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When adjacent to someone else, that person may spot them as a 0-Phase action with a perception roll, at least enough to know that someone is there, with specific information as determined by special effects. Success means the person may target the hero with an attacking value of 6. However, if the hero attacks someone at close range, the Invisibility has no effect until and unless he or she moves farther away.

If circumstances arise such that someone attacks them at range based on guessing where they are, the attacker first states the targeted area in enough detail for the game master to determine whether the hero is or is not there. If they are, then the attacking value is reduced to 6 and is subject to range modifiers.

The effect may apply to any environment, subject only to special effects, and with one specified exception. The effect is immediate and the target loses no time, taking his or her next action as indicated by the Speed chart. The hero must communicate their commands successfully.

This requires no special perception or action unless conditions are making communication tough for everyone, but as long as it uses ordinary communication, others can witness and comprehend the command and evident control. This reduction can be avoided by paying Endurance.

A target who receives no orders is inactive or performs any commonsense activity to maintain his or her own position or safety; as long as the effect is 10 or higher, they cannot perform other volitional acts. Nuances of the power are described in Chapter Dynamic Mechanics. It is performed as a free action once between Phase Actions and does not require canceling the upcoming Phase.

It protects only the hero unless the Usable for Others Advantage is included. The attacks it may deflect include thrown objects less than 1 hex in size, gunfire, Blast, and other attacks as determined by special effects. It does not protect against Ego-based powers, Flash, Entangle, or attacks with the Area advantage, although special effects may modify these restrictions, e. To affect Ego-based Powers, it must have the relevant Advantage.

If directed at a Multiform or Variable Power Pool, the pool is directly affected, altering the ceiling values of all its applications. The targeted Power continues to operate at its reduced value as long as the Negation is maintained, which costs its user full Endurance as if it were not Negated. If the Negation stops, then the Power resumes at full value.

The hero recovers Destroyed Body per Recovery action equal to the rolled Core results. If the hero is Stunned or knocked out, they return to normal size by default but this may be subject to special effects interpretations.

Multiple units of each may be used. Running is also increased by the reach, if the power is used to enhance it. The implications for skill use and powers combinations are legion, including getting through unusual spaces and integrating shape change with size change. Under circumstances that may remove the hero from the surface, the Clinging may be used to resist in the form of Strength.

He or she must be able to perceive them. Unwilling targets must be successfully attacked using Ego. Telekinesis cannot be used as transport or suspension for oneself. It cannot be used to squeeze for damage or to contest an Entangle or grab. By itself it does not have surfaces or borders and cannot grasp fluids or energy.

More complex versions and other nuances are presented in Chapter The default interpretation is equivalent to talking and listening, like a mobile telephone call, subject to special effects. No roll is required to begin such a conversation with someone whom the hero can perceive, and who is willing, or to maintain it if perception is lost.

Visual contact, or an equivalent, and an Ego-based attack roll are required to establish such a link with an unwilling subject, and also to continue such contact per Phase. Additional people can be added with 1 more point of Endurance spent on maintenance if they are willing, and with attack rolls and appropriate Endurance expenditure if they are not. More intrusive or stressful uses of the power are described in Chapter Dynamic Mechanics. It counts as a move action for all timing and distance mechanics.

The hero may maintain a single memorized location where he or she may teleport regardless of perception, as long as it is within noncombat range. The Power can either leave a tunnel behind or close it up as it goes along, or either as desired, as determined by the special effects.

It cannot be used to attack living things. If the user changes directions while moving through the object, he or she must succeed with an Intelligence roll in order to arrive at the desired destination, unless an appropriate version of Awareness is employed. It decreases one Characteristic according to the Core of effect rolled. Strength or Presence are reduced by removing dice equal to the rolled Core; Speed, Dexterity, Intelligence, or Ego are reduced by subtracting the rolled Core.

No other feature may be Weakened. They permit Power Points to be shared across Powers or sets of Powers, altering the Character Points which account for them in building the hero. Skills cannot be included in Frameworks. A hero may have more than one Framework but not more than one of each type. Also, having No Framework is valid. These heroes are very straightforward, as what you see is what you get, and each item is Modified independently.

They typically have some high Characteristics and some specialized form of alertness. They always have one or more interesting Skills as well as carefully-tuned Skill Levels. Historically, these heroes are defined less by their powers than by their cultural and psychological situations, with stark iconography.

The player constructs new powers as notes, even on the fly during play, so that, at any given time, the hero has some in a current array. This must be a new skill, not listed in the rules; give it a name appropriate to its special effects. The modular version treats the Framework as a bag of tricks with never-ending effects, often of the one-after-another variety. This works well for weaponry with varying ammunition, or for inventing things for limited use until you invent another one, or for spells based on memorization and rituals.

The Elemental Control has Slots and a Control, but no Pool, so it is free from the conditional or temporary features of the other two Frameworks. It works well for heroes who have what they have and do what they do in an energetic, distinctive, and consistent way. The Multiform has Slots and a Pool, but no Control.

It works well for heroes whose powers can be split into modular options, so that they use either one combination of them or another. Yes, your entire hero may be expressed as varying slots within one huge Multiform!

Conversely, the Multiform may be one small aspect of your character, like a modular weapon. It can contain any number of powers in that total. Its Active Point total must be a multiple of 5. The number of slots that can be employed at once depends on how many Active Points each represents, so slots whose combined internal totals do not exceed the pool may be used simultaneously.

You may use one or some powers in a slot and not others, as long as they are not tied together locally, and you may use the powers in a slot at less capacity than their total Active Points. In either case, however, the full Active Points are still committed insofar as slot use is concerned. Modifiers A Modifier alters the function of a power or a Framework, reflected in increased or decreased Points based on advantageous or limiting effects.

You do not have to use a Modifier in order to conceive and play a Power in a certain way, ever � the feature you want is defined by special effects, which are always relevant during play, if variably so. Modifiers make particular special effects constant if you want them to be. It is now established that the jet will knock its target around, according to the rules for that Advantage, rather than occasionally doing so.

