Front CoverWelcome to 4CC, a super-heroic RPG intended to evoke
the feel of comics and graphic novels. Unlike many roleplaying
games this one isnt inspired by films or television, but rather by
the antics of superheroes found in the pages of comics published by
the likes of Marvel and DC.A Roleplaying GameRoleplaying games are
where you and a group of friends get together to tell a story.
Thats the core of every roleplaying game, and anything else is just
dressing for the core feature of a shared, collaborative narrative
experience. Just like in many roleplaying games, one of you will
take on the role of creating and describing the world, and playing
the majority of its inhabitants when needed in 4CC we call that
person the Editor. The rest of the players will take on the role of
a single hero whose adventures are the focus of the story youll
tell. Because most players will fall into this category we usually
just refer to them as players, and the characters they portray are
normally known as heroes.Comic Book SuperheroesComic book
superheroes arguably began way back in 1938 when Superman made his
debut appearance, but since then superheroes have become a vast
global industry and remarkable social phenomenon. Though there are
plenty of arguments about how to describe the progression of
superhero comics, were going to take the easy root and discuss them
in terms of ages eras of comics which had particular tropes and
ideals associated with them.With the arrival of Superman the Golden
Age of comics began. These heroes were big, brash, and mythic in
proportions (though often not in power-level). Many of the most
famous heroes made their debut in this era, and it was dominated by
the comics of the Second World War, which became a patriotic emblem
particularly in the United States. Golden Age comics are known for
their bold clear themes of good versus evil, their often theatrical
style, and swashbuckling mentality.As the war came to a close the
popularity of superhero comics began to wane in the United States,
and the Golden Age slowly came to a close. It was not until horror,
romance, and crime comics that had forced supers out of the market
were constrained by the comics code authority that that superheroes
once again came to prominence, and the Silver Age began again in
the mid-1950s. Some of the most iconic of all heroes were created
during this period which lasted until roughly 1970, and it was
marked with a great increase in the capabilities of heroes, an
embrace of science fiction tropes and storytelling, and an
expansion of scale in the worlds the heroes inhabited. Hopeful and
optimistic in tone, the Silver Age was one of innocence, courage,
and exploration that mirrored the post-war expansion and optimism
of the USA.The move towards the Bronze Age was a more subtle one
that began during the 1970s and lasted into the mid-1980s as comics
began to embrace more mature and socially-conscious themes in their
storytelling. The power levels of characters were reeled in
somewhat during this period, and the focus shifted away from the
epic adventures that had dominated the Silver Age and towards the
personal issues of the heroes themselves. Stories involving drug
use, alcoholism, environmentalism, and more authentic criminal
activity were common during this period.With the advent of comics
like Watchmen and Batman: The Dark Knight Returns the move from
being a child-friendly medium to psychologically-complex and
thematically dark stories and characters was complete, and the
Modern, or Dark, Age of comics began. Continuing to the modern day
this age deals with heroes of greatly varied power-levels, but
political, religious, and ethical themes are all commonplace.
Whereas the Golden Age had concentrated on the adventures
superheroes had, the Silver Age on the powers and capabilities of
those heroes, and the Bronze on the heroes themselves, the Modern
Age focuses on the place of heroes in the world around them. Arcs
such as Civil War from Marvel, the explosion of independent comic
companies, and the creation of heroes that break many of the rules
of traditional comics such as Sandman are all important aspects of
the Modern Age.What age you play in, or if you ignore them all to
create your own unique take on superheroes, is up to you. 4CC can
support any of them.The Very BasicsIn 4CC youll take on the role of
a superhero, fight crime, defeat terrible villains, and develop
your astonishing powers. There are a few basic mechanics which
allow you to play games where you do this, and this section
discusses each one briefly (youll find more in-depth mechanics and
discussion about the game mechanics in Story Boards).Tags and
TaggingThe world in which a game of 4CC takes place exists only in
the imaginations of the players. While it might look a lot like,
say, New York City, its not the same place (there are superheroes
in it for starters!) and you need a way to describe your world and
the people in it which has mechanical power. Tags are the mechanism
used in 4CC to describe important aspects, characteristics, and
attributes of the environments characters find themselves in, and
of those characters themselves.Tags are short descriptions which
have narrative power. That means that if the Editor describes a
room as being Dark and Gloomy thats a tag and you have to pay
attention to it. Your character will need to operate under the
assumption that the room is dark and gloomy. If your character is
given the tag Handcuffed to the Radiator then he cant do anything
that would contradict that tag hes stuck at the radiator unless he
has some way of getting out of the handcuffs. Tags have pretty much
absolute power in terms of the narrative and the game world.The
Editor will create a lot of tags when they describe environments,
or create villains to oppose the characters, but players get a
chance to create tags too. When you want to achieve something in
the world you almost always do it in the context of creating,
changing, or removing a tag. If you wanted to sneak into a room of
bad guys you wouldnt just make a check to do that, but instead youd
create the tag silent and unseen on yourself so they dont see you.
If you want to beat up a bad guy you wouldnt just punch him in the
face, youd instead create the tag bloody and bruised on him, making
him limp away.You can even represent people, objects, or even whole
groups of people with a tag. If theres a tag in a scene labelled
rowdy crowd of drunks then thats all you need to represent that
group of people. If a villain turns up with a bunch of henchmen
theyre not all villains unto themselves, theyre just a loyal gang
of threatening henchmen tag. Only people with a proper name (not
like Greg, but like Argon the Destroyer) get to be characters in of
themselves, and ultimately characters like the heroes are still
pretty much just a collection of tags that work in a special
way.Panels, Pages, and Artistic LayoutsMost games either deal with
time in terms of discrete units (like second, minutes, and hours)
or in terms of narrative units (like scenes and stories). 4CC
instead represents the progression of the story through the framing
device of a comic book, with panels, pages, issues, and volumes
being the units of interest. Panels are just about big enough to
hold a single action, whilst Pages concern all the events at a
particular location or work towards a particular task. Issues are a
whole story (or section of a larger plot), and Volumes cover a
whole intricate plot from beginning to end.But players arent
restricted to just following the standard format of panels and
pages, and just like people writing comic books for real they can
use artistic layouts to change how their story is framed. You can
create larger panels that contain more actions at once, full page
spreads that are for a climactic scene or face-off, and even
declare your session to be a collectible issue or an origins
issue!When youre describing what happens when your character does
something, dont just describe the action and its effects describe
the panel it happens in! The Editor and the player should work to
make the game feel like a series of comic book panels, so describe
events unfolding as they might on the page.Rolling the DiceWhen a
player wants their hero to do something they describe it to the
Editor and, assuming the Editor doesnt think it needs a mechanic
representation, it just happens. You never roll dice for things
that dont have any risk to them! When things are a bit dicier,
however, and the outcome is more important or more in doubt, youll
want to make a check. Checks are where you roll four Fudge dice
(also known as FATE dice; special six-sided dice with two faces
with a plus symbol, two with a minus symbol, and two left blank)
and look to see how much effect you have.Effect is what you use to
get things done to create, remove, alter, and otherwise manipulate
tags, and to create artistic layouts. There are two kinds of
effect: active and passive. Active effect is represented by plus
results on the dice, and is what you use to attack, overcome, and
engage with your surrounds. For most checks active effect is more
important, and so youre looking for pluses on the dice. Passive
effect is represented by minus results on the dice, and is what you
use to endure, maintain, or resist changes to you. Its used
primarily when defending against the actions of others, but
sometimes tagging requires passive effect depending on the
situation.When you make a check, roll the dice and count up the
number of points of active and passive effect. You can also add a
bonus point of the relevant kind of effect if you have an advantage
that relates to the action youre taking (see p. xx for more about
advantages). If your action is being opposed by someone, then they
roll their dice and cancel out your points with theirs (active
points being cancelled out by passive, and passive by active).Each
point of effect you have left after any have been cancelled out can
be used to create a new tag (usually just one is needed, but the
Editor can rule you need more), change an existing tag, bypass an
existing tag, or remove a tag. Alternatively you can use it to
activate a permatag (see p. xx) on a character.
Story BoardsThis section details the full rules of the game,
including the core concepts used, and how to participate in
exciting heroic combat!Tags and TaggingOne of the most important
concepts in 4CC is tagging, the process of placing, altering,
removing, and bypassing descriptions of people, things, and places
that have narrative and mechanical power.Tags, Targets, and
EnvironmentsTags are, at their simplest, just descriptions of
important aspects of people, places, and things. All tags have a
target the thing they are attached to. Some tags might be attached
to a particular individual, whilst others can be attached to a
scene, an object, or even an organisation or idea. Tagging is
freeform and intentionally so almost anything can be a tag as long
as it describes something and is attached to something.That doesnt
mean that everything should be a tag. You should only have a tag
thats interesting, significant, and impactful on the story and the
action. If you make literally all of your description tags then
youre overwhelming whats actually important, and everything begins
to look equally interesting, and that doesnt make for a compelling
game. Tags should be important things and if something is suddenly
important when it wasnt previously, its now a tag. What is and isnt
a tag can change instantly, and you shouldnt be afraid to embrace
that. As soon as a character wants to interact with an aspect of
description in a scene, that description becomes a tag.Tags can
also be rated by how prominent and important they are. The
following table summarises the types of tag and how much effect is
needed to create, remove, or change them.Effect RequiredTag
TypeExample
1Normal. This is the standard type of tag which has a
significant narrative impact, but does not define the scene.The
building is on fire! tagged on
2Potent. This type of tag is one which changes the game not only
for a page, but maybe even a whole issue.Knocked into a coma tagged
on Aunt June by the Octo-Terror.
