Wednesday, June 22, 2022

What I (Would Like To) Expect From My Players

It would be rude to say that I expect anything from the players in my Marvel Heroic RPG campaign. Running this game is a dream of mine, for as large and as wide-ranging a story as I can conduct, and it’s my great pleasure and honor that anyone would give their time and effort to tell it with me. That there’s anybody willing to go along with this leaves me in their debt. And the players in the campaign so far have been polite, giving, and able (for the most part, save for those who flaked out without warning or explanation -- the bane of these online games but unavoidable, I suppose), and I appreciate the good behavior. Though if I could be allowed my wish(es) for certain behaviors, and if it’s all the same to the players (who don’t have to be encouraged any certain way), there are things I would request:

Taking a turn on time is already an obligation. I’ve stated clearly that turns must be taken within 48 hours, and that is less from my impatience and more to keep the game going and make it fair to everyone playing. No one should be expected to sit around waiting for the next person to get it together and post. I don’t expect turns to be taken right away, since sometimes that’s even faster than I can keep up with, but within a couple days seems fair. If you can’t keep up with that then we need to have a conversation. Patience has a limit. That said, if it really was necessary for someone to take longer, and they are still committed to the game, we could work something out. (And this is often not an issue, since usually if someone takes longer than a few days to make a post they’ve usually flaked out. Though there have been plenty of times when I’ve only been able to come on to RPOL once a week, so I have plenty of forgiveness, as long as the player in question is still in there somewhere and willing to move before much longer.)

Active players are the greatest contribution to a game. Passive players irk me. Not quite infuriating, but they also probably don’t realize how difficult they’re being in being so non-active. Making any post can be positive, and the game should be open enough that anyone can do what they like, but posting just to post with nothing to contribute is frustrating. Many players are passive -- reacting to what happens to them instead of taking part in adding something -- and even just a few active players can make a difference. But a post consisting of interior dialogue and no action -- “Captain Marvel silently clenches her fists and quietly thinks, I wish I would do something, and stands there instead” -- adds nothing to the scene, enough that it just becomes noise, an obligatory post just to say it's a post. It could be better just to leave it blank and not take up the space since nothing is happening anyway. This does not mean that every action has to have a dice pool -- there are plenty of actions that don’t necessitate rolling dice that can be effective. Any post with a hero doing something can be them actually doing something. It’s just that a post where absolutely nothing happens is a waste. It takes the same energy to contribute an action or at least some dialogue that can move the story along, at the very least from the personal level of that individual hero. Internal dialogue could just as easily be external dialogue expressed aloud (since the players have access to the post, the characters could as well). The minimal character quirks this reveals could pay great dividends through action or, better yet, interaction. Superheroes don’t sit around thinking about things -- they jump in and take action. There is no reason in the world why Wolverine would try to leave a scene when there’s a scrap going on. More often than not, it’s a qualification for a superhero to throw caution to the wind and leap in with both feet. It’s one of the funnest things about superheroes. It ought to be here as well.

Often, players may explain what is going on with their characters, but those characters never express that in the story so that the others characters are privy to what they’re thinking. The story isn’t a conversation with the Watcher -- it’s a shared conversation with everyone else. Also it becomes telling, not showing, one of the most primitive and deadly poisons in writing. Consider this guideline: take the internal monologue and make it external. If it doesn’t sound right, modify it so it can be part of a dialogue. The information can be just as useful, and the way it’s conveyed can be a part of interaction, as well as an expression of the character.

