Thursday, July 7, 2011
How Roy Thomas and Star Wars saved Marvel Comics
Some of you may have already read this, but if you don't normally read Jim Shooter's blog, check out his entry from earlier this week about how Roy Thomas' acquisition of the Star Wars license for Marvel Comics helped to keep the comic book company afloat.
Monday, July 4, 2011
Retrospective: The Mighty Thor #342-343
(as it turns out, I didn't pick up any new comics this week, so I thought I might try something a little different here)
I believe that if one considers themselves a serious fan of comic books, with an appreciation of the skill and craft required to produce a superior work of art in this particular medium, then there are certain runs of various comics that should probably be in your personal library somewhere. Comics that you can not only appreciate as fine stories in and of themselves, but that also showcase the craftsmanship and artistry of those men and women who through their efforts produce something extraordinary.
Walter Simonson's landmark run on The Mighty Thor certainly belongs in such a comic book library.
(as always, click on the image to expand to full size)
Simonson's run on Thor lasted just a little under four years, from issues 337 to 382 (along with the four-issue Balder The Brave mini-series), but in many ways is the high mark of that title's long and storied history. In my opinion it even exceeds the classic original Lee/Kirby run back in the 60's, and still surpasses to this day what has followed, where even otherwise talented creators have missed the mark. It is the benchmark that all other Thor stories are compared to.
There are so many wonderful elements that Simonson handles with skill and care throughout his run on the book: the truly terrifying Surtur and his apocalyptic plans, the introduction of Beta Ray Bill, Skurge's last stand at the bridge, Balder's story arc, the war of Rats and Frogs, the enigma that was Kurse... it is sometimes easy to forget the smaller elements, the less grandiose stories, that Simonson dealt with with no less ability.
Such a story ran through issues 342 and 342, giving us the tale of the Last Viking:
In the aftermath of the battle with the dragon Fafnir, Thor, in his new mortal guise of Sigurd Jarlson, senses his name being invoked in the old language of the vikings. This is important, for Simonson recognizes that Thor is a god, not just another superhero, and not even just an extra-dimensional being with super strength and an array of other nifty super powers. Long ago, Thor heard the calls of his worshipers, as any deity would, and answered them if it pleased him to do so. But it has been centuries since he last heard such a call, and so, intrigued, he follows... leading him, to all places, Antarctica.
Thor is surprised to find a temperate valley nestled in the icy wastes, heated by a nearby volcano. He is even more surprised to find what appears to be an empty viking village, looking much like the viking settlements of an earlier millennium. Although he can see no signs of life, there are indications of recent activity. He eventually finds a large cave, which quickly proves to be a trap.
Thor survives the spears, of course, and as he advances sees signs that others were not as successful in facing the cave's many dangers. He advances onward, successfully navigating his way past the many myriad dangers. Finally, he sees a menacing figure in armor, who challenges our hero.
Evading the hurled spear, Thor closes in and strikes the armored figure, knocking the foe's helmet loose. Thor is surprised to see the true nature of his adversary.
The old man pleads with Thor not to spare him but to finish him off. Thor refuses, and noting the still hazardous nature of the tunnels, frees both himself and the old man, taking them to the surface. Thor then asks him who he is, and the old man, Eilif the Lost, tells the tale of how when the vikings were defeated in England back in 1066 AD, one band of scattered vikings eventually found their way into the hidden Antarctic valley, where they and their descendants lived to the modern day, with Eilif being the last of his people. Knowing that they could only ascend to Valhalla if they dies a warrior's death, but lacking any enemies to fight, they constructed the deadly traps in the caves to test their mettle, to become warriors, and to be able to die a warrior's death, avoiding a lesser straw death which would consign them not to Valhalla but instead to the gloomy confines of Hel.
It's a fascinating premise, in part because it runs counter to our Western, Christian-influenced way of thinking. It just seems so unfair, after all. Why should Eilif, who was skilled enough to survive where other did not, face the rather dismal prospect of spending eternity in Hel? Why should he be punished for his skill and ability, when his brethren should be rewarded into Valhalla by dint of not being quite as good as Eilif was? Couldn't some sort of exception be made? It just seems so terribly unfair.
