Deluxe Gamemasters Guide PDF

Gamemaster’s Guide
DELUXE
DELUXE
Steve Kenson Crystal Frasier

THIRD EDITION
Gamemaster’s Guide
DELUXE
Writing and Design: Steve Kenson,

with Crystal Frasier and Lyz Liddell
Development: Jon Leitheusser & Crystal Frasier Editing: Steven Marsh & Michael Matheson
Proofreading: Michael Matheson Art Direction and Graphic Design: Hal Mangold
Cover Art: Udon Studios Cartography: Sean MacDonald
Interior Art: Chris Balaskas. Brett Barkley, Darren Calvert, jeff Carlisle,
Storn Cook, Talon Dunning, Alberto Foche, Brian Hagan, Sean Izaakse, Scott James,
Comfort Love, MK Ultra Studio, Denis Medri, Octographics, Udon Studios (Chris Stevens),
Uko Smith, Kevin Stokes, Andrew Trabbold, and Adam Withers
Publisher: Chris Pramas
Team Ronin: Joseph Carriker, Crystal Frasier, Jaym Gates, Kara Hamilton, Troy Hewitt, Steve Kenson,
Nicole Lindroos, Hal Mangold, Jack Norris, Chris Pramas, Evan Sass, Marc Schmalz, Malcolm Sheppard, Will Sobel,
Dylan Templar, Veronica Templar, and Barry Wilson
Mutants & MasterMinds deluxe GaMeMaster’s Guide is ©2019 Green Ronin Publishing, LLC. All rights reserved.
References to other copyrighted material in no way constitute a challenge to the respective
copyright holders of that material. Mutants & Masterminds, Super-Powered by M&M, Green Ronin,
and their associated logos are trademarks of Green Ronin Publishing, LLC.
The following is designated as Product Identity, in accordance with Section 1(e) of the Open Game License, Version
1.0a: hero points, power points. All character and their associated images, descriptions,
backgrounds, and related information are declared Product Identity.
The following text is Open Gaming Content: all game system rules and material
not previously declared Product Identity
Green Ronin Publishing

3815 S. Othello St., Suite 100 #311
Seattle, WA 98118
Email: [email protected]
Web Sites: www.greenronin.com
www.mutantsandmasterminds.com
MUTANTS & MASTERMINDS
INTRODUCTION..................... 5
TABLE OF CONTENTS
Magically Empowered..... 28 Superhumans......................40 Combat Actions
Just Like Magic................... 28 Prehistory............................ 40 and Modifiers.................. 57
HOW TO USE THIS BOOK.... 5 Creatures of Magic............ 28 Ancient History.................. 40 Singular Villains................. 57
Coming from the Magical Devices................. 29 Recent History.................... 40 Villainous Minions............. 58
Basic Hero’s Handbook?........ 6 Mystic Dimensions............ 29 Emerging Powers............... 40 Villains and
Complications................. 59
Sleight of Mind................... 29 Alternate History...................41
CHAPTER 1: SETTINGS........... 9 Character Concepts.......... 29 Picking Your Battles..............59
Time Travel..............................41 Creating Weaknesses....... 60
GENRE.................................. 9 Mutation...................................29 SOCIETY.............................42 Escape Plans...........................60
Golden Age............................... 9 Accidental Mutation......... 29
Pulp Heroes........................... 9 Genetic Mutation.............. 30 Technology..............................42 Escape Route...................... 60
Mystery Men......................... 9 Mutant Hysteria................. 30 Politics.......................................42 Distraction.......................... 60
World War II........................ 10 Character Concepts.......... 30 Political Influence.............. 42 Fake-Out.............................. 61
The Super-Gap................... 11 Super-Military.................... 42 Extortion.............................. 61
Psionics.....................................30
The Postmodern Super-Rights....................... 42 Hostage................................ 61
All in Your Mind.................. 30
Golden Age....................... 11 Law.............................................42 Teleport................................ 61
Mind Scare.......................... 30
Golden Age Gear...................12 Vigilantism and Mysterious Death.............. 61
Character Concepts.......... 31
The Golden Sanction............................ 42 Why the Villain Loses...........62
Age Arsenal...................... 12 Super-Science........................31 Legal Rights........................ 42 What if the
Heavy Weapons................. 13 They Called Me Mad!........ 31 Masks and Villain Wins?..................... 62
Golden Age Vehicles......... 15 Intentional Mutation........ 32 Secret Identities............... 43 What if the
Gadgets and Gear............. 32 Mental and Villain Can’t Escape?...... 62
Silver Age.................................17 Sensory Powers............... 43
Lightheartedness............... 17 Serums and Super-Pills.... 32 IN-DEPTH VILLAINS..........63
Battlesuits and Incarceration...................... 43
The Cold War...................... 17 Iron Men............................ 32 Interaction...............................63
The Atomic Age.................. 18 Popular Culture......................44
Man and Machine............. 32 Comic Books....................... 44 Information.............................63
Second-Generation Character Concepts.......... 32
Supers................................ 18 Entertainment.................... 44 Integration...............................64
Fantastic Frontiers............. 18 Training.....................................33 Fashion................................. 44 Infrequency.............................65
Going Ape!.......................... 19 More Human Religion................................ 44 VILLAIN TEAMS.................65
Gloating............................... 19 Than Human................... 33
ORGANIZATIONS..............44 Types of Villain Teams..........65
Esoteric Secrets.................. 33
Silver Age Gear......................19 Agency................................. 44 Follow-the-Leader............. 65
Bronze Age..............................20 Conspiracy.......................... 44 Alliance................................ 66
One Origin or Many?...........33 Cult........................................ 45
Human Heroes................... 20 Family Ties........................... 66
One Origin........................... 33 Institute................................ 45
Social Issues........................ 20 Rebels With a Cause......... 66
Multiple Origins................. 33 Space Patrol........................ 45
Fads and Fashions............. 20 The Revenge Squad.......... 67
Any Origin........................... 34 Syndicate............................. 45
Iron Age....................................21 The Villain Army................. 67
Prevalence of Powers..........34
Shades of Gray................... 21 Villain Team Motifs...............68
Black Ops............................. 21
Unique Powers................... 34 CHAPTER 2: ADVERSARIES...... 47 Common Origin................. 68
Rare Powers........................ 34 BRING ON
Guns, Guns, Guns!............. 21 Common Powers............... 68
Common Powers............... 35 THE BAD GUYS!...............47
Leather & Latex.................. 21 Common Style.................... 68
Universal Powers............... 35
Ninja!.................................... 21 Levels of Villains....................47 Villain Team Resources........69
Lone Wolves........................ 21 Powers and Society..............35 Henchmen........................... 47
Ordinary Citizens............... 35 VILLAIN
Realistic Powers................. 21 Lieutenants......................... 47
Special Talents.................... 35 ORGANIZATIONS............69
A New Generation............. 22 Master Villains.................... 48
Outcasts............................... 36 Omnipotent Villains.......... 49 Organization
Iron Age Gear.........................22 Goals & Motif.......................69
Overlords............................. 37
The Iron Age Armory......... 22 Types of Villains.....................49
Secrecy......................................37 Organization Structure.......70
Modern Age............................23 Brute..................................... 49
Secret.................................... 37 Leader................................... 70
Sense of History................. 23 Disaster................................ 49
Private.................................. 37 Lieutenants......................... 70
Sense of Wonder................ 24 Manipulator........................ 49
Open..................................... 37 Agents.................................. 71
Sense of Purpose................ 25 Schemer............................... 49
COSMOLOGY.....................38 Skulker.................................. 49 Organization Resources......71
ORIGINS.............................25
Space and Aliens...................38 Villain Roles.............................49
Aliens.........................................25
Humanoids......................... 38 Dark Reflection.................. 50
CHAPTER 3: ARCHETYPES.....73
Strange Visitors.................. 25 VILLAIN DESIGN................73
Invaders............................... 38 Estranged Family............... 50
Alien Technology............... 25
Monsters.............................. 38 Forbidden Love.................. 50 Concept....................................73
Aliens Among Us............... 26
Cosmic Beings.................... 38 Nemesis................................ 50 Power Level.............................73
The Progenitors.................. 26
Parallel Earths.........................38 Nuisance.............................. 50 Minion Power Level........... 74
Cosmic Power..................... 26
Other Dimensions................39 Opposite.............................. 51 Power Level X...................... 74
Astral Plane......................... 39 Turncoat.............................. 51
Gods...........................................27 Abilities.....................................75
Dream Dimension............. 39 Villain Motivations................51
One True God?.................... 27 Skills...........................................75
Magical Dimensions......... 39 Goals..................................... 51
Heaven, Hell, and Beyond.27 Advantages.............................75
Mythic Dimensions........... 39 Justifications....................... 54
Chariots of the Gods......... 27
Power Dimensions............ 39 Changes of Heart..................56 Powers.......................................76
Stunned Power
Magic & Mysticism................27 HISTORY.............................40 VILLAIN TACTICS...............56 Capabilities...................... 76
Magicians............................ 28 Emergence of Villains in Combat.................56 Power Range or Reach..... 76
2 DELUXE GAME MASTER’S GUIDE

Negation of Normals.............................180 Roleplay Scenes...................206 Agency...............................240
Heroic Powers.................. 77 Entity..................................241
Meaningful Rewards..........181 Combined Scenes...............208
Villain Power Stunts.......... 77 Power..................................241
Achievement.....................181 EXAMPLE SCENES...........210
Complications........................77 Knowledge........................181 Inheritance........................241
The Chase..............................210
Assassin....................................78 Power Improvement.......181 Amusement Park.................243
Brute..........................................81 The Frame-Up......................212
Castle.......................................245
Composite...............................84 CHAPTER 5: CHALLENGES...183 Hearts & Minds....................214
Hidden Temple....................247
Crime Lord...............................87 The Incredible
Elder Evil...................................90 DISASTERS.......................183 Insane Asylum......................249
Shrinking Heroes..............216
Elemental.................................93 Avalanches............................183 Island Base.............................251
Hybrid.......................................97 SHADOW Invasion..............218
Collapses................................183 Missile Silo.............................253
Imp...........................................100 War of the Minds.................220
Earthquakes..........................184 Subway Station....................255
Jobber.....................................103
Jumped-Up Nobody..........107 Fires..........................................184 CHAPTER 7: OPTIONS.........225 Sky Fortress...........................257
Mad Scientist........................110 Floods......................................185 HERO CREATION..............225 Skyscraper Penthouse.......259
Martial Artist.........................113 Fog............................................185 Unlimited Power Points....225
Master of Disguise..............116
Lava..........................................185 Unlimited Power Level......225
APPENDIX: ASTONISHING
Mastermind...........................118
Mimic.......................................121 Precipitation.........................185 Free Equipment................225 ADVENTURES!................ 260
Overlord.................................124 Quicksand..............................185 FIGHTING STYLES...........226 POWER PLAY....................260
Psycho.....................................127 Storms.....................................185 Secret Origins.......................260
Hard vs. Soft Styles.............226
Puppeteer..............................130
Wind.........................................186 Unarmed vs. In This Exciting Issue….....261
Robot.......................................133
Sorcerer..................................136 Underwater...........................186 Weapon Styles..................226 Involving the Heroes.........261
Vampire..................................139 TRAPS...............................187 Skills and Styles...................226 Scene 1:
MINION ARCHETYPES....142 Creating Fighting Styles...226 Handle with Care.............262
Capture Traps.......................187
Templates..............................156 Containers.........................187 REPUTATION....................229 Scene 2: Getting Dirt.........262
Nullifying...........................188 Fame or Infamy....................229 Scene 3: Showdown
CHAPTER 4: PLOTS............159 Snares.................................188 Reputation Checks.............229
on the Streets....................264
CONQUEST.......................159 Stunners.............................188 Scene 4: Going Down
Skill Checks............................229 in Flames.............................265
Roads to Conquest.............159 Deathtraps.............................188
NPC Reputations.................229 Scene 5: The Enemy
Ruling the World.................163 The Closing Walls............188
The Creature Pit...............188 Determining Reputation..230 of My Enemy......................266
DESTRUCTION.................164
The Deadly Conveyor.....188 Event-Based Reputation...230 Scene 6:
Why Destroy?.......................164 Death in the Arena..........189 Setting the Stage ............267
WEALTH............................230
The Threat..............................165 The Fatal Friend...............189 Scene 7: Countdown
SYSTEMS..........................231
KIDNAPPING....................166 The Gauntlet.....................190 to Blackout.........................269
Ability Strain.........................231
The Motive............................166 The Kaleidoscope Scene 8: A
of Madness.....................190 Ability Strain
The Victim..............................167 and Extra Effort.............232 Shocking Conclusion......270
The Killing Jar...................190
The Abduction.....................168 Ability Strain Epilogue.................................270
The Ticking and Powers....................232
Time-Bomb....................190 Cast..........................................272
The Ransom..........................168 Alternate Dice......................232
The Wind Tunnel THE ISLAND OF
EXTORTION......................169 of Doom..........................191 Knockback.............................232 DOCTOR SERSEI............274
Threats....................................169 Getting Trapped..................191 Lethal Damage.....................233 Secret Origins.......................274
Demands................................170 Evading Traps.......................191 Instant Death...................234 In This Exciting Issue….....274
MURDER...........................171 Figuring Out The Trap....191 Lethal Knockback............234
Escaping the Trap............192 Involving the Heroes.........274
The Motive............................171 Hero Point Tradeoffs..........234
Aeaea.......................................275
The Protection......................172 MASS COMBAT................234
CHAPTER 6: ADVENTURES..195 Scene 1: Fierce Lands,
The Execution.......................172 Forces......................................234 Fierce Men..........................277
ADVENTURE DESIGN......195
THEFT...............................173 Forces in Action...................236 Scene 2: Searching
Concept..................................195 Maneuvers.........................236
The Target..............................173 the Island............................278
Fleshing it Out......................195 Force Damage..................236
The Security..........................174 Scene 3:
Complicating Matters........196 Damage Conditions.......237 The Underground............278
ADVENTURE Morale Checks..................237
ELEMENTS.....................176 Handling Defeat..................196 Scene 4:
Advantages.......................238 The Lair of Dr. Sersei.......280
Spotlight Time..................176 Balancing Encounters........196
Powers................................238
The Human Touch...........177 The Outline Approach.......196 Scene 5: Missile Chase......284
Powers as Plots.................177 Sample Conflict...................239
The Toolkit Approach........198 Epilogue.................................284
Meaningful Challenges.....178 SCENE TYPES...................199 APPENDIX: Cast..........................................285
Threat of Force.................179
Mysteries............................179
Challenge Scenes................200 VILLAINOUS LAIRS.......... 240 INDEX.............................. 288
Time and Distance..........179 Conflict Scenes....................202 Building Lairs........................240
Social Taboos...................180 Investigation Scenes..........204 Minions..............................240 LICENSE........................... 290
DELUXE GAME MASTER’S GUIDE 3


INTRODUCTION
INTRODUCTION
Welcome to the new and improved Deluxe Gamemaster’s Guide for the third edition of the Mutants & Masterminds
superhero roleplaying game! This is an updated and expanded version of the original Gamemaster’s Guide first
published in 2011, and includes text and art from that volume, along with new information on building your own
Mutants & Masterminds adventures, sample adventures to run right out-of-the-box, and an expanded selection of
villains and threats to throw at your players.
It’s no secret that being a Gamemaster (GM) is hard work. You fill the role of director, cheerleader, writer, teacher,
and occasionally babysitter to your friends. This guide aims to make that job a lot easier by not only providing tools,
but also tons of information about the superhero genre and its tropes. Much of this book focuses on the “why” of
superhero stories rather than the “how,” delving into motivations for villains, how to build an interesting world, and
the sorts of things superheroes do when they aren’t punching evil in the jaw. The expectation isn’t that you, the GM,
need to use everything in this book as soon as you begin, but rather that you know what those elements are and how
to find them when needed.
Odds are, if you’re reading this, you’ve already run a few games. You might be a veteran Gamemaster with years of
experience, or a new GM with the drive to learn and improve. Whatever your level of experience, you will find useful
tools and tips throughout this guide.
HOW TO USE THIS BOOK

The tools in this book are yours to use as you see fit for of foes. The chapter concludes with a catalog of animal,
your M&M game. Chapter 3 and the Appendix offer pre- minion, and monster archetypes you can use to fill out the
built time-savers, while Chapter 1 and Chapter 2 have ranks of a villain’s henchmen or as foes in their own right.
more theory for world-designers. Chapter 4, Chapter
5, and Chapter 6 offer plenty of adventure ideas, while
Chapter 7 is for the system-tinkerers. Regardless of your CHAPTER 4: PLOTS
particular interest, read through all the chapters in the
Gamemaster’s Guide, chances are you’ll find something Chapter 4: Plots is all about villainous schemes, from
useful for your game in each one. conquest to theft, looking at the various goals of the
nefarious in detail, including various examples and
CHAPTER 1: SETTINGS springboards for your own ideas. It includes a random
adventure idea table along with some advice on
constructing M&M adventures.
Chapter 1: Settings discusses creating an entire universe
for your M&M heroes: choose a setting, scope, and style,
look at different genres, time periods, and cosmologies. CHAPTER 5: CHALLENGES
The chapter includes ideas about the nature and origin
of super powers in the setting, and the role of super- Chapter 5: Challenges looks at the various non-villainous
powered characters in it. threats heroes may encounter, from natural disasters to
harsh environments. It also looks at various types of traps,
CHAPTER 2: ADVERSARIES from cunning captures to deadly deathtraps and how to
use them effectively in your game.
Chapter 2: Adversaries talks about villains: their roles in
the series, different types, motivations, backgrounds, and CHAPTER 6: CREATING ADVENTURES
goals. It also looks at villain tactics, how to play villains,
Chapter 6: Creating Adventures combines the elements
and how to use them to the greatest effect in your games.
of previous chapters to explain story structure, pacing,
It concludes with a look at villain teams and organizations.
and the various scene types that Mutants & Masterminds
CHAPTER 3: ARCHETYPES uses as a guide to adventure.
Chapter 3: Archetypes provides M&M Gamemasters a CHAPTER 7: OPTIONS

whole toolbox of ready-to-use characters. It starts off with
a discussion on villain design, then provides eighteen fully Chapter 7: Options gives you some ways to modify the
detailed villain archetypes of varying power levels, with M&M system to suit the type of game you want to run,
plenty of options to customize and create a wide range along with some additional tools for the Gamemaster’s

toolbox, including fighting styles, systems for reputation,

wealth, and mass combat, and ways to make the game APPENDIX 2: ASTONISHING ADVENTURES
more dynamic or more lethal, as you prefer.
Appendix 2 presents two heroic adventures created
from the various bits and pieces presented in this book,
APPENDIX 1: VILLAINOUS LAIRS including maps and villain archetypes. The first adventure,
The Isle of Dr. Sersei, takes the heroes to the island lair of
Appendix 1 of the Deluxe Gamemaster’s Guide provides a mad scientist bent on “saving” humanity from itself. The
nine ready-to-use villainous lairs, from an abandoned second adventure, Power Play, takes the heroes through the
amusement park to an island lair (perhaps complete with streets and back alleys of the city as they try to understand
volcano). You can use the maps and descriptions of these a new criminal organization making their move to take
lairs with the villain archetypes and plots in this book, in over the local underworld. They can be used as-written,
conjucntion with your own villains and adventures, or just modified to suit your own table, or used as a toolkit from
as inspiration to create lairs for your own villains, or even which you can pull useful scenes, names, or ideas.
headquarters for the heroes!
COMING FROM THE BASIC HERO’S HANDBOOK?

The Mutants & Masterminds Basic Hero’s Handbook is de- COMPREHEND NONE • PERSONAL • PERMANENT
signed to be a quick and easy start to the game, but does Choose a descriptor, such as animals or machines. You can
not contain the same depth of options found in the more understand and speak to that descriptor. This does not give you
detailed Deluxe Hero’s Handbook. This book refers to sev- any control over them, and some things may not be especially
eral Effects and Advantages not found in the Basic Hero’s smart or helpful.
Handbook. The Advantages presented are often simple to
figure out based on their context, but if you can’t decide DEFLECT STANDARD • RANGED • INSTANT
on a fair use, feel free to ignore them. As a Standard action, you can use the Defend action against any
attacks within normal Ranged distance, using your Deflect rank
instead of your normal Defenses. Because this is a Defend action,
DELUXE POWERS add 10 to any die roll lower than 11. This does not work against
area attacks or attacks targeting Defenses other than Parry and
Dodge.
The Basic Hero’s Handbook includes many of the Effects
needed to build some of the most iconic super powers
ELONGATION FREE • PERSONAL • STANDARD
from your favorite comics, shows, and films, but leaves
You can stretch your body or limbs. Add your Elongation rank
out some of the more complex powers. The following
to your normal size rank (–2 for most characters). You can
text lists the basic rules needed to use those additional
make “close” attacks within this reach, but suffer penalties for
powers found in the Deluxe Hero’s Handbook as they Concealment if you can’t see what you’re attacking. You gain a +1
are presented in the various characters in this book, bonus to Grab checks per rank.
including their default Action, Range, and Duration, as
well as a short description. ENVIRONMENT STANDARD • RANK • SUSTAINED
You can control one or more effects of the environment (listed in
Several powers, such as Summon, Variable, and Weaken, the power) within 30 feet of you at rank 1; each additional effect
mention Power Points. You can find basic information on rank increases this area by one rank. Characters in this area suffer
Power Points in the Rewards section on page 94 of the the effects or penalties of the environment—such as intense cold
Basic Hero’s Handbook. or darkness—normally (see the Hazard rules on page 86 of the
Basic Hero’s Handbook).
More detailed information on all these effects can be
found in the Deluxe Hero’s Handbook. EXTRA LIMBS NONE • PERSONAL • PERMANENT
You have one additional, functional limb per rank in Extra Limbs.
You do not gain any additional actions, but gain Improved Grab
BURROWING FREE ACTION • PERSONAL • SUSTAINED
as a bonus Advantage, and you gain a +1 bonus to Grab checks
You can dig through the ground. You move through the ground per rank (to a maximum of +5).
at a speed equal to your rank minus 5; harder substances may
slow you by 1 or 2 ranks. You can choose to leave a passable
tunnel behind you.
GROWTH FREE • PERSONAL • SUSTAINED
You can grow larger, stronger, and more durable. Every rank
of Growth adds +1 Strength, +1 Stamina, and adds +1 to your
COMMUNICATION FREE • RANK • SUSTAINED
Mass rank (2 for most characters), but subtracts –1 to Stealth
You can communicate silently with other people or creatures skill checks. Every 2 ranks (rounded up) adds +1 to Intimidation
over a distance (listed in each character’s statblock), even if you skill checks, but subtracts –1 Parry, and –1 Dodge. Every 4 ranks
can’t see them. Pick a descriptor, such as radio or psychic; some adds +1 to your Size rank (–2 for most characters). Every 8 ranks
characters with unusual senses may be able to overhear your adds +1 Speed. Growth that is Permanent and Innate reflects the
communications. creature’s natural size.

