FRONT COVER

Welcome 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 GAME
Roleplaying 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 SUPERHEROES

Comic 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 sociallyconscious themes in their storytelling. The power levels of characters were reeled in
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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 BASICS

In 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 TAGGING

The 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 LAYOUTS

Most 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 DICE

When 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 BOARDS
This section details the full rules of the game, including the core concepts used, and
how to participate in exciting heroic combat!

TAGS

AND TAGGING
One 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 ENVIRONMENTS

Tags 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
Required
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Tag Type

Example

Normal. This is the standard

type of tag which has a
significant narrative impact,
but does not define the scene.
Potent. This type of tag is one
which changes the game not
only for a page, but maybe
even a whole issue.
Overwhelming. 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

The building is on fire!

tagged on

Knocked into a coma tagged

on Aunt June by the OctoTerror.
Soul sent into the deepest
reaches of hell itself tagged
on the Emerald Rider by
Doctor Despair.

progress and even if you find

victory.
Vital. 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.

PERMATAGS
Characters (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 TAGS

The 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.
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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 TAGS

Other 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 VOLUMES
In 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.
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ANATOMY OF A PANEL
The 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 PAGE
When 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 PACING

Beyond 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
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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 CONTROL

One 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 LAYOUTS

The 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.

Splash
A 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
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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.

Tier
By 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.

Spread
By 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 Effects
By 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 Layout
The 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
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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 TECHNIQUES
Comics 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.

Setup
The 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 To
Sometimes 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 Loss
Possibly 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 Reveal
Many 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
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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 Black
If 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 Thing

Heroes 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 ISSUES
At 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 Issue
If 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 Issue
If 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 Issue
If 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
12

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 SEQUENCES
Action 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 ORDER

Action 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 THINGS

In 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

13

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.

MILESTONES
Though 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.

14

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 ART
This 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 concept
2. Create your permatags
3. Choose three points of advantages

CREATING

A HERO
The 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.

PERMATAGS
Characters 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 Inhuman
The 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
15

a cool in-world group, and Mark agrees, so he changes it to Raised by the Deathhead
Cult
The 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 Speed
Since 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.

ADVANTAGES
A 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.

16

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.

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INKING AND LETTERING

This 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 COLOURING
Developing 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 ISSUE

The 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.
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GETTING READY FOR ACTION

So 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.
19

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 TEETH

One big question that has no easy answer is: how do you come up with a convincing
and satisfying villain?

BEHIND

THE COWL
So 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 LEVELS
For 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
20

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 AGES

Though 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 Toolkit

The 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 Toolkit

The 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

21

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 Toolkit

The 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 Toolkit

The 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.
22

COLOURING
This 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 ANGELES
Formed 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 RAVEN
Raised 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 Cult
Primary Power-Set: Master of the Way of the Ninja
Secondary Power-Set/Background: Hotshot Young Journalist
Weakness: Unrequited Love for Justice
Advantages: Throwing Things +, Hard to Spot -, Asking Difficult Questions +

JUSTICE
Born 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.

23

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 betalevel 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 God
Primary Power-Set: Physical Perfection
Secondary Power-Set/Background: Holy Guidance
Weakness: Extremely Strict Moral Code
Advantages: Putting the Fear of God into Them +, Smiting the Unbeliever +, Finding
Criminals +

CRAIG LAW
The 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

24

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 Runaway
Primary Power-Set: Master of Illusions
Secondary Power-Set/Background: Confidence Trickster and Espionage Expert
Weakness: Arrogance and Overconfidence
Advantages: Solid Right Hook+, Running the Hell Away -, Talking His Way Out of
Anything +

THE BURNING FIST

Raised 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 Monastery
Primary Power-Set: Chi Manipulation
Secondary Power-Set/Background: Kung Fu Master
Weakness: Recovering Drug Addict
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Advantages: The Burning Fist +, Astonishing Acrobatics +, Iron Skin -

UNBREAKABLE
Though 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 Inhuman
Primary Power-Set: Impervious to all Weapons
Secondary Power-Set/Background: Enhanced Strength and Speed
Weakness: Drowning is my Greatest Fear
Advantages: Brutal Boxing ++, Body Blocks -

TRIUMPH INCORPORATED
Established 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.