Along those same lines, more dialogue always helps. This is a contribution that moves the story along, similar in weight to action. In researching improv groups, I’ve found the “Yes, And...” function that is their lifeblood. According to https://www.thoughtco.com/yes-and-improv-game-2713213, “the game ‘Yes, And’ forces actors to avoid rejecting other cast members' ideas, and, instead, to find a way to go with the flow. … In an improv situation, actors are required to accept their fellow actors' ideas and build on them.” Each player can acknowledge and accept what has just happened and encourage the next player to continue with it and add their own. It’s the same process in this game, that we take what has happened and next each hero adds to it. If each player is only concerned with what they’re posting, or, even worse, solely introspection, the scene slows if not grinds to a halt. No need to wait for the Watcher to throw in the next threat to roll dice against. It’s not likely I will reject anything a player suggests or throws in (as of this writing, in this campaign I still haven’t). If it’s a problem then I/we can write around it, but even a derailment could lead to some interesting places. At the very least, the hero can at least react to what has just happened, instead of drawing inward and thinking about what they think about it. Just stating dialogue can be an action, and it can draw out participation, information, or character development, from themselves and from the other characters, as well as add color to the story, reveal something about the hero speaking, and give the next hero an opening and encouragement to add their own note to the Scene. Character interaction can be the most exciting thing in a role-playing game and it is often lost with insular players (who may function better IRL, but here they can do anything so you might think they would be a little bolder). Admittedly, hero-to-hero interaction can be lost playing online, when not sitting around a table like a traditional game, but it’s still possible, no matter how challenging (and may even provide more opportunities for action). Again, it’s just as easy to post a spoken word than it is to leave the quotation marks from it. (As Watcher, I often work around this by letting NPCs act as if they’re reading the players’ thoughts.)

Paying attention to what is going on is often an assumption but it’s not always what anyone is doing. Again, with passive players (who are also usually just being lazy), often just check in to  see what is going on with their character and they react -- usually a dice pool if they can get away with something so mechanical -- and assume that’s their obligation. Of course a lot of the nuance and story details are lost when they don’t bother with the bigger picture so story details aren’t followed, which drags the game down. I can’t make everyone follow what’s going on, but it’s my hope that they’re interested enough in the greater story and not just their character that they’d want to keep up. As for not reading what is going on with anyone else because you don’t want your hero to be privy to story details they shouldn't know -- trust me, you, as a player, and as an extension to you, your hero, will not have access to that information, purposely if necessary. What you know and don’t know is carefully calculated. If there’s a question over what the player knows vs. what a hero knows (i.e., stuff from the comics), contact me.

Helping create a conflict, even with another hero, always helps. It’s a given that every hero wants to take down the villains, but even riling another hero can create some internal conflict that could lead to a great scene, even in the sub-plots. Not everyone gets along, IRL or in a story, and all heroes aren’t best friends. A minor disagreement could lead to an argument, which could lead to a rich interpersonal relationship that could be much more interesting than everyone getting along. Since very few players know each other personally here (if any), there tends to be an over-sensitivity to not step on toes or run afoul of other players, even though the opposite could more easily be true, since no one knows each other and can handle consequences as they wish. But players are often demure in telling anyone what to do, or for making even minor assumptions about another hero, which means there’s a lot of standing around waiting for someone to punch back. It’s not often so much that no one wants to follow directions, it’s often that there aren’t directions given. (Though I would certainly beware of following the will of NPCs. Non-player characters are there to help the Watcher keep his plans on track, which usually means trouble for the heroes.) There’s no reason that heroes can’t give orders or that other heroes will follow them (or refuse to). It’s part of interaction, and in a story with a team, someone needs to give direction and others need to take it (or not; or even two leaders, which could lead to its own tangent). This is a game environment where no one knows each other -- no one can take it personally if a player is a little forward in making demands of another. It’s a story we’re writing together, and mostly anonymously. Worse-case scenario, we dial it back. But that’s a worthy risk for creating some sparks between heroes (which can also lead to some rich conflict). (And much of the same could be said if there was a romantic relationship that happened between heroes. Really, these could be like any interpersonal relationships that any people have.)

Along those lines, frequent questions in posts can help. This could be the hero asking a question directly, either to another hero or an NPC, eliciting an answer and continuing an interaction. This could be the rare time an inner monologue could have some use, even if it’s But what does it all mean? (though anything said before that can probably be discarded). A question can infer that the player understands what’s going on, and even if it’s a rhetorical question, could be a sign for the Watcher that the player can see the path they’re on since they’re considering the next step after knowing where they are or have been. Or just the opposite, that the player is actually in the dark about what is going on, and they’re expressing that in a question that can draw out information for everyone. The Watcher can also frequently ask questions, to give the players a challenge to provide an answer (even if it’s just to keep things rolling).