INTRODUCTION
subtracts –1 from your Speed. Shrinking that is Permanent and
HEALING STANDARD • CLOSE • INSTANT Innate reflects the creature’s natural size.
You can heal with a touch by making a DC 10 effect check. Every
Degree of Success heals one damage condition, starting with the
SUMMON STANDARD • CLOSE • SUSTAINED
worst.
You can summon or animate a loyal creature to serve you, built
from a number of Power Points equal to your rank × 15. Summoned
IMMORTALITY NONE • PERSONAL • PERMANENT creatures use the minions rules unless the summoning power
You can come back from death. Subtract your Immortality rank has the “Heroic” extra, and have the Daze condition unless the
from 19 to determine the Time rank it takes you to return to life if summoning power has the “Active” extra. The “Multiple Minions”
killed. You must declare one method of death or destruction that extra allows you to summon the listed number of creatures rather
can circumvent your Immortality. than just one.
INSUBSTANTIAL FREE • PERSONAL • SUSTAINED SWIMMING FREE • PERSONAL • SUSTAINED

You can transform into a less-solid form. At Rank 1 you transform You can swim through water at high speed. You have a water
into a fluid; you can be damaged and affect the world normally, speed rank equal to your Swimming rank –2. This does not allow
but can pass through small openings. At Rank 2 you transform you to breathe underwater.
into a gas; you can move through small openings and are immune
to physical damage; energy damage affects you normally. At
TRANSFORM STANDARD • CLOSE • SUSTAINED
Rank 3 you transform into energy; you can pass through barriers
that allow your energy type (such as metal barriers for electricity, You can change one object into another, depending on the
or glass for light), you are immune to physical damage, and power’s descriptor. Transform may only let you change a
are immune to the type of energy making up your body, but specific item into one other thing or substance, or anything
other energy damage affects you normally. At Rank 4 you are into anything else. Transform only affects inanimate matter, not
completely incorporeal; you can move through any solid object living creatures. You can transform a mass rank of material equal
and are immune to physical and energy damage; choose one to your Transform rank –6, and it transforms back once you stop
descriptor that can still affect you. sustaining the power.
At Rank 2 and higher you cannot use your Strength or powers to
affect solid objects unless they have the “Affects Corporeal” extra. VARIABLE STANDARD • PERSONAL • SUSTAINED
Some attacks have the “Affects Insubstantial” extra, and will inflict Choose a descriptor or theme. You have a pool of 5 Power Points
half damage to Insubstantial targets. per Variable rank that you can assign to any effect within that
theme or description, effectively allowing you to do anything
LUCK CONTROL REACTION • PERCEPTION • INSTANT related to that concept. You must use a Standard action to
change how these points are assigned and what your Variable
You can spend a Hero Point to affect someone else’s luck. Each
power can do. Variable with the “Slow” flaw can only be changed
rank of Luck Control allows you to select one of the following:
outside of combat.
Spend a Hero point to help another character, give a Hero Point
to another character, spend a Hero point to negate someone
else’s use of a Hero Point, or spend a Hero point to force someone WEAKEN STANDARD • CLOSE • INSTANT
else to re-roll a check they just made and take the worse of the Select a trait. You can reduce that trait in a target as an attack.
two results. If your attack check hits, your target makes a Fortitude or Will
Resistance check against (10 × Weaken rank). If they fail, they lose
MORPH FREE • PERSONAL • SUSTAINED a number of Power Points equal to the difference between their
check result and the DC, to a maximum of your Weaken rank. Lost
You can shapeshift into other forms, gaining a +20 bonus on
points return at a rate of 1 per round.
Deception checks made to disguise. At Rank 1, you can transform
into one specific form. At Rank 2, you can transform into a narrow
category, such as “people my size” or “fish.” At Rank 3, you can
transform into a broad category, such as “humanoid” or “animals.”
At Rank 4 you can transform into anything roughly your size. This
change does not affect your statistics or senses, or provide you
any abilities of your new form.
NULLIFY STANDARD • RANGED • INSTANT

Choose a descriptor, such as fire or electronics. You can shut down
any effect with that descriptor with an opposed effect check (see
Countering Effects on page 48 of the Basic Hero’s Handbook).
REMOTE SENSING FREE • RANK • SUSTAINED

You can extend the senses listed with this power to scan a distant
area. The Distance rank you can project your senses is equal to
your Remote Sensing rank.
SHRINKING FREE • PERSONAL • SUSTAINED

You can shrink in size at will, becoming stealthier and harder to
hit. Every rank adds +1 to Stealth skill checks. Every two ranks
adds +1 Parry and +1 Dodge. Every 4 ranks subtracts –1 Strength
and –1 from your Size rank (–2 for most characters). Every 8 ranks


CHAPTER 1: SETTINGS
Run a few Mutants & Masterminds adventures and, before you know, you will have an ongoing series, just like a comics
series created by you and your players! While you can simply create and run adventures and let the rest take care of
itself, it is often helpful to have a map of roughly where your series takes place and is going, much like the outline of
an adventure’s various encounters. This section looks at creating your own Mutants & Masterminds series and setting, in
effect, your very own universe!
GENRE
Mutants & Masterminds series are naturally influenced by the genre of the comic books. The comics have several distinct
“ages” or genres to them you can use as a basis for your Mutants & Masterminds game. Note that while the different ages
discussed below are based on the superhero comic books, they’re not necessarily exact matches for the terms used by
comic book historians. For one thing, there’s no general agreement on things like the exact beginning or end of an age,
or even what some ages should be called. However, they’re similar enough to provide a framework to capture the genre
of a particular era.
GOLDEN AGE MYSTERY MEN

The Golden Age of comics, and the modern superhero The heroes of the Golden Age are often known as “mys-
comic book, began in the late 1930s with the publication tery men” because they were originally shadowy vigilan-
of the first comic books featuring heroes in colorful cos- tes rather than the brightly clad heroes that appeared lat-
tumes fighting crime. These “super heroes” (as they quicker. Certainly, the first costumed heroes to appear in public
ly became known) were a great hit with comics’ mostly were mysterious; no one knew who they were, where they
young audience, and publishers quickly began turning came from, or what they could do. Some believed stories
out new titles, new stories, and new heroes to meet the about their super-human powers were just exaggerations;
demand. in some cases, they were right! Many Golden Age heroes
used gadgetry and outright trickery to convince people
The first comic book stories were simplistic by modern they had strange powers. Generally, in the pre-war years
standards, but also featured heroes with a surprisingly of the Golden Age, heroes are mysterious and not entirely
aggressive vigilante attitude. Golden Age heroes who trusted by the authorities, who don’t yet know what to
willingly killed their foes, for example, might surprise make of them. By the start of World War II, the mystery
fans familiar with the more “polished” heroes of the Sil- men have begun to more closely resemble modern super-
ver Age. heroes.
During World War II, many comics told stories of heroes Golden Age heroes fall into certain broad categories. GMs
off to fight the evil of the Axis powers. Looking for things may want to guide players to choose these types of he-
to do while deployed in the European and Pacific The- roes and use them as archetypes for Golden Age NPCs.
atres, many soldiers took up reading comic books, and
the demand skyrocketed. Comics brought to post-war • Avengers are crime-fighters at heart, two-fisted
Japan by U.S. soldiers sparked the Japanese manga and foes of injustice. They’re often motivated by a desire
anime industries of the modern day. The Golden Age was for vengeance because of the loss of a loved one or
the beginning of it all, the appearance of a new medium some other wrong done to them. Others are bored
and new kind of mythology, the super-hero, or the so- playboys who find purpose in their costumed identi-
called “mystery man.” ties. However, they choose the high road and try to
bring criminals to justice. Avengers typically oper-
ate at night, and rely on their fists and their athletic
PULP HEROES skills—sometimes along with a small array of gad-
gets—to get the job done.
Some of the ancestors of the Golden Age comics were
the pulp magazines of the 1920s and ‘30s, particularly • Adventurers are explorers, scientists, and scholars
pulp adventure stories featuring heroes with more-than- by nature. They usually gain their powers from an en-
human abilities. Pulp heroes had many of the trappings of counter with unusual forces in some distant, exotic
superheroes: unusual powers, code-names, masks, secret land. Adventurers tend to be intelligent and knowl-
hideouts, and a bizarre rogues gallery of enemies. They edgeable, although some are a little more shady and
helped inspire early comic book writers (many of whom skilled in acquiring “antiquities” primarily by stealth.
also wrote for the pulps). Adventurers are well traveled. Their abilities range

from athletics and some skill in combat supplement- have greater concerns than mere mortals. They may
ed by their knowledge and experience to unusual deal with equally godlike foes while their fellow he-
abilities or devices they’ve picked up in their travels. roes tackle the more mundane problems. Generally,
godlike heroes are best kept as NPCs in a Golden Age
• Patriots are firm believers in their nation. Usually, game, unless all of the heroes are equally powerful
they’re average ordinary folk gifted with extraordi- (and face equally cosmic challenges). They’re often
nary abilities by fortunate circumstance (whether treated as plot devices.
by accident or design). Patriots tend to be either ex-
tremely humble or more than a little loud-mouthed
when it comes to their country being the best in the WORLD WAR II
world. Either way, their dedication can’t be ques-
tioned; they love their country and there’s nothing The central and defining event of the Golden Age of comics
they wouldn’t do for it. Patriots tend to go in for is the Second World War. Even before America’s entry into
costumes showing their patriotism (based on their the war, comic book heroes were fighting fascists and fifth
homeland’s flag, for example). columnists. Following the declaration of war, their prime
adversaries were Nazi and Japanese super-soldiers (as well
• Gimmicks have a particular unique device, trick, or
as the aforementioned fifth-columnists and saboteurs).
even origin that makes them what they are. Most
gimmicks tend to be fairly ordinary apart from the The presence of super-powered champions on both the
one thing that gives them their powers. For example, Axis and Allied sides of the war usually accounts for the
a gimmick might be a blue-collar workman who fact that the war follows much the same course as in our
found a magic lamp, or an ordinary kid able to trans- world. The usual assumption is Allied and Axis super-sol-
form into a powerful adult hero. Gimmicks tend to diers counter each other, so the war follows pretty close to
have a strong theme and stick with it, like the heroine the same course. You can always change this assumption
who can see in the dark, with gadgets for blacking in your own world, creating an alternate history (see page
out an area so she has the advantage. 41) or coming up with some other reason why superheroes
don’t change the course of the war.
• Godlike heroes possess tremendous power, usu-
ally magical or cosmic in nature. They may operate The span from the beginning to the end of World War II
under certain restrictions that keep them from ex- (usually starting around the time of the attack on Pearl
ercising their power freely, otherwise they tend to Harbor and the U.S. entry into the war) is an excellent pe-
overshadow their mortal allies. Often godlike heroes riod for a Golden Age Mutants & Masterminds series.

CHAPTER 1: SETTINGS
THE BEST OF TWO WORLDS

If the players are neither sticklers for authentic Golden Age comic-book details nor diehard fans of grim-and-gritty stories,
Gamemaster are free to choose whatever elements are going to create the most fun in their series. In many ways, this is
the best approach, because it satisfies the players’ likely affinity for modern storytelling conventions while leaving the
Gamemaster free to create the widest possible range of stories.
The eclectic approach can encompass the tighter continuity and greater emphasis on superpowered feats found in mod-
ern comics, while at the same time avoiding the oft-preachy moralizing common to both the Golden Age and postmod-
ern eras. Stories can be lighthearted without the lowbrow comedy of the Golden Age, or they can be serious without the
nastiness of the postmodern era.
Ultimately, the specifics must be left to each individual Gamemaster. Thankfully, doing so is a natural process. Simply read
over the tropes of each approach, and go with whatever elements are going to be the most fun for all.
temporary understanding of what constitutes a “Golden

THE SUPER-GAP Age book” as much as the titles that were actually pub-
lished back in the 1940s. It’s useful to take a look at the
In the real world, superhero comics went into a decline various ways these “Postmodern Golden Age” tales differ
after World War II, with things like monster, horror, and from the Real McCoy.
pirate comics becoming more popular. Many comic book
universes choose to explain the general lack of superhero
adventures in the 1950s as a reaction to the “Red Scare.” DECONSTRUCTING THE HERO MYTH
For example, superheroes and masked vigilantes are of-
ten persecuted during the 1950s, accused of being com- Since the early 1960s, it’s been de rigueur to depict cos-
munist sympathizers. This leads many of them to retire or tumed heroes as having the same real-world problems
go into hiding, or to go outside the law altogether. as we non-superpowered folk. This trend has produced
many fine, popular stories over the years, and their success
You can come up with your own explanations for a “gap” in led to the inevitable envelope-pushing, which reached its
superhuman activity during this time. Perhaps an invasion zenith in the mid-to-late 1980s. Just as unavoidably, the
of shape-shifting aliens leads to mistrust of superheroes, boundary-stretching continued well past this point, until
or even results in the deaths of many heroes and villains costumed heroes weren’t all that heroic anymore.
before the aliens are themselves defeated. Golden Age
heroes may choose to retire and fade into obscurity over This z re-invention drove postmodern Golden Age stories
time. The cosmic tides allowing super-powers to exist may as well. Just as characters introduced in the 1940s reap-
wax and wane in a twenty-year cycle, peaking in 1940, peared as typical smiling, happy Silver Age characters dur-
dropping off by 1950, only to peak again in 1960, and so ing the 1960s, in the 1990s they became dour, humorless
forth. Generally, the mid- to late-1950s are regarded as the vigilantes like seemingly everyone else in comics of that
end of the Golden Age and the start of something new. time.
“ANTI-HEROES”
THE POSTMODERN GOLDEN AGE The ‘90s aesthetic dictated that anyone who puts on a cos-
The Golden Age of comic books, as with any “golden age,” tume to fight other people wearing costumes (whether
eventually reached its end. Yet even as it came to a close, ostensibly a hero or a professed villain) is to some degree
time drew both readers and creators ever nearer to its insane. In fact, the degree and intensity of their craziness
eventual rediscovery. When costumed superheroes reap- is often the only way to tell the putative good guys from
peared at the dawn of the Silver Age, so did most Golden the bad guys. The costumed protagonists are prone to
Age storytelling conventions, with many of the era’s most obsessive-compulsive manias, and putting on a mask and
popular characters following suit, albeit often as shiny a cape are just a manifestation of their particular type of
new Silver Age revamps. Science fiction was all the rage in craziness. By some degree of contrast, the antagonists are
comic books’ second great era, and the Golden Age greats brutal killers, rapists, pederasts, or a combination thereof.
re-emerged covered in sci-fi trappings: aliens, weird sci-
ence, mutants, and just generally more space-y all around. Creating characters for a postmodern Golden Age style
series is a matter of selecting classic costumed-character
The process of revisiting and revising comic books’ first archetypes and putting dark spins on them. In this fash-
great era repeated itself throughout the ages that fol- ion, flag-costumed characters become ultra-nationalist
lowed, as creators viewed the primal majesty (and magni- zealots, blind to the flaws of their home country as well as
tudes-greater sales) of the Golden Age with envious eyes. the virtues of any other nation.
Today’s comic books are no exception, as Modern Age
Similarly, masked avengers become bloodthirsty vigilan-
writers and artists interpret the kid-centered comic books
tes, executing scores of criminals as part of a bloody war
of the ‘40s for the adult audience of the 21st century.
on crime in which no target is off limits for either side.
These efforts have yielded some of the very best stories Other types of costumed characters cease to fight lawless-
and titles of the Modern Age, and have shaped our con- ness and tyranny out of a sense of justice or higher obliga-

tion, but instead coincidentally do the right thing while

battling their own psychological quirks and defects.
ENCOURAGING POSTMODERN GOLDEN AGE CONVENTIONS
With heroes like that, the villains have to be real pieces of Historical trappings aside, postmodern Golden Age series
work. Forget bank robbers and juvenile delinquents in this differ very little from Iron Age series. Sure, there are fewer
style of series. It takes serial murderers, mutilators, geno- tattooed heroes in sunglasses, but there are just as many
cidal racists, and the sleaziest sexual deviants to make the heroes blazing away with guns, a greater emphasis on “re-
protagonists seem like heroes. alistic” superpowers, and more than a few ninjas (or ninja-
like) characters running around.
THE NOT-SO-GOLDEN AGE
GOLDEN AGE GEAR
Naturally, characters such as these cannot live in the gen-
erally optimistic world depicted in Golden Age comics. In Within the boundaries of the era’s technology, rules for
the name of “realism” (always a tricky term to use in re- equipment in the Golden Age are just the same as in the
gards to superhero comic books), stories inevitably focus M&M Hero’s Handbook. Wartime rationing may affect the
on the most sensationalistic, violent, and lurid aspects of availability of some items, but assuming it can be had
life in the 1940s. When the era itself disappoints in any of (and it exists in this era), all the normal rules are in play.
these criteria, exaggeration and outright fabrication step
up to close any perceived gaps. THE GOLDEN AGE ARSENAL
To be sure, the world depicted in Golden Age comic books
wasn’t realistic, but then again it was never intended to The following is a list of weapons found in the hands of
be. Indeed, the very notion of “realism” in stories about fly- cops, crooks, and civilians during the Golden Age. There
ing men of steel from alien planets was considered utterly are also some military-grade weapons from World War
laughable at the time. By the same token, playing up any II and the Korean War. Military-grade weapons are, of
sort of alleged “realism” is every bit as ridiculous at face course, normally found in the hands of soldiers, but they
value, but not without its appeal to many comics fans and can also turn up in civilian use, such as with ex-GIs who
gaming groups. It’s simply worth noting for accuracy’s kept a few souvenirs from their days in uniform or gang-
sake that putting a serial-killer supervillain into a story set sters who found them after they “fell off the back of an
in the 1940s is by no measure more “realistic” than any ac- Army truck.” These weapons are in addition to those avail-
tually published during that time period. able in the M&M Hero’s Handbook.
RACISM, SEXISM, & HOMOPHOBIA PROJECTILE WEAPONS

In addition to ramping up the grim and gritty, postmodern • Pistols are issued to officers, air crews, tank crews, and
Golden Age tales require a healthy sampling of the era’s any other personnel who either work in confined spac-
very real and open prejudices. The heroes themselves are es or otherwise can’t easily carry a heavier weapon.
usually above such things, but almost everyone else they
encounter is not nearly as enlightened. • Carbines were intended to replace pistols in the Ameri-
can military, but only really found favor in the hands of
During the 1940s, large numbers of people casually be- the U.S. Marine Corps, who preferred their more com-
lieve a dame’s proper place is serving her man, blacks, pact size for jungle fighting in the Pacific Theater.
Asians, and Hispanics are naturally inferior to whites, Jews
are a source of social ills, and homosexuals are perverts • Service rifles were the standard-issue weapons for
akin to rapists and pedophiles. Consequently, minority infantrymen of all nations.
characters are subjected to the depredations of segrega- • Shotguns can fire shot, which does the listed dam-
tion, harassment, racial or ethnic slurs, and hate crimes are age with Accurate 1 due to the spread, but Limited to
regular plot points. Damage 3 against targets with Protection. It can also
These elements are usually included in comic-book stories load solid slugs, which inflict the same damage, but
to highlight the era’s perceived hypocrisy (and reassure without the Accurate bonus or the Limit on Damage.
the reader how much more enlightened the writer is), and • Submachine guns are issued to commando units,
to show how much more “realistic” (again, a slippery term) low-ranking unit leaders on the front lines, para-
his storytelling is. More commonly, the bigotry is there troopers, and some vehicle crews—essentially any-
simply to shock the supposedly jaded readers. one who needs a lot of firepower at close range.
In a roleplaying game, prejudiced characters can serve These weapons were also popular in Soviet service,
more constructive dramatic purposes. Reminding players perfect for the brutal house-to-house urban warfare
just how far cultural attitudes have progressed in the in- seen on the Eastern Front.
tervening decades is a good and healthy thing, and it can • Light machine guns are issued singly or in pairs to
be fun for them to confront and triumph over racism, sex- squads of infantrymen to give them some much-
ism, and homophobia. It’s even more fun for them to beat needed extra firepower on the battlefield.
a racist, sexist, and/or homophobic villain senseless. Never
forget the point of a roleplaying game is to have fun, no • Medium and heavy machine guns are usually found
matter how grim and gritty the game. mounted on vehicles or in dug-in emplacements

CHAPTER 1: SETTINGS
PROJECTILE WEAPONS
WEAPON EFFECT CRITICAL COST
Longarms
Sawed-off Shotgun Ranged Damage 6 20 12
Skeet Shotgun Ranged Damage 4 20 8
Carbine Ranged Damage 4 20 8
Light Service Rifle Ranged Damage 5 20 10
Service Rifle Ranged Damage 6 20 12
Light Submachine Gun Ranged Multiattack Damage 3 20 9
Machine Guns
Light Machine Gun Ranged Multiattack Damage 4 20 12
Medium Machine Gun Ranged Multiattack Damage 5 20 15
Heavy Machine Gun Ranged Multiattack Damage 6 20 18
HEAVY WEAPONS
NAME DAMAGE CRITICAL COST
Antitank Rocket Ranged Burst Area Damage 9, Penetrating 9 — 36

Light Mortar Ranged Burst Area Damage 5 — 15
Medium Mortar Ranged Burst Area Damage 7 — 21
Heavy Mortar Ranged Burst Area 2 (60 feet) Damage 9 — 36
Light Antitank Gun Ranged Damage 7, Penetrating 7 — 21
Medium Antitank Gun Ranged Damage 8, Penetrating 8 — 24
Heavy Antitank Gun Ranged Damage 9, Penetrating 9 — 27
Light Field Artillery Ranged Burst Area Damage 8 — 24
Medium Field Artillery Ranged Burst Area Damage 9 — 27
Heavy Field Artillery Ranged Burst Area 2 (60 feet) Damage 10 — 40
protecting important positions, like field some cases it can bend history a little bit, denying real-
headquarters. Heavy machine guns were sometimes world soldiers weapons they got to use on a daily basis
deployed in multi-weapon mountings for use against during the various wars of the Golden Age era.
enemy aircraft.
As it happens, most of the higher-cost weapons are also
crew-served weapons that don’t work (or at least, don’t
HEAVY WEAPONS work well) unless they’re fired as a group effort. Therefore,
as an optional rule Gamemasters can allow characters
Sometimes even a machine gun isn’t enough to get the acting as a dedicated crew for a certain weapon to acquire
job done. Maybe the enemy’s too far away, too well dug- it using equipment points contributed by each of them.
in, or there’s just too many of them. Maybe the enemy’s
skin is bulletproof, and a bigger bang is the only hope of For example, the two GIs responsible for the unit’s Light
stopping him. Mortar can split up the 15 equipment point cost to account
for the fact that without one of them loading and the other
Whatever the cause, here are the statistics for some of the aiming, the weapon is pretty much useless. Likewise, a
most common heavy weapons found in the armies of the Heavy Field Artillery Gun isn’t as much of a point burden if
Korean and Second World Wars. For obvious reasons (just all ten guys in its crew chip in 3-4 equipment points each.
glance at their game statistics), the Gamemaster should
incorporate these truly big guns into their games with As an option, the Gamemaster can simply choose not
care, lest their perfectly crafted adventures be ruined by charge military characters for equipment issued to them
a hail of shells fired from a mile away. by their government as part of their assigned duties. In a
series centered around the crew of a tank haunted by the
HEAVY WEAPONS AND EQUIPMENT POINTS ghost of a Confederate general, for instance, the player
characters receive the tank itself for zero equipment
Many of the weapons listed here are pricey equipment points (though they may have to pay for the ghost,
point-wise. This is for reasons of game balance, but in depending on how much help he is to the crew).

