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)

 

Adventure Comics #47 - pt. 1

It's been nine months since I've last covered the early adventures of the Sandman! This is what happens when I cover so many titles, in such detail...

This story opens with a newspaper article detailing a murder the Sandman is about to investigate. The article is signed by Ogden Whitney, who's been drawing this feature since last issue. Ogden is good, but Bert Christman and Craig Flessel were just that much better...

I'm not surprised that Wesley Dodds was friends with the dead man, as Wesley has one of the richest backstories of early comic book heroes and knows practically everyone. Gardner Fox is starting to tinker with that backstory, though, changing Dodds from a billionaire to a millionaire. And this is the issue where he gives Wesley is his first partner. Being big on strong, equal female partners, it is hardly surprise that Dian Ware is an expert safecracker and resourceful enough to have learned or deduced the Sandman's secret identity (though it's never revealed how). Known as "The Lady in Evening Clothes," Dian even sounds like a mysteryman (or a Victorian one).

The murder weapon is a Corson repeater. I can't find any evidence that's a real thing, but I'm fine with that. I was way too specific about firearms in 1st edition Hideouts & Hoodlums and pulled back from that in 2nd ed.

Sandman still shows some willingness to act in a Chaotic manner, gassing the District Attorney when he won't cooperate and give the evidence back that Sandman already gave to him.

In a firefight with two mobsters armed with sub-machine guns, we see simultaneous initiative, with Sandman gassing them just as one of them shoots Sandman in the shoulder. We also see that Sandman has no control over who is knocked out within the area of effect of the gas, as Dian goes down too. Sandman is weakened by his injury, gradually losing consciousness, which is not a condition covered by the rules, and it takes him a week to recover (players can thank me ignoring this in the rules later!).

Trigger, the killer, is held on $1,000 bond, but for breaking and entering (the police haven't nailed him on murder yet). 

When Sandman confronts Black Bill, Trigger's boss, he mentions Bill isn't as fast as he used to be (more of that backstory I enjoy so much).

Sandman is still not widely recognized on sight; District Attorney Belmont's butler doesn't recognize Sandman by costume until Dian introduces him.

Belmont has three detectives on guard duty in his house, all armed with sub-machine guns. Surely they are not there full-time, but I don't know how Belmont anticipated Sandman coming.

In a nice twist, Dian turns out to be D.A. Belmont's daughter. Unfortunately, as soon as this happens she is "domesticated" and never shows her safecracking skills again. That Wesley falls for her is evident in that he lets her take off his mask and kiss him where her father might see.

Moving on to Barry O'Neill...I'm not sure when Barry went from assisting the French police to working with French espionage, but it seems to have been a gradual transition.  Of course it starts in Paris, because all adventures in France feature Paris. The Village of Vereux is misspelled as Veraux (intentionally?), while Polmere seems entirely fictional.

Barry is able to win initiative against the fake Inspector Le Grand, despite the fact that the doppelganger has a gun trained on Barry's back already; more proof that facing is of little importance for Hideouts & Hoodlums. The doppelganger must have had only a superficial resemblance to Le Grand, as he had to wear a partial face mask to conceal the rest. That the doppelganger is known as Number 37 by his fellow spies suggest that there are at least 37 spies in this spy ring.

Barry scores a direct hit with a grenade and blows up a building. Area of effect damage does not normally need a direct hit, and certainly doesn't for damaging structures. This may be only flavor text, describing how Barry rolled really well for damage.

The spies' car has a concealed radio transmitter in it, which is something good to add to the add-ons list for transport trophies.

(Sandman story read in Golden Age Sandman Archives vol. 1, the rest read at readcomiconline.to.)

Adventure Comics #46 - pt. 1

This month's Sandman feature teases out more information from Wesley Dodds' past; now we know he was on a rowing team at university -- without any clue as to which university, or when (though it was likely '32 or earlier, since we know he was piloting in '33).

The Sandman keeps his costume in a trunk in a closet. He owns at least two cars -- which makes sense for a billionaire, and we know the license plate on one is B7501. He carries a pocket light in this adventure, in addition to his gas gun. The gas gun is shown to have a range of at least 15'. He also still carries a pouch of sand to scatter as his calling card.

On the scene of his old college roommate's death, Sandman makes a basic skill check to spot blood on the floor, a basic skill check to hide in shadows (in some situations this would be an expert skill check, but it's in a living room with lots of furniture), and when he (apparently) fails a pick locks check, he simply removes the locked door from its hinges.

The murder suspect fails to recognize the Sandman on sight and calls him "mystery man" instead (she knows his Hero class!). The Sandman hints that he might resort to torture on her to find out what he wants to know, but he shows no sign of following through on it. She honks his car horn, summoning a policeman, and it is true that making extra noise can trigger sooner wandering encounter checks. In the end, her intuition tells her she can trust him and he buys her story -- sense motive skill checks?

At the Coin's lair, the Sandman is able to shoulder open a (apparently) locked door. The Coin sounds like a cool name, but he turns out to be a rather ordinary counterfeiter, his only gimmick being cross-dressing as an old woman for a disguise.

Barry O'Neil is still trying to rescue Jean Le Grand from lions. A lion claws at Barry, but only shreds off his shirt. There is a rich history of pulp heroes being men in torn shirts -- should there be a rule about losing your shirt to soak up damage? If so, I would only implement it for flavor and allow it to soak up no more than 1 point.

The lions (there were three) do not all attack Barry right away; something important to remember about Neutral mobstertypes is that they do not have to want to attack, or even continue attacking from turn to turn. Encounter reaction checks are just as important as morale saves for determining this.

In typical racism of the times, Fang Gow's Chinese followers seem unable to identify a plane on sight, with one of them calling it a "great bird."

In unusually tough odds for an early comic book adventure, Barry finds their escape next blocked by at least 16 bloodthirsty/yellow peril hoodlums, and naturally he is captured.

Fang Gow's castle is said to be 50 kilometers south of "Dyon" France, which probably stands for Dijon, France. That puts them somewhere in the Saône-et-Loire department in the region of Bourgogne. Inspector Le Grande plans a rescue mission made up entirely of non-Hero characters, which is spotted by a lookout on its way to the castle. Fang Gow has the bridges leading to his castle dynamited and rings the castle wall with machine guns, but his sentries fail to spot Le Grande and his men scaling the castle walls under cover of darkness. A terrific battle ensues, which must have been incredibly boring for Barry's player, as he has to sit it out and be rescued only once it's all over. Fang Gow, of course, uses an escape tunnel and gets away.

(Sandman story read in Golden Age Sandman Archives; the rest read at fullcomic.pro)

Adventure Comics #44 - pt. 1

The Sandman makes a reference to growing up in Hilltown. There is a Hilltown Township in Pennsylvania, corroborating my growing suspicion that the Sandman is based out of Philadelphia.