3Overwhelming. This type of tag should be used exceedingly
sparingly, and changes the game not only for an issue, but maybe
for a whole volume. The very presence of this tag in the game
alters how you progress and even if you find victory.Soul sent into
the deepest reaches of hell itself tagged on the Emerald Rider by
Doctor Despair.
4Vital. This type of tag comes up only very occasionally and
changes the future of the team, and potentially of the world or the
universe as well. It so fundamentally alters the state of play that
it will resonate for as long as you carry on with the
game.Atmosphere stripped away tagged on the whole earth.
PermatagsCharacters (heroes and villains) have a special kind of
tag unique to them: the permatag. Permatags are just like other
tags (important bits of description that have narrative power) but
are unusual in that they can almost never be changed or removed
they are permanent. Whilst permatags work just like other tags by
setting narrative constraints, they can also be
activated.Activating a permatag can be done by spending effect just
like creating, changing, bypassing, or remove a normal tag. What
activating a permatag does is bring that narrative concept forwards
and make it a focus, and if necessary, alters the course of the
narrative to reflect that. So if a character has Horrible reaction
to silver and someone activates that tag, then theyre about to be
thrown through the window of a cutlery shop. On the other hand if
they were The last scion of a lost world then it might mean that
remnants of that world are going to show up soon.Activating
permatags is an important narrative action, but it can easily be
overused. The Editor is free to veto any such activations if it
would just get in the way of the narrative as a whole, but are
encourage to try and work permatag activations in as best they can.
Players are encouraged not to activate them too often as they can
soon dominate the game as a whole.Grant has the permatag Turns into
a rampaging killing machine when angry on his sheet, and one of his
enemies spends effect to activate it. Sure enough he goes into a
mindless fury and starts smashing up everything and
anything.Creating and Removing TagsThe most basic kind of tagging
you can do is to create or remove a tag. When you create a tag you
perform an action which allows you to attach a tag to a target of
some kind, spend effect, and thus change the narrative truth of the
scene. A character might create a tag on an enemy when attacking
them, on a building after setting up defences to protect it, or on
a street after getting a crowd all riled up. Creating a tag always
requires a suitable action to provide an explanation for the
creation of that tag. If you dont do something, you cant create a
tag that action is what your check is representing.Justice kicks
over a brazier and rolls a check creating the tag On fire! attached
to the room.If theres a tag in a scene that you dont want to be
around anymore, you can spend effect and perform an action to
remove it. Again the action must make sense and have an outcome
that leads to the tag being removed you cant remove a tag without
an appropriate action. When you remove a tag its just gone, and
removing it usually requires the same amount of effect as creating
it in the first place.Starhawk sees that the spatial vortex is
beginning to collapse, but there are still refugees to escape. He
summons the power of the Omega Force and funnels his energy into
the vortex to stabilise it, rolling a check and removing the
Dangerously Unstable tag from the vortex.Changing and Bypassing
TagsOther than just creating and removing tags, its also possible
to alter and temporarily ignore tags in a scene. Changing a tag is
matter of performing an action that makes sense to provoke that
change and rolling a check, just as if you were creating a tag from
scratch. The advantage of changing an existing tag is you dont have
to get rid of a tag and create a new one its a single action as
opposed to two. The number of points of effect required to alter a
tag is usually equal to the original cost of creating it, but the
Editor is free to drop the cost if he feels the change is
relatively minor.Velocity is running up the side of a building in
the face of a torrential downpour. He begins to run in tight
circles, looping faster and faster to build up momentum, rolls a
check, and then changes the torrential downpour tag to terrifying
hurricane. That should put a stop to the looting in the streets
below!Other than removing or changing a tag, theres another way of
getting around the narrative implications. Characters can attempt
to bypass tags temporarily by performing actions that circumvent
the narrative control the tag has on the action. This is
advantageous as sometimes its not possible for a character to
remove a tag (they dont have an action they can perform which would
be suitable) but they still need to ignore its effects for a while.
Bypassing a tag is also much easier than removing it entirely in
most cases almost all attempts to bypass a tag only require a
single point of effect, with more only required if the action is
really stretching credulity. When a tag is bypassed the character
ignores it for a short period (usually a panel or two, but the
Editor has the final say) but it still remains in effect. Bypassing
a tag can neutralise the tag for all characters, or just the one
taking the action depending on the situation the Editor should make
this decision.Craig Law is faced with a large vault door with the
Impenetrable tag on it. His power to vibrate his body sometimes
lets him phase through solid objects, and so he makes an attempt to
find the right frequency, rolls a check, and then bypasses the tag
allowing him into the vault beyond. No one else can come with him,
but as he doesnt know how to unlock the door, its the best he can
do.Panels, Pages, Issues, and VolumesIn 4CC the action is divided
up into panels, pages, issues, and volumes the framework of a comic
book. Actions take place within panels, which make up pages, which
are contained within issues, a number of which make up a
volume.Anatomy of a PanelThe panel is the smallest unit of action
in 4CC and as such one of the most important. Whenever you perform
an action it takes place within one or more panels just like it
would in a comic. A panel is basically enough narrative time for a
short, simple action to take place. If you throw a punch, climb a
wall, or read a significant line in a book then youll be making a
check that takes place in a single panel.But not all actions fit so
neatly into a single panel, with the action taking place over a
number of panels before its complete. In such a case the action is
divided between multiple panels, with the check and outcome being
made in the last. Of course, in most circumstances it doesnt matter
if it takes longer than a single panel to perform an action, but
during an action sequence it does, with other characters acting
between each panel of the action.If an action is taking place
during an action sequence and is going to take multiple panels the
Editor should determine how many it takes place across. They should
consider the circumstances surrounding the scene, the abilities of
the character acting, and the action itself. Try and imagine what
it would look like if it were in a comic and then determine the
number of panels it takes from there.The Burning Fist is running to
the other side of the city. The Editor describes a panel with him
standing on the edge of a building surveying his route, another of
him leaping between rooftops, one of him sliding across the bonnet
of a car, and then the last panel of him arriving at his
destination. It takes four panels.Sometimes a panel will contain an
action that doesnt not require a check. If youre not trying to
create, remove, change, or bypass a tag, then you dont need to roll
any dice, but your action still needs panels to happen in. Talking,
crossing the road, climbing a wall, and so on are all examples of
such actions.Turning a PageWhen a scene concludes its time for the
Editor to turn the page and let a new scene begin. Exactly when a
page turns is up to the Editor, but usually a new page is begun
when the heroes overcome a substantial task or the location
changes. For the most part turning a page is just a formality a
matter of marking the end of one scene and the start of
another.However, there is a mechanical effect of ending one page
and beginning another. When this happens tags that are currently in
effect are refreshed, with the Editor deciding which ones are kept
and which are lost. For example bruises and cuts might heal (or at
least become narratively unimportant), a fire that was raging burns
out, and so on. Sometimes the Editor will decide that instead of a
tag disappearing, it changes in some way. Though what tags expire
or alter is up to the Editor, the players are free to suggest
(particularly if they are attached to their heroes).Issues,
Volumes, and Narrative PacingBeyond panels and pages are the realm
of issues and volumes. Issues are short storylines that wrap up in
a couple of sessions of play, or significant chunks of a larger
narrative. When a new issue begins the Editor should talk with the
players about what they want to call the issue, as this gives them
a collaborative starting point for where they want to go with the
tale. If the group decides that Defenders No More! is a good title,
then its likely to concern the apparent disbandment of the heroic
team, for example. If this issue is really just a continuation of a
previous story, feel free to give it a number (Defenders No More
Part Two), but dont be afraid of changing things around. The
advantage of naming your issues before they begin is that it gets
everyone in the same place when it comes to creating a
narrative.Issues are contained within a volume, which is a
significant storyline or a series of interlinked stories. Volumes
should also be named, but this is usually done by the Editor this
gives them a chance to explain to the players what kind of story
they are looking to tell. If you want this can be a collaborative
opportunity just like naming an issue, but this leads to more
sandbox play than is usual in comics. Volumes often last for dozens
of sessions and issues, and ending one and beginning another should
be a significant event for the group.Artistic Layouts and Narrative
ControlOne of the ways in which players have influence in the game
is through artistic layouts and narrative control. Artistic layouts
are changes to what the panels in the comic book that youre playing
through look like, whilst narrative control is overt influence over
the plot in order to benefit you and your team.You can only ever
use Artistic Layouts and Narrative Control in your panel. If you
are involved in someone elses panel (because you are part of a Tier
or Spread, for example) you cannot use these effects (fold-out
spreads are a notable exception). You can however use them when
making rolls to oppose opponents.The Editor can never use Artistic
Layouts and Narrative Control they are the province of the heroes
only.Artistic Panel LayoutsThe standard progression of panels
represents how comic book narratives normally unfold, but normally
isnt always. Sometimes panels can be made larger, arranged in
unusual ways, or even spread out to cover the whole page! These
abilities allow players to use points of effect on checks to alter
what the panel their character is currently acting in looks
like.SplashA splash or splash page is a large, often full-page
illustration which opens and introduces a story. When you turn a
new page and the basics of the situation have been described by the
Editor, one player can choose to create a splash, and should roll