Fairness, of course, has nothing to do with it. The rules are the rules, and they are not for mere mortals to bend or break. It is in part this seeming cruel twist of fate that gives the story the power it has(1). A lesser writer would no doubt have given us such a 'cheat', a way for Eilif to reach Valhalla in an easier manner, but that would have been a cop-out(2).
Fortunately, Simonson respects the myths that the comics were based upon, and refuses to follow the easy way out. It's one of the important distinctions of his tenure on Thor, that it feels less like a superhero book that has the trappings of mythology, and more like the stuff of myth that just happens to take place in a superhero world.
Back to the story, Eilif, now with no one left to fight, sought to trap Thor in the deadly labyrinth, hoping to provoke the thunder god into slaying him in battle, so that he might avoid the straw death of old age, and make his way into Valhalla. Having failed to do so, he accepts that his fate is instead to die in bed.
Yeah, right.
Thor isn't putting up with any of that crap.
Impressed with Eilif's boldness, and sensing that a powerful foe awaits him shortly, Thor bids the elderly warrior to don his armor and follow him. The god of thunder summons forth Cloudrider, the winged steed of the heroine Valkyrie, as well as his own flying steeds Toothgnasher and Toothgrinder, so that they may face the upcoming battle together. But before they leave, Eilif is wracked by doubt.
Strengthened by Thor's words, Eilif overcomes his doubts and stands ready to assist Thor however he can. Thor grants, through the touch of his hammer Mjolnir, a portion of his own power to Eilif, giving him the strength and vigor of his youth. Before they leave the valley, a mysterious old man (actually Odin in disguise) gives Eilif's spear a blessing; as they leave the valley, the old man is suddenly nowhere to be seen.
Arriving back in New York, the duo battle against a re-awakened Fafnir. Even Thor's mightiest of blows are unable to hurt Fafnir. During the battle, Eilif is unhorsed from Cloudrider, and plunges to the wreckage of a nearby building. Thor's concern for Eilif allows Fafnir to gain the advantage, putting the thunder god in peril. Eilif notes that his strength is fading, which can only mean that Thor is badly hurt. Vowing that Thor should not perish because Eilif failed in his duty as shield-bearer, he leaps from the wreckage of the building, aiming the blessed spear at the heart of the great beast Fafnir.
The blow actually manages to wound Fafnir, who strike Eilif away as he might a gnat. Thor then uses his hammer to drive the spear deep into the dragon's body, killing him. Upon finding the fallen Eilif, he sees that the old man is no longer alive.
The grief of a god can be a terrifying thing to behold...
Thor uses the nearby wreckage to build a funeral pyre for Eilif, and then lays the now-dead Fafnir at the foot of the pyre, for in the past it was customary to lay a dog at a viking's feet when they were to be buried. Summoning lightning from the skies, Thor then brings down the lightning onto the pyre, lighting it, so that his soul may be properly claimed.
And so the Valkyries, under the watchful eye of Odin, welcomes the Last Viking into the halls of Valhalla. Although we do not get to see it, in my mind's eye, a truly grand feast and celebration occurs for the days to follow, as Eilif joins their honored ranks.
There's much more in these two issues that what I have described. Multiple subplots, which would all play out in their own time, are interspersed throughout the main narrative. Simonson handles the balance between the main story and the various secondary elements with ease, and his art wonderfully compliments and completes the story he tells. There is a lot of ground that is covered (in more modern times such a story might be stretched out for four or even six issues), yet it never feels rushed.
If you've never had the pleasure of reading Simonson's Thor before, well, what are you waiting for? Besides an Omnibus that collects the entire run under one set of covers, there's also a series of four standard TPB collections that also collect the breadth of Simonson's work. In whatever format you get them - individual issues, collections, or digital media - they're well worth getting.
(1) Of course, to an outside observer, it's not just the old faiths that might seem unfair in this aspect. After all, in Christian thought, one can engage in a lifetime of sins and evils, only to convert on the deathbed in one's final moments, and still be allowed into Heaven - where's the fairness in that?
(2) Assuming they were willing to approach the topic at all - earlier writers would have most likely avoided the topic completely, and more modern scribes would perhaps treat Eilif as a source of derision, an old warrior who can't let go of his martial ways.
