Jonah Hex's Return Ensures The West Remains Weird

We haven't seen a decent appearance by DC Comics' Western antihero Jonah Hex for a good, long while, but the scarred bounty hunter returns this October in a new six-part miniseries, Jonah Hex and the Shadow of Death.

Written and illustrated by Michael Walsh - known for The Silver Coin, Universal Monsters: Frankenstein, and Exquisite Corpses - this latest slice of Weird West horror for Hex begins with our protagonist seemingly retired and living in the small town of Ashecott.

Of course, it's not long before an ancient evil rises and Hex is forced to put his guns back on. Could this be his chance for redemption?

This title is one of the latest additions to DC's Next Level publishing initiative, which begins in September, bringing more classic characters and teams back into their current continuity:

Below are a couple of dialogue-free sample pages from Jonah Hex and the Shadow of Death:

Why I Embrace Random Character Creation in TTRPGs

The Adventures Of Superhero Girl by Faith Erin Hicks

"I didn't pick my superpowers, they picked me"

- Superhero Girl

Careers have been made in the comic book industry by being able to dream up new and imaginative superheroes and villains, yet "point-build" roleplaying games expect players to do this - sometimes at a moment's notice - right there at the games table.

In this article about my general preference for random character generation, I have leaned into superhero RPGs for the most part as this is where I have largely encountered this issue.

The out-the-door epic scale of some comic book heroes, compared to the street-level 'normality' of others, also helps make my point about emulating genres, even if in an exaggerated manner. 

Sometimes a player will arrive with a preconceived idea for a character, but more often than not - especially if, for example, the players are not totally au fait with the superheroic oeuvre - there's be a lot of umming, ahhing and staring off into space before he or she cranks out a thinly veiled clone of an established, popular character.

This mental constipation can also lead to further frustration and ultimately taint a player's opinion of your campaign before the first adventure has even begun.

And this, for me, is what makes Villains & Vigilantes' random superpower generation system so wonderfully appealing.

Anyone can pick up their dice and within 20 minutes to half-an-hour have the outline of a unique character, ready to play.

It's quick and easy, but there also remains an element of choice - so the experience doesn't go to the other extreme and the player feels totally at the mercy of the gods of fate.

Under normal circumstances, that is playing the "rules as written" in the 2nd Edition Villains & Vigilantes of my youth, each player character gets 1d6+2 rolls across his choice of the five tables of superpowers (powers; devices; magic/psionic items; skills; and magic/psionics) plus a random drawback from the "weaknesses" table.

The player must discard one of his rolled powers and if he wants to drop his "weakness" he has to scrub off a second of his random powers.

Now, of course, the observant among you would have realised this can mean a character ending up with only a single superpower.

Back when we were running our superheroes as a play-by-(snail)-mail game at the dawn of time, we addressed this very issue in our introductory material:

"Whenever someone rolls up a character and then moans: 'But I only got one power! What use is flight?' ... stop and think. If you woke up one morning and suddenly found you could fly would your first reaction be: 'ohhh, boring, wish I could fire blasts of super-heated energy and fry people's skin off..."

You just have to look at classic TV shows like Heroes, No Ordinary Family or Misfits or the original X-Men comics to know that people with a single superpower can thrive in a superhero milieu if enough effort is invested by the writer/player into developing the character's personality and backstory.

On the other hand, game-wise, this striving for realism is often more an ideal than a true reflection of the game as it relies on the other players not having rolled up Superman, Dr Manhattan, or Captain Marvel.

Comic book superteams usually represent a broad spectrum of power levels, but there has to be some degree of compatibility and synergy between team members in a game - no one wants to be the Wonder Twin stuck back at Titans Tower, while the team are off facing Deathstroke or Brother Blood.

This, again, ultimately comes down to discussions between the player and the Gamesmaster.

If he genuinely believes his character is unplayable (or unable to gel comfortably with characters generated by the other players), it's quick and easy to start the random generation process again - rather than endure the mathematically complex juggling act of point balancing, min-maxing and optimisation that goes into "points-buy" character builds.

I've played several different supers systems over the years, but the most memorable characters I - and my peers - have created at the table have all come via the random generation process (e.g. my Acrobatic Flea, Steve's Silverfist, Pete's Hurricane & Brutus, and characters from other V&V games, such as Dave's Nightgaunt and Mark's Copernicus).