The Sandman calls his butler "Feathers."

After being shot by The Face, The Sandman has to spend a week convalescing/healing.

The Sandman can pick a lock.

The Sandman's gas gun has a range of at least 10'.

In an interesting twist, the Sandman's best lead in finding the face is that his costumes are too authentic. He's able to find his costume supplier and track down The Face from there. It's an interesting angle that is largely forgotten in later stories with disguise villains.

For the only time ever, The Sandman deliberately murders a foe.

Fang Gow returns to harass Barry O'Neill -- mainly because Barry was floundering for direction without his nemesis, I'd guess. Gow has invented a potion of wax transformation that seems to be permanent, or at least has a very long duration.  The potion is administered by syringe, and in 2nd edition H&H will clearly specify that potions do not just have to be drank.

Gow has some new real estate, operating out of a French castle, but he's so confident that the main entrance only has one guard! Maybe the rest were just on their coffee break, because a "horde" of yellow peril hoodlums are available for Gow to summon later.

The Federal Men story starts with Steve Carson getting a lead on a case, then not getting any further with it for months before a second plot hook comes his way.  The smuggler's hiding place is a nod to the Sherlock Holmes story, "The Adventure of the Mazarin Stone."

The Socko Strong story gets a much easier start, with Socko showing up for a photography assignment only to, luckily, spot the person he'd come to photograph tied up through the basement window. Why the thugs abducting the young man would leave him within sight of a window facing the front of the house is beyond me, but without it Socko would never have known something was up and there would be no adventure. So, either Socko has to roll to spot the victim through the window, or he's a plot hook character and is automatically encountered.

The Captain Desmo story is stolen from "The Most Dangerous Game," perhaps the most-stolen story ever. Count Ogreoff has ape-men following him.  Desmo is pretty ruthless with offing Ogreoff's ape-men, pushing one off a cliff and rolling a boulder over the others. I think I've covered pushing in previous blog posts -- but, to review, pushing off a cliff requires a failed save vs. science after a successful attack. Rolling a boulder takes a save vs. plot to get a boulder rolling, with a cumulative -1 penalty for each person you expect the boulder to hit (and then each of them gets a save vs. missiles). Desmo is attacked by a constrictor snake before the second wave of ape-men. The second wave switches tactics and overbear him with numbers, assigning a cumulative penalty to his saving throw vs. science for each successful hit on him.

(Sandman read in Golden Age Sandman Archives, the rest read in summary at DC Wiki).

Adventure Comics #42

The adventures of The Sandman continue, and he's got to have one of the best fleshed-out, yet little-known, backstories in all of early comic book history. Here, we learn that Wesley Dodds was in the U.S. Navy Air Corps as of 1933. We also get backstory SCMs for Wes -- Dr. Clyde Dunlap and "Happy" O'Shea. Supporting Cast Members can be assigned like that by the Editor as a story demands, though players should be discouraged from just "saying" they have old friends they can call on for help.

In this case, Clyde and Happy even know about Wes being The Sandman. It does not seem to be implied that the Sandman identity extends back to '33, so they likely learned about it from him sometime since then.

Wes, Clyde, and Happy all have access to fighter planes. Wes is a billionaire in his backstory, but has likely not had time to accumulate the $20,000+ he would need to purchase a fighter plane in game play. This has to be another hand-out from the Editor for this scenario.

The scenario has the three good guy fighter planes up against four bad guy biplanes. The good guys start out with the advantage of surprise and use the aviation stunt Out of the Sun against them. They immediately fail their primary objective, though, to protect an eighth plane in the air full of innocent passengers. Luckily, the passenger plane has more hit points because it only goes down from complications, while the biplanes are weaker and crash violently instead.

Hideouts & Hoodlums will, eventually, be able to play out a scenario just like that.

Wes has a gas bomb -- different from his gas gun -- that he uses for the only time in this story.

In Barry O'Neil's adventure, he uses not one but three aviator stunts -- Wing Walking, Deadstick, and Improvised Landing.

Then Barry picks up a crate and hits two thugs with it at once -- not possible by the H&H rules, unless these are actually weaker hoodlums instead of 2 HD thugs.

Barry passes up the chance to search Krull's ship for loot by blowing it up with mines first. The scenario kind of demanded it, since other ships were in jeopardy, but Barry's player might be ticked off about that.

Socko Strong meets an ape-man (that's getting a stat entry in 2nd ed.) and sails to its lost world island. The lost world seems, for some reason, limited to a valley on the island that you have to climb a cliff and cross a fallen tree over a gorge to get to. The valley is somehow big enough to support both a tyrannosaurus rex and a stegosaurus with food. Both of these dinosaurs will likely be left out of the basic book, for being just too big and dangerous.

Captain Desmo and Gabby are up against cultists (also getting an entry in 2nd ed.). probably with thugs and assassins (another 2nd ed. add) mixed in. The bad guys have a simple deathtrap for Gabby, tossing him into a pit full of cobras.

Anchors Aweigh puts Don and Red in an unusual situation; they find themselves in an unbeatable scenario, if the scenario is wrongly interpreted as a "save the ship" scenario. The torpedo is too close to the ship for them to do anything about, so this is a survival scenario -- at least initially.

Don and Red meet Admiral Cato, our first bonafide Napoleon character (we've seen some mad scientists so far with Napoleon complexes, but they all fit the mad scientist mold better). From the summary I have to read, I don't know what all of Cato's weapons are, but some of them appear to be poison gas bombs.

Don and Red can't figure a way out of this underwater lair they are trapped in, so they come up with a rather clever plan. After sabotaging the oxygen supply for the hideout, Cato's henchmen fail their morale saves and offer to come up with a way out of the hideout for them.

Sometimes the bigger picture of world war is just going to be backdrop for your H&H stories. The Skip Schuyler story takes place in a Chinese city just as it's being bombed by the Japanese -- but the story doesn't really have anything to do with that. The scenario starts when Skip rescues a boy who serves as the plot hook to uncover the kidnapping of an American reporter. The reporter has a guard guarding her (guards were statted in the first H&H module and will be in 2nd ed. too).

Rusty, of Rusty and His Pals, is menaced by yellow peril hoodlums serving a Fu Manchu villain. Fu Manchu is guarded by guards, but Steve -- Rusty's adult pal -- shows up, makes his save vs. plot, and is able to ignore the guards and go straight after the Fu Manchu villain, Chen Fu. Steve still loses, though, and is placed in a complex deathtrap. He's tied on a plank over a pit full of metal spikes, with a pendulum blade swinging down at him from above (I presume Steve is under the plank and the pendulum  blade is to cut the rope and drop him in the pit, though the trap seems like it would work just as well if Steve was on top of the plank and the blade is coming down to cut him).