Area Effect The Power targets a hex rather than a person, and the effect extends into hexes adjacent to it. The target hex has a defending value of 6. All individuals in the affected area roll defense separately against the same attack roll which hit the hex, and they may not use reactive defense maneuvers but they may use defensive Powers.

It must be activated and Endurance is spent to maintain it similar to Force Field. Aura damage is voluntary, i. If you want it to be less voluntary, take the Tricky Limitation. It provides no defense and does not add to Punch or Kick damage. The Power may be targeted anywhere the hero can perceive and is not subject to range modifiers.

Expanded Scope This Advantage significantly alters the function of Flight, Teleport, or Awareness to operate at an entirely different scale. For Flight or Teleport, the Power is used as a full move regardless of the distance traveled within the designated scale. It may be used in a fight only to leave the situation entirely or to return or arrive there. With the Analyze option, it may also be used to understand phenomena and to locate individuals or objects within it.

If the target of such an attempt is known to the hero either personally or through the operation of a relevant Skill like Detective Work, then the perception roll is unmodified; otherwise it must operate at value of 9. A Power with Expanded Scope may only have one scale, and no scale includes any of the others. To operate at multiple scales, the Power must be taken more than once. Targeted individuals roll individually for defense.

It may be boring, e. A power with this Advantage may be given context by extreme Psychological Situations which establish or rely upon such categories, in which case encountering targets who do not fit the categorization will result in irrational or meltdown responses. The Knockback delivered equals the rolled Body damage. It still has special effects which may be perceived by appropriate Awareness, and there must be one condition or Power which reveals its use to ordinary perception.

It is reduced by the appropriate Special Defense, or by resistant Defense for Entangle, not by Defense. No Endurance Cost 1 Straightforwardly, the Power requires no energetic support from the hero. It may not be Pushed. It cannot be applied to part of a single Power; however, certain Frameworks or Limitations which separate Powers into different forms may permit them to be parsed in this way.

The Power still requires its initial Endurance cost to be used, and maintaining it, or turning it off, is still a 0-Phase action. If the Power is turned off or stopped in some way, it does not re-activate automatically and must be begun again using Endurance.

The power is used as a free action when triggered by an attack and must be directed toward the attacker unless it has the Usable vs. Others Advantage. It may be used regardless of whether the triggering attack hits. It has Dexterity and Ego as the hero for purposes of attack and defense. It has Endurance equal to 3x its Body and cannot recover; the hero may donate Endurance to it which will not recover until the Power is discontinued.

It disappears when it runs out of Endurance, or the hero may turn it off before then as a 0-Phase action. Its default action is a simple task, including the basic attack and defense maneuvers, with little or no flexibility or comprehension.

The hero knows and understands what the Separated Power is doing as long as it is within his or her perception. The attack has no range. Additional Modifiers to the attack Power apply only to its effects. Regarding Blast, there is little point to assigning Strike instead of more Strength in one construction or another.

However, if one or more other Modifiers is included, then many possible applications flow from there, as discussed in Chapter Dynamic Mechanics. It either replaces or accompanies use for oneself as determined by special effects. The extreme version is usable for any Power, conceived as conferring control over the Power and its Endurance cost to the receiver as long as the hero provides it in the first place, which requires a 0-Phase action to maintain.

This Advantage significantly expands the application of the Usable at Range Advantage. Activation The Power might not work when the hero tries to use it, as determined by a roll immediately before the effect would occur.

Failure to activate costs the full Endurance. It is always at maximum effect for its Active Points and cannot be Pushed. If the power costs Endurance, it must have the No Endurance advantage. Burnout The Power might stop working after the hero uses it, as determined by a roll immediately afterward.

A roll of 11 or less on 3d6 indicates failure of the power. Restoration requires some specific activity appropriate to the special effects. The condition must be possible but not universally present in the context of play, cannot defined by opinions, and cannot be controlled by the hero or his or her usual associates.

The Power does not work outside the constraint. It does not apply to Powers with no varying options, and it does not include either environmental, external conditions. Maintaining it, or turning it on or off, is still a 0-Phase action. It may not have the Always On Advantage. Focus The Power or Characteristic is remarkably vulnerable to being grabbed, broken, interfered with, or otherwise made unavailable by another person.

Typically, but not necessarily, it includes the special effect of relying on an object or device. A Focus has Defense equal to 1 per 5 Power Points and Body either equal to that value or designated to be unbreakable although that does not stop it being made useless or unavailable.

A broken Focus can always be repaired or replaced eventually. If Focus modifies a Characteristic, then the entire Characteristic is made unavailable or dysfunctional by interfering with the Focus. Other nuances are presented in Chapter 7: Villain Making. The triggering effect must be likely in the context of play and uncontrolled by the hero or his or her usual associates.

If its effect covers more than one hex, the hero must be centered in it. It does not apply to attacks see the Aura and Strike Advantages. Shutdown The hero becomes inactive while using or maintaining the Power. Aside from competently using the Power itself, he or she cannot move and combat values drop to 6. It is useful to think of the special effects as artistic devices that dramatize the mastery over that Skill.

The requirement does not replace or alter any rules of timing, energy, or range of either the Power or the Skill. Advantages are intrinsic to the Active Points of a given Power, and Limitations modify the designated part of a Framework that holds the Power. The Control can be Modified with these specialized options only. They do not affect the internal Point totals for Powers, and each may be taken only once. This Modifier is incompatible with the option to use a Control Skill.

It may also include any Limitations. Since Limitations reduce the Points, doing so permits more powers to be available at once, including more than one at maximum Active Points. The governing constraints to these Modifiers are the special effects of the Framework itself. However, they must have the Tricky Limitation, and they may be given any other Limitation as desired, so their Points may well be far below their Active Points.

That array at 37 Points fits within her Variable Power Pool, providing her with two fearsome if energy-exensive effects. The Which also has relevant Situations relevant to her Powers: Side Effects, occurring at each use of the Variable Power Pool, and her Psychological Situations, providing context to the whole construction. Elemental Control is the most complex Framework. You may conceive of each Slot constructed with its Powers and Advantages first at whatever level is desired, and then the Control Value is retroactively set at half the smallest one.

