Jab’s Builds! (Miss Piggy! The Swedish Chef! Sweetums! Gonzo!)

Where in all of your character write ups will go.
Shock
Posts: 2978
Joined: Fri Nov 04, 2016 8:27 pm
Location: Connecticut USA

Re: Jab’s Builds! (George Washington! Eliza! Thomas Jefferson!)

Post by Shock »

Jabroniville wrote: Sun Sep 04, 2022 9:51 pm (That feeling where you hope for more engagement on the next set, but it’s gonna be like three weeks of Marvel UK- Marvel’s lamest offshoot, lol)
I tried watching Hamilton and it lost me in the first song. I'm not into musicals and a rap musical is a bridge way too far. The only extensive reading I've done on the Revolution only took me up to 1777 so far so Hamilton doesn't play much part yet. But from what I remember, he was a polarizing figure because of his unwillingness to compromise on pretty much anything. So he did some good things but made a lot of enemies. He probably could have done more if he worked better with his contemporaries.
Jabroniville
Posts: 24695
Joined: Fri Nov 04, 2016 8:05 pm

King George III

Post by Jabroniville »

Image
Image

"You'll be back like before
I will fight the fight and win the war
For your love, for your praise
And I'll love you till my dying days
When you're gone, I'll go mad
So don't throw away this thing we had
'Cause when push comes to shove...
I will kill your friends and family to remind you of my love!

[Chorus: KING GEORGE ]
Da da da dat da dat da da da da ya da
Da da dat dat da ya da!
Da da da dat da dat da da da da ya da
Da da dat—
Everybody!
[Chorus: FULL ENSEMBLE]
Da da da dat da dat da da da da ya da
Da da dat dat da ya da!
Da da da dat da dat da da da da ya da da da da
Dat dat da ya da!"


KING GEORGE III
Role:
Comic Relief

-The most comic role in Hamilton goes to King George III of England- portrayed as an ignorant, pompous ass with scenery-chewing splendor. Always played by a hammy white guy, George appears only in solo numbers between important things, acting hurt by the Americans rejecting his "love". The songs are, fittingly, more pompous and like "Old Broadway" musical numbers, setting him apart from everyone else. The first one, in You'll Be Back, promises that he's still "your man" to the Americans, chides them for breaking their promises, then ends with a memorable I will kill your friends and family to remind you of my love" before singing "DA DA DA DAT DAAAHHHH!!" over and over again to himself. In short, he's a vicious lunatic.

-We see him a few more times- he's upset when he loses the War but suggests America will soon come crawling back. Later, when Washington steps down as President, George reacts with shock ("I didn't know you could do that!"), reflecting the outside world's views on American democracy. When he finds out John Adams is named President (a move the play treats as disastrous), George mocks the idea, going "I know him!" and acts like he's unfit.

-The real King George III could easily have musicals based off of his OWN life- despite being viewed as an ass by a lot of historians, he ruled England for a shocking fifty years (!), one of the longest reigns ever, and oversaw the Seven Years War, England becoming the dominant power overseas, and even the end of the Atlantic Slave Trade... but he went mad (nobody knows exactly how) and his son led as Prince Regent for at least the last ten years of George's life (which saw Napoleon's final defeat as well). Most historians were very unkind, focusing on the loss of the American Colonies and his madness, but others re-evaluate him. Modern thoughts towards mental illness have also changed some things as well- George has a bit more sympathy than the "OMG we had a CRAZY PERSON for a King!" take (though that does indeed bring up how dangerous an absolute monarchy can truly be).
Jabroniville
Posts: 24695
Joined: Fri Nov 04, 2016 8:05 pm

Aaron Burr, Sir

Post by Jabroniville »

Image
Image

“Theodosia writes me a letter every day
I'm keeping the bed warm while her husband is away
He's on the British side in Georgia
He's trying to keep the colonies inline
But he can keep all of Georgia
Theodosia, she's mine

Love doesn't discriminate
Between the sinners and the saints
It takes and it takes and it takes
And we keep loving anyway
We laugh and we cry and we break
And we make our mistakes
And if there's a reason I'm by her side
When so many have tried
Then I'm willing to wait for it
I'm willing to wait for it
My grandfather was a fire and brimstone preacher
(Preacher, Preacher, Preacher)
But there are things that the
Homilies and hymns won't teach ya
(Teach ya, Teach ya, Teach ya)
My mother was a genius (Genius)
My father commanded respect (Respect, Respect)
When they died they left no instructions
Just a legacy to protect
Death doesn't discriminate
Between the sinners and the saints
It takes and it takes and it takes
And we keep living anyway
We rise and we fall and we break
And we make our mistakes
And if there's a reason I'm still alive
When everyone who loves me has died
I'm willing to wait for it (Wait for it)
I'm willing to wait for it

I am the one thing in life I can control!!
(Wait for it, wait for it, wait for it, wait for it)
I am inimitable
I am an original!!
I'm not falling behind or running late
(Wait for it, wait for it, wait for it, wait for it)
I'm not standing still
I am lying in wait!! (Wait, wait, wait)
Hamilton faces an endless uphill climb
(Climb, climb, climb)
He has something to prove
He has nothing to lose
(Lose, lose, lose, lose)
Hamilton's pace is relentless
He wastes no time
(Time, time, time)
What is it like in his shoes?

Hamilton doesn't hesitate
He exhibits no restraint
He takes and he takes and he takes
And he keeps winning anyway
He changes the game
He plays and he raises the stakes
And if there's a reason
He seems to thrive when so few survive, then Goddamnit
I'm willing to wait for it (Wait for it)
I'm willing to wait for it
Life doesn't discriminate
Between the sinners and the saints
It takes and it takes and it takes
(And we keep living anyway)
We rise (and we fall)
We fall (and we break)
(And we make our mistakes)
And if there's a reason I'm still alive
When so many have died
Then I'm willin' to-
Wait for it (Wait for it, wait for it)
Wait for it (Wait for it, wait for it
(Wait for it, wait for it, wait for it, wait for it, wait for it)
(Wait)”


AARON BURR
Role:
The Rival, The Narrator, The Damn Fool That Shot Him
PL 3 (60), PL 5 Saves
STRENGTH
2 STAMINA 2 AGILITY 1
FIGHTING 2 DEXTERITY 0
INTELLIGENCE 4 AWARENESS 3 PRESENCE 4

Skills:
Deception 6 (+10)
Expertise (Politics) 5 (+9)
Expertise (Law) 5 (+9)
Expertise (Soldier) 2 (+6)
Insight 5 (+8)
Perception 3 (+6)
Persuasion 4 (+8)

