Thrilling Comics #3 - pt. 4

We're back (after a LONG time away!), still with the Three Comrades, though you'll only see two of them on this page. 

Max should be statted as a guard, or maybe a beat cop. 

Note that our two Heroes intentionally surrender to Von Sneer, no doubt to learn what he's up to. If they'd wanted to, they could have rushed him, even from across the room, and still gone before him if they'd won initiative (which I see happen in comics a lot!).

It's worth noting that Heroes shouldn't have to worry about what languages they know, but you're encouraged to take this benefit away from non-Hero characters. This is a good way to give Heroes another advantage over normal people (and here, greatly assists the plot!).

This page brings up an interesting point, because a lot of the time Heroes are tied up for deathtraps, but are almost never gagged. And they almost never yell for help either. Now, we don't expect them to because it doesn't come off as very heroic, but it is certainly the most natural reaction to being tied up. 

I am skeptical about allowing a filing cabinet tipping over on someone to knock them out - though it will famously be super-effective against Iron Man years later - and would probably allow this to do no more than 1 point of damage. Of course, it's possible for mobsters to only have 1 hit point!

That's a really good guess as to what the oil drums are for. I probably would have guessed they were smugglers myself, but this makes for a better story with higher stakes.

It's weird how physics work in comic books to feed the narrative. A filing cabinet tipping over knocks out a guard, but Lucky bounces down a flight of stairs, caught halfway in a barrel, and seems virtually unharmed. Two thoughts: 1) this proves that damage ranges are a thing, and 2) it makes me wonder if objects should be able to soak damage. I have ruled before if you fall on a person, you can half your damage and transfer the other half to the person you're landing on. But if we applied that to inanimate objects...then armor has to work much differently game mechanics-wise. I think we'll skip this for now.

"Attaboy, Lucky, keep 'em busy killing you!" Seriously, how is Lucky not dead, as the mobsters shoot down at him at short range and he's only moving as fast as a motorboat attempting to match to their vessel? Luckily, in the hands of a 1 HD mobster, even sub-machine guns only get 1 attack per turn. 

I am as unconvinced by that wooden beam being able to do that as I was by the filing cabinet. This is a very generous Editor these boys' players have.

Using the oil seemed an ingenious move at first, but wouldn't starting a fire with it have been more effective?

We're done with those crazy kids and moving onto the next feature, The Woman in Red. The violence level is pretty extreme in this feature, with a man being shown (granted, in silhouette) hanging from the rope that you see on this page on the previous page, and on this page you get a knife thrown into someone's neck (again, granted, not the first time I've seen that in a golden age comic book; it even features into Amazing Man's origin story). 

I mainly include this page for two points. One, American mansions have a tendency to be castles or have many castle-like features in golden age comic books -- and that is a good thing, because you can freely borrow castle maps from That Other Game and use them here and they fit this game. And secondly, telling the handedness of someone from how they tied a knot sounds like a basic skill check to me.

Okay, one more observation - other than having very pronounced cheekbones, there doesn't seem to be anything too terrifying about The Terror.

 

Since The Woman in Red and The Terror are both unencumbered and, hence, moving at the same movement rate, it's only natural that WiR fails to catch up. 

 

Here, we learn that you can open a secret door and still get a surprise turn after. 

 

A 200' drop is a very tall castle, unless this also accounts for a dry moat at the base of the castle wall too? 

 

It's not clear where the mysteriously handy rope is hanging from. Depending on how far down she is when she passes it would help me determine how fast she's falling and, from that, the AC to reach out and "hit" the rope -- AC 9 in the first second, AC 7 in the second second, AC 4 in the third second - by then she's fallen more than halfway. I might also require a Strength or a Dexterity check (whichever is better on the 1st second; whichever is worse on the 3rd second) to determine if she can keep a hold on the rope after catching it, or if her downward momentum pulls her past it. 

 

I'm puzzled by what that shape is in front of the window, as I'm not aware of that being a castle feature. I mean, it makes sense, as it makes it harder for anyone to smash through the window and fit inside, but I just don't know what that pole would be called.  