Cotton Carver has to rescue his friends when they are kidnapped by cultists and taken to be sacrificed. Cotton tracks them through a forest and starts shooting the cultists, but his friends still get dumped into a pit with water in the bottom. He dives in and they all get sucked by an undertow into a subterranean cavern that opens to the sky (? -- hollow world settings confuse me). The "god" of the cultists is a brontosaurus. Like the earlier dinosaurs mentioned, this is way too big and dangerous for the basic book. And yet...Cotton somehow kills it by catching it in a grass fire. Infused with massive amounts of experience points, Cotton and his friends enter a kingdom defended by medieval-esque knights. Do knights need to be their own mobster type?

(Sandman story read in Golden Age Sandman Archives, summaries of the rest read at DC Wikia.)

Adventure Comics #41 - pt. 1

There's a bit of controversy over the second Sandman story in this issue. The Sandman pulls a mobster underwater, beats him up, and then we never see that mobster again. The author summarizing stories for DC Wikia believes that Sandman must have drowned the man, making this the Sandman's first kill (despite the narrator's claims that the Sandman has never committed a crime). Thank goodness I had access to The Golden Age Sandman Archives to corroborate these things! I don't think any definitive conclusion can be drawn from that page. We never see the end of that underwater battle. For all we know, before the Sandman surfaces again, he leaves the mobster safely unconscious on a nearby dock.

When Sandman does resurface, the girl he's rescuing says she's "heard a lot about" him, which seems unlikely if this is only his third mission ever. Like with the magic-users and superheroes we've seen so far, there is ample precedent for allowing Heroes to begin with more than 0 xp, or even whole "brevet ranks" (called "big bang levels" in Supplement V).

The Sandman spends much of this adventure out of costume -- retaining his gas mask, but otherwise wearing only a bathing suit and a shoulder holster for his gas gun. At some points he is wearing a coat and hat over his bathing suit. Mysterymen do not seem to need to always be in costume as much as superheroes do.

Barry O'Neill, in his adventure, is in Tunisia -- a welcome departure for me from the habit of creating fictional countries (a personal pet peeve of mine).  Cecil Krull is a great villain name -- too bad it was just an alias.  "Cecil" is a spy, but we already knew spies needed to be a mobster type.

Steve Carson of Federal Men has been slumming for awhile now, but it seems like Jerry Siegel decided to go all out for this issue. An entire town dies, strangely, during a snowfall -- raising the stakes from Steve's recent adventures of stopping crooks. Mobrune is a prophet-like figure who predicts other towns will be hit by the killer snow to be purged of wickedness. As those towns are later hit, Mobrune grows a cult around him (making me wonder if cultist should be a mobster type). Mobrune is actually using a poison gas that is catalyzed by cold air, and the snow is just incidental. A bit bloodthirsty for my liking, but otherwise a plot!

Two of the benefits of a Western campaign (the same with many fantasy campaigns, really) is that a) a trope of the genre is that the Hero is always moving and, b) in a remote environment, any encounter is worthy of description. Which is good because, under normal circumstances an old man looking to go home to see his son -- as Jack Woods meets -- would not seem like much of a plot hook in a busy city.

The bandits Jack Woods meet do something interesting and different -- they just let Jack go, trusting that they've intimidated him enough that he would stay away!

Speaking of different, Socko Strong and his friend Jerry Indutch are shipwrecked on a primitive island but, instead of focusing on getting off the island, Socko and Jerry form ties to the islanders and seem ready to settle down! Socko wins a job as a bodyguard and Jerry has eyes on the chief's daughter. That's creative, proactive roleplaying! The natives use poisoned spears, so the native mobster type needs a 1 in 6 chance of having poisoned weapons.

Should a film projector be a trophy item? Hmm...

Captain Desmo and Gabby are dealing with thugs - the Indian thugs (or Thugees) the word originated with. These thugs are treated as natives, swarming over an Indian city (a fictional city? I can't find a real Jeddur). Since the natives have a huge number advantage, Desmo "has" to resort to wiping them out with a grenade, and the cliche of cutting a primitive bridge over a chasm.

(Sandman read in Golden Age Sandman Archives v. 1, the rest read as summaries at DC Wikia.)

Adventure Comics #40

We've already seen The Sandman once, but here he is, debuting in his regular berth for the first time, Adventure Comics. There's a delightful slow build to the story after Wesley Dodds gets his plot hook. He spends some time mulling it over, while lounging in the dark in his smoking jacket. We meet his butler, Humphries. We get some unusual insight into Wesley's character, when he puts a doll representing himself in his bed, as if psychologically transferring his identity before becoming The Sandman. Before The Batman, The Sandman is the first crimefighter to have a secret underground laboratory (but not an underground lair; that would The Clock).

The Sandman is shown mixing his own chemicals for his gas gun. Last time, I said I was comfortable not giving Sandman levels in the Scientist class, but here he really does seem to be earning at least one level.

There's also a very interesting caption about color. "Then he dons all black apparel", the caption says, yet The Sandman is wearing yellow gloves, an orangish- tan coat, and a purple cape. It seems clear that authors had little input on the coloring of their own characters; the caption was overruled, but the wording was left there anyway.

The Sandman uses stealth (move silently?) to sneak around unobserved, climbing to get to an upper story window, and finds a secret door.

Another interesting detail is that the smell of his sleep gas reminds its victim of violets.

In Barry O'Neill's ongoing adventure, he has just been doused with gasoline and Count Guniff is about to light him on fire - but it turns out he had the wrong bucket and that was just water. A little help from the Editor, or game mechanics? I have had a player suggest the save vs. plot should work like that, with the player suggested an alternate explanation and allowing the player to roll for it. I'm personally opposed to giving the player veto power over the game Editor...but that does seem to be a reasonable explanation for what I've read here...

Steve Carson of Federal Men has fallen far from taking on giant robots to being knocked unconscious by two counterfeiters, one hitting him with a block of wood. I do envision Hideouts & Hoodlums to be a game that can move effortlessly between challenge levels. Maybe I shouldn't be entirely opposed to hoodlums having a special ability of "backstabbing" Heroes for additional damage, and a quick knockout...

Bulldog Martin is overpowered by three thugs (a pretty tough encounter for a solo, low-level Fighter!), but escapes from being tied up by rope by carrying a nail file on him. He foils a plot to murder a racehorse with a fake camera that can shot a poison needle (trophy weapon, but pretty useless to a Hero if you don't allow them to use poison).

Skip Schuyler is in Hawaii, helping a scientist who has made tiny explosives with the power of artillery shells. We also see a good hiding place to search in a scientist's house, the inside of a lampshade.