Advantages:
Benefit 2 (Station/Wealth)

Offense:
Unarmed +2 (+2 Damage, DC 17)
Initiative +1

Defenses:
Dodge +3 (DC 13), Parry +2 (DC 12), Toughness +2, Fortitude +4, Will +6

Complications:
Motivation (Wait For It)- Burr is as ambitious as Hamilton, but is cautious and willing to wait for his shot.
Responsibility (I'm Not Standing Still; I am Lying in Wait)- Burr is dismissed as a coward who never takes a stand. He sees it as a conscious decision to not "wind up dead" like so many other loudmouths. This gives him a reputation for never backing up his beliefs, or even showing what they even are!
Reputation (For Once In Your Life, Take a Stand With Pride)- Burr is so averse to risk that even onetime political allies find him untrustworthy, as he'll change political parties or become a rival as soon as he sees an opportunity.
Responsibiltiy (No One Else Was in The Room Where It Happened)- Burr is often excluded, even by one-time allies, from things because he never took a risk with the others or backed them up when it counted. He seethes privately at his own foiled ambitions and his jealous of the success of others who aren't as cautious as he is.
Rivalry (A.Ham)- Burr & Hamilton "keep meeting" in their early days, Hamilton being constantly befuddled by Burr's lack of initiative ("What do you stall for?") or willingness to take a stand. This leads to them being full-on political rivals later on, Burr defeating Alex's father-in-law in one election, and Hamilton ruining Burr's chances at the Oval Office. He's so angry with Burr that he sides with JEFFERSON over him, offended by Burr's seeming lack of principles or viewpoints.
Rivalry (Thomas Jefferson & James Madison)- Burr is initially an ally of the two, but is rebuffed when they work out deals with Hamilton, then campaigns against them.
Relationship (Theodosia I & II)- Burr falls in love with the wife of a British officer in a rare moment of risk. She gives birth to a daughter by the same name, though he is the girl's only surviving parent by the end of the play. His desire to not make an orphan of his daughter leads him to a moment of deadly aim.

Total: Abilities: 36 / Skills: 30--15 / Advantages: 2 / Powers: 0 / Defenses: 7 (60)

Aaron Burr, Sir:
-While Hamilton is the main star of the show, it's Aaron Burr who gets the more "actorly" role- the guy who has the best acting moments and several of the best songs. Hamilton gets PARTS in some of the best songs, but nothing like Wait For It! Lin-Manuel Miranda has repeatedly mentioned that he couldn't decide until the last moment which of the two men he would play, ultimately choosing the star (and guy who gets all the chicks) while Leslie Odom, Jr. got to lay Burr... the role which netted him the Tony (while LMM had to settle for like every other award the Tonys offered).

-Burr is, of course, the "damn fool that shot him"- the man who kills Alexander Hamilton in a duel. This is stated right from the beginning of the play and sets up Burr as the show's narrator, often setting the scene or repeating history. Burr is EVERYWHERE in the show doing stuff like that, but pops up periodically as part of his lifelong rivalry with Hamilton. Naturally, the play exaggerates much of this, inventing situations for them in the past. Burr, whose real-life political ambitions left him never showing his hand and generally placating both sides by acting in whichever way netted him the most power, is given a lot of self-justification. Initially, he's seen as a smiling gladhandler- when a young, scrappy & hungry Hamilton visits him, Burr offers him some free advice. "Talk LESS" "I'm sorry, what?" "SMILE MORE... don't let them know what you're against or what you're for". In short, he's a career politician- he doesn't stick his neck out, and warns Hamilton that those who do "wind up dead". This is contrasted by Hamilton's Revolutionary buddies, who are all loud partiers who deride Burr as a stick in the mud. About the only personal thing we get from Burr is that he's sleeping with the wife of a British officer ("He can have all of Georgia; Theodosia, she's mine". Later, he & Hamilton sing to their infant children. While the others tomcat around, Burr's only seen doing so once, being rebuffed by Angelica Schuyler in a glorious bit of business ("Burr, you disgust me" "Ah, so you've discussed me. I'm a trust fund baby; you can trust me").

Burr- The "Actor's Role":
-What shocked me in seeing the play was how much Burr just SEETHED at things. While his ambitions are smart and his manner definitely nets him some success, he's often deliberately "kept out" of certain things. Since he took none of the risk he gets little respect, even as Hamilton himself notes "Burr, you're a better lawyer than me. I know I talk to much/I'm abrasive/You're incredible in court/you're succinct; persuasive", and often everyone runs off without him. This gives you the big "Actor Moments" when he silently just rages against this or wonders what's wrong. Later, he switches political parties simply to win an election against a weak opponent (Hamilton's own father-in-law, which Alexander takes personally). And he of course refuses to help out the new U.S. Constitution in a great scene. Hamiltoin points out his aforementioned skill as a lawyer (Burr is hilariously amused and proud when Alex compliments him), and begs him to defend the document to the public. Though Burr agrees the document is important he doesn't want to, just in case it fails ("Do you support this document?" "OF COURSE". "Then defend it!" "And what if you're backing the wrong horse?")- Hamilton begs him "Burr- we studied, and we fought and we killed/For the notion of this nation we now get to build!/For once in your life take a stand with PRIDE-I don't understand how you stay to the side!".

Wait For It:
-It would be easy to pass Burr off as a coward, and there's a bit of that (though he did fight in the war). But in the showstopping number Wait For It, he elaborates on his purpose and destiny. Having lost everyone at a young age ("My mother was a genius/my father commanded respect/When they died they left no instructions/just a legacy to protect"), he stays the course and plans caution. He knows how risky it is to be so grandiose and loud, and advises others to do the same. "I'm not standing still I'm lying in WAIT!" he proclaims- he's as hungry as Hamilton but will play the longer, smarter game. However, he also seethes with jealousy at Hamilton's successes- "Hamilton faces an endless uphill climb!" and he points out "Why do you assume you're the smartest in the room? Soon that attitude will be your doom", he's left sitting there while Hamilton rises to the top. "What is it like in your shoes?" he admits to himself, as the cautionless Hamilton climbs the ladder and becomes Washington's right-hand man in the army and in politics.

-Burr's fate is sealed- he latches on to whomever is a big star, and even joins forces with Jefferson & Madison- Hamilton's biggest rivals. But when they go to The Room Where It Happened to privately hash out a deal for Hamilton's financial plan, Burr is frozen out since he wasn't a part of it. And he's stunned, hurt and resentful over it. When Hamilton's financial secrets are unleashed, he admits to having an affair but that his books are in order- Jefferson and Madison say they won't reveal the secret since they promised they wouldn't if Hamilton could prove no wrongdoing, while Burr silently suggests he just might regardless- this is what in the play convinces Hamilton to reveal everything to the public.

