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.)
 

 

  

Thrilling Comics #3 - pt. 3

Well I'll be...I called this issue #2 in my last two posts, but it's been issue 3 I've been reviewing all this time! Sorry if I confused anyone.

It's been a long while since we last visited The Ghost, but you might recall he was tossing around Wish-level spells all over before the scenario even got started. Now that he has mobsters to fight, we get - Knock, Mirror Images, and throwing a dagger instead of casting a spell. Wow, this is what a mid-level magic-user looks like!

In my current Hideouts & Hoodlums campaign, we just had a long scene of the Heroes mixing it up with police in a precinct house, so it's interesting to see how quickly The Ghost is able to muscle his way in to see the ...Captain? Commissioner? - after just levitating a beat cop out of his way.

That is a strange spell that gets cast mid-page. It's not a Phantasmal Image because The Ghost doesn't know what the spell will reveal. It seems closer to Object Reading, the psionic power. It's also unusual to have a golden age Hero's initial hunch turn out to be wrong.

Now this is interesting! Only some magic-users have ever shown Achilles Heels - like needing to be holding their wand, or needing the use of their hands - The Ghost has to be facing you.

Wall of Force stops the car. 

It's interesting how The Ghost only sometimes bothers to use his "ghost" look and other times just walks around like a normal guy. I wonder how he decides...?

I also wonder -- is that chair a Chair of Scrying, like a comfy Crystal Ball?

The Ghost uses Levitate to save himself from bullets. I find it so refreshing to see so many 2nd-level spells getting used!

Hypnotism, or Charm Person spell? 

We don't know exactly how many hit points The Ghost has, but a surprise head blow can take him out.

The Ghost casts Wizard Eye through the door.

I like the details of that trap; it's a trap that, if you play it just right, helps the Heroes free themselves from it. Of course, you need to have Heroes weak enough not to be able to break rope...

Normally, in a Hideouts & Hoodlums campaign, exploring an entire hideout from cellar to roof could take multiple play sessions; here, we see it come to pass in a single caption. It's rather remarkable, I think, that the only clue he finds in the whole building are the pigeons on the roof. I wonder how many "secret door" rolls he failed on his way though the house...

I'm not sure what to make out of a spell that makes pigeons leave flaming trails. Some sort of Feed Jalapenos to Birds spell? Or perhaps this is just a generous interpretation of the Find the Path spell?

I believe I already have a Detect Lie spell in my game (or should if I don't). Is there any difference between Detect Lie and Speak Only Truth?

Out of all the spells in The Ghost's repertoire, what impresses this guy is the Change Self spell. 

I've never heard of a trick gun like that, but now I think it should be a minor trophy item. 

When did The Ghost cast that spell, turning the bullets to vapor? While writing the suicide note? After grabbing the gun away? As the bullets are being shot? Possibly the first two options, if the spell was cast off-panel, but it's hard to believe Tanko didn't notice. I think he could realistically have cast it at the beginning of the melee turn before being grappled by Tanko.  

Also...Tanko? That's an African name. Is it a nickname here? 

Ignoring the panel where the lights go out, but we can see everything...there are some strange reactions to magic in this story. Like, the phantasmal faces trick the chief into confessing...instead of just running away?

Was the matchbox ever admissible evidence? I bet it's not now, since a roomful of witnesses saw this appear out of nowhere. How do you prove it's the same matchbox? 

Moving on...I'm more amused than anything else by this page of the next story. For one, the "Three Comrades" are hanging out in what appears to be a middle class German restaurant, and the two German spies dressed up for a fancy nightclub aren't attracting any attention to themselves. What amuses me even more is how much Books looks like Peter Parker.

At least Cal thought the spies were suspicious. You can always count on Non-Heroes controlled by the Editor to fail to notice anything suspicious about a name like Baron Von Sneer, even though that just screams "comic book villain!" to the rest of us. 

Wow...you can also always count on European villains to have castle hideouts, even when just visiting the U.S. The caption calls it a mansion, but I know a castle when I see one...

(Scans courtesy of Digital Comic Museum.)

 

Thrilling Comics #2 - pt. 2

We're picking up where we left off with the Golden Age Dr. Strange -- though I apologize in advance for the poor quality of the microfiche scans. These are the best copies I know of out on the Internet.

The turning letter that unlocks a secret door is worth remembering. Though, if a superhero suspected there was a door there and wanted to get through badly enough, there is always a Raise power or wrecking things to get through the statue. I would treat this particular secret door as the machines category, one better than door, since the statue adds a non-door element to it.

The ol' "sarcophagus that's full of real diamonds but opens pit traps around the sarcophagus if you disturb it" trap. It looks like the pit has five crocodiles in it, but it's really hard to tell with the quality of this scan.

Dr. Strange's ability to punch boulders away strikes me as flavor text; all we really need for this is his save vs. missiles mechanic to make sure he's not taking damage.

There's no game mechanic that would account for how the boulders break the ledges apart; that seems like Editor fiat.

It doesn't need to be said that superheroes have leaping powers; the distance pictured here looks like one that even non-superheroes might be able to bridge.

Strange beats Crewe in initiative, letting him act before the drugs can be thrown away.

Speaking of thrown away...we know Strange could likely have leapt after Crewe and saved him, but he chose not to. Strange has already demonstrated that he's comfortable with letting villains fall to their deaths.

Interesting how we never hear about this miraculous wonder drug again. Maybe it didn't work as well as advertised.

We're going to jump into the next adventure, this being the debut of The Three Comrades. It's the first story I've seen drawn by Howard Sherman, who will later co-create Dr. Fate!

Newspapers are handy for dropping plot hooks!

Reading shorthand, like decoding a code, is a basic skill and not something automatic, like speaking to Germans or aliens.

A rare instance of a smell-based clue!

I like the little detail of, not just seeing a light, but a reflection of light in the plant tipping them off. I also like how every entrance has a guard on it, even on the roof.

That looks more like a necktie than a carat to me. Regardless, I have to pause now and consider what game mechanic in Hideouts & Hoodlums would emulate this scene? Grappling, with the result of throw? The actual tie grabbing is an irrelevant detail, as H&H focuses on the results, not how you get there.

The same here; it doesn't really matter how much the bullet touches the head or just "parts the hair," as the damage is just an abstraction.

The beat cop is a wandering encounter.

The kicked barrel is an improvised weapon...but a barrel can pick up a lot of speed rolling down a stairwell. I'd be inclined to assign it normal damage.

Did The Mask change his mask since we last saw him...?










This is the first time I've ever seen someone take damage from jumping into a car before! I guess the best way to handle this is to give the jumper a save vs. science, with no damage if successful, and regular damage if it fails.

(Scans courtesy of Comic Book Plus.)

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