant Universe RPG—Valiant’s first-ever role-playing game, designed for the Cue System (the Origins and ENnie awards-nominated system first published in Catalyst’s 1950s Rockets/Rayguns/Robots RPG, Cosmic Patrol). Subsequent releases, spotlighting a wide array of Valiant properties, will follow in 2015 and beyond.
The edge between superhero and villain has never been sharper. In the Valiant Universe RPG, players will immerse themselves in a dark and gritty world where every mission and every battle has deadly consequences. Whether playing X-O Manowar, Bloodshot, Shadowman or even the all-powerful Toyo Harada—or any of dozens of characters—Valiant’s most fearless heroes will unite for the first time in a roleplaying game, allowing you to join their stories and create new ones! Whether you’re a longtime fan or brand new to the Valiant Universe, this is the only source you’ll need to bring Valiant’s leading characters to life in a fantastic superheroes setting!
“This is really a dream come true,” said Randall N. Bills, Managing Developer for Catalyst Game Labs. “I’ve always been a comics fan—as are most of Catalyst’ employees—and getting the chance to publish great games within a fantastic comics universe is spectacular. The fact that it’s Valiant, with its brilliant combination of heroic action and gritty realism, makes this all the more enjoyable.”
Valiant is a leading character-based entertainment company with a library of over 1,750 characters, including X-O Manowar, Bloodshot, Harbinger, Shadowman and many more. Established in 1989, Valiant has sold over 80 million comic books, and today its characters continue to be forged in publishing, licensing, film, video games, and beyond. Since its summer 2012 relaunch, Valiant has returned to the fore as one of the most highly regarded publishers in comics, winning a 2012 Diamond Gem Award for Comic Book Publisher of the Year. Just last month, the publisher announced Valiant First—a brand new publishing initiative primed to unleash a major #1 new series debut monthly throughout 2014, beginning in May with RAI #1—the first issue of an all-new ongoing series from New York Times best-selling writer Matt Kindt with fully painted interiors by superstar artist Clayton Crain.
“Catalyst is exceptional at what they do, and we couldn’t be happier to be working with a games publisher of their caliber on Valiant’s very first RPG. With such a skilled an enthusiastic team at the helm, we have every faith that Valiant’s first foray into the world of role-play and tabletop gaming will live up to the expectations of our fans around the world,” said Russell A. Brown, Valiant’s President of Consumer Products, Promotions & Ad Sales. “Catalyst is dedicated to doing these characters justice, and we look forward to giving our biggest heroes the gaming debut they deserve when the Valiant Universe RPG arrives later this year.”
Look to www.catalystgamelabs.com in the future for more details surrounding these coming games!
For more information on Valiant’s award-winning library of characters, visit Valiant on Facebook, on Twitter, on Tumblr, and at ValiantUniverse.com.

For Valiant merchandise and more, visit ValiantStore.com.

###

About Catalyst Game Labs
Catalyst Game Labs is dedicated to producing high quality games and fiction that mesh sophisticated game mechanics with dynamic universes-all presented in a form that allows beginning players and long-time veterans to easily jump into our games and fiction readers to enjoy our stories even if they don’t know the games.
Catalyst Game Labs is an imprint of InMediaRes Productions, LLC, which specializes in electronic publishing of professional fiction. This allows Catalyst to participate in a synergy that melds printed gaming material and fiction with all the benefits of electronic interfaces and online communities, creating a whole-package experience for any type of player or reader. Find Catalyst Game Labs online at www.catalystgamelabs.com.

Friday, March 14, 2014

The Things That You Hear: Licenses And RPGs [UPDATED With Link]

When you're a blogger, or you have contacts within the tabletop gaming industry, you hear a lot of things that never make it out to the general public. Who isn't paying their bills and their freelancers tends to be the thing that you hear about the most. Which publisher lost a licensing deal over non-payment, that sort of thing. DMs on Twitter and private chats on Facebook and G+ give up some of the details on what is going on behind the scenes. Sometimes you pick up things around the gaming table. If you want this information to keep coming you learn to be discrete about things. You want your information to keep coming, after all. This is when a blogger should behave like a journalist and protect their sources.

For example, a piece of information that I have been sitting on for a while now is that one of the well known publishers, known mostly for their science fiction games but also with some fantasy showings, is planning on dipping its toe into the realms of super-hero games by landing a fairly major (to our smaller niche of gaming) comic book license. Will this get past the negotiation stages? I have heard that it has, but as we all well know that doesn't assure that a final product will make the game shop shelves. We will know it when we see it, however. I hope that the game does make it. The license will hold a certain amount of nostalgia for those gamers who are comic book fans, I think, and it will definitely make for an interesting game.

UPDATE: It appears that, while no announcements have been made, there is a holding page for the game on the company's website (http://www.catalystgamelabs.com/valiant/). If you want to keep secrets quiet, you shouldn't go live with your web pages. Actually, I looked for this a couple of days ago and couldn't find it. Hat tip to an astute reader for finding the link.

SECOND UPDATE: I've added some screen shots of the page. Just in case.


I am always leery of licensed games because, whether gamers like it or not, they are going to go away sooner or later. At some point the license will stop being profitable for someone in the equation and the game will go away. Yes, there is always the idea that licensed games will, by their nature, bring non-gamers into the fold, but I don't know if this is a prevalent as it would have been 10 or 20 years ago. Sure, there will be some crossover interest from people with the inclination who had never before gamed but I don't know that it is a big of a market as it once was.

Regardless, let's watch and see if there are any big announcements about a new license at the GAMA Trade Show, Origins or Gen Con this year. If this game is going to go through, that is when I would assume that it would start to be talked about.