STARHAWK
The 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
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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 Force
Primary Power-Set: Control over Energy of All Kinds
Secondary Power-Set/Background: Commodities Trader
Weakness: I Honestly Have No Idea What Im Doing
Advantages: Energy Shield -, Energy Bolts +, Getting a Really Good Deal +

TRIDENT
Heir 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-ofage 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 Durcia
Primary Power-Set: The Trident of Storms
Secondary Power-Set/Background: Noble Warrior and Diplomat
Weakness: I Need Water!
Advantages: Lightning Strike +, Supersonic Flight +-

VELOCITY
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Once 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 Accident
Primary Power-Set: Super Speed
Secondary Power-Set/Background: Gravity Manipulation
Weakness: Overeager to Impress
Advantages: Running Really Fast ++, Dodging Really Fast -

MEGAMAN
Once 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 Inventor
Primary Power-Set: Mega-Super-Suit
Secondary Power-Set/Background: Brilliant Scientist and Engineer
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Weakness: Electromagnetic Pulses Are Bad

Advantages: Micro-Missiles +, Pulse Field -, Manoeuvring Jets -

KRAX THE CONQUEROR

Once 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 reemerged 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 Empire
Primary Power-Set: Totally Indestructible
Secondary Power-Set/Background: Incredible Physical Prowess
Weakness: Unexpectedly Attached to Mindy
Advantages: Punches That Smash Mountains +, Keep Going -, Vicious Tactical Genius
+

VILLAINS
Below 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 NIGHTMARE

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Once 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 Explosion
Primary Power-Set: Metal Skin (Impenetrable Metallic Skin)
Secondary Power-Set/Background: Electrical Manipulation (Electrical Control and
Generation)
Weakness: Being Submerged in Water
Advantages: Gadget Creation +, Throw Lightning ++, Reflect Projectiles ---

VIGIL
Once 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 Cult
Primary Power-Set: Master of the Way of the Ninja
Secondary Power-Set/Background: Invisibility gained from the Silent Mask
Weakness: Still cares for Nakura Aina
Advantages: Silent Strikes ++, Hard to Spot -, Terrifying Interrogations +
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ADJUDICATOR TRIN
A 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 punishment
Primary Power-Set: Absolute Kinetic Control
Secondary Power-Set/Background: Genetically Altered to be the Perfect Being
Weakness: Can never harm the truly innocent and must always punish the truly guilty
Advantages: Kinetic Strikes +++, Reduce Kinetic Impacts to Zero ---, Sense Guilt +

THE NEGATRON
A 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 Dimension
Primary Power-Set: Vast Swarm Hivemind of Robots
Secondary Power-Set/Background: Creates and Manipulates Entropy
Weakness: Obsessed with destroying living creatures
Advantages: Disintegrations +++, Tough Through Sheer Numbers ---, Raw Speed ++
+, Uncompromising +-31

ACTUAL PLAY EXAMPLE

In 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 surrounds
Simon:

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.

32

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
33

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 holding a shotgun and with vicious
scars across his face.

Mark:

That must be Susummu, the Triad lieutenant the police sergeant warned
us about! Im going to charge at him

Simon:

[interrupting] sorry, its not your go he gets a panel first. He shouts

something angrily in Japanese and levels his shotgun at you and fires.
Simon rolls the dice and indicates for Mark to do the same. The retort of
the gun is deafening three points of active effect.

Mark:

I only got one passive.

Simon:

So Im going to apply a tag of Shot in the side to you, with a potency of

two. And since Susummu just acted, hes going to nominate Anna to go
next.

Mark:

Ouch.

Anna:

Hang on, didnt the sergeant say this guy was blind in this right eye?

Mark:

Oh yeah, he totally did.

34

Anna:

Then Burning Fist will flip over to his right side and land a punch in the
side of his head before he can react, invoking his weakness if its a tag.
Rolls dice. Three active effect.

Simon:

You flip over so fast he doesnt have a chance to react with you being on
his blind side I wont roll for him to defend, and theres a panel of your
fist crunching into the side of his head. What tag do you want to create?

Anna:

Uh how about Dazed and groggy?

Simon:

Sounds good.

The fight continues, and it seems like Justice and The Burning Fist have the upper hand!

35