Rusty and His Pals is at a climactic scene rarely seen in comics -- an earthquake is destroying the island the whole scenario is taking place on, there's a single seaplane that can get people off, and various factions are racing to get to it. One could make a board game out of this scenario. Combat plays a minor part, but it's movement rate that really wins the scenario here.

Anchors Aweigh is on a new scenario. Don and Red get captured by thugs (that seems to happen a lot -- thugs are tough!) and are left in an uncommon deathtrap -- an island that will flood when the tide comes in, and then sharks will show up. They're tied up so they can't swim away, but escape using the old "focusing light with a pair of glasses". I don't think we need an escape artist game mechanic; rather, any idea you come up with to get out of ropes should just automatically work.

There's also an octopus -- and a normal one, not a giant one!

(Sandman adventure read in Golden Age Sandman Archives vol. 1; summaries of the rest read at DC Wikia.)

Adventure Comics #39

Barry O'Neill begins having post-Fang Gow adventures, though Count Guniff seems to be cut from the same mold. Indeed, when Guniff traps O'Neill and LeGrand in a water trap, Barry would have been within his rights to go "What, again?"

Two things worth pointing out from this story: one, it is one of the first time in comic books where the hero runs out of bullets; and, two, Guniff's second death trap for O'Neill and LeGrand is a much simpler affair -- he douses them with gasoline and is going to brings a match towards them. That's a pretty serious death trap -- serious enough that I'd probably have it do 1-10 points of damage per minute to heroes until they can somehow extinguish themselves (like a save vs. science to smother the flames by stop, drop, and rolling).

Cotton Carver continues exploring his Don Dixon-like lost world environment. One thing to notice is that the hideout/dungeon Cotton is exploring is taking him down quite a few levels, by stairs and slides, but his encounters are not getting significantly more challenging. He gets to a dead end where he cannot proceed without having a special stone with him that fits into an indentation in the wall -- a classic dungeon trick.

Cotton fights a half-cat, half-man called a Watcher. Watchers must be pretty tough; this thing takes multiple arrow hits without going down, and is probably at least 3 Hit Dice. They're also Lawful because, if you defeat one and leave it alive, it agrees to repay the life-debt by serving you (or maybe Cotton just had cat treats in his pocket).

The animated statue Cotton meets seems straight out of Dungeons & Dragons. I wonder if it's a living statue, a golem, or if I'm going to be disappointed next issue by it getting explained away as ventriloquism...

In Federal Men, we learn more about how reefer works in the comic book world. It's "the drug that causes the smoker to lose all moral restraint". So, if you smoke marijuana and fail a save vs. science, you become okay with killing others (just like most of my players) and don't have to save vs. plot before you can take a life.

Jack Woods (fresh over from More Fun Comics) faces a bandit and an unusual dilemma -- a victim who isn't glad he was saved. Soon he's confronted with another dilemma much like one I recently used in my Monday night campaign. The Hero is hired to deliver something under suspicious circumstances. Does the Hero do the job and go home, investigate the sender, or investigate the receiver? It's a nice scenario because the Hero is free to choose and shouldn't be railroaded into investigating one before the other.

Steve Malone finds a cuff link. This is important because a cuff link is never mentioned in a story unless it's a clue.  If your Editor so much as says "cuff", you'd better be ready to take notes.

Steve does a lot of searching. He finds the first cuff link searching by a gong (not where you'd normally expect to find one), but finds the second one searching a bedroom where you'd expect to find one (maybe at a +1 bonus then?). There is a secret compartment hidden in a model castle and, unless the Hero has reason to suspect it's there, the chance of finding it is the same as a secret door.

Tom Brent is sailing down a jungle river, seeing no natives, but they see him and track his boat's movement. Which might not bear mentioning, except that there seems to be a lot of natives and they evade being noticed for quite some time. Maybe natives need to have a better (3 in 6?) chance of surprise?

The Skip Schuyler story has him pitching for the Yankees during a special game for charity. Which might not bear mentioning, except that it's so rare for a real baseball team to be named, and real players (Lou Gehrig and Joe DiMaggio) cameo. Of course, in your home campaigns, whether you go with real historical figures, characters obviously based on real historical figures (with similar names, like Jim DiMaggia?), or entirely fictional characters is entirely up to you.

In Anchors Aweigh, because the Editor clearly doesn't have a new plot for them lined up, Don and Red decide to go hunt up some experience points, literally, by hunting crocodiles off the Panama Canal. They meet a wandering encounter while hunting who turns out to be a mad engineer who makes bombs (I can't decide if that qualifies him to be a mad scientist (Book II), a madman (Supplement V), or even an anarchist (Supplement I). Once the encounter has been rolled up, the Editor has to think up an excuse for the engineer to be there, so he concocts a plot on the spot for foreign powers to have hired him to blow up the Canal.

(Summaries read at DC Wikia)

 

Adventure Comics #37 - pt. 1

Poor hippo!  I hate this cover...

Barry O'Neill and Fang Gow definitely hate each other. Ol' Fang has Barry in a familiar death trap --  "the 'Water Cure' - drops slowly fall on his forehead, which will eventually cause insanity, then death."  I have never understood how that would actually work, but it's enough of a genre staple that it must at least work in Hideouts & Hoodlums. But how, exactly? Since it's obviously not an impatient man's trap, I'd say the victim would have to save vs. plot every four hours to avoid going temporarily insane. Then the victim would have to save vs. plot every four hours to avoid going permanently insane. Then the victim would have to save vs. plot every four hours to escape death.

Fang Gow's followers are described as bandits.

Cotton Carver and Volor the Dwarf are overwhelmed by the "reed men", so called because their skin is green like reeds. In situations like this, when "new" mobster types are clearly just "reskinned" humans, I do not plan to give them their own stats; reed men sound an awful lot like natives to me.

The bigger issue is, how to overwhelm foes with superior numbers in H&H?  If, say, 100 natives all try to pile onto a Hero, do you only roll to attack for the 9 who can immediately surround him, or take the collective pushing force, weight, and mass of the whole crowd into account? I here propose rolling to attack for all of them, and giving the Hero a -1 penalty to save vs. science for every hit after the first to avoid being pinned. Even high-level Heroes will have to avoid confronting huge mobs now!

Steve Carson of Federal Men is being led out into a field by three gunmen who plan to shoot him down. No slow death trap, no source of cover -- it looks like Steve's Editor has either decided to stop going easy on him or is ready to end the solo campaign! But Steve's player is smart and comes up with a good plan, to ask the hoodlums which is in charge and get them to fight each other. Given the life-and-death nature of the situation, I might just give him a win and let the trick fool the hoodlums, to reward him for his creativity. But if I was feeling less merciful, I might roll a save vs. plot for the hoodlums to determine if they fall for it or not.