UPDATE THREE: Expect to hear more soon.

Do you have a tip one something big coming up? Let me know about it privately and I will keep all of my sources confidential.

Thursday, March 13, 2014

Examining With Great Power: Grim Realism

For those who may not know, With Great Power was a column in Polyhedron magazine that explore campaign and rule variants for the original Marvel Super-Heroes game published by TSR. Rarely longer than a page or two, these articles looked at different ways to play the game, alternate rules, or something in between.

This particular column, written by then line developer Dale Donovan, talks about making the game more grim and gritty. This was actually a common complaint of the game among players at the time. The era not long after the Marvel Super-Heroes game originally came out saw a darkening of comic book super-heroes, and their stories. Frank Miller's classic Daredevil run for Marvel Comics was one of the inspirations for this article.

The rules are pretty simple, and mostly boil down to retasking already existing rules (which is the best way to do variants).

This is what the article suggested that you change to the Karma rules in the role-playing game:

Continue to use Karma as described in the rules. This will, in most cases, keep the level of mortality about the same as in other Marvel campaigns, if that is what you wish. Good role playing though, especially in a grim setting, will sometimes result in a hero giving up his Karma to kill a particularly dastardly foe. In the Born Again story line in the Daredevil comic a few years back, the Kingpin of Crime methodically destroys Matt Murdock's life after he discovers that Murdock is Daredevil. If Daredevil had been a PC hero in my campaign, I probably wouldn't have objected if Daredevil had killed Kingpin in retaliation, especially if the PC Daredevil was role played as mentally unhinged as the comic's Daredevil was.

Use the villain Karma rules (page 20, Advanced Set Judge's Book) regarding killing the underlings of "master criminals." PCs would lose 30 Karma points for each henchman, underling, or goon working for the main villain who is killed, instead of all their Karma. After all, the thugs aren't important; it's stopping the villain that's the goal. And, if some goons get in your way, too bad—they probably deserved it anyway. All other normal Karma rules apply, though exceptions, like the Daredevil example above, would still be possible.

Play the PCs as outright villains. Again, this is not recommended, as it's not in the heroic tradition of the comics or the game, but I can see where it might be fun to play your favorite Marvel villain and trash the Avengers or the X-Men. Use all the villain rules in the Advanced Set Judge's Book, pages 19-21. These rules are intended to help the GM run his NPC villains, but you can easily apply them to PCs as well. This means that PCs would gain Karma for committing crimes, beating up heroes, putting those defeated heroes
in deathtraps, etc.

I know that there are still a number of people playing the original Marvel Super-Heroes Roleplaying Game around the world, games still pop up on Google+ from time to time, so these variants may be useful to players/GMs in those games. They can also be useful for players of the 4C RPG as well.

You can download a PDF version of the article here.

Monday, March 10, 2014

The Apocalypse May Be Rescheduled

By Stephane Gaudry (Flickr: Demolition of the ECVB power plant) [CC-BY-2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons
People who know me know that I like post-apocalyptic things. I loved Jack Kirby's Kamandi and OMAC (if you don't think that OMAC was post-apocalyptic you need to reread the comics), and as a kid I watched Thundarr every week. I even run Rifts every week (even though I would argue that setting is more like a post-post-apocalypse, sort of like Unhallowed Metropolis).

You're probably all wondering why I'm saying this. It is only because I've been working on the Swords & Wizardry Field Guide for City of Clocks, and I have a couple of other projects in the queue. Having all of this to keep me busy, of course, means that my brains keeps telling me that I need to write an RPG in homage to the first edition of Gamma World. Not a retro clone, we have plenty of those. More like a game that starts from the point of being the old Gamma World game, but adding some bits and pieces to it. Obviously there would have to be magic, because there's a magic-user in Thundarr. I would use the various D20 SRDs as the starting point for the work, and reconstruct the parts of the old Gamma World game that I like under the OGL.

I like the fact that the game was classless, for example. It was pretty ballsy of TSR at the time to not just rebuild D&D and slap a "science fantasy" label onto the game. But it also has that old school sensibility that I like, where the rules are the starting point and characters develop through play, and the actions of their players.

How long will I be able to hold this off? I don't know, but I'm planning on being strong.

Thursday, March 06, 2014

We Have Been Playing Rifts

For a few months now, the weekly Google Hangout group has been playing the Rifts RPG from Palladium Games. We've been having fun. We started on Rifts Earth, moved to Phase World and now the characters are on the 21st century Earth. They aren't sure which 21st century Earth, however.

This does present challenges. There's a Hatchling Dragon and a Imperial Guardsman in the group, both powerful mega-damage characters. There's an Atlantean Ley Line Walker with some hefty spells. There's a Technomancer and a Rogue Scholar. Really, the last two are probably best suited for moving to "modern day" Earth. There is nothing saying that I can't introduce mega-damage creatures into the mix. This actually might be a good way to introduce the Minion War stuff that I have been interested in bringing into the campaign because I think this would make for a good challenge for the characters. I haven't decided yet. I'll give them a week or two to get the lay of the land in their new home before I start pulling any rugs out from under them.

In case you're interested, here are the videos of our sessions so far:


I am trying to make the make more of a sandbox for the characters, as you can see in the last couple of sessions that has led to a bit of paralysis on the part of the players, but we will get over that hump. I am thinking some Mega-Heroes from Heroes Unlimited, or maybe a couple of Godlings who are "undercover" on the Earth of the 21st century as super-heroes before deciding how hellish we may go.