I guess my issue is with the idea of "wholly designed characters", and this pretty much applies to any genre, probably because I was introduced to gaming via "old school" Dungeons & Dragons and Traveller.

Both of these systems employed - very different, but no less inspirational - random character generations methods.

I really admire the random "story path" method of character creation in Traveller (yes, your character used to be able to die in the process and, no, they no longer can), but also the fantastic 'group' method of random character creation in Beyond The Wall & Other Adventures from Flatland Games.

This clever folk fantasy system sees your party creating its home village as part of the character creation process, as well as weaving meaningful connections between all the player-characters which, in turn, influence their starting statistics and abilities.

Meanwhile, I have friends who draw Tarot cards to stimulate ideas for their character's personalities and I don't see random generation as being any different.

When it comes to superheroes, all the major teams (such as Justice League, Avengers, Watchmen, Teen Titans etc) feature characters with a broad range of power 'levels' and abilities.

It's only certain structured teams - such as the Fantastic Four - who could be seen to have roughly equivalent power levels.

But the FF are the exception, not the rule, as this "style" of team also tends to share a common origin story as well.

Generally I find that point-buy systems, without a degree of randomness, don't gel for my tastes and style of gaming.

The whole idea of artificial balance is ridiculous and fails to simulate either 'real life' (whatever that means to you, of course, in the context of sci-fi, fantasy, and superpowers) or the comics, novels, films, TV shows etc that your games seek to emulate.

Let's strip this down to ridiculous basics: Players A and B each design 100 point characters; Player A just uses the 100 points and takes no weaknesses, but if Player B takes "heavy smoker" for a bonus of 10 points or "terminal illness" for 50 points, why should Player B's character then have more powers and abilities than Player A? It makes no sense.

I'm not saying character's shouldn't have weaknesses (in fact, as with V&V, I like the risk of random character weaknesses), I'm saying I don't see how the 'reward' for taking them in a point-buy system reflects any degree of verisimilitude.

[Footnote: I strongly recommend you check the highly entertaining Adventures Of Superhero Girl, from 2013, by the talented Faith Erin Hicks, for a wry take on the idea of superheroes with real lives. I can't praise it highly enough - just read and enjoy!].

Paintings and Ice Schooners Lead Me Down A Rabbit Hole

Beautifully packaged parcel from Peahen In The Tree

When I started putting my thoughts together about returning to the world of blogging a year or so ago, I never imagined I'd be writing so much about my book collection.

But then I discovered Booktube, and my perspective shifted somewhat.

The other day, a random eBay advert hit my eyeballs for different edition of a key book from my formative years as a young gamer: Wereblood (or, in this iteration, Were Blood) by Erik Iverson (aka alt-history maven Harry Turtledove).

My 'new' copy of Wereblood

But what made this printing of particular interest to me was the painted Boris Vallejo cover (see above), which bore no relevance to the Gerin The Fox story told in Wereblood whatsoever.

In fact I knew it from a 1985 roleplaying supplement from Mayfair Games' Role Aids line that I was mildly obsessed with as a youth. Ice Elves did exactly what it said on the tin (and in Vallejo's 1978 painting).

It was an Advanced Dungeons & Dragons adventure and rules supplement that explored the idea of a race of elves living in the frozen North, getting around on ultracool "ice riggers".

The reason I was rather hooked on this supplement is because of the similarities, especially in the whole "ships that glide over ice" aspect, to the first Michael Moorcook book I ever read: The Ice Schooner.

However, the more I thought about this - especially when my parcel from online book trader Peahen In The Tree arrived - the more surprised I was by the fact that Vallejo's art didn't decorate the covers of the either of the two editions I have of The Ice Schooner.

My two copies of The Ice Schooner

But a wee bit of Googling quickly revealed it had, of course, been used as a cover illustration for a 1978 Dell Publishing edition of The Ice Schooner:

Was this painting originally commissioned for this book?

A key aspect of the book that introduced me to the wonderful writing of Michael Moorcock is that it was another purchase from P&P Book Exchange in Goods Station Road, Tunbridge Wells.

This is the same - sadly, long-gone - second hand book store where, four decades ago, I discovered the cosmic horror of HP Lovecraft for the first time and was transformed from a "dabbler" in comics to full-on collector when I purchased piles of Wolfman/Perez New Teen Titans and John Byrne Fantastic Four comics.

It's no understatement to say that one store played a major role in shaping my lifelong geeky interests. 

The world needs more browsable, brick-and-mortar, second hand book shops.

