The Omega Effect is a three part cross-over between Spider-Man, Daredevil and The Punisher. The first issue came out last Wednesday with Avenging Spider-Man #6 and continues this week in Punisher #10 and concludes in Daredevil #11 next week. A good lead in if you have not been following these titles (IMHO) is to pick up Daredevil 10.1 which does a quick catch up on DD and feeds directly into the event. I am getting all my issues from my local friendly comic book store, Beyond Comics (yay!).
So, how is the first issue?
My short review is that it is terrific! The art is superb and really shows wonderful range for artist Checchetto. Waid and Rucka merge their worlds seamlessly and we have three standout characterizations for Spidey, DD and Punisher. This is Spidey's title, so he gets the spotlight and it is wonderful. He is funny, vulnerable and heroic. Just what you want. Even though the regular Avenging Spider-Man team is not on this book, the spirit of what they have done in the first five issues of the comic carries forward. The event is exciting, but not forced. I look forward to more.
Here is what others are saying:
IGN (8.5/10 Great) "The Omega Effect is off to an impressive start with Avenging Spider-Man #6. With the promise of big repercussions for all characters involved and the talent behind the story itself, I wouldn't be surprised if this turns out to be one of the most talked-about stories of 2012."
CBR (4.5/5 stars) "I've been enjoying "Daredevil" and "The Punisher," so I won't feign shock at enjoying this book. What did surprise me, however, was the extent to which I enjoyed it. In this issue, Waid and Rucka build enough of a story that anyone could pick it up and find their way along. If you happen to be a regular reader of either title, the story just enhances the characters and whets the appetite for more. Thanks to great creators and fabulous characters, "The Omega Effect" is off to a great start."
Science Fiction dot Com (Verdict: Burn) "If there’s a redeeming feature to this issue, it’s the artwork from Marco Checchetto. His style lends itself well to all three of these characters, which could’ve been offputting since Spider-Man tends to be lighter in tone than both Daredevil and (obviously) Punisher.
So, if you’re already reading ‘Punisher’ and/or ‘Daredevil’, you might want to pick this one up. However, if you’re just in it for some Spider-Man fun, you’ll be sorely disappointed."
Inside Pulse (7.5/10) "Not bad, but no where near as good as Waid’s Daredevil run. Great art and characterization make up for a lot, but not enough to justify the price tag."
Comic Book Revolution (8.5/10) "Avenging Spider-Man #6 is an excellent start to this three book crossover that will also involve the Punisher and Daredevil titles. From the first page to the last there is no wasted page or panel in this issue. Greg Rucka and Mark Waid keep the entire issue focused on the story as they present us with some background into what The Omega Drive is and why Spider-Man, Punisher and Daredevil are fighting over who should hold it. With how much content Avenging Spider-Man #6 had I cannot wait to see what Rucka and Waid have in store for us in the next two issue with Punisher #10 and Daredevil #11."
Super Podcasto Magnifico (4/5) "Greg Rucka and Mark Waid have crafted a great start to The Omega Effect mini event without leaving out details from the characters’ individual titles. Hopefully the remaining two issues won’t fall below the quality bar this issue set."
The Other Murdock Papers "Yes, this issue might have left me a little confused, but I’m still very satisfied that we’re going to get a story that – while there are no guarantees it will make perfect sense – at least delivers on the character work and dialogue. I’m glad Punisher #10 is just one week away!"
Best Shots Comic Reviews (9/10) "The choice to have Mark Waid and Greg Rucka work together on Avenging Spider-Man was a brilliant one. Both men are adept writers in their own series, as well as in this one. Waid, whose Daredevil series is one of the best on the market, has written what I think are some of the best Spider-Man comics ever, and Rucka’s work in Punisher is not to be missed. Despite the heavy tone of the conflict, and the Punisher’s penchant for killing people, Waid and Rucka keep the story light. In a crossover that I would think all fans are looking forward to, the first part sets the groundwork for a series that is fun and exciting."
Comic Vine (4/5 stars) "Avenging Spider-Man really doesn't Avenge anything, but who cares? This book is awesome. It has a great creative team behind the issue, and the story is a ton of fun. Checchetto does a great job with giving tweaks to a few characters, and his overall artwork is wonderful.
Panel composition and panel set up is cool and refreshing and will keep you interested throughout the issue. There's a lot of great detail within the panels, and you'll love the action sequences.
The only problem I had with the issue is that it's going to run into two other Marvel series which may be a bummer for people not reading Avenging Spider-Man. At the same time, if you want to complete this story, you have to read Punisher and Daredevil.
Overall, I highly recommend this issue, and I'd even suggest picking up Punisher and Daredevil to finish the story."
iFanboy (Story 4/5 Art 5/5) "After this initial issue I’ll probably be looking at finishing out the story, and if that’s my jumping on point for DAREDEVIL, which I hear is great, then so much the better. Meanwhile, AVENGING SPIDER-MAN never disappoints."
Pop N Culture (5/10) "The art is a bit hit and miss, Punisher feels and looks out of character but is tolerable."
Suraph "The Omega effect is off to a very good start, and I hope it's an indicator of future small-scale crossovers in the Marvel universe. I bought this issue on a whim, and it turned out to be one of the most satisfying reads of the week. I shouldn't be too surprised, though, since the pedigree of the creative team is so strong."
Crave Online (Story 5/5 Art 3/5) "This is an awesome little side story in the middle of all the Avengers Vs. X-Men hoopla. No crazy tie ins, no huge life altering story arcs, just our heroes swinging into danger to try and thwart evil."
The Comic Vault (10/10) "This is a flawless start to the Avenging Spider-Man/Daredevil/Punisher “Omega Effect” crossover. The writing is tight, and has some of the best Spider-Man one-liners I’ve seen in any book, and I’m really fighting the urge not to spoil any of them because they’re just that good. If you’re not a regular Daredevil or Punisher reader, there’s enough context here to bring you up to speed and prevent any confusion. The tone, detail, and overall flow of the art is on par with the writing, as well, making this issue a definite 'must buy.'"
Player Affinity (9.8/10) "What it comes down to is that if you’re a fan of any of these characters -- Spider-Man, Daredevil or Punisher -- this issue is worth your time and money. You aren’t going to find better portrayals of any of them. It’s going to be a real shame if Amazing Spider-Man’s much hyped Ends of the Earth story ends up overshadowing this one, because it almost every respect, this looks to be the superior story. The Omega Effect combines two of the classic relationships of the Marvel Universe and drops them into the middle of a potential gang war featuring the likes of AIM and the Secret Empire. And bottom line -- it’s done extremely well."
Avenging SpiderMan #6 Review (YouTube Video review) (9/10) "This is a great issue."
Tuesday, April 17, 2012
Friday, April 6, 2012
The Battle of Shiloh's Sesquicentennial
It was the sixth of April
Just at the break of day
The drums and fifes were playing
For us to march away
The feeling of that hour
I do remember still
For the wounded and the dying
That lay on Shiloh Hill
The Battle of Shiloh Hill attributed to M.B. Smith (Co. C, 2nd Regiment, Texas Vol.).
One hundred and fifty years ago in Tennessee, the armies of the Union and the Confederacy fought the first really great and terrible battle of the Civil War. The carnage was appalling on both sides. Though the war was about a year old, this battle was the worst that had been yet seen.
By the end of the war, it would not rank in the top five of the worst battles for casualties or suffering. The National Park Service has a terrific summary of the battle here.
It was a battle that signaled the shape of things to come. Also, it was a battle that is, for me, like a microcosm of the war. On the morning of April 6, the Confederate forces, under Generals Albert Sidney Johnston and P.G.T. Beauregard, took the Union forces, under Ulysses S. Grant (William T. Sherman was also present) by surprise, and, in fierce fighting, pushed the Union back, demonstrating a command of the battlefield. However, by the end of the day, the Confederates, though preliminarily victorious, had lost their commanding general to battlefield injuries, and they were exhausted, ill equipped, and underfed. Nonetheless, the day is remembered fondly in Confederate songs such as "Hold Our Glasses Steady" which is all about how big a beating the South gave the North on day one of the battle.