The game has been fun. It has been a lot of fun for me to just be able to throw anything at the characters, and know that they will more than likely survive it (even at first level). I want big, and this will be the game that will give it to us, I think.

Wednesday, March 05, 2014

Horror Writer Nancy A. Collins Relaunches Horror Classic Vampirella

March 5, 2014, Mt. Laurel, NJ:  Dynamite is proud to announce that Nancy A. Collins, the author of Sunglasses After Dark and Vamps, will revive the iconic horror series Vampirella with a #1 issue in June.  Collins will be joined by talented artist Patrick Berkenkotter (Avengers/Invaders) for the new ongoing series.  Superstar illustrator Terry Dodson will provide the main cover, while a veritable who's who of industry talent will provide variant collectible covers.

"I'm very excited about taking over the reins on Vampirella," says Nancy Collins. "I've really been enjoying myself so far. In celebration of her 45th anniversary, I'm returning the book's focus to its horror roots and giving Vampirella a slightly darker edge.  Dynamite has been wonderful to work with, and have given me a great deal of support.  It's been some time since I last wrote for comics, and it feels great to be back!"

As the debut "Our Lady of Shadows" story arc begins, supernatural heroine Vampirella is sent by the Vatican to investigate the kidnapping of a little girl by the Cult of Chaos... only to become the centerpiece of a ritual invoking Lady Umbra, the sister-bride of Chaos.  Of the fateful repercussions, Collins says, "Vampirella's life is turned completely upside down, and she finds herself having to team up with the strangest bedfellow imaginable in order to battle both a demonic threat and an elite Vatican hit-squad."

Nancy A. Collins has spent the last twenty years writing novels, short stories, and comic books for fans of the supernatural, paranormal, and fantastical.  Her prose works include Sunglasses After Dark, featuring punk vampire slayer Sonja Blue, the YA series Vamps, a collection of Weird Western tales called Dead Man's Hand, and a collection of Southern Gothic stories entitled Knuckles & Tales.  Her comic book work includes Swamp Thing, Jason vs. Leatherface, Machina Jones, and Predator: Hell Come A'Walkin.

Artist Patrick Berkenkotter is a staple of Dynamite Entertainment, having contributed artwork to such titles as Red Sonja, Dark Shadows/Vampirella, Project: Superpowers, and two Dynamite/Marvel crossovers, Avengers/Invaders and The Torch.  "I cannot sing Vampirella artist Patrick Berkenkotter's praises loudly of often enough," says Collins.  "His pencils are spectacular, and he's able to make her sexy, menacing, and bad-ass all at the same time.  I think the fans are going to be pleased with his work when they pick up Vampirella #1, and I hope they take me to heart as well."

"My first exposure to Nancy's writing was in the pages of Swamp Thing, and I've always remembered her run.  When Gail (Simone) suggested Nancy to write one of the anniversary stories in Legends of Red Sonja, it was a great reminder of how good of a writer Nancy is.  As we were prepping for Vampirella's relaunch, and were discussing potential writers, Joe (Rybandt, Sr. Editor) commented that since we all liked Nancy's Red Sonja story, why not approach her.  The rest, as they say, is history.  Patrick illustrating Nancy's story, and Terry Dodson coming on board as the main cover artist really compliment the series as we go in to Vampirella's 45th Anniversary.  I'm confident that fans are going to love Nancy's take on Vampirella, and be in it for the long haul.  It's that damn good."  States Dynamite CEO/Publisher Nick Barrucci.

Dynamite will celebrate the new Vampirella series with a variety of cover options, including a Main cover by Terry Dodson (X-Men, Wonder Woman), Retailer Incentive covers by Jenny Frison, Sergio Fernandez Davila, Jack Jadson, Mimi Yoon, Ken Haeser, and a Subscription cover by Stephanie Buscema dedicated to those hardcore fans who place preorders with their local comic retailers.  Sergio Fernandez Davila (Legenderry: A Steampunk Adventure) has also created a Retailer Exclusive Variant image that can be tailored to promote individual comic shops.

Vampirella #1 will be solicited in Diamond Comic Distributors' April Previews catalog, the premiere source of merchandise for the comic book specialty market, and slated for release in June 2014.  Comic book fans are encouraged to reserve copies of Vampirella with their local comic book retailers.  Vampirella will also be available for individual customer purchase through digital platforms courtesy of Comixology, iVerse, and Dark Horse Digital.

"LIKE" DYNAMITE'S FACEBOOK PAGE TODAY!
http://www.facebook.com/dynamitecomics

Join the conversation on Dynamite Entertainment's twitter page at http://twitter.com/DynamiteComics.

To find a comic shop near you, call 1-888-comicbook or visit http://www.comicshoplocator.com/.

For art and more information, please visit: http://ww.dynamite.com/






Alien Legion Returns Again!

In a galaxy savaged by strife, torn by civil war, boiling with spilt blood, Alien Legion is a cosmic military force doing its damnedest to keep the peace by being always ready for war.

At the tip of the Legion's multi-species spear is Force Nomad – the worst of the worst fashioned on the white-hot forge of battle into the best of the best. Now the squad's grizzled veterans are on what should be a boring milk run; shepherding refugees fleeing a civil war ripping apart their system. Could be a good chance to to toughen the newbies of Nomad into soldiers... until straight-up peacekeeping descends into full-scale war!

This brand-new series brings together the creative giants behind the legendary original Alien Legion stories: Chuck Dixon (Punisher War Journal, Savage Sword of Conan, Batman and the Outsiders) and Carl Potts (The Punisher, The Incredible Hulk) with fantastic art by Larry Stroman! (Wolverine, The Punisher).