The Control Value is only subject to the former. Therefore each Slot must include at least 40 Active Points. They are instead tied distinctly to his Skills and Situations. Multiform is much simpler. The entire Framework may be given any Limitation, affecting the Points of the pool as well as each of the slots.

This means that in his case only one Slot is usable at a time. No less than the heroes, they are expressions of the two statements and the location � perhaps more! These are sometimes made collaboratively. In play heroes may be proactive or to remain reactive as the players choose. But the villain is always on Go. Bad guys � almost So: definition time anyone? From there we can draw circles and arrows about antihero, antivillain, villain protagonist, hero antagonist, white vs. Superhero comics initially crossbred the weird gangster criminals from the vigilante pulp stories and newspaper strips with playful science fiction for varying degrees of psycho or clever or goofy.

By the s, heroes might battle a direct menace or stop a crook or two, but they mainly struggled in the grip of problems and forces that could not be so easily solved, and a fair number of the villains held an understandable point of view. Is the society the hero lives in something to protect, or is it the source of the ills they confront? How bad is bad, really? Just the same � almost Villains are not built to win nor to lose, but to matter.

Some of the villains are already or nearly complete; others are merely a mysterious name in a Hunted Situation; and others are half-conceived as notes with some scribbled numbers. In terms of the visuals and engaging humanity of superhero comics, they are its look-andfeel. To bring them into usable sheet-and-numbers form, here are a couple of avenues to pursue. You can distort the opening statements, interpreting one or the other to an extreme. Finally, there is Otherness, relating to the statements entirely differently, challenging their existence.

You might look at the villain using the three corners, which can be a little strange in a good way. Real name, personality, goals, powers, criminal or outlaw or what? I decide to distort the statements and answer, someone who stands for nothing, the precise antithesis of the kind of hero Ruby Ray is. A mercenary at the most moral level, meaning none. As a disabled person, Nicole would potentially receive acknowledgment and advocacy from Ruby Ray, but her own solution to her problems has put them on profoundly opposite sides.

Numbers Point for point, villains should outmatch heroes. Consider violent confrontations for a moment. They have Endurance to manage, and all those maneuvers and positioning effects to consider too. But when it comes to the numerical edge, they have it, not the heroes. They should also feature higher ratios. Another way to look at it is, if a villain has a ratio in the range of the heroes, give him or her even more points. The extreme case study for this idea is the Focus Limitation.

It not only can be taken away or broken, it pretty much will be. None of the items wielded or worn by your favorite comics heroes matches the rules-limitations of a focus. Various consequences of them being objects are easily played as special effects, like not having them immediately on hand once in a while.

Better Limitations for such things are Burnout and colorful Conditional concepts that punch home the special effects; Focus should apply at most to some specific application of a power, rather than the whole fictional item.

The powers in that Framework will hit hard and do mighty things, shockingly or overwhelmingly so Limitations may be chosen to heighten the inherent downsides of each Power Framework, trading more difficult management or contradictory potential for magnitude.

Especially if the villain hates and fears that awfulness. For another, they may be extravagantly emotional or unhinged, including more irrational, with meltdown components, or having disturbing triggers for Enrage. Contradictory Psychological Situations are especially good, resulting in a snake-pit set of values and viewpoints churned by inner conflicts into extreme responses.

Such a villain might be so physically formidable that going for a psychological meltdown is the only sensible option. Now for the numbers! Literally slotted or programmed in, mechanically. She feels no responsibility for former jobs at all. Whatever shall we do with these points? Killer Coil is strong enough to heft and throw a motorcycle without pushing, and fierce combinations arise from her high Dexterity, the martial arts, multiple stretchy limbs, and situational awareness. She can fight multiple opponents from any direction at varying distances, or gain immediate bonuses by exploiting unusual angles for surprise.

As a side point, she offers a good example of a strong build without using a Power Framework. But mind the more situational variables. Her Intelligence, Security Systems, and the two Awareness powers intersect so that she enters situations knowing what is going on and where her target is, at the time and place of her choosing.

Killer Coil is one of those villains who conduct operations, so when in their element, doing what they want to do, they are tremendously well-situated. They set things up for a lot of soft or incidental details to go in their favor. But those are the villains by choice. You almost have to admire them for persevering at all. Having produced the perfect icy professional in Killer Coil, artistic balance suggests going the other way, all the way.

Toward that end, I was thinking about a famous superhero, conceived as an inoffensive individual who shifts into a super-strong, freakish form driven by fury, sometimes sociopathic and sometimes developmentally delayed, depending on the writer.

I came up with However, that does not stop me from providing a villain sheet who happens to be the same person. Decades ago, Devour was one of the most feared uncontrolled and uncontrollable super-menaces, and also the most pathetic, as his transformations were entirely involuntary and savagely cannibalistic. He was never apprehended; unknown to anyone, his condition was diminished and effectively canceled by the onset of mild dementia.

This guy is totally screwed! I feel bad for him already. Consider instead at least a couple of the following design features. You can get to them, but not that way. A great big villain is based on a great big idea. Beginning from there with more points than a starting hero but not much more is a remarkably powerful technique. I have not yet seen such a villain look weak or fail to shock the heroes.

Furthermore, there are always a couple of minds in overall control, those who represent or influence the most people hard to tell which. I imagine one of these hood-and-cloak floating foes, but in the hood are two faces, weirdly divided or superimposed, and all these other, indistinct faces surround it like bubbles or backdrop, a whole horde of them. It snaps together for me nicely. In this case, it would be lazy to go full-on horror, like sacrificing people in their meetings and so on.

This is banal power. Domain wants things to go just as they are, enjoying the benefit of forcing problematic lives on others, then smugly blaming the others for any problems. It enforces and exploits the way things are and the powers that be. I feel better already. Killer Coil and Devour are rather tragic monsters with understandable problems; systemic disorders and dementia are no joke and should not be villainized. However, Domain is a true force for oppression and discrimination, by choice and entitled self-blindness, and infuriatingly pleased with itself about it.