The problem is, that song conveniently forgets the events of April 7, 1862. The Confederates, despite having been exhausted and hungry at the end of the first day of battle, had had little rest and provision. They had captured some Union supplies, but through the night, they suffered bombardment from Union ironclads on the Tennessee River, which while inflicting minimal casulaties, seriously impaired the troops ability to rest. During the night, Grant received reinforcements, and in the morning, the battle was renewed with a fierce Union counter-attack. Ultimately the Confederates were driven from the field, at terrible cost to both sides, and the way was opened for the Union to enter the Mississippi Valley and ultimately to gain control of rail and waterways which severely damaged the Confederate cause.
However, it dawned on both sides after Shiloh, that there would be no quick victory for either side. Nonetheless, I see Shiloh as a kind of pattern for how the war would go. While the South might seize quick victory at first and be quick to remember the glory, the truth was that the Union was a determined giant that was ultimately unstoppable and would pay the cost to end the war with victory.
And why is Shiloh important to me, beyond it's historical lessons?
I had a third great grandfather at the battle. He fought, from my persepctive, on the wrong side, being a private in the 21st Alabama Infantry Regiment. He had been an overseer (according to census records) in his civilian life, which is not something that makes me proud. My past is intimately intertwined with the great and terrible questions of 150 years ago: war, slavery, honor, duty, patriotism, rascism, so called "states rights."
My ancestor was Burrell Hudson (some public information here) and he left his wife and children to fight for the Confederacy. His life thereafter was tragic, just as our nation suffered a national tragedy. On the first day of Shiloh, his unit fought with distinction ("The 21st Alabama covered themselves with glory. This regiment captured two batteries") on the first day of battle. They retreated with the rest of the army when Grant pushed them back. The unit saw little additional action. I would expect that my third great grandfather's feelings might have been like those quoted by a Union soldier survivor of Shiloh: "No soldier who took part in the two day’s engagement at Shiloh ever spoiled for a fight again,” recalled one Union veteran. “We wanted a square, stand-up fight [and] got all we wanted of it.”
But my ancestor had more to suffer. As I have written elsewhere, Third Great Grandfather Hudson was captured with most of his unit after the battle of Mobile Bay, when Admiral Farragut took the port from the Confederary. Hudson died in federal custody in the terrible conditions of the Elmira POW camp. Later his wife died and his children were left as orphans to be raised by his father and mother-in-law.
So, as I remember this terrible battle from our history, I also think of the toll on my own family, and a am amazed by how much still is unresolved after so much suffering and sacrifice. I know the Confederates were wrong, and wrong on just about every level. Yet our nation, which is only whole because Lincoln fought to preserve the Union and successfully made the war into more than a struggle for Union, but added to it emancipation, still looks back at times with fondness for the Confederacy.
I remember that our country can do great wrong, and that my ancestors were a part of it, and I resolve to do better. We have paid the price, at Shiloh and other places, for our follies, and we must continue to pay.
Until we find a way to balance the ledger.
It's a long road, but one I will walk.
So I remember Shiloh. A terrible battle, at a place that means Place of Peace; an American paradox.
Just at the break of day
The drums and fifes were playing
For us to march away
The feeling of that hour
I do remember still
For the wounded and the dying
That lay on Shiloh Hill
The Battle of Shiloh Hill attributed to M.B. Smith (Co. C, 2nd Regiment, Texas Vol.).
One hundred and fifty years ago in Tennessee, the armies of the Union and the Confederacy fought the first really great and terrible battle of the Civil War. The carnage was appalling on both sides. Though the war was about a year old, this battle was the worst that had been yet seen.
By the end of the war, it would not rank in the top five of the worst battles for casualties or suffering. The National Park Service has a terrific summary of the battle here.
It was a battle that signaled the shape of things to come. Also, it was a battle that is, for me, like a microcosm of the war. On the morning of April 6, the Confederate forces, under Generals Albert Sidney Johnston and P.G.T. Beauregard, took the Union forces, under Ulysses S. Grant (William T. Sherman was also present) by surprise, and, in fierce fighting, pushed the Union back, demonstrating a command of the battlefield. However, by the end of the day, the Confederates, though preliminarily victorious, had lost their commanding general to battlefield injuries, and they were exhausted, ill equipped, and underfed. Nonetheless, the day is remembered fondly in Confederate songs such as "Hold Our Glasses Steady" which is all about how big a beating the South gave the North on day one of the battle.
The problem is, that song conveniently forgets the events of April 7, 1862. The Confederates, despite having been exhausted and hungry at the end of the first day of battle, had had little rest and provision. They had captured some Union supplies, but through the night, they suffered bombardment from Union ironclads on the Tennessee River, which while inflicting minimal casulaties, seriously impaired the troops ability to rest. During the night, Grant received reinforcements, and in the morning, the battle was renewed with a fierce Union counter-attack. Ultimately the Confederates were driven from the field, at terrible cost to both sides, and the way was opened for the Union to enter the Mississippi Valley and ultimately to gain control of rail and waterways which severely damaged the Confederate cause.
However, it dawned on both sides after Shiloh, that there would be no quick victory for either side. Nonetheless, I see Shiloh as a kind of pattern for how the war would go. While the South might seize quick victory at first and be quick to remember the glory, the truth was that the Union was a determined giant that was ultimately unstoppable and would pay the cost to end the war with victory.
And why is Shiloh important to me, beyond it's historical lessons?
I had a third great grandfather at the battle. He fought, from my persepctive, on the wrong side, being a private in the 21st Alabama Infantry Regiment. He had been an overseer (according to census records) in his civilian life, which is not something that makes me proud. My past is intimately intertwined with the great and terrible questions of 150 years ago: war, slavery, honor, duty, patriotism, rascism, so called "states rights."
My ancestor was Burrell Hudson (some public information here) and he left his wife and children to fight for the Confederacy. His life thereafter was tragic, just as our nation suffered a national tragedy. On the first day of Shiloh, his unit fought with distinction ("The 21st Alabama covered themselves with glory. This regiment captured two batteries") on the first day of battle. They retreated with the rest of the army when Grant pushed them back. The unit saw little additional action. I would expect that my third great grandfather's feelings might have been like those quoted by a Union soldier survivor of Shiloh: "No soldier who took part in the two day’s engagement at Shiloh ever spoiled for a fight again,” recalled one Union veteran. “We wanted a square, stand-up fight [and] got all we wanted of it.”
But my ancestor had more to suffer. As I have written elsewhere, Third Great Grandfather Hudson was captured with most of his unit after the battle of Mobile Bay, when Admiral Farragut took the port from the Confederary. Hudson died in federal custody in the terrible conditions of the Elmira POW camp. Later his wife died and his children were left as orphans to be raised by his father and mother-in-law.
So, as I remember this terrible battle from our history, I also think of the toll on my own family, and a am amazed by how much still is unresolved after so much suffering and sacrifice. I know the Confederates were wrong, and wrong on just about every level. Yet our nation, which is only whole because Lincoln fought to preserve the Union and successfully made the war into more than a struggle for Union, but added to it emancipation, still looks back at times with fondness for the Confederacy.
I remember that our country can do great wrong, and that my ancestors were a part of it, and I resolve to do better. We have paid the price, at Shiloh and other places, for our follies, and we must continue to pay.
Until we find a way to balance the ledger.
It's a long road, but one I will walk.
So I remember Shiloh. A terrible battle, at a place that means Place of Peace; an American paradox.
Thursday, April 5, 2012
Some Comics are Good
At my old blog, I once did a short post on trying to get back into reading comics, that was titled something like "Some Comics are Bad." Brilliant, I know. Not sure why Pulitzer hasn't called yet.
Still, the issue was that, with the totally unscientific sample of books I had been able to grab off the shelf of my local library, I found precious little from either DC or Marvel, that was worth the time it took to read. Thus, I largely pulled back in and read only what I could get of work by my friends Greg Rucka and Jen Van Meter. This kept me largely away from Marvel and often put me in the Indie Comics world with stories that I really enjoyed. Based on that limited view, I knew that comics could be very good, but I doubted much could be found, particularly at Marvel.