A must-have for any fan of the original run, this is also the perfect point for new fans to hit Alien Legion's hot LZ! Get to it, ya damn bospors!

ALIEN LEGION: UNCIVIL WAR #1 hits stores on June 25.





Elric and Void Lead New Wave Of European Graphic Novels From Titan Comics


Following the phenomenal runaway success of Snowpiercer, Titan Comics continues in its bold mission of presenting the highest quality European graphic novels to a brand-new audience!

Titan Comics is thrilled to announce that Elric: The Ruby Throne & Void will be published in deluxe hardcover editions this September!

Elric: The Ruby Throne is the first in a series of graphic adaptations of legendary fantasy author Michael Moorcock’s signature creation Elric. Written by Julien Blondel and beautifully illustrated by Robin Recht, Didier Poli & Jean Bastide, this new comic adaptation of the Elric of Melniboné novels has been produced with the full and enthusiastic endorsement of Moorcock himself, who provides an exclusive introduction to this edition!

“The best graphic adaptation of the story,” writes Moorcock, “has to be the current one by Julien Blondel and his team. This is perhaps the first graphic version of Elric fully to capture the sense of utter decadence I tried to convey in the books.”

Gripping science-fiction thriller Void is illustrated by superstar artist Sean Phillips (Fatale, Criminal, Sleeper) and written by Herik Hanna (Bad Ass). Concerning the sole survivor of an interstellar prison ship, this tense and atmospheric graphic novel is Phillips’ first venture into science fiction!

“We’re very excited to be launching a range of European graphic novels, spear-headed by Mike Moorcock’s Elric and Sean & Herik’s Void,” said Nick Landau, Titan publisher.

From late 2014, Titan Comics will follow Elric: The Ruby Throne and VOID with a host of new projects including best-selling medieval thriller The Third Testament: The Chronicles of Legion, which is the prequel to Fabien Nury & John Cassaday’s I Am Legion, and The Rage; a shocking horror about zombie children.

Void will hit comic and book stores from September 2, 2014.

Elric: The Ruby Throne will hit comic and book stores from September 16, 2014.

Void and Elric: The Ruby Throne will also be available to read on the iPad, iPhone, Web, Android and Kindle Fire, exclusively through the comiXology app and comiXology.com

To keep up-to-date with news from Titan Comics, visit www.titan-comics.com , join us on Facebook or follow @comicstitan on Twitter.


Monday, March 03, 2014

Orin Rakatha RPG Kickstarter

Always complaining about not having enough campaign settings to try out? Well, if you are there is a new Kickstarter for you: Orin Rakatha, a decades-old fantasy LARP campaign that is putting itself to paper. We'll move on to the general information on the project next but before that I want to point out that this article -- and all following Kickstarter articles -- will be a bit different as I will also giving my opinion on how the the projects have been set up. That will be towards the end, and since we are still near the beginning -- let's move on.

Orin Rakatha is a fantasy setting that has been designed over some 27 years by associations of LARPers in the U.K. The books will be system-less but feature stats for Pathfinder (and potentially others, like FATE and 3.5).What's the actual setting like? From the Kickstarter page: "a land ravaged by abhorrent creatures, warring nations and powerful magic. Where the only sanctuary can be found within magical sentient towers that the people band together to live within." The 'sentient towers' is the part that sticks out here to me, but there wasn't really much else about them on the page, unfortunately. We'll get into that later in the article, up next is the pricing and goodies.

The Orin Rakatha Kickstarter has a pretty good range of backing levels but the ones we're interested in are the book levels. Starting with the lowest -- just the PDF -- you can get your hands on all of the books in PDF form for as low as £10 in a limited 'early bird' special, with the normal price being £15. For a printed copy you can get just one book for £20 or all of them in soft back for £35 (shipping outside the U.K. is extra). Finally, if a hardbound copy is what you are looking for, there is a limited edition one on offer for £50. Apart from books there are also various ways to get your character into the books and setting material -- either with just text or with art and even a 28mm miniature likeness.

And so we arrive at the new part of these articles -- my thoughts on the Kickstarter project itself. The first thing that caught my eye on the page was the concept art -- there is a good bit of it and I don't know how it all really relates to the setting (there is some description text, but without more context it doesn't help too much), but I really liked the concept art.

The page has a tidbit of information on the setting -- a chunk of which I pasted in above -- but not enough to give me a good sense of what this setting is really about and why I would want to run or play in it. Instead there seems to be a good deal of text given to talking about how Orin Rakatha is a decades old LARPing campaign that has seen a lot of work and such over the years. That is fine, but not really what I am looking for here. I wanted more setting information, less background to the development of it.

The rest of the page basically just mentions that they really want better art, gives a brief description of each book and then the breakdown of expenses and risks. I liked the clear breakdown of expenses -- hopefully it will be something that is stuck to and prevents the wasting of funds (which has been a problem in Kickstarters before).

The funding point may be just a bit too high, as this is largely a system-less setting, but it isn't completely out of the park. Taking off a portion of the art budget to lower the funding goal and setting that up as a stretch goal might have helped to ensure funding is met. The backing levels are good, though it being in GBP does make it a bit pricey for me, at least. I liked the wide use of incorporating backer's characters into the setting and the range of price options for that. You tend to see that in just the higher backing levels of many projects, but its something that a system-less book could really set as a selling point. I might would even go further and include one more lower option in the same vein, if it proved popular enough.