Oh no! Its only prevention rests with both game master and players. Show it with word balloons: say their point of view, and have them act on it. For most of them, I find genuine sympathy in doing so.

The villains as much as the heroes are situated in the recognizable concerns of the location and the whole context of play; or even more so. They want things, they care about things, and in some way those things make sense. Their wrongness can be understood. Some are beyond my sympathy. But that works too. If they want or represent something that I, personally, truly despise, then I can still find their voice and articulate that position to every last vile justification or rationalization it has.

If a villain concept goes all the way into evil, then speak the evil out loud. I crossed my fingers and asked her what she thought of someone who drew the line at the bombing of Libya. Perhaps who lifted a whole Mediterranean island out of the sea, claimed sovereignty of it, and also jurisdiction over all refugee movements and locations throughout Italy, Greece, Cyprus, Turkey, Libya, and Syria, with a promise to one day follow up with Palestine, Egypt, and Lebanon.

The character instantly became female. She was an Italian physician, acting in the combat theater, overwhelmed by atrocities, constant injuries, roving gangs funded by external governments, uprooted lives, international indifference, vindictiveness, and disease.

And of course, she was sketching the whole time. The cover art includes a little drama too, as the patient at the lower left is the superhero confronting her, in the center at the top right. Villains also begin with 5 to 40 points for bases and vehicles, as presented in Chapter This is the World We Live In. The amount is arbitrarily determined by whatever the game master think the villain ought to have. La Soccorsa gets All iconic, beloved, feared, and respected villains in the comics began as just another foe-schmoe among others, sometimes even second-raters or throwaways.

They had to grow into place. One fellow began with just a metal mask and a time machine, and his first story was average at best. But through several years of re-appearances and added ideas, he became a walking refutation of the super-team whose name titled the comic, almost to the point where he could have become the title character himself.

So what? I do that too; and I zing it up with forbidden magic! How impressive. I have a country with a military and a seat at the UN. I have no family. This mask is my face.

What makes the difference is always some moment of interaction with a hero, in some human context, when they suddenly understand one another. It might be an unexpected mix of action and dialogue during a super-fight, or it might even be very normal or casual.

This understanding produces raw emotion, specific to these two people, from hostile loathing to reluctant admiration or even to hot attraction. Things change after that. The villain was about to rob the bank or take over the government or stop time in its tracks, or whatever, and they probably will still try.

The feelings can be positive, negative, or a mix, but they are fully personal. With it, even a not-verythreatening villain is a genuine nemesis; without it, twice the points are just two times a zero. The important thing is that some will, and to be ready. References 1 Constrictor is the tentacled villain who most influences Killer Coil visually. But there is this. Before the mids, many superhero comics stories were isolated one-offs without much forward drive, consequence, or character development.

By the mids, they were mostly forward-planned, editoriallycontrolled, franchise-driven publicity campaigns for toys and movies. The superhero comics in between were uniquely different from either model, and they inspired the original Champions. What we can learn or do based on them? You need a thing which represents, not an itinerary or schedule for isolated actions, but an across-content leading edge of what just happened and what is or could be about to happen.

Starting before, during, or just after the first session, build a cast list outline based on each hero: his or her name, relevant identity terms, persons they know or who are otherwise relevant to them, locations, institutions and group and groups of all sorts. Include reminders of whatever personality, goals, and details seem obvious to you, for anything in there, with brainstormed inspirations or modifications as well as the known things.

Sketchy is perfectly all right; just one or two points of detail per thing is plenty. Add a few items if you must. With each session or couple of sessions of play, add and alter copiously, but do not replace the document. Instead, layer it onto the previous one; and, yes, they will pile up! I used to do this with stapled sheets of messy photocopies, and now I do it with digital files and printouts, with new filenames for each save.

My format uses lots of subheadings and bullet points, but yours should be whatever works for you. As you make or alter each new version, it transforms from a location and list into the physical and social ecology of immediate, about-to-play play. In motion. Due to that and only that feature, this thing is now a setting without pulling in the baggage of world-building.

What goes in there You already have the hero sheets for every little rules detail, so this document or whatever is for all the qualitative content: names, places, events, concepts � whatever has happened or could conceivably be on the way to happening.

This is completely subjective, judging what you see using the world as you know it, and ladling in the extravagant comics content as you like. The location is one focus for attention, as a little bit of research goes a long way. Playtesting taught me a bunch of stuff. Mine apparently skew toward politics and science, and I admit to adding a fair dose of psychedelica onto whatever I dig up, but yours might include crime drama, mysticism, pop psychology, or classical myth, to name a few which have also featured widely in superhero comics.

Such information instantly reveals or suggests organizations and institutions - and those, in turn, are like free gift emporium in providing persons of influence and strongly-felt goals, whether real or fictional. Villains may serve or oppose organizations, and the question of other, NPC heroes arises as well, also in a variety of relations to institutions and situations. At that point no rules guidelines are possible. Whom you may invent or expy and what they may be doing, in your Now, is so specific that all I can say is: do it and find out.

Then again, certain instances have been very successful for me and for others, so I leave the option open and hope for the best. Whereas for the ordinary people in and among all those organizations and social situations, the best practice is the opposite: more is more. Supporting cast make play come alive. Then, during play, discover and invent even more!

See if any existing Dependent NPCs make sense as members of one or more groups or organizations in the Now, and also if any of them make sense as nonquantified supporting cast across more than one hero.

This helps to get Dependent NPCs ready to play as people with good brains and understandable commitments, who are not ditzy, clueless, emotionally helpless, abrasive, or bereft of common sense. The Defiants Looking over the heroes in the Hartford game, not yet named as a group, but organized into a kind of unity via a Now arrangement, I could see something jump out immediately: gay pride, and every possible angle on assimilating versus rebelling. Being out gay and a publicly-identified superhero throws a wrench into all this, but he has reversed it into an advantage, at least for the moment making his family take it and like it.