 

I wish I had enough detail to map this castle, because we keep getting tantalizing glimpses of how elaborate it is. So far we have a rooftop access door from a tower, multiple staircases, rooms that are only accessible by secret doors and outside windows (or by digging your way into them), and a literal dungeon with cell doors (double-barred no less) on the same floor with a library.
 

 

More interesting points - the Woman in Red gives away her real name in order to gain someone's trust, a rare instance of a gun being used to disarm a knife, and in the Scooby Doo-esque climax we learn that the butler - that is, someone named Butler - did it.

 

 

 

 

Here's a quick look at the next feature, which gives us two novel twists - one, a new location to rescue a damsel in distress from, and two, a new "Macguffin" - a military code book (thank goodness it's not yet another new invention!).

(Scans courtesy of Digital Comic Museum.)
 

 

  

Prize Comics #2 - pt. 1

Oh boy. We're visiting with Power Nelson again in his Buck Rogers-esque "future" of 1982 and, boy, the racism practically jumps off the page and pokes you in the eye. 

The "bonk heads" attack sees a lot of action in the early comic books, which makes it frustrating that it's hard to model with the Hideouts & Hoodlums combat rules. This could be the Multi-Attack power for superheroes, or it could be grappling one opponent and then using the first one as a clubbing weapon against the other in the following turn. 

This might be the first time we've seen a gun backfire against its holder. This is even harder to model in the rules and is likely just a freebie to the player. 

These stratosphere freighters look awfully un-flightworthy to me. What keeps them from rolling in flight? 

It's hard to say how terrific a leap that is. It seems that Nelson is higher than the skyscrapers, so this could be Leap II. The steel plates on top of the plane probably wreck as if a generator, though this could be "futuristic" steel and wreck one level higher.

It was tough to say what the raygun did, but we get some clues here about them being heat rays. If it is, that means Nelson is buffed with the Fire Resistance power here.

Ugh...Prince Ugi can't be very good at piloting if his fighter can't outmaneuver a freighter. Nelson might be out-piloting him in skill checks despite rolling at a penalty, or maybe he is high enough in level to have a stunt (higher-level superheroes will get those in the Advanced H&H Heroes Handbook, if I ever get it done).

The result of the wrecking things seems plausible, given its a heat ray.

The first three panels are good here, with Nelson improvising a weapon and coupling it with a buffing power (Extend Missile Range -- but at which level? We can't tell the distance from these panels) to solve the problem. 

The rest of the page is crazy. A planetoid/giant meteor just happens to show up out of nowhere for the fighter to crash into? That should be like a 1 in 1,000 chance on a wandering encounter chart, at best.

More crazily, the planetoid comes into our atmosphere -- and then leaves, like some kind of boomerang meteor.

Take a careful look at these first two panels. Although it's attached to something (a recharger on his belt maybe?) by wires, Nelson is using a pocket sending-receiving set -- a cellphone. 

Again, the rest of the page is crazy, or let's say deeply flawed, at least. If the gun is designed to fire a message to Mars, but it would atomize Nelson, what would the message be made out of...?

Okay, I can't let this page go without ranting. 

Oh, you won't be blown to bits because you...can breathe? In what way does that make sense? Are empty lungs his Achilles' heel? 

And what is he packing his robot-repair kit in? The atomizing-proof shell the message for Mars was going to be shot in? 

And what kind of space-gun is fired by pulling a lanyard? Is it a gun or a convention-goer?

Yeah, I've had enough of that. We're going to jump into the next feature, Ted O'Neil the Barnstormer. Here we see that a low-level aviator might have to take dangerous jobs for only $100.

Whoa -- I knew we had a tight southern border for people coming north over it, but I wonder if we ever really had a time when we would shoot down American planes trying to fly into Mexico? 

(Scans courtesy of ComicBookPlus.)

Daring Mystery Comics #3 - pt. 1

Dale of the FBI is our first feature and it takes place on an island in the San Francisco Bay called Dream Island. There are really 28 islands in the bay (and fewer in 1940, since some of them are artificial), none of them called Dream Island. The heavily forested appearance of the island makes me think it looks closest to Angel Island after perusing some photos. 