Burr's Fate:
-Later, Burr runs for President against Jefferson himself, and while Jefferson is brilliant, Burr is, as always, friendly, charming, smiling and able to convince people directly that "I'd like to have a beer with him!". This is a pretty noted comparison to George W. Bush, who won eight years in the Oval Office in part because people found him approachable and personally charming- the "I'd like to have a beer with him" was a HUGE talking point to the joy of his supporters, and the disgust of his political rivals, who found him an unpracticed, unwise trust fund baby. In any case, the public seem to support Burr, and Jefferson's goose may be cooked... until James Madison suggests an unlikely alliance with HAMILTON. Though Hamilton hates the two men, he at least feels they're trustworthy in that they stand for SOMETHING- he writes against Burr, who seems to have no convictions at all save his own ambition. This crushes Burr's Presidential ambitions, and though as #2, he's the Vice-President (this was an old rule in U.S. elections), new President Jefferson bluntly admits he'll probably change the rule because he's like "Lol screw you, Burr". A series of nasty letters between Burr & Hamilton lead to the play's culmination (in real life, Hamilton ruined another election of Burr's and said some things in a party he refused to refute since "I don't remember saying them")- Burr challenges him to a duel.

-So the play had set up the rules of duels in the first act, then had Hamilton's son killed in one. We actually don't get to see Hamilton's side in the duel- only Burr's. This has been a matter of much historical commentary, so it's neat that only one side gets to justify themselves. Burr is prepared to throw away his shot (which is the standard, though every duel in the play ends with people not doing this), but what's this? "They won't teach you this in your classes, but look it up/Hamilton was wearing his glasses! WHY? If not to take deadly aim!? It's him or me; nothing will ever be the same!". He suspects Hamilton will kill him, and confesses that "My own men will tell you, I'm a terrible shot!". Then his voice breaks (Odom is FANTASTIC here)- "This man will not make an ORPHAN OF MY DAUGHTER!" (our only indication that his wife is dead). Stuck in the moment and worried for his own life, Burr takes the fatal shot. He tries to run to Hamilton but is taken aside, and he sadly tells the story of how Hamilton dies, and "Now I'm the villain in your history...". For all his ambition and effort, his own political career is ruined (killing Hamilton prevents Burr from ever seeking office again; even worse, in real life his daughter was lost at sea, meaning he dies with nobody), and the play's talk of "Legacy" is brought up, as now Burr's legacy is that of a killer while Hamilton's glows- "planting seeds in a garden you never get to see".

-So Burr ends up this tragic figure- while nakedly ambitious and with no moral standards of his own, you actually get into his head and see WHY he's like this. Justifying things mostly to himself, you see why passionate, revolutionary men don't like him (he's boring and takes no risks), but that the laymen think he's fine and charming. Hamilton, truth be told, IS a reckless loudmouth, and a lot of his survival is due to luck, even while Burr is shocked and envious (in Wait For It, Burr notes "If there's a reason he seems to thrive while so many have died/then god damn it I'm willing to WAIT FOR IT!"). Burr's incredible because while Hamilton is correct in that he's an over-cautious politician who doesn't stand for anything other than ambition, he's not just this formless enemy but a human being with his own motivations and justifications. Having lost everyone much as Hamilton did, it's made him averse to risk, and the people he privately cares about (the Theodosias- his wife and daughter) are part of the reason why. Then in a moment of anger he demands the duel for his personal honor, then this same fear overtakes him and makes him take that shot that ruins him and his legacy.

Burr's Stats:
-Burr's stats are tricky- he's persuasive and good with people, but mostly with strangers; he has no close friends and people who REALLY know him tend not to trust him, as he's too nakedly ambitious and with no goals beyond his own status. So what IS his Presence? I went with high stats but with Complications that tend to turn him off of others, especially experienced allies & rivals (since they often become the same thing to Burr).
Jabroniville
Posts: 24695
Joined: Fri Nov 04, 2016 8:05 pm

Re: Jab’s Builds! (George Washington! Eliza! Thomas Jefferson!)

Post by Jabroniville »

One last song, exemplifying the Hamilton/Burr relationship (and one of the musical's best moments):

https://www.youtube.com/watch?v=vKA9vJS ... =TimSchulz

NON-STOP:
Burr: "After the war I went back to New York"
Hamilton: "A-after the war I went back to New York"
Burr: "I finished up my studies and I practiced law"
Hamilton: "I practiced law, Burr worked next door"
Burr: "Even though we started at the very same time
Alexander Hamilton began to climb
How to account for his rise to the top?
Man, the man is non-stop:"

Hamilton: "Gentlemen of the jury, I'm curious, bear with me
Are you aware that we're making hist'ry?
This is the first murder trial of our brand-new nation
The liberty behind deliberation (Non-stop!)
I intend to prove beyond a shadow of a doubt
With my assistant counsel--"
Burr: "Co-counsel
Hamilton, sit down
Our client Levi Weeks is innocent
Call your first witness
That's all you had to say"
Hamilton: "Okay

... ONE MORE THING–"
Burr: "Why do you assume you're the smartest in the room?
Why do you assume you're the smartest in the room?
Why do you assume you're the smartest in the room?
Soon that attitude may be your doom!
Why do you write like you're running out of time?
Write day and night like you're running out of time?
Every day you fight, like you're running out of time
Keep on fighting, in the meantime-"
(Non-stop!)

Hamilton: "Corruption's such an old song that we can sing
Along in harmony and nowhere is it stronger
Than in Albany
This colony's economy's increasingly stalling and
Honestly that's why he's just public service seems
To be calling me (Non-stop!)
I practiced the law, I practically perfected it
I've seen injustice in the world and I've corrected it
Now for a strong central democracy
If not, then I'll be Socrates
Throwing verbal rocks at these mediocrities."