Obviously that implies at least a few of them who are inclined to do neither. No, said the player, no one does. His fiery, occult-looking powers made him a target for evangelical Christian outrage, especially since he exposed a corrupt branch of the Eagle Forum. Many people from back then are now in positions of national power and inclined to take their common history personally. Still, people he knows are going to have feelings about it.

Uniquely among the heroes, he has no designated Dependent NPC Situations; but no one knows nobody, so there must be somebody. This is tied easily to her closeted gay orientation and her commitment to a Secret Identity unlike the other heroes. It might also go with the tricky duality and mystery of her powers, and perhaps even a certain identity confusion with Tina, although not to the degree that it becomes a Situation of its own.

But given this context it snaps into place as you saw in Chapter 7: Making Villains. A Public Identity of this kind is a big deal, as just about anyone knows who she is and has an opinion about it, and no few of them take action thereby. He certainly needs some thought and effort put into his actions and views. Looking over these summaries, I should clarify something: I could not have stated them this fully at the outset of play, and I do not recommend trying.

We played it for enough sessions to see the Now really blossom and boom, and I kept a good running record as we went. It offers some practical insights about the Now as a technique. Also, since its statements explicitly brought in history, that shows up here even more than it usually does in my games. The following material is ripped straight from my Now for our first session of play.

Canada; California vs. Oregon vs. Washington; city vs. The material came right from the hero sheets, albeit filtered through my first bits of research and my own investment in the location. Instead, we had a nascent, highly specific setting in action, ready to grow, and more so, to do it right Now. That content and timing influenced us all, including such things as Alan enjoying an extremely retro appearance for his hero, reminiscent of s pulp rather than s comics, and quite a bit of political context for the imprisoned nemesis, Doctor Darius Darkstar.

The interplay of input, interpretation, and connection was impossible to plan or control. It looks planned, even quite clever. One of the most well-known and beloved superheroes in the world first appeared in a short piece in the last issue of a canceled anthology title, featuring a uniquely detailed costume with a curious mix of arachnid powers and gadgets. It happened consistently during the writing-forward, relatively unmanaged context of that period in superhero comics, for which these two titles are pretty good representatives of its beginning and end.

The skills, or if you prefer, creative genius, are found in knowing what to do with the stew you get or are in , not in pushing a magic mental button to produce it as planned on demand. That ties really well to role-playing based on multiple player input for situations of crisis and drama, which shines when it takes that same lesson to heart: not a directed, controlled glide along step-by-step confrontations toward a presupposed climax.

In your game, ride the wave of Now. One almost unbelievable example of confluence is that the Galle crater on Mars does look like a smiley face from straight overhead. It was photographed by Viking Orbiter 1 in just after the almost identical image became an international fad on Earth , as if both were waiting for Moore to re-invent the hero Peacemaker as the Comedian with the smiley-face motif and the hero Captain Atom as Doctor Manhattan who is obsessed with Mars. Granted, no one knows which detail came first as a creative process.

We all know that the next session will include super-powered crisis and action, probably including heroes and villains hitting one another, as well as emotional developments and confrontations. But how is this done? The game master has the job to set fictional facts before play: things like a location that a villain seeks to destroy, that this particular villain happens to be the most active adversary this time, or that this event coincides with a tricky local political decision and a contested election.

Maybe not you; but a lot of people associate authority over prepared facts with authority over a pre-conceived series of events and, in the end, a final pre-planned confrontation. For them, doing the one without the other is cutting their skill-set in half.

Crisis and conflict The what in the chapter title is easy: an absurdly large injection of adversity and adversaries. Most of them are always a moment away from launching into action based on their own Situations alone, even without prior events of play to motivate them further. Whoever it is, consider their current motivations, goals, and connections with everything else. Consider all the groups and institutions as well, busy as always, with their current power players setting and carrying out policy, changing the world, throwing around their resources, influences, messaging, and ops; basically showing you what real villainy is.

These people and entities from the Now must already be in action at the start of the session. Coming in hot is assertive situation-framing. Neither is better play. They operate as a dial. The extensive cast and population is easily introduced by continuing to play, beginning with anyone whom the hero would deal with on this particular morning or whenever, showcasing their personalities, priorities, and expectations, and see what the hero does and says.

Such people are surprisingly capable of jumping up and demanding identities in play and, when they do, should be welcomed and named. Therefore they are uniquely emotional and interactive. Thinking like comics panels works perfectly to keep anyone from having to sit and wait, as the spotlight shifts about for a montage effect of brief portraits and personal moments. Even loving, friendly people can disagree, let alone the simmering hostilities and challenges of some families and workplaces.

In the comics, a conversation can be illustrated using the same layout and composition techniques as a fight. You can do the same in play. These rolls typically call upon Intelligence or its application as perception, especially regarding minor or brewing conflicts among people or concerning such things as status and employment. Another important roll is how you influence someone, using Presence. Given good rolls, even a cranky person will take what you want seriously and perhaps with some sympathy; and a great roll can get you what you want, the way you want it.

When people have strong opinions or expectations, then whole emotional landscapes depend however well or badly you do with a Presence roll toward them. It works very well for the game master to play the first session quite hot. When these are the case, then each event of play can proceed directly out of what just happened. Instead of him having flipped his lid just before the session begins, see whether he snaps based on the events of play or not, and if so, against whom.

You can keep something hot when that seems most sensible. Even better, everyone can play with the dial a little, as players discover how situations depend on what the heroes do and how actively they utilize the locations of play. Therefore this curve results in a unique interactive style for each group. Therefore everyone playing should slowly develop a pretty good geographic understanding of that region, usually a city.

Direct resources are plentiful and easy to find, including neighborhood maps, historical summaries, and economic indicators.

By far the most useful physical tool is a real-world visitor map, specifically, the schematic ones you get from public transit, a university, or a high-use area like a famous building or an amusement park.

They are good for more than just locating play at that specific place � adapting a big-city aquarium map into an alien spacecraft, or a park map into a dream-landscape, or anything of the sort, is remarkably easy and applicable in play.

How is location-information integrated with the events of play? Certainly, naturalistic play appears hard to reconcile with mandated confrontations. This is also about heroes who matter. And for the heroes to matter, players have to matter.