This story predates the founding of the real San Francisco National Bank by 22 years.

Dale likely arrives in California at the San Francisco International Airport, which in a year will become a Coast Guard base and Army Air Corps training and staging base. The story isn't clear if Red Corker's men just happen to be at the airport or if they on lookout duty watching for G-Men to arrive. It seems unlikely the gang can spare lookouts for every unlikely occurrence, since the gang doesn't appear to be very big.

Dale isn't very good at noticing his car is being followed; he must have failed his skill check to spot things. 

Other than having a keen eye, I would think research beforehand must explain how Dale immediately recognizes Red's lieutenant. This would either have occurred in-game, with the Editor giving the player specific information, or the player could, in the moment, ask for an Intelligence check or a save vs. plot (but not both!) to determine if he had any foreknowledge of what Red's lieutenants looked like.

Red's scheme is to kidnap the child of a San Francisco oil magnate. The most famous San Francisco oil magnate was J. Paul Getty. 

The rescue scene is peculiar, to say the least. Dale comes riding in on an airplane wing, scoops up the kidnapped girl between his legs while holding onto the wing with his hands, then climbed back onto the wing, held the girl with one arm, drew his gun with the other, and shot Red while holding the wing with his leg. There's a lot of unlikely things in there. A Dex check to cling to the wing (or a stunt), an attack roll "to hit" the girl (at a low AC, given the speed of the plane), and then another Dex check for all the balancing he does. And why does he shoot Red? It's his job to arrest Red and Red can't do anything at this point to harm the girl anymore. 

Next up is Breeze Barton in the Miracle City. It takes place in 1945 "and the world is at war" -- which was sadly accurate. Less accurate is the Japanese invasion of South Africa. When Breeze sees it, his first thought is to report this to London, which is weird because that's 5,600 miles away and there must be dozens of places he could check in closer. It's just an excuse to get him flying north over the Sahara Desert. That's how he finds a mirage of a city that turns out to not be a mirage, but an actual city - a super-scientific city where they already have anti-gravity transportation. People have lived there for over 30,000 years -- the same people in some cases, because the city exists in a pocket dimension where time doesn't pass like normal. Time does pass, even though we're told otherwise -- the sun rises and sets and events are not occurring simultaneously. It's aging that doesn't happen. 

More interestingly, the city can only be entered through a "spot" where the electrons flow just one way, so you can't leave. There is at least one neanderthal in the city and at least one dinosaur outside the city; the neanderthal makes some sense but the dinosaur doesn't on a lot of levels. It pushes the existence of this "one-way electron flow spot" way into the distant past, the dinosaur looks extremely unrealistic (even by how much they knew in 1940), more like a dragon, and if it is really that dangerous you'd think it would have been put down long before now. The weapon that puts it down is a tripod-mounted "heatwave" gun.   

Even the dinosaur is quickly eclipsed by my biggest problem with the story, that Breeze solves how to reverse the electrons with magnetism in less than a day, while the best scientist in the city hadn't thought of that in 12,000 years. It hadn't even occurred to the rival city in this pocket dimension, this one occupied by the demon people, an interesting-looking nonhuman race. They are furry, with spiky manes on their heads, pointy ears, hooved feet, they can fly, but with a single sail on their backs instead of wings. They have their own super-technology; they can make a cloud appear around someone's head that sucks thoughts out of your head through the astral plane. Both cities have heat-wave guns...but yeah, magnetism is beyond them. 

There's a further interesting detail about the culture of the demon people. They keep slaves, but the slaves are other demon people...on first inspection, but the slaves don't have sails on their backs.   

In the Purple Mask, Frederick Swabert refers to the Panic of 1907. I had to look this up, but the Panic of 1907 – also known as the 1907 Bankers' Panic or Knickerbocker Crisis – was a financial crisis that took place in the United States over a three-week period starting in mid-October, when the New York Stock Exchange fell almost 50% from its peak the previous year. Swabert is being threatened to reveal the location of a secret vault he doesn't know the location of, but Purple Mask (Dennis Burton) swipes a book with all of the floorplans to Fred's house in it, like starting a hideout crawl with the whole map in your hand. Since the house has secret doors, this is extra handy. 