FRIENDLY FIRE • Mortars are basically metal tubes capable of launch-

ing shells at targets in a high, slow arc. They are rela-
In any given war, the trouble with artillery is that it’s always tively easy to transport, set up, conceal, and operate.
landing somewhere it’s not wanted. The enemy being tar- Most mortar rounds are high explosive, and thus
geted certainly may not always appreciate it, but when the have the Burst Area extra. Mortars need a crew of two
shells come up short, the soldiers getting hit with “friendly or three men to operate normally. Typically, a light
fire” are even more upset. This is because artillery is fore- (60mm) mortar is issued to an infantry company, six
most used for indirect fire, which is a fancy way of saying medium (81mm) mortars to a heavy weapons compa-
the men operating the gun can’t actually see what they’re ny, and six heavy (120mm) mortars assigned to an in-
shooting at. Instead, they’re relying on the word of some- fantry regiment. Medium mortars were also mounted
one who can see the target, who may or may not be de- on halftracks to provide mobile fire support.
scribing its position well enough to result in a hit. Even
when they are, words get misheard in the heat of battle, • Antitank guns are direct-fire artillery weapons
men under pressure forget to carry the two, and mistakes designed to take out armored vehicles. Light mod-
get made—like shelling their own troops, for instance. els are fairly portable, but as the war dragged on,
heavier and less mobile models were necessary to
Any attack made with a hand grenade, mortar, or field ar- defeat the newer, better-armored tanks. Antitank
tillery gun that results in a natural one hits a friendly tar- rounds have the Penetrating extra on their damage.
get instead. Grenades, distrusted during the war because Antitank guns need a crew of three to five to operate
of their unpredictable fuses, might even blow up in the normally. Typically, an antitank company had 12 such
hands of those throwing them. weapons: lighter ones (37mm) at the start of the war,
and then progressing to medium (50mm) and heavy
• Antitank rockets are fired via a number of different
(75mm or 88mm) guns later in the conflict. Antitank
systems, including the American bazooka, the British
guns were also mounted on lightly armored chasses
Commonwealth PIAT, and the German Panzerfaust
and put into a dedicated armor-killing role as tank
and Panzerschreck launchers. Whatever the type, it can
destroyers.
only fire once; reloading requires a both a move and a
standard action. Antitank rockets have the Penetrating • Field artillery is the king of the battlefield, raining
extra, allowing them to damage heavily armored destruction down on enemy positions and softening
targets. Typically, one such weapon was issued per them up for attack by tanks and infantry. Most artillery
infantry company, but the Germans issued them in rounds are high explosive, and thus have the Burst
much greater numbers during the closing months of Area modifier. Artillery pieces also have the Extended
the war, usually to troops barely trained in their use. Range extra, since they fire in such long ballistic arcs.

CHAPTER 1: SETTINGS
Artillery is large and heavy, and requires some sort of nel rounds (as an Alternate Effect, with the Burst Area
transport, be it horses, trucks, or being self-propelled extra instead of Penetrating).
on lightly armored chasses. Each gun requires a crew
of 5 to 10 men to operate normally. Typically, an in- • Medium tanks are the most common types seen
fantry regiment had 6-8 light (75mm) and/or medium on the battlefield, and consequently carry on most
(105mm) guns assigned to it, while an infantry division of the fighting. Examples include the American M4
had 12 heavy (155mm) pieces at its disposal. Sherman, the German Panzer III and IV, and the So-
viet T-34. A medium tank mounts a medium machine
gun and a medium antitank gun, capable of firing
GOLDEN AGE VEHICLES either antitank rounds (as specified under the gun’s
description, above) or antipersonnel rounds (as an
Transportation in the 1940s (both civilian and military) Alternate Effect, with the Burst Area extra instead of
was in a time of transition. Passenger train service began Penetrating).
to lose ground to the airlines, and jets supplanted prop-
driven planes. On the oceans, the feared dreadnought • Heavy tanks were relatively scarce on the battle-
battleships of days gone by lost their naval dominance to field, a fact for which any who faced them were
the aircraft carrier. grateful. An example is the German Panther or Ti-
ger tank. A heavy tank mounts a medium machine
This section provides all the necessary Mutants & Mas- gun and a heavy antitank gun, capable of firing ei-
terminds game information to incorporate Golden Age ther antitank rounds (as specified under the gun’s
vehicles in your series, from giant airships like the Hin- description, above) or antipersonnel rounds (as an
denburg to Sherman tanks. Some types included here Alternate Effect, with the Burst Area extra instead of
are also mentioned in the Hero’s Handbook, but note that Penetrating).
changes in time and technology give the Golden Age ver-
sions somewhat different capabilities than their modern WATER VEHICLES
descendants.
Naval vessels were required to spend months away from
GROUND VEHICLES port. They had to function as self-sufficient floating cities
during these times, providing three square meals, laun-
Golden Age automobiles lack most of the standard car dry, and even the occasional movie for their crews. In ad-
features listed in the M&M Hero’s Handbook (see page 170), dition to the facilities needed to provide these services,
in part due to the fact that new car production (and thus they came equipped with radar and sonar systems that
innovation) was halted for the duration of the war. Auto- gave much-needed warnings of approaching carrier-
mobiles did have heaters, and the first car with air condi- based planes and submarines (the two deadliest anti-ship
tioning rolled off the assembly lines in 1940. Radios (AM, weapons of the war).
of course) were available throughout the Golden Age, but
did not become standard features until later in the era. • Patrol boats like the American PT boats, the British
MBTs, or the German S-boats were small, short-range
Military vehicles are even more no-frills. A radio receiver/ patrol craft intended for coastal defense and interdic-
transmitter and a fire extinguisher are about the only tion of narrow waterways where larger craft could not
standard features to be found, courtesy of Uncle Sam (or operate. They were armed with heavy machine guns
his other-national equivalents). and torpedoes (Ranged Damage 8, Penetrating 8).
• Jeeps (and similar vehicles used by other countries) • Cruisers are intermediate-size warships used to
were versatile workhorses for the army, whether tow- screen smaller vessels away from the larger capital
ing guns or transporting officers or wounded men ships, or to perform missions where a destroyer is too
wherever they needed to go. Some jeeps had a me- little and a battleship too much. They are equipped
dium machine gun on a pedestal mount in the back, with medium naval guns (equivalent to heavy field
and the cost for these models goes up accordingly artillery).
(by 18 equipment points).
• Battle cruisers or “pocket battleships” were built in
• Halftracks were essentially armored trucks with the the prewar era on the presumption they would out-
rear wheels replaced by tank tracks. Examples include gun smaller vessels and outrun larger ones; in short,
the American M3, British Bedford BT, and the German providing a battleship on the cheap. As often as not,
SdKfz 250. They were designed for moving troops in it turned out that smaller vessels just ran away from
close proximity to the battlefield, where their armor them and larger vessels outgunned them too badly
provided passengers with some degree of protec- to risk a confrontation. A battle cruiser’s main guns
tion. A halftrack mounts a light machine gun. are equivalent to heavy field artillery.
• Light tanks were used primarily for reconnaissance • Escort carriers were born of desperation at the
and scouting missions. An example is the Ameri- height of the U-boat threat to Allied convoys. They
can M5 Stuart or the German Panzer II. A light tank were about as basic a design as could be imagined,
mounts a medium machine gun and a light antitank amounting to little more than a tiny floating airbase.
gun, capable of firing either antitank rounds (as These ships performed their antisubmarine role
specified under the gun’s description) or antiperson- magnificently, and were key in finally eradicating

GROUND VEHICLES
NAME SIZE STRENGTH SPEED DEFENSE TOUGHNESS COST
Jeep* H 8 5 7 9 8
Army Truck H 9 5 6 10 9
Halftrack* H 10 4 6 10 Impervious 31
Light Tank* H 9 5 6 11 Impervious 58
Medium Tank* H 10 4 6 12 Impervious 63
Heavy Tank* H 11 4 6 13 Impervious 69
WATER VEHICLES
Freighter G 20 3 4 13 16
Patrol Boat* G 12 5 4 11 50
Cruiser* A 20 5 0 15 Impervious 65
Battle Cruiser* A 20 4 0 16 Impervious 66
Escort Carrier* A 20 4 0 15 Impervious 51
Aircraft Carrier* A 24 4 0 18 Impervious 61
AIR VEHICLES
Airship A 20 4 0 15 13
Autogyro* H 8 6 8 9 16
Military Transport Plane G 13 6 4 12 17
Flying Boat* G 12 6/7 4 11 34
Prop Fighter* H 8 6 6 9 32+
Jet Fighter (WWII)* G 12 7 4 11 35+
Jet Fighter (Korean War)* G 12 7 4 12 36+
*See individual descriptions for more information.
the German submarine menace. Escort carriers were AIR VEHICLES

armed with medium field artillery, but their primary
weapons were the aircraft they carried aboard (use Forget the free bag of peanuts in the Golden Age, fre-
the statistics for a carrier squadron). quent flyers. People are still gawking at those weird new
flying contraptions, so things are a mite primitive by com-
• Aircraft carriers proved the decisive naval weapon,
parison. In this era, aircraft came equipped with a radio
as their dive-bombers and torpedo planes could
receiver/transmitter, some basic gauges, and a fire extin-
sink any other vessel afloat. The war in the Pacific
guisher. Military planes didn’t add much more, as only
quickly became a battle of carriers, which American
bombers had the room to do so, and even then it’s basic
industrial might could produce in numbers no other
country could match. Carrier air power was also used stuff like bombsights and toilets (for those long missions).
against land targets, usually to soften up the enemy Even radar was scarce, though some fighter aircraft were
prior to an amphibious landing. Normally, aircraft fitted with sets so they could function as night-fighters.
carriers were armed with light naval guns (medium • Autogyros are propeller-powered airplanes with
field artillery) and a mixture of fighters and bombers. additional overhead rotor blades. Examples like the
During World War II, these types were propeller- Pitcairn models have been around since the 1920s.
driven planes like the F6F Hellcat fighter and the They were the forerunner of the helicopter, but were
SB2C Helldiver dive-bomber, but by the Korean War slower and incapable of hovering. They did require a
jet fighter-bombers like the F9F Panther and F2H lot less runway than other fixed-wing aircraft, however.
Banshee were the norm. A carrier’s air group can
be simulated in game terms either by three or four • Flying boats like the American PBY Catalina could
carrier squadrons or one carrier group. land and take off from either solid surfaces or

CHAPTER 1: SETTINGS
(reasonably calm) waters, and thus were vital during
World War II for air/sea rescue missions. In the air, THE COMICS CODE
a flying boat could manage Flight 6; in the water, In 1954, psychiatrist Dr. Frederic Wertham published
Swimming 7 (as an Alternate Effect). Flying boats his book Seduction of the Innocent, in which he claimed
were also armed with heavy machine guns. reading comic books had a detrimental effect on Amer-
ica’s youth. Hearings in the U.S. Senate scrutinized the
• Prop fighters like the American P-51 Mustang, the “questionable” content of comics and threatened to
British Spitfire, the German Messerschmitt Me-109, shut down the entire industry.
and the Japanese Zero were primarily used to escort
Taking preemptive action, the major publishers pro-
bombers to their targets, or to try to shoot down
posed and adopted their own code for regulating the
said bombers before they got there. As the war
content of comic books. Among other things, the new
progressed, fighters were increasingly called upon Comics Code Authority banned any sort of explicit vio-
for close air support, strafing ground targets that lence, sex, gore, or other “mature” content. It generally
were largely helpless against them. Prop fighters sanitized the contents of comic books, and nearly wiped
came equipped with heavy machine guns and often out the industry (or saved it, depending on your point of
carried a light bomb or rocket load (Ranged Burst view). Many publishers went out of business and entire
Area Damage 8) for ground-attack missions. genres of comics, especially horror and crime comics,
ceased publication altogether.
• Jet fighters entered combat for the very first time
Ironically, the Comics Code caused the remaining pub-
during World War II in the form of the German
lishers to turn back to superheroes, since it was easiest
Messerschmitt Me 262. Its speed and maneuverability for them to fit into the restrictions of the Code. These
made it an instant threat to the Allies’ propeller-driven guidelines were the source of much of the innocence
air forces. Later models, such as the American P-80 and lightheartedness of the Silver Age.
Shooting Star and F-86 Sabre, clashed with Soviet-
made MiG-15s over “MiG Alley” in Korea, alternately
trying to strafe enemy ground targets or prevent Nobody wonders how a hero can pick up a battleship, he
the same from happening on their side. Jet fighters just does it! The same is true for any of a number of other
came equipped with heavy machine guns and often elements. Collateral damage is mysteriously cleaned up
carried a light bomb or rocket load (Ranged Burst Area in between issues (or panels, for that matter!). Captured
Damage 8) for ground-attack missions. villains go to jail, without any concern for lengthy trials
or legal entanglements. There are no questions about
SILVER AGE why a genius inventor doesn’t develop Teflon or a cure

for cancer rather than super-science “vita-rays” or rocket
The Silver Age of comic books began with the “second ships. In general, the watchword of the Silver Age is “don’t
generation” of superheroes from 1959 to 1963 or so. Silver worry about it!” If it’s fun and works as part of the story, go
Age comics tended to feature more powerful heroes than ahead and use it and don’t worry about the consequences
their Golden Age predecessors (with the exception of a or implications for the larger world.
few godlike Golden Age characters). Silver Age comics
also had a decidedly science fiction bent to them, with THE COLD WAR
more aliens, fantastic technology, and scientific origins,
especially involving atomic energy and related mutations. During the decades of the Silver Age, the Cold War was in
Many classic comic book characters first appeared in the full swing, and in full evidence in the pages of the comics.
Silver Age, or settled into their now-familiar forms and Nazi villains from the Golden Age were replaced with
mythologies during this time. Communist villains from the Soviet Union or the People’s
Republic of China (less often from Latin America or other
LIGHTHEARTEDNESS parts of Asia like Vietnam or Cambodia).
The Silver Age comics are characterized by a certain Communist villains (communists were never heroes) were
lighthearted tone and innocent sense of fun. The heroes are just as much caricatures as the fascists of the 1940s. They
not the grim and angry avengers of the early and war-era were either mindlessly loyal to the State, even brainwashed
Golden Age, but shining examples of the best in humanity. by their Party handlers, or thoroughly corrupt and willing to
The Silver Age sees the development of things like heroic serve the Communist Party so long as it furthered their own
codes against killing and support for the law, justice, and ends. Communist emblems like the red star (or the Chinese
American values. In part this is due to the Comics Code (see yellow stars on a red field) and the Russian hammer and
The Comics Code sidebar), which prohibits some of the sickle were all but required for the costumes of Red villains.
darker elements of older comics. In the Silver Age, heroes
are heroes, villains are villains, and that’s all there is to it. As the Silver Age progressed, attitudes toward
communist characters (or at least those from communist
Silver Age comics also don’t take themselves too seriously. nations) softened somewhat, although they remained
They’re not satires—although they are often campy—but stereotypical. Some characters chose to defect to the
they don’t focus on the realism of a world of costumed West, rejecting communism and showing their heroic
heroes and villains. Generally, the consequences of super- side. Their former “comrades” from home typically hunted
powers are cheerfully ignored to make for better stories. them for their betrayal.

THE ATOMIC AGE Golden Age predecessors. Some comic publishers created
updated versions of their Golden Age characters for an all-
new comic book audience, while other Silver Age heroes
The Silver Age is also the beginning of the atomic age,
were completely new. The explosion in comic publishing
with the proliferation of both nuclear power and nuclear
in the 1960s certainly meant there were more of them
weapons. The looming specter of the Bomb during the
than the handful of surviving heroes from the Golden Age.
Cold War only increased the mystique of “atomic power,”
which became the origin for many Silver Age characters. Like the postwar generation of the time, Silver Age heroes
Uncontrolled exposure to radiation—whether cosmic often held different attitudes from the previous genera-
rays, gamma bombs, or bites from radioactive animals— tion. Their Golden Age mentors, if they showed up at all,
figured into many origins. Comics also speculated that were often seen as “old fashioned.” Golden Age heroes
rising levels of background radiation (due to atomic tests who made the transition to the Silver Age sometimes felt
and such) were causing widespread genetic mutations, they belonged to a bygone era, and wondered what they
leading to a new generation of super-powered mutants. had to offer this new generation.
In many ways, these “children of the atom” embodied fears You can incorporate these elements into your series in
about nuclear power. They also served as proxies for the two ways. First, you can create Golden Age heroes for the
social upheavals of the 1960s and ‘70s, especially the civil new generation to follow, perhaps even having some of
rights movement. They were the strange children their them take up the mantles (and names) of their predeces-
parents couldn’t understand. People hated and feared sors, just as many Silver Age heroes did in the comics.
them for being who and what they were. Yet some mutants Second, you can provide opportunities for the heroes to
took the high road, using their powers to protect a world interact with the previous generation, perhaps emphasiz-
that wanted to destroy them. This analogy appealed ing the “generation gap” in terms of attitudes. This is es-
to many comic readers (often alienated teenagers pecially effective if one of the player’s heroes was around
themselves), leading to the popularity of mutant heroes. during the Golden Age and is now adjusting (or not!) to a
The Mutation origin (see page 29) has more information new generation.
on incorporating this theme into your series.
FANTASTIC FRONTIERS
SECOND-GENERATION SUPERS
More so than the Golden Age, the Silver Age of comics is
The heroes of the Silver Age made up a new generation one of wonder. In the era when humanity first went into
of superheroes, often following in the footsteps of their space and reached for the Moon, the comics featured an

CHAPTER 1: SETTINGS
endless array of lost worlds, hidden cities, fantastic di-
mensions, alien planets, and cosmic forces. Many Silver
GLOATING
Age heroes are explorers by nature, blazing trails into new
Oh, how Silver Age villains love to gloat! Gamemasters
frontiers. These exotic places often hold danger, for the
who want to encourage the Silver Age tradition of villain-
heroes and the world.
ous gloating (or “monologuing”) can use the following
• Lost Worlds include isolated plateaus where dino- guidelines.
saurs still roam (and maybe hunt primitive tribes of
A hero can make a Deception skill check against the re-
humans). Living examples of dead civilizations like
sult of a villain’s resistance check to encourage the villain
ancient Greeks, Romans, Aztecs, or Mayans may still
to waste time gloating, giving the hero an opportunity to
exist, and could have technology (or magic) in ad-
do something. This works like the Fascinate advantage,
vance of their ancestors, or even the modern world.
except the hero doesn’t need to do anything to maintain
• Hidden Civilizations are sources of heroes and vil- it. Each round, make a new check for the villain, if it fails,
lains. Cities hidden in isolated places like the Himala- the villain goes on gloating. Generally, any attack or other
yas, Antarctica, or the bottom of the ocean are home to action from the hero directly affecting the villain ends the
offshoots of the human race. Sunken cities like Atlantis villain’s gloating. Players can (and often should) spend
and Lemuria are common in the comics, inhabited by hero points on the interaction check to encourage villains
aquatic or mer-people. Perhaps legendary cities like to gloat.
Shangri-La, El Dorado, Lyonesse, and Brigadoon exist
in one form or another. You can decide just how well
hidden these civilizations are, what the inhabitants are
SILVER AGE GEAR
like, and what adventure possibilities they offer. The following is a list of military-grade weapons found in
• Fantastic Dimensions range from abstract places like the hands of cops, crooks, and civilians during the Silver
the astral plane and the dimension of darkness (or sim- and Bronze Ages. Military-grade weapons are of course
ilar conceptual dimensions) to parallel Earths where normally found in the hands of soldiers, but they can
history took a different course. Heroes can use the Di- also turn up in civilian use, such as with ex-GIs who kept
mension Travel effect to reach these dimensions, while a few souvenirs from their days in uniform or bad guys
their inhabitants might do the same to reach Earth. who found them after they “fell off the back of an Army
truck.” Big guns like these also seem to have an annoy-
• Alien Worlds are numerous and diverse in most comic ing habit of winding up in the hands of the super-villains’
book universes. They’re home to alien civilizations, goons as well.
many of them humanoid and possessed of technology
advanced enough to reach Earth. Alien races can be HEAVY WEAPONS
peaceful and uninterested in a cosmic backwater like
our planet, but many more are would-be invaders. The Sometimes even a machine gun isn’t enough to get the
Alien origin (see page 25) has some additional ideas on job done. Maybe the enemy’s too far away, too well dug-
using aliens in your series. in, or there’s just too many of them. Maybe the enemy’s
skin is bulletproof, and a bigger bang is the only hope of
GOING APE! stopping him.
Whatever the cause, we present the relevant numbers for

Julius Schwartz, an editor at DC Comics for decades, first some of the most common heavy weapons found with
noticed that comics sold better with an ape or gorilla on Cold War armies. For obvious reasons (just glance at their
the cover (especially an ape talking or engaged in some game statistics), the Gamemaster should incorporate
other human behavior). So much better, in fact, that DC these truly big guns into their games with care, lest their
instituted an editorial policy limiting the number of apes perfectly crafted adventures be ruined by a hail of shells
on the covers of their books each month! The popularity fired from a mile away.
of primates led to a number of Silver Age simian charac-
ters. They include heroes and villains, as well as sidekicks The weapons listed below are in addition to any listed in
and supporting characters. Most Silver Age ape characters the Golden Age section (earlier in this chapter) and in the
retain their simian physical traits, but have human level (or M&M Hero’s Handbook.
greater!) intellect.
HEAVY WEAPONS
Light Recoilless Rifle* Ranged Damage 7 Penetrating 7 or Burst Area — 21

Medium Recoilless Rifle* Ranged Damage 8 Penetrating 8 or Burst Area — 24
Heavy Recoilless Rifle* Ranged Damage 9 Penetrating 9 or Burst Area — 27

• Recoilless Rifles are direct-fire artillery weapons serve solely as “secretaries” to hero teams and they
designed to take out armored vehicles. Light mod- were just as capable as any male hero, if not more
els are fairly portable and can be fired from the so. Female villains often had enough of male-dom-
shoulder like a bazooka. Heavier and less mobile ination and were prepared to serve it up in spades.
models were better able to defeat newer, heavier- Stories ranged from serious issues of discrimination
armored tanks. The rifle’s antitank rounds have the to campy “battles of the sexes” where empowered
Penetrating extra on their damage, while anti-per- heroines who’d had enough fought it out with their
sonnel rounds have the Burst Area extra. Recoilless male counterparts (usually under some sort of vil-
rifles need a crew of three to five to operate normal- lainous influence).
ly. Heavier models were also mounted on jeeps. The
light (57mm), medium (75mm), and heavy (90mm • Black Power: Minority heroes—notably black he-
or 106mm) rifles were all phased out during the roes—become more common in the Bronze Age,
Vietnam War in favor of light anti-tank weapons although it was all but required for such heroes to
(LAWs, equivalent to the rocket launcher, see the have the word “Black” in their names. Such heroes
M&M Hero’s Handbook, page 167). were often angry crusaders for equal rights as well
as justice for all.
BRONZE AGE • Substance Abuse: Drug and alcohol abuse, previ-
The Bronze Age of comics follows on the tail end of the ously forbidden by the Comics Code, became issues
Silver Age, sometime in the 1970s and into the 1980s. It’s in the Bronze Age. Heroes fell victim to the “demon
characterized by an increasing sophistication in terms of in a bottle”—alcohol—and were forced to deal with
characterization and story, particularly a willingness to the consequences, or discovered their young wards
tackle more complex and mature issues skirting the limits were addicts, much as unsuspecting parents were
of the Comics Code. Bronze Age comics also feature par- forced to deal with children on drugs. In later years,
ticular fads and social trends of the time. the “War on Drugs” became a common theme, and
drug-dealers common foes for street-level heroes.
HUMAN HEROES Some heroes even gained their powers from acci-
dents involving designer drugs, echoing some of the
The heroes of the Bronze Age have feet of clay. While deliberate “super-serum” heroes of the Golden Age,
many Silver Age heroes were given foibles, they truly some of whom discovered they had a drug problem
come to the fore in the Bronze Age. Rather than just he- stemming from the source of their powers.
roes who bicker amongst themselves, for example, there • Youth Empowerment: From the flower children of
are heroes dealing with serious problems like alcoholism, the 1960s to the “Me Generation” of the 1980s, the
drug use, and racism. Heroes are portrayed as people, who
Bronze Age of comics featured more young people
sometimes make mistakes or have flaws they need to
who weren’t just loyal sidekicks of older mentors,
overcome.
but full-fledged heroes in their own right. Often, the
This creates plenty of opportunities for complications younger generation had a new way of doing things,
in Bronze Age style games. Heroes can have marital and and they were looking for independence from their
relationship problems, dark personal secrets, struggles elders.
between their heroic and super identities, and battles be-
tween conscience and duty. A particular issue for patriotic • Multinationalism: Following the trends of minority-
heroes in the Bronze Age is increasing cynicism toward rights, comics in the later years of the Bronze Age
patriotism and national loyalty in general. began to introduce more heroes and villains from na-
tions outside North America. Often they were simply
guest-stars, but some comics included regular for-
SOCIAL ISSUES eign characters, with different cultural backgrounds.
Comics also took place outside of North American
Bronze Age comics began to deal with some of the issues
cities and went to other places on Earth.
forbidden by the Comics Code by handling them in what
was considered a helpful way, offering positive role-mod-
els for young readers. For example, the comics addressed FADS AND FASHIONS
the issue of drug abuse by clearly portraying it as some-
thing bad. So long as it wasn’t glorified, the Code didn’t Bronze Age comics gleefully incorporated fads and
pose any problems (particularly since it was largely self- fashion-trends of the day, even more than Golden and
enforced anyway). Silver Age comics. So characters based on things like
disco, breakdancing, skateboarding, roller-blading, video
The major social issues of the 1970s and ‘80s all showed
games, heavy metal music, and similar trends were com-
up in the comics to one degree or another. Among the
mon (albeit mostly short-lived). Gamemasters looking to
most popular were:
capture the feel of the Bronze Age should consider some
• Women’s Rights: Feminist heroines and empowered of the fads and fashions of the time and base some non-
women became more common in the Bronze Age. player characters on them, encouraging players to do the
Female heroes made it clear they weren’t going to same.