the dice no advantages can add extra effect to this roll. You can
spend the resulting points of effect on a one to one basis to
create tags in the scene which are considered just part of the
scene, just as if theyd been described by the Editor in creating
the scene. You should describe what the splash looks like, making
clear what tags are being created.Unbreakable and Craig Law arrive
at a crime scene to investigate and Sophie (Unbreakables
player)decides to create a splash page. She rolls the dice and gets
2 points of active effect and 1 passive. She creates two tags:
Helpful Law Enforcement Personnel rated at 2 point of effect and
Untouched Crime Scene rated at 1 point of effect. She describes how
the splash shows the two characters stood on the roof of a building
surveying the alley below, flashing police lights and officers
surrounding the scene, the alley cordoned off with yellow crime
scene tape.TierBy spending one or more points of effect on a check,
the character can make the panel they are currently in represent a
tier of panels (a single row across a page). By doing this they can
involve their teammates in their current action those nominated
(one effect point buys in one nearby teammate) can roll their own
checks in the same panel and apply effect from them as long as they
are all contributing to the same specific goal or task (like
hacking a database or building a defensive structure). The Editor
has the final say on whether actions are suitable or not.SpreadBy
spending four points of effect on a check, the character can make
the panel they are currently in represent a spread an image that
spans across two pages. By doing this they can involve all their
teammates who are nearby in the current action every hero on your
team can roll their own checks in the same panel and apply effect
from them as long as they are all contributing to the same general
task (like fighting the Doom Squad or searching the shipyards). The
Editor has the final say on whether actions are suitable or not,
but they are encouraged to be lenient. By spending six points of
effect on a check, the character can make the panel they are
currently in represent a fold-out spread, where you fold out extra
pages in a comic to make a truly huge image. Not only can everyone
else in the team act, they can act as if it were their own panel
that means they can use artistic panel layouts and narrative
effects of their own. The only stipulation is that they cant use
this one (a spread).Sound EffectsBy spending a point of effect on a
check, the character can add sound effects to their action making
their panel more impressive. You can only add sound effects to a
panel where they would make sense (so crashing through a window is
great, but sneaking down the corridor isnt so good), and you must
tell the Editor what sound effect you want to add. Sound effects
draw narrative focus onto that panel, enhancing the rest of your
action. When you add a sound effect the cost of creating, altering,
removing, or bypassing a tag is reduced by one to a minimum of one.
Note that this is not a bonus, but instead reduces the cost of
doing something if its already at cost one, theres no
effect.Artistic LayoutThe character can spend one or more points of
effect on a check to alter the appearance of the panel they are
acting in. This allows them to stretch it across a page, create a
series of interlinked panels, or otherwise play around with the
appearance of that panel. Describe what the panel looks like to the
Editor and the other players, and you can perform an action which
would normally take up two or more panels in a single panel. For
each panel beyond the first it would normally require, you must
spend a point of effect, but in this way you can do truly
impressive things (like hacking past multiple firewalls in quick
succession, or super speeding across the mainland united
states).Narrative TechniquesComics adhere to certain tropes and
narrative techniques that crop up again and again, and 4CC
endeavour to allow you to recreate them during play. Each of the
following techniques can be used by spending one or more points of
effect on a roll, as described in each entry.SetupThe most common
narrative technique is to setup an advantage for another character.
To do this simply spend one or more points of effect and describe a
minor secondary effect of your action (like leaving the ground
strewn with broken glass after throwing someone through a wall). It
doesnt create tag (it has no narrative power in the same way unless
the Editor rules it does) but instead creates a temporary advantage
(just like the kind of advantages you have on your sheet) that the
next person can make use of. The advantage created has a rated
equal to the number and type of effect spent to create it. For
example, if you left the ground strewn with broken glass with two
active points of effect, the advantage might be Broken Glass Hazard
++. This advantage is considered available to everyone in the
scene, and when its used once it disappears. As per the usual
rules, you can only make use of one advantage on a single roll.Cut
ToSometimes a hero gets into situation where things arent going
their way and they dont see how they can win. If they are in a bad
situation like this they can use a point of effect of either type
on a check to shift the narrative focus to other members of their
team, who can hopefully do something to help them out of their
predicament!Memory LossPossibly the most important narrative
technique for any hero, convenient memory loss allows them to
ensure that, with the expenditure of a single point of effect of
either type, that a bystander of any kind no longer knows their
secret identity, even if they really should. This technique should
usually be used towards the end of an issue, and this cost only
represents the best case scenario, where its pretty likely they
wouldnt remember your identity (were inhabited by an alien entity,
infected with a rampaging super-virus, etc). If its less probable
(been in a car crash, hypnotised by a super villain, made to lose
their inhibitions by a genetically-altered plant, etc) then it
might cost two points, whilst really really improbable causes (they
selectively forget it after a knock on the head, they were on drugs
at the time, etc) then the Editor can raise the cost to three or
even higher.Sudden RevealMany heroes, particularly those who brood
and have cowls, have a tendency to disappear when people are
talking to them with their backs turned, or turn up at surprisingly
convenient times. Any character who is not currently involved in an
action sequence, but has not previously declared exactly what else
they are doing, can suddenly reveal themselves and jump into the
fray by rolling a check and spending one of the resulting effect
points on doing so. If their check results in no effect points,
then they must wait until the end of the current action order, but
can still turn up anyway. If you get more than one on the check,
you can use the rest to do things as normal.Fade to BlackIf the
hero, or the entire team, runs into a seemingly insurmountable
challenge, or faces impossible odds with no hope of survival, a
character can spend four effect points on a check to fade the
action to black. When this happens the scene ends with a dramatic
fade out, the narrative jumps forwards to after they were
successful, and the story continues from there. They should attempt
to describe how they resolved the situation at some point before
the end of the issue if they dont, then anyone affected doesnt earn
a milestone for that issue.Just the ThingHeroes have an impressive
talent for always having the right tools on hand for the task in
front of them. By spending a point of effect on a check they can
announce they happen to have an item secreted about their person
that is exactly what is needed a lighter, an omnitool, a mobile
phone, etc. The Editor is free to veto truly stupid ideas (like a
fully-loaded AK-47, or a small horse).Special IssuesAt the start of
an issue the players can decide that the issue is special in some
way which has a variety of effects. Unlike artistic layouts and
narrative techniques declaring an issue to be special doesnt
require you to spend effect, but instead is just done by consensus.
The players must have a consensus that the special issue is
suitable and interesting, and the Editor must also agree.Flashback
IssueIf the team declares that an issue is a flashback issue, then
it takes places before the current point in the volume, potentially
years previously. This allows the team to put things in motion that
can come to fruition later, give exposition of bits of the plot
previously glossed over, and generally add to the narrative flow.
You can only have one flashback issue each volume, unless its
really really cool.Origins IssueIf the team declares than an issue
is an origins issue then it doesnt take place within the frame of
the rest of the volume, but instead describes the heroic origin of
one or more of the characters. The character whose origin is being
revealed should take on the role of Editor for this issue, and
provide characters to the others to play whilst the story of their
origins is being told. Everyone earns a milestone as normal for the
session (to be spent on their normal character). You should only
ever have one origin issue for each character.Collectible IssueIf
the team declares that an issue is collectible, then that means it
will be a hugely important issue in the overall story, probably the
culmination or halfway point of a volume. The Editor should
describe the front cover of this issue, and the players should then
endeavour to make that image actually occur during play in this
issue. If they manage it, then they may all change one of their
permatags however they wish (with the Editors approval of course).
This is the only way in which permatags can change, and there
should only be one or two collectible issues each volume.Action
SequencesAction sequences, where heroes attempt to save the day in
spectacular fashion and where time is short until things go bad,
are the meat and potatoes of the heroic experience. In 4CC the same
basic rules are used in action sequences as when investigating,
talking to others, or anything else, but there are some important
nuances and additions that players should be aware of.What is an
Action Sequence?An action sequence is when the heroes start
throwing punches, dashing through burning buildings, or holding up
suspension buildings. In other words its where the drama is at its
height, when theres serious risk and danger, and where the
consequences of failure of dire. Exactly what constitutes an action
sequence is up to the Editor, but generally if combat is involved,
or death or injury is possibility, its an action sequence. Of
course, the Editor is free to determine that a vital chess match is
also an action sequence, but it had better have the fate of the
world hanging on its outcome. When an action sequence is about to
begin, the Editor should make all the players aware of this and
outline the exact scenario and the participants in it.the Action
OrderAction sequences are distinct from other types of play because
they require the players and the editor to work within the action
order. Most of the time it doesnt matter who goes when, or what
order actions take place in other than to suit the narrative if one
character takes up two or three panels before someone else does
something, thats not a big deal. But in an action sequence the
spotlight should shift between heroes equally, and everyone should
have a chance to shine thats the purpose of the action order.When
an action sequence begins the Editor nominates one hero (or a
villain if there is one in the scene) to start the action order.