Lastly, the video was alright. It had some humor in it, which is appreciated. The sound levels were a little off during a couple small parts, though. Mostly, it just briefly covered what the page had, which is just fine.

Overall, the biggest complaint that I had was not enough information about the setting on the page. They are selling the setting and the focus of the page should be on that. Especially since there is the nice concept art all over the page -- I would like to know more, which is good, but the information needs to be there.

And that wraps that up, I think. If you would like to see some of the fancy concept art mentioned above, or poke around to see what you can learn for yourself, be sure to check out Orin Rakatha's Kickstarter page and their website.

Friday, February 28, 2014

Aaron Allston 1960-2014

News shotgunned through the wires last night that designer and novelist Aaron Allston collapsed at a convention, followed shortly by reports of his dead. Unfortunately, those reports were verified on Facebook and by email this morning.

Some may know of Allston's work through his Star Wars novels, or his original Doc Sidhe novel. Some may know of him through his work on Champions, Justice, Inc. or Lands of Mystery. Some may know of him through his revision of the D&D rules published as the Rules Cyclopedia, or the Hollow World setting for that. Some may know of him for his early work at Steve Jackson Games and on Space Gamer. He was all of these things and more.

I never knew Allston, but his work spoke to me, first as a gamer and then as a designer. He was one of a small handful of designers who were authoritative on the genres of comic book super-heroes and the pulps. Both Justice, Inc. and Lands of Mystery had an impact on my pulp gaming, and on my designs for pulp games. I don't know if he ever saw Pulp Fantasy, but he was one of the inspirations to which it was indebted.

His version of the D&D rules have been my definitive version for so long that, outside of my playing Swords & Wizardry, I'm not sure if I will ever have, or need, another version of Dungeons & Dragons.

I went through my game library and took a few photos of the things in it that he produced.





Today in the Daily Illuminator electronic newsletter, Steve Jackson had this to say:
Aaron was also the best GM I've ever known. The Champions campaign he ran for the SJ Games staff was memorable. A couple of us didn't actually know the Champions system at all, but Aaron made it not matter, and we all had a fantastic time.
Over on G+, +Allen Varney crafted this eloquent obtituary and tribute to Allston:



Aaron Allston, 1960 to 2014. You wrote large upon all of our lives, and you will not be forgotten.

Sneak Peak At The New Doctor Who Comics From Titan Comics



DOCTOR WHO: THE TENTH DOCTOR #1
Regular cover by Alice X. Zhang

THE TENTH DOCTOR IS BACK, IN AN ALL-NEW ONGOING SERIES! NEW COMPANION! NEW HORIZONS! UNFORGETTABLE NEW FOES! ALLONS-Y!

Eisner Award-winning writer Nick Abadzis (Laika) and fan-favorite artist Elena Casagrande (Angel, Suicide Risk, Doctor Who, Star Trek) take control of the TARDIS for their first five-issue arc with the Tenth Doctor! And don't miss the second arc, by fellow series architect Robbie Morrison (Drowntown, Nikolai Dante, The Authority)!

On-sale July 23, 2014


DOCTOR WHO: THE ELEVENTH DOCTOR #1
Regular cover by Alice X. Zhang

THE ELEVENTH DOCTOR RETURNS IN AN ALL-NEW ONGOING SERIES, WITH A TIME-TWISTING LEAP INTO THE UNKNOWN! GERONIMO!

Series architects Al Ewing (Loki: Agent of Asgard, Mighty Avengers, Trifecta) and Rob Williams (Revolutionary War, Ordinary, Miss Fury, The Royals: Masters of War, Trifecta) kick off a whirlwind adventure through eternity for the Eleventh Doctor, with artist Simon Fraser (Nikolai Dante, Grindhouse, Doctor Who)!

On-sale July 23, 2014

Wednesday, February 26, 2014

Monsters And Magic Capsule Review

Monsters & Magic is a new(ish) RPG from Sarah Newton's Mindjammer Press. I've been a fan of Sarah's work since Legends of Anglerre came out from Cubicle 7. These days she has her own imprint that is putting out her games and fiction, with distribution through Chronicle City. I say newish because the game debuted last year at Gen Con, even though I only just got my physical copy. I would have had this game for a while now, if I had been able to get to Gen Con last year, but alas.

The system in Monsters & Magic is like the bastard offspring of OD&D, Dungeon World, Fate and HeroQuest (the Glorantha-inspired RPG, not the boardgame). While I find that interesting, I don't think that everyone will.

Character generation in the game is definitely more fiddly than standard OD&D. A starting character receives a lot of options for their character, giving you a character from the gate that is typically more powerful than your bog standard old school character. In terms of complexity of character, you can get a character that is close to a D&D 3x character. It doesn't take as much work to make a Monsters & Magic character, most of the complexity is baked into the characters and doesn't require the player having to make a lot of choices (like with the feat selection in D&D 3x). You can make a competent character right out of the gate with this game. That is something that I like about it.

One of the "new school" elements in Monsters & Magic are what the game calls traits. Traits are broken down into various types, from character to race to class, and they can provide bonuses to rolls or special abilities for a character. The standard class and racial abilities that a D&D player would be used to are rolled into traits (as are 3x feats, to a degree), in a simplified manner. They work like a mashup of D&D abilities and Fate aspects and HeroQuest traits. These traits are where the HeroQuest influence is most pronounced. While most traits are predetermined, there are places where they can also be player-defined. This means that you can have more than one character in a group inspired by the same archetypes, but at the same time you can still customize characters so they can look and feel different. It is nice to have mechanical support for this sort of thing. I think that character advancement is a hybrid of Dungeon World and standard D&D.