CHAPTER 1: SETTINGS
IRON AGE weapons, but guns firing live ammo (preferably armor-
piercing and at full-auto).
The Iron Age or “Dark Age” of comics began sometime in In addition to guns, other lethal weapons are common, in-
the 1980s. It’s characterized by a shift away from the bright cluding swords, knives, and various martial arts weapons,
colors and simple themes of the Silver Age toward more especially shuriken, sais, katana, and nunchaku. Some
mature, often violent and explicit, stories and characters. characters have high-tech or magical versions of these
In particular, the Iron Age features a rise in vigilante he- weapons, but more often they are simply mundane tools
roes far more willing (if not eager) to kill their opponents. of bloody violence wielded by expert hands.
It finds echoes in Hollywood action-adventure films fea-
turing exaggerated gunplay, violence, and sexuality.
LEATHER & LATEX
SHADES OF GRAY Just as guns became fashion accessories for the well-
dressed hero or villain, costumes in the Iron Age took on
A key element of the Iron Age is the often morally am- a more “mature” appearance. Tight-fitting leather, with as
biguous nature of heroes and villains. Sometimes it’s dif- many straps and buckles as possible, or form-fitting la-
ficult to draw a clear line between the two. For example, in tex or spandex became common. Various sorts of body
the Silver Age, a hero whose family is murdered devotes armor showed up (to protect against all those guns) and
himself to bringing criminals to justice, and is sworn never costumes had a paramilitary style to them: jumpsuits,
to kill, since that makes him no better than the scum he bandoliers, web-belts, combat boots, and so forth, were
fights. In the Iron Age, the same origin creates a vigilante common elements. Sunglasses, goggles, and helmets of-
hero who swears to wreck bloody vengeance against all ten replaced masks, and heroes as well as villains sport
criminals. He does what the law cannot, because the sys- tattoos, piercings, and other body-art.
tem is flawed and corrupt, gunning down criminals and
fighting villains to the death. NINJA!
The moral ambiguity of the Iron Age extends beyond
The Iron Age of comics saw a fascination with martial arts,
just violence. It touches upon other issues like drug use,
ninja in particular: dark clad assassins wielding almost
sexuality, personal problems, and heroes making money
mystical powers of stealth. Rogue ninjas became vigilante
off their powers. Some Iron Age heroes are mercenaries,
heroes while villains often sent ninja minions or lieutenants
doing their job for pay. Others are ruthless businesspeo-
against the heroes. A common archetype was the westerner
ple, cashing in on their costumed identities with licens-
trained in the secret ninja arts (who then almost always
ing deals and personal appearances. An Iron Age setting
turns against ninja tradition to become a hero). Rivalries
should reflect these more complex and adult issues.
between student and teacher or former fellow students
provided conflict for heroes and villains. Any Iron Age team
BLACK OPS worth its salt had at least one ninja-like member (if not
several). See the ninja archetype (page 150).
Many Iron Age characters and stories adopted a paramili-
tary style. Instead of superheroes, characters were “special
operatives” often working for a government, corporation,
LONE WOLVES
or organization. Elements of the espionage and action- The heroes of the Iron Age were often solo acts, lone
adventure genres seeped into the comics. Code-names avengers on a personal quest. Since most Mutants & Mas-
were used as much for secrecy and covert operations as terminds games are group experiences, you may need to
for splashing across the headlines. Costumes tended to play down this aspect of the Iron Age. Fortunately, Iron
be less flashy, more body armor and camouflage, military- Age heroes did occasionally band together into teams,
style jumpsuits. Characters often adopted military atti- albeit more loosely organized than the superhero teams
tudes, ranks, and backgrounds. of the Silver Age. Iron Age teams were often modeled on
Iron Age villains also took on a more practical and political police or military special operations units rather than a
tone. Terrorists of various stripes became common, along crime-fighting “league.” Team members still occasionally
struck out on their own, especially when dealing with per-
with gangsters and drug-lords (reflecting the 1980s “War
sonal matters they preferred to keep to themselves.
on Drugs”). Villains were more likely to be found in board-
rooms than secret volcano lairs, and they controlled inter-
national networks of influence. Solo Iron Age villains were REALISTIC POWERS
often psychotic serial killers and similar monsters.
Super-powers in the Iron Age were often treated more
realistically than before. Writers sought to power-down
GUNS, GUNS, GUNS! many characters and offer at least somewhat reasonable
explanations for the fantastic powers of others. More im-
Iron Age heroes like guns, and lots of them. Even some portantly, they explored many of the consequences of
heroes who didn’t particularly need guns carried and used such powers, beyond using them to fight crime and injus-
them. These were real guns, too, not Silver Age “blasters,” tice. What did it really mean to be a god among mortals,
guns loaded with “mercy bullets,” or similar science-fiction an alien among humans?

Generally, the realistic implications of powers made them

more lethal. After all, strength sufficient to lift tons should
easily smash flesh and bone. Laser beams should be able
to melt steel and inflict horrible burns, and so forth. Game-
masters looking to capture an Iron Age feel should ratchet
up the realism and lethality of the series in general.
A NEW GENERATION
Part of the Iron Age revolution in comic books was the
appearance of new publishers (and characters) for the
first time in decades. Often, these new publishers were
creating their own superhero “universes,” independent
from established superhero mythologies. That meant
their new heroes were the first of their kind in their re-
spective worlds. There was no back-story, no previous
generations of heroes or villains (or, if there was, it sim-
ply wasn’t mentioned or important). One very effective
means of setting an Iron Age genre world apart from the
rest is to simply start things off that way from the very
first appearance of super-powers in the world, creating
a setting that never had a Golden or Silver Age for com-
parison.
IRON AGE GEAR

Iron Age characters relied heavily on mundane equip-
ment and the occasional device; even those who normally
didn’t use equipment like guns or armor in prior ages of
comics carried some. It was particularly common for hero
teams to have “standard issue” equipment like communi-
cators, team uniforms with built-in armor, shared vehicles,
and so on.
This section looks at some of the common equipment for

an Iron Age game, expanding upon the equipment lists
from the Mutants & Masterminds Hero’s Handbook. Iron
Age GMs should also refer to the equipment lists in the
Golden Age and Silver Age sections of this chapter for
more weapons.
THE IRON AGE ARMORY

Many Iron Age heroes opted to arm themselves with a
variety of realistic weaponry, from pistols and automatic
weapons to swords and other martial arts weapons.
This section provides detail on the expansive real-world

armory used in the Iron Age.
LONGARMS
• Pump shotguns are commonly used both as mili-
tary and sporting weapons. Models modified for use
by soldiers or the police, sometimes called “combat
shotguns,” have increased ammunition capacity via a
tube or box magazine. Shotguns can fire shot, which
does the listed damage with Accurate 1 due to the
spread, but Limited to Damage 3 against targets with
Protection. It can also load solid slugs, which inflict
the same damage, but without the Accurate bonus
or the Limit on Damage.

CHAPTER 1: SETTINGS
WEAPONS
Longarms
Pump shotgun Ranged Damage 5* 20 11
Land Mines
Anti-Personnel Triggered Burst Area Damage 5, Penetrating 2 - 13
Anti-Tank (m-kill) Triggered Burst Area Damage 10, Penetrating 6 - 27
Anti-Tank (k-kill) Triggered Burst Area Damage 15, Penetrating 8 - 39
EXPLOSIVES their circuitry and disabling most electronic systems

from wristwatches to jet airplanes.
• Anti-personnel land mines were buried explosives
detonated by an above-ground trigger when they • Ionizing Radiation released by a nuclear detonation
were first invented in the nineteenth century. By the is not only fatal to more than half of those exposed, but
Iron Age, AP mines are much more sophisticated. also takes significant time before it can be dispersed.
They include stake mines mounted above ground, In the meantime, the ionized upper atmosphere
bounding mines with lifting charges that raise the disrupts wireless communication among any devices
explosive above the ground before detonation, and that survived the electromagnetic pulse.
directional mines that shape their explosive power
• Fallout is created when solid material vaporized
into a particular arc.
by the explosion combines with ionizing radiation.
• Anti-tank land mines come in two varieties: m-kill It gets drawn into the stratosphere by air currents
AT mines (for “mobility kill”) designed to immobilize and rains down for months or even years—not
the vehicle that detonates the mine, and k-kill AT only on the site of the explosion, but worldwide,
mines (for “catastrophic kill”) designed to disable or as the fallout is carried by the winds of the upper
destroy both the vehicle that detonates the mine atmosphere.
and its entire crew. Both kinds of AT mine use pres-
sure triggers requiring a heavier weight to detonate,
in order to prevent them from being set off by pass- MODERN AGE
ing infantry. The modern (or “post-modern” according to some) era
of comics isn’t definitively named, largely because,
NUCLEAR WEAPONS as the saying goes, once an age is named, it’s usually
over. It is sometimes referred to as the “Platinum Age,”
Whether atop an intercontinental ballistic missile or as “Electrum Age,” or the “Retro” genre. It harkens back
part of a terrorist’s homemade bomb, the threat of nucle- to the Gold and Silver Ages of comics, but tempered
ar arms is a crucial part of the Iron Age. However, given with modern sensibilities and a measure of wonder and
the sheer destructive power of a nuclear weapon, should nostalgia regarding previous ages. In many respects, the
one make an appearance in an Iron Age Mutants & Mas- Modern Age seeks to recapture the experiences of comic
terminds series it’s best handled as a story element by the creators raised on Silver Age comics, and runs counter
Gamemaster. In some games a nuclear explosion might to the cynicism of the Iron Age (which sought to break
mean the end of the game, in others it might not be a established molds and take comics in different directions).
huge challenge for the heroes.
Much of the advice in the Silver Age section applies to
Those lucky enough to survive the initial flash, thermal the Modern Age as well, with a few notable differences.
radiation, and blast damage of a nuclear detonation might
wish they hadn’t. The aftermath of a nuclear detonation
includes the following:
SENSE OF HISTORY
• Earthquakes may follow surface or underground Modern Age comics draw upon a long history of comic
detonations of nuclear weapons if the pressure wave book publishing, and the previous ages, especially the
from the explosion causes geologic fault lines to Silver Age. The Modern Age has a sense of tradition and
release stored-up pressure. These are usually minor, familiarity; superheroes aren’t something new, but have
but could be augmented intentionally as a secondary been around for a long time. The rich background and
effect of the detonation. history of the setting is a source of inspiration for stories
about the present.
• Electromagnetic Pulses emanating from the
detonation of a nuclear weapon will induce a sudden This sense of history is harder to achieve in your own
high electric current in electronic devices, melting Mutants & Masterminds setting, unless you happen to

HIGH AND LOW REALISM

Readers will note that the rules in Mutants & Masterminds reflect the “reality” of the world of the comic books, not the real
world (where people can’t fly under their own power or bend steel with their bare hands). For example, is it realistic that
someone able to bench press a tank doesn’t put his fist right through normal people when he hits them? Is it realistic that
a man (no matter how strong) can pick up a building without it collapsing under its own weight? Of course not, but that’s
the way it works in the comics. The same is true of many other super-powers that violate physical laws as we know them.
The goal of Mutants & Masterminds isn’t to rigorously simulate the real effects of super-human strength or heat beams
capable of melting steel, it’s to simulate how these things work for comic book superheroes.
If you’re looking to inject more realism into your Mutants & Masterminds game, however, keep the following tips in mind:
LETHAL DAMAGE
The lethal damage options from Chapter 7 make the whole application of Damage effects more realistic and dangerous.
LIMIT EXTRA EFFORT

You may limit or reduce the effects of extra effort (M&M Hero’s Handbook, page 19), saying that characters cannot use it to
gain extras, for example, or that it cannot increase effective power ranks. You may also reduce extra effort, saying that it
cannot improve a bonus more than +2 or eliminate more than a –2 penalty, for example.
LIMIT HERO POINTS

Limiting the number and use of hero points adds greater realism to the game and forces heroes to rely more on their traits
and the whims of fate (as represented by the die roll). You can award fewer hero points or limit players to only having so
many at once. You also can change the things hero points can do. Eliminating the ability to overcome fatigue makes extra
effort that much more costly. Eliminating the ability to recover makes combat faster and tougher while eliminating the
ability to avoid death makes it more likely for characters to die during the game. Eliminating hero points altogether gives
the game a more realistic and less comic book feel.
MODIFY POWERS
You can require that certain abilities, like a high Strength rank, work more realistically than they do in the current rules. For
example, you may say that Strength over rank 6 always does lethal damage when used in combat, and that characters must
have a certain amount of leverage to use their strength. A super-strong character can’t stop a car without damaging it, or pick
up a structure without having it collapse under its own weight. Other powers and abilities can be modified in a similar way.
SLOW RECOVERY
Characters in Mutants & Masterminds recover from damage and injury fairly quickly. In a more realistic game, characters
may recover slower. This means damage conditions put characters out of action for longer and players will likely go to
greater lengths to avoid them.
have a setting the players have been enjoying for years You can also create a sense of familiarity in your series
(which is certainly possible). Fortunately, there are some by playing off many of the standard comic book
things you can do to achieve the same sense of history in archetypes. Create characters in your setting’s history
your own series. that are familiar in style, if not identical, to published
comic book characters. Perhaps a well-known hero is
The first is to give the series a rich and detailed history. a strange visitor from another world, or there is a dark
It’s more difficult to run a Modern Age series in a setting avenger active in the Golden or Silver Age (perhaps
where superhumans have only just appeared, for with a modern heir). Model hero teams on existing ones
example. There’s no historical context for them. The more from the comics, and they’ll seem familiar to the players,
context you provide, the more alive the setting becomes. even if they have totally different characters. Set most
Be careful not to overwhelm the players with too much of these characters in the past, and you give the setting
information right off, but create the history and use it as a context while allowing the players to take things in new
source of ideas for adventures in the present day. directions in the present. You can even take the Golden
and Silver Ages of published comics and use them as the
One particularly good use of a heroic history is the “legacy history and backdrop of your series, creating a totally
character,” a hero or villain based on a previous character new and different Modern Age based on them.
in the setting. For example, a modern-day hero might be
the second or third in a line of heroes with the same name
(and perhaps similar powers and costumes). Heroic (and SENSE OF WONDER
villainous) identities are passed on across generations,
creating characters with built-in histories, enemies, and Many Modern Age comics tried to restore the “sense of
story hooks. wonder” found in the Silver Age, although a trifle more se-

CHAPTER 1: SETTINGS
rious. They went in the opposite direction of the Iron Age’s So modern-day issues show up and characters are better
realism and tried to restore lost worlds, fantasy settings, rounded and less stereotypical. Modern Age stories deal
alien cities, talking apes, and so forth, just updated to a with social issues, politics, terrorism, poverty, and the like
modern context. alongside alien invasions, world-conquering supervillains,
and magical menaces from beyond.
Essentially, you can take the elements of the Silver Age and
include them in your Modern Age series. Just emphasize While heroes often adhere to a more Silver Age code of
some of the fantastic elements. Whereas a lost city or a plan- ethics, there are reasons for them to do so; it’s a choice
et-sized spaceship was nothing unusual in the Silver Age, rather than simply the way things are. In some ways, this
stress how amazing it is to characters in the Modern Age. can make Modern Age characters even more heroic (or
They encounter the impossible on a regular basis, but it’s no villainous) than their Silver Age counterparts. They’re not
less amazing because of that. Some Modern Age comics try blindly following an ideology; they’re making conscious
to provide consistent explanations for why the universe is so decisions about right and wrong.
fantastic, but you don’t necessarily have to—not knowing
why can be simply part of the wonder and mystery of it all. Watch out for moral discussions and debates starting
to dominate your game. There’s no problem with them
if your group enjoys roleplaying them in character, but
SENSE OF PURPOSE they can sometimes become heated, or simply dull and
repetitive. The occasion moral dilemma or debate can
Modern Age comics go beyond some of the simple add flavor to the game, but don’t neglect opportunities
themes of the Silver Age. While they’re not as gritty as to include clear-cut situations where the heroes can act
the Iron Age, they’re also more mature and sophisticated. decisively without any concern.
ORIGINS
What is the origin of superhumans and their powers? In most comic books, it’s more accurate to say, “What are the
origins of super-powers?” There are usually several, creating worlds where mutants, aliens, robots, sorcerers, and gods
may all be members of the same team. This section looks at the various superhuman origins and how to use them in
your Mutants & Masterminds series.
ALIENS STRANGE VISITORS

A wide variety of aliens are common in the comic books, Alien superheroes and villains are fairly common. When
ranging from humanoid aliens virtually indistinguish- creating an alien character, give some thought to the
able from humans to extremely strange alien life (since character’s race and home world. Is the character the last
comic artists aren’t limited in their “special effects” bud- survivor of a dead race, an exile from home, or simply an
get). Aliens may not be carbon-based or even organic life: explorer or visitor from another world? Other members of
silicon-based, amorphous, or even crystalline or energy the character’s race may be potential allies, antagonists, or
beings show up. supporting characters. Also decide if the character’s pow-
ers are typical for that alien race or unusual in some way.
Most comic book universes have numerous alien races,
often with very advanced technology and civilizations.
These aliens have some sort of contact with Earth, al- ALIEN TECHNOLOGY
though it’s usually sporadic. Militaristic alien civilizations
seek to conquer Earth while more benign ones usually Many alien races, at least ones with the ability to reach
have some policy of non-interference regarding worlds as Earth, have technology in advance of our own. Typical
“primitive” as Earth. comic book alien technology includes things like faster-
than-light travel, beam or blaster weapons, force fields,
Aliens in the comics often have super-powers, but not the robots, and possibly things like matter transporters, tele-
same variety of powers found among Earth superhumans. portation, and anti-gravity. Pretty much any super-science
Instead, aliens tend to have racial abilities, making them technology can show up in the hands (or claws, or pseu-
superhuman compared to Earthlings, but not unusual for dopods) of aliens. Advanced technology may actually be
members of their race. For example, aliens from a heavy- the source of an alien character’s powers.
gravity world might have superhuman strength while a
race from a planet with unusually strong magnetic fields Of course, aliens are not limited solely to technology.
might have magnetic control powers. Sometimes an alien Some alien races also use magic, although oftentimes
mutation shows up, with powers outside the racial norm, alien “magic” is just technology so advanced it is practi-
but they appear less frequently among aliens than among cally the same thing. Alien magicians may be sinister or
humans (see Mutation, page 29). benign, and magic in alien societies may be secretive (as it
usually is on Earth) or more overt.

ALIENS AMONG US (see Gods, following). These beings often draw upon
“the power cosmic,” also known as the power primordial,
A common comic book theme involves shape-shifting or primal power, cosmic energy, and so forth. This cosmic
mind-controlling aliens infiltrating and influencing human power may be the source for various super-powers, giv-
society. (This was particularly common during the Commu- ing them the “cosmic” descriptor. In the comics, cosmic
nist scares of the Cold War era.) You may wish to introduce power ranges in versatility from a form of energy control
a race of alien shape-changers, mind-controlling slugs, or to a force limited solely by the imagination of its wielder.
disembodied “psychic parasites,” as adversaries for the he-
roes. Such foes stir up fear and mistrust by imitating or co-
opting authority figures or other heroes. They may also set CHARACTER CONCEPTS
off a wave of xenophobia among humans, perhaps in addi-
tion to (or substituting for) a fear of mutants and mutation • An alien police officer sent to track down a criminal
(see Mutation, later in this chapter). hiding out on Earth. After apprehending his quarry,
the officer might be assigned to safeguard Earth full-
THE PROGENITORS time. Alternately, the officer might be killed, pass-
ing on his uniform and weapons (and perhaps even
powers) to a worthy human.
Many comics include the idea of ancient alien races visiting
Earth in the distant past (often based on the “ancient • The last survivor of an alien race finds a new home
astronaut” theories of aliens interacting with civilizations on Earth and tries to blend in with humanity, while
like the Egyptians and the Mayans). These “Progenitors” may using the powers granted by Earth’s environment to
be a single race or many different races over the millennia. fight crime.
They influence human evolution and development in
different ways, providing technology, performing genetic • Aliens abduct an otherwise ordinary human and use
modifications, even interbreeding with Earth creatures. advanced technology to give their subject super-
Alien intervention is one means of explaining the powers. They may intend the subject to become one
development of superhumans on Earth. It may also explain of Earth’s protectors or the aliens might have a more
various mythological or historical oddities. sinister purpose in mind. Perhaps they’re simply curi-
ous and testing the limits of human potential.
COSMIC POWER • An alien energy being merges with a human host to
experience corporeal life, granting its host various
Aliens may include various “cosmic” beings, forces of great powers while in turn learning about human compas-
age and power in the universe, essentially alien gods sion and goodness.