They should determine this based on the circumstances of the action
sequence, who is doing what already, and who is prepared to act.
Once theyve had a panel of activity, that individual then nominates
another participant to take a panel. After theyve acted, they then
choose someone else to go, and so on. All of the participants
(heroes and villains) should get a chance to act at least once in
the action order. Once everyone has had a panel of activity, you
can start the action order again (though its unlikely to unfold in
the same order), with the last person to go nominating the first
person to go in the next order.Action sequences (and the action
order) end when the narrative circumstances are resolved: when the
villain is defeated or flees, when the heroes are forced to
withdraw, or when you save the box of kittens from the burning
building.Injury, Death, and Other Bad ThingsIn action sequences
theres a real chance of bad things happening to the heroes, and
certainly to the villains. This is handled, like everything else in
4CC, with tags. When you want to attack a foe, you roll a check as
normal, they oppose it, and if you get force left over you can
create, alter, or remove tags from them. You cant change their
permatags though, so dont bother even trying.The Raven is in a
throw-down with the Eviscerator, and she hurls a bowling ball at
his head. She rolls her check, and he rolls one in defence. She
gets a point of Active Effect and so creates the Dazed and
Staggering tag on him. Hell need to remove that tag before he can
act normally again.Editors should stick to their guns when it comes
to reasonable mechanisms of removing tags. Unless there is a clear
way of removing a tag through an action or power, then the
character is stuck with it, at least for the time being. Unless
they have some kind of healing superpower, a character suffering
terrible wounds is probably out for the rest of the action
sequence. Changing these tags when a page turns is the usual way to
shift them.Tags like Dead are possible, but they can be removed
just like any other tag in comic books, people rarely stay dead
permanently. However, the Editor should discourage them as much as
possible because theyre just plain boring, and should require large
numbers of effect points to create them on a target.The above rules
work great for fighting villains (i.e. characters with permatags
and advantages) but they dont reflect how the system deals with
mooks, mobs, hordes of angry barbarians, robot ninjas, and so on.
Because these kinds of threats dont have permatags and advantages
theyre not characters as such, but instead just tags the Menaced by
Angry Mutant Hamsters tag on a scene is sure to cause chaos, but
defeating them is just a matter of making a standard check and
getting enough effect to satisfy the Editor. Describe this however
you wish its your time to look like a badass when you do.Permanent
death should be exceedingly rare for heroes and villains alike, and
should really be at the discretion of the person playing that
character. If your hero dies in combat and you feel like its time
to let them go, then they actually died. Likewise, if you hit a
villain so hard he bursts, the Editor can decide that the
terrifying balloon man might have had his day, and let him rest in
pieces.MilestonesThough superheroes start off being pretty damn
awesome, they grow and change over time as well. At the end of each
issue each player can improve their character by adding a new
advantage to their sheet. You must rate this new advantage with
either a + or a - as normal, but it works just the same as other
advantages. This means that over time characters can build up a
truly impressive array of advantages and this is intentional
superheroes dont tend to become more powerful (except as part of
the plot) but they do tend to become more versatile.Megaman reaches
a milestone and so he gets a new advantage. In the last issue he
spent a lot of time inspiring troops under his command, and so he
decides to take Inspiring Command+ as his new advantage.Milestones
dont allow you to change your permatags, but Collectible Issues do
(see p. xx). Remember that you can effectively make your character
more powerful by expanding the scope of their permatags over
time.Unbreakable is part of a collectible issue where he gets the
chance to change one of his permatags. He decides to upgrade his
Impervious to All Weapons permatag to Impervious to All Damage
which means he can now do things like shrug off lightning strikes!
The Editor agrees with the upgrade, and the change is made.Concept
ArtThis section deals with how to create a hero for play with 4CC.
When you create a hero, following this process through step by
step:1. Develop a concept2. Create your permatags3. Choose three
points of advantagesCreating a HeroThe first thing you need when
youre looking to make a hero is an idea of who you want them to be.
Come up with an idea of roughly who they are, what they can, what
they look like, and what you want them to be called. You dont need
to create huge amounts of detail at this stage, but instead just a
brief overview so its easier to create your permatags and choose
your advantages.Sophie has decided she wants to play someone who is
very hands on and rough and tumble. She comes up with an idea for a
character she dubs Unbreakable who can withstand almost any
injury.Mark is also playing but wants to make a character who is a
bit more down to earth than Sophie, and decides that his character
should be relatively mundane but highly trained. Hes been watching
a lot of martial arts films lately, and so comes up with the idea
of a ninja fighting for justice who hides behind the guise of a
journalist, and names her The Raven.PermatagsCharacters are
primarily made up of special tags called permatags (indicating that
they stick around forever and rarely change or are removed). Every
character begins play with four permatags each of which represents
something important and special about them.The first permatag a
character possesses is their origin how they gained their powers or
training, and what the source of their abilities is.Sophie decides
that Unbreakable was given his powers during an illegal genetic
experiment, and records his origin as Born Human, Made InhumanThe
Raven gained her abilities after she was raised by ninjas, and so
Mark writes her origin down as Raised by Ninjas. The Editor
suggests using this opportunity to create a cool in-world group,
and Mark agrees, so he changes it to Raised by the Deathhead
CultThe second permatag a character possesses is their main power
set the most important aspect of what they are capable of. This can
be a summary of all their powers if you want, but the Editor has to
agree its a reasonable choice. If you want your character to have
lots of superpowers, youll probably need to give them a secondary
power set too (see below).Unbreakables main power is to simply be
able to survive almost any injury, so Sophie decides his power set
permatage should be Impervious to All Weapons.The Raven doesnt have
supernatural powers, but instead just has astonishing physical
prowess, and so Mark gives her the permatag Master of the Way of
the Ninja.The third permatag a character possesses either
represents a secondary power set (other powers that the character
possesses) or a more mundane professional background. For bronze
and modern age games the latter is more common, but for gold and
silver age heroes you cant have too many powers.Though its a bit of
a clich, Sophie likes the idea of Unbreakable being an amnesiac,
and so she skips over a mundane profession. She beefs up his
superhuman abilities with a secondary power set permatag of
Enhanced Strength and SpeedSince shes a pretty mundane character
Mark doesnt want to give The Raven a secondary power set, instead
choosing Hotshot Young Journalist as a professional background.The
final permatag you need to choose for your character is a weakness.
This can be a personal connection, a painful sensitivity to a
particular substance, or just a tendency to overlook particular
kinds of tactics. A weakness should be bad for your character, and
is likely to be the permatag most activated by others.Though
Unbreakable cant be injured by normal attacks, he can drown and so
Sophie writes down Drowning is my Greatest Fear.As The Raven is a
little more under the radar, something like that wouldnt make sense
for her, and instead Mark decides she has a crush on one of her
fellow teammates, and writes Unrequited Love for
Justice.AdvantagesA characters permatags tell you a lot about them,
but they dont give you an idea about how good at anything they do
they are. Thats the role of advantages to determine what particular
activities you have an advantage when engaging in.Advantages should
be a relatively specific field of expertise that your hero excels
in. The Editor has the final say on whether an advantage is
acceptable or not, but they are encouraged to be flexible. Ideally
your advantages should be something that comes up at least once an
issue, but not something youd use on every page.Advantages are
assigned a number of points of active and/or passive effect up to a
total of three effect. In play using an advantage (you can only use
one on each roll) grants all of those points of effect as a bonus
to the result, guaranteeing some outcome and enhancing your
potential.At character creation you get three points of effect to
spend in any configuration.Unbreakable has gotten real good at
killing folks and taking a kicking, and so Sophie gives him Brutal
Boxing++ and Body Blocks-.The Raven is a ninja, so Mark decides she
should be an expert in Throwing things +, Hard to spot to make it
easier to evade notice, and finally Asking difficult questions + to
represent her journalistic experience.
Inking and LetteringThis section gives details for the Editor on
how to develop plots, come up with villains, how to run game
sessions, and provides advice on dozens of other subjects. If youre
not planning on being the Editor for your group, then stop reading
now.From Concept to ColouringDeveloping your own comic book
adventures from the first ideas of an overarching plot to actual
play can be intimidating, and its not something that youll get to
grips with immediately. With the advice presented here, however,
youll have the best chance of creating exciting games right
away.Volume by Volume or Issue by IssueThe first thing you should
decide when you sit down to prepare for a game of 4CC is whether
youll be presenting the narrative as a long sweeping arc (volumes)
in which each issue is merely a component part, or whether youll be
looking for a more episodic kind of game where most issues are
distinct and deal with different stories and villains. There is no
right answer in this context, and its all about your personal style
and what your group wants.Consider how long youre likely to be
playing for if its just a one-off session, then building a long and
complex narrative is a waste of time. Equally, if you have a fixed
number of sessions that you can sketch out an interlinking plot
that fits perfectly into the time you have. Most games dont have
the luxury of certainty of course your group will just play for as
long as things keep on being interesting and everyone can make it.