To sum up, you could even use a check-list for including elements in your post that would greatly help out the Watcher and the story/game. You could help by including at least one of these in every post:

* Speak, to someone else. An internal monologue doesn’t push anything forward.

* A question. Even if you’re encapsulating something you’re not clear on or a direction for where you’d like to go. Something that could also have an answer in the form of a reaction.

* A prompt for another player. Even if it’s just noticing something about another hero. Your mantra: “Yes. And?”

* Keep it in present-tense (“Captain Marvel stands there uselessly”). I usually write in present-tense and it all flows better when the posts do the same. This might just be a Watcher-pet-peeve, but it’s a time when I will pull rank to firmly request it.

* Stephen King will tell you to cut out adverbs. I don’t agree, but I’d love to discuss this (even better it somehow gets into the narration of the game).

* More exclamation marks! This is a superhero story! Every sentence should end with an exclamation mark! And action to earn it! (Read the ‘80s Secret Wars for an example.)

Friday, January 18, 2019

My Problem with Captain America

Oh, I don’t have a problem with Captain America.  He's second only to Daredevil as my all-time favorite comics character (Marvel, DC, or otherwise).  If he hasn’t been around, there’s a reason.

My Problem with the Punisher

I’ve actually often been a big Punisher fan.  In seventh grade when I was into fictional violence and gruff fighters that didn’t take any slack, he was my hero.  They haven’t done much with him, since they don’t need to (except for monkeying with his origin, which is never necessary), so he’s been able to stay consistent for a long time.  What some folks forget is that he started as a villain, a homicidal maniac who was killing anyone on his agenda and anyone who would get in his way.  Many of these were villains, so he could be called a hardened vigilante, similar to a lot of heroes, but the fact remained that he was certainly in the game of killing.  He might have been killing bad guys, but he was still killing, and when heroes are defined by the fact that they're trying to protect all lives, it didn’t matter who he was killing but that he was killing, if not murdering.  And when I allow players in this campaign to play heroes, I do not include the Punisher as a hero.

The character that might exemplify anti-heroes beyond all is probably the Punisher.  Great character, great story, and some stories that have been favorites over the years.  But he's not a hero.  And an anti-hero isn't actually a hero at all.  Forget the intentions: every character, every person, thinks they're the hero.  And anyone who murders anyone is a murderer, the exact opposite of a hero.  Some of the most prominent bad guys that the good guys stop are the ones who kill people.  And while I've loved a lot of Punisher stories, he's often worked best as a villain, as he did back in the early days before they figured out he could support his own series (and series of series) as the lead character, and eventually as (something like) a hero.  But an anti-hero isn’t a hero, and intentions for this campaign would work best when the players are heroes.  If there's a grand story for the Marvel universe, you want to follow the heroes, not the crappy bad guys, or at least there's more story in the good guys than the cheap, fleeting thrill of being evil (and there's not much more evil than murder).  And my thing is more about super-powers and heroics, rather than guns, gritty realness, and violence for its own sake.  There have been some fun stories with the Punisher rubbing up against the denizens of the Marvel universe, but I’m not so interested in trying to figure out how he fits on an Avengers team.

Yet, there is space for him.  I actually have plans to bring him in on an adventure very soon.  From that point he could even be a fixture in the campaign, since he’s been introduced.  But not as a player-character.  And not as a hero.