Why so down on Marvel? Well, even though there are a ton of characters that I love from Marvel, I often find the universe and the editorial management of it pretty awful. I could cite a lot of things, but the crazy, messed up storyline that resulted in eliminating Peter Parker's marriage to Mary Jane really exemplified the kinds of style without substance that I perceived working at Marvel. Trying to read Civil War in trades (again, yay library) also reinfoced that. Here we had a mega event, with tons of talented people working at it, and yet I found the storyline just bad (my opinion, doesn't have to be anybody elses, but I'll say again, it was BAD). What stuck with me was the event was extremely plot driven and the organic development of or reactions by the characters were subordinated to the plot. For me, that is never good. The characters in many cases came off as cardboard pieces on a big game board, rather than interesting and complex individuals. Since Marvel was doing one of these plot driven monsters pretty often, it just seemed like, even where you had a solid creator behind a title, it was likely going to be hijacked and the characters would start doing really stupid out of character things to advance the plot.
So, I stayed away, read my Rucka and Van Meter stuff, and dove into the past getting trades of the old Question, Justice League International, and Walt Simonson's run on Thor.
Two things made me reconsider. One, Greg started writing The Punisher. Now, while The Punisher has been a long established and somewhat interesting character from time to time in Marvel, mostly I considered him kind of a bad joke. Hey, let's have a superhero whose power is, wait for it, GUNS! In general, not my thing, and not, I would have thought, Greg's thing.
Ah, but the power of a good editor and a writer given a chance to write a character (a bunch actually), that, I had not counted on. Now, I just have to say, thank you Stephen Wacker, I think you are the best! Suddenly I was pulled into the Marvel Universe by a character I had scant given consideration to. Great writing and great editorial changed my mind. Still, I was not that interested in going deeper in.
Then, Margaret Weis Productions new Marvel Heroic Roleplaying Basic Game came out, and it is really fun. It set me on a path back to exploring Marvel, and suddenly, I found out that, despite all the things wrong with Marvel (and I still maintain they are many), there are some really terrific writers who have written some fantastic books in the last 10 to 15 years. So, while you know I am totally biased towards Greg Rucka, here are some other writers I am really happy to know.
Ed Brubaker (Secret Avengers, Captain America, Daredevil, Winter Soldier) I know, you all are saying "duh!" He wrote Gotham Central with Rucka, and that was amazing. How hard was it to find him? Well, I have to admit the heresy of not liking Criminal very much and while I enjoyed his reunion with Rucka on an arc of Daredevil, I was just kind of avoiding Marvel comics in general. But dang, Secret Avengers! Those totally rock. The other stuff then follows and there is no doubt he is a terrific writer. I have been reading what I can get my hands on (on a limited budget).
Greg Pak and Fred Van Lente (Incredible Hercules, Prince of Power, Chaos War) OMG! Hercules was this B-list character, a foil for Thor. Not ANY MORE! These guys reinvented Hercules and gave us Amadeus Cho. The world will never be the same.
Mark Waid (Daredevil [and a million other things I am going to discover]) Mr. Waid is poised to win a number of Eisners, and despite my rabid Ruck bias (who was not even nominated darn it), I have to say he is really deserving. The current run of Daredevil is astounding. And, he handles both sides of the character right. A lot of writers really don't understand what Matt Murdock does as a lawyer. However, that is a really important part of the character. Waid gives a lot of time to it, and he does it right. I am really, really impressed. I know he is a long time player in the comic book world, and I am looking for more stuff to read, especially some Fantastic Four stuff, becuase I hear that is great.
Brian Michael Bendis (New Avengers, Moon Knight, and like a gazillion other things) Okay, I know, "DUH!!" Clearly, he has changed a great deal about Marvel. Mostly for the good. Now, I have to qualify my love for Bendis. He does some great character work, and I think nobody does Spider-Man like him. He also did some really intersting things with Moon Knight and I am sorry they have cancelled the title. However, he does have a terrible habit of having characters go on, and on, and on, in rambling di/monologue. You can get used to it, but sometimes he has a story really humming along and you hit a page that is just a person talking, talking, talking, for like six, eight panels, all down the page, and it is like hitting a traffic jam. Still, he writes good characters and gets to do things no one else has done at Marvel.
Jeff Parker (Agents of Atlas, Gorilla Man) Okay, another OMG moment. I love Agents of Atlas. I can't say that Marvel didn't try to make them work. Maybe they didn't do it the right way, maybe some other plan would have made the first or second ongoing survive. It's hard to know. All I can say is, thank you for the time we had with Atlas, because it was really good. Now I have to seach out other stuff Parker has done.
Paul Cornell (Young Avengers, Captain Britain & M.I. 13) Captain Britain & M.I. 13 was another series that did not last, but the writing, for me, was top notch. I didn't love every element of the first arc of Young Avengers, but in general it was good. Must see what else Cornell is doing for Marvel.
Matt Fraction (Defenders, and lots of other stuff) Just "discovered" Fraction's Defender stuff. It is gonzo fun. Hope to read more by him.
Honorable metion: Joss Whedon (Astonishing X-Men) Yeah, super-"DUH!" Don't have to look for his comic work though. Whedon had a very solid run on Astonishing X-Men. He really hit great character notes. Some of the plot stuff did not wow me, but he inherited a lot of it. I more appreciated that he really understood the characters and even in plots I disdained, I enjoyed the characters, because he understood how they would act and react. Now, he is (hopefully) going to be making many insanely popular bockbuster movies, and punctuating that with little side projects, and he probably won't write comics for a long time if ever again.
On the horizon: Kelly Sue DeConnick (Captain Marvel (2012)) I have not read a word by her in comics yet, but she is pioneering the latest effort to get a female flagship hero into the stable of Marvel Comics. I want that to happen, and so, how can I not start buying. Captain Marvel is slated for release in July 2012 and I have my preorder in at my local comic book shop (Beyond Comics, yay!).
So, that is my growing list of authors for whom I will search. Marvel, I have a love hate relationship with a lot that you do, but you have employed some terrific writers, and I am going to do better about finding and following them.
Still, the issue was that, with the totally unscientific sample of books I had been able to grab off the shelf of my local library, I found precious little from either DC or Marvel, that was worth the time it took to read. Thus, I largely pulled back in and read only what I could get of work by my friends Greg Rucka and Jen Van Meter. This kept me largely away from Marvel and often put me in the Indie Comics world with stories that I really enjoyed. Based on that limited view, I knew that comics could be very good, but I doubted much could be found, particularly at Marvel.
Why so down on Marvel? Well, even though there are a ton of characters that I love from Marvel, I often find the universe and the editorial management of it pretty awful. I could cite a lot of things, but the crazy, messed up storyline that resulted in eliminating Peter Parker's marriage to Mary Jane really exemplified the kinds of style without substance that I perceived working at Marvel. Trying to read Civil War in trades (again, yay library) also reinfoced that. Here we had a mega event, with tons of talented people working at it, and yet I found the storyline just bad (my opinion, doesn't have to be anybody elses, but I'll say again, it was BAD). What stuck with me was the event was extremely plot driven and the organic development of or reactions by the characters were subordinated to the plot. For me, that is never good. The characters in many cases came off as cardboard pieces on a big game board, rather than interesting and complex individuals. Since Marvel was doing one of these plot driven monsters pretty often, it just seemed like, even where you had a solid creator behind a title, it was likely going to be hijacked and the characters would start doing really stupid out of character things to advance the plot.
So, I stayed away, read my Rucka and Van Meter stuff, and dove into the past getting trades of the old Question, Justice League International, and Walt Simonson's run on Thor.
Two things made me reconsider. One, Greg started writing The Punisher. Now, while The Punisher has been a long established and somewhat interesting character from time to time in Marvel, mostly I considered him kind of a bad joke. Hey, let's have a superhero whose power is, wait for it, GUNS! In general, not my thing, and not, I would have thought, Greg's thing.
Ah, but the power of a good editor and a writer given a chance to write a character (a bunch actually), that, I had not counted on. Now, I just have to say, thank you Stephen Wacker, I think you are the best! Suddenly I was pulled into the Marvel Universe by a character I had scant given consideration to. Great writing and great editorial changed my mind. Still, I was not that interested in going deeper in.