Tod Hunter runs afoul of a jealous wizard with a new magic potion -- Potion of Suggestion (makes him vulnerable to everything said to him, as if the Suggestion spell) -- and a new spell, Life Link. I'd say this spell has to be maybe 7th level, as it's pretty powerful; the Magic-User links his life to someone else and if one dies, the other dies too. Tod gets Dispel Magic cast on him too.

Dale Daring seems a little useless in her scenario; she's surrounded by a company of fighters of up to 4th level (F4 = lieutenant). Still, every good die roll can be important in a scenario, and Dale is able to make the listen check that everyone else fails and allows her to hear the poachers coming.

Captain Desmo is hidden world-exploring and encounters a "prehistoric crocodile."  I'm not sure how big it looks in the comic book, but prehistoric crocodiles could weigh up to 8 tons -- we're talking maybe a 30 Hit Die crocodile here. I'm guessing the author had something less dangerous in mind -- maybe a giant crocodile should only go up to 15 Hit Dice? Regardless, Desmo and Gabby wisely run from it.

The human natives need Desmo's help against giants called the Mudas -- and the summary writer wasn't kidding when he called them giants. One of them apparently picks up Desmo in his hand! So we're talking frost giant size here, if not cloud giant size. And yet...the natives manage to bring these giants down with mostly spears? Something seems amiss here to me. I would probably stat the Mudas as hill giants to make them more killable. And I do plan on weeding out some of the giant types from H&H, so it'll be important to watch how many I recognize here in the blog.

Tom Brent, in a rare stand-alone story...is captured by an old man with a shotgun and misses out on most of his own scenario, as the local police catch the smugglers who threatened him. If you ever have a session of H&H that goes badly for you, you can take some consolation if it didn't go Tom Brent-level bad.

(Summaries read at DC Wikia)

Adventure Comics #36 - pt. 1

We rejoin Barry O'Neill's supporting cast, Jean Le Grand, collapsing from exhaustion, heat, and dehydration in the desert. It has already been pointed out on this blog that Hideouts & Hoodlums has no game mechanic for exhaustion, and that environmental damage should be accounted for by hit point loss. Does this story make me want to revisit that? No, because unusual effects can be assigned to supporting cast always at the discretion of the Editor. If it was the hero, Barry, suffering -- or more examples to that effect -- then I might need to work harder at emulating those conditions.

Barry O'Neill goes in disguise and it's a merchant disguise he's apparently worn before. Maybe disguises could be treated like outfits that can just be bought -- merchant disguise, old lady disguise, hoodlum disguise, etc.

Cotton Carver is still on a lost world adventure. He enters the domain of the White Warriors -- some pretty wimpy warriors who still have some remarkable advanced technology for some reason. They have paralyzing ray guns (though maybe not all their soldiers do), and some of them ride around in something called a "Vicla" -- a red tornado (no, not the Red Tornado, she comes later!) -like ...thing that you float inside and control by thought. The Vicla goes fast, but not extremely fast (maybe a 24 Move?), and seems to offer little cover (soft cover?) to the occupant.

Cotton also encounters a dwarf that sounds like he's straight out of Tolkien's Middle Earth.

Tod Hunter moves through a trapped temple in his adventure. One of the traps is a heated floor ("Volcanically" heated -- so hot enough to do 1-10 damage? I recently used a similar trap in one of my home campaigns, where the floor magically burst into fire under people's feet if two or more people entered it).

Tod runs into a magic-user, but we have to wait until the next installment to find out what spells the magic-user can cast.

No game referee likes it when the players bring along too much help. A squad of cops or a couple of G-Men take some of the element of danger off of the heroes and makes the game less challenging for the players. Dale Daring and Don Brewster take that notion and crank it up a notch when they have trouble with a bunch of ivory smugglers -- and recruit an entire Naval regiment to aid them (Dale must have rolled 12 on her encounter reaction check!). The Editor can do two things at that point; he can either kiss his scenario good-bye, or he can up the threat level. In this story, the smugglers -- who had a hard enough time with Dale and Don in the past four installments of this story -- suddenly have mines they can use to try and sink the approaching naval vessels.

Don and Dale also use a cabin cruiser, which makes another transportation item that needs to be statted.

Captain Desmo flies into the Himalayas this time and encounters a new threat we haven't seen before in comics -- cold damage to planes. It's true, I have considered assigning hit points to vehicles for vehicular combat. I don't know how that would work yet. Hit points for living things is based on the mechanic of 1 hit point = 30 lbs of weight (roughly), but that would make for cars with 100 hp!  Maybe the weight allowance would double for each hp -- so 1 hp = 30 lbs, 2 hp = 60 lbs, 3 hp = 120 lbs, and so on.  That would put the average 1940 car around 8 hp, but a small passenger plane would be far more vulnerable with 4-5 hit points.

Regardless, another way to deal with this would be to simply tell Capt. Desmo's player that ice is forming on the wings, and ask him to save vs. plot or something bad might happen because of this.

Desmo hires guides and porters once his mountain trek starts. Obviously, porters are there to keep heroes from traveling encumbered, while guides give you extra rolls for noticing things along the way, like tracks, concealed cave mouths, and so on.

The footing is treacherous on the mountain, though. There is probably a 2 in 6 chance of someone falling into a snow-concealed crevice (like Irma Gladstone almost does in the story), so the more guides and porters you bring, the more likely you are that someone is going to fall, in that circumstance.

(Summaries read from DC Wikia)
  

Adventure Comics #35

In this installment of Barry O'Neill, Barry dives underwater and the bad guys assume he's dead because he stayed under so long. Villains seem to be terrible at underestimating how long Heroes can stay underwater -- so much so that they should have to save vs. plot to avoid making this cliched mistake.

Doctors are treated as a Lawful mobster-type in Supplement V: Big Bang because they have special abilities in comics -- one found here is the ability to quickly concoct antidotes. Dr. Bonfil crafts an antidote for Fang Gow's hypnosis drug in less than a day.

Shades of the Savage Land!  Cotton Carver's adventures debut in this issue. When forced to land on Antarctica, Cotton is saved by a group of people from the lost world of Mayala, a tropical valley long ago found and settled by both the Mayans and Incas (who are rival tribes here now). Though the natives have seen gunpowder weapons before, they have none of their own and Cotton's six-shooters make him a fearsome foe for the natives (and awfully handy for a solo campaign!).

It is unclear how Mayala can only be entered by swimming underwater, if the valley is open to the sky -- unless it is assumed that Mayala is a "hollow world" setting like Pellucidar.