The bad guys have a trap for Fred, his phone is rigged to spray poison gas in his face. Purple Mask somehow guesses this -- an impossible hunch -- and shoots the phone. The phone turns out to be a big clue that wouldn't exist today; because the bad guys have their own phone in the same house, so all PM has to do is follow the physical phone line and he locates the rooms they are hiding out in. 

Purple Mask has no compunction against shooting any mobsters holding guns, but if they attack him with fists he switches to the same. 

Somehow a stray bullet hits the secret button that opens a secret door, which is a freebie from the Editor because there's no way that should have happened. The secret room behind the door is where the treasure is and it's an interesting room; the money is in a big box on an island in the middle of a pool of acid with a narrow drawbridge leading to it. The drawbridge can be controlled with controls on the island.

Another discrepancy in the story: Purple Mask somehow knows there is a secret trapdoor under the island, but he didn't seem to know anything about this room from the maps earlier.  

The next adventure is the Phantom Reporter. Typical of these stories, they don't tell us where it takes place. We do get the name of his newspaper, though, and that's interesting because it's the Daily Express, and that is a well-known London newspaper. Is this a UK hero? Even the fact that the crimes occurred in the "East Side" fits, because the East End of London was infamous for poverty and crime. My theory only breaks down when the bad guys start talking in New York accents, and then the reference to Park Avenue clinches it; this is New York City. Oh well.

We're told the Phantom Reporter, in his regular identity, inherited $50 million from his father. Since Henry Ford had $200 billion in 1940, that doesn't even put him close to richest guy in town. 

I don't know what's going on with his mask. It seems to be glowing? Or maybe it's just artistic license to make him look more dramatic, as there's really no reason for it to be glowing.   

(Read at readcomiconline.to)

Colossus Comics #1 - pt. 2

This is still Lucky Lucifer (that's a good guy's name, in case you couldn't tell). Game mechanically, I wanted to point out a rare instance of an aviator not using the wing walk stunt and just holding on for dear life. Should the fact that he's injured lower his number of available stunts? 

Storywise, I just want to point out that Lucky takes a huge gamble ditching his plane to hop onto another plane because he believes -- correctly it seems -- that the anti-aircraft gunners would ignore the still active pilot and concentrate on the plane that was going to crash soon anyway.

"Lt Lucifer, your reconnaissance -- I'm sorry, I just have to ask, why am I calling you Lt. Lucifer? Lucifer is just your nickname, right? Your father's surname isn't really Lucifer. Your mother didn't really go, 'O, I love this man, I can't wait to change my last name to Lucifer"?

That said, I like both how complex and how simple this next scenario is. It's complex in that there's going to be a lot of moving parts moving around, but simple in that most of that is going to be background detail, as the focus of our Hero is going to be on this spy retrieval side-mission. 

Given the speeds involved, the target AC for "hitting" the spy's outreached arms must be pretty low, though she can also roll "to hit" Lucifer back. 

Now, I know I have no skin in this game, but if I was the one flying into enemy territory to pick up a spy, I wouldn't go in alone; I would want at least one more plane with me to run interference.

As I said, the scenario is simple because Lucifer's orders are basically to stay out of it. If he ignored orders (and you'd sort of expect that from someone named Lucifer), he could fly into the battle and then you'd have to play it out, but if it's just going on around him, you can treat it as flavor text and describe a pre-decided outcome. 

When one plane separates to attack Lucifer's plane, that isn't necessarily bringing him into the big battle and can be treated as a separate battle/one-on-one dog fight.

Ugh...I can tell this one's going to hurt to read. It looks like some 4th grader's attempt to draw a L'il Abner clone. Although it might be hard to imagine drawing inspiration from this...I wonder if hillbillies, as a mobstertype, should have a bonus to "rasslin'."