I believe that if one considers themselves a serious fan of comic books, with an appreciation of the skill and craft required to produce a superior work of art in this particular medium, then there are certain runs of various comics that should probably be in your personal library somewhere. Comics that you can not only appreciate as fine stories in and of themselves, but that also showcase the craftsmanship and artistry of those men and women who through their efforts produce something extraordinary.
Walter Simonson's landmark run on The Mighty Thor certainly belongs in such a comic book library.
(as always, click on the image to expand to full size)
Simonson's run on Thor lasted just a little under four years, from issues 337 to 382 (along with the four-issue Balder The Brave mini-series), but in many ways is the high mark of that title's long and storied history. In my opinion it even exceeds the classic original Lee/Kirby run back in the 60's, and still surpasses to this day what has followed, where even otherwise talented creators have missed the mark. It is the benchmark that all other Thor stories are compared to.
There are so many wonderful elements that Simonson handles with skill and care throughout his run on the book: the truly terrifying Surtur and his apocalyptic plans, the introduction of Beta Ray Bill, Skurge's last stand at the bridge, Balder's story arc, the war of Rats and Frogs, the enigma that was Kurse... it is sometimes easy to forget the smaller elements, the less grandiose stories, that Simonson dealt with with no less ability.
Such a story ran through issues 342 and 342, giving us the tale of the Last Viking:
In the aftermath of the battle with the dragon Fafnir, Thor, in his new mortal guise of Sigurd Jarlson, senses his name being invoked in the old language of the vikings. This is important, for Simonson recognizes that Thor is a god, not just another superhero, and not even just an extra-dimensional being with super strength and an array of other nifty super powers. Long ago, Thor heard the calls of his worshipers, as any deity would, and answered them if it pleased him to do so. But it has been centuries since he last heard such a call, and so, intrigued, he follows... leading him, to all places, Antarctica.
Thor is surprised to find a temperate valley nestled in the icy wastes, heated by a nearby volcano. He is even more surprised to find what appears to be an empty viking village, looking much like the viking settlements of an earlier millennium. Although he can see no signs of life, there are indications of recent activity. He eventually finds a large cave, which quickly proves to be a trap.
Thor survives the spears, of course, and as he advances sees signs that others were not as successful in facing the cave's many dangers. He advances onward, successfully navigating his way past the many myriad dangers. Finally, he sees a menacing figure in armor, who challenges our hero.
Evading the hurled spear, Thor closes in and strikes the armored figure, knocking the foe's helmet loose. Thor is surprised to see the true nature of his adversary.
The old man pleads with Thor not to spare him but to finish him off. Thor refuses, and noting the still hazardous nature of the tunnels, frees both himself and the old man, taking them to the surface. Thor then asks him who he is, and the old man, Eilif the Lost, tells the tale of how when the vikings were defeated in England back in 1066 AD, one band of scattered vikings eventually found their way into the hidden Antarctic valley, where they and their descendants lived to the modern day, with Eilif being the last of his people. Knowing that they could only ascend to Valhalla if they dies a warrior's death, but lacking any enemies to fight, they constructed the deadly traps in the caves to test their mettle, to become warriors, and to be able to die a warrior's death, avoiding a lesser straw death which would consign them not to Valhalla but instead to the gloomy confines of Hel.
It's a fascinating premise, in part because it runs counter to our Western, Christian-influenced way of thinking. It just seems so unfair, after all. Why should Eilif, who was skilled enough to survive where other did not, face the rather dismal prospect of spending eternity in Hel? Why should he be punished for his skill and ability, when his brethren should be rewarded into Valhalla by dint of not being quite as good as Eilif was? Couldn't some sort of exception be made? It just seems so terribly unfair.
Fairness, of course, has nothing to do with it. The rules are the rules, and they are not for mere mortals to bend or break. It is in part this seeming cruel twist of fate that gives the story the power it has(1). A lesser writer would no doubt have given us such a 'cheat', a way for Eilif to reach Valhalla in an easier manner, but that would have been a cop-out(2).