My Problem with Deadpool

I wasn't a Deadpool fan for a long while.  When he first premiered, he seemed like the most basic, surface elements of Wolverine, Spider-Man, and maybe the Punisher all mixed into an LCD sludge -- usually an unfunny parody -- and there was nothing appealing about that to me.  A mercenary with guns and a healing factor -- if that hadn't already been done, there were enough rip-offs to make it seem like that's all mainstream comics wanted to be.  It took me a while to realize it but Wolverine had more depth than that, at least.  I was getting New Mutants back then, maybe just to keep up with what was going on with the hot thing in comics, hopefully more than I was a Liefeld fan at the time.  I probably had his first appearance, which I got rid of at some point (probably worth thousands now).  It was hard to really care but I kept up as much as I did with anything.  I even picked up his first mini-series or so, probably because Waid wrote it, but it didn’t redeem the character and I dropped any interest after that.  Then there was a resurgence in interest in him, and I can admit that I would pick up a an issue and land on a random page and it could be funny, but I didn’t read any full stories or follow the character in particular.  In the time he exploded in popularity in the comics, enough to warrant more than one series, and while the fourth-wall breaking element wasn’t new, it was a fun aspect to the character.  Flash-forward to the movie, which I thought would be a bomb.  There’s not way they could get the character right and make something that would be anything more notable than the usual superhero flick for teenage boys.  I was overjoyed to have been proven wrong, and they actually got him exactly right, not only making the movie I would have dreamed about but also a movie I never thought they would or could make.  It stands as my favorite non-Marvel Marvel movie, by far.  So I understand the explosion in popularity of the character, which had probably even sufficient before the movie.  Currently he’s the most-requested hero to play in my campaign -- there might have been a few folks who would be playing if they could be him -- but he’s also the main hero that I will decline anyone to play.  There’s a provision in the RTJ that if there’s only one hero you want to play in this game then this campaign probably isn’t for you, and this is probably what proves that.

Deadpool isn’t a hero if for only one reason: He kills.  It might be killing for comedic effect, but in a superhero story, it’s all fiction so murder is just the same whether it’s for a serious premise or a laugh.  “Anti-hero” is not a hero and murder cannot be excused.  There are still some great stories with anti-heroes but you cannot call those characters heroes on par with, say, Captain America and Spider-Man.  There’s a line and that’s it.  (This will be expanded on in the My Problem with the Punisher post.)  Yes, Wolverine is still allowed (or isn’t, but for other reasons) and certainly other actual heroes have killed in their stories in the past.  So on those grounds, perhaps an exception could be made.  But still no.

One of Deadpools’ appeals is breaking the fourth wall -- talking to the reader.  This is used to great effect in his comics (unless it’s been done to death by now and they've dropped it) and there it probably works well, but it would not in an RPG campaign.  There’s a level of reality I want to bring to the game, or at least some limits of how far it will go.  There’s a consistency of believably I’d like to bring to the game, just like in the comics.  You can rely on certain elements in the world and you can know what to expect from it.  But Deadpool goes outside those limits and it makes the story in the campaign a meta thing that would be a pain to deal with.  Deadpool as the character might be talking to the reader when no one else is, and that would get confusing.  Yeah, it’s often funny when done right, but it can get old quick, especially from a player who is not as inventive as they would need to be.  And while I want the game to be fun and to even allow comedic elements, Deadpool, who is a cartoon at his base, is a degree of comedy that could poison a serious-leaning campaign.  Even if the player swore they wouldn't run Deadpool with that element (though it’s hard to separate), there’s still an expectation for it.  There’s not much reason to do it that way anyway.

He’s also the most-requested character to play I’ve gotten so far and I’ve flatly said no immediately every time.  That might have been a knee-jerk reaction but it wouldn’t be fair to allow anyone to do it now after I’ve said no so often already.  Hopefully anyone would be interested in Marvel and this world more than just being able to play Deadpool because he’s crazy and they’d be able to do whatever they want.  There are already enough spinning plates and unpredictable elements that can derail plans for a campaign, and with him around and played like a clown there's too much potential for all of it to spin far away.  A character with no limits cannot be bound by a world with limits so it’s best to leave that element out of it.

And maybe more than anything, Deadpool holds way too much potential to be effing annoying, whether from when he goes off the page or being run by a player who isn't as funny as they think they are.  Even worse when they won’t relinquish the character on the grounds of being too ridiculous and not fitting in, then I’m the jerk, for not allowing that kind of fun, even if the tone of the campaign has been forever tainted.  There’s a lot I’d rather tolerate than a player who thinks they’re being funny but are just being irritating and ruining things.

And yet, there could be a space for him.  There’s not much I won’t say no to in my campaign, if the players might have fun with it.  He could come in one day.  But as an NPC, and not for long.  I have my limits.