Then, Margaret Weis Productions new Marvel Heroic Roleplaying Basic Game came out, and it is really fun. It set me on a path back to exploring Marvel, and suddenly, I found out that, despite all the things wrong with Marvel (and I still maintain they are many), there are some really terrific writers who have written some fantastic books in the last 10 to 15 years. So, while you know I am totally biased towards Greg Rucka, here are some other writers I am really happy to know.
Ed Brubaker (Secret Avengers, Captain America, Daredevil, Winter Soldier) I know, you all are saying "duh!" He wrote Gotham Central with Rucka, and that was amazing. How hard was it to find him? Well, I have to admit the heresy of not liking Criminal very much and while I enjoyed his reunion with Rucka on an arc of Daredevil, I was just kind of avoiding Marvel comics in general. But dang, Secret Avengers! Those totally rock. The other stuff then follows and there is no doubt he is a terrific writer. I have been reading what I can get my hands on (on a limited budget).
Greg Pak and Fred Van Lente (Incredible Hercules, Prince of Power, Chaos War) OMG! Hercules was this B-list character, a foil for Thor. Not ANY MORE! These guys reinvented Hercules and gave us Amadeus Cho. The world will never be the same.
Mark Waid (Daredevil [and a million other things I am going to discover]) Mr. Waid is poised to win a number of Eisners, and despite my rabid Ruck bias (who was not even nominated darn it), I have to say he is really deserving. The current run of Daredevil is astounding. And, he handles both sides of the character right. A lot of writers really don't understand what Matt Murdock does as a lawyer. However, that is a really important part of the character. Waid gives a lot of time to it, and he does it right. I am really, really impressed. I know he is a long time player in the comic book world, and I am looking for more stuff to read, especially some Fantastic Four stuff, becuase I hear that is great.
Brian Michael Bendis (New Avengers, Moon Knight, and like a gazillion other things) Okay, I know, "DUH!!" Clearly, he has changed a great deal about Marvel. Mostly for the good. Now, I have to qualify my love for Bendis. He does some great character work, and I think nobody does Spider-Man like him. He also did some really intersting things with Moon Knight and I am sorry they have cancelled the title. However, he does have a terrible habit of having characters go on, and on, and on, in rambling di/monologue. You can get used to it, but sometimes he has a story really humming along and you hit a page that is just a person talking, talking, talking, for like six, eight panels, all down the page, and it is like hitting a traffic jam. Still, he writes good characters and gets to do things no one else has done at Marvel.
Jeff Parker (Agents of Atlas, Gorilla Man) Okay, another OMG moment. I love Agents of Atlas. I can't say that Marvel didn't try to make them work. Maybe they didn't do it the right way, maybe some other plan would have made the first or second ongoing survive. It's hard to know. All I can say is, thank you for the time we had with Atlas, because it was really good. Now I have to seach out other stuff Parker has done.
Paul Cornell (Young Avengers, Captain Britain & M.I. 13) Captain Britain & M.I. 13 was another series that did not last, but the writing, for me, was top notch. I didn't love every element of the first arc of Young Avengers, but in general it was good. Must see what else Cornell is doing for Marvel.
Matt Fraction (Defenders, and lots of other stuff) Just "discovered" Fraction's Defender stuff. It is gonzo fun. Hope to read more by him.
Honorable metion: Joss Whedon (Astonishing X-Men) Yeah, super-"DUH!" Don't have to look for his comic work though. Whedon had a very solid run on Astonishing X-Men. He really hit great character notes. Some of the plot stuff did not wow me, but he inherited a lot of it. I more appreciated that he really understood the characters and even in plots I disdained, I enjoyed the characters, because he understood how they would act and react. Now, he is (hopefully) going to be making many insanely popular bockbuster movies, and punctuating that with little side projects, and he probably won't write comics for a long time if ever again.
On the horizon: Kelly Sue DeConnick (Captain Marvel (2012)) I have not read a word by her in comics yet, but she is pioneering the latest effort to get a female flagship hero into the stable of Marvel Comics. I want that to happen, and so, how can I not start buying. Captain Marvel is slated for release in July 2012 and I have my preorder in at my local comic book shop (Beyond Comics, yay!).
So, that is my growing list of authors for whom I will search. Marvel, I have a love hate relationship with a lot that you do, but you have employed some terrific writers, and I am going to do better about finding and following them.
Tuesday, March 27, 2012
Marvel Heroic Role Playing event chapter seed: Welcome to the Murder Games!
So, I have been thinking about what I could do with a MHRP game if I could sign up some players. As ideas fermented in my brain, the following elements blended: the super villain Arcade (see also here) (and various Murderworld stories, as well as the old MSH module of the same name); several Justice League Unlimited episodes ("The Cat and the Canary", "Grudge Match"), and episode of Wolverine and the X-Men ("Hunting Grounds") and throw in The Hunger Games and what do I come up with?
Welcome to The Murder Games!
The premise:
Arcade, with a cross-dimensional distribution and syndication deal brokered with Mojo, has set up a new environment for the amusement of the masses and the murder of superheroes. This 21st Century Arcade is all about blending the time honored entertainment of built environments designed to kill you with the hot new trend of reality TV. Add to that, the hottest literary property about a dystopian future (now a major motion picture) and you have the ingredients for a show to hit #1 on the Mojo network and be terrifically amusing for the master of deathtraps.
And may the odds be always in HIS favor.
But wait, wouldn't people object to Acade trespessing on this intellectual property? Of course they would, so of course he has thought of that. And that's why he has the author and the main cast of the film detained and awaiting certain death, unless the heroes put on a VERY GOOD SHOW. Heck, he might also even have a few of the books biggest fans on hand, just in case there is one or two of the heroes who get stubborn.
So, what might be the initial set up?
The environment is going to be very manipulable, with Arcade's stats often providing the dice pools, and in other cases provided by the Doom Pool. Of course there are cameras everywhere and trackers on the heroes. Of course, clever heroes may figure out how to fool the cameras, lose the trackers, or turn the technology against the villains.
Of course, maybe Arcade has, for round 1, a set of villains, perhaps some who broke out of the Raft, to compete against the heroes. Whilte the heroes may have no moral problem beating the paste out of the escapees, at some point, Arcade is going to do something like put a gun to the head of a hostage and insist that the hero finish the job.
Now, to really mess with things, some of the hostages and some of the villains are probably Life Model Doubles, Androids, reprogrammed Doombots, or something. However, as soon as a hero feels like it is safe to kill an opponent or to allow a hostage to die, well then that is likely going to be a real person.
Of course the environment will also produce deadly challenges. Arcade has probably, inspired by the movie (he might not do much reading) recreated the Tracker jackers (cause, ya know, they're fun), as well as having things like velociraptors and maybe a T-rex or whatever seems fun to try to mess with the heroes. And Arcade can probably do things to help them on the fly, like make the T-Rex firebreathing or whatnot.
Round 2 may be not against villains, but instead against captured heroes (with a little Mojo brainwashing perhaps), and maybe or maybe not there are some androids, robots, whatnot interspersed, but heroes are going to have to worry not only about surviving and taking out the opposition, but also figuring out if they are fighting a person or a copy. And what to do with the real heroes, and what to do when Arcade demands a death ("or else the sequel won't get made with this actress . . . ")
WIth these first two rounds, heroes may be able to win freedom for hostages or other concessions by winning challenges (arbitrarily made up by Arcade) or perhaps be appealing to sponsors or the audience ("text interdimensional 662 if you want Captain America to get to choose a hostage to free").
Round 3, then is the single elimination round. Time for the heroes to fight each other (or the Girl Scout troop gets it, or some such thing). There the rubber really meets the road. Will Arcade demand death? Will Mojo insist that a contestant needs to be able to return for next season? Can the heroes phone a freind? Lots of possibilities.
Of course, what the players will be trying to figure out is how to get to where Arcade is, so they can beat the paste out of him. They may also want to try inflicting emotional trauma on him by facing him down, acting in a way that thwarts him, but wins audience approval. Etc. This is still unformed, but I would expect the arena is in a bubble in some controlled pocket of a dangerous environment (the deep sea, space, under the earth, in Antarctica, etc.) Breaking out is going to be hard and dangerous and possible fruitless unless the heroes can carefully manage things.