In such a situation you have to consider what kind of game you and
your players actually want.If you sketch out an overarching plot
with a central villain or event youre not only committing to a
certain amount of time, but to a particular set of themes and
ideas. If, for example, you want to tell a story about a civil war
amongst superheroes then youll be dealing with themes of trust,
honour, loyalty, and legality. When you have an idea for a plot,
dont tell your players what it is (the surprise is part of the
point!) but do give them an idea about what themes you want to
include. If your players react well to those theme, theyre likely
to react well to the story you have in mind too.If you decide
against a larger plot then youre instead pitching a series of
(potentially loosely connected) adventures that the heroes engage
with. This can easily turn into a monster of the week type game,
and its important to introduce plenty of variety try considering
different kinds of challenges rather than just beating down the bad
guy each issue. Maybe someone dear to the characters is kidnapped,
or they are forced to justify their actions to the police. Perhaps
public perception turns against them, or one of them becomes an
unexpected celebrity! There are lots of different kinds of
adventure you can run so dont feel constrained to small ideas just
because youre looking for short stories. Again it can be very
helpful to give your players an idea of the common themes that
youre looking to include most comics have a particular theme, even
if they dont have an overarching story.Getting Ready for ActionSo
you have a rough idea of the story you want to tell, or at least
have some idea of the kinds of stories you want to tell in an
episodic fashion. Now you need to prepare to actually play the
game! 4CC is intended to be collaborative and so you cant expect to
have complete control over the action. Get your group to name the
issue in advance so you can prepare some ideas if youre not
comfortable with that much improvisation, or prepare a whole slew
of events and encounters that you can throw at them without much
notice. If youre really struggling with the uncertainty of
collaboratively named issues, then you can just name them yourself
and tell your players what theyre called whatever works best for
your group.Once you know roughly what the issue is about, try and
get some notes down about what you want the adventure to involve.
Most stories are mysteries at their core, and so come up with a
problem that needs solving or a hidden truth that the heroes need
to find. Then work out whats stopping them from solving it or
finding out the truth this is usually a villain! Come up with the
villain themselves, creating them a character sheet, and work out
their methods, and then come up with a hook how you get the
characters involved.A good structure to use in planning a game is
to use layers. Think of the stories as being made up of layers as
the players peel away each layer they get closer to solving the
mystery or resolving the issue. The first layer should be the hook,
and should generally involve talking to people, finding out the
facts, and getting to grips with the ideas at hand. When they know
at least roughly whats going on, they move onto the second layer.
It might involve a minor confrontation that leads them to get
involved in the plot as a whole, but it doesnt have to.In the
second layer they are challenged by the villain indirectly they
face off against his lieutenants, rescue people from a bombing, or
anything else suitable. This should be the first big action
sequence and a good point for lots of excitement! In overcoming
this challenge they understand more about the situation and get
closer to the solution, and they move to layer three.There the
mystery deepens and theres a twist! Someone they thought was a
villain turns out to be an ally, someone they trusted betrays them,
or some new element is brought into play. There can be an action
sequence in this layer, but its usually more minor than that of
layers two or four. When they have discovered the twist, endured
its harsh nature, and triumphed they move onto layer four.In layer
four they actually face the villain, stop their machinations, and
save the day (or find the truth). They are directly opposed by the
villain in layer four, and they have a chance to really show off!
This is the big showdown and should have an action sequence to
match.When they win they find layer five, where they realise the
consequences of their actions, the significance of what theyve
found, or the place of that villain in the grander scheme. This is
sort of an epilogue, and sets up the next issue nicely.Of course
you can entirely ignore this structure, but it can be helpful if
youre struggling to sketch out a satisfying plot!A Villain with
TeethOne big question that has no easy answer is: how do you come
up with a convincing and satisfying villain?Behind the CowlSo what
makes a superhero a superhero? More importantly in the context of
the game, how do we describe superheroes, and how can we understand
their place in the world? Youll find here some guidance on hero
power-levels, ways to encourage your heroes to play to the tropes
youre looking to use, and finally some optional rules you can use
to add complexity to your heroes.Power LevelsFor the sake of ease
and consistency, and to give you some idea about whats acceptable
in your heroes permatags, we outline four power-levels
below.Gamma-level heroes are the weakest of all as they possess no
superpowers and no advanced or remarkable technology. They can
threaten a person or a building with the right equipment, but are
not intrinsically that much more dangerous than any normal human.
That doesnt mean they cant be very effective, of course, just that
they dont have supernatural powers. If a Hank was making a
character called Muscles who was a strong character, then Circus
Strongman would be a great example of a Gamma-level permatag for
his powers, and might be able to kick in a wooden door or bend an
iron bar with concentration. Many Bronze Age characters are
Gamma-level heroes. The Raven (see p. xx) is a good example
character of this power-level.Beta-level heroes are the weakest of
all powered individuals, possessing some superhuman abilities but
not those which can outclass a normal human with the right
equipment and training. They can threaten a person or building with
ease just on their own, and with preparation and planning might be
able to bring a city to its knees, but they are limited in many
ways. Their powers are not all-encompassing, and they have many
weaknesses (or at least aspects that are more human than not).
Muscles as a Beta-level character could have the permatag Enhanced
Strength, and might be able to pick up a car, or break down a steel
door. Some Golden Age and Bronze Age heroes fall into this
category. Unbreakable (see p. xx) is a good example character of
this power-level.Alpha-level heroes are significant powers in their
own right, and should be feared and respected accordingly. Their
powers can outclass a normal human ever if they have the newest
equipment and best training, and they are really only threatened by
other super powered individuals. Many of the most famous
superheroes fall into this category, which is suitable for
psychics, shape-shifters, and many other types of superhumans. They
can threaten a city with just their powers and cause wide-spread
destruction if they want, and their powers are more comprehensive
and potent than Beta-level heroes. Muscles as a Beta-level
character could have the permatag Superstrength, and might be able
to throw cars and lorries, hold up collapsing buildings, and throw
small objects into orbit. Most Golden Age and Modern Age heroes
fall into this category, and many Silver Age heroes do as well. In
many 4CC games this is the default assumed power-level. Trident
(see p. xx) is a good example character of this
power-level.Omega-level heroes are the most terrifying and potent
examples of superhumans able to do things that mundane individuals
simply cant imagine. Their powers can outclass whole armies on
their own, and most other super-beings avoid conflict with them as
well. Some of the most iconic superheroes fall into this category,
and they can threaten whole worlds if they want to. Muscles as an
Omega-level character could have the Permatag Incalculable
Strength, and might be able to hurl naval vessels, knock over
skyscrapers, and cause earthquakes by stamping too hard. Some
Silver Age and a very small number of Golden and Modern Age heroes
fall into this category. Starhawk (see p. xx) is a good example
character of this power-level.Toolkit for the AgesThough you can
play almost any kind of superhero game using the standard rules,
you might want to encourage the heroes to play to type and use one
of the options set out below to reinforce the tropes of your chosen
age of comics.Golden Age ToolkitThe Golden Age focuses on the
stories and legends of heroes their actions within the context of
classical heroic activities, and the defeat of evil in all forms.
It tends towards more overt, less subtle, representations of
villainy, and is often about rip-roaring adventure and excitement
rather than personal themes or issues.The majority of Golden Age
heroes should be Gamma or Beta-level heroes, as the astonishing
powers of Alpha and Omega-level superhumans often create a certain
amount of distance from the action and the story, and the Golden
Age is all about boots on the ground, up close and personal play. A
Golden Age hero would never deal with a villain by building a
gadget or plotting their downfall, but instead would go toe to toe
with them and finish it all with a good right hook.If you want to
encourage a Golden Age mind-set amongst the players, the best way
to do it is to add a new permatag: the code. This is an ethical,
moral, or heroic standpoint and approach which summarises the
characters intentions and suggests likely courses of action. You
might choose Truth, Justice, and the American Way, Honour and
Glory, or even The Greater Good No Matter What. This creates a
narrative compulsion in the hero to act accordingly, and the Editor
has a way to encourage particular approaches in the players.Silver
Age ToolkitThe Silver Age focuses on the powers and capabilities of
heroes their superhuman actions and the way in which they use their
unique abilities. In addition, it brings attention to exploration
and adventure more than anything else, and often incorporates
mystical themes or elements of science fiction.The majority of
Silver Age heroes should be Alpha or Omega-level heroes, as their
impressive powers suit the over-exuberant and high-octane style of
the era. Players should be encouraged to come up with astonishing
and innovative approaches, and space travel, mystic journeys, and
powerful allies are all common tropes of the age.If you want to
encourage a Silver Age mind-set amongst the players, the best way
to do it is to separate out the Secondary Power Set or Background
permatag into two, allowing characters to have truly astonishing
and varied powers and skills and training to back it up. Characters
who, for example, possess Incredible Stretching, Super
Intelligence, and Accomplished Physicist shouldnt be unusual.Bronze
Age ToolkitThe Bronze Age focuses on the lives of heroes regardless
(or in spite) of their powers their personal troubles, struggles,
and flaws. In addition, it concentrates matters on social issues
and their impact on the heroes, from drug addiction to
environmental damage.The majority of Bronze Age heroes should be
Beta or Alpha-level heroes, though in truth any power-level can be
suitable. Bronze Age heroes might do incredible things, but the
real focus is on their personal lives, and their struggles with
depression, alcoholism, drug addiction, the personal effects of
crime, and the collapse of romantic relationships. Often
comparatively bleak, this era is more like a super-heroic soap
opera than anything else.If you want to encourage a Bronze Age
mind-set amongst the players, the best way is to add an additional
permatag into the mix which focuses specifically on personal
relationships and social issues. Examples might include Struggles
with Alcoholism, Is it right my wife doesnt know Im a superhero?
and I Hate the Decay of my Hometown. This concentrates the players
on the personal, and gives the Editor a way to manipulate them into
playing to type.Modern Age ToolkitThe Modern Age focuses on the
issues of heroes in the context of their setting their
relationships with institutions and organisations, their legality,
and the ethical implications of their activities. In addition, it
presents the heroes and villains as genuine and complex beings with
realistic motivations and approaches.Modern Age heroes can really
be of any power-level, but the majority are probably Beta or
Alpha-level heroes, as these are the ones who can get involved in
human affairs from an organisational point of view most easily.