Wednesday, January 16, 2019

Datafiles: Brotherhood of Evil Mutants/AA #3 Notes

Adventure #3 was a investigative mission to find the Scarlet Witch at a mansion in Westchester County, NY that turned into a tussle with the X-Men then the Brotherhood of Evil (Mutants) (and not the only homage to Avengers Annual #10 that I’ll make). The Avengers were on one side fighting a slew of demons, while the X-Men (new players who came in after the adventure had started) were fighting the same demons, not knowing they were fighting each other, orchestrated by the illusions of Lady Mastermind. (If you ever have the chance of set your players fighting against each other, do it because it’s a blast, and something that can be conducted sensationally in a form like this where the players aren’t in direct contact with each other.)

Both teams also ran into the Brotherhood of Evil before and after encountering the illusions, leading up to an encounter with the big boss, Magneto, in the Danger Room, before Scarlet Witch’s great but unchecked power blew up the entire place. That final scene also held an early intention of this campaign, to make the White Queen a bad guy again. It always irked me that they made her into a hero in the comics, as it was a waste of a great villain when there aren’t always so many of those but plenty of X-Men. The focus veered from that substantially (though was originally an adventure that would have started before this campaign that would have had her as the main villain orchestrating everything) but it’s a start with her and this batch of bad guys. This adventure plants a seed that could grow later on in the campaign (as most of these adventures are intended to do).

There was also going to be a thing with telepaths but I couldn't find one that I liked. The White Queen was already going to be busy with the Scarlet Witch and I’ve established that Jean Grey is gone in this continuity. There actually aren’t many more telepaths than that in the Marvel Universe (save for one, and a villain and not a mutant, but I those plans elsewhere). I was going to stretch Karma’s powers to use her, and had set it up (there are some parts where the heroes got confused and took Mental Stress for no reason), but I forgot when the activity got busy and so I left it out (and the players didn't seem to notice).

These characters were generally popular enough to have easily-accessed stats, though I had to dig for some and had to hobble together a few and alter some that weren’t quite right. I generally tend toward classic versions rather than the most current iterations, which isn’t so much for feeding my nostalgia for how these characters were portrayed decades ago but making a stand in picking some version since there aren’t many characters that will be changed more than those in the X-Men world. This also shows the All-Star nature of this campaign and how we’re pulling characters from any point in the continuity without giving much concern to what’s happened in this comics, and just using the best versions of these characters as we see fit. And so, some notes about these builds:
* I’m still not entirely comfortable with Magneto’s build, which I put together from a few. Sure, he should have enough d12s to scare anyone, as well as energy manipulation (a tangential use of his magnetism, as noted in his original Marvel FASERIP stats). Something about his helmet seems wonky, too, but I see the point of it. The main villains usually have some intimidation ability that goes beyond Menace Master but I didn't make it more than that, which isn’t so much a concern except for leaving him vulnerable to be intimidated himself. I may alter this build before using him again.
* Destiny was the greatest challenge, and builds I found were never quite right. She should have some ability to manipulate the Doom Pool but the smallest amount can go a long way, so it was difficult to find a balance. As it is, there’s no power to see the future or, after a fashion, control luck (like FASERIP and HeroClix have). But she works best perhaps as a narrative character rather than one who mixes numbers into the action, though I would take any ideas about how to improve this build. Also, no reason a blind woman should have a crossbow.
* The Avalanche build came from material by the inestimable David White, if I recall.
* Juggernaut being present is enough to intimidate heroes, even when he’s not rolling dice. In this adventure, the heroes didn’t even try to stack up against him, and it would be unfair to throw him full-force against them. There was a reason he was being so cowardly at one point. Probably the best powerhouse villain around and perfect in this team and at Magneto’s side (enough that I never knew why they didn't put them together more in the comics).
* Pyro, Toad, and the Blob are just fodder, but they work well enough.
* I went a different route with playing Blob, as a mutant with the ability to control his liquefied body, and he became something far from a big, voluminous guy. I try to stick with a traditional version of a character and that got away from me with this one but it also shows the experimental nature of playing this stuff out. 
* Mystique was a blast to play, and should be in any campaign (regardless of world or system). The players are right to be concerned that any ally near them could be her in disguise. Even if she didn’t have those powers, she would be a great character to play (aided by the sexy picture in the X-Men sourcebook being its best description of her).
* This White Queen is the pre-Morrison version. I never cared for her having the diamond body (though I get the metaphor). She already has telepathic powers, which are more rare in the Marvel Universe than anyone would think, and more than enough to make her a challenge.
* Also the pre-House of M Quicksilver. Being a mimic or manipulating time doesn’t sit well with me when he can just be Marvel’s foremost speedster (and a great connection between the X-Men and the Avengers, even if I hadn’t originally had a plan for him). He wasn't a part of the action when he appeared in the climax of the adventure so his stats or state of powers was moot anyway.
* I avoided bringing the Scarlet Witch into the action directly so I didn't bother coming up with stats for her. Her powers are even more complex than Destiny's, and I side with giving her the ability to manipulate probability over witch magic, casting spells and such, which, again, was never defined by any official statement on her powers.
* The same with Lady Mastermind, since she was represented by her illusions, which were used mostly as Complications.