I am opposed to the idea of having the control room right next to the arena, cause that is just to easy. However, there might need to be interdimensional or teleportation portals, and there may by some physical conduit. I would be flexible in letting the heroes try to come up with a way to manage things without it being too silly.
I see this events milestones as something like as follows:
Welcome to the Murder Games
1 xp Inflict trauma on an opponent.
3 xp inflict d12 trauma on an opponent
10 xp agree to kill an opponent or refuse to kill an opponent allowing a hostage to be killed
This is a pretty dark scenario idea (really, I'm a very nice guy), but given the trend in Marvel (Secret Avengers, Dark X-Men, X-Force, etc.) it fits into a corner of that multiverse. The main thing that Arcade and Mojo want is a "good show." While Arcade would love to wipe out some heroes (and may have side contracts to do so), he is not above have subbed in a LMD or clone, or something to torture the heroes into thinking they have killed someone or allowed someone to die, but then, it was all just part of the twisted "fun house" that Arcade loves to create. After all, you have to bring people back to see next season!
Also, further plot hooks would involve tracking down Arcades ties, customers, and bases. Further, doing some dimension hopping after Mojo, his minions and "entertainment" holdings. It is likely that the heroes are but one of many teams being put through this hell. Maybe there are more people or heroes, or even villains to rescue? Maybe Arcade and Mojo are really diversifying. Heck with Sauron gone, maybe it's "And this week on Murder Games - The Savage Land, we have a mutate versus SHIELD grudge match. Who will emerge victorious?" or, "We've always wanted to know, who would win, Iron Fist or 500 Hand Ninjas? Well, this week, we find out on Murdergames, The Amazing Chase!"
Just a few ideas. Hopefully, I get to form them up and run with them. However, I throw them out because I'd be happy if someone beat me to it and got some play in with these ideas as well.
May the odds be ever in your favor.
Welcome to The Murder Games!
The premise:
Arcade, with a cross-dimensional distribution and syndication deal brokered with Mojo, has set up a new environment for the amusement of the masses and the murder of superheroes. This 21st Century Arcade is all about blending the time honored entertainment of built environments designed to kill you with the hot new trend of reality TV. Add to that, the hottest literary property about a dystopian future (now a major motion picture) and you have the ingredients for a show to hit #1 on the Mojo network and be terrifically amusing for the master of deathtraps.
And may the odds be always in HIS favor.
But wait, wouldn't people object to Acade trespessing on this intellectual property? Of course they would, so of course he has thought of that. And that's why he has the author and the main cast of the film detained and awaiting certain death, unless the heroes put on a VERY GOOD SHOW. Heck, he might also even have a few of the books biggest fans on hand, just in case there is one or two of the heroes who get stubborn.
So, what might be the initial set up?
The environment is going to be very manipulable, with Arcade's stats often providing the dice pools, and in other cases provided by the Doom Pool. Of course there are cameras everywhere and trackers on the heroes. Of course, clever heroes may figure out how to fool the cameras, lose the trackers, or turn the technology against the villains.
Of course, maybe Arcade has, for round 1, a set of villains, perhaps some who broke out of the Raft, to compete against the heroes. Whilte the heroes may have no moral problem beating the paste out of the escapees, at some point, Arcade is going to do something like put a gun to the head of a hostage and insist that the hero finish the job.
Now, to really mess with things, some of the hostages and some of the villains are probably Life Model Doubles, Androids, reprogrammed Doombots, or something. However, as soon as a hero feels like it is safe to kill an opponent or to allow a hostage to die, well then that is likely going to be a real person.
Of course the environment will also produce deadly challenges. Arcade has probably, inspired by the movie (he might not do much reading) recreated the Tracker jackers (cause, ya know, they're fun), as well as having things like velociraptors and maybe a T-rex or whatever seems fun to try to mess with the heroes. And Arcade can probably do things to help them on the fly, like make the T-Rex firebreathing or whatnot.
Round 2 may be not against villains, but instead against captured heroes (with a little Mojo brainwashing perhaps), and maybe or maybe not there are some androids, robots, whatnot interspersed, but heroes are going to have to worry not only about surviving and taking out the opposition, but also figuring out if they are fighting a person or a copy. And what to do with the real heroes, and what to do when Arcade demands a death ("or else the sequel won't get made with this actress . . . ")
WIth these first two rounds, heroes may be able to win freedom for hostages or other concessions by winning challenges (arbitrarily made up by Arcade) or perhaps be appealing to sponsors or the audience ("text interdimensional 662 if you want Captain America to get to choose a hostage to free").
Round 3, then is the single elimination round. Time for the heroes to fight each other (or the Girl Scout troop gets it, or some such thing). There the rubber really meets the road. Will Arcade demand death? Will Mojo insist that a contestant needs to be able to return for next season? Can the heroes phone a freind? Lots of possibilities.
Of course, what the players will be trying to figure out is how to get to where Arcade is, so they can beat the paste out of him. They may also want to try inflicting emotional trauma on him by facing him down, acting in a way that thwarts him, but wins audience approval. Etc. This is still unformed, but I would expect the arena is in a bubble in some controlled pocket of a dangerous environment (the deep sea, space, under the earth, in Antarctica, etc.) Breaking out is going to be hard and dangerous and possible fruitless unless the heroes can carefully manage things.
I am opposed to the idea of having the control room right next to the arena, cause that is just to easy. However, there might need to be interdimensional or teleportation portals, and there may by some physical conduit. I would be flexible in letting the heroes try to come up with a way to manage things without it being too silly.
I see this events milestones as something like as follows:
Welcome to the Murder Games
1 xp Inflict trauma on an opponent.
3 xp inflict d12 trauma on an opponent
10 xp agree to kill an opponent or refuse to kill an opponent allowing a hostage to be killed
This is a pretty dark scenario idea (really, I'm a very nice guy), but given the trend in Marvel (Secret Avengers, Dark X-Men, X-Force, etc.) it fits into a corner of that multiverse. The main thing that Arcade and Mojo want is a "good show." While Arcade would love to wipe out some heroes (and may have side contracts to do so), he is not above have subbed in a LMD or clone, or something to torture the heroes into thinking they have killed someone or allowed someone to die, but then, it was all just part of the twisted "fun house" that Arcade loves to create. After all, you have to bring people back to see next season!
Also, further plot hooks would involve tracking down Arcades ties, customers, and bases. Further, doing some dimension hopping after Mojo, his minions and "entertainment" holdings. It is likely that the heroes are but one of many teams being put through this hell. Maybe there are more people or heroes, or even villains to rescue? Maybe Arcade and Mojo are really diversifying. Heck with Sauron gone, maybe it's "And this week on Murder Games - The Savage Land, we have a mutate versus SHIELD grudge match. Who will emerge victorious?" or, "We've always wanted to know, who would win, Iron Fist or 500 Hand Ninjas? Well, this week, we find out on Murdergames, The Amazing Chase!"
Just a few ideas. Hopefully, I get to form them up and run with them. However, I throw them out because I'd be happy if someone beat me to it and got some play in with these ideas as well.
May the odds be ever in your favor.
Thursday, March 15, 2012
Punisher #9: Quick Review
I picked up Greg Rucka's Punisher issue #9 today. It is a great issue. It went very fast. In a good way. The pacing was breakneck, the plot twisted, the "big event" was set up for next month, and we saw some great little character pieces from Frank Castle and Rachel Cole Alves. If you thought you knew what was going to happen next at the end of Issue #8, guess again. Of course, after the 22 pages flew by, I wanted to shout "RUCKAAAAAAAA!" because it is very hard to read a breakneck page turner like this and have to wait weeks to months to TURN THE NEXT PAGE!
In any case, I highly recommend the issue, though it is not an issue to begin with. The story is building from a slow boil to a raging one, and now, with the three book crossover next month (Avenging Spider-Man, The Punisher & Daredevil) things are really starting to pop. Of course, if you really want to be ready for next month, it also helps to read at least the first six issues of Daredevil's latest run (which I just have (also recommended)) because a lot of the set up is in those books for the "event."