CHAPTER 1: SETTINGS
• An alien-human hybrid develops unexpected powers (and infernal) dimensions may exist in the setting, open-
and abilities, and becomes the target of a secretive ing up literal new worlds of adventure for heroes.
government agency dealing with alien influences.
While the comics don’t usually bother with a comprehen-
sive or cohesive cosmology for all the various other dimen-
GODS sions, the Gamemaster is free to invent one, if desired. The
dimensions or planes inhabited by the gods (and other
Superheroes are like modern gods or mythic heroes in mystical or divine beings) may relate to each other in a par-
many ways. So it’s not surprising some mythological gods ticular way. For example, perhaps Heaven lies “above” Earth
also become superheroes. Gods in the comic books—at in the cosmic scheme of things, with Hell “below” and the
least those who become superheroes—tend to be as other godly dimensions arrayed in a ring or wheel “around”
powerful as other superheroes, perhaps at the high end the Earth’s plane. A particular arrangement of divine planes
of the power scale, but still peers to superhuman heroes. may result in more or less access to Earth for certain divine
Godly villains or elder gods less involved in human affairs powers.
may be more powerful, achieving even cosmic levels of
power. Visiting the home dimensions of the gods requires the Di-
mension Travel effect. The same is true for gods intending
In most settings, different pantheons of mythic deities co- to visit Earth and return home, making it a common effect
exist. Such pantheons rarely have much to do with human for godly characters.
worship any longer, usually by mutual agreement (also
possibly related to the rise of monotheism in Western cul-
ture). The occasional godly hero or villain is the exception
CHARIOTS OF THE GODS
to the rule of divine non-interference.
The gods might actually not be “gods” as such. In some
Gods may visit Earth in physical form. They’re often very settings aliens or other types of superhumans are mistak-
much like humans with extraordinary powers. In other en for gods and may actually be the sources of historical
cases, gods invest their power in particular mortals. A god myths about the gods. Such beings can exist even in set-
may take a mortal host, possibly transforming the host tings with real gods; some myths reflect the reality of the
into a semblance of the god’s own form. Gods also grant gods, while others are cases of divine mistaken identity.
mortals super-powers, although this falls more under the The real gods may not look kindly on these divine impos-
category of magical origins (see Magic & Mysticism, im- ters, or they may not care about them.
mediately following this section).
Gods typically have super-human abilities, including immor- CHARACTER CONCEPTS

tality. They may be truly unkillable or merely long-lived. The
average god is more physically capable than a human, and • A heroic god comes to Earth to defend humanity.
some specific gods have tremendous abilities (such as heroic Most people believe the “god” is simply another su-
gods associated with great Strength or deities with super- perhuman who has adopted a mythological motif.
human Awareness or Presence). Magical powers associated The god’s ancient enemies may also come to Earth to
with the god’s portfolio or area of influence are also com- become supervillains.
mon. For example, a storm god usually has weather control • A mythological god mates with a mortal with their
powers, a sun god wields light or fire powers, and so forth. half-divine offspring as a new hero. The hero has only
a portion of godly power, which may be better suited
ONE TRUE GOD? to some settings.
The comics tend to be (deliberately) vague about the • The divine spirit or essence of a god possesses a
theological implications of mythological gods co-existing, mortal host.
and of the existence or nature of the Judeo-Christian God.
• One or more gods invest a mortal with portions of
Generally, the question of contradictory creation myths
their power to create a superhuman champion.
and similar things is simply ignored, or treated with some
vague hand waving about how the cosmos actually came • A guardian angel volunteers to accept mortality and
into being in many ways (that is, all mythologies are true, life on Earth in order to actively defend humanity
even the contradictory ones). The creator God (associated from the forces of evil.
with the Judeo-Christian Jehovah) is a distant, largely un-
involved and unknowable figure, although He may have
various angels, saints, and other agents, usually on par MAGIC & MYSTICISM
with the power of other mythic gods. Magic is a real and active force in most comic book
universes, although it may operate behind the scenes.
HEAVEN, HELL, AND BEYOND The average person probably doesn’t believe in magic as
such, attributing the abilities of sorcerers and wizards to
The existence of a god or gods also implies the existence more “mundane” super-powers, the same with magical
of various mythic dimensions, including (but not limited creatures and dimensions. Even in a world with caped
to) Heaven, Hell, Asgard, Olympus, Heliopolis, Nirvana, the people who fly and bend steel in their bare hands, magic
Dreamtime, and so forth. These and many other celestial is a strange and barely understood force.

Magic tends to produce three types of super-powered Someone or something may deliberately endow a charac-
characters: magicians, the magically empowered, and ter with magical powers. A deity is one example (see Gods,
magical creatures. earlier in this chapter). Others include ancient wizards,
witches, angels, demons, spirits, and other magical entities,
MAGICIANS along with sentient magic items. A classical example is the
ancient Greek hero Achilles. His mother dipped him in the
Magicians—also known as sorcerers, mages, wizards, waters of the underworld to make him invulnerable, but
witches, and so forth—are people (not necessarily human) since she held him by his heel, it becomes his only weak
who have learned to harness and control magical forces, spot. Magical empowerment may be intended as a curse
allowing them to cast various sorts of spells. In most set- rather than a gift. Examples include the curse of lycanthro-
tings, the ability to use magic is py (turning someone into a werewolf or similar creature)
a learned ability, although not or transforming someone into an undead creature.
everyone has the will, talent, or
dedication to learn it. Indeed, Characters empowered by magic have traits and
magicians tend to be a rare and powers much like any other, except their powers
select group, although there are typically have a magic or mystic descriptor applied
often many minor dabblers and to them.
adepts compared to true masters
of the mystic arts. JUST LIKE MAGIC
Magicians are a secretive lot, for the
One option for a setting is to assume all su-
most part. They deal with forces
and beings few others under- per-powers are actually magical in nature,
stand, so they tend to keep to even those with other apparent causes,
themselves, even as members like accidents of birth or science. Essen-
of a team. The control and tially, the forces of magic bend
discipline magical training or ignore scientific laws, much
requires may make them like most comic book super-
seem distant, even cold, powers. So when a child is
and villainous magicians born a “mutant” with the
tend to have tremen- potential for superhu-
dous egos. man powers, it’s not
because of some
Comic book genetic anomaly,
magicians may but the position
cast spells of the stars, the
by invoking force of fate, or
names and some other mystic
entities of tide in the universe.
power (often Likewise, magic allows
alliterative ones, like
otherwise ordinary people
the “Mystic Mists of
to not only survive oth-
Malador” or the “Silent
erwise fatal accidents,
Serpents of Set”). Players
but to transform into
should feel free to come up with
something more than
suitably atmospheric spells and
human. They may think
incantations for their charac-
it was radiation or toxic
ters, and GMs should reward
players who belt out spells waste, but it was actu-
with aplomb by giving them ally magic! This approach
minor bonuses to attack rolls, power checks, or saving has the advantage of being unified and simple. It also ex-
throws involving those spells. Note many magicians are plains away all the improbabilities by chalking them up
deprived of their powers if they cannot speak or gesture to magical forces. However, it can create a certain feeling
to cast their spells, a complication for the Magic power. of sameness in the series, and may affect the use of some
powers if every character has a “magic” descriptor.
MAGICALLY EMPOWERED CREATURES OF MAGIC

Magic can also be a source of superhuman origins, much
All the various creatures of myth and legend show up in
like the fruits of science (see Mutation, later in this chap-
ter). Simply substitute “ancient artifact” or “magical spell” the comics in various forms, particularly classics like were-
for “chemical spill” or “radiation leak” and you’ve got an wolves, vampires, zombies, mummies, demons, elemen-
origin! The primary differences for magically empowered tals, spirits, and golems (animated statues). Any or all of
characters are their style and power descriptors. these can become heroes, villains, or minions of either.

CHAPTER 1: SETTINGS
Heroes and villains are often unique examples of their • A hereditary witch, gifted with great magical talent,
kind, particularly because they possess free will, which but also faced with ancient enemies, and perhaps
many otherwise mindless magical beings do not. even family members who do not choose to use their
gifts responsibly.
A common origin in the comics is for an ordinary person to
merge with a magical creature in some way. For example, • An archeologist who discovered an ancient magical
the character might be possessed by a demon or spirit (or talisman, gaining super-powers from it.
even an angel or god). Conversely, a human spirit might
“possess” the unliving body of a zombie, elemental, or • A golem created as a protector for a repressed peo-
golem, combining human free will and intelligence with ple. Having outlived its creator, it seeks to continue
mystic power. and expand its duty as a guardian while learning
more of what it means to be human.
MAGICAL DEVICES • A former criminal bonded with a demonic spirit, cre-
ating a new entity with a mission to hunt and punish
Magical devices, ranging from enchanted rings to magic the guilty.
swords, often show up as sources of power. A magical de-
vice may be the sole source of a character’s super-powers,
or merely a supplement to other inherent powers. Ma-
gicians often have one or two magical devices at their
MUTATION
Mutation, in one form or another, is probably the most
disposal, and fantasy warriors might have an enchanted
common origin for superhumans in the comics. Techni-
weapon or armor.
cally, a “mutant” is a creature genetically different from
Magical devices make useful story hooks, since villains parent creatures, but the term “mutation” in the comic
may be out to steal them, either to gain their power books usually means any sort of change induced by out-
for themselves or simply deprive the heroes of them. side forces. Some settings differentiate between mutants,
Perhaps a villain has a matching device, and wants to born with at least the potential for superhuman abilities,
combine the two of them for greater power. You can and mutates (sometimes called “altered” or “enhanced”
even create a team of heroes (or villains) where each humans), otherwise normal humans exposed to forces
member has a magical device from a combined set, like which change them in some way.
magical gemstones, weapons, or suits of armor.
ACCIDENTAL MUTATION
MYSTIC DIMENSIONS
Accidental mutation is perhaps the most common origin
The existence of magic implies other dimensions beyond story in the comics. Essentially, an ordinary person is ac-
Earth. The homes of the various gods and divine powers are cidentally exposed to some catalyst, which changes the
one example (see Gods, earlier in this chapter) but there character into a super-being. The catalyst can be almost
are an almost infinite number of other dimensions. Usually, anything, although certain eras of comics tended towards
the inhabitants of these other dimensions are potential certain catalysts. In the Golden Age of the 1940s and ‘50s,
threats to Earth, so portals to them are carefully guarded. chemical catalysts were the most common: secret potions,
The rulers of mystic dimensions (nearly always their most “wonder vitamins,” experimental acids, “hard water,” and
powerful magicians) may have designs on Earth. so forth. In the Silver Age of the 1960s and ‘70s radiation
was the catalyst for nearly all super-powers, from atomic
SLEIGHT OF MIND bomb tests to strange isotopes, glowing meteorites, or
even the radioactive blood or venom of certain animals.
In some settings, the common belief that magic is nothing In more recent years technology like genetic engineering,
more than other superhuman powers clothed in a cloak recombinant DNA, and even nanotechnology have be-
of mysticism and misunderstanding is actually true. come catalysts for mutations.
Supposed “sorcerers” and “witches” are superhumans who
Of course, accidental mutations aren’t limited to scientific
consider their powers “magical,” even though they are
catalysts. They also result from uncontrolled exposure to
not. Some may be deluded while others are charlatans.
magic, strange inter-dimensional forces, or completely
Of course, superhuman powers still exist, and some
unexplained phenomena. Sometimes the “triggering” of
characters may still need ritualistic actions like “casting
innate genetic mutations (see below) is mistaken for ac-
spells” in order to use them. So these powers are effectively
cidental mutation, particularly in times of stress where
still magic, even if they aren’t “real” magic. The prime
another catalyst is present.
difference is in the background of the setting and in the
descriptors applied to “magical” powers. Accidental mutations are nearly always impossible (or
at least extremely dangerous) to duplicate. They often
CHARACTER CONCEPTS happen in batches, with multiple people mutated by the
same event or catalyst. This can provide a common ori-
• A student of a master of the mystic arts, trained to as- gin for a team or a hero/villain pair. If the catalyst affects
sume the aged master’s mantle and continue guarding a large enough group, it can even be the origin for every
humanity against forces lurking beyond this dimension. superhuman in the world!

GENETIC MUTATION PSIONICS

Genetic mutation refers to pre-natal changes, resulting The term psi or psionic refers to powers of the mind, such
in people born with the potential for super-powers. Such as telepathy or telekinesis. In the comics, it’s often broadly
mutations are usually attributed to things like rising back- used to refer to any super-power originating from the
ground radiation, chemicals in the environment, and so mind. Psionics can be a somewhat vague category, which
forth, although they can just as easily come from things has its advantages and drawbacks.
like proximity to a powerful source of magic or genetic
Some settings feature low-level psionic powers, often
tinkering performed by aliens.
called “psychic” abilities. They tend to be subtle and not
Genetic mutations are typically what most comic books entirely reliable. Comic book superheroes have psionic
mean by the term “mutant.” They usually go through a powers with much wider scope and greater power level.
“cuckoo” stage, where they seem like ordinary people, until
The exact origin of psionic powers is often unclear. Some-
something triggers their latent mutations. Most often the
times it may be genetic mutation (see Mutation, immedi-
changes brought on by puberty do this, although it may be
ately preceding this section) but it’s just as often unknown.
some other form of stress. A rare few mutants are born with
The potential for psi-powers may be latent in all humanity,
obvious physical mutations, making it even harder for them
perhaps even in all thinking creatures, as part of the inter-
to find acceptance in human society. Stories tend to stress action between consciousness and the physical universe. In
the uncontrolled nature of newly activated mutant powers. some settings, psi powers (or the potential for them) are de-
A newly “awakened” mutant may have the Uncontrolled tectable, trainable, and even reproducible to some degree.
flaw (M&M Hero’s Handbook, page 151) on his powers. In others, “the talent” is entirely random and unpredictable.
MUTANT HYSTERIA While the terms “psionic” and “mental power” are often
used interchangeably, they are actually two distinct cate-
More than any other origin, mutation, particularly genetic gories. While psionic powers are all mental in nature, men-
mutants, tend to frighten ordinary people. The possibility tal effects like Mind Reading are not necessarily psionic.
of anyone being a latent mutant, combined with the idea They might just as easily exist through magic, divine pow-
of mutants as a “Homo superior” evolution of humanity, er, or super-science.
destined to make normal Homo sapiens extinct, is enough
to stir up fear and paranoia against them. In some set-
tings, the same feelings may be directed against all su-
ALL IN YOUR MIND
perhumans (particularly if all superhumans are mutants), It’s quite possible all super-powers are ultimately
while in other settings, they may be reserved solely for psionic! Since psi is such a broad category and virtually
mutants, who are easily categorized as a separate “race” any super-power can be rationalized as a function of the
with designs on humanity’s future. Still other settings may user’s mind, will, or imagination, psionics are sometimes
treat mutants as no different than any other superhuman used as a catch-all explanation for super-powers,
origin, provoking no more or less prejudice. especially in settings featuring a single, unified origin
for superhumans (see One Origin later in this chapter).
CHARACTER CONCEPTS Characters may believe their powers are actually magic
or reliant on super-science gadgets, and effectively they
• A teenager discovers a newfound “gift” or “talent,” might be. After all, if a character has to speak spells or use
which is initially confusing and frightening, and may a device to make things happen, then those powers are
be as much as curse as a gift. functionally the same as magic and super-science. The
only difference is the real power source (and therefore
• An otherwise ordinary person is exposed to a muta- descriptor) is psionic.
gen and gains superhuman powers. Was it an acci-
dent or a staged experiment? Can the mutagen give
similar powers to others?
MIND SCARE
• An astronaut is bombarded by strange radiation, or ex- Powers like Mind Reading and Remote Sensing have
posed to the power of an alien artifact. Perhaps the en- frightening potential for abuse. Some settings may feature
tire crew is exposed, each acquiring different powers. restrictive laws about violating the privacy of others and
reading thoughts without consent. They may also see
• An extended family of mutants, with a history stretch- some prejudice toward mind-readers and clairvoyants,
ing back for generations, has hidden from ordinary out of fear of what they could do. If technology for
humanity. Now the latest generation has decided it’s defeating Mind Reading and Remote Sensing exists, odds
time to “go public” with their abilities (if not their en- are people like government officials and law-enforcement
tire family history). will use it. The GM may also want to address the legality of
information obtained through mind reading.
• A mutant “preview” of humanity’s future, born with
the capabilities of a human 10,000 years (or more) in In a more four-color series, the GM can largely ignore these
the future. Is the next stage in human evolution hu- issues, especially if Mind Reading and Remote Sensing are
manity’s protector or conqueror? relatively rare effects.

CHAPTER 1: SETTINGS
CHARACTER CONCEPTS own setting, although you may want to decide the reason
super-science remains limited. The most common expla-
nations include the following:
• A famous debunker of “psychic phenomena” who is
secretly a powerful psychic investigating fraud and • Super-technology is too far beyond the understand-
misuse of psionic powers. ing of most people. It takes years to figure out how
to replicate it. It may also require rare components or
• A powerful psionic mind trapped in a crippled or
processes, so in the end it’s just not economically vi-
otherwise weakened body, possibly paraplegic,
able. Extremely wealthy governments, corporations,
blind, even totally paralyzed or comatose.
and individuals might have super-technology, but it
• A teenager whose newly awakened psionic isn’t mass-produced.
powers (usually physical powers like telekinesis or
• Governments and corporations deliberately sup-
pyrokinesis) sometimes get out of control.
press some technology, either because it’s poten-
• The representative of a hidden society of enlightened tially hazardous or it could be economically ruinous.
humans with psionic powers, hoping to teach Oil companies, for example, might pay a great deal to
ordinary humanity the qualities of peace, reason, keep a cheap, clean alternative energy source off the
and mental empowerment. market. The same is true of computer manufacturers
and cutting edge new chips, and so forth.
• A psionic with mental powers disguised as physical
abilities: telekinesis for “super-strength” and an • Super-technology depends on some in-
invisible force field, levitation for flight, remote
sensing for “x-ray vision,” and so forth.
SUPER-SCIENCE
The line between science fiction and comic
books has been blurry since the very beginning.
Many early science fiction writers also wrote
comic books, and superhero comics have always
included science fiction elements, although
they became especially prevalent in the Silver
Age of comics. Many comic book heroes (and
especially villains) feature science and technology
far beyond the understanding of ordinary people.
THEY CALLED ME MAD!

A common element of super-science in the comics is the
“mad scientist” or “lone inventor.” Essentially, some genius
discovers or invents something so far beyond conven-
tional science the scientific community is either unable
or unwilling to acknowledge it. The inventor’s theories
are dismissed, applications for grants denied, and even
experimental results are rejected as falsified or otherwise
“impossible.” This usually results in one of two outcomes:
either the scientist swears vengeance and turns to a life of
crime, or else he is forced to continue his work in isolation,
without the usual safeguards and oversight, resulting in
some sort of accident. In the first case, the inventor be-
comes a super-villain, in the second, the experiment ends
in the origin of a new super-being of some kind.
But why does the scientific community reject the fruits of

super-science? The reason in the comic books is simple:
to keep the world portrayed in the stories as close
to our own world as possible. If the inventions of
super-scientists were commonly available, the
comic book world wouldn’t resemble ours for
very long. So writers either come up with rea-
sons why such advanced technology doesn’t
proliferate, or they simply gloss it over and as-
sume it doesn’t. You can do the same in your

nate or subconscious power of its inventor. It’s not

like normal technology, it’s more an extension of the
SERUMS AND SUPER-PILLS
inventor’s own powers. So it cannot be replicated Exotic chemicals and pharmaceuticals sometimes grant
and may not even work at all outside of its creator’s super-powers, usually temporary, although they may be
possession. This explains both the uniqueness of permanent (which becomes more of a case of induced
super-technology “inventions” and why the scientific mutation, above). Characters dependent on a drug or se-
community rejects them: they really are impossible rum for their powers may have a power loss complication
ideas that shouldn’t work, except somehow they do! (when they are deprived on the power’s catalyst) and may
have other modifiers applied to their powers.
• Some outside force is retarding technological prog-
ress, save for a few especially brilliant minds able
to overcome its resistance. It might be the work of BATTLESUITS AND IRON MEN
aliens, interdimensional beings, gods, time travel-
ers, or any number of other things. The scientific One of the more common super-science devices is the
community truly is blind to the genius of its most battlesuit, also known as power-armor. It’s a suit of
exceptional members, but through no fault of their high-tech armor equipped with technology providing a
own. range of powers, including (but not limited to) enhanced
strength, flight, offensive weaponry, enhanced senses,
INTENTIONAL MUTATION and a range of Protection and Immunity effects (particu-
larly Life Support). The wearer of a battlesuit may be its
inventor or simply chosen to pilot it (particularly if the
Experimental procedures can grant super-powers to ordi-
suit originates with the military, a government agency,
nary test subjects. Usually, there’s some reason why the or a corporation). A battlesuit might even have multiple
procedure or treatment cannot be easily replicated. It wearers. If the suit is sufficiently bulky and concealing,
may be a one-time success, or the secret may die with the most people wouldn’t know. Some battlesuit wearers
scientist (killed following the initial success). The process have teams of supporting NPCs providing assistance via
may be dangerous, resulting in death or hideous muta- remote communication.
tions most of the time. It might be extremely expensive,
requiring staggering amounts of time, money, or both. A variation on the battlesuit is the mecha, essentially a hu-
There may be side effects, such as experimental subjects manoid tank, inspired by the giant robots of Japanese an-
going mad, continuing to mutate, or simply “burning out” ime. Mecha have abilities similar to battlesuits, although
and dying after a while. the GM may permit a mecha to be treated as a vehicle, so
long as it’s subject to the same rules as vehicles. A mecha
The less powerful the outcome of the process, the more functioning as smoothly as a giant-sized character should
likely it can be replicated. Villains in the comics often be acquired as a set of Removable powers (when the hero
have the capability to create low-powered “super-sol- is denied access to the mecha).
diers” or minions, and the government might have a
similar process. Such characters are usually below the
setting’s normal power level, suffer from serious side ef-
MAN AND MACHINE
fects, or both.
Technology may actually be integrated or implanted into
Many intentional mutations are inventors who used living creatures, creating cyborgs, part flesh and part ma-
themselves as experimental subjects, having no others chine. Cyborg powers are like those of any other character,
available. This is particularly common for villains, either they simply have a technological descriptor rather than
seeking great power or the victims of such experiments mutation, alien, or the like. A cyborg may have complica-
gone horribly awry. tions based on the need for regular maintenance or even
the Removable modifier, if there are ways to damage or
Other intentional mutations are experimental subjects. disable the cyborg’s machine parts.
Some may be volunteers, others victims experimented on
against their will or without their knowledge or consent.
Such characters are often bitter and vengeful toward the
CHARACTER CONCEPTS
people responsible for their mutation. • A brilliant inventor develops a high-tech suit for
peaceful exploration (of space or the ocean, for ex-
GADGETS AND GEAR ample). When the military attempts to turn it into a
weapon, the inventor steals the plans and the proto-
Otherwise “ordinary” characters may derive their powers type and uses it to fight crime.
from technological gadgets and equipment. A charac-
• An injured soldier receives bionic implants and replace-
ter with a ray gun, an anti-gravity belt, and a force field
ment organs, creating a “super-soldier” either working
projector can have the same capabilities as another with
for the military or serving as a government agent.
innate powers of flight, invulnerability, and energy projec-
tion, for example. The prime difference is characters can • A young genius has a talent for building useful gad-
be separated from their gadgets, which may also malfunc- gets out of any collection of spare parts, using them
tion or otherwise not work properly. to become a superhero.