Burr: "Hamilton, at the Constitutional Convention
Hamilton: "I was chosen for the Constitutional Convention!
Burr: "There as a New York junior delegate
Hamilton: "Now what I'm going to say may sound indelicate
Burr: "Goes and proposes his own form of government (What?)
His own plan for a new form of government (What?)
Talks for six hours, the convention is listless!"
Random: "Bright young man"
Random: "Yo, who the eff is this?"
Burr: "Why do you always say what you believe?
Why do you always say what you believe?
Every proclamation guarantees
Free ammunition for your enemies (Awww!)
Why do you write like it's going out of style? (Hey)
Write day and night like it's going out of style? (Hey)
Every day you fight like it's going out of style
Do what you do"

Burr: "Alexander?
Hamilton: "Aaron Burr, sir
Burr: "Well, it's the middle of the night
Hamilton: "Can we confer, sir?
Burr: "Is this a legal matter?
Hamilton: "Yes, and it's important to me
Burr: "What do you need?"
Hamilton: "Burr, you're a better lawyer than me"
Burr: *smirks* "Okay."
Hamilton: "I know I talk too much, I'm abrasive
You're incredible in court
You're succinct, persuasive
My client needs a strong defense
You're the solution"
Burr: "Who's your client?"
Hamilton: "... The new U.S. Constitution?"
Burr: "No."
Hamilton: "Hear me out"
Burr: "No way!"
Hamilton: "A series of essays, anonymously published
Defending the document to the public"
Burr: "No one will read it
Hamilton: "I disagree"
Burr: "And if it fails?
Hamilton: "Burr, that's why we need it"
Burr: "The constitution's a mess!"
Hamilton: "So it needs amendments"
Burr: "It's full of contradictions"
Hamilton: "So is independence!"
We have to start somewhere."
Burr: "No, no way"
Hamilton: "You're making a mistake"
Burr: "Good night"
Hamilton: "Hey
What are you waiting for?
What do you stall for?
Burr: "What?"
Hamilton: "We won the war
What was it all for?
Do you support this constitution?"
Burr: "Of course"
Hamilton: "Then defend it"
Burr: "And what if you're backing the wrong horse?"
Hamilton: "Burr, we studied and we fought and we killed
For the notion of a nation we now get to build!
For once in your life, take a stand with pride
I don't understand how you stand to the side"
Burr: "I'll keep all my plans close to my chest
(Wait for it, wait for it, wait)
I'll wait here and see which way the wind will blow
I'm taking my time, watching the afterbirth of a nation
Watching the tension grow!"

Angelica: "I am sailing off to London
I am accompanied by someone who always pays
I have found a wealthy husband who will
Keep me in comfort for all my days
He is not a lot of fun, but there's no one
Who can match you for turn of phrase
My Alexanderrrrr..."
Hamilton: "Angelicaaaa..."
Angelica: "Don't forget to write"
Eliza: "Look at where you are
Look at where you started
The fact that you're alive is a miracle
Just stay alive, that would be enough
And if your wife could share a fraction of your time
If I could grant you peace of mind
Would that be enough?"

Burr: "Alexander joins forces with James Madison
And John Jay to write a series of essays
Defending the new United States Constitution
Entitled The Federalist Papers
The plan was to write a total of 25 essays
The work divided evenly among the three men
... In the end, they wrote 85 essays
In the span of six months
John Jay got sick after writing five
James Madison wrote 29
HAMILTON WROTE... THE OTHER FIFTY-ONE!"

Burr:
"How do you write like you're running out of time? (Running out of time?)
Write day and night like you're running out of time? (Running out of time?)
Every day you fight, like you're running out of time
Like you're running out of time
Are you running out of time? Awwww!
How do you write like tomorrow won't arrive?
How do you write like you need it to survive?
How do you write every second you're alive?
Every second you're alive? Every second you're alive?"

Washington: "They're asking me to lead
I am doing the best I can
To get the people that I need
I'm asking you to be my right-hand man (Treasury or State?)
I know it's a lot to ask (Treasury or State?)
To leave behind the world you know..."
Hamilton: "Sir, do you want me to run the Treasury or State department?"
Washington: "Treasury"
Hamilton: "Les' go!"
Eliza: "Alexander."
Hamilton: "I have to leave"
Eliza: "ALEXANDER–
Hamilton: "Look around, look around at how lucky we are to be alive right now
Eliza: "Helplesssssss..."
Hamilton: "They are asking me to lead"
Eliza: "Look around, isn't this enough?"
Angelica: "He never will be satisfied (What would be enough)
He will never be satisfied (To be satisfied)
Satisfied, satisfied"
Washington: "History has its eyes on you (Look around)"
Burr: "Why do you assume you're the smartest in the room?
Why do you assume you're the smartest in the room? (Non-stop)
Why do you assume you're the smartest in the room? (Non-stop)
Why do you assume you're the smartest in the room? (History has its eyes)
Why do you fight like you're running out of time? (Non-stop)
Why do you fight like
Washington: "History has its eyes on you..."
Hamilton: "I am not throwin' away my shot! (Just you wait)
I am not throwin' away my shot!(Just you wait)
I am Alexander Hamilton
Hamilton, just you wait
I am not throwin' away my shot!"
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EternalPhoenix
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Location: The Land of Mary

Re: Alexander Hamilton

Post by EternalPhoenix »

Jabroniville wrote: Fri Sep 02, 2022 6:57 pm -Hamilton is a true force of nature in the play, though less "actorly" than Burr, who has to do a lot of non-verbal acting and carries some more impressive songs, while doing the narration. Hamilton, by contrast, gets to have all the men talk about him, all the women love him, and practically has the world revolve around him. Like, a dork like Lin-Manuel Miranda couldn't have written a more "Male Fantasy" kind of role for himself, lol. Hamilton is as he says- "Young, scrappy & hungry", growing up in dire circumstances in the West Indies (his mother was abandoned by Alex's birth father and became a prostitute, dying when he was still young), he was given some jobs by her old landlord and others, finally impressing people in the U.S., which brings him there to complete his education. He becomes a rabble-rouser against England and a notable name in the Revolution, becoming the right hand man to General George Washington himself. Along the way, he tries to woo the intelligent Angelica Schuyler, but is introduced to her younger sister instead, and they capture each other's hearts, taming his tomcat nature a ways.

-He establishes himself promptly with My Shot, stating a mantra over and over the story about how "I'm not throwing away my SHOT!". His backstory has left him hungry and desperate, and this never leaves him, even as he could live a life of comfort. He becomes "Obsessed with your legacy", as Eliza puts it, and works day and night to both impress people and forge America into the country he thinks it should be. Hamilton repeatedly desires more and more, wanting glory over safety, but finally convinces Washington to give him a command at the Battle of Yorktown, winning and securing the American victory in the war. He's then pulled away from his family because Washington needs him again- he becomes the first Secretary of the Treasury, establishing America's first two banks and creating his desire for a "Strong central democracy" and strong defense, making an enemy out of Thomas Jefferson, who dislikes him personally and due to his ideas of taxation. Along the way, he is exhausted and lonely in New York, and is coaxed into the bed of one Maria Reynolds, whose husband soon blackmails Hamilton. When questions are raised due to his spending of money, he clears his name by actually REVEALING all of this to the public! This estranges him from his family and leads to the ruination of his political career ("He's never gon' be President now!"), all to secure a legacy as an honest money-holder and politician.