Fortunately, Simonson respects the myths that the comics were based upon, and refuses to follow the easy way out. It's one of the important distinctions of his tenure on Thor, that it feels less like a superhero book that has the trappings of mythology, and more like the stuff of myth that just happens to take place in a superhero world.
Back to the story, Eilif, now with no one left to fight, sought to trap Thor in the deadly labyrinth, hoping to provoke the thunder god into slaying him in battle, so that he might avoid the straw death of old age, and make his way into Valhalla. Having failed to do so, he accepts that his fate is instead to die in bed.
Yeah, right.
Thor isn't putting up with any of that crap.
Impressed with Eilif's boldness, and sensing that a powerful foe awaits him shortly, Thor bids the elderly warrior to don his armor and follow him. The god of thunder summons forth Cloudrider, the winged steed of the heroine Valkyrie, as well as his own flying steeds Toothgnasher and Toothgrinder, so that they may face the upcoming battle together. But before they leave, Eilif is wracked by doubt.
Strengthened by Thor's words, Eilif overcomes his doubts and stands ready to assist Thor however he can. Thor grants, through the touch of his hammer Mjolnir, a portion of his own power to Eilif, giving him the strength and vigor of his youth. Before they leave the valley, a mysterious old man (actually Odin in disguise) gives Eilif's spear a blessing; as they leave the valley, the old man is suddenly nowhere to be seen.
Arriving back in New York, the duo battle against a re-awakened Fafnir. Even Thor's mightiest of blows are unable to hurt Fafnir. During the battle, Eilif is unhorsed from Cloudrider, and plunges to the wreckage of a nearby building. Thor's concern for Eilif allows Fafnir to gain the advantage, putting the thunder god in peril. Eilif notes that his strength is fading, which can only mean that Thor is badly hurt. Vowing that Thor should not perish because Eilif failed in his duty as shield-bearer, he leaps from the wreckage of the building, aiming the blessed spear at the heart of the great beast Fafnir.
The blow actually manages to wound Fafnir, who strike Eilif away as he might a gnat. Thor then uses his hammer to drive the spear deep into the dragon's body, killing him. Upon finding the fallen Eilif, he sees that the old man is no longer alive.
The grief of a god can be a terrifying thing to behold...
Thor uses the nearby wreckage to build a funeral pyre for Eilif, and then lays the now-dead Fafnir at the foot of the pyre, for in the past it was customary to lay a dog at a viking's feet when they were to be buried. Summoning lightning from the skies, Thor then brings down the lightning onto the pyre, lighting it, so that his soul may be properly claimed.
And so the Valkyries, under the watchful eye of Odin, welcomes the Last Viking into the halls of Valhalla. Although we do not get to see it, in my mind's eye, a truly grand feast and celebration occurs for the days to follow, as Eilif joins their honored ranks.
There's much more in these two issues that what I have described. Multiple subplots, which would all play out in their own time, are interspersed throughout the main narrative. Simonson handles the balance between the main story and the various secondary elements with ease, and his art wonderfully compliments and completes the story he tells. There is a lot of ground that is covered (in more modern times such a story might be stretched out for four or even six issues), yet it never feels rushed.
If you've never had the pleasure of reading Simonson's Thor before, well, what are you waiting for? Besides an Omnibus that collects the entire run under one set of covers, there's also a series of four standard TPB collections that also collect the breadth of Simonson's work. In whatever format you get them - individual issues, collections, or digital media - they're well worth getting.
(1) Of course, to an outside observer, it's not just the old faiths that might seem unfair in this aspect. After all, in Christian thought, one can engage in a lifetime of sins and evils, only to convert on the deathbed in one's final moments, and still be allowed into Heaven - where's the fairness in that?
(2) Assuming they were willing to approach the topic at all - earlier writers would have most likely avoided the topic completely, and more modern scribes would perhaps treat Eilif as a source of derision, an old warrior who can't let go of his martial ways.
Music Monday: "Star-Spangled Banner"
Here in the United States, July 4th is, of course, Independence Day. What better way for Music Monday to celebrate that day than by playing this nation's national anthem, the Star-Spangled Banner...
...as performed by Jimi Hendrix.
...as performed by Jimi Hendrix.