CHAPTER 1: SETTINGS
• A scientist invents a life-like, intelligent android, • Student and disciple of a renowned martial arts mas-
gifted with abilities beyond those of humans. When ter whose previous student used his training for evil.
criminals kill its creator, the android embarks on a
quest for justice and understanding the nature of • A former Olympic athlete who lost friends and fam-
humanity. ily to terrorism and undertook a rigorous program of
training to fight such criminals and become an inter-
• A secret government agency trains superheroes and national agent of peace.
equips them each with devices giving them superhu-
man powers. • Coming from a long line of police officers, a young-
ster trains to become the world’s greatest detective
and law-enforcer, working to reform a corrupt police
TRAINING department from both the inside and the outside.
While some superhumans are born and others have pow-

ers thrust upon them by circumstance, a few are self-
made. Rigorous training and unshakable dedication can
ONE ORIGIN OR MANY?
go a long way in the comic books, taking otherwise or- One of the first things to consider about superhuman ori-
dinary people beyond the limits of what most consider gins is which one(s) to have in your series. Is there a single
possible. source of super-powers or many? Which origins are more
common if there’s more than one and are any origins pro-
Training generally hones and improves a character’s in- hibited or restricted in some way?
nate potential, granting increased ability scores, skills,
advantages, and sometimes other effects that can be
explained as learned abilities. Sometimes training awak-
ONE ORIGIN
ens other latent powers, like mutant, magical, or psionic There may be only one source of super-powers available
abilities (see earlier in this chapter). Characters may also in your setting, although people may not necessarily
supplement physical and mental training with various know the true source’s nature. For example all superhu-
technological devices (see Super-Science, immediately mans might be genetic mutants, psionics, or magical in
preceding this section). nature.
MORE HUMAN THAN HUMAN A unified origin provides a degree of predictability to the
setting. It is also more plausible, better suited for more re-
alistic settings. On the other hand, a single origin limits
It’s up to the Gamemaster to define the limits of training
or prohibits certain character types. It may create a cer-
as a power source. Generally, the more realistic the setting,
tain sameness among the superhuman characters in the
the more limited training becomes. In four-color comics,
series.
otherwise normal human beings train to superhuman lev-
els of competence. While high ability scores are considered A single origin also limits the descriptors applied to su-
“superhuman” they’re still available through training, if the per-powers. Keep in mind this may affect how some de-
GM sees fit. Other effects are left to GM interpretation. Usu- scriptor-based effects work. For example, having an effect
ally any effect suitable as an advantage (even an advantage work against only one descriptor (such as “psionic pow-
with multiple levels) is suitable as a training effect. ers”) doesn’t qualify as a flaw if every effect in the setting
has that descriptor.
ESOTERIC SECRETS
MULTIPLE ORIGINS
While training can and does develop things like psychic
abilities and esoteric martial arts, these effects usually re- You may allow more than one origin in the series, but set
quire additional descriptors, such as “psychic” or “chi,” to specific limits in terms of suitable powers, effects, and
properly define them. As always, the GM decides which modifiers for any given origin. For example, in a series
descriptors are appropriate for a particular effect. about super-powered mutants in the near future, you
decide to allow the mutation and super-science origins,
CHARACTER CONCEPTS along with the alien origin (although the existence of
aliens is not widely known). You might also limit super-
• A foundling left at the doorstep of an isolated mon- science powers, disallowing effects like Dimension Travel
astery in Asia, raised by the monks there and trained and Mind Reading, for example, although they are avail-
in every aspect of physical and mental discipline, able to the other power sources.
perfect in mind and body as well as being taught a
Multiple origins allow for some variety in the series, but
rigorous moral code and a duty to justice.
also require more work on the Gamemaster’s part to define
• The child of a Westerner and one of the last scions and limit the options available for each power source. You
of a fabled Japanese ninja clan. Trained in the secret may want to do this on a character-by-character basis or
arts of invisibility, stealth, and assassination, but just establish guidelines for the entire series.
choosing to use them to bring down the clan and all
it represents.

antagonists are the only ones in the world with strange

ANY ORIGIN abilities. This may mean everyone gained their powers in
the same way, even at the same time. It may also mean all
Finally, a series may allow any origin for super-powers. powers come from the same source, although neither has
This is the case with most comic book superhero settings: to be the case.
anything goes. This approach gives the players the widest
range of options, but also tends to make for the most For example, perhaps everyone in the world with powers
complex sort of setting. Nearly anything is possible in a was present when one of the gods fell to earth and died,
world where aliens, gods, magic, mutants, super-science, with each of them gaining a portion of the god’s essence
and psionic powers co-exist! (and power). When one power-wielder slays another, he
gets that portion of divine essence, thereby increasing
his power, and setting the scions of divine power at each
PREVALENCE OF POWERS others’ throats. As another example, perhaps the small
number of super-powered characters in the setting are all
Although M&M series usually feature powers of one sort from alternate worlds, brought together in a single place
or another, the prevalence of powers among the general and time on a world where no one else has powers (per-
populace can vary greatly from setting to setting. In haps even our world!). The heroes may come from diverse
some, only the main heroes and a few antagonists have backgrounds with virtually any origin or power, and the
any powers at all, while in others nearly everyone has same is true of the antagonists.
powers!
Unique powers may not remain so, depending on their
Not all powers or origins need be equally prevalent, either. origin. In some settings, unique powers are just a stage
Indeed, in many settings some powers are more common the world passes through on its way toward powers be-
than others. A world could have common superhuman coming more widespread.
physical powers but rare mental powers, with divine and
magical powers being unique or unknown. RARE POWERS
UNIQUE POWERS Powers in this setting are rare; everyone may have heard
of someone with powers, but hasn’t necessarily met one.
In a unique powers setting, only a small handful of char- This tends to be the default for most M&M settings; there
acters have powers. This may not include the heroes! Usu- are a substantial number of super-powered individuals,
ally, though, it means the heroes and a small group of but few enough that they’re not everywhere.

CHAPTER 1: SETTINGS
COMMON POWERS ORDINARY CITIZENS
Common powers show up often enough that nearly ev- People with powers are no different from anyone else, at
eryone knows someone with powers. The empowered least in terms of society and its laws. There are three reasons
population is a sizeable minority, perhaps even the major- for this: first, society is simply unaware anyone has powers,
ity. This may affect how powers are perceived (see Powers so there are no laws or social mores concerning them. How
and Society in the following section). society reacts if and when powers become known is up to
the GM. Second, society has deliberately chosen to treat
Common powers may be homogeneous, coming from a power-users equally and fairly (or at least relatively so);
single source or origin. Everyone may even have the same third is everyone has powers, so they’re not “unusual!”
power! For example, a world might have common mental
powers, or even just Telepathy as a common power. On This does not mean there are no laws concerning the use
the other hand, a setting with common powers might of powers, only that they’re no more restrictive than the
have diverse smaller populations from multiple power laws concerning everyone else. For example, a crime com-
sources and origins: there are people with divine powers, mitted using powers is still a crime. It also means the em-
psionic powers, magical powers, and other powers they powered have no special privileges; they’re not immune
acquired in various ways. to prosecution for misusing their powers.
UNIVERSAL POWERS SPECIAL TALENTS

In some unusual settings, everyone has powers! This can Society acknowledges the “special talents” of supers in
range from everyone having the same power to everyone some fashion. Of course, this acknowledgement isn’t al-
having their own unique power, from one origin or power ways positive, since it may entail legal or social restrictions
source to multiple ones. on powers and their use. Powers may also affect society as
supers find different ways to use their talents. Powers may
For example, in a far future setting, humanity may become completely transform some professions and social institu-
a psionic species, with mental powers universal (although tions, including the following:
some individuals have different degrees of power and
talent, the same as with any innate ability). A fantasy set- COMMUNICATION
ting may feature inborn magical knacks, with individual
talents determined by the position of the stars, the time Although technological forms of communication are
of the year, phase of the moon, or some other mystic tide common in the modern world, they don’t exist in earlier
in the universe. societies. This power may greatly speed up communica-
tion, especially in settings where the speed of messages is
Note that “universal” is also relative. For example, if the that of the fastest horse or ship. Instantaneous communi-
series takes place in a hidden city where everyone has cation can hold together a large civilization, but can also
super-powers, and adventures take place there primarily, dog the heroes wherever they may go.
then it seems to be a universal powers setting, even if the
no one in the rest of the world has any powers. EDUCATION
POWERS AND SOCIETY Some mental powers may be effective in providing edu-
cation and monitoring the progress of students.
How does society at large react to super-powers and
those who wield them? Do people with powers hold a
ENTERTAINMENT
special place in society, or are they treated just like every-
A wide range of powers have entertainment value, rang-
one else? If the latter, then why? (They’re definitely not
ing from putting on shows to using powers to provide
“just like everyone else!”)
special effects. Some powers even create entirely new
Society can react in a number of different ways to powers, forms of entertainment, or addictions, for that matter.
and these are not all mutually exclusive. Some segments
of society and particular individuals react differently, and EXPLORATION
there may be different attitudes toward different powers.
A culture regarding divine power as a sign of great favor Super-explorers can reach places others cannot, at least
may at the same time see magical powers as a mark of not easily. Movement effects like Flight or Teleport ex-
evil. Some powers may be lauded as “natural” while others pand the bounds of exploration. Effects like Dimension
are seen as “unnatural” or “perverse.” The classic example and Time Travel expand it even further. Sensory effects
is mutant powers, often looked upon with suspicion com- allow explorers to perceive entirely new things about the
pared to other sorts of super-powers. places and things they explore.
Society may view super-humans as ordinary citizens, spe- LAW ENFORCEMENT

cial talents, or outcasts. Some super-humans may even
set themselves up as rulers of society! Certainly, that’s the Various combat-related powers are useful to police offi-
wish of many super-villains. cers, giving them innate weapons and protection. Even

more likely to transform law enforcement are mental

powers. Imagine “thought police” able to read a suspect’s
SCIENCE
mind to know whether or not he’s guilty, or empowered Scientific study and understanding of some powers may
to arrest people just thinking about committing a crime! lead to major breakthroughs in science. For example,
Abilities like Detect and Postcognition are useful for gath- learning the mechanism of a teleportation power may
ering evidence and, with the aid of someone with Precog- lead to artificial teleporters, and the mechanism of te-
nition, police may even stop crimes before they happen. lepathy can provide the key to faster-than-light commu-
Of course, this raises questions like: if you intend to com- nication (or even travel). Of course, some powers may be
mit a crime, and a telepath or precognitive senses you will, beyond the understanding of science, especially those
are you just as guilty as if you had actually done it? powers without a scientific basis (such as magic). Many
powers can also be helpful to scientists, allowing them
MEDICINE to study phenomena directly without instruments or
perform certain experiments without the need for ex-
While the Healing effect is likely to have the greatest impact
pensive equipment.
on the practice of medicine, other powers may also be use-
ful to empowered physicians. For example, Penetrating Vi- TRANSPORTATION
sion or Remote Sensing can replace X-ray machines, Precise
Move Object can perform surgery without cutting open Teleporters with enough carrying capacity could revo-
the body, and the ability to place a subject into a deep sleep lutionize travel, at least for some. Even if abilities like
or coma can replace the use of anesthetics. There’s also the Teleport aren’t widespread enough for general use, they
issue of how traditional medicine reacts to the existence of remain an option for those with access to them in emer-
super-powered healers. Are they practicing medicine with- gencies. Super-fast couriers can carry messages from
out a license? How do you license them? place to place, or even transport items instantly.
POLITICS
OUTCASTS
The political implications of powers are vast, but some can
affect the political process directly. In addition to simply In some settings those with powers are outcasts: feared,
using super-powers to grab political power (see Over- hated, or disdained by society. This becomes more likely
lords in the following section), abilities like superhuman if powers originate from something outside of society’s
Presence or outright Mind Control can have a significant control, making normal people jealous of abilities they
impact. Conversely, powers like Mind Reading and Detect can’t have and fearful of what they can’t understand or
(truth) change the character of political hearings, allowing control.
society to know if their politicians are being honest!
Prejudice against supers may take many different forms.
At the most basic level, society may institute draconian
PSYCHOLOGY laws to keep powers under control and prevent supers
from having an “unfair advantage.” At greater levels, peo-
Mental powers can be a tremendous boon to psychology,
ple might consider certain powers (and their wielders) in-
allowing neuroses and even psychoses to simply be wiped
nately evil or dangerous. Governments may ban the use
away. Of course, there may be long-term side-effects to
of super-powers and closely monitor and known supers
such a “brute force” approach to mental health. There’s also
for infractions. The empowered may lose their civil rights,
the danger of unrestricted “editing” of minds. It’s one thing
forced to wear identifying marks (clothing, tattoos, brace-
for someone to volunteer to have his antisocial tendencies
lets, even tracking implants) to warn “normal” people
corrected, but what about convicted criminals? For that
about them. In the extreme, supers are hunted down and
matter, what happens when society begins “correcting”
imprisoned, enslaved, or killed.
other behavior, such as rebelliousness, unacceptable reli-
gious beliefs, or “sexual deviancy” (which may all have far- Strict regulation and even oppression of powers is often
ranging meanings, depending on who defines them). justified by the greater good of society. Some supers may
even buy into this, working to police their own kind, or be-
RELIGION coming “hounds” to track down and imprison or kill other
supers. Collaborators looking to advance their own lot, or
The existence of divine super-powers may or may not
trying to keep revolutionaries from rocking the boat, use
prove the existence of a God or gods (or various other
their powers to support the existing structure.
supernatural entities like spirits and demons). At the very
least, many powers and power sources have religious im- Societal prejudice may inspire human rights organiza-
plications. Clerics can benefit from the use of powers in tions and political groups supporting supers. Some sort of
their roles as healers, intermediaries, spiritual leaders, and resistance among those with super-powers is also likely.
counselors. Some may claim their powers give them spe- They may try to work within the system to educate and
cial insight into people’s souls, and they may be right! Just overcome fears toward them, or work in secret to escape
as many might claim a super-powered religious figure is from an oppressive society or to overthrow it! In the latter
false and misleading. Powers could lead to a new era of case, supers may one day find themselves in charge of the
religious understanding and tolerance or one of schism world that once oppressed them, whether they want to
and holy war. be or not.

CHAPTER 1: SETTINGS
OVERLORDS existence of powers, and the empowered world, hidden
behind the scenes. The mundane world may be similar to
our own (from any time in history) or it may not. Layers
Supers can use their abilities to set themselves up in
of secrecy are possible; imagine a setting with physical
charge of society, whether ordinary people like it or not
super-powers but secret mental powers. Psychics have
(or whether the supers like it or not, for that matter). Su-
concealed their existence and true nature out of fear oth-
perhuman overlords might be ruthless dictators or en-
ers would hunt them down as threats.
lightened guardians of humanity, doing what they feel is
best for everyone. The second type of overlord must al- Subtle powers are best suited to a secret series, since
ways be on guard against turning into the first kind, abus- keeping powers secret is an important part of the setting.
ing power and privilege, even if it seems justified at first. Therefore mental powers and others with little or no no-
ticeable effect are best. Characters have to be careful how
If the overlords all draw their power from the same source,
and when they use their powers to keep them a secret.
then control of that power source ensures rulership and
Generally, the consequences of discovery should be grave
may be a key weakness for rebels to target. Overlords with
enough to encourage them to do so.
different power sources may come into conflict because
of them. Perhaps there is a hierarchy or caste system of
overlords based on different powers or origins. PRIVATE
Consider what powers overlords have at their disposal
In some settings, powers aren’t generally known, except
and how powerful they are individually. A small handful
to a particular subculture, usually made up of the
of overlords can rule the world if they’re powerful enough
empowered themselves. This subculture is large enough
to sweep away conventional military forces on their own,
to constitute a kind of “world” of its own, where powers are
or if they have sufficient mental powers to pull the strings
used relatively freely. Supers only need to be careful when
behind the scenes. “Power” does not always mean fight-
they are forced to interact with “normals.” This approach
ing ability, however. Less powerful overlords must be on
allows for a bit more freedom than a secret setting, where
their guard against mundane threats. Some overlords
characters are constantly looking over their shoulders to
may even be physically weaker than normal humans, such
avoid discovery.
as psionicists with atrophied bodies but powerful minds.
As an example of a private setting, imagine a “society of
Settings with empowered overlords may have renegades
night” made up of various monsters and supernatural
of one sort or another. Perhaps a member of the ruling
beings (including humans with supernatural powers). At
class has grown dissatisfied with the status quo, or a com-
night, among their own kind, they are free to use their
moner has somehow tapped into the power reserved
powers as they wish, limited only by the laws of their
solely for the elite. Imagine a theocracy ruled by those
culture. During the day, or among normal humans, they
empowered by the gods faced with a strange new proph-
have to hide their true nature and rely on subtlety to get
et who claims to have the gods’ favor, and the powers to
the job done.
prove it. Rebels among despotic overlords may try to cre-
ate a rebellion to overthrow them while renegades from A world may even have multiple empowered subcultures:
benevolent overlords may be corrupted by power, and a secret magical society, for example, as well as a hidden
even taint the whole of society with their schemes. society of psis, another of genetic mutants, and so forth.
These groups may be entirely open with each other or
SECRECY only barely aware of the others. Perhaps the different

factions are all locked in a shadowy war behind the scenes
How well known are powers in the setting? In some set- with the mundane world none the wiser.
tings, powers are a well-kept secret (although they may
not stay that way). Powers in other settings are public
knowledge (for good or ill). Knowledge of powers affects
OPEN
the style and tone of the series, since it determines how On many worlds with powers, their existence is public
openly supers use their own abilities. knowledge. People have different opinions and ideas
about powers, but pretty much everyone knows about
SECRET them. This is usually the case in M&M settings.
The existence of powers may be kept secret for a number Of course, just because the general public knows of
of reasons. Supers may fear society’s reaction to their exis- powers doesn’t mean they know everything about them.
tence (and rightly so). Keeping powers secret provides the They may not know how they work, for example (in fact,
element of surprise. Powers may be inherently dangerous it’s possible nobody knows). Public beliefs about powers
or corrupting, things best kept out of the wrong hands. A may even be entirely wrong. For example, a conspiracy
higher power or powers may forbid revealing their exis- may have convinced the general populace supers are the
tence to anyone; secrecy may even be a requirement to chosen of divine forces, when in fact their powers come
keep powers functioning! from an entirely different source. In some cases even
supers might not know that public beliefs about their
Whatever the case, a secret powers series has two “worlds”: powers are incorrect. Superstition, folk-beliefs, and urban
the mundane world where everyone is ignorant of the legends may color the perception of powers.

COSMOLOGY
Once you have tackled Earth, there’s the rest of the universe to consider! Superhero comics rarely confine themselves to
one world, and there’s no reason you have to, either. Give some thought to the cosmology of your setting, of the infinite
possibilities of worlds beyond Earth, and the adventures waiting there.
SPACE AND ALIENS ally every type of alien monster has shown up at some
point. Alien monsters are like homegrown menaces, ex-
cept sometimes they turn out to be something other than
Is there alien life in your setting? If not, then you’re over-
what they appear. The classic example is the alien “mon-
looking a lot of potential stories and origins. Aliens of all
ster” that’s actually a child or infant of its species; it doesn’t
kinds are common in the comics, and alien worlds make
intend harm, but it doesn’t know any better! Similar ex-
great settings for adventures, either for a change of pace or
amples include abandoned alien war-machines, genetic
an entire series. Some of the typical aliens include the fol-
experiments from long-dead worlds, and alien parents
lowing (see the Alien origin earlier in this chapter for more).
come looking for those rambunctious youngsters.
HUMANOIDS COSMIC BEINGS

Aliens in the comics are often humanoid, if not completely
The remaining aliens in the comic books are “cosmic”
human looking. The common differences are things like
beings, so powerful and advanced even the most powerful
skin color, pointed or otherwise odd-shaped ears, unusual
of Earth’s superhumans pale by comparison. These entities
hair color (or complete baldness), and so forth. This al-
may embody primal forces of the cosmos, or represent
lows many “strange visitors” to pass for human on Earth
races of aliens so ancient they arose in the first epoch of
without being immediately picked out as extraterrestrials.
the universe (or even before!). They may exist to maintain
Among mutants, androids, and other strange earthly su-
certain cosmic principles, or simply for mysterious purposes
perhumans, aliens don’t necessarily stand out!
known only to them. Cosmic beings may have defined traits
Humanoid alien races—at least the ones capable of vis- in some high-powered Mutants & Masterminds games, but
iting Earth—tend to be more advanced than humanity, usually they function best as plot devices.
often much more. Even if aliens don’t have powers of their
own, their technology can more than make up for it.
PARALLEL EARTHS
INVADERS A common element of comic book universes—or, more
properly, “multiverses”—is the existence of parallel
Aliens rarely “come in peace.” Alien invaders are by far dimensions. The Earth the heroes inhabit is but one of an
more common. (The peaceful aliens tend to bypass Earth infinity of Earths, each in a different parallel dimension,
altogether.) Invading aliens tend to be far less powerful each with its own heroes and villains, and often unique
than individual superheroes, but there are usually a lot of twists on history and cosmology. Dimensional travel
them, along with their aforementioned advanced tech- (intentional or accidental) allows heroes to visit these
nology. Sometimes the invaders are a smaller group of other Earths, which may be designated by numbers
more powerful aliens, or even one or two really powerful (Earth-1, Earth-221, etc.), letters (Earth-A, Earth-B, etc.),
aliens (see Monsters, in the following section). or some other naming scheme (alpha, beta, gamma, etc.,
Typically, the invaders have some sort of advantage at the for example). Likewise, people from parallel worlds may
beginning, whether a special power, advanced technol- visit the heroes’ Earth for various reasons. A few particular
ogy, overwhelming numbers, or some combination of the types of parallel Earths are common:
three. Powers include things like shapeshifting aliens able • Disaster-World: The world was all but destroyed by
to blend into the human population, a “silent invasion” of disaster, perhaps one the heroes prevented on their
seizing control of governments from within, or things like world, or perhaps one that has yet to happen back home!
mind control, or perhaps the power to possess Earth’s su-
perhuman defenders! Fortunately, the invaders usually • Evil-World: On this world good is evil and vice versa, so
have a weakness as well. It may be sunlight, fire, rare miner- there are evil versions of the heroes, but also likely good
als, spam e-mails, or even common bacteria, but once the versions of some or all of their enemies, and so forth.
heroes figure it out, they’ve got a weapon to turn the tide.
• Golden-World: Superhumans have been around
on this Earth longer, or it is otherwise more like the
MONSTERS “Golden Age” of comics than the heroes’ Earth.
Alien worlds are sources of various monsters in the com- • Nazi-World: The Axis won World War II and now
ics, from the giant, rampaging types capable of flattening rules the world. Parallel versions of the heroes may
cities to cunning hunters lurking in the shadows. Virtu- be freedom fighters or Nazi super-soldiers!