-His relationship with Burr gets a good deal of focus, constrasting the two- while Hamilton is all action, Burr is all REACTION, annoying Hamilton with his inability to act or take risks, always waiting in the wings to see which way the wind will flow. Things become so personal that Hamilton even sides with JEFFERSON over him, netting Jefferson the Presidency and leaving Burr flapping in the breeze. But Alexander's non-stop snark and sass comes back to bite him, as he offends Burr so badly that a duel is called. We interestingly enough don't learn Alexander's side of it (because we don't know it- he ded), but among Burr's points was that Hamilton was wearing his glasses, which implicates he considered his Ultimately, as Alexander dies, he realizes "What is a legacy? It's planting seeds in a garden you never get to see!" and it's Eliza who ensures his legacy, saving his writing. And ultimately, even his rivals spoke highly of him- Jefferson calls his financial plan "a work of genius- I couldn't destroy it if I tried. And I tried" while Madison says "we didn't credit him for all the credit he gave us". And funnily enough, the real Hamilton's legacy is cemented more by this play!
How to put this? Alexander Hamilton was, as you said, was the bastard son of a prostitute. A nobody, who never met his father. I don't know if he even knew his name. That would break some, but Hamilton? He became driven by it. He spent his entire life desperately trying to prove himself. To whom, is a very good question. But it's been seen in historical figures before and after him. Fighting, scratching, and clawing for that proof that they're good enough, never understanding that it can't be given to you. It has to come from within. Which is probably how Maria Reynolds made their relationship happen. Not that he didn't make his own choices there, mind. It's an old story, really. The nobody from nothing and nowhere proves he's more than his origins, and it's never enough. He probably thought that it would be. That being known and respected by somebodies from something and somewhere important would ease that part of himself that needed that validation. But just like the old story, it's never enough.

Hamiliton was a key figure in the founding of the United States. He earned the respect of most of his peers on his own merits. But I don't think he ever truly knew peace, and I think that's a little sad.
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Marvel UK (Redux)

Post by Jabroniville »

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F*ck's sake, '90s...

MARVEL U.K.:
-So I built the Marvel UK characters 4-5 years ago for another set, but looking through my builds to fix broken image links, I found some bios rather small, and that led me through Marvunapp again to find more stuff, and lo and behold, there's a LOT of characters I missed. None of them GOOD, but there's a lot of them!!

Marvel UK is largely unknown, but those aware of it would probably recall it being an ugly, sarcastic, bloated addition to the Marvel Universe, but was so unpopular it essentially vanished without ever mattering. So it's not as infamous as it perhaps SHOULD be, given how bizarre and hideous a lot of it was. In effect, Marvel UK emphasizes the very worst of the "Image Era" of comics: scratchy, ultra-shaded art with bad anatomy and cheesecake poses & costumes. Inexplicable storytelling with absolutely zero thought given to clarity. Snarky heroes who disregard every threat so nothing matters. Endless, ENDLESS teams of loser characters created, none of whom mean anything. It's just bizarre, ugly stuff.

The whole line actually debuted "properly" in 1972 and was mostly a way to publish Marvel's stuff overseas. Alan Moore's Captain Britain probably had the most focus. There's a HUGE, boring section on Wikipedia explaining which titles were reprinted and in what books if you want to look at it. A few books, like Dragon's Claws and Knights of Pendragon, start in the late '80s and early '90s... but most of what I'm talking about here came about circa 1992-94, which is the time Paul Neary became the Editor-In-Chief. This was the time they attempted to make their OWN full line of comics, aiming at the U.S. market as well. Dan Abnett & Andy Lanning, who would become the guys who saved Marvel's Cosmic Scene in Annihilation during the 2000s, did most of their first Marvel work here... and they're probably glad nobody remembers most of this.

Now, British and other European comics tend to LOOK a certain way. There's a manner about them that's a bit different- European writers are typically more dreary, negative and less idealistic, while others are much more snarky. Bad futures ruled by corporations are common, lawless awful societies are big as well. "Cyberpunk" is the living embodiment of Brit-comics to me. Like, the ridiculous Tank Girl is a British icon and couldn't really fit in with North American stuff at all. The loud, ultra-moral, colorful world of American superheroes is a very strange fit over there. But with the British invasion of writers at DC in the 1980s, comics in the U.S. had started getting more "adult" and black & white morality was becoming more "grey", so there was I guess some potential changeover. But in reality, writers on both sides of the ocean had just taken the worst lessons from the popular comics of the '80s and produced only garbage. Image Comics itself was a bizarre mess, with the hottest artists in the world having their work ruined by either their own shitty writing or the shitty writing of their friends, and lack of editorial control led to everyone's styles getting all F'd up as they ignored un-fun things like "backgrounds" and "clarity" and just made everything a hard to read mess. And Marvel UK is like that, but with worse artists.

The signature character of Marvel UK in this time period was of course "Death's Head II", who kills Simon Furman's "Doom Patrol Fandom" semi-popular Death's Head character (debuted in the Transformers comic but was made Marvel property) and assumed his personality. The skull-faced, disturbing, clawed bad-ass couldn't have looked more inhuman and gross, so naturally he was pushed the hardest and got a billion spin-offs- he was given endless Spinoff Characters: Death Metal, Death Wreck and Die-Cut among them. Also awful was, and I swear this is his real name, "Killpower". It was like someone took Image's worst stuff (Ripclaw, that guy with FOUR cyborg arms on one side of his body, all of Brigade), and then upgraded it to be even MORE extreme and kill-y.

Other signature characters included the sci-fi type Motormouth & Killpower (a streetwise foulmouth and her genetically-modified warrior friend), Dark Angel (an uber-powerful female character), the Warheads (dimension-hopping mercenaries), and the loin-cloth clad barbarian Bloodseed. The evil organization MyS-TECH (usually written with a lower-case "y" for some reason) was behind nearly EVERYTHING, with a shadowy board of governors and magic & technology combined to make them series-wide threats... though because of the writing, they were TOO mysterious and so nobody knew squat about them, so there was nothing about them to CARE about. It was very "British" to have some evil corporation of immortal beings behind everything, but it was just a mess- nearly every Marvel UK book had a central "MyS-TECH Board Member" calling the shots and being the most important one, but most were losers.