Saturday, July 2, 2011
Review: "Signals"
Coming off the success of Moving Pictures, it would have been easy for the band to continue to make albums in the same vein of Pictures and Permanent Waves. Instead, Rush opted to move in a new direction, one more aggressively incorporating the musical technology of synthesizers and sequencers, and more openly influenced by the new wave, reggae, ska, and funk musical stylings of the era. The result was Signals, an album which would forecast the band's musical approach throughout the 1980's.
The most immediate difference from previous albums is Geddy Lee's use of the synthesizer, which had been a background element on several previous songs, but was now much more in the forefront, with both the bass and Lifeson's guitar no longer as dominant as they had once been. This approach would continue up to 1987's Hold Your Fire.
The four albums the band recorded during this period are something of a mixed bag. While the new musical approach did bring in some new fans, some of the people who had been listening throughout the seventies occasionally expressed a desire to not have the synthesizers and keyboards be such a dominant feature on the newer albums. For myself, the albums are good overall, but uneven. Several of the tracks on these albums are among my favorite Rush songs, but there are usually at least a couple of songs on each of these albums I'm inclined to skip over during a casual listening.
Signals starts off strong with 'Subdivisions', a commentary on the sterile and restrictive nature of the modern suburbs, and an anthem for disaffected youth everywhere. The follow-up track, 'The Analog Kid', is in many ways a counterpart to 'Subdivisions', a study of a small-town youth torn between the home he has always known and the big city that calls to him. Both of these songs are quite effective, with the former's use of keyboards as an ominous and oppressive element, and the latter as a fast-paced, up-tempo rocker.
The next two songs, however, don't work out quite as well. 'Chemistry' (the last example of Lee and Lifeson contributing lyrically to a Rush album) never quite gels, and while the science-as-metaphor approach was hardly a new one for the band, in this case the metaphor doesn't really work because it lacks any real emotional connection. 'Digital Man' fails to work for different reasons, in many ways feeling like two or more unrelated songs strung together. The reggae and ska elements are more obvious here then they were on previous songs, but the transition between those elements and the more traditional rock aspects of the song are more jarring than satisfactory.
Side two of the album pick up with 'The Weapon', which was also part two of Peart's 'Fear' series, dealing with how the things we fear can be used against us. Following that is the surprise hit of the album, 'New World Man'. The track was written and recorded in a single day, on request by producer Terry Brown to add a song of appropriate length to help ensure that the cassette release could maintain the continuity of song order without having a disproportionate amount of dead space. It would go on to be the band's best-charting single, being the group's only American Top 40 hit (the fact that this makes Rush a one-hit wonder by some people's standards amuses me greatly).
'Losing It' is a slower, melancholy piece, regarding the inevitable tolls of age that we all face, with the memories of faded glories now bitter reminders of the past. A powerful song, but not one that readily lends itself to an easy assimilation upon first listening to it.
Whatever flaws the album may have, Signals end on an high note with 'Countdown', which conveys the band's reaction to being witness to the inaugural flight of the space shuttle Columbia. The musically ominous tone contrasts with Peart's optimistic and enthusiastic lyrics to good effect, and also incorporates recorded dialog between the astronauts and the ground control personnel that occurred during the launch. While much of the album is darker and more cautionary in tone, compared to previous albums, 'Countdown' ends Signals on a more optimistic, upbeat note.
This was to be the last album Terry Brown produced for the band, as he did not care for the new direction that the band was going; he and Rush would eventually part ways after Signals had been finished. This is indicative of many Rush fans attitude toward the album, but there is much here to like, as well. Signals is by no means the perfect Rush album, but it is one well worth listening to, warts and all.
The four albums the band recorded during this period are something of a mixed bag. While the new musical approach did bring in some new fans, some of the people who had been listening throughout the seventies occasionally expressed a desire to not have the synthesizers and keyboards be such a dominant feature on the newer albums. For myself, the albums are good overall, but uneven. Several of the tracks on these albums are among my favorite Rush songs, but there are usually at least a couple of songs on each of these albums I'm inclined to skip over during a casual listening.