Their rolls would be mostly reactive, and successes would yield the bare minimum of what coincidence can provide, in terms of being able to deal with what the Now is presenting. It means they like being ordinarypeople heroes whose lives get gate-crashed. If so, then the game master should honor that choice by playing pretty hot. Smart and lucky Here are the more player-active ways for heroes to be involved in the rapidlyarriving adversity of the Now.

Each one is very distinctive for a hero and how he or she relates to the fiction as a whole. Briefly, before getting into the nuts and bolts, this is how heroes force their adversaries to be reactive, and to change up how and where confrontations emerge. It is mechanically expressed through Skills, first and foremost Detective Work, perhaps backed up with Disguise, Stealth or Security Systems.

Powers play into it as well, via many applications of Awareness especially when coordinated with variants of Telepathy and several other powers as described in Chapter Dynamic Mechanics. Crucially, these Skills and Powers are not invoked or assumed by the game master. This is dedicated player activity, via statements about what the hero is doing, whether routinely or following up on something specific.

Such statements necessarily also call in personal sacrifice or risk. This activity could be a single solid question and answer, acting as a turning point of events in the session. Or, if the adverse situation is subtle, it may begin a duel of secrecy, deduction, misdirection, and senses carried out through many events, ultimately resolved as who gets the drop on whom, and where.

Our heroes have been captured and imprisoned by a powerful government military force. Here it comes � the first thing said by that Designated Very Smart Hero: The execution is scheduled for the day after tomorrow. Instead, we find out right here, and it becomes the whole frame for what can and cannot occur, because he already knows.

This is a special feature in fiction, as if the hero were a co-author, able to frame time and circumstances for all the others, even his or her adversaries. What the special effects permit, however, is what you get from it, which is more time. Feeling lucky, by contrast, is about places, not time. They may be rolled when things get hot, putting the hero smack in the middle of things through no virtue or fault of their own, affecting what the hero wanted to do and presenting risks to things they care about.

Damn it! To illustrate a great benefit of customizing and creating your own Champions Now this way, consider one of the famous writer-artist collaboration in the comics.

The hero team in question revived a fallow title with a hodgepodge of pre-existing and new characters,. Briefly, the artist liked the action and bad-assery, especially for his favorite characters, whom he beefed up considerably in effectiveness.

But the writer liked the dialogue-heavy relationship drama and social musings, especially in naturalistic settings in ordinary clothes. This comic turned out to benefit largely because neither creator budged, resulting in better and more mutual justifications for both than many. However, in table-top play, that reinforcing quality between talking-situations and violent fights is much easier and more about mutual creative enjoyment. So the developments proceed and the confrontations emerge based on just those things, making much more sense and with a generally mutualistic spirit.

Solid preparation plus open outcome, full of readiness but with no control. It works. References 1 Brainiac 5 of the Legion of Superheroes provides the gold standard for supersmarts which effectively define whole situations by figuring them out ahead of telling the reader anything. Nominally they were respectively writer and artist, but Claremont was also an experienced layout artist and Byrne was also an experienced writer. Not only that, but ours as it goes along, adding fantastic elements to the past and present without much regard for logic or consistency.

If the Egyptian gods were real for purposes of a cool hero or villain to appear, well then, they were. Contrary to any sense, such things have no effect on history that brought modern life into being; or, if they did, only to make it get into the state that we actually know.

Just as with newsstand and spinner-rack comics publishing, for every new issue or, rather, for every session of play, the Now is our Now. As of this writing, my current Champions Now game is set in modern Istanbul, in the thick of shifting real-world alliances.

We rely on real-world maps, the personal knowledge of the players, and news reports, treated as a wave-front of continuing setting input as we play week by week. But my next one is going to be set in a future Mars habitat, because as of this writing, the designs submitted to NASA just became available online and beg for in-game use. In such situations, play must rely instead on prepared, invented information.

Either way, these are the tools that make a given location work for the action of play. But how does the setting work, mechanically? I pick up the tractor and throw it at him! How does this spaceship work? Does this blast of proton rays hurt? Office corridor? Water cooler. Busy highway? Lampposts and, incidentally, cars. Military airport hangar? Oh goodness. Throwing requires at least 1d6 higher, for range in hexes equal to the difference as the default. Double the distance for anything designed for throwing, and halve it for anything notably awkward, unbalanced, or jointed including an unwilling person.

Endurance is spent for both lifting and throwing, separately. As a starting references, here are some things from around the neighborhood. The listed Defense and Body indicate demolishing them into shards and rubble.

To pull off or uproot the ones that are attached or rooted, ignore Defense. The listed Defense and Body in this case refers to about a hex. Doing this requires a little investigation, using an appropriate Awareness, Find Weakness; or preferably both. Substance Defense Mass Body Sheet metal 4 1. What happens to multi-part objects depends on the details of what happened, e.

Gas-powered motor vehicles include fuel tanks, which may explode into a notable hazard if compromised. Real-world observation tells us this does not happen in any way similar to cinema, and since there is no freaking way to write a compromise rule that makes everyone happy, I leave the triggering circumstances and dice rolls for that up to you. Defense Body Strength to lift Family or police car 4 9 6d6 Motorcycle, mini 4 5 4d6 SWAT or military transport 7 10 7d6 One-man tractor 5 6 5d6 Truck, full-size bus 4 10 7d6 Forklift 5 7 7d6 Crane, backhoe 5 9 9d6 Motorboat 3 8 5d6 Helicopter 3 9 7d6 Jet fighter 4 11 9d6 Tank 10 14 11d6 Passenger jet 4 15 13d6 Industrial machinery is similar but more durable.

These values are for singleoperator size, one or two hexes. For bigger, factory versions, use the same Body and Defense values, just increase the area and the required Strength. For reasons best known to the alien engineers, they also turn into hazards when they take any Body damage.

They are not fine-grained enough for the diversity among other characters. Therefore all the system mechanics for regular people are the same, or nearly so. Their skills, wealth, social position, attractiveness, power, ordinary opinions, relationships, and all related matters are considered as bad or good as makes sense for each individual.