Normally I would not apply the wrecking things rules to missile weapons used against you, but sometimes it could be fun flavor text. It could also be of practice use, like if arrows were being fired at you, to find out if the arrows broke or are retrievable (because arrows are a lot more likely to break than boulders).

Aside from that, I think I'll just mention that it's pretty weak storytelling, that the only spooky thing these guys pretending to be ghosts do is talk through a bush. I can't even count them as fake undead!

Jumping in here to the next story, Mory Marine.  Thumbscrews are a real thing, and could be as small as what is sorta drawn here, but they are archaic by 1940, being more of a 17th-18th century device. 

It is more likely that Mory (what kind of name is Mory?) blew his escape artist skill check than the mobsters have past experience as sailors. Mobsters don't generally have individualized skills. 

Finding a blood trail could be a searching check, and following a trail could be a tracking skill check, but an Editor should not require both unless the blood trail is very faint.

The bottom keeps dropping out on this artwork! Ugh...it looks like someone is dropping crumpled up balls of paper at our Heroes, here in "The Gold of Gartok." 

But behind that atrocious art is a pretty good idea to explain superheroes. Tulpas are real things too, or I should say real world theory. "Tulpa" is a concept in mysticism and the paranormal of a being or object which is created through spiritual or mental powers. It was adapted by 20th-century theosophists from Tibetan sprul-pa which means "emanation" or "manifestation." It can do anything the person who wills the tulpa into being is able to believe the tulpa can do, but only while concentrating and, as we learn here, if that concentration is disrupted, it takes an hour to create a new one.

A ledge saved our "white hero," but he's quickly captured and dropped into this snake pit. Interestingly, the snake pit only has four snakes in it, as if to give Rob a really sporting chance. 

Chanti and Charmi are Indian names -- but girls' names -- Genghis is a Mongolian title and not a name (but maybe a nickname?), and Bhutra is an Indian surname. Maybe Chanti and Charmi are nicknames too, like calling someone a Nancy or a Karen. 

It's interesting that the tulpa's explanation for what happened to him is patently untrue. Does a tulpa have to believe in itself to exist? Or it simply doesn't want Rob to know it can disappear on him again if the lama smells something else good? 

I may be having a deja vu moment, but, amazingly, I don't think this is the first time we've seen someone picking up snakes and throwing them as missile weapons in a comic book story.

(Scans courtesy of Comic Book Plus.)

Famous Funnies #68 - pt. 2

Just a few pages left I want to share from this issue. This shooting contest demonstrates that, if you get more than one attack per turn, and you win initiative, you still get all your attacks before the other side goes. 

These gags are from "Life's Like That," which I often enjoy. The one on the left I found particularly funny, while the right reinforces my own distrust of the stock market, all these decades later.

This page, apparently from way back in 1935 (according to comics.org), demonstrates that monkeys are naturally skilled pick pockets no matter what size the monkey (maybe a 2 in 6 chance?). 

What kind of monkey is this? As cartoonishly as it's drawn it is hard to say. It is clearly not a mandrill or a proboscis monkey. Since howler monkeys can grow to 4' tall, I'm thinking that's what this is meant to be, though a langur or a macaque are also not outside the realm of possibility.

(Scans courtesy of Comic Book Plus.)

 

Adventure Comics #48 - pt. 1

In this issue debuts Tick-Tock Tyler the Hourman. The narrator is pretty unspecific about his powers. His Miraclo gives him the "power of chained lightning" (though his powers aren't electricity-based) and "speed almost as swift as thought" (though he's never nearly as fast as the Flash). Rex's schtick (his first of several) is that he has a P.O. Box and advertises in the newspaper and asks people to send him their problems. Surprisingly, lots of people start taking him up on it, despite how sketchy that set-up sounds. 

In addition to Miraclo, Rex has a ring that contains "tear gas concentrate," enough to "mark an army cry," which seems a lot like that narrator's talent for exaggeration. That narrator shows up again to tell us Miraclo is a fluid that makes him, not invulnerable, but "insensible to harm and injury." That means he's unaware of or indifferent to harm and injury, which may not necessarily be a good thing.