The DIY aspect of old school gaming is well represented in these rules. Throughout the rules, Newton encourages players and GMs to manipulate and add their own touches to the game, and throughout she gives guidelines on converting material from "classic fantasy" games into Monsters & Magic. This is pretty much where the "old school" influences end for this game. Someone expecting OD&D with some extra bells and whistles is going to be disappointed in this game. This is not the first game that I have seen marketed as an old school game that misses that mark.

Don't get me wrong. I am not holding the attempt to be "old school" against the game. It is better to try to make the game that is right for you, and have it fall short to others, than to not try to make that game at all. Each game, whether we like them or not, is a step in the direction of a diverse hobby, a place without cookie cutter games. Sometimes, when trying to do many things, you are unable to put as much effort into all of those things. Despite these flaw, the underlying system is a solid one and makes interesting characters with a strong sense of story behind them, stories that manage to not overwhelm what you want to do in the here and now.

The Monsters & Magic system and GMing advice do a good job of explaining to the reader how the game should be played. There is talk about high level campaigns and how to run them. There are rules for making constructs of all shapes and sizes (similar to the rules that appeared in Legend of Angelerre, this must be something that Sarah likes in her games). The GMing section is probably better than that in many old school retroclones anyway, many of which prefer a "learn it yourself" attitude.

One problem that I had with the game actually comes out of all of the talk throughout the rules about high level play, and the various "scales" of play in the game. Despite the fact that the rules support and talk about high level play, there are only a handful of spells available for the various magic-using classes and those spells only cover up to fourth level characters. My other problem was that there really aren't a lot of monsters in the game, all told. Perhaps games like Swords & Wizardry with its extensive lists of monsters and magic have spoiled me, but it seems like a game with monsters and magic in its name should have more of both in it. Monsters can be fixed by making your own, or converting them from other sources. However, old school fans will find that adapting or creating monsters will be a bit more difficult than they are used to because the monsters are probably closer for many to 3x in terms of complexity than OD&D.

Neither of these hurdles are insurmountable, given work on the part of the GM and players, but when in a market where there is already a lot of fantasy RPGs, these are factors that could cause someone to put down Monsters & Magic and pick up another fantasy game in its place.

Ultimately, you have to decide for yourself if this is the game for you. There are a number of strong points (varied and interesting character creation, narrative game elements in the rules) to the game, but they are balanced by some weak points as well (lack of magic and monsters). There is a good game in here, it just takes a bit of coaxing to bring it out. Hopefully, a couple of years down the line, backed up by a few years of actual play and design experience, Monsters & Magic will get a revision that will address some of these issues. At less than 150 pages, there is space for these things to be added without making the game a monster of its own.

Why Non-Disclosures Should Be A Thing Of The Past

One thing that we are seeing more of in this age of Kickstarter-driven tabletop RPG development is a thankful end to the era of NDAs (non-disclosure agreements) being an industry standard. Yeah, there are still some holdouts, but for a lot of designers and companies they are realizing that NDAs are a weakness in development rather than a strength.

Yes, I can understand the argument that you don't want people bitching about things from early drafts of your game after they've been removed. That is easy enough to deal with, however. Just say: "That's not in our game anymore." Yeah, geeks like to chew up a bone of discontent until it is a little nub of negativity, but really there is only so much that you can do about people like that anyway.

The main benefit that comes from all of this is publicity. A Kickstarter campaign that is making lots of money is good publicity, but what makes better publicity? People blogging about their love for your game, talking it up on forums and social media. Games are meant to be played and nothing is as good for publicity as people talking about how much fun they are having while playing your game. Yes, you run the risk of people trash talking, but you run that risk after release and NDAs won't matter anyway. If one YouTube video of a group playing, and having fun, causes 10 people to look at your campaign and pledge...that's 10 people that you might not have had give you money previously.

This doesn't apply only to games that are being Kickstarted either. Open development can be even more helpful to a game that is being funded the old fashioned way because you do not have that extra push of publicity from a Kickstarter campaign. Don't treat your current and potential future customers as if they are thieves who are trying to steal your ideas. These are the people who are the front line of your game's publicity. Do you want them talking about how cool your game is, or how behind the times you are because you want to make them sign an NDA?

It is time to join the 21st century and start treating your audience appropriately. They aren't thieves trying to take your ideas. Tabletop gaming just isn't important enough for "corporate espionage." Put those beta versions of your game out there on the internet. Let gamers worry at the rules like a dog with a new squeak toy. Let them find the math errors, the spelling mistakes, for you. But most of all...let them talk. There's no point in being quiet and squirrely and Cold War about your games. Let your fans be fans, the bad apples will sort themselves out.

A Dorkland! Interview -- Bulletproof Blues Second Edition with Brandon Blackmoor

Despite being in one of the busiest points of a Kickstarter -- the final stretch -- we here at Dorkland managed to get an interview with Brandon Blackmoor about Bulletproof Blues and its Kickstarter.

Dorkland!: How has the Kickstarter experience been for you so far? Is there anything that you have learned since launching the campaign that you wish you knew prior?

Brandon Blackmoor: I should have looked at the ratio of PDF vs. print backers of other RPG projects. I underestimated how many backers would elect for a print reward level, and the net revenue from print reward levels is (for us) about 50 cents on the dollar vs 85 cents on the dollar for PDF reward levels. As a result, I needed to adjust the price points of our stretch goals about mid-way through the first week.

DL: Why set your Kickstarter campaign in a more incremental fashion? Why the sample character artwork first?