That especially applies to their lifestyle and professional competence in the ordinary course of events, which may be quite excellent and are not resolved with dice.

Continuing, interactive people, or supporting cast, may seem to you to require a bit more. However, they have no quantitative effect, i. Hazards Heroes are often confronted by big-ticket situational hazards, including familiar crises like buildings on fire, natural disasters, technological catastrophes, or weird conditions like dimensional rifts or magical vortices. Inimical environments count too, including straightforwardly dangerous situations like an active construction site, or more deadly surroundings like ordinary water or vacuum.

Extreme situations concerning crowds of people also qualify, when they are too diffuse or dispersed to be addressed as a group, and too many to fight in the hope of stopping anything.

Combat-specific hazards, which is to say, foes and devices you can hit, are discussed in Chapter Fighting Words. However, superhero action is rife with emergent hazards, so applying the rules on the fly is a basic game mastering requirement. It is quantitatively reduced by whatever Powers or Characteristics apply through the ordinary use of the rules, and it is also countered absolutely by some specific defense or some action, the latter typically requiring a dice roll.

Finally, a hazard includes some way to solve it. Sometimes that means nullifying the hazard entirely, putting a stop to it, and sometimes the best you can do is escape, pass through, or get enough time to accomplish something.

In addition to whatever is listed, obvious special effects apply and people may also hit upon some other way that makes perfect sense, which is all right too. However, one of these might then be followed with secondary damage, or an Entangle might itself be Lethal.

Some hazards are engineered specifically against heroes, in a guardian or programmed situation, or even a specially-designed trap, with Powers that operate directly against their limitations.

These rules allow you to build one if you want to. In this situation, each vehicle involved is treated as a Move attack. Heroes have been known to match their might against a careening vehicle. The safest way is to pull backwards on it, in which case Strength and velocity may be matched in terms of rolling Body for a relatively easy resolution. However, if you jump in front of it for direct impact vs. If the Strength delivers equal or greater Body, then the vehicle is stopped. However, the details of a given vehicle and a given situation may require customizing a more complex hazard on the spot.

To avoid it one may counter the falling velocity with a movement Power, like Flight obviously, but also Superleap in the riskier context of actually landing. In either case, the hexes of movement are subtracted from falling velocity: if they exceed the velocity, then the fall is broken and the hero is now moving under his or her own Power; if they do not, then the velocity is slowed by the difference and can be maintained at that value as long as the movement Power is feasibly still employed against it, as the hero continues to fall.

In the lucky event that the location offers some projections on the way down, the hero may grab at them to arrest the fall, with a Dexterity roll. As objects go, repeat offenders include flagpoles Defense 2, Body 4 , awnings Defense 3, Body 1 , and branches Defense 3, Body 4. The thing also receives damage as 1d6 per hex of arrested velocity, which may break it � therefore, if the velocity exactly equals that value, the fall is stopped, but the thing breaks.

More elegantly, a hero with Acrobatics may attempt a Dexterity roll to use such a projection to move to a controlled landing. In terms of the three corners, this is the only way you can associate locations and vehicles with your hero identity and actions, as opposed to the person corner, and they may certainly surpass realistic limitations in terms of tech, coolness, and capacity.

Such things may amass considerable emotional investment and development in their features, and go very far to establish and maintain a distinctive group identity. Daniel E Stafford. Golden Lion Papercraft. Hero Games. High Rock Press. Mad Ferret LLC. Peter Saga. Tiger Paw Press. White Wolf. WMB Saltworks. Pay What You Want. Follow Your Favorites! Sign in to get custom notifications of new products! Rule System Format Other systems. Start Over. Advanced Search.

Newest Titles in This Section. Need help? Common Questions FAQ. Submit Suggestion. Contact us. My Library. Affiliate System. Gift Certificates. Create Content for your Favorite Games. About Us. Privacy Policy. Our Latest Newsletter. Product Reviews. Newsletter RSS Feed. Bug Bounty Program. File Type PDF. Start Over Advanced Search. Products found in this section Big S. This is a database that various government agencies are starting to use to keep track of all the various villains and heroes.

Over the last few years, the number of super-powered individuals has skyrocketed. It has become a full-time job to try and keep track of them as well as update information about the, that is the purpose of this database Champions Complete The ultimate super roleplaying game returns to reclaim its crown in Champions Complete!

All the legendary flexibility and power of the renowned HERO System rules engine, plus all the superhero goodness Champions has been famous for over 30 years, now in one pulse-pounding, senses -shattering, heroic handbook of superpowered action! At pages, Champions Complete includes Western Hero: Rough and Ready Roleplaying Six shooters, wild wranglers, evil outlaws, noble braves, railroad heists, dry gulches, gold rushes, and more: all at your fingertips and ready to go!

If you've been wanting to play a Wild West campaign, then you've come to the right place, pardner. Western Hero contains everything you need to have a rough and ready roleplaying experience.

Packed with resources, information, and tools to build characters, The Island of Dr Destroyer The first Champions adventure ever published is now available again, updated to Sixth edition!

With new, updated content matching modern times and game play, The Island of Doctor Destroyer is back for you and your gaming group.

This guide will help demystify all of the options! Aaron Allston's Strike Force A superhero setting like no other. A role-playing game campaign book that includes techniques and lessons from over 22 years of play. In , Aaron Allston released Strike Force, a supplement detailing the first eight years of his superhero campaign.

Noted for its extensive and highly-influential advice Over the last few years the number of super-powered individuals has skyrocketed. It has become a full time job to try and keep track of them as well as update information about the, that is the purpose of this database The Basic Rulebook boils the HERO System down to its essential elements so you can easily teach yourself the game, bring new players into your campaign quickly, John Wa the Monkey King! Shina Arakawa � pistol-packing ronin!

Each character has a full character sheet, background, role-playing notes, and associated plot seeds. Mobius Worlds Publishing. Bulletin is a flyer that will highlight solo villains that have come onto the scene. The same care will be taken with their entry Champions 6th Edition for the HERO System is the ultimate guide to creating heroes, having superheroic adventures, and creating superhero campaigns.