For the only time in Hourman's history, Miraclo gives him the power to see in the dark (Infravision). Miraclo gives Hourman the "speed of wind," which sounds right this time, as wind can gust at 40-50 MPH and Hourman can only keep the car in sight, not gain on it. Though maybe he's still using the Race the Train power and holding back to see where their hideout is?

Hourman is relatively unharmed by being hit by a speeding car; I'm guessing that's the Imperviousness power, which means Hourman has four brevet ranks. We also see him using a leaping power; it isn't clear how many stories tall the building is (it's at least two), but it still probably falls in the Leap I category no matter how tall the building is.    

That tear gas ring that can stop an army? It affects just two people. It also seems to be just a one-shot trophy item, since it never appears again. 

Barry O'Neill is back to facing his old enemy Fang Gow, who has somehow hypnotized Inspector Le Grand's daughter, made her hate them, and made her work for an unnamed enemy nation. Barry decides to bust Jean out of prison in a scene straight out of a Western -- the French jail is so small the prisoners' cells line the outside walls, and the only substitution here is that Barry uses a car to pull out the bars rather than a strong horse (though *ahem*, I suppose it's still horsepower either way). The thought is that she will head straight to Fang Gow if freed, which is a pretty iffy proposition -- if I was Fang Gow, I would have included the hypnotic instruction to forget everything she knew about my location if Barry ever freed her.  

Apparently there's a "sinister dock section" in Paris -- that might come as a shock to the people of Paris -- and if you take the stairs down to the lower docks, you'll find a secret door to Fang Gow's newest hideout there. And maybe a flashlight too, since Jean didn't have one in her jail cell, but has one by the time she reaches the secret door. Don't forget to stock your hideouts with dropped items from the starting equipment list!

Fang Gow's new plan is to incriminate Le Grand by having Jean slip stolen plans into his diplomatic pouch when he goes to "Rumania." This is an easy one; Rumania is obviously Romania. Why even bother with fake names if you're going to put that little effort into it? 

The real surprise here is how Barry frees Jean from Fang Gow's mental influence. It seems they are using the magic-user's contest of wills mechanic to see if Barry can free Jean. But when did Barry become a magic-user? The other explanation is that they are both making skill checks to hypnotize Jean, loser is the first to fail his skill check. Poor Jean!

Fang Gow only summons back-up, three thugs, after losing the hypnotism duel. Barry uses a pistol on them only while they were at missile range, drops the only one with a gun (they are very poorly armed thugs), then drops his own gun and fights with his fists once they are in melee range. One of the remaining thugs has a knife and the other one is unarmed as far as we can see.

The gag filler Butch the Pup suggests that it costs $5 to repair a broken and ripped tent, and a fine of $100 to set up a tent on private property.

Ugh...let me just pause a moment to gripe about how low the art had sunk on Adventure Comics at this time.  Fred Schwab's cartoony art, seen here on Butch the Pup, used to grace Comic Magazine's poorer titles. Barry O'Neill, that used to be graced with the elegant art of Leo O'Mealia, now suffers the bleah art of Ed Winiarski. For some reason that defies understanding, Chad Grothkopf is now the artist on Federal Men (as he is on Slam Bradley in Detective Comics), though his ugly art bears none of the vitality of Joe Shuster. Even Ogden Whitney, competent as he is, is no Bert Christman, the original creator of Sandman. You would think every good artist in New York had already been drafted from this issue...

Oops, griped too long. I'll get to Federal Men tomorrow! (Stories read at readcomiconline.to)

 

Slam-Bang Comics #1 - pt. 4

 He may not deserve it, but we're back with another look at Lee Granger, Jungle King. The mentally augmented lion -- something Lee was not only able to do with 1940-era science, but with whatever equipment he was able to find in the jungles of Africa -- comes to Lee for healing, which makes me wonder if the Scientist class should be allowed to heal, or if this is just the first aid skill.