CHAPTER 1: SETTINGS
• Normal-World: This is a parallel world where there are by the various figments of the imagination, which are ef-
no super-powers! Essentially, Normal-Earth is like our fectively “real” there. The dream dimension is well suited
world: no costumed heroes or villains, no aliens, no for fantastic adventures in various dreamscapes, where
super-science or other comic book elements to it at all. nearly anything can happen.
OTHER DIMENSIONS MAGICAL DIMENSIONS

Any number of other dimensions may exist in a Mutants Many dimensions in the comics are magical, realms where
& Masterminds setting. The following are just a sample of the laws of magic, rather than the laws of nature, hold sway.
the possibilities. Existing dimensions should be reachable They may feature islands of matter floating in an endless
via Dimension Travel (see Movement, M&M Hero’s Hand- void, great cosmic trees or ladders, and fantasy worlds in-
book, page 120). habited by human as well as non-human races. Magical di-
mensions are often ruled by their most powerful wizard or
ASTRAL PLANE sorcerer (with high ranks in the Magic power, see the M&M
Hero’s Handbook, page 116). These mighty spellcasters may
The astral plane is usually a psychedelic dimension of ab- have designs on other dimensions, including Earth’s.
stract forms, located adjacent to the physical world. It’s
where psychics and magicians in astral form duke it out
in mental struggles, and may be the source of certain psy-
MYTHIC DIMENSIONS
chic or spiritual phenomena. The astral plane is accessible Mythic dimensions include all the various realms of my-
to those with the Astral Projection power (see the Mystic thology and religion: Heaven and Hell, the homes of the
archetype, M&M Hero’s Handbook, page 42) in addition gods like Asgard and Mount Olympus, and the various af-
to Dimension Travel, and visitors often go there solely in terlives of the dead like Tartarus, Gehanna, and Hel. Any
spiritual form, leaving their physical bodies behind. or all of these may be real places in the vastness of the
multiverse. Mythic dimensions are sources of heroes and
DREAM DIMENSION villains drawn from human mythology: gods, demigods,
angels, demons, and so forth (see Gods in this chapter).
Potentially connected to the astral plane, the dream di-
mension is the realm of the unconscious or sleeping
mind. It is the source of dreams, or perhaps created by
POWER DIMENSIONS
them. In some settings the dream dimension has a ruler Some comic book dimensions exist simply as manifesta-
or overseer. In others it has none. It is usually inhabited tions or sources of a particular power. For example, there

may be a “dark dimension” filled with nothing but an infinity from point A to point B, while other dimensions serve as
of inky black force, which certain superhumans tap into to “pockets” for storing weapons and other devices. Power
produce darkness-based effects. Another dimension could dimensions are rarely places to visit, although they can
contain nothing but proto-matter which powers like Cre- provide story hooks and ideas, and a visit to one can be a
ate or Growth draw upon for their effects. Teleporters might change-of-pace adventure, especially if the power dimen-
actually move through a “pocket” dimension on their way sion isn’t entirely what the heroes expected.
HISTORY
The history of your setting provides a context for the present-day. Is there a long history of costumed heroes and
villains, with the player characters as the next generation, or are they the first superhumans the world has ever seen?
How has the presence of super-powers changed things, if it has changed them at all?
EMERGENCE OF of the ancient world (immortal or cast into the future in

suspended animation) to modern inheritors of ancient
SUPERHUMANS mantles of power.
The first, and most likely, thing to affect history in the set-
ting is the presence of superhumans. Have they always
RECENT HISTORY
been around, or are they a fairly recent innovation? If peo- Established comic book settings usually place the major
ple with super-powers have existed for a while, then how emergence of superhumans around the same time as
long, and what effect has their presence had on history? the appearance of superhero comics as a genre: in the
late 1930s and early 1940s, the “Golden Age” of comics
PREHISTORY (see Golden Age earlier in this chapter). This is when
superhumans go from mythic heroes and mysterious
In most comic book universes, super-powers of one sort forces to costumed champions of truth and justice with
or another have been around from the very beginning, super-criminals as their foes.
even before recorded human history. Of course, most of
these super-beings are known in the modern world only Some settings start back as early as the Victorian era and
as legends or myths, and their existence throughout his- the Wild West in America (the late 1800s) or the “pulp”
tory hasn’t changed things much from the world we know. era of early “mystery men” and masked adventurers (in
the 1920s and ‘30s). The first true modern “superheroes,”
A common prehistoric source for superhumans is a mythic however, don’t show up until the Golden Age.
civilization like Atlantis, Lemuria, or Mu (or all of them and
then some, in many worlds). These fantastic places may Did your setting progress through Golden, Silver, and
possess super-science, magical power, or any number of Iron Ages to the modern day? Maybe superhumans
other origins. Remnants of their civilizations often still ex- didn’t appear until the Silver or Iron Age and there were
ist in the modern world, usually as sunken cities or under- no earlier ages. On the other hand, maybe the Golden
ground domains (see Fantastic Frontiers, see page 16). or Silver Age never ended and are still going on in the
You can run a prehistoric Mutants & Masterminds series set modern day. It’s easy to imagine a modern setting with
in an earlier age of the world, or just make it a place for a Golden Age aesthetic, looking something like visions of
modern heroes to visit via time or dimensional travel. the future from the 1939 World’s Fair, for example.
ANCIENT HISTORY EMERGING POWERS

Superhumans in the ancient world tend to be rare, except The easiest sort of setting is an “emerging powers” world,
as myths or legends. Either they were mistakenly identified where super-powers are something fairly recent and new.
as gods or wizards, or they actually were gods and wizards The heroes and their contemporaries are either the very
(see Gods and Magic & Mysticism, both earlier in this first super-beings in the world, or among the first. This
chapter). So it’s possible the mythic gods and heroes of means the setting can be exactly the same as the real
the ancient world were really powerful superhumans and world up until the point where superhumans first appear.
the legends of their deeds were retellings of actual events.
The primary advantage of an emerging powers series is
Imagine a mythic Mutants & Masterminds game based
familiarity; you don’t need to describe the real world to
around the voyage of the Argonauts, for example, or the
your players and you don’t have to make up any alternate
Knights of the Round Table, each possessed of a particular
mystical power. history or back-story. Such a setting also offers lots of
opportunities for the player characters to be the first at
As with prehistoric superhumans, ancient history is things: the first public superhumans, the first super-team,
often a source of modern origins: from actual survivors the first to visit Mars or another dimension, and so forth.

CHAPTER 1: SETTINGS
They’re the stars of the story, perhaps even the only
superheroes in the world at all! WHAT ARE THEY CALLED?
The main drawback to an emerging powers setting is In Mutants & Masterminds the generic terms “superhu-
man” and “super” are used to refer to people with pow-
the lack of context. If super-powers are new to the world,
ers. However, that isn’t necessarily what everyone in the
then society has to adapt, and quickly. There are no laws setting calls them. Some worlds have their own unique
dealing with superhumans or their powers, no prisons names for superhumans, creating a distinct feel and
for holding super-criminals, no established relationships style to the setting. Possibilities include the following:
between super-teams and law enforcement (in fact, no
aberrants, aces, alphas, angels, avatars, awakened,
established super-teams at all!). In being first, the heroes capes, chosen, deltas, deviants, elites, exarchs, extraor-
have their work cut out for them when it comes to blazing dinaries, freaks, gammas, geeks, gene-freaks, gifted,
new trails. godlings, Homo Superior, hyper-humans, incredibles,
inhumans, inspired, marvels, masks, metas, metahu-
ALTERNATE HISTORY mans, mutates, mutants, nephilim, novas, omegas, par-

agons, paranormals, post-humans, powers, psis, psions,
psychics, psykes, scions, seraphim, specials, stalwarts,
Established comic book universes assume history in their
super-humans, superiors, superlatives, supernaturals,
world is essentially as we know it in ours. The same things super-powered beings (SPBs), talents, übermenschen,
happened at the same times and events unfolded in ultras, unnaturals, unusuals.
basically the same way. The history of superhumans is an
“add-on,” often a “secret” history, with little overall effect GMs should feel free to come up with any naming
scheme that suits the setting and style of the series.
on the modern world. So, even though there was a real
Atlantis, and a real Camelot (complete with true wizards
and magical knights), even though superhumans fought
observe but not interfere, or any actions they take are
on both sides of World War II, the modern world is pretty
somehow prevented from altering history (the gun
much the same as the one outside our windows.
used to shoot at a historical figure jams, someone
The reason for this is obviously because the real world is jostles or distracts the shooter at a critical moment,
familiar to readers of the comics, and it’s far easier for comic etc.). This option preserves history but also rules out
book creators to use it as the “default” setting for their the possibility of history-altering villains and the
stories. The same is true of your Mutants & Masterminds need to protect the past from them.
series: it’s easier to assume things are the same as the real
• Mutable Time: History can be changed, although
world except for the existence of superheroes and villains.
it might be easy or difficult to do so. Everyone and
Of course, this doesn’t have to be the case. You can everything existing “after” the change remains
have some fun playing around with the idea of how the unaware anything is different. To them things are
presence of superhumans could have changed history as as they have “always” been. Characters involved in
we know it, creating an alternate world for your setting. the change remember the original timeline, and so
The changes can be small ones or large ones. What if might characters with temporal powers of their own.
superheroes prevented the assassinations of President This allows villains (and even heroes) to attempt
Kennedy and Martin Luther King? What if Atlantis openly to change the past, and means the future is not
sided with the Nazis during World War II? What if scientific necessarily fixed.
geniuses created new technologies years before they were
• Alternate Timelines: Any attempt to change the past
invented in the real world? The possibilities are endless.
creates an alternate timeline instead. The original
Generally, it’s best to choose just one or two points of timeline remains unchanged while the alternate
divergence to start your alternate history, then follow goes off on its own path. This allows for the changing
things from there. The more changes you make, the less of history without it having an impact on the present
familiar the final result will be. (although heroes may still want to prevent a time-
traveling villain from their world from conquering
an alternate Earth in the past). It also means the
TIME TRAVEL future is not fixed, since knowledge of the future may
cause the present to split off into an alternate with a
Time travel (usually via the Time Travel option of the different future.
Movement effect, M&M Hero’s Handbook, page 120) is an
extremely potent ability. It can cause all sorts of problems In general, time travel is best used as a plot-device and a
if unrestricted, so Gamemasters are advised against power in the hands of certain villains, allowing them to try
allowing player characters to have it. It’s up to the GM to to trap heroes in the past or travel into the past to plunder
decide if time travel is even possible in the setting and, if it or change history to suit their whims. An alternate
so, how temporal mechanics work. The main options are history can make for a fun place for the heroes to visit
as follows: for an adventure or two. Time travel also may be suitable
for a team of heroes that travels through time as well as
• Immutable Time: History cannot be changed, so any space thwarting the forces of evil. Perhaps the team is
attempt to do so automatically fails. Either travelers assembled from the greatest heroic figures in history,
into the past become intangible wraiths, able to including the future!

SOCIETY
Consider what impact (if any) the existence of superhumans has had on society in your setting. Four-color superhero
settings tend to have fewer societal changes, while gritty or realistic settings have the most changes, based on the
power and prevalence of superhumans. The more powerful they are and the longer they’ve been around, the more
society has had to adapt to their presence.
TECHNOLOGY In more four-color settings, military super-soldiers are

nearly always top-secret “special ops” or otherwise covert,
Superhumans have the potential to change the kind of and super mercenaries are seen as dubious at best,
technology available in a setting, especially if super-genius practically super-criminals at worst. True heroes, while they
inventors patent and market their ideas. This can also affect support their nation, do not want to be seen as a military
the sort of devices available to characters as equipment. asset, and refuse to be made into one. Some settings may
ban the military use of superhumans, although enforcing
Give some thought as to whether or not you want your that ban is usually up to other superhumans (like an
setting to have more advanced technology and, if so, how international police or peace-keeping force).
prevalent it is. Keep in mind most superhero settings have
super-science, but it stays in the realm of devices rather SUPER-RIGHTS
than equipment, available only to heroes, villains, and
some supporting characters like government agencies, The issue of whether or not superhumans are due the
major corporations, and villain organizations. same rights as everyone else is a potential political football
(see Law in the following section). Some politicians
POLITICS may try using issues surrounding superhumans to their

advantage. For example, in a setting where mutants
are misunderstood and feared, there are certain to be
What are the political issues surrounding superhumans?
politicians capitalizing on that fear to further their agendas
How do nations and governments deal with the presence
(and perhaps some fighting for mutants’ rights as well).
of people with powers? For that matter, how do the new
Different issues may also apply to different origins (see
“super-powers” in the world deal with the old national
Origins earlier in this chapter), with some types accepted
“super-powers”? Some potential political issues include
and others mistrusted or even outright hated or feared.
the following.
POLITICAL INFLUENCE LAW

How has the law changed to deal with the existence of
A popular superhero can exert considerable political influ-
superhumans, costumed vigilantes, and super-criminals?
ence by supporting a particular cause or candidate (much
Just as in the real world, legal issues can be complex,
like any celebrity). In some settings, heroes may be active
and Gamemasters should consider what (if any) legal
in politics, while in others a more “hands off” approach is
adaptations would enhance the setting.
considered best, and politically active heroes are frowned
upon.
VIGILANTISM AND SANCTION
Super-powers can exert more direct political influence.
Mind control is the most common scare, but individu- In the four-color comics, superheroes can generally make
als with superhuman levels of Presence and influence “citizens arrests” of super-criminals without any problems.
skills can be just as effective, if not more, since there’s no Some heroes are particularly endorsed or supported by
evidence of direct mental manipulation. A “super-dema- the local authorities (officially or unofficially) while others
gogue” might sweep a popular election into office, with are simply tolerated. Where the authorities draw the line
the heroes the only ones resistant to his power and aware between “helpful citizen” and “dangerous vigilante” depends
of his true intentions. heavily on the style and tone of the setting. In some, only
vigilantes using lethal force or other illegal methods earn
SUPER-MILITARY official condemnation. In others, anyone putting on a
costume or mask to fight crime (whether they have powers
Superhumans are potent military assets; some have the or not), is breaking the law and is in just as much trouble
power of an entire battalion of soldiers! In some settings, with the authorities as the criminals themselves!
there is a strong motivation to recruit superhumans into
the military, from national armies to international peace- LEGAL RIGHTS
keeping forces and mercenary companies. A gritty world
might make super-powers the “next wave” in modern war- Are superhumans legally “human” and entitled to the same
fare, making conventional forces almost obsolete. rights as everyone else? This may vary, depending on the

CHAPTER 1: SETTINGS
setting and the type of superhuman.
While otherwise normal humans grant-
ed powers by accident of birth or twist of
fate may be seen as legally human, what
about aliens, robots, androids, spirits, the
undead, and the myriad other beings
inhabiting the comics? Some of these
may have no legal existence whatsoever,
while others may even be considered
the “property” of their creator (such as in
the case of a robot or other construct).
The four-color comics tend to gloss over
these issues, except for the occasional
story about the legal rights of an unusual
being, but it may be a major issue in an-
other sort of series.
MASKS AND
SECRET IDENTITIES
Does the law recognize the right of su-
perheroes (or villains, for that matter) to
wear masks and conceal their identities?
The American justice system, for exam-
ple, says a defendant has the right to face
his accuser, and allowing the accuser to
wear a mask might violate that right. If
the law bends the rules to allow masked
heroes to testify in criminal cases, what
about other situations? If a costumed
criminal is arrested, can the police un-
mask him immediately? This might not
seem important to the heroes, until they
get arrested for something!
There’s also the issue of legally proving

your identity when you wear a mask or
costume, especially when it’s a mask or
costume anyone could wear. Can cos-
tumed heroes receive checks or con-
tracts under their “super” name? Can others use or license powers, ranging from legally banning them to using them
their image without their permission? to set up a “thought police” to enforce draconian laws.
MENTAL AND SENSORY POWERS INCARCERATION

Some mental and sensory powers raise legal concerns. Is Once you have a super-criminal in custody, what do you
evidence gathered by reading a person’s mind admissible do? Keeping people with powers imprisoned may be a
in court? What about the power to sense when someone simple or very difficult issue. The main problem is restrain-
is lying? Is it illegal to read someone’s mind without their ing the criminal’s powers to ensure he stays in prison.
permission, or to use abilities like Enhanced Senses or Re-
mote Sensing to spy on somebody without their knowl- In four-color settings, prisons usually have various tech-
edge? If so, how do you prove someone has done these nological options like power dampeners to block most
things? If someone senses via one of these abilities that criminals’ powers. Other settings might not have such
someone else is intending to commit a crime, what (if any- options, in which case, holding super-powered prisoners
thing) can they do? Is criminal intent illegal and at what becomes more problematic. Measures like super-alloy
point can the authorities intervene? cells and shackles may be used alongside drugs, puni-
tive countermeasures (like taser collars or explosive arm-
Again, four-color settings tend to ignore these problems. bands), and guards armed with powerful weapons. In
Responsible superhumans don’t use their powers to in- extreme cases, criminals may be put into drug-induced
vade others’ privacy, and evidence gathered using them is comas, virtual realities, or suspended animation, or sim-
usually inadmissible in court. More realistic settings may ply executed because there’s no effective way to impris-
deal with some of the consequences of these and other on them at all.

POPULAR CULTURE Super-powers may also provide their own entertainment.

In some settings, superhuman actors can do amazing
stunts and special effects. Super-artists can use their
Unless their very existence is hidden, superhumans are
powers to enhance their performances, although this can
virtually certain to become instant celebrities and the fo-
lead to problems like mind-controlling musicians. Some
cus of much popular attention. Consider the effects, if any,
superhumans may not want to use their powers as heroes
of superheroes and villains on popular culture and day-to-
and villains, preferring to make a fortune in entertainment!
day life in your setting.
COMIC BOOKS FASHION

Comic books, the source of the modern superhero, may While comic book heroes and villains usually don’t have
benefit or suffer from the existence of real superheroes. much fashion sense, some settings may feature their
In some settings, comic books might become a dead me- influence in popular fashion trends. Spandex and similar
dium. After all, who wants to read about fictional superhe- skin-tight materials are sure to become popular (perhaps
roes when there are real people with super powers on the whether people can pull them off or not). Capes or
news every night? On the other hand, superhero comics cloaks could be a common fashion accessory, along with
might undergo a boom in popularity, as a fascination with swash-topped boots and various sorts of gloves. If “super-
all things superhuman grips the public. Publishers might fashion” is prevalent enough, it may be hard to tell the
stick with pre-existing characters or embrace a new trend super-powered from the normal population!
in ‘reality comics,” telling fictionalized accounts of real su-
perhero adventures. This is the case in many comic book RELIGION
universes, with the publisher “retelling” the heroes’ stories
(often with some unwelcome “artistic license”). You can Superhumans, especially those with mystic or divine origins, raise
have some fun with heroes visiting a comic book pub- any number of religious issues. Settings may include actual angels
lisher, or doing comic stories within stories. Maybe the fic- and demons, witches and sorcerers, and even true gods walking
tional comic book heroes in your setting are actually real among mortals. Even completely “mundane” superhumans may
on some parallel world where the player characters are find themselves the focus of cults or religious beliefs. Four-color
the “fictional characters”! comics tend to skirt around religious issues, usually claiming all
religions are at least somewhat correct, and making the most
ENTERTAINMENT omnipotent divine powers largely aloof and distant.
More realistic settings might tackle these issues head-

Superhumans are likely to influence other popular forms on, with new religious sects springing up in response to
of entertainment. Television is certain to devote shows to superhumans, super-powered cult leaders, and so forth.
them, especially “reality” shows for fans eager for anything Perhaps a particular religion has it right and there is actual
and everything about their idols. Publishers provide books proof! Of course, it may be more interesting if the “proof” is
and magazines about superheroes (and perhaps villains). debatable, allowing for further conflict between believers
They may be specialty channels or publications devoted and non-believers.
solely to the super-powered set.
ORGANIZATIONS
Various organizations play roles in the setting. The Gamemaster may want to include some or all of the types of
organizations in this section, or at least take them into consideration when creating the setting.
AGENCY Agencies in the comics primarily exist to deal with super-

powered threats, beyond the capabilities of the regular
authorities. They may also have various mundane police
The agency is ostensibly a force for good, or at least law
or law enforcement powers, depending on the agency’s
and order. It’s usually a governmental agency, ranging
charter and mission. Agencies are often prone to getting
from a national government to an international peace-
bogged down in bureaucracy and they’re sometimes vul-
keeping force. In more realistic settings, the agency is of-
nerable to corruption and takeover from within, some of
ten based on such real-world organizations as the Federal
the things that make superheroes more reliable in general.
Bureau of Investigation, Interpol, or the Office of Home-
land Security. Four-color agencies tend to be fantastic su-
per-spy organizations, often with high-tech gadgetry and CONSPIRACY
perhaps even their own cadres of power-armor troops or
super-powered agents. The conspiracy’s goal is control, over organizations, na-
tions, economies, even the world. Conspiracies are by

CHAPTER 1: SETTINGS
ORGANIZATIONS AND ACRONYMS

Comic book organizations, especially agencies and conspiracies, tend toward acronyms for names: that is, names where each
letter of the name stands for a word in a phrase, such as SHADOW: the Secret Hierarchy of Agents for Domination Over the
World, or AEGIS: the American Elite Government Intervention Service. You might want to think of suitable acronyms for organi-
zations in your own setting, since they provide an element of the comic book feel.
their nature secret. They may masquerade as other or-

ganizations or agencies, or exist within them, unnoticed SPACE PATROL
until it is too late. A conspiracy often takes over other or-
ganizations from behind the scenes, pulling the strings Many comic book settings feature one or more interstellar
in accord with its own agenda. In a world of super-pow- (even intergalactic) organizations devoted to maintain-
ers, conspiracies can be frighteningly effective, using ing law and order, essentially a kind of interstellar “police
things like mind control, shapeshifting, and telepathy to force.” This “space patrol” is often empowered by a higher
carry out their plans. Uncovering and then overcoming a authority, either an interstellar government or a highly ad-
conspiracy can be the focus of an entire Mutants & Mas- vanced and powerful alien race or being. Typically, officers
terminds series. of the space patrol possess special devices granting them
the power necessary to enforce the law throughout the
cosmos. The patrol may be made up of representatives of
CULT numerous alien races from across space, or only a few, de-
pending on its origin. Its officers might even be artificial
A cult or secret society is similar to a conspiracy in many beings created by the patrol’s founders, such as androids,
ways, the prime difference being that a conspiracy is fo- or cyborgs created by transplanting the brains or minds of
cused solely on power and control while a cult has its living creatures into powerful artificial bodies.
own philosophical or religious agenda. For example,
a conspiracy might seek to control the world’s govern- A particularly common element of a space patrol in the
ments from behind the scenes, a cult seeks to do the comics is a patrol officer assigned to Earth, who takes on
same in order to impose its religious beliefs or to further the role of a superhero there (and may or may not reveal
some philosophical goal. Cults in the comics are nearly affiliation with the patrol, or even its existence). Another
always mystical in nature, and often high-ranking cult is the rogue patrol officer, exiled from the organization
members possess magical powers of some kind. The for misdeeds, who has become a powerful super-criminal
cult may worship powerful extradimensional entities, and nemesis of the patrol and its officers.
or serve entirely at the will of a powerful guru or dema-
gogue. Cult members are often fanatical in their devo- SYNDICATE
tion to the cause, and cult agents may have a means of
self-destructing, both to ensure they are not captured Where a conspiracy seeks power and a cult tries to fur-
and to try and take as many of their enemies as they can ther an ideology, a syndicate wants one thing: profit. A
with them when they die. syndicate is a criminal organization devoted to generat-
ing wealth, by whatever means it can. Real world syndi-
INSTITUTE cates include organized crime factions like the Mafia, the
Japanese Yakuza, Chinese Triads, drug cartels, the Russian
The institute is devoted to learning and knowledge. This Mafiya, and so forth. Comic book settings often have fic-
is usually scientific knowledge, although it can also be tional equivalents of these various organizations, as well
occult or arcane knowledge in some cases. It may be a as world-spanning criminal syndicates beyond their wild-
branch of a college or university, a research corporation, est dreams, such as a “World Crime League” or a “Megasyn-
an independent think-tank, or a division of a govern- dicate” of international criminals.
ment agency (see Agency earlier in this section). In the
comics, the institute is often devoted to studying unusu- Four-color comic book syndicates tend to be sanitized
al phenomena involving superhumans and their powers. versions of the real thing, often with different names be-
It may focus on a particular origin—such as a Psionics cause the comics code forbade portraying real life orga-
Studies Institute, an Arcane College, or an Extraterrestrial nized crime. So there are stereotypical gangsters in pin-
Intelligence Project—or it may try to cover them all. stripe suits with Tommy guns and slick Japanese mobsters
in dark business attire, wearing sunglasses and command-
An institute is a source for experts to advise the heroes on ing ninja henchmen.
tricky technical questions, to study their powers, and to
provide them with the occasional experimental device. It’s Realistic syndicates get more into the grit and grime of
also a source for new superhumans and potential disas- organized criminal activity, particularly issues like drugs,
ters, both the results of either deliberate experiments or vice, influence peddling, and assassination for hire. Tak-
accidents. In some settings, the institute takes on a more ing down a powerful criminal syndicate can become the
sinister tone, usually as part of an agency or conspiracy focus of an entire series, especially an Iron Age series
devoted to controlling superhumans and performing un- involving grim and gritty costumed vigilantes (see the
ethical experiments to learn more about them. Genre and Style sections of this chapter for more infor-
mation).