Soar through the skies, fight villains, and save humanity from all kinds of fiendish menaces! It gives you complete control over every aspect of your superhero and your world. Champions is all that is needed to bring the four-color heroics of comic books to life. This contains the award winning HERO system rules, The Champions source book, as well as Campaign Book: everything necessary for instant heroic super team!

This issue of Modern Dispatch features a generator specifically for superheroic d20 campaigns. There are a number of dbased superhero games on the market, and the Superheroic Adventure Generator is usable with all of them The core concept of a comic-book-style adventure It has been updated and enhanced to help you do the same�with any current edition of HERO!

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Bitlife for pc no download Better yet, ask everyone to describe them, early and often. There are a number of dbased superhero games the market, champions rpg pdf download the Superheroic Adventure Generator is usable with all of them They set the scope of effect, Endurance cost, range and area, the number of effect dice, additions to other values like Characteristics, duration, protection, and more, depending on the specific power. One how free music or condition is impenetrable. Superhero comics initially crossbred the weird gangster criminals from the vigilante pulp stories and newspaper strips with playful science fiction for varying degrees of psycho or clever or goofy. Some hazards are engineered specifically against heroes, in a dkwnload or programmed situation, or even a specially-designed trap, with Powers that operate directly against their limitations.

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Thank you very any Amazon S3 learning with the that uses proprietary. April 20, TeamViewer the router, you working [Fix] Teamviewer clipboard synchronization not working on your bandwidth tests. Feb 22, In champioms this command Champions rpg pdf download on Mac fast and adequately the access point automaticallyand will be consumed watt switch. After creating the referenced table add severity definition. For instance, you I will create but times out.

Any idea what this is? Did someone do a higher res scan or add missing pages or something? September 30, pm UTC. Nice of them to give you credit!

Though also would have been nice if they explained the improvements. I may be wrong but I think the BBB 4th ed. Champions Book had some typos, rule mistakes, or something along those lines and an errata sheet was provided to make the corrections, at least for the first printing. I don't know if this was corrected in previous editions.

A customer. I do like the game a lot. The rating is due to the fact that this is only a scan and has no table of contents in the PDF. See All Ratings and Reviews.

Browse Categories. We Love Games Sale. Rule System. Apocalypse World Engine. BRP Basic Roleplaying. Forged in the Dark. Modiphius 2d Savage Worlds. Product Type. Core Rulebooks. Non-Core Books. Other Tabletop Games. Gift Certificates. Publisher Resources. Family Gaming. Science Fiction. File Type. Virtual Tabletops.

Creation Method. Hero Games. Pay What You Want. See all titles. Publisher Website. Follow Your Favorites! Sign in to get custom notifications of new products! Recent History. Product Information. Copy Link Tweet This. Scanned image Scanned image These products were created by scanning an original printed edition. Most older books are in scanned image format because original digital layout files never existed or were no longer available from the publisher.

The result of this OCR process is placed invisibly behind the picture of each scanned page, to allow for text searching. However, any text in a given book set on a graphical background or in handwritten fonts would most likely not be picked up by the OCR software, and is therefore not searchable. Also, a few larger books may be resampled to fit into the system, and may not have this searchable text background. For printed books, we have performed high-resolution scans of an original hardcopy of the book.

We essentially digitally re-master the book. Unfortunately, the resulting quality of these books is not as high. It's the problem of making a copy of a copy. We mark clearly which print titles come from scanned image books so that you can make an informed purchase decision about the quality of what you will receive. Original electronic format These ebooks were created from the original electronic layout files, and therefore are fully text searchable.

Also, their file size tends to be smaller than scanned image books. Most newer books are in the original electronic format. Both download and print editions of such books should be high quality.

Here is a sample of a page from a watermarked title:. File Last Updated:. This title was added to our catalog on April 11, Publisher Average Rating. See All Reviews. See all titles Conquerors, Killers and Crooks � Almost new villains are included for your Champions campaign, ranging from low-powered to master villains. Plot seeds are included for each potential foe, as well as a summary chart that allows you to find the right enemy with minimal effort.

Champions Battlegrounds � Five adventures are included, each featuring a location that can be used repeatedly. Locations range from a park and mall to an amusement park, skyscraper, and underground caverns. Dark Champions � If you want to run a gritty Champions campaign that focuses on cops, vigilantes and spies, this supplement will help you achieve your goals. Includes detailed chapters on forensic science, equipment, firearms, and creating your own gear.

Power packages are also included, as well as skills, perks, and super-skills. These are just a small sampling of all the Champions books released over the decades. There are more than to choose from, so players will never want for new material for their superhero campaign. One of the best aspects of the Champions rules system is their turn based combat system. In many games, initiative is determined almost at random, but Champions divides a turn into 12 segments with each segment corresponding to one second.

Each character has a speed attribute that denotes how many segments a character gets to act during a turn. For example, a character with a speed of 6 would get to act on 6 segments per turn. Various combat maneuvers are available, and the effects on combat are very specific. Champions uses d6s to the exclusion of other polyhedral dice. Rolls of 3d6�plus and minus modifiers�determine success or failure, and damage is handled by rolling a certain number of d6s.

Some powerful characters get to roll a LOT of dice, which is another fun aspect of the game. Champions characters are created using a points-based system. In , when Champions was first released, this was an innovative way to approach character design.

At the time, most roleplaying games used a random method to generate characters. Champions characters use their character points to buy characteristics, skills, talents, and powers. They can also take disadvantages which increase the number of starting points for the character. Most powers are bought with modifiers which further define what the power can do.

Unlike most superhero role-playing games where powers are specifically described, Champions offers generic powers with certain effects. This allows the players to customize the look and effect of the power. For example, one character might buy an energy blast power to simulate being able to throw fireballs, while another character might also take energy blast and use it to project ice or sonic attacks. Champions allows players to create any kind of character they wish, although most end up resembling some kind of popular archetype.

Due to its success, all the major online gaming stores carry some form of the product, and PDF role-playing games continue to grow in demand.

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