I feel obligated to point out how unlikely it would be for this plan to work in any game session I run. It's predicated on the Arabs splitting up so much that they not only can't see Hassan caught in the snare, but they can't hear his cries for help either. If not the first, surely the second would have happened and reinforcements would arrive before Lee has time to change out of his clothes.

Now this part of the plan is more sensible, and I like the extra detail of an underground stream with a fast-moving current being under a pit trap. The unusual thing is the shape of the pit trap, seemingly 5' x 30', which is great, I suppose, only if the enemy insists on traveling in single file.

By now I've seen a lot of fake names for Germans, but Kazilians has got to be the weirdest. "How many Germans are coming?" "Kazilians of them, sir!"

Also, and I know this is petty and nitpicky of me, but those have got to be the thickest lips I've ever seen drawn on a white man in a comic book.

Using logs dropped in the water to foil torpedoes sounds like a great tactic, and one likely to work. The torpedo then angling off the top of the log and shooting entirely over the ship seems entirely less likely...

This tactic would be difficult to duplicate in H&H with combatants on foot, as a shield between combatants only improves AC by one, and it is too easy to run around obstacles. With slower-moving and less maneuverable ships this should be more effective, so much so that I can't think of much in the way of game mechanics to assign to this. Maybe a skill check for each pilot to outmaneuver the opponent?

Aerial torpedoes look like rockets to me... 

This is from the next feature, Mark Swift and the Time Retarder. Mark is the boy in shorts, going back in time with his scientist neighbor friend (because it goes only back in time, that's why he calls it a retarder; no explanation how they get back if it only retards time...). The strip's author pulled 940 out of his hat as the year Vikings landed in North America, but it's not a bad guess; even today we can only guess the 10th century is when it happened. 

I've no idea why a Viking princess would have come along on this expedition...

How convenient that Mr. Kent just happens to know Old Norse! Perhaps he knows modern Icelandic, which is closest to Old Norse still spoken today. But then, in H&H, it doesn't really matter; we let everyone talk to everyone, like it happens in most comics.

It's typical racism of the period that the Indians are "savages" and the Vikings are "brave," but not savages. 

Mark and Mr. Kent don't make for good action heroes, but they can still be useful, as can your non-combat supporting cast during adventures. Just give them torches and tell them to set everything they see on fire!

Oh, and we also know that Vikings didn't wear horned helmets; that's a myth that came from 19th century art. And while I'm getting nitpicky, this likely is happening in Newfoundland, which means the Indians are Beothuk, and the Beothuk lived in conical dwellings known as mamateeks, not teepees. It's also unlikely they're all running around shirtless in Newfoundland, since only Alaska is even further north.

(Scans courtesy of Digital Comic Museum.)

Feature Comics #30 - pt. 2

We're looking at the second half of this issue of Feature Comics today, and are still in this month's Dollman feature. If you can't guess, Dollman has snuck aboard a German submarine since we last saw him. If you ignore the dynamic layouts and just concentrate on what Dollman is doing on this page, you'll realize there's nothing here he couldn't have done at full-size, backing my contention that a shrinking power is nothing but flavor text.

Now, he did, on the previous page, conceal himself in a crate too small for a normal-sized person to hide in...but the Editor could easily have changed the scale of the crates to fit the Hero.

I know where this is! the highest suspension bridge in the world was the Royal Gorge Bridge in Colorado from 1929 until 2001.

I am really impressed by the wrinkle in this story, that Rance leaves the time bomb intact to give the story a time limit. It's not really clear why. What would make this work so much better is if the time bomb wasn't safe to defuse, so the only way to do so is to find the man who left the bomb in the time they have available and trick him into defusing i for them. Which is almost exactly how this story goes, except for the necessity factor.

This is more of what I like from this story - not only finding out who the villain was, but finding out his backstory, looking for things to exploit so they can trick him instead of beating him up. It's all so ingenuously done that I would probably wind up giving Cameron a penalty to his save vs. plot to see through the disguise (the distance and bad lighting probably help too, so, -3?).

Here's an example of expert level sleight of hand from a non-adventure character. But I was more interested in sharing this page for the unusual word "bohunks." I don't know if you all knew this already, but bohunks is actually a racial slur, referring to an immigrant from central or southeastern Europe, especially a laborer.

