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