Sleeping gas takes out an entire bank-full of people in this installment of Federal Men. This will be neither the first nor the last instance of sleeping gas being shown to be much more effective in the comics than it is in real life. The amnesia-suffering Steve Carson seems to have no trouble acquiring this super-sleeping gas, as well as gas masks for his gang, despite the absence of such things from the starting equipment list. Though perhaps we are just not privy to the separate adventure Steve went on to find these trophy items.

In Dale Daring, Don and Dale seek shelter in a cave from an approaching storm. The weird thing about storms is that, in real life, everyone rushes out of them, but there is little in-game reason to do so. Is your Hero going to take damage from getting wet? Is the Editor going to pull out all the stops on that storm and start pummeling Heroes with lightning strikes? Probably neither -- and yet Heroes should have to save vs. plot to resist the urge to seek shelter.

Tod Hunter becomes the second Hero in comics to suffer amnesia (since the other is Steve Carson, they both happen in the same comic book!). Maybe there needs to be a 1% chance every time someone is reduced to zero hit points and recovers of suffering temporary amnesia.

Large gorillas are strong enough to wreck things, at least against doors.

Both the Dale Daring and Rusty and His Pals installments revolve around finding something in the back of a cave -- a pile of stolen ivory and a secret door to a hidden lair respectively. It makes me think Hideouts & Hoodlums needs a random table for random cave contents.

In Rusty and His Pals, the villains have a seaplane. The villains also benefit from the Heroes lighting a fire in the cave, serving as a reminder for the Editor that any light source the Heroes rely on can be seen by mobsters some distance away (and vice versa).

(Summaries read at DC Wikia)

Adventure Comics #34

Fang Gow purchases a mind control drug in this installment of Barry O'Neill. The drug has to be injected (at least in this form). Worth discussing here is the nature of mind control and what it can and cannot force someone to do. Characters in stories with their minds controlled, even supporting cast, often shake off the effects at the last moment for maximum dramatic effect. In this case, it is notable that Inspector Le Grand is not able to shake off the effect. Evidence of saving throws?

In Tom Brent, the First Mate gets shot when Tom dodges a bullet -- proof both of the save vs. missiles rule, and the dangers of shooting into a melee. The story also involves a shipboard mutiny...Hideouts & Hoodlums briefly touches on Loyalty as a game mechanic, but it is basically just treated as Morale under another name. Loyalty might need to be expanded on in 2nd edition, particularly in terms of how it could cause mutinies among supporting cast members.

Steve Carson of Federal Men goes on a car chase. I've talked before about using hit points and combat for ending car chases, but there needs to be a competing mechanic of evasion at work too. Can Steve make an evasion roll before his opponents shoot up his car? I don't want evasion to just be a single roll, though, because that's boring. Maybe evasion should work in degrees, so the first successful roll moves you from short range to medium, the next roll could move you from medium to long range - or back to short range if you bungle the roll. It needs more thought.

Dale Daring and her boyfriend encounter a trap that consists of a pit/crevice. The unusual thing here is that the pit is not covered or concealed in any way, but the Heroes may fall into the pit because the uneven floor around it is not safe to walk on.

Tod Hunter faces cannibals. I had once considered treating cannibals as its own mobster type, but decided to lump them under Natives instead. There is also an 8' gorilla in this story. In the normal/large/huge/giant categories for animal-mobsters, would an 8' gorilla be large or huge? I would think it would fall somewhere in between, but would probably side conservatively with making it a "large ape", so that "giant ape" could still be something more King Kong-sized.  Also, we know from this story that apes should get a crushing hug attack and a bite attack.

In The Gold Dragon -- we finally see the gold dragon. It's been a long set-up for this (this is the 29th episode), so much so that this is not our first dragon in comics at this point, or even our second. It is the first dragon to fit the dragon types found in H&H, though the gold dragon has, luckily, always been found in the game since Book II: Mobsters & Trophies.

Anchors Aweigh reminded me of several issues this month. One is keeping track of ammo -- because being on your last bullet should be a suspenseful moment for every Fighter relying on guns. Two is fatigue from running. H&H has a fatigue rule that is more combat-oriented; it needs to apply to running as well. Three is when Marshall's last shot fails to frighten off the natives because of their large numbers -- morale needs to be modified so that number encountered affects morale saves.

(Summaries from DC Wikia)

Adventure Comics #32

These are dark days for this blog, for that amazing resource Comic Book Archives has finally had its plug pulled by a vengeful DC Comics. Which means we're back to secondary sources for much of DC history not currently collected in Archive editions.

What I can tell you about this issue is that, apparently, Barry O'Neill picks up where he left off last time in Fang Gow's flooded room trap. Barry quickly finds a way to deactivate the trap and, it does make sense to have a way of deactivating the trap in the same room as the trap -- for the meta-gaming reason of helping Heroes stay alive, as well as the practical reason of allowing villains to deactivate their own traps if they happen to get caught in them.

A hideout burns down in Steve Carson's Federal Men adventure.  Players will always have to weight carefully the option of burning the hideout down. Will innocents be harmed? Will valuable trophies by damaged or destroyed? Do the mobsters have an escape route to get out, or will they charge out and attack the Heroes en masse?  Would the Heroes have an easier time going in and picking off the bad guys room-by-room?  In this case, the fire is accidental and caused by a dropped cigarette. Smoking rates really peaked post-War, but smoking was still very popular in the pre-War years. Smoking mobsters could be as big a danger to master criminals as Heroes.

Dale Daring, in her adventure, deals with the touchy subject of colonization, South American rubber plantations, and slave-like labor. Bear in mind that this is 1938, so Dale's progressive position is that the natives should be treated well and not beaten -- not paid a fair wage, allowed to unionize, or other modern considerations. Players should not be penalized for approaching these issues from a modern perspective, but neither should they be penalized for putting themselves in the mindset of the times.

The Captain Desmo adventure pits him against bandits and, like many earlier comic books, treats "bandits" as an ethnic/cultural role. Also like in some comic books, these bandits are well-armed with both rifles and machine guns.

Pre-Aragorn, Steve in Rusty and His Pals uses pillows stuffed in a bed to fool an assassin. This seems to be such an old trick that it must work on most people, unless they make a save vs. plot (like seeing through a disguise).

(Summaries read at the DC Comics Wiki)

New Adventure Comics #31 - part 1

Barry O'Neill takes it slow while moving through hideouts. He tests the walls, pulls on anything suspicious, like rings set in walls -- and finds secret doors that way!

In the first room behind the secret door, Barry finds two cobras. Luckily, even though Barry came disguised, he still has a concealed flashlight and weapon.

In the room is a note for Barry from his nemesis, Fang Gow. An Editor can always do this too, retroactively placing notes wherever the Heroes are, as if the nemesis anticipated them. Just be careful not to go too far with this, if the Heroes went somewhere really unexpected.