The Shitty Villains:
One thing I find particularly common in these books is how bad Abnett & Lanning especially are at creating VILLAINS. They simply dive in on the "List O' Cliches" (capes, spikes, grandiose speeches) or create ridiculously convoluted bios (guys like Wraithchilde, who was a generic loser who touched a magic item that made him super-smart and powerful and he tricked his way into controlling a pocket dimension and its soldiers, threatening the world; or Charnel, a future descendant of Baron Strucker who's a necromancer who reanimates Death's Head I's body). Every villain seems to engage in the kind of ridiculous dialogue Fabian Nicieza gave the X-Villains in his '90s work, full of huge paragraphs of nothing of significance (the "Triple-H Promo" of comic book monologuing).

And they're given ALL this hype, and ALL this credibility, with nearly everyone being said to be a walking extinction level event... and then you realize the writers have written themselves into a corner because they just demolish the villain in a few pages by some half-assed thing they just came up with. Seriously, I saw this OVER AND OVER again while reading these bios! Charnel gets all this hype more than once and is beaten in seconds each time. Death's Head II & Killpower: Battletide spends 3.5 issues building up the Battletide and its head demon, Termagaira, as this threat to everything... and Termagaira himself DIES in only three pages of fighting! Easily!

Guest Stars & Failed Side-Lines:
Paul Neary instituted a policy that U.S. guest stars would appear in most books- Death's Head II began an ongoing with the X-Men showing up in the first four issues. The hilariously-awful Death's Head II & Killpower: BattleTide was also given X-Men co-stars in a brutal, ultra-violent story that was just an excuse to have a bunch of people beat each other bloody (the first DH/Killpower fight is an absolute bloodbath, with it spattering everywhere with every punch)- the story about using spiritual energy from the fighting to call forth the Embodiment of Battle is garbage and is told in the most confusing manner possible, with the villains all never letting anyone in on the plot until the last second.

An "event" took place called Gene Pool in 1993, with John Freeman shitting out a trio of books: Gun Runner, Genetix and Gene Dogs, each one looking like absolute garbage with the worst character designs ever seen- like sub-par for Brigade & Youngblood members, much less Marvel. And that last one was intended to be the "British X-Men", no less.

What few Marvel UK books I have, including BattleTide (which I think was actually a gift from my mother, oddly enough- she probably saw it in some bookstand somewhere) and now Death's Head II, are PURELY awful. At no point to people explain motivations- it's simply a bunch of sarcastic, glib protagonists who don't care about anything suddenly ending up in gory fight scenes with people who have no motivations explained, and random stuff happens constantly. Via art and words, stories are complete messes, with stuff like Death's Head's ally Tuck using her magic to do... something, while people are mysteriously drawn to some American town to fight. Tuck is repeatedly seen casting a spell with nothing explained to the reader, while Death's Head fights bad guys, then the X-Men (who later apologize for assuming the worst, only after he takes out Gambit, Rogue & others, then rapidly recovers from Psylocke taking him out). A complete doofus named Wraithchilde pops up, talks a bunch of shit, but then runs into a post and swears like an idiot while Death's Head ignores him... then FIVE PAGES LATER, is seen talking to Tuck and boasting about how now he has way more power than he did five pages earlier and understands everything he needs to do. And this is the FIRST ISSUE! A JUMP-ON POINT in the series! And yet it's a confusing bundle of nonsense, with nothing explained!

So initially, sales were said to be hot. I dunno how we'd find proof of that NOW, but in any case, Marvel UK opened a billion books: Bloodseed, Wild Thing, Black Axe, Gene Dogs, Knights of Pendragon and other things flooded the market during the early '90s comic book, where people thought they needed to publish anything they could. But by late 1993, the comic book industry hit the "Great Comic Book Crash", which particularly affected Marvel UK, who had a dozen books out each month starring major unknown characters: I mean, this era was bad on Iron Man and Daredevil; imagine how the Gene Dogs were doing? Marvel UK cancelled nearly the entire line to stem the bleeding (Red Mist 20:20, a crossover, was cancelled AT THE PRINTERS), with near-complete projects killed off as well. It was promised that they would return by 1994, but the entire line died by then. Death's Head II was cancelled, selling only 7,400 copies by the end (that's a failure even by TODAY'S standards!).

The Re-Builds:
-So many of these characters are getting new profiles, at least in terms of bios, because the originals had VERY little stuff and I've since found a lot more information. Most don't really "deserve" it, but I've desired a more thorough archive anyhow. Plus there's a bunch of side characters now getting profiles, like Tuck, Dr. Evelyn Necker & others, and it makes more sense to include them alongside their creations and other related characters.

A handful of characters will not get re-posted, however. It turns out there is just NOTHING out there to say about the Gene Dogs or Genetix, nor Tektos. Just the old bios will do, lol. Also, the Shadow Riders actually got a pretty thorough bio set back in the day, and are thus fine where they are.
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Re: Jab’s Builds! (Washington! Eliza! Thomas Jefferson! Aaron Burr, Sir!)

Post by M4C8 »

Unfortunately yeah, most Marvel UK characters aren't great (putting it politely) but I don't mind some of them, or at least they have the potential to be decent with a good writer/story (Dark Angel, Knights of Pendragon, Super Soldiers, Genetix etc.)
Of course there are some lesser known British character that I do like but I don't think they're 'Marvel UK' (ClanDestine for example)
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Re: Jab’s Builds! (Washington! Eliza! Thomas Jefferson! Aaron Burr, Sir!)

Post by Davies »

The Knights of Pendragon book had its moments ...
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Hob

Post by Jabroniville »

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HOB
Created By:
Steve Parkhouse & Alan Wetherell
First Appearance: Doctor Who Monthly #84 (Jan. 1984)
Role: Wealthy Future Magnate & Helper Robot
Group Affiliations: None

-Hob debuted as a helper robot to a wealthy investor Josiah W. Dogbolter in 8162 A.D. in Marvel UK's black & white Doctor Who comic back in the '80s, meeting up with Doctor Who, whom is captured by Dogbolter's robot army. When they discover the existence of the TARDIS (the police box that goes through time and space), Josiah & Hob figure to buy it (Josiah owns several planets so he says "name your price", figuring that if time is money, then a time machine is LIMITLESS money), and when the Doctor escapes, they give chase. Hob coldly executes a mercenary injured in the chase when he fails, and is there when Dogbolter is foiled by Doctor Who VI a couple issues later, thanks to a shapeshifting ally of his who acts as the "captured" Dr. Who and then escapes.