BB: Originally, all of the art came first and all of the supplemental written material came after. This was based on the assumption that people would prefer to improve the core book before wanting add-ons. After the first week, I polled the backers (approx 60 at that time) to see how they would prefer the stretch goals were structured. This indicated that they were much more interested in the supplemental material than I thought, so we re-arranged the stretch goals accordingly (at that time, none of the stretch goals had been met).

DL: One of the features of the Kickstarter (and Bulletproof Blues, in general) is a creative commons license -- why have it?

BB: Because one of the primary purposes of Bulletproof Blues is to provide an open game system that anyone can use to build their own game. In my opinion, Creative Commons Attribution-ShareAlike is superior to the OGL for this purpose.

DL: What sets Bulletproof Blues apart from other supers RPGs?

BB: Task resolution is simple, combat is fast, powers are flexible and diverse, and the available range of power levels is deliberately broad. It follows a middle path between the complexity of games like Mutants and Masterminds and the simplicity of games like Bash (which are both fine games).

DL: What does the Kalos Universe have to offer people who are not familiar with it, but are familiar with DC or Marvel? Or people who are not very familiar with any supers setting?

BB: Kalos Universe is our own superhero setting. It allows the players to have a relatively minimal pre-made setting without the baggage that comes with DC or Marvel. That being said, most of the tropes you would want in DC or Marvel are there, or could easily be added. For that matter, if you want to play a DC or Marvel game with Bulletproof Blues, feel free.

DL: On the Kickstarter page Bulletproof Blues is described as a 'setting-dark' superhero RPG -- what exactly is meant by that?

BB: It's really only “dark” in comparison most mainstream superhero games. The authorities don't turn a blind eye to posthuman activities, and relatively few posthumans put on spandex and try to save or rule the world. Most posthumans have the same goals everyone else does: money, power, and fame. Of the themes of the setting is that most people are not “heroes” or “villains”. There is a great deal of grey in the world (but we assume that the PCs will be a lighter shade of grey than most of their antagonists). Also, posthumans are dangerous: even a relatively low-powered posthuman could kill a normal person pretty easily. That's a bit different from most superhero games.

DL: What are some of the bigger changes to the rules of Bulletproof Blues with this second edition?

BB: The rules really aren't changing. We are adding a few small additions (such as “Skill Mastery”, an advantage which confers a +3 task bonus to task rolls when not in combat). For the most part, the changes are cosmetic: new art, new layout, larger format, new character sheet design. We are also replacing the How To Play and How to GM sections with a “GM Resources” section that will provide some additional setting material and (hopefully) some good advice on running Bulletproof Blues, specifically.

DL: How compatible will content created for the first edition of the rules be with the second edition?

BB: Completely.

DL: Supers settings can get crazy (in a good way) -- what is a moment of Bulletproof Blues gaming that you have experienced and felt really exemplified the game?

BB: One of my favorites was when a character snuck into a mental hospital to examine the personal effects of a dangerous sociopath who had died under mysterious circumstances. You probably had to be there.

DL: Lastly, what was the most interesting Bulletproof Blues character you have seen, created or played?

BB: Probably the strangest was Frogger, who was played the nine-year-old son of a friend of mine. Frogger was a swamp monster who'd been living in the bayous near New Orleans since the 1800s.

We here at Dorkland! would like to thank Brandon for his time and wish him the best with the Kickstarter, which has long since met its funding goal and is nearly past its third stretch goal! If you would like more information on Bulletproof Blues Second Edition be sure to check out its Kickstarter page and Kalos Comics' website.

Tuesday, February 25, 2014

Gary Reed Talks About The Return of Caliber Comics

Since I've been talking about DeadWorld (and I have a feeling that I am going to eventually be moving into talking about other Caliber books as I go through my comic long boxes), I should include a link to Gary Reed's blog talking about their "return." It is an interesting article and I think it really gets to the core of what Caliber Comics was as a company that published creator owned comics, and what that means in a contemporary comic market where comic publishers have been relegated to the role of creating and maintaining IP for the purposes of making movies and TV shows.

Go over, read Gary's blog and see what you think. Hopefully you'll want to support the company, too.
Gary Reed: The Return of Caliber: "Last week, I announced that Caliber Comics was returning.  The idea of the announcement wasn't to issue some proclamation of big..."

DeadWorld Monday: Mississipi Queen

The third issue of DeadWorld is called Mississippi Queen, after the song from Mountain. I'm going to assume that you haven't haven't heard it before.


In the beginning of the issue the characters are listening to the song on the bus (I'm assuming on a tape player, since there aren't radio stations anymore and now CDs will never be invented).

This issue picks up almost immediately after the last, with the characters on the run after getting out of Slaughter, and filling up the bus with gas again.

I think that we get more hints that there is more to what is going on in DeadWorld than just zombies. Like the scene from last issue (with the character who I said would be important), the cover hints at magical creatures who aren't zombies. These impish creatures are definitely something weird and different.

The reason that this issue is entitled Mississippi Queen has to do with the characters finding a riverboat. It makes sense to hide out on a boat, right? Zombies can't swim after all. Right? Obviously nothing will go wrong with this plan.

One of the things that happens, once the characters get onto the boat, is that we get reminded that despite everything that is happening, these are just kids. We get one of the rare glimpses into seeing them be kids, rather than zombie killers.


The respite is a short one because King Zombie has found them again. I need to look a bit more closely at the first two issue now, because I'm not sure if he has been called anything other than "the motorcycle riding geek" by the characters. We know his name, as readers, but that might have just been because he was answering the letter column. Silly, I know, but still fun.

Zombies don't have to be able to swim.