Signals starts off strong with 'Subdivisions', a commentary on the sterile and restrictive nature of the modern suburbs, and an anthem for disaffected youth everywhere. The follow-up track, 'The Analog Kid', is in many ways a counterpart to 'Subdivisions', a study of a small-town youth torn between the home he has always known and the big city that calls to him. Both of these songs are quite effective, with the former's use of keyboards as an ominous and oppressive element, and the latter as a fast-paced, up-tempo rocker.
The next two songs, however, don't work out quite as well. 'Chemistry' (the last example of Lee and Lifeson contributing lyrically to a Rush album) never quite gels, and while the science-as-metaphor approach was hardly a new one for the band, in this case the metaphor doesn't really work because it lacks any real emotional connection. 'Digital Man' fails to work for different reasons, in many ways feeling like two or more unrelated songs strung together. The reggae and ska elements are more obvious here then they were on previous songs, but the transition between those elements and the more traditional rock aspects of the song are more jarring than satisfactory.
Side two of the album pick up with 'The Weapon', which was also part two of Peart's 'Fear' series, dealing with how the things we fear can be used against us. Following that is the surprise hit of the album, 'New World Man'. The track was written and recorded in a single day, on request by producer Terry Brown to add a song of appropriate length to help ensure that the cassette release could maintain the continuity of song order without having a disproportionate amount of dead space. It would go on to be the band's best-charting single, being the group's only American Top 40 hit (the fact that this makes Rush a one-hit wonder by some people's standards amuses me greatly).
'Losing It' is a slower, melancholy piece, regarding the inevitable tolls of age that we all face, with the memories of faded glories now bitter reminders of the past. A powerful song, but not one that readily lends itself to an easy assimilation upon first listening to it.
Whatever flaws the album may have, Signals end on an high note with 'Countdown', which conveys the band's reaction to being witness to the inaugural flight of the space shuttle Columbia. The musically ominous tone contrasts with Peart's optimistic and enthusiastic lyrics to good effect, and also incorporates recorded dialog between the astronauts and the ground control personnel that occurred during the launch. While much of the album is darker and more cautionary in tone, compared to previous albums, 'Countdown' ends Signals on a more optimistic, upbeat note.
This was to be the last album Terry Brown produced for the band, as he did not care for the new direction that the band was going; he and Rush would eventually part ways after Signals had been finished. This is indicative of many Rush fans attitude toward the album, but there is much here to like, as well. Signals is by no means the perfect Rush album, but it is one well worth listening to, warts and all.
Friday, July 1, 2011
Thursday, June 30, 2011
Wednesday, June 29, 2011
V&V Vednesday: Alchemist
Character Name: Alchemist Real Name: Aliyah Qasim Side: Good
Gender: Female Height: 5'6"" Weight: 140 lbs Age: 29
Physical Description: A woman in her late 20's of Arabic descent, with long black hair and brown eyes, and athletic build. She is often seen wearing a lab coat over casual business clothes. She does not have a 'super' costume.
STR: 12 END: 19 INT: 21 AGL: 17 CHA: 16
Level: 1st XP: 545 Basic Hits: 3 Hit Points: 18 Healing Rate: 1.5/day
Movement: 48” Power: 69 Carrying Capacity: 254 lbs HTH Damage: 1d6
Damage Modifier: +3 Accuracy: +2 Detect Hidden: 16% Detect Danger: 20%
Inventing: 63% Inventing Points: 1.2 Reaction Modifier: +2 good/-2 evil
Training: Agility
Powers/Talents
Heightened Expertise: +4 to hit with transmutation attacks
Heightened Mental Prowess (acts similar to Heightened Intelligence A and Heightened Charisma A, bonus may be split between those two attributes as desired): +7 INT, +6 CHR
Heightened Physical Prowess (acts similar to Heightened Strength A, Heightened Endurance A and Heightened Agility A, bonus may be split between those three attributes as desired): +3 STR, +6 END, +5 AGL
Transmutation (range 42", PR=8, only affects non-living materials)
Areas of Knowledge
Chemistry, Occult
Character Notes/Origin/Personality: Aliyah is a second-generation American of Arabic descent, her parents escaping from Iran in the late 70's after the Ayatollah Khomeini took control of power in that country. She grew up to be a brilliant chemist, working for a major chemical firm in the U.S. One of her hobbies was the history of chemistry and pre-chemistry, specifically the study of alchemy and the theories thereof during the Middle Ages. A year ago, she managed to acquire a tome from the late 14th century, written in Latin by a mysterious occult figure of the era, Jacobi Destworth, called Immutationis atque Ascensione.