-So why are they here when they're Doctor Who characters? Well, those books have odd crossover with the Marvel U, as five years later, STEVE PARKHOUSE, who wrote those comics, is writing Death's Head, and Dogbolter hires Death's Head, who also hates the Doctor thanks to past fights, to kill him. However, the experimental rocket Dogbolter had given him had a nuke that was set to go off, and an angry Death's Head chucked it onto Dogbolter's HQ, where it exploded, presumably killing Dogbolter and his robot aide.

-HOWEVER, a 1993 Incomplete Death's Head book by Dan Abnett would reveal that at least HOB had survived, now given incredible powers by the rocket altering his mechanics. However, still a sycophant to his boss, Hob spent three million years searching for him, as well as trying to kill Death's Head. He failed until finally seeing Tuck, Death's Head II's partner, and demanding information from her. After a fight, they end up on a world where time is always in flux, leading to Hob finally discovering the original Death's Head, WHILE Death's Head II is still active, and both mercenaries team up to fight and kill Hob. The Doctor then returns, wiping the original's memory of this event. I hadn't even realized Marvel was still in possession of the Doctor Who rights back then.

-So this is just whacky. Hob is a random comedic character from a 1984 comic, then gets re-used (barely) in a 1989 one, and then Abnett uses him as a multi-issue character in 1993, featuring a THIRD character with few links to Hob at all? Hob appears to be a generic robot non-combatant until 1993, where he can grow gigantic and probably show nearly any kind of power, requiring two Death's Heads to team up to destroy him.
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Re: Hob

Post by Davies »

Jabroniville wrote: Mon Sep 05, 2022 6:45 pm
-HOWEVER, a 1993 Incomplete Death's Head book by Dan Abnett would reveal that at least HOB had survived, now given incredible powers by the rocket altering his mechanics. However, still a sycophant to his boss, Hob spent three million years searching for him, as well as trying to kill Death's Head. He failed until finally seeing Tuck, Death's Head II's partner, and demanding information from her. After a fight, they end up on a world where time is always in flux, leading to Hob finally discovering the original Death's Head, WHILE Death's Head II is still active, and both mercenaries team up to fight and kill Hob. The Doctor then returns, wiping the original's memory of this event. I hadn't even realized Marvel was still in possession of the Doctor Who rights back then.
Marvel UK kept publishing a Doctor Who Magazine right up until 1999, long after the original series had ended.
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Re: Jab’s Builds! (George Washington! Eliza! Thomas Jefferson!)

Post by Jabroniville »

Shock wrote: Sun Sep 04, 2022 11:28 pm
Jabroniville wrote: Sun Sep 04, 2022 9:51 pm (That feeling where you hope for more engagement on the next set, but it’s gonna be like three weeks of Marvel UK- Marvel’s lamest offshoot, lol)
I tried watching Hamilton and it lost me in the first song. I'm not into musicals and a rap musical is a bridge way too far. The only extensive reading I've done on the Revolution only took me up to 1777 so far so Hamilton doesn't play much part yet. But from what I remember, he was a polarizing figure because of his unwillingness to compromise on pretty much anything. So he did some good things but made a lot of enemies. He probably could have done more if he worked better with his contemporaries.
BOOOOOOOOOO but not every song is rap! Eliza sings in a "90s Pop" style, Washington does gospel, and Burr does R&B! I swear!

But yeah, that's kind of Hamilton's thing- being a mouthy son of a bitch served him well but also made him a lot of enemies. LMM pretty much created the entire concept of the play around that, as Hamilton's story was a lot like many rappers- he could have retired successfully and been a great name in his field, but just couldn't let his "beefs" go and it ended with a duel that killed him. Just like how Tupac, Notorious BIG and others kept up their feuds even while rich and successful and probably all got shot for it.
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Re: Alexander Hamilton

Post by Jabroniville »

EternalPhoenix wrote: Mon Sep 05, 2022 6:12 am
How to put this? Alexander Hamilton was, as you said, was the bastard son of a prostitute. A nobody, who never met his father. I don't know if he even knew his name. That would break some, but Hamilton? He became driven by it. He spent his entire life desperately trying to prove himself. To whom, is a very good question. But it's been seen in historical figures before and after him. Fighting, scratching, and clawing for that proof that they're good enough, never understanding that it can't be given to you. It has to come from within. Which is probably how Maria Reynolds made their relationship happen. Not that he didn't make his own choices there, mind. It's an old story, really. The nobody from nothing and nowhere proves he's more than his origins, and it's never enough. He probably thought that it would be. That being known and respected by somebodies from something and somewhere important would ease that part of himself that needed that validation. But just like the old story, it's never enough.

Hamiliton was a key figure in the founding of the United States. He earned the respect of most of his peers on his own merits. But I don't think he ever truly knew peace, and I think that's a little sad.
People whose biggest enemy is themselves are almost always the most fascinating characters- a wildly successful, competitive, ambitious man, but all of those things that made him what he was came at a price- ambition was so much a part of him that everyone around him goes "Isn't THIS enough?" while Angelica, who understood him best, said "He will never be satisfied".
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Death's Head (The Original, Yes?)

Post by Jabroniville »

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DEATH'S HEAD I (Styrakos, technically Death's Head II)
Created By:
Simon Furman & Geoff Senior
First Appearance: High Noon Tex (1987)
Role: Not a Bounty Hunter, Bad-Ass Robot
Country of Origin: England
'90s Ratio: 7/10 (killer robot; has "Death" in his name)
Group Affiliations: None
PL 10 (217)
STRENGTH
9 STAMINA -- AGILITY 2
FIGHTING 10 DEXTERITY 2
INTELLIGENCE 1 AWARENESS 2 PRESENCE 2

Skills:
Deception 3 (+5)
Expertise (Freelance Peacekeeping Agent) 10 (+11)
Insight 3 (+5)
Intimidation 8 (+10)
Investigation 7 (+9)
Perception 6 (+8)
Stealth 3 (+5)
Technology 6 (+7)
Vehicles 2 (+4)

Advantages:
Accurate Attack, All-Out Attack, Chokehold, Eidetic Memory, Equipment 3 (Arsenal), Improved Aim, Improved Critical 2 (Unarmed, Blaster), Improved Initiative, Jack-of-All-Trades, Luck, Power Attack, Ranged Combat 8, Startle, Well-Informed