MAGNETO

Affiliations
Solo    d8
Buddy    d6
Team    d10

Distinctions
Holocaust Survivor
Mutant Supremacist
The Mutant Who Would Be King

Power Sets
MASTER OF MAGNETISM
Enhanced Senses    d8
Enhanced Stamina    d8
Enhanced Strength    d8
Godlike Durability    d12
Magnetic Supremacy    d12
Energy Supremacy    d12
Supersonic Flight    d8
SFX: Area Attack: Add a d6 and keep an additional effect die for each additional target.
SFX: Multipower: Use two or more Master of Magnetism powers in a single dice pool at -1 step for each additional power.
SFX: Versatile: Split Magnetic Supremacy into 2d10 or 3d8.
Limit: Mutant: Add a d6 to the Doom Pool when affected by mutant-specific complications or tech.
Limit: Exhausted: Shutdown any Master of Magnetism power to add a d6 to the Doom Pool. Activate an opportunity to recover the power.

HELMET
Psychic Resistance    d12
SFX: Psychic Immunity: Spend a d6 from the Doom Pool to ignore stress, trauma or complications from psychic attacks.
Limit: Gear: Add a d6 to the Doom Pool to Shutdown Helmet. Spend a d6 from the Doom Pool to recover.

Specilaities
Business Expert    d8 
Combat Expert    d8
Menace Expert    d10
Psyche Expert    d8
Vehicle Expert    d10


JUGGERNAUT

Affiliations
Solo    d8
Buddy    d10
Team    d6

Distinctions:
Unstoppable
Boisterous Bruiser
Hateful Mutant

Power Sets
Avatar of Cyttorak
Godlike Strength    d12
Godlike Stamina    d12
Godlike Durability    d12

SFX: Invulnerable. Spend 1 PP to ignore physical stress or trauma results unless caused by mystical attacks.
SFX: Mystical Healing. Spend 1 PP to recover your physical stress and step back your physical trauma by -1.
Limit: Soft Spot. Earn 1 PP and step up emotional stress caused by threats to friends or loved ones by +1.
Limit: Cyttorak is Displeased. Shut down any Avatar of Cyttorak power to gain 1 PP. Recover power by activating an opportunity or during a Transition Scene.

Crimson Armor of Cyttorak
Psychic Resistance D12
SFX: Immunity. Spend 1 PP to ignore telepathy, mind control, or psychic stress or trauma results caused by psychic blasts.
Limit: I Lost My Helmet. Shut down Crimson Armor of Cyttorak power to gain 1 PP. Take an action vs. the doom pool to recover the helmet.

Specialties
Combat Expert    d8
Menace Master    d10


WHITE QUEEN

Affiliations  
Solo    d6
Buddy    d8
Team    d10

Distinctions
Hero No Longer
Icy Confidence
No Secrets From Me

OMEGA-CLASS TELEPATH
Enhanced Senses    d8
Mind Control    d10
Psychic Blast    d10
Psychic Resistance    d10
Telepathy    d12
SFX: Area Attack. Against multiple targets, for each additional target add a d6 and keep an additional effect die.
SFX: Multipower. Add more than one Omega-Class Telepath power die to your pool. Step back each Omega-Class Telepath power die in your pool once for each die beyond the first.
SFX: Psychic Healing. When helping others recover stress, add Telepathy to your dice pool. Spend 1 pp to recover your own or another’s mental or emotional stress or step back your own or another’s mental or emotional trauma.
Limit: Mutant. When affected by mutant-specific complications or tech, earn 1 pp.