"The Golden Age of Sci-Fi/Fantasy is 14"

In an old article on his blog about a youthful passion for the Dragonlance novels, Timothy S Brannan shared the wise saying: "The Golden Age of Sci-Fi/Fantasy is 14."

And this is so true.

The things we discover at that age stay with us.

For me, this would be around 1980... the year Hawk The Slayer came out.

I've written often of my love for this most Dungeons & Dragons of all fantasy movies (and probably will continue to do so).

At the dawn of the '80s, I was already engrossed in the stop-motion worlds of Ray Harryhausen fantasy movies (his last, Clash of The Titans, would come out in 1981), and this was also the era of the original Star Wars and The Empire Strikes Back (which came out in 1980).

I was reading mainly sci-fi (Hitchhikers Guide to The Galaxy, Stainless Steel Rat etc), if I recall correctly (inspired by the galaxy far, far away), but my young gaming hobby had propelled me to the works of Fritz Leiber.

His Fafhrd and The Grey Mouser stories would come to influence my Dungeons & Dragons adventures as much as Harryhausen's Sinbad at that time.

I was always a player - rather than a Dungeon Master - in my early years, so was interested in character ideas, rather than grander plots and world-building (not that I didn't appreciate them at that time, but they just weren't as useful from a gaming perspective).

I had yet to stumble upon the stack of New Teen Titans in a second-hand book store in Tunbridge Wells and become a fully-fledged comic book collector, but I still dabbled in that medium.

2000AD was my publication of choice at that age.

And, of course, all these things still hold sway over me and continue to influence my gaming and broader hobby interests.

I don't think I realised, until just now, quite how important the art we discover at that particular age is in shaping the sort of person we grow into in our adult life and our hobbies, passions, and interests.

THROWBACK THURSDAY: Whence Lovecraft?

Mythos Tomes: My earliest forays into the works of HP Lovecraft

I've been reading HP Lovecraft since I was a teenager. I recall writing about him in my English Literature A Level exam, which given I was supposed to be critiquing Dickens' Great Expectations probably explains my poor grade.

My memory of how I actually came upon the works of Lovecraft is rather hazy, but I'm sure I was already aware - and a fan - of his oeuvre before I invested in my first edition box set of Chaosium's seminal Call Of Cthulhu game.

This was published in 1981, with the second edition coming out in 1983, which suggests I picked up the game sometime between those dates.

I suspect my introduction to Lovecraft could well have been TSR's Deities & Demigods (the Advanced Dungeons & Dragons supplement, published in 1980, that - only for its first edition - included the Cthulhu Mythos as well as Michael Moorcock's Elric mythology, as well as various pantheons or gods and heroes from ancient religions around our world).

This almost certainly led me to invest in the paperbacks you see above, several of which are stamped as coming from the P&P Book Exchange in Goods Station Road, Tunbridge Wells (which is where I also came across my first collection of Wolfman/Perez era New Teen Titans comics that got me hooked on the medium and turned me into a 'proper' comic book collector).

Those paperbacks have seen better days. particularly The Haunter In The Dark And Other Tales Of Terror (a 1963 edition from Panther Books, priced at three shillings and six pence!) which is falling apart because it was read so much.

Zack Snyder's Justice League (2021)

Building on the foundations laid in Man of Steel and Batman v Superman: Dawn of Justice, Zack Snyder's Justice League is a four-hour epic that sweeps its audience up and carries you along, whether through tightly-scripted character beats or frenetic, supercharged fight sequences.

Gone is the element of "heroic cruelty" that rather tainted the previous two films, this is pure, old fashioned, comic book action, served in a modern, celebratory, style.

Having sworn a pledge on Superman's grave, Bruce Wayne aka Batman (Ben Affleck) teams up with Diana Prince aka Wonder Woman (Gal Gadot) to hunt down fellow metahumans and form an alliance against the coming darkness foretold by Lex Luthor (Jesse Eisenberg).

Eventually they build a team consisting of Victor Stone aka Cyborg (Ray Fisher), Arthur Curry aka Aquaman (Jason Momoa), and Barry Allen aka The Flash (Ezra Miller), to face down the alien warlord Steppenwolf (Ciarán Hinds), who is preparing the Earth for the arrival of Darkseid (voiced by Ray Porter), the definitive uber-bad guy in DC Comics.

I don't want to dwell too much on the previous, theatrical, iteration of Justice League, as reshaped by the disgraced Joss Whedon, when he took over the project after Zack Snyder had to step away due to a dreadful family tragedy.