When Dan encounters King Zombie, this might be where the characters first discover that he can talk, as well. These talking zombies are also able to exert control over the less intelligent zombies as well, calling the zombies to them and forcing them to act. The shore is swarming with zombies as King Zombie forces the boat back to the shore, surprising the characters with an attack of zombies that they have to fight off.

We get another interlude in this issue as well, and this time the "crazy" character who might have been hallucinating those fantastic creatures is given a name. We're still not sure if what he sees are hallucinations or reality, but the continuation of the combined with this issues cover hints that these may not be hallucinations.


Once again I am amazed at what Vince Locke is able to convey with his art. Yes, it is very cartoony in places (particularly this part where he is trying to cast doubt on the reality of the scene), but his art is just as instrumental in creating the new reality of the DeadWorld as is the writing.

Something is growing with these interludes. Were the zombies somehow intentional? It appears that this Deake (and people he knew) is somehow behind the zombie influx...but this seems to be saying that he might have been manipulated by outside forces into doing whatever happened that brought the dead back.

We still have a lot to find out.

The issue ends with zombies swarming onto the riverboat, the characters trapped. Dan is unconscious, perhaps incapacitated, and the characters face overwhelming odds while down their best fighter. What is going to happen next?
Let's see what happens next Monday.

Monday, February 24, 2014

Magic World Errata And Clarifications

It is probably not a surprise for any of you to discover that I'm a fan of Chaosium and their latest fantasy game, Magic World. The Magic World game is almost as if Chaosium is retro-cloning themselves. The game is the old Elric!/Stormbringer 5e game from them, with all of the Moorcockian references stripped out and a fine fantasy game let in it's wake.

If you're looking for a lightweight BRP game that has everything you need in one book (including compatibility with the Big Gold Book BRP book), this is the game for you.

As a service, I have come across a document of errata and clarifications to share with you. Click here and find it on Google Drive. Three pages, not too bad really.

The Geeky Voices Carry Page

You may, or may not, know that we have a video blog/podcast called Geeky Voices Carry. Well, if you didn't know before, now you do. I have set up a page for the podcast. You will find all of the videos for our live recordings, as well as a link to the Podcast Garden site that hosts the podcast version.

Tonight we record our 10th episode, so if you haven't listened yet you can start now and get all caught up. There is a link to the page at the top of the screen, right under the blog's banner, or you can click here.

Monday, February 17, 2014

Deadworld Monday: It's A Slaughter


In issue two of DeadWorld we get a lot of violence and combat. It really isn't that much different from the violence and combat in the first issue, but much of this issue hits us with the fact that this is a story about survival. Not just this issue, but the DeadWorld comic in general.

The schoolbus runs out of gas after the "gang" flees the onslaught of zombies from the last issue. They have a plan, sort of, to get somewhere out West where there are fewer people and hopefully fewer zombies. Mike, the erstwhile leader of the group, goes into the closest town for gasoline and maybe a spare vehicle.

The characters not only need a plan, they need to be able to get along better with each other. This isn't because of worry over someone's feelings...this is a matter of survival. Keep in mind that, as far as the characters know, the group of them are the only survivors of this zombie invasion. They haven't seen any other living people yet. This is why Mike takes Dan with him into town. He knows that, as the leader, he has to find a way to get everyone cooperating and working together. If they can't trust each other, they are not going to survive.


The closest town? Slaughter, Louisiana, and (of course there are zombies).

There is also an interlude, a very psychedelic interlude where we are introduced to a character who is running through the woods and seeing things that may (or may not) be there. This is going to be an important character to the story, but I'm not going to give that away here. Not just yet. There is also a page that shows why Vince Locke is a great artist, even at this early stage in his career. If you really need a reason to pick up this issue of DeadWorld, this page will probably be that reason. This page also hints that there is something more to all of this than zombies. We will get to that as well.

The man from the interlude may (or may not) be being chased by these creatures. You aren't going to find monsters this weird in even the weirdest of the weird fantasy RPGs. This page is a bestiary all on its own.

However, this interlude is going to be very important to the overall story of DeadWorld. Just not yet.

After the interlude we go back to Mike and Dan in the town. Like any plan, theirs starts off working well...and then zombies. There are a lot of zombies in this town, more probably than could be accounted for by the dead rising. It is almost starting to look as if a lot of people have been transformed into zombies as well. Is this a plague of some sort?


The violence is cartoony at times in these early issues, but that's intentional. It seems to me that it is trying to make the situation of zombies being all over more "real" by notching up the violence to suit the surreality of the situation. I could also be talking out of my ass.

The boys make it out, and head back to the bus with a new truck and a bunch of gasoline. That mission is accomplished without any harm to Mike and Dan. Back at the bus we have the relationships developing more as the kid tells Chris that John (who has been unconscious since the last zombie attack) loves her.

Once again we get the blend of zombies, violence and relationships that will be a hallmark of the DeadWorld comics. There is going to be interesting development to our characters as they explore their new world and the people (living and non-living in it. Honestly, I think that is one of my favorite things about this comic, is that there is a story that is unfolding. It isn't an accidental either, as we'll see in these posts there is a plan to this book. We also haven't seen the last of the intelligent zombies either. They are very important to this story.


Next week we will see what happens next, in issue three.

If you like this post, click on the link at the beginning of it and buy the issue in electronic form from from DriveThruComics. It is an affiliate link, so it will help out the blog and you're making a purchase from the creators...so that helps them out as well. It's only .99 cents, and for that you get the incredible Vince Locke page earlier in this post. That alone is worth almost a dollar.