Specialties
Business Master    d10
Crime Expert    d8
Psych Master    d10
Science Expert    d8
Tech Expert    d8


DESTINY

Affiliations
Solo    d4
Buddy    d8
Team    d6

Distinctions
Mutant Terrorist
Blind Precognitive
Mother Figure

Power Sets
PRECOGNITION
Godlike Senses d12
SFX: I Know Where You Will Be. When using PRECOGNITION to create Complications, add a D6 and step up the effect die. 
SFX: Manipulate the Future. If her pool includes a PRECOGNITION power, spend a Doom die to reroll. 
SFX: Precognitive Assist. Spend a doom die to add a PRECOGNITION power to another character's dice pool before rolling. If that character takes physical stress, step back Godlike Senses. Activate an opportunity to recover Godlike Senses. 
Limit: Conscious Activation. While stressed out, asleep, or unconscious, shutdown PRECOGNITION. Recover that stress or wake up to recover PRECOGNITION. If mental trauma received, shutdown PRECOGNITION until trauma recovered.
Limit: Mutant. When affected by mutant-specific complications or tech, step up the lowest die in the doom pool or add a D6 doom die. 

Specialties
Crime Expert    d8
Psych Master    d10
Science Expert    d8
Tech Expert    d8


MYSTIQUE

Affiliations
Solo    d10
Buddy    d8
Team    d6

Distinctions
Adapt or Die
Fickle Deceiver
Older than She Looks

Mutant Metamorph
Enhanced Durability    d8
Enhanced Reflexes    d8
Shapeshifting    d8
Superhuman Stamina    d10
SFX: Immunity. Spend die from Doom Pool to ignore stress, trauma, or complications from toxins and disease.
SFX: Peerless Shifter. When using a Mutant Metamorph power to create assets, add a die from Doom Pool and step up your effect die.
SFX: Skin Deep. When taking an action to confuse, deceive, or threaten a target, step up or double Shapeshifting. Remove the highest rolling die and keep three dice for Total.
Limit: Emotional Scarring. Step up or double emotional stress or trauma used in an action or reaction against you to add d6 to Doom Pool. The stress returns to its original die rating after it is used against you.
Limit: Mutant. When affected by mutant-specific complications or tech, earn 1 pp.

Business Expert    d8
Combat Expert    d8
Covert Master    d10
Crime Master    d10
Menace Expert    d8
Psych Master    d10
Tech Expert    d8


AVALANCHE

Affiliations
Solo    d4
Buddy d6
Team d8

Distinctions
Mutant Mercenary
Destructive
Coward

Power Sets
SEISMIC WAVE GENERATOR
Earth Mastery    d10
SFX: Area Attack. Add a d6 and keep an additional effect die for each additional target.
SFX: Constructs. Add a d6 and step up your effect die by +1 when using SEISMIC WAVE GENERATOR to create Assets.
SFX: Dangerous: Add a d6 to your dice pool for an attack action and step back highest die in pool by 1. Step up physical Stress inflicted by 1.
Limit: Mutant. Earn 1 PP when affected by mutant-specific Milestones and tech.

Specialties
Crime Expert    d8
Science Expert d8


BLOB

Affiliations
Solo    d4
Buddy    d8
Team    d6

Distinctions
Former Carnival Strongman
Immovable
Mutant Mercenary

Power Set
THE MUTANT WHO CAN’T BE MOVED
Godlike Durability    d12
Superhuman Stamina    d10
Superhuman Strength    d10
SFX: Body Fat Expansion. When targeting any ensnarement or entangling type complications, add a d6 and step up your effect die.
SFX: Try and Move Me! Spend a d6 or greater from the Doom Pool to ignore stress, trauma, or complications from blunt or concussive force, or any attempt to move the Blob from where he is standing.
Limit: Massively Obese. When in confined locations or situations where enhanced weight would make a difference, change any THE MUTANT WHO CAN’T BE MOVED power into a complication to add a d6 or step up the lowest die in the doom pool. Activate an opportunity or remove the complication to recover the power.
Limit: Mutant - When affected by mutant-specific complication or tech, step up the lowest die in the doom pool or add a d6 doom die.