However, if you have seen that then you will recognise certain scenes and moments in this new cut, but so much of it is new - to us - material that was shelved for the version that was released four years ago.

The general thrust of the story is similar, but better developed, explored, and explained now that it's in the hands of its original creator.

All the characters come across as more three-dimensional, and Cyborg has been elevated from an almost incidental player back to the heart of the story, as Zack and scriptwriter Chris Terrio envisaged him.

Cyborg has been on my radar for as long as I've been collecting comics, as he was a founding member of the Marv Wolfman/George Perez era of the New Teen Titans, which transformed me from a dabbler in comics to a full-on collector and addict.

I have to be honest, though, until this movie, I'd never found him that interesting a character, but Zack (and Chris)  - and, of course, Ray Fisher - have totally turned me round on Victor Stone.

I'd been looking forward to seeing Zack Snyder's Justice League since it was announced, but had always considered it simply an "Elseworlds" alternate take on the characters, and a chance to see what should have been in 2017 under better circumstances.

And I'll watch any big budget superhero flick eventually, because I still can't believe we live in age where the comics I read as a child (and am still regularly reading) are being made into box office-topping blockbusters.

With its prevalence on the silver screen and small screen, the superhero genre has become as ubiquitous as westerns were in the early days of Hollywood and television, the new American (global?) mythology.

However, Zack Snyder's Justice League far exceeded my expectations and deserves all the kudos that I hope were showered upon it.

It may be four hours long, but it doesn't feel it. Never does the pace drag, nor are there any corny or uncomfortable scenes, or substandard CGI creations, to take you out of the moment.

Let's put it this way: about two hours in, I was already planning on watching it again.

Without a doubt, Justice League is Zack Snyder's tour de force.

It's such a pity that Warner Bros - for a minute - decreed that the earlier, inferior, cut of the film remained canon in the DC Extended Universe, when really all copies of it should have been shovelled into the same landfill as the E.T. The Extra-Terrestrial video game.

Yet, while Zack Snyder's Justice League is a magnificent conclusion to the Snyderverse trilogy, it's highly unlikely that we will see the continuation of this storyline and the resolution of the movie's apocalyptic cliffhanger.

Now, it appears as though we are getting into an era where Superman (and the DC Universe as a whole) is under the stewardship of someone who understands the four-colour comics of old and the positive value of superheroes. 

Snyder has had his moment, but now we are moving into the light of James Gunn.

Let's hope his Superman is everything we want it will be.

Another Fantastic Four Relaunch? In The Middle of An Already Popular Run? I Guess Marvel Knows What It's Doing

Scattered through time by Doctor Doom, Marvel's First Family have one chance to reunite in new Fantastic Four #1 comic

It's no secret that I love the Fantastic Four - it's one of the two books (the other being the Wolfman/Perez era New Teen Titans) - that made me a comic book collector for life.

However, I'm increasingly frustrated by Marvel's current trend for frequent relaunches of their titles... usually just to mark a change of creative team.

In July (just ahead of the the eagerly-awaited Fantastic Four: First Steps movie), the current run of Ryan North-penned Fantastic Four is getting a new number one... seemingly just because the book is changing artist (to Humberto Ramos).

Why, oh why, must they keep doing this?

For one thing, it makes it increasingly difficult to track down back issues when a title has half-a-dozen (or more) issue ones, issue twos, issue threes etc

I know the old argument is that "first issues sell really well", but isn't this just a slippery slope to the apocalyptic scenario where comics no longer have issue numbers or, perversely, are all "first issues"?

Not only does this "relaunch" come in the middle - after issue 33 - of Ryan North's popular run on this book, but also in the middle of the universe-wide One World Under Doom "event" storyline.

Isn't the point of a "new number one" meant to be it's a good jumping on point for those new to the adventures of the book's protagonists? Yet this issue drops any new readers it attracts right in the middle of North's ongoing story as well as the supplementary shenanigans of Doctor Doom in his own event.

Surely it would have been easier just to continue as it was?

The plot of initial story arc in the "new" Fantastic Four is a time travel tale involving Doctor Doom, dinosaurs, and a quest for something called The Forever Stone.

Why this couldn't have been issue 34 instead, god only knows. To be honest, I'd love to see all Marvel's long-running, prestige titles simply reverting to their "legacy numbering" (as DC has done with its premier Batman and Superman books).