For me, Rucka continues to reliably deliver in a complex and very satisfying way. The Punisher has never been so interesting and compelling for me, and his little corner of the Marvel Universe may be the best place to be for solid characters and action at this time.
And here is what some others have to say:
IGN (8.5/10) "Greg Rucka's take on the Punisher continues to reveal new interesting layers to the character, and that's saying a lot considering he's often deemed a one trick pony. If you haven't been reading this series, it's in your best interest to pick it up from the beginning to see what all the fuss is about. The Punisher still remains one of Marvel's best books."
(more reviews to be added as they come out)
St. Patrick's day update (3/17/2012)
CBR (3.5/5) " As part of the ongoing "The Punisher" series, this issue is good; as a lead-in to that crossover, though, I'm not as impressed."
ScienceFictiondotcom (Verdict: Buy) "This book just kicks all kinds of ass! It’s incredibly well-written. The characters just ooze reality! Frank Castle himself is a cypher, but everyone else has layers and layers of depth that is being peeled away ever so slowly. Sure, it’s very gritty and violent, so if you are averse to that, this isn’t the book for you. But honestly, I myself don’t typically like violence or the mafia genre, but this book is so impressive, I can’t help loving it."
The Outhouse "Another very strong issue of Punisher, and one that does a good job of organically setting up the Omega Effect crossover."
Punisher Central (B-) "This issue does give readers some action and some interesting plot points."
iFanboy [review by Andrew Gaboury] (Story: 5/5 - Excellent, Art: 3/5 - Good) " This book is just consistently good and it should be excellent with the return of Checetto."
March 20, 2012 update
Henchmen-4-Hire (1/5) "Holy crap this is a terrible comic book."
Weekly Comic Book Review (B) "This isn’t a bad issue by any means and it’s competent in both art and script. But it’s not anything more than that. It felt as though Rucka was running in place here. This is the first stumble this series has had but, given that this issues entire problem was a lack of significance or real meat on the bones, I imagine it’ll be quickly forgotten."
Weekly Crisis (Verdict-Buy It) "This series continues to deliver and it doesn't look like it'll be slowing down anytime soon."
In any case, I highly recommend the issue, though it is not an issue to begin with. The story is building from a slow boil to a raging one, and now, with the three book crossover next month (Avenging Spider-Man, The Punisher & Daredevil) things are really starting to pop. Of course, if you really want to be ready for next month, it also helps to read at least the first six issues of Daredevil's latest run (which I just have (also recommended)) because a lot of the set up is in those books for the "event."
For me, Rucka continues to reliably deliver in a complex and very satisfying way. The Punisher has never been so interesting and compelling for me, and his little corner of the Marvel Universe may be the best place to be for solid characters and action at this time.
And here is what some others have to say:
IGN (8.5/10) "Greg Rucka's take on the Punisher continues to reveal new interesting layers to the character, and that's saying a lot considering he's often deemed a one trick pony. If you haven't been reading this series, it's in your best interest to pick it up from the beginning to see what all the fuss is about. The Punisher still remains one of Marvel's best books."
(more reviews to be added as they come out)
St. Patrick's day update (3/17/2012)
CBR (3.5/5) " As part of the ongoing "The Punisher" series, this issue is good; as a lead-in to that crossover, though, I'm not as impressed."
ScienceFictiondotcom (Verdict: Buy) "This book just kicks all kinds of ass! It’s incredibly well-written. The characters just ooze reality! Frank Castle himself is a cypher, but everyone else has layers and layers of depth that is being peeled away ever so slowly. Sure, it’s very gritty and violent, so if you are averse to that, this isn’t the book for you. But honestly, I myself don’t typically like violence or the mafia genre, but this book is so impressive, I can’t help loving it."
The Outhouse "Another very strong issue of Punisher, and one that does a good job of organically setting up the Omega Effect crossover."
Punisher Central (B-) "This issue does give readers some action and some interesting plot points."
iFanboy [review by Andrew Gaboury] (Story: 5/5 - Excellent, Art: 3/5 - Good) " This book is just consistently good and it should be excellent with the return of Checetto."
March 20, 2012 update
Henchmen-4-Hire (1/5) "Holy crap this is a terrible comic book."
Weekly Comic Book Review (B) "This isn’t a bad issue by any means and it’s competent in both art and script. But it’s not anything more than that. It felt as though Rucka was running in place here. This is the first stumble this series has had but, given that this issues entire problem was a lack of significance or real meat on the bones, I imagine it’ll be quickly forgotten."
Weekly Crisis (Verdict-Buy It) "This series continues to deliver and it doesn't look like it'll be slowing down anytime soon."
Wednesday, March 7, 2012
Great advanced review for "Alpha"
Greg Rucka has the first book in a new series coming out in May, "Alpha." Library Journal has published an advanced review and gives it a starred review to boot. The reviewer says "Highly Recommended."
I can't wait.
Oh, and Punisher #9 is out next Wednesday.
I can't wait.
Oh, and Punisher #9 is out next Wednesday.
Tuesday, March 6, 2012
Marvel Heroic Role Playing actual play fron "A Taste of Marvel"
Sunday my son, Ian, and I had a great time at the launch party at Labyrinth Games for Margaret Weis Productions new Marvel Heroic Roleplaying Basic Game. As with Labyrinth's other demo events, this was termed a "Taste of" and it certainly was a lot of fun, even though it definitely left us wanting more.
I am not going to try to recount our experiences moment by moment as I lack the time to do it justice, but I hope that I can give an overview of the thing we experienced and convey why we had such a good time.
Ian and I drove down to Labyrinth yesterday and arrived in the area 10 minutes early. Unfortunately, it took another 15 minutes to find a parking place and another 10 or so to get back to the store. Labyrinth has a great location in Eastern Market on Capitol Hill, but parking is a challenge.
So, there were two filled tables (being run by Rob Donoghue and Nate) and our two reserved spots left at Dave Chalker's (aka Dave the Game) table. We had somewhat missed the preliminaries and did not manage to really properly introduce ourselves or catch the names of everyone at the table, though Tom Cadorette was playing Iron Man; I am sorry to say I did not catch and retain (typical for me I'm afraid) the names of our fellow players who had Ms. Marvel and Daredevil). Ian got the hero he hoped for, Captain America. I had planned to take Daredevil, but he was taken, so I grabbed Spider-Man.
Dave quickly outlined the basics of taking actions, how to build a dice pool from various character attributes and how to roll and read the dice, and then we were off and running. The game "event" was the adventure that comes with the basic book, and it, in turn, is based on the storyline of "New Avengers 1-6", a story arc called "Breakout."
The heroes had to start in different places when the breakout started. DD, in his civilian role as Matt Murdock, defense attorney, was with Ms. Marvel at a supervillain prison called The Raft. He was going to see some guy who claimed he was a former hero called The Sentry who wanted to be locked up because he believed that he killed his wife. Captain Americal was on a helicopter, returning from addressing the Joint Chiefs of Staff in Washington, DC. Tony Stark/Iron Man was addressing a corporate gathering, and I, Spider-Man, was just about to cuddle up to my wife, Mary Jane, on the couch for a romantic comedy and our first quiet night at home in forever.
Having sketched out these beginning scense, Dave, as The Watcher (the term for the game master in MHRP), quickly launched into the central problem of our first act. Lightning seemed to strike The Raft, and to go on to overload the entire power grid, backups and black out not just the prison, but all of New York! Captain America was able to observe that a bolt of lightning also seemed to leave The Raft and head away. The residual energy fried the helicopter flight controls and it was going down!
Inside The Raft, Matt Murdock, his law partner Foggy Nelson (NPC) and Ms. Marvel suddenly found themselves in the middle of a maximum security block where all the cells were suddenly open!
Tony Stark (played hilariously by Tom, who channeled a lot of Robert Downey, Jr. for his portrayal) found his meeting suddenly cancelled by the blackout, realized that this was a huge outage that might be the result of some kind of attack and went Iron Man (while posting on Twitter, checking Stark Industries stock numbers overseas and making sure that 1000 lawyers were on retainer if this was somehow tied at all to Stark Tech).