To this day, Aliyah does not know what happened that evening. The last thing she remembers is settling down in her den to start reading through the tome... and then three days later she found herself out in the Arizona desert. The book was never found. Aliyah soon discovered that she now had the ability to transmute elements. She has since used this new ability to assist others in scientific research, usually to help build materials that might otherwise prove difficult or prohibitive in terms of cost. She has resisted offers to join various superhero teams (from whom she picked up the nickname 'The Alchemist'), although she has assisted various super-scientists with various projects from time to time. If attacked, she will usually use her abilities defensively, erecting barriers, and (if the attacker has not displayed super-strength) transforming their clothes into some sort of metal.
Campaign Use: The PC's may wish to enlist Aliyah's unique abilities to help build some technological wonder of their design. Depending on their abilities, she may also turn to them to try to find out what happened during those three mysterious days. Finally, she may be targeted by various supervillain types who wish to use her abilities to their own nefarious ends (this has already happened once).
Gender: Female Height: 5'6"" Weight: 140 lbs Age: 29
Physical Description: A woman in her late 20's of Arabic descent, with long black hair and brown eyes, and athletic build. She is often seen wearing a lab coat over casual business clothes. She does not have a 'super' costume.
STR: 12 END: 19 INT: 21 AGL: 17 CHA: 16
Level: 1st XP: 545 Basic Hits: 3 Hit Points: 18 Healing Rate: 1.5/day
Movement: 48” Power: 69 Carrying Capacity: 254 lbs HTH Damage: 1d6
Damage Modifier: +3 Accuracy: +2 Detect Hidden: 16% Detect Danger: 20%
Inventing: 63% Inventing Points: 1.2 Reaction Modifier: +2 good/-2 evil
Training: Agility
Powers/Talents
Heightened Expertise: +4 to hit with transmutation attacks
Heightened Mental Prowess (acts similar to Heightened Intelligence A and Heightened Charisma A, bonus may be split between those two attributes as desired): +7 INT, +6 CHR
Heightened Physical Prowess (acts similar to Heightened Strength A, Heightened Endurance A and Heightened Agility A, bonus may be split between those three attributes as desired): +3 STR, +6 END, +5 AGL
Transmutation (range 42", PR=8, only affects non-living materials)
Areas of Knowledge
Chemistry, Occult
Character Notes/Origin/Personality: Aliyah is a second-generation American of Arabic descent, her parents escaping from Iran in the late 70's after the Ayatollah Khomeini took control of power in that country. She grew up to be a brilliant chemist, working for a major chemical firm in the U.S. One of her hobbies was the history of chemistry and pre-chemistry, specifically the study of alchemy and the theories thereof during the Middle Ages. A year ago, she managed to acquire a tome from the late 14th century, written in Latin by a mysterious occult figure of the era, Jacobi Destworth, called Immutationis atque Ascensione.
To this day, Aliyah does not know what happened that evening. The last thing she remembers is settling down in her den to start reading through the tome... and then three days later she found herself out in the Arizona desert. The book was never found. Aliyah soon discovered that she now had the ability to transmute elements. She has since used this new ability to assist others in scientific research, usually to help build materials that might otherwise prove difficult or prohibitive in terms of cost. She has resisted offers to join various superhero teams (from whom she picked up the nickname 'The Alchemist'), although she has assisted various super-scientists with various projects from time to time. If attacked, she will usually use her abilities defensively, erecting barriers, and (if the attacker has not displayed super-strength) transforming their clothes into some sort of metal.
Campaign Use: The PC's may wish to enlist Aliyah's unique abilities to help build some technological wonder of their design. Depending on their abilities, she may also turn to them to try to find out what happened during those three mysterious days. Finally, she may be targeted by various supervillain types who wish to use her abilities to their own nefarious ends (this has already happened once).
Subscribe to:
Posts (Atom)