Players should be encouraged to explore issues like the legality of
vigilantism, the ethical implications of great power, and the
principles of loyalty and responsibility in play. Villains are
often beaten by bringing in powerful allies, but once youve caught
them the bigger issue is what to do with them can you rehabilitate
a supervillain?If you want to encourage a Modern Age mind-set
amongst the players, the best way is introduce a new permatag:
affiliation. This tag should indicate what organisation, nation,
governmental department, corporation, or similar that they are
associated with. This potentially introduces tension within the
group, and suggests ways in which they can consider their role in
human society. Examples can range from Agent of SWORD all the way
to Cuts a pay check from the Glabbox Corporation.ColouringThis
section includes some finished products two teams of heroes with
backgrounds ready to play, a small selection of antagonists for the
Editor to threaten them with, and an example of actual play so you
can see how the rules work in practice.The Defenders of Los
AngelesFormed about five years ago after a long informal
partnership between the Burning Fist and Justice, the Defenders of
Los Angeles are a street-level team concentrating on fighting
organised crime within Los Angeles itself. None of the heroes in
the team are rated as higher than Beta-level, and the team is setup
for Bronze Age themes, though they wouldnt be out of place in a
Modern Age game either.The RavenRaised by the Deathhead Cult, an
evil ninja family whose misdeeds have echoed down through history,
it took a literal miracle for Nakura Aina to be redeemed from her
villainous upbringing. After being caught in a landslide attempting
to assassinate a prominent member of congress in the Rocky
Mountains, she was rescued by a hooded figure she knows only as
Justice who had been told by God that she would need help. During
her recovery she began to feel closer and closer to this strange
and noble man, and eventually rejected the ways of her family and
reinvented herself as a hero.Taking on the name The Raven
(originally a joke by Craig Law) she now splits her time between
fighting crime with the Defenders and holding down a job with the
Los Angeles Record as an investigative journalist. This gives her
excellent access to crime scenes and press events, which she uses
as a chance to gather information about possible villains. She is
particularly close to Justice, but also feels a strong kinship with
Unbreakable as they both share a murky and uncertain past. She
finds Craig Law annoying more than anything else, but is willing to
put up with him for the greater good.As she lacks any supernatural
powers (though is exceptionally trained) she is a Gamma-level
hero.Origin: Raised by the Deathhead CultPrimary Power-Set: Master
of the Way of the NinjaSecondary Power-Set/Background: Hotshot
Young JournalistWeakness: Unrequited Love for JusticeAdvantages:
Throwing Things +, Hard to Spot -, Asking Difficult Questions
+JusticeBorn Aaron Jones in Los Angeles itself, the future hero
Justice was an exceptionally normal individual until his wife was
brutally murdered by members of the Bloodrip gang on their first
wedding anniversary. Collapsing into alcoholism and suffering a
mental breakdown, Aaron was lost for years until he heard God
talking to him.To begin with he assumed he had just lapsed into
insanity, but soon the voice of God proved to him through miracles
that it was indeed the divine that was speaking to him. Empowered
by the word of the Lord he cleaned up his act and then embraced the
persona of Justice in order to fight the crime that cost him his
wife. He still claims to hear God talking to him, though other
superheroes have expressed doubt in the source of the messages in
the past (though not their veracity).More powerful than any simple
man has the right to be, Justice claims to have received a tiny
fragment of Gods power and thus be imbued with holy power.
Regardless of whether this is true or not he has superb reflexes,
exceptional strength, and the ability to fight on regardless of
terrible wounds. He also sometimes receives guidance after prayer,
which can uncover secrets that otherwise would remain hidden. He is
a beta-level hero due to these powers, and his powers are of that
level too.He remains blissfully unaware of The Ravens romantic
interest in him, and would be horrified if he was informed of
it.Origin: Appointed Warrior of GodPrimary Power-Set: Physical
PerfectionSecondary Power-Set/Background: Holy GuidanceWeakness:
Extremely Strict Moral CodeAdvantages: Putting the Fear of God into
Them +, Smiting the Unbeliever +, Finding Criminals +Craig LawThe
wisecracking mercenary turned hero known as Craig Law was born in
Minnesota but ran away from hope at an early age after his powers
manifested and his parents confined him to the house. He soon found
that his particular skills meant he never really had to worry about
money or shelter, and he became a free-wheeling confidence
trickster and wander who caused trouble wherever he went. As his
mystique grew he became sought after by companies and governments
looking to engage in espionage, and he made millions as a mercenary
working for years for whoever paid the best.The news of his fathers
death brought this world crashing down. Though he thought hed left
that life far behind he found himself drawn back for the funeral,
and reconnecting with his mother. Realising the way he had
alienated himself he set out once more, but this time looking for
something more meaningful. He found it two years ago after teaming
up with Justice and the Burning Fist, and is now a proud member of
the Defenders.His natural charm and confidence enhanced with a
knack for illusions and deceptions, Craig can be an extremely
dangerous opponent when he puts his mind to it. Hes gained a few
solid combat skills over the years, but he still relies upon his
ability to bend light and sound however he wants it, and his
ability to talk his way out of almost anything. He is a beta-level
hero due to his powers, but thats just because he hasnt really
gotten to grips with his abilities. In time he could easily become
much more powerful, reaching alpha-level without much trouble.Craig
knows that he often annoys and antagonises the other members of the
Defenders, but he tries to not let it bother him. In truth, his
arrogance and carelessness is a defensive mechanism keeping others
out of his personal life, and his crippling loneliness and
insecurity.Origin: Teenage Mutant RunawayPrimary Power-Set: Master
of IllusionsSecondary Power-Set/Background: Confidence Trickster
and Espionage ExpertWeakness: Arrogance and
OverconfidenceAdvantages: Solid Right Hook+, Running the Hell Away
-, Talking His Way Out of Anything +The Burning FistRaised in Los
Angeles Chinatown Gan Johnny Lee was trained from a young age in
his uncles dojo where he learnt the ancient arts of kung fu. At the
age of eighteen he decided to travel to China in order to continue
his tutelage, eventually being trained at the Secret Hand
Monastery. Over his five years there he learned how to manipulate
his Chi and use it as a weapon, setting his body on fire to enhance
his martial arts, and also learned to control his harsh temper and
impulsive nature.Returning to Los Angeles Johnny was horrified at
the crime all around him, and particularly with the influence of
the Triads in Chinatown. He swore then and there to do what he
could to defend the innocent from their predations and, if
possible, to dissemble the crime families that controlled the
neighbourhoods. During one of his first patrols he ran into Justice
and, seeing that their goals and values aligned, they teamed up to
take on the corruption in LA.Able to manipulate his Chi and use it
to cloak himself in a pure white fire, Burning Fist lives up to his
name. A supreme martial artist, he is a fearsome combatant, but
also calm and collected even in the worst of situations. He is a
beta-level hero, as his Chi manipulation allows him to do things
others cant.Johnny has stayed a little distant from the rest of his
team, partly because of his training and personal mission, but
mostly because he struggles with an ancient foe: heroin addiction.
Though he has not yet fallen off the wagon after detoxing in China,
the pressures of fighting crime in LA are weighing on him.Origin:
Trained by the Secret Hand MonasteryPrimary Power-Set: Chi
ManipulationSecondary Power-Set/Background: Kung Fu MasterWeakness:
Recovering Drug AddictAdvantages: The Burning Fist +, Astonishing
Acrobatics +, Iron Skin -UnbreakableThough he has adopted the name
James Dancer, the hero known as Unbreakable truly doesnt know his
past. After waking up in a military testing facility seven years
ago he has left a trail of destruction in his wake up until joining
up with the Defenders as a safety net and way of making amends six
months ago. With his past a mystery it is a driving force for him
to find out the truth, and also to make something of his future.The
name Unbreakable comes from the military project that he escaped
from, and it was astonishingly successful. James finds himself
imbued with somewhat enhanced strength and speed (he can just about
lift a car and can outrun a horse), but most incredibly is totally
impervious to gunfire, stabbing, and any other weaponry attacks.