The tunnel after the cobra room is trapped -- it swiftly fills with water. I assume the secret door Barry used to get in can't be opened from this side. I'll have to wait until next month to find out how he gets out!

Tom Brent, in his adventure, is captured, but his captors forget to search him and leave a weapon on him. This same situation happened in one of my Hideouts & Hoodlums campaigns; in that case, the player asked for a chance of having a weapon left unfound on his person, so I gave him a save vs. plot to make that happen.

Tom makes the smart move of capturing the leader and making all his henchmen stand down, rather than fight his way through everyone. It's the safer move, anyway. I'm not sure I'd allow full experience awards for the henchmen for it, even though he's technically defeated them this way.

Players often want to get to where they need to go as early as possible. Tell them that they have a midnight rendezvous and they'll show up at 6 pm and start staking out the place. The same holds true for Steve Carson of Federal Men, who thinks the 4-hour car ride from Washington, D.C. to New York City is too long and flies there instead.  Knowing this, the Editor can plan more scenarios that require a time crunch.

On the other hand, if the scenario has high stakes, like a kidnapped child who will be killed if the Heroes do not find him in time, it's best to keep from setting a definite deadline, so the Heroes can always show up at the last minute and save him.

In Dale Daring, the Heroes shockingly take a moment to check their guns to see if they still have any ammo left. One is empty, but the other is okay.

I have suggested several "fixes" over the years for good ways to more easily keep track of remaining ammo during combat. One of them was to roll randomly, 1d6, to see how many turns you can shoot before running out of bullets. That seems to be what happened here, in Dale Daring, given the disparity between their ammo situations.

In Cal n' Alec, Cal wants Alec to go ahead because Cal thinks he sees quicksand and Alec doesn't. Sounds like spotting dangerous terrain needs to be a random chance, just like finding secret doors.

Cal n' Alec is a gag strip, so I don't know how seriously to take this, but it takes Cal five hours to dig a 25' deep pit.

As Captain Desmo's India adventure continues, a bounty is set for him at 20 gold pieces. Which is odd because, by 1938, India already was using the silver Rupee as its unit of currency.

Desmo wins two battles against the thieves by failed morale saves -- once after mowing down enough of them with a machine gun, and then later by mowing down their leader with a machine gun.

(This issue can be read at Comic Book Archives)

More Fun Comics #27

Sandra of the Secret Service encounters one of the first gas guns in comics, well before the debut of the Sandman. Gas guns are a trophy item statted in Book II: Mobsters & Trophies.

This issue's Dr. Occult story is a tricky one. We have seen Dr. Occult (although he was called Dr. Mystic at the time) travel through other planes before, but here the implication seems to be that Dr. Occult can follow "trails" through the spirit world to places he doesn't know. This would seem to combine ethereal travel with a spell like Find the Path, which sounds like it would be powerful enough to at least be an 8th level Magic-User spell. Since I doubt even Dr. Occult should be high enough in level at this time to be casting spells of that level, there must be something else going on here.

I propose, then, a new spell called Improved Locate Object, or something like that, which not only tells you where something is, but allows you to get there twice as fast you can normally travel. The story doesn't actually support that Dr. Occult knows an object from the crime scene, but perhaps there is more going on there that is behind-the-panels. Also, travel through the spirit world could be a flavor text description of how you travel at x2 speed to your destination.  The range would have to be pretty good for this as well, at least twice the range of a normal Locate Object spell.

Dr. Occult battles a new mobster called the snake-god.  It appears to be a giant constrictor snake, but is intelligent and able to hypnotize with its gaze. I'd give it at least 5 HD, and possibly as high as 7 Hit Dice.  The death convulsions of a snake-god are particularly vicious, so that anyone in 10' would have to save vs. plot or take 1d6 damage from being smacked by a dying snake.

 Dr. Occult also casts Enlarge (or Enlargement) on himself, which definitely should increase strength and give a damage bonus in some way.

Moving on, we have this page from the Fang Gow serial, showing Barry O'Neill lassoing a rooftop and crossing that rope hand-over-hand. Lassoing has been talked about before here; what I wanted to bring up was when and when not to require saving throws.  At first, Barry is not threatened or under any pressure to hurry while crossing the rope. He has no encumbrance weighing him down. I would not make him roll any dice to determine if he makes it across safely.  Only once he is threatened -- in this case by the rope being cut -- would I consider requiring a saving throw vs. science to keep a hold on the rope.

This page of Pirate Gold, with its whipping scene and improvised weaponry, strikes me as a solid case against all weapons doing the same 1d6 damage.  If a whip could do 1d6 damage per lash, not many people would get past the first lash!  I also have trouble accepting that a thrown rock and an auto pistol do the same range of damage -- but maybe that is an example of comic book logic that I should not think about so much!

Brad Hardy has been facing a lot of weird underwater threats for awhile now, but this one is a giant barracuda! Curiously, the barracuda looks like a swordfish in the last panel. I would make a giant barracuda 12' long, weigh 800 lbs., and have 4+1 HD.

In The Yucca Terror, we see the Cowboy stunt Summon Posse at work.



(Scans courtesy of Comic Book Plus)

More Fun Comics #21 - pt. 1

I wish we had more of an overhead visual of the layout of this island, because it sounds like an interesting locale for a remote hideout on, not just one, but spread out over a chain of small, uncharted islands. The building that looks like a covered bridge apparently conceals the entrance to the administrative building, which must be mostly underground.

And the hideout is extensively deep, with an elevator needing to go down to where The Brain keeps his lair.

Should punches stun temporarily? There are slim precedents in That Other Game, particularly an old Dragon magazine article I can recall, for setting a small percentage chance of punches stunning, in addition to causing damage.

For this particular instance we don't need it. In this combat, the captain goes first in turn 1, throwing his knife, and then Wing Brady punches at the end of the turn.

At the beginning of turn 2, Wing wins the initiative and attacks first. The captain misses -- but, the results of that miss can be explained away as anything by the Editor using flavor text. "Stunned temporarily" would be a good excuse for the Editor rolling a 1 to hit.

It does seem that H&H needs to have fatigue/exhaustion rules for scenes like this.

Barry O'Neill is going to learn his lesson from this scene -- always disable your enemy's transportation if you find it outside the hideout (or, if you have time, steal it first!).

I might give Mark Marson and his pal a +1 bonus to their saves vs. poison for having smashed the window first.

It seems very unlikely to me that kicking a bear would knock it off-balance. This seems like more flavor text to explain how the bear managed to miss a prone opponent (which the bear has a +2 bonus to hit!).