Powers:
"Robotic Body"
Immunity 30 (Fortitude Effects) [30]
Power-Lifting 1 (25 tons) [1]
Protection 10 (Extras: Impervious 7) [17]
Senses 2 (Infravision, Extended Vision) [2]
Communication 2 (Computers) [8]
Flight 8 (500 mph) [16]
Regeneration 2 (Feats: Regrowth) [3]

"Grenade Launcher/Missiles" Blast 10 (Extras: Area- 30ft. Burst) (30) -- [34]
  • AE: "Gas Dispensers" Affliction 8 (Fort; Fatigued/Exhausted/Asleep) (Extras: Cumulative) (16)
  • AE: "Wrist-Weapons" Strength-Damage +1 (Extras: Penetrating 10) (11)
  • AE: "Heat-Seeking Missiles" Blast 10 (Feats: Homing 2) (22)
  • AE: "Splinter Missile" Blast 10 (Extras: Multiattack) (30)
Offense:
Unarmed +10 (+9 Damage, DC 24)
Wrist-Weapons +10 (+10 Damage, DC 25)
Guns +10 (+6-8 Ranged Damage, DC 21-23)
Splinter Missile +10 (+10 Ranged Damage, DC 25)
Grenade Launcher +10 Area (+10 Damage, DC 25)
Initiative +7

Defenses:
Dodge +9 (DC 19), Parry +10 (DC 20), Toughness +10, Fortitude --, Will +8

Complications:
Motivation (Money)- Death's Head is the type of Freelance Peacekeeping Agent that will gladly switch targets for a slightly higher price.
Temper- If you call him a Bounty Hunter, expect to die, yes? He is a Freelance Peacekeeping Agent.

Total: Abilities: 46 / Skills: 48--24 / Advantages: 24 / Powers: 110 / Defenses: 13 (217)

Death's Head- Freelance Peacekeeping Agent, Yes?:
-The original Death's Head (unless you count Paxton Page, who is occasionally hyphenated, so he might just be "Death's-Head", and the Death-Stalker, who also went by "Death's Head" for a time) was a Transformers comic character meant for a one-off story, but Geoff Senior's design was so eye-popping that writer Simon Furman felt he had more potential. They planned on re-using him, though they realized that Marvel wouldn't own him if he actually debuted in that book, so they rapidly wrote him in a one-page comic strip to establish prior ownership so Hasbro couldn't later claim they owned him. He was a quintessentially British character (ie. he was an amoral bastard who wandered the stars and met various weirdos... how is that NOT the embodiment of all Brit-comics?). I admit to hating him as a kid, mostly because I thought he looked dumb- I've never read an appearance by him. By the '90s, he was killed off and replaced with this upgraded, even MORE violent and horrific character. But really, you gotta love a "Freelance Peacekeeping Agent" (NOT a Bounty Hunter) that flies around, fights the Transformers, Doctor Who AND the entire Marvel Universe, all while talking in his unique vocabulary, yes?

-Death's Head debuts as a bounty hunter hired to hunt down Galvatron by Rodimus Prime, but Rodimus changes his mind- the character is then sent after Rodimus... who counter-bids and sends him against the villain again. Death's Head was sent to kill Scourge & Cyclonus, but was instead mind-controlled by Unicron and killed Shockwave. DH intended to kill his first targets, but they were all tossed through time, and instead he encounters The Doctor in Marvel UK's Doctor Who magazine the very next year, who turned him to human size. A solo book soon followed, but low sales killed it off- Death's Head eventually discovered that his body was original meant to house a psychotic techno-mage called Lupex, but an enemy of his instead used the robot to fight him. However, he was instead enlarged to Cybertronian size and sent through time. Finally, Death's Head was able to kill Lupex himself when the villain hunted him down.

Death's Head's History:
-His origin is that he was supposed to be the body possessed by a magical being named Lupex, but he was turned into a businesslike, calculating type by one of the villain's rivals instead. He is sent into the Transformers' future, but eventually returns, slaying his "father", Lupex, resolving only to kill for profit and survival. He does so for a while, and even appears in the first set of Marvel Cards, but merely six years after his debut, he appears in the renewed Marvel UK's Death's Head II, in which the killer cyborg Minion kills Death's Head, and this is ordered to absorb his personality. This transforms Minion into the being called "Death's Head II", an uber-90s creation around whom the new Marvel UK line is formed- he gains the original's glib personality, but is overall a lot edgier. Death's Head's broken body is absorbed by the evil future necromancer Baron Strucker V, who uses it to become the monstrous "Charnel"- this body is eventually destroyed.

-Initial plans had been to use the original version of the character, but line editor Paul Neary hated the story being written (he was flashing back while facing the death penalty), thought "Transformers-style robots" were left in the past, and that something new was needed, so he commissioned a new version of the character entirely. And so the quick failure of Marvel UK is set in motion, based around DHII, lasting about two years before it's doomed. Death's Head I finally makes a reappearance in S.W.O.R.D. #1 in 2009, with writer Kieron Gillen asking Furman for permission. Here, he's hunting Abigail Brand's brother, and is now in his "original" gigantic size- it seems this is the original incarnation of the character, before he met the Transformers, as he takes the phrase "Freelance Peaacekeeper" from The Beast's suggestion. He appears in a small handful of books (mostly Gillen's) and doesn't ever really matter.

Death's Head's Powers:
-I've never read a Death's Head appearance, so this is all Appendix-built. Death's Head is a powerful PL 10 character with ranged and in-close capability, and he's about ready to kick anyone's ass in his weight range. A Class 25 powerhouse, he even has a Gas Attack, Area Attacks and Multiattack Blasts. But yikes, that versatility comes with a high price. PL 10 (217) is pretty big, in the Spider-Man level of character cost.
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Re: Jab’s Builds! (Eliza! Thomas Jefferson! Aaron Burr, Sir! Death’s Head!)

Post by KorokoMystia »

Yeah, Death's Head is absolutely the single best thing to come out of Marvel UK, yes? Not that there's strong competition.
Also, if he were to ever get a voiced appearance? It would have to be David Kaye.
Last edited by KorokoMystia on Mon Sep 05, 2022 10:31 pm, edited 1 time in total.
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Re: Death's Head (The Original, Yes?)

Post by Shock »

Jabroniville wrote: Mon Sep 05, 2022 7:49 pm Death's Head eventually discovered that his body was original meant to house a psychotic techno-mage called Lupex, but an enemy of his instead used the robot to fight him. However, he was instead enlarged to Cybertronian size and sent through time. Finally, Death's Head was able to kill Lupex himself when the villain hunted him down.
A story as old as time itself...
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