CHAPTER 2: ADVERSARIES
The Gamemaster’s role in the “roleplaying” sense of the term is portraying all the other characters in a Mutants & Master-
minds game that are not the players’ characters: the supporting cast, the bit players, and, especially, the villains.
This chapter looks at villains and what makes them tick. We start off with a look at the different categories of villains:
levels of power, types of wrongdoing, and relationships between villain and hero. The chapter moves on to what
motivates villains, their goals, and how they justify their actions to themselves and others. A series of detailed supervillain
archetypes provide examples and ready-made bad guys Gamemasters can use or build upon. Then come supervillain
teams and villainous organizations, followed by a discussion of villain tactics (from combat to traps and escape plans).
The villain section concludes with some advice to Gamemasters on creating villains M&M players will truly enjoy hating
and defeating time and again.
BRING ON THE BAD GUYS!

What makes a good villain? What defines villains people love to hate—enemies with staying power, able to menace
heroes again and again without becoming stale or repetitive? What makes bad guys compelling, intriguing, and worthy
foes for the world’s greatest and most powerful heroes? These are all questions this chapter tackles as we take a look
into the dark heart of supervillainy.
In their own way, supervillains are just as iconic as their heroic counterparts. They have different levels of power and
ability, and individual goals and motifs. Villains also play particular roles in the lives of the heroes they bedevil, from
bothersome nuisances to hated archfoes locked in a struggle to the death. This section looks at the various ways of clas-
sifying villains and how they apply to a Mutants & Masterminds game.
The typical henchman has no powers, maybe a weapon

LEVELS OF VILLAINS or two and a halfway decent attack and damage bonus.
Other villains have “henchmen” who are not men, aren’t
Just like heroes, villains come in different levels. This even human at all in many cases. These minions might
means both overall levels of capability of threat, as well be robots, animated trees, demonic imps, or the walking
as power levels in M&M game terms. The two categories dead. They have a variety of powers, but still mainly rely on
do tend to overlap: naturally, the higher a villain’s threat- numbers and brute force to get the job done. More exotic
level, the higher their power level tends to be. underlings still tend to be low in power level compared
Power level, however, is relative to the overall power level to the series standard. They also make the human street
of the series (and, therefore, the heroes). A power level 8 toughs employed by other villains look like Rhodes
bad guy might be a low-level lieutenant in one game and scholars by comparison: exotic minions tend to be dumb,
a powerful master villain in another. In a high power level if not completely mindless.
series, that PL 8 character could even be a mere hench-
man, beneath the mighty heroes’ notice! LIEUTENANTS
Villainous lieutenants are criminal middlemen. They’re in
HENCHMEN charge of henchmen, often answering to a boss or master
villain. They tend to be around the same power level as
At the bottom of the villain hierarchy of are the vast hordes the series default (and, therefore, the heroes), give or take
of henchmen: criminals, goons, and hired muscle working a level or two. So a power level 8 series tends to feature PL
for a villain primarily as cannon fodder. They might delay 8 lieutenants, with some in the PL 6-7 range, others PL 9,
the heroes, or even get the drop on them with a cleverly perhaps even 10.
planned ambush, but otherwise they aren’t much of a
threat, except for the fact that henchmen tend to come in A lieutenant is essentially the opposite number of a player
large numbers (some sort of bulk discount for the villain, character hero, roughly equal in power, although rarely in
no doubt). depth or breadth. Lieutenants are often combat heavy,
simply because they are expected to take on the heroes
Henchmen are usually built at around half the series power on their boss’ behalf. Some lieutenants are more “man-
level, if not less. So in a PL 10 game, henchmen rarely rise agement” than hands-on types, but they can still defend
above PL 5, and usually fall between PL 2 and 4. You can themselves in a pinch.
see this in the supporting cast archetypes: the goons and
other henchmen types are at around this power level for A villain team (see Villain Teams later in this chapter) is
the default PL 10 series. most often made up of lieutenant-level villains banded to-

gether in an opposing version of the traditional superhe-

ro team, sometimes backed up or brought into existence
by a more powerful master villain.
Lieutenants tend to be individuals, as opposed to hench-

men who are largely faceless masses. Lieutenant villains
have their own motifs, code names, costumes, and so
forth. They may match a particular theme (chess pieces,
playing cards, mythic figures, etc.), especially one of a
powerful leader. Some teams of lieutenants resemble
henchmen: take for example a group of lieutenants wear-
ing power armor designed by their boss, which makes
each of them nearly the equal of a hero. Otherwise, how-
ever, they’re still faceless (and largely nameless) minions.
MASTER VILLAINS
The master villain is what many people think of when they
think “supervillain”: the evil mastermind with the hidden
lair, army of minions, and the fiendish plan for world-dom-
ination. Master villains are the prime-movers of the super-
villain hierarchy. They are the ones who come up with
the plans lieutenants and henchmen execute, the ones
heroes look to track down, confront, and finally—at long
last—bring to justice. Even then, however, no prison
can truly hold them, and they will inevitably
escape—or return from seemingly certain
death—to menace the world anew.
Master villains most often have a higher

power level than the player characters,
from one level to 150% or more of the
series power level. So in a PL 10 game,
a master villain could be anywhere
from PL 11 to PL 15 or more. This
is because master villains are
expected to take on an entire
team of heroes on their own, al-
though they can often call upon
henchmen or lieutenants to run
interference for them.
In high (15+) power level series,

master villains are often omnipotent
(see the following), or nearly so. They
have to be, simply because the he-
roes are so powerful! They may
simply be a very high power lev-
el, above PL 20, but at such levels
it is often easier to simply treat
the villain as a plot device rather
than a character with defined game traits.
Even more than lieutenants, master villains

have clearly defined personalities and goals,
because they are the ones driving the sin-
ister plots the heroes must thwart. When
creating a master villain for your series, defi-
nitely look over the section on Villain Mo-
tivations and carefully consider why the
villain does what he or she does, to better
understand how the bad guy will react to
the heroes’ inevitable interference.

OMNIPOTENT VILLAINS with) or avatars of destructive forces, unable to be any-
thing other than what they are.
At the pinnacle of the villain pyramid are the foes better
classified as natural or cosmic forces than people. These
are the opponents heroes cannot overcome with mere
MANIPULATOR
force and the exercise of their powers; they require clev- The manipulator is rarely seen, at least at first. This type of
erness, courage, and often very specific circumstances to villain works behind the scenes, pulling strings and mak-
defeat. ing things happen. It takes time for the heroes to piece
Technically, omnipotent villains are not always truly all- things together and follow the strings back to the hands
powerful; if they were, there would be no defeating them. of the puppet-master. Some manipulators like for their
Some are simply on such a different scale of power com- victims to know who is tormenting them but ensure they
pared to the heroes as to be effectively omnipotent, such cannot prove anything, while others truly remain in the
as the living star capable of engulfing and consuming shadows until someone manages to track them down. A
entire planets in a solar system, or a time-traveling villain manipulator may be the head of a massive conspiracy, or
able to reshape history to suit his desires. Even the foes wield consider wealth or influence. Some have powers of
with virtually limitless power are rarely ever all knowing, mind control, brainwashing, or illusion to increase their
so the good guys can outwit or trick them into defeat. reach and conceal their identities.
Omnipotent villains are “Power Level X” plot devices.

There is little point in detailing their game stats because
SCHEMER
they are so far beyond those of characters on the heroes’ The schemer is a true master villain: a planner and a plot-
scale. Still, all such antagonists should have some kind ter. Schemers continuously come up with ways to achieve
of weak point or vulnerability, something the heroes can world conquest or another desired goal; they keep trying,
exploit in order to defeat them. It does not necessarily no matter how many times those “lacking in vision” (in
have to be easy for them to figure out or employ, but it other words, the heroes) manage to interfere. Along with
should be there at least close enough to the surface for a manipulators, schemers are the prime movers of villainy.
player to figure out on his own or spend a hero point for Unlike manipulators, schemers tend to take more of a di-
enough inspiration to get a solid clue. rect hand in things. Often their egos are simply too great
for them to operate behind the scenes. They need everyone
TYPES OF VILLAINS to know who they are and what they have accomplished!
Supervillains come in a variety of types—as many as

there are costumed heroes, really. These types are broad SKULKER
categories describe what the villain does, as opposed to
the villain’s specific relationship with the heroes (that’s Like a manipulator, a skulker operates in the shadows,
covered in Villain Roles in the following section) or why out of sight. Skulkers, however, prefer to work solo, rather
the villain does what he does (see Villain Motivations for than pulling others’ strings to make things happen. Skulk-
that discussion). er villains are the slippery thieves and sneaky assassins
who strike suddenly and then vanish just as quickly before
anyone can stop them. Heroes are confronted with figur-
BRUTE ing out where they will strike next, or trying to track them
to their lairs in order to capture them and bring them to
The brute is an extremely straightforward villain who pri- justice. Skulkers generally avoid confrontation unless it is
marily exists to fight. Some brutes are cool professional inevitable or they have an overriding motivation.
soldiers or mercenaries, others are hot-blooded berserk-
ers or savage killing machines, and some are in-between.
All brutes have their own reasons for why they fight but
the key element is that they do, and their most common
VILLAIN ROLES
opponents are heroes. Brute villains tend to be optimized Some villains play a particular role in relationship to a hero
for combat but not very much else; they tend to be lieu- (or heroes) beyond merely “antagonist.” Such villains tend
tenants, although a single powerful brute can challenge to be important characters in the hero’s mythos, and some
an entire group of heroes. of the most enduring ones because of this additional role.
Just as heroes are often defined by their villains, so too
does a relationship to a particular hero help define the na-
DISASTER ture of a villain.
A disaster villain is similar to a brute; however, where These roles give villains depth and character and, by
brutes just want to fight, disaster villains just want to definition, make them important to the heroes. Consider
destroy. They are like personified natural disasters rather assigning at least one (if not more) of these roles to the
than simple sparring partners, and heroes often focus major villains in your series, and keep them in mind when
more on containing them and the tremendous damage you are filling out your roster of bad guys. Have you over-
they cause than fighting them directly. Disaster villains looked any major role opportunities? Now might be a
may be almost mindless (or at least impossible to reason good time to bring in a new foe to fill that niche.

DARK REFLECTION Sometimes, the attraction is one-sided, usually with the

villain as an obsessed stalker who wants to win the hero’s
love. Some of the foe’s actions might be driven by jealousy
“There but for the grace of God go I,” says the hero faced
and feelings of rejection, even to the point of becoming
with a dark reflection, a villain who could be the hero un-
quite irrational. After all, there is a fine line between ob-
der different circumstances, or who represents an aspect
sessive love and vengeful hate.
of the hero’s nature.
Perhaps the romantic relationship predates the current
This can be as obvious as the “evil twin” concept, where
roles of hero and villain: an ex-lover or partner might
the villain outwardly duplicates the hero’s appearance
adopt a costumed identity in order to settle or renew a
and even powers. Such dark reflections might be clones,
former relationship. An ex-wife becomes a hero to put a
shadow-selves, divergent duplicates from parallel uni-
stop to her former husband’s crimes, for example, or an
verses, or the like. Perhaps an obsessed fan goes to great
old girlfriend becomes a super-criminal to get her former
lengths to copy the hero, ending up a twisted and bitter
hero-boyfriend to finally pay attention to her.
imitator.
In other cases, the dark reflection is one of motive or

goals. For example, a hero dedicated to preserving the en-
NEMESIS
vironment might have a foe with a similar goal, but willing
A nemesis often fills another role, like antithesis or dark re-
to wipe out all human life to achieve it. Likewise, a good
flection (see previously), but the primary role of a nemesis
guy seeking to use science for the betterment of human-
is to thwart a particular hero or heroes. Essentially, a desire
ity might face off against a former colleague who believes
for revenge on, or at least absolute victory over, the hero
scientists should control society for its own good, or an
drives the nemesis.
example of science or technology run amok. In this case, it
is not only the goal, but also the methods used to achieve The reasons for this can be as simple as an embarrassing
it that matter. defeat handed to the villain during the first encounter
with the hero, or as complex as the other roles and rela-
ESTRANGED FAMILY tionships in this section. The enemy typically blames the
hero for some wrong, whether or not it is entirely justi-
As the saying goes, “You can choose your friends, but not fied. So, for example, a hero who gained his powers in a
your family.” A villain may actually be related to a hero in lab accident that also severely scarred and empowered a
some fashion, either by blood or through marriage (or liv- lab assistant might have the vengeful former assistant as a
ing arrangements) interconnecting families. Comic book nemesis, even if the accident wasn’t the hero’s fault. It can
villains have been fathers, mothers, siblings, and children be especially poignant if the villain’s reasons for hating the
of heroes, as well as step-siblings, cousins, and other rela- hero are valid. What if the accident was the hero’s fault,
tions. and he became a hero to try and make up for it? He has
managed to win over everybody except the person most
If super-powers are inheritable and passed down through directly harmed by his mistake. Does the hero truly feel he
family lines, then it’s likely every family will have a “black deserves his foe’s forgiveness?
sheep” or that a criminal dynasty might have one good-
hearted exception to the rule. Similarly, a family might A nemesis keeps coming back over and over trying to
obtain powers at the same time, including both the good get revenge, and won’t stop until it is achieved. Ideally,
and bad members (or those inclined to use their powers the hero is the bigger person and willing to deal with the
responsibly, and those more likely to be corrupted by nemesis each time. Otherwise, it is a true battle to the
them). death between them.
A family relationship can both intensify the conflict be-

tween hero and villain (nobody fights like family) and also
NUISANCE
make both sides more inclined to go easy on the other, Some villains are less menacing and more... annoying.
with the hero trying to reform the criminal relative, and Nuisance characters primarily exist to make heroes’ lives
the villain less likely to simply kill the hero, out of respect difficult, and to provide some amusement for the GM
for their family ties. (and, hopefully, the players) as the good guys struggle to
deal with the pests.
FORBIDDEN LOVE The key elements with nuisances are that they are more
bothersome than truly threatening, and that they are dif-
If opposites attract, then what about the ultimate opposi-
ficult to get rid of, at least right away. The nuisance might
tion of hero versus villain? There are plenty of examples
be well intentioned, perhaps wanting to help the heroes,
where the conflict between characters on opposite sides
or could be malicious, or at least unconcerned about the
of the law hides a subtle (or not-so-subtle) attraction. Vil-
trouble they cause. Examples include the would-be team
lains may try and seduce heroes, while a true hero is also
member or sidekick, following the heroes around and
an attraction to bad guys in need of someone to believe
trying to “help” but causing disaster instead, or the bush-
in. A bad-boy or bad-girl can be quite tempting for some,
league villain who thinks he is the hero’s nemesis but who
although heroes generally hope to reform the objects of
is little more than a bother.
their affections.

THE STEREOTYPE VILLAIN

One other role villains have often played is that of the “evil stereotype,” showing all the traits associated with the particular
race, class, nationality, or other group considered suspect or outright evil by mainstream society. This is often in the form
of propaganda, although more often simple ignorance or societal prejudice in recent decades. Classic examples of ste-
reotype villains include various “yellow peril” Oriental masterminds (inherited from the sinister Asian villains of the pulps),
World War II Axis supervillains, and most Cold War-era Communist villains, often wearing over-the-top emblems of the
Party or their home nation.
Stereotype villains are best reserved for four-color series. Even then, they should be used sparingly, since they tend to
come off as parody rather than serious threats. Modern comics have made various efforts at rehabilitating older stereo-
type bad guys, making them into legitimate threats and more realistic characters. The Oriental mastermind, for example,
has sometimes gone from old-world mandarin in silken robes to Hong Kong power broker enamored with The Art of War,
almost as much of a cliché, but with more detailed motives and goals.
The classic nuisance villain is incredibly powerful, even to by a villainous mentor who chooses to use his powers for
the level of being omnipotent, but uses that power to do good, earning his former master’s disfavor. There are also
petty and childish things that bedevil the heroes. The he- situations where heroes turn against their government,
roes cannot simply overcome their foe in a fair fight; they sometimes with a legitimate disagreement over what is
have to play by the villain’s rules or use cunning and trick- fair and just, leading to government-employed villains or
ery to win. shadowy criminal conspiracies working against the he-
roes and ostensibly for the authorities.
OPPOSITE
A common idea in the comics is to make a villain the he-
VILLAIN MOTIVATIONS
ro’s opposite, a natural enemy. It can be a simple theme, Comic book villains are often the prime movers of the
such as a brawny hero opposed by a brainy (but physically world: they are the ones who come up with new schemes,
weak) villain, or fire versus ice, light versus darkness, snake take action, and shake things up. They are looking to
versus mongoose, and so forth. A single hero can have change the world the heroes are content to merely de-
many potential antitheses, depending on which way the fend.
lens of interpretation is turned.
Given this role as motive force and raison d’être for the
Perhaps the most potent opposite is one of philosophy heroes, it is important to consider exactly why villains do
or outlook. So a patriotic American hero devoted to the what they do, since that influences things like how they
ideals of liberty and freedom might face a foe who is the go about it, and what happens when those bothersome
embodiment of tyranny and fascism, for example. A hero heroes choose to get in the way once again. This section
who represents control and order could be archenemies looks at what motivates villains: what they want, and how
with a villain representing chaos and madness. This makes they justify trying to get it.
the villain especially offensive to the hero, beyond just a
motif. GOALS
TURNCOAT Conflict happens in a story because one character wants
something, and one or more other characters want some-
Superheroes are not necessarily above pursuing vendet- thing else, putting them in conflict. In the case of the clas-
tas and personal grudges, especially when it comes to sic superhero story, the heroes want safety and stability
their costumed foes. A hero’s personal enmity towards a for the world, while the villain wants something that up-
villain may be due to not just antisocial behavior, but a sets those things. The exact goal varies but, by definition,
personal betrayal. it is something the heroes will most likely want to oppose.
Some villains start out as heroes, or at least pretend they ANNIHILATION

are heroes. They win people’s trust and then show their
true colors. Others are sincere, at first, but fall victim to The good guys are definitely opposed to this goal, as it
temptation, or find themselves trapped by their own mis- means destruction, possibly of the entire universe! The
takes. They betray their heroic ideals and become hunted villain may be a nihilist or a manifestation of an annihi-
villains. A betrayal might tie into the origins of hero and lating force, destroying for the mere sake of destruction,
villain, such as a former friend who turned on a rival, re- or it could be a means to achieve another goal, such as
sulting in the accident that gave the hero his powers and tremendous power (by destroying the world and then rec-
ended their friendship. reating it) or a truly over-the-top revenge scheme!
In some rare cases it is the hero who is seen as the betray- Whatever the case, the heroes should be aware of the po-
er, most often a hero who started out on the wrong side of tential threat and of their foe’s ability to carry it out, given
the law and reformed, leaving former criminal associates the opportunity. The focus of the struggle against the vil-
with a desire for revenge. One example is the hero trained lain is preventing terrible destruction, or at least contain-

ing it. Most such villains do not succeed, obviously. If they choices and futures. Some do this because it feeds their
do, either the heroes need a means of undoing the de- power or egos; others want to prove everyone is corrupt-
struction or the series will take a very significant turn (see ible, given the right circumstances, justifying the villain’s
What if the Villain Wins?, later in this chapter). cynical attitudes and beliefs.
CHAOS FAME
The villain wants to sow chaos and confusion, flouting The limelight is a powerful draw, and villains may commit
the laws of the land and the conventions of society. This crimes simply for the attention it brings them, believing
might be out of an ideological devotion to chaos or anar- “there’s no such thing as bad publicity.” Other criminals
chy and a desire to overthrow lawful institutions, or sim- want acknowledgement and fame for some achievement,
ply a childish desire to break the law and get away with often the fame they feel has been unjustly denied them.
it. Some villains want to riot simply to watch things burn. This may come with a competitive streak in the villain’s
area of expertise, such as a mad scientist who wants the
Chaotic villains are dangerous due to their unpredictable acclaim of the scientific community for a particular discov-
nature and their willingness to upset the status quo just ery or invention, or a martial artist looking to claim the
for the sake of it. They sometimes try to enlist heroes in title of world’s greatest fighter.
their efforts, or at least put them in the difficult position
of having to choose the lesser of several evils in order to Famous heroes serve to inspire jealousy, and they cannot
prove the criminals’ devotion to chaos and randomness is win; heroes who bask in