This immunity makes him a Beta-level hero and he is one of the
strongest frontline fighters in the Defenders. He is, however,
vulnerable to environmental dangers such as fire, electricity, and
drowning which holds a special place of terror in his heart.Origin:
Born Human, Made InhumanPrimary Power-Set: Impervious to all
WeaponsSecondary Power-Set/Background: Enhanced Strength and
SpeedWeakness: Drowning is my Greatest FearAdvantages: Brutal
Boxing ++, Body Blocks -Triumph IncorporatedEstablished more than a
decade ago on the Kasai homeworld, Triumph Incorporated is a group
of powerful galactic heroes who fight crime, injustice, and
otherworldly threats on behalf of various states and organisations.
There are no heroes below Alpha level in TI, and Krax and Starhawk
are of an Omega power-level. Triumph Incorporated works best in a
Modern Age game, but it could stretch to Silver Age with a few
tweaks.StarhawkThe wielder of the Omega Force, David Daniels is one
of the most powerful beings in the galaxy, and the latest bearer of
the name Starhawk. The Starhawk Legion were once an elite guardian
force devoted to ensuring the galaxy was protected against external
threats, but the organisation was torn down centuries ago by the
Negatron in an epic battle and only a single warrior survived. He
was invested with the full power of the Omega Force, which once
provided all members of the Starhawk Legion with superpowers, which
gave him incredible abilities beyond the imagining of most. But the
Omega Force burns through the bodies of its hosts at incredible
speed in such a concentrated form and that sole survivor was forced
to find a successor. In turn each Starhawk passed on the Omega
Force to one with the courage and brilliance to wield it.Except for
now. David Daniels was a galactic trader who had no interest in
combat, duty, or guarding the galaxy, but he was the only person to
witness the death of the last Starhawk after the lone hero crashed
into his space freighter following a victorious battle with the
Void Swarm. Left with no choice but to pass the Omega Force onto
Daniels, Starhawk tried to impress on him the importance of the
duty he was accepting, but to no real avail.Suddenly one of the
most powerful beings in the universe, David had no real idea what
to do with. After a number of misadventures he ended up founding
Triumph Incorporated, reinterpreting the ancient duties of the
Starhawk Legion as a mercenary venture, something that annoys his
companion Trident no end.The Omega Force is the ability to control
all types of energy, and Starhawk wields this phenomenal power in
its entirety. He can change heat into light, rip open gaps between
the gravity wells of planets, and pull apart the forces between
atoms. In many ways he is effectively omnipotent, but his own
insecurities hold him back. Despite this, he is most definitely an
Omega-level hero.Origin: Unlikely Wielder of the Omega ForcePrimary
Power-Set: Control over Energy of All KindsSecondary
Power-Set/Background: Commodities TraderWeakness: I Honestly Have
No Idea What Im DoingAdvantages: Energy Shield -, Energy Bolts +,
Getting a Really Good Deal +TridentHeir to the throne of Durcia,
Json Kalrin was trained from a young age for the pressures of
galactic governance and intrigue. Though he performed his duties
admirably it is Durcian tradition for a young man to go out and
seek his fortune, a lengthy coming-of-age ritual in which they find
their own concept of honour by facing down their fears. To achieve
this he adopted the name of Trident after the traditional weapon he
carries (the Trident of Storms) and went out into the galaxy to
achieve his potential.After aiding Starhawk in a rescue operation
he agreed to team up more consistently eventually becoming part of
Triumph Incorporated (despite his incredible objection to the
capitalist intentions of the organisation).With the Trident of
Storms in his hand Json can perform astonishing feats, controlling
weather of all kinds from wind and rain to meteor showers and
plasma hurricanes. This also allows him to fly by winding winds
around him, but only whilst in the atmosphere of a planet. He is an
Alpha-level hero.Origin: Crown Prince of DurciaPrimary Power-Set:
The Trident of StormsSecondary Power-Set/Background: Noble Warrior
and DiplomatWeakness: I Need Water!Advantages: Lightning Strike +,
Supersonic Flight +-VelocityOnce a soldier in the Sheer galactic
corps, Gughn of the Seventh Pool Spawning was on atmospheric patrol
duty when a terrible event occurred. Provoked by the Negatrons
emergence at the galactic fringe, the star nearest to Gughn went
supernova, jumping millions of years of its lifecycle. The
shockwave of stellar energy caught Gughn whilst he was on the very
edge of the atmosphere and a freak occurrence happened he was
invested with astonishing powers. With the Sheer presence in the
system destroyed, Gughn was left floating in space until picked up
by a humble galactic trader by the name of David Daniels.After
Daniels received the Omega Force he got in contact with Gughn and
they agreed to work together. Able to move at partial-light speeds
when running and able to work at incredible super speeds more
generally, and able to manipulate his own centre of gravity to
allow him to run up any surface, or simply float in zero-G, he is
an Alpha-level hero. Origin: Victim of a Freak AccidentPrimary
Power-Set: Super SpeedSecondary Power-Set/Background: Gravity
ManipulationWeakness: Overeager to ImpressAdvantages: Running
Really Fast ++, Dodging Really Fast -MegamanOnce a billionaire
playboy on Earth, Keith Rogers was a superhero known for his
mechanical suit of armour and his phenomenal technological
brilliance. That was until, being bored of being confined to a
single planet, he upgraded his suit for space travel and flew out
of his solar system and into the wider galaxy.Since then hes spent
a lot of his time exploring, being baffled and impressive by alien
technology, and constantly upgrading his super-suit (now a
mega-super-suit). He joined up with Starhawk and Triumph
Incorporated because, to put it simply, he needed the money. It
turns out that the conversion rate between the earth and the rest
of the galaxy stings.Though Megaman is powerful for a normal human
being, hes definitely the lower-end of the power scale when it
comes to his team mates. However, his constant upgrades just allow
him to keep up, and he can power through a lot of situations with
raw firepower. His mega-super-suit enhances his strength and
resilience a thousand-fold and allow him to perform actions with
great agility and speed, and he can fly through the air at several
times the speed of sound (and faster than light when properly
fuelled and in space). Because of all this he is an Alpha-level
hero, albeit one that started out back in the day as a Beta.Origin:
Genetically-Modified InventorPrimary Power-Set:
Mega-Super-SuitSecondary Power-Set/Background: Brilliant Scientist
and EngineerWeakness: Electromagnetic Pulses Are BadAdvantages:
Micro-Missiles +, Pulse Field -, Manoeuvring Jets -Krax the
ConquerorOnce one of the most feared villains in the entire
universe, Krax the Conqueror is the former emperor of the Huloxan
species whose star-empire ruled over many thousands of worlds with
an iron fist before it was rent asunder by the Negatron when it
re-emerged on the galactic fringe. Lost and outcast from the seat
of his power Krax began to wander the many star systems of the
galaxy looking for a way to redeem the honour of his people, and
gaining a fearsome reputation during that time as a vastly powerful
being. He soon found pleasure in exacting justice on wrongdoers,
and became known as the Conqueror for destroying corrupt
governments in his path.It was a strange happenstance that led Krax
to end up working with Triumph Incorporated. Finally captured for
his crimes, the prison transport carrying him crash landed on Earth
and he escaped into the wilds of Alaska. There he met a young girl
called Mindy who, despite being incredible annoying, he formed a
strong attachment with as she reminded him of his long-lost
daughter. She agreed to travel with him, and the pair left the
planet and set out on a new path which resulted in Krax joining
with the other heroes of TI. Though still distrusted by some
(particularly Trident and Megaman) he has earned his place many
times over.Though he possesses astonishing physical skills, Krax is
an Omega-level hero for the simple reason that, as of yet, nothing
has been found that can actually kill him. He emerges from every
confrontation bizarrely unharmed lasers bounce off his skin, he
needs no air or sustenance, and he once even fell into a sun only
to be rescued later by Starhawk. Since the majority of his race
have been rendered extinct it can only be assumed that this is some
strange quirk of Krax himself, but exactly why is unknown, even to
Krax.Origin: Former Emperor of a Galactic EmpirePrimary Power-Set:
Totally IndestructibleSecondary Power-Set/Background: Incredible
Physical ProwessWeakness: Unexpectedly Attached to MindyAdvantages:
Punches That Smash Mountains +, Keep Going -, Vicious Tactical
Genius +VillainsBelow are four sample villains that can be used to
challenge either the Defenders of Los Angeles or Triumph
Incorporated. If youre a player you might want to skip these, as
your Editor could be using them and knowing their weaknesses ahead
of time would spoil the surprise.Professor NightmareOnce the lead
scientist on a secret military research project codenamed
Unbreakable, John Schmidt or Professor Nightmare as he styles
himself now, was caught in a lab explosion during the escape of his
primary test subject. The exposure to horrific chemicals and
biological formulas intended to change the genetic makeup of his
subjects altered his biology permanently and horrifically his skin
hardened and became metallic and he gained the ability to
manipulate electrical currents. Now he hunts his former test