We haven't looked at educational filler in a while. Things like this are very useful because, when I'm deciding how high or how far a Hero should be able to leap without some kind of buffing (either by skill or power or spell), I will look to world records, but of course world records keep going up over time. It's hard to believe that the pole vault record was "only" 14' back in 1940; now it stands at 20'!

We're jumping from there into Charlie Chan, where the artist does a great job of getting Warner Oland's likeness with all the shading. Here, Charlie lands on the nature of the bad guys' scheme from two clues. I've spoken about this before on the blog, how difficult it can be sometimes to distinguish the Editor misspeaking from deliberately leaving a clue in dialogue. The better clue, for a RPG, is having Chan realize the binoculars are expensive. I'm not even sure if one should need a skill check to determine that; I would think it would be obvious if a pair of binoculars was fancy enough to be expensive.

This page tells me pigeon blood rubies are worth twice what diamonds are worth. I wish it also told me what diamonds were worth in 1940, as that would be a good cipher for figuring out what all other gemstones were worth. Interestingly, I can find this information online, but only going back to 1960.

You don't hear about "pigeon blood" rubies often, probably because it is as violent as it sounds. Pigeon Blood Ruby meaning is primarily associated with its color that matches exactly with the blood drawn from a freshly killed pigeon.

I'm currently running a campaign where one of the Heroes is working to become a professional boxer, so I found this installment of Slim and Tubby particularly interesting. At first glance it seems that Slim needs a license and bond to become a boxer, but that's not true; he needs a license and a surety bond to work as a boxing promoter, something that's still true today (Slim is looking to become a promoter to promote his own boxing career).

We also see robbers armed with sub-machine guns here (well, sort of -- they never leave the car, but we're told they are that well-armed).

(Scans courtesy of Digital Comic Museum.)

Science Comics #2 - pt. 4

We return now to Dr. Doom, the evil mad scientist who isn't really out to conquer the future so much as just to put small groups of people into weird situations. Case in point, this battle in a cage against "mosquitoes" after being shrunken down to smaller-than-mosquito size. I had to go back two pages and double check to make sure that page really said mosquitoes -- it did! -- but it seems no one told the artist.

Perhaps of more use to us would be a discussion of how to handle breaking a mount, game mechanically, in Hideouts & Hoodlums. One could argue it would be a skill check. It could also be an encounter reaction roll for the animal. Since breaking in a mount shouldn't be easy, I would require both rolls. In terms of skills, I would treat making it rideable as a basic skill, but if you wanted to teach it a trick, an expert skill.

And now even the writer has forgotten what they are! Unless, of course, mosquitoes have mutated into more of a bee-like creature at some point in the future. The thought here in the last panel is that all animals, like the myth about bulls, get angry when they see red. Indeed, the solution on the next panel is to throw all their red clothes into a pile and the "mosquitoes" all kill themselves stinging the floor through the pile. Yeah...

How many fish-men can be in an encounter? The answer is "lots." I'm not sure if that third panel is even countable, but fish-men are clearly very organized and militaristic (Lawful Evil, as they would be known in the AH&H Mobster Manual).

I don't have much to add here, except to say that despite how obviously the fish-men are all traced, the composition is really good.

Navy Jones was already a strange feature, but it runs into overdrive here as Navy encounters a fiendish trap where people strapped onto railway cars are transported into the waiting maws of a gigantic carnivorous plant. Yes, that two-headed thing is supposed to be a plant! I don't know for sure how to stat that thing. It looks gigantic, but being a mostly hollow plant, probably doesn't weigh nearly as much as it looks like it would. Maybe 13 HD, normal 6-sided hit dice, would not be unreasonable.

Those rayguns use a really obtuse-angled ray, able to hit up to  5 targets at short range. I bet their maximum range is not very far, as diffuse as it must be.

If you hurtle out a window, underwater, wouldn't you just float there?

I like sea swine, though. Those are so cute!

(Scans courtesy of Digital Comic Museum.)