I, as Spider-Man had to profusely apologize to MJ, put on the Wall-Crawler tights and zip off.
I quickly spotted the helicopter in trouble and swung onboard. Cap was able to take care of himself, but I rolled well to grab the SHIELD pilot and get us down safely to The Raft. This gave me an "asset" of being able to call on the pilot for help in a later roll which was a cool game effect.
Down below, Ms. Marvel was throwing thugs back into cells as much as possible, while DD as Matt Murdock did his "helpless" blind man deal while knocking around, tripping and "running into" the mob of woud-be escapees.
Up top, enter the first Super Villain. Just as Ian, as Captain America, looked into the smoking elevator shaft, he spotted the evil Count Nefaria rising out of the prison. His reaction was what any red-blooded American hero would do in his place. He jumped into the elevator shaft shield first to take out the evil-doer (and he would figure out how to survive the rest of the fall later).
Let me just say a little about how action flows in the game. There is an "action order" system, which basically has The Watcher pick someone to go first (often with input from the table), and that person finishes the character's action and picks someone else, friend or enemy, to go next, until everyone has had a turn. Last person to go, hero or villain, decides who starts the next order. This is fun, allows for fluid, yet tactical play, and really feels like the organic flow of action in comic book panels. As we played, I could visualize the action leaping off the page. It was pretty impressive.
So, for any attack, you build out a dice pool based on various attributes (see my earlier posts to describe the attributes), and then roll to try to produce a high base number and pick a leftover die, as large as possible, for an effect. Once again, simple, once you are doing it, fun (picking from the menu of what your character can do), creative, imaginative, evocative and relatively fast.
So, Cap rolled his action (attack), and Count Nefaria rolled his reaction. One thing is that the reactor knows the number to beat, so it pushes the actor to try to do as well as possible to put success out of the reactor's reach. Anyway, that was not how it worked out. Nefaria blasted Cap to the side, and suddenly he had to come up with how to survive the fall down the elevator shaft.
Fortunately, this allowed him then to choose your friendly neighborhood Spider-Man to act next. I told the SHIELD pilot "cover me" made some dumb joke about Count Nefaria breaking out for good Italian food, and started shooting webbing like crazy. I managed to create a web-trampoline under Cap to save him, and it gave him a bonus on his next action as he sprang up from behind Nefaria. Second, I completely webbed Nefaria's face, so he was blinded.
I think we bounced back to Ms. Marvel and DD, and they were holding their own against the mob, but Foggy got taken away.
Then, in comes Iron Man and Tom played him just as overconfident as possible. He tried to fly into the shaft and basically put Nefaria through the back wall. Instead, Nefaria managed to beat his roll and get the opportunity to activate a counter attack. So, basically, Iron Man flew in, and there was a huge explosion and Iron Man flew out, not under his own power, after almost being taken out. Tom and Dave did a great job of describing how the suit's alarms were all going off and the heads-up display was filled with error messages and everything was reading "offline." Again, I could totally see it both on a comic book page, and on screen.
So, it was just me and Cap against Nefaria. I had my doubts, but while distracted Nefaria who failed to blast me, Cap completely clocked him by surprise with a shield blow to the temple. Moments later, we had him safely webbed up and had rebooted enough of Iron Man's systems to go down into The Raft to join up with DD and Ms. Marvel in the hunt for Foggy and to try to reactivate the systems onboard.
I need to metion, that during this whole action sequence, the main game currencies were flowing freely. These are Plot Points, which players receive for voluntarily taking penalties in their dice pools (rolling d4s), based on their personal foibles which are sometimes advantages and sometimes not, and also for rolling 1s, which add to The Watcher's source of currency, The Doom Pool. Players speend Plot Points to get bonuses, activate special effects and opportunities, take counter attacks, change the way dice get counted or to create stunts, among other things. The Watcher uses the Doom Pool in a similar fashion for the antagonists, but can also sometimes just roll the Doom Pool as the difficulty in a situation that calls for an challenging roll, but there is no opposing force, except for how dire the situation is.
This gives the game lots of tactile and visual goodness. When building a dice pool, you get to pick up the dice that represent the powers/skills you use. You see the Doom Pool growing or shrinking based on your actions. You can count Plot Points with hash marks, but more often (and more fun) with poker chips, counters, or some other thing you can gather in piles to see how ready you are to take on the opposition. If you are out of Plot Points, you need to start adding in some disadvantageous dice or accepting other limits to bank those for when things really count. On the other hand, there is no sense in hoarding the points. If you need to KO Count Nefaria, you need to spend and spend big (go big or go home) so you either force The Watcher to deplete the Doom Pool to save the villain early, or to allow him to go down to conserve the Doom for what else is in store. It makes the game fun and fiddly in a good way.
So, to go with my promise of not going blow by blow, after our first battles, things just continued to be fun and awesome. While Cap and I rappelled down into The Raft, Iron Man, of course, just flew underneath and punched in through the bottom to get to the control room, kinda because he could.
We played through searching for Foggy, found Foggy, got attacked by Carnage, who apparently just has a "totally disable Spider-Man" power, which got used on me. We found out that Captain America is REALLY COOL and he basically was two for two in taking out Super Villains. DD held his own and rescued Foggy. I learned about "trauma" and that is is not a fun thing for your hero to have.
Iron Man and Ms. Marvel ended up fighting Graviton. This was not Graviton's day however. For one thing, Dave's d12 kept rolling 1s, which made Graviton less of a threat. Iron Man and Ms. Marvel totally capitalized and took him out. Then Iron Man convinced him to help us, and he told us who engineered the escape and for whom (Electro for Sauron (not the big flaming eye from Middle Earth, but instead a mutant energy vampiry guy who can turn into a fire breathing Pteradactyl; go figure). We also talked to Sentry who seemed pretty crazy, but said he could help us if we called on him.
Then we went to talk to Electro. We had learned that much of the hit first and then talk had not worked so well the first time around. However, when Cap tried to talk to Electro, DD decided instead to try and take him out. I said something like, "wait, we're going with the punch first plan?" Iron Man rescued Electro's ex-girlfriend from the scene and flew off, lightning bolts started shooting around, Ms. Marvel ended up charging up Electro, and just when it seemed to be all going south, Iron Man flies back and hits Electro like a ton of, well, iron, taking him out.
We had fun interrogating him, and I told him he was going down with the Bad SHIELD guys, not the ones that worked with Captain America. They guys that did waterboarding. He said he'd spill it all if we promised minimum security Club Fed. We made the deal and off we were to find Sauron in The Savage Land.
There was a lot more fighting (I helped KO a T-Rex) and merriment (Ms. Marvel chose SHIELD over the rest of us and tried to take Iron Man out) and the game went really well.
I will spare you the details and just say, it was a heck of a good time, so I can get this posted.
Excelsior!
I am not going to try to recount our experiences moment by moment as I lack the time to do it justice, but I hope that I can give an overview of the thing we experienced and convey why we had such a good time.
Ian and I drove down to Labyrinth yesterday and arrived in the area 10 minutes early. Unfortunately, it took another 15 minutes to find a parking place and another 10 or so to get back to the store. Labyrinth has a great location in Eastern Market on Capitol Hill, but parking is a challenge.
So, there were two filled tables (being run by Rob Donoghue and Nate) and our two reserved spots left at Dave Chalker's (aka Dave the Game) table. We had somewhat missed the preliminaries and did not manage to really properly introduce ourselves or catch the names of everyone at the table, though Tom Cadorette was playing Iron Man; I am sorry to say I did not catch and retain (typical for me I'm afraid) the names of our fellow players who had Ms. Marvel and Daredevil). Ian got the hero he hoped for, Captain America. I had planned to take Daredevil, but he was taken, so I grabbed Spider-Man.
Dave quickly outlined the basics of taking actions, how to build a dice pool from various character attributes and how to roll and read the dice, and then we were off and running. The game "event" was the adventure that comes with the basic book, and it, in turn, is based on the storyline of "New Avengers 1-6", a story arc called "Breakout."