Specialties
Combat Expert    d8
Crime Expert    d8
Menace Expert    d8


PYRO

Affiliations
Solo    d4
Buddy    d6
Team    d8

Distinctions
Evil Mutant
Former Journalist
Overconfident Lackey

Power Sets
PYROKINETIC MUTATION
Fire Control    d10
Flame Thrower    d8
SFX: Area Attack. Against multiple targets, for each additional target add a d6 and keep an additional effect die. 
SFX: If I Can See It. On a successful reaction against a fire-based attack action, convert opponent's effect die into a Pyrokinetic Mutation stunt or step up a Pyrokinetic Mutation power until used in an action. If opponent's action succeeds, spend a doom die to use this SFX.
SFX: Pyromaniac. When creating fire-based assets and complications, add a d6 and step up the effect die. 
Limit: Mutant. When affected by mutant-specific complications or tech, step up the lowest die in the doom pool or add a D6 doom die. 
Limit: No Match, No Flame. Shutdown Pyrokinetic Mutation to step up the lowest die in the doom pool or add a D6 doom die. Spend a doom die to recover that power. 

Specialties
Crime Expert    d8
Combat Expert    d8
Menace Expert    d8
Psyche Expert    d8


TOAD

Solo    d4
Buddy    d6
Team    d8

Distinctions
Cunning
Not A Hero
Rejected By Humanity

Power Set
TOAD MUTATION
Amphibian Control    d10
Enhanced Reflexes    d8
Enhanced Strength    d8
Leaping    d10
Stretching    d6
SFX: Tongue. When inflicting a restraint complication on a target using Stretching, add a d6 and step up the effect die.
SFX: Multipower. Add more than one Toad Mutation power die to a pool. Step back each Toad Mutation power die in that pool once for each die beyond the first.
Limit: Mutant. When affected by mutant-specific complication or tech, step up the lowest die in the doom pool or add a d6 doom die.
Limit: Vulnerability. Step up emotional stress from low self-esteem to step up the lowest die in the doom pool or add a d6 doom die.

Acrobatics Master    d10
Combat Expert    d8
Tech Expert    d8


QUICKSILVER

Affiliations  
Solo    d8
Buddy    d6
Team    d10

Distinctions
Smugly Arrogant
Son Of Magnus
Reserve Avenger

Power Set 
SPEED
Superhuman Reflexes    d10
Enhanced Senses    d8
Godlike Speed    d12
SFX: Area Attack: Add a d6 and keep an additional effect die for each additional target.
SFX: Multipower: Use two or more Master of Magnetism powers in a single dice pool at -1 step for each additional power.
Limit: Mutant. When affected by mutant-specific complications or tech, step up the lowest die in the doom pool or add a D6 doom die. 

Specialties
Acrobatics Expert    d8
Combat Expert    d8
Psych Master    d8
Menace Expert    d8

Monday, September 10, 2018

My Biggest References For Superhero Comics

My Biggest References For Superhero Comics* (And The Biggest Influences To The Amazing Avengers Campaign):
1. The back-up story in Captain America #221
2. Avengers Annual #10
3. Crisis on Infinite Earths
4. The original Secret Wars
5. Byrne’s Man of Steel (especially #3)
6. [REDACTED to not give away a future adventure plan]
7. Legends
8. Marshal Law
9. Gruenwald's Captain America (especially pre-#350)
10. Ostrander’s Suicide Squad
11. Giffen & DeMatteis’ Justice League (up to the Hughes issues)
12. Byrne’s West Coast Avengers
(* There are other comics I may hold in greater esteem (Dark Knight Returns, Watchmen, “Kraven’s Last Hunt”, Preacher, Sandman) but this is just for pure superhero-ness)