subject as a lone wolf, driven mad by the accident and blaming the
hero Unbreakable for his current predicament.With his ability to
sustain astonishing amounts of damage without permanent injury and
to manipulate electricity in a variety of ways, he is a tough and
flexible villain who just keeps coming in the face of his
opposition. He is a Beta level villain, though as he practices his
control of electricity he may well find his power is greater still
(and can be upgraded to Alpha level with a few tweaks as shown
below).Professor Nightmare is a villain intended for use with the
Defenders of Los Angeles.Origin: Caught in a Lab ExplosionPrimary
Power-Set: Metal Skin (Impenetrable Metallic Skin)Secondary
Power-Set/Background: Electrical Manipulation (Electrical Control
and Generation)Weakness: Being Submerged in WaterAdvantages: Gadget
Creation +, Throw Lightning ++, Reflect Projectiles --- VigilOnce
the childhood friend of Nakura Aina, The Raven, and raised by the
same cult of ninjas who she lived with up until her revelation,
Shinso Hatori has been awarded the position of Vigil amongst the
Deathshead Cult and sent to hunt down her former friend. It is her
responsibility to ensure the protection of the cult, and she will
do it by any means necessary. As part of her duties she has been
given the Silent Mask, and artefact of great power that grants her
invisibility.As a normal human being for the most part (albeit a
well trained one), she should be a Gamma-level villain, but
possessing the Silent Mask raises her to Beta level. Its possible
that additional powers of the Silent Mask could be unlocked as she
learns its secrets, but that is up to the Editor to decide.Vigil is
a villain intended for use with the Defenders of Los
Angeles.Origin: Raised by the Deathshead CultPrimary Power-Set:
Master of the Way of the NinjaSecondary Power-Set/Background:
Invisibility gained from the Silent MaskWeakness: Still cares for
Nakura AinaAdvantages: Silent Strikes ++, Hard to Spot -,
Terrifying Interrogations +Adjudicator TrinA member of the vicious
Craece peoples of the out reaches, Adjudicator Trin was trained
from birth to enact punishment on the enemies of Craece and
determine the guilt and innocence of all he met. To be able to
actually punish wrongdoers he was genetically enhanced and then
trained in secret to harness his psychic energies, further imbuing
him with incredible power. He leads a fleet of warships all
dedicated to punishing those he deems unworthy, and is feared in
dozens of galactic civilisations for his atrocities.With his
ability to manipulate kinetic energy granting him astonishing
physical power and resilience, and the innate genetic properties he
was grown to have, Trin is phenomenally dangerous. He is an Alpha
level villain who on a personal scale could even be considered
Omega level.Adjudicator Trin is a villain intended for use with
Triumph Incorporated.Origin: Grown for the purpose of
punishmentPrimary Power-Set: Absolute Kinetic ControlSecondary
Power-Set/Background: Genetically Altered to be the Perfect
BeingWeakness: Can never harm the truly innocent and must always
punish the truly guiltyAdvantages: Kinetic Strikes +++, Reduce
Kinetic Impacts to Zero ---, Sense Guilt +The NegatronA being from
beyond the reaches of our dimension and obsessed with entropy and
the power of death, the Negatron is in truth a vast swarm of
connected robotic organisms that have the power to devour whole
words to fuel their endless crusade of destruction. The Negatron
has no purpose other than the annihilation of all matter in the
universe, and reserves a particular hatred for living
creatures.With its vast mass and powers of the raw fabric of the
universe via entropy, the Negatron is most definitely an Omega
level villain. It can cause matter and energy to decay, giving into
the demand of entropy, and in effect disintegrate targets with
little effort. Given a few hours it can reduce a planet to nothing
but dust and empty air.The Negatron is a villain intended for use
with Triumph Incorporated, and is a particularly tough foe.Origin:
From Another DimensionPrimary Power-Set: Vast Swarm Hivemind of
RobotsSecondary Power-Set/Background: Creates and Manipulates
EntropyWeakness: Obsessed with destroying living
creaturesAdvantages: Disintegrations +++, Tough Through Sheer
Numbers ---, Raw Speed +++, Uncompromising +--Actual Play ExampleIn
this example of play Justice (played by Mark) and The Burning Fist
(played by Anna) have tracked a group of Triad gangsters to a
warehouse where, if the heavenly voices that Justice have heard are
correct, they are holding a number of women as part of a people
trafficking operation. The Editor (Simon) announces that a new page
has begun and begins to describe their surroundsSimon:So, in this
scene youre going to be heading into the warehouse. Do either of
you want to use a splash?Mark:I will. Our heroes are silhouetted
against the dim lights of warehouse that theyre facing towards,
ready to head in to where the gang can be found. He rolls the dice.
I got two points of active effect.Simon:OK, what do you want to do
with that?Mark:Ill create the tag Quiet and Peaceful on the
warehouse. There are a few lights on, but no guards outside, and
theres no real activity just yet.Simon:Im going to say there is a
guard, but Ill have him leaning up against the wall smoking a
cigarette and not watching too close. So the splash is the two of
you silhouetted against the lights of the warehouse still in the
shadows, a lone guard casually leaning against the wall, and the
dark sky looming above you. The guard is a tag, as are the shadows
and the lights in the warehouse oh and the quiet and peaceful tag
you created, Mark. What do you do?Anna:Burning Fist steps back into
the shadows a little further and disappears. She rolls the dice.
Thats one active and one passive. Im going to create the tag Hidden
in the Shadows if thats OK?Simon:Sure thing.Anna:The next panel
will be the guard stubbing out his cigarette and Burning Fist
lunging out of the shadows to knock him out with a single
blow.Simon:Roll for me then.Anna:She rolls the dice. Thats no
active and two passive. Damn, thats not going to cut it.Mark:Dont
you have an advantage you could use?Anna:Oh yeah Can I use Burning
Fist? Or maybe Astonishing Acrobatics?Simon:Either is fine.Anna:Ill
use Burning Fist. Thats a point of active effect then to remove the
guard tag.Simon:You dive out of the shadows and crack him around
the head with a punch, and he falls to the ground unconscious. The
next panel is you standing over him looking around
cautiously.Mark:Justice stands next to Burning Fist and says Good
job, Johnny. Lets head inside.Anna:Yeah, can we just head through
the door? Simon nods. Then well do that.Simon:The door cracks open
and the two heroes head inside. They stand in the shadowy corner of
the warehouse looking out across it, trying to see any of the other
gang members.Mark:Justice narrows his eyes and scans the area,
whispering a prayer under his breath. He rolls dice. Thats three
active and one passive with my advantage for Finding Criminals. Im
going to spend the passive on making this a Tier if thats
OK.Simon:Cool Anna, do you want to roll to search the area too
then?Anna:Burning Fist walks a few paces away and stares into the
gloom. She rolls the dice. Damn, no effect. Oh well.Simon:Well,
luckily for you guys, Justice has sharp eyes a shape in the
distance can dimly be made out and then another, and another. They
suddenly jump into focus and seem outlined in white fire only
Justice can see they are certainly wrongdoers! They dont seem to
have noticed you yet. Theres a panel in which one of them idly
flicks a knife up and down and catches it, whilst four more in the
background play mah-jong around a table.Mark:Oh this is gonna be
fun.Simon:Sounds like were going to have an action sequence Mark,
you can go first.Mark:Justice steps out of the gloom and is
suddenly wreathed in bright holy light, and shouts Beware evil
ones! I have come to bring you your just rewards! He rolls the
dice. Thats two active and one passive to create the tag Fearful of
heavenly wrath on the gang members. Anna goes next.Simon:The thugs
scramble to their feet in surprise and fear crosses their faces.
One of them turns a ghastly pale colour and the rest scramble for
their guns. Their tag is now Uncertain gang of Triad
thugs.Anna:Burning Fist flips up onto the nearest shelf and then
runs along towards them oh, hang on. She rolls the dice. I use one
of the two passive effects to make an artistic layout. The panel
stretches across the page and shows Johnny running along the top of
the shelves before leaping down into the middle of the group of
thugs and Ill use the one active effect from my roll and one from
my Burning Fist to attack, my body burning bright white with my Chi
as I do.Simon:Burning Fist lands among the thugs, scattering them,
before laying out two of them with a swift series of punches. The
tag is now Terrified and bloodied gang of Triad thugs.
Mark?Mark:Justice roars a holy prayer aloud and then rushes into
the fray, grabbing one of the thugs and hurling him at the others
still on their feet. Rolls dice. Damn, no active effect.Simon:You
grab one of them and hold him above your head but he pulls a pistol
out and shoots downwards and youre forced to drop him to avoid the
shot.Anna:Burning Fist slides in and cracks his elbow across the
thugs face before he hits the ground, and then attempts to hurl him
at the rest of them. Rolls dice. Awesome, five points of active
effect!Simon:I dont think Burning Fist counts here youre not really
using it for the majority of the action.Anna:Damn, OK, just four
then. But still!Simon:Its good, you knock the thug unconscious and
then hurl his body at the others who crash to the ground. Im
scrubbing out the tag as they are reduced to a groaning heap. But
suddenly, a figure crashes out of the door of the office, a heavily
muscled man holdi