The heroes had to start in different places when the breakout started. DD, in his civilian role as Matt Murdock, defense attorney, was with Ms. Marvel at a supervillain prison called The Raft. He was going to see some guy who claimed he was a former hero called The Sentry who wanted to be locked up because he believed that he killed his wife. Captain Americal was on a helicopter, returning from addressing the Joint Chiefs of Staff in Washington, DC. Tony Stark/Iron Man was addressing a corporate gathering, and I, Spider-Man, was just about to cuddle up to my wife, Mary Jane, on the couch for a romantic comedy and our first quiet night at home in forever.
Having sketched out these beginning scense, Dave, as The Watcher (the term for the game master in MHRP), quickly launched into the central problem of our first act. Lightning seemed to strike The Raft, and to go on to overload the entire power grid, backups and black out not just the prison, but all of New York! Captain America was able to observe that a bolt of lightning also seemed to leave The Raft and head away. The residual energy fried the helicopter flight controls and it was going down!
Inside The Raft, Matt Murdock, his law partner Foggy Nelson (NPC) and Ms. Marvel suddenly found themselves in the middle of a maximum security block where all the cells were suddenly open!
Tony Stark (played hilariously by Tom, who channeled a lot of Robert Downey, Jr. for his portrayal) found his meeting suddenly cancelled by the blackout, realized that this was a huge outage that might be the result of some kind of attack and went Iron Man (while posting on Twitter, checking Stark Industries stock numbers overseas and making sure that 1000 lawyers were on retainer if this was somehow tied at all to Stark Tech).
I, as Spider-Man had to profusely apologize to MJ, put on the Wall-Crawler tights and zip off.
I quickly spotted the helicopter in trouble and swung onboard. Cap was able to take care of himself, but I rolled well to grab the SHIELD pilot and get us down safely to The Raft. This gave me an "asset" of being able to call on the pilot for help in a later roll which was a cool game effect.
Down below, Ms. Marvel was throwing thugs back into cells as much as possible, while DD as Matt Murdock did his "helpless" blind man deal while knocking around, tripping and "running into" the mob of woud-be escapees.
Up top, enter the first Super Villain. Just as Ian, as Captain America, looked into the smoking elevator shaft, he spotted the evil Count Nefaria rising out of the prison. His reaction was what any red-blooded American hero would do in his place. He jumped into the elevator shaft shield first to take out the evil-doer (and he would figure out how to survive the rest of the fall later).
Let me just say a little about how action flows in the game. There is an "action order" system, which basically has The Watcher pick someone to go first (often with input from the table), and that person finishes the character's action and picks someone else, friend or enemy, to go next, until everyone has had a turn. Last person to go, hero or villain, decides who starts the next order. This is fun, allows for fluid, yet tactical play, and really feels like the organic flow of action in comic book panels. As we played, I could visualize the action leaping off the page. It was pretty impressive.
So, for any attack, you build out a dice pool based on various attributes (see my earlier posts to describe the attributes), and then roll to try to produce a high base number and pick a leftover die, as large as possible, for an effect. Once again, simple, once you are doing it, fun (picking from the menu of what your character can do), creative, imaginative, evocative and relatively fast.
So, Cap rolled his action (attack), and Count Nefaria rolled his reaction. One thing is that the reactor knows the number to beat, so it pushes the actor to try to do as well as possible to put success out of the reactor's reach. Anyway, that was not how it worked out. Nefaria blasted Cap to the side, and suddenly he had to come up with how to survive the fall down the elevator shaft.
Fortunately, this allowed him then to choose your friendly neighborhood Spider-Man to act next. I told the SHIELD pilot "cover me" made some dumb joke about Count Nefaria breaking out for good Italian food, and started shooting webbing like crazy. I managed to create a web-trampoline under Cap to save him, and it gave him a bonus on his next action as he sprang up from behind Nefaria. Second, I completely webbed Nefaria's face, so he was blinded.
I think we bounced back to Ms. Marvel and DD, and they were holding their own against the mob, but Foggy got taken away.
Then, in comes Iron Man and Tom played him just as overconfident as possible. He tried to fly into the shaft and basically put Nefaria through the back wall. Instead, Nefaria managed to beat his roll and get the opportunity to activate a counter attack. So, basically, Iron Man flew in, and there was a huge explosion and Iron Man flew out, not under his own power, after almost being taken out. Tom and Dave did a great job of describing how the suit's alarms were all going off and the heads-up display was filled with error messages and everything was reading "offline." Again, I could totally see it both on a comic book page, and on screen.
So, it was just me and Cap against Nefaria. I had my doubts, but while distracted Nefaria who failed to blast me, Cap completely clocked him by surprise with a shield blow to the temple. Moments later, we had him safely webbed up and had rebooted enough of Iron Man's systems to go down into The Raft to join up with DD and Ms. Marvel in the hunt for Foggy and to try to reactivate the systems onboard.
I need to metion, that during this whole action sequence, the main game currencies were flowing freely. These are Plot Points, which players receive for voluntarily taking penalties in their dice pools (rolling d4s), based on their personal foibles which are sometimes advantages and sometimes not, and also for rolling 1s, which add to The Watcher's source of currency, The Doom Pool. Players speend Plot Points to get bonuses, activate special effects and opportunities, take counter attacks, change the way dice get counted or to create stunts, among other things. The Watcher uses the Doom Pool in a similar fashion for the antagonists, but can also sometimes just roll the Doom Pool as the difficulty in a situation that calls for an challenging roll, but there is no opposing force, except for how dire the situation is.
This gives the game lots of tactile and visual goodness. When building a dice pool, you get to pick up the dice that represent the powers/skills you use. You see the Doom Pool growing or shrinking based on your actions. You can count Plot Points with hash marks, but more often (and more fun) with poker chips, counters, or some other thing you can gather in piles to see how ready you are to take on the opposition. If you are out of Plot Points, you need to start adding in some disadvantageous dice or accepting other limits to bank those for when things really count. On the other hand, there is no sense in hoarding the points. If you need to KO Count Nefaria, you need to spend and spend big (go big or go home) so you either force The Watcher to deplete the Doom Pool to save the villain early, or to allow him to go down to conserve the Doom for what else is in store. It makes the game fun and fiddly in a good way.
So, to go with my promise of not going blow by blow, after our first battles, things just continued to be fun and awesome. While Cap and I rappelled down into The Raft, Iron Man, of course, just flew underneath and punched in through the bottom to get to the control room, kinda because he could.
We played through searching for Foggy, found Foggy, got attacked by Carnage, who apparently just has a "totally disable Spider-Man" power, which got used on me. We found out that Captain America is REALLY COOL and he basically was two for two in taking out Super Villains. DD held his own and rescued Foggy. I learned about "trauma" and that is is not a fun thing for your hero to have.
Iron Man and Ms. Marvel ended up fighting Graviton. This was not Graviton's day however. For one thing, Dave's d12 kept rolling 1s, which made Graviton less of a threat. Iron Man and Ms. Marvel totally capitalized and took him out. Then Iron Man convinced him to help us, and he told us who engineered the escape and for whom (Electro for Sauron (not the big flaming eye from Middle Earth, but instead a mutant energy vampiry guy who can turn into a fire breathing Pteradactyl; go figure). We also talked to Sentry who seemed pretty crazy, but said he could help us if we called on him.
Then we went to talk to Electro. We had learned that much of the hit first and then talk had not worked so well the first time around. However, when Cap tried to talk to Electro, DD decided instead to try and take him out. I said something like, "wait, we're going with the punch first plan?" Iron Man rescued Electro's ex-girlfriend from the scene and flew off, lightning bolts started shooting around, Ms. Marvel ended up charging up Electro, and just when it seemed to be all going south, Iron Man flies back and hits Electro like a ton of, well, iron, taking him out.
We had fun interrogating him, and I told him he was going down with the Bad SHIELD guys, not the ones that worked with Captain America. They guys that did waterboarding. He said he'd spill it all if we promised minimum security Club Fed. We made the deal and off we were to find Sauron in The Savage Land.
There was a lot more fighting (I helped KO a T-Rex) and merriment (Ms. Marvel chose SHIELD over the rest of us and tried to take Iron Man out) and the game went really well.
I will spare you the details and just say, it was a heck of a good time, so I can get this posted.
Excelsior!
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