(Scans courtesy of Comic Book Plus)

More Fun Comics #19

Sometimes, just entering the hideout is itself part of the challenge. In this case, Barry O'Neill has to fall down a pit to enter Fang Gow's concealed entrance. How everyone else got down there without having to jump and get hurt is not explained. Perhaps there was another secret entrance. Of course, if you do put a safer backdoor into the hideout, be prepared for your Heroes to find it!

Brad Hardy gives us a surprisingly detailed map of the lost world he explores. Less thought seems to have gone into the reptaboa, which just seems to be a funny-looking constrictor snake.

There were plenty of times that I "cheated" on mobster types for Hideouts & Hoodlums, making ones that I felt the game should have, but didn't actually have samples of from my readings. One was the anarchist, which I pictured as a crazy communists running around with round, lit bombs -- just like the guy in this gag picture!

Predicting the future is a curious game to play; you just never know when you're going to win and get it right. Here, we can only hope that the Interplanetary Police's clothes are not the fashions of the future.  But a telemirror? That looks a lot like a flatscreen TV to me.  And race change is possible today through plastic surgery.

Hideout rooms tend to be at a 10' scale, which tends to make for big rooms.  What I like about this page is that it shows spacious interiors, very appropriate for H&H. Giant bats are a threat for low-level Heroes, but a cavern full of ordinary bats is basically just flavor text, as it is here.

(Scans courtesy of Comic Book Plus)

More Fun Comics #17 - pt. 1

Am I starting with Sandra of the Secret Service because "Sandra and Lorenz have escaped from the Resbian prison" reads like "lesbian prison"?  No, it's because of the peculiar instance of Lorenz's flesh wound.  Can someone fall forward while running in Hideouts & Hoodlums and take damage?  Most likely not.  It's conceivable that Lorenz fell on something sharp, which could have impaled him like a weapon, but just landing on the ground from any distance less than 10' is not going to cause damage to a full-grown Hero. What is more likely is that Lorenz took a bullet wound, but is just being macho and doesn't want to tell Sandra.

Note Lorenz' regret over shooting the soldiers; this is perfectly in keeping with the save vs. plot rule for Heroes to shoot a person, which in earlier versions of the rules even Fighters had to make.

Thugs were statted in Book II: Mobsters & Trophies.

You know, the artwork in Don Drake has been pretty hit or miss so far, but the poses are really good in panel 1 and, in panel 2, you can really tell by looking at him that the whip-snapper with the boulder dropped on him is in a world of hurt.

The rules, as written, are a little harsh when it comes to requiring Lawful or Neutral Heroes to save vs. plot to go around picking up enemy trophies, but that's meant to prevent do-gooders from stockpiling all of those hi-tech whips that, we've already seen, do enough damage to even give Don Drake pause. Betty picking up smoked glasses, though, is really solving the puzzle of how to get through the Room of Blinding Light and not being greedy, so I would definitely not impose the save vs. plot there.



In this installment of Dr. Occult, the good Doctor and The Seven stand in final battle with Koth and his thousands of horsemen.  Again, I have to suspect that Siegel and Shuster are not as concerned with game balance as I am.  Especially when it comes to how easily Dr. Occult turns the tide, simply by activating the final power of his magic belt and summoning -- a Phantasmal Army.

Phantasmal Force is an H&H spell, but one meant to conjure maybe 1-10 illusionary soldiers, not thousands. Phantasmal Army would be a spell of at least the 8th spell level.  Will I include such a spell?  Like robots hundreds of feet tall in Federal Men, I'm inclined to accept that what we're seeing is an exaggerated version of what we can adapt to H&H.

This is from a loose adaptation of Ivanhoe, which you would think would work better with D&D or Pendragon...but this Black Knight sure seems a lot like a superhero here.  It would be interesting to see someone try running a medieval campaign using just H&H!

For a campaign aiming for a darker mood, you could take lessons from Barry O'Neill and Fang Gow.  Players may not appreciate having their SCMs kidnapped and murdered like this, so an Editor should consider it carefully, but killing their butler just to leave a message on his shirt, now that says evil.


(Scans courtesy of Comic Book Plus)

More Fun Comics #10

We rejoins Sandra of the Secret Service, now involved in a Gothic adventure around a spooky old castle!  Not only would the Black Tower and its secret halls be an ideal hideout, but a Silent Watcher would make an interesting mobster-type to encounter...

Jack Woods demonstrates a climb stunt here.  Also, Pancho Villa's henchmen, previously called bandits, are called brigands here. Another RPG distinguished bandits from brigands, suggesting that brigands were evil bandits, while bandits weren't necessarily quite so bad.  Hideouts & Hoodlums follows this model.

A skeptical reader might wonder about two things here -- why Pancho Villa took the time to knock Jack's gun out of his hand instead of just shooting him in the back, and how Jack managed to grapple Pancho without getting shot first.

If we do assume that bandits are Neutral and not Chaotic, and since Pancho is specifically a bandit here and not called a brigand like his henchmen, then Pancho would be naturally more inclined to take Jack prisoner rather than kill him in cold blood.  It will be important to remember, when running H&H, to make sure that most mobsters encountered have goals other than killing Heroes.

The other question is, how did Jack strike first?  One possibility is an Editor that ignored the traditional order of combat and allowed both missile and melee attacks to be decided by the same initiative roll.  Or, the Editor rolled for Pancho first, missed, and then used flavor text to describe it as Jack getting the drop on Pancho, since it made more sense to describe it like that than a miss at point blank range. H&H has that kind of flexibility.

Though Don Drake is on an alien world full of wondrous things, it's interesting how a simple net trap is what does him in.  It's a big net, so if Don was surprised, there wouldn't be much of a chance to run out from underneath it. I might even give him a -1 penalty to his save vs. science to dodge the trap.

Barry O'Neill is wise to worry about the Secret Service seaplane. That deck-gun is probably an autocannon, which was statted in Supplement I: National, and does a doozy amount of damage.

It's interesting how many targets the paralysis ray can be used on at such a short distance. That's one wide-angled ray...

What's interesting here is that the the paralysis raygun is easily thwarted -- because it's plugged in by wires. When planning to use a hi-tech weapon in your campaign, it's important to consider the power source. This isn't so much an issue with magic trophies.

Doctor Occult explains at length about a magic spell that drains years off your victim's life and adds it to your own. It's not the sort of combat- or hideout exploring-related spell you would expect to need in H&H, so it will probably stay off the spell lists, but on a magic scroll, as a one-shot item to be found, this could be an atmospheric addition to an evil necromancer's treasure trove.

Henri Duval is getting overwhelmed by sheet weight of numbers.  Truthfully -- I haven't figured this one out yet. The H&H rules are more geared towards one-on-one grappling combats. Overwhelming with numbers is something I'll still have to work on.

(Scans courtesy of Comic Book Plus at
http://comicbookplus.com/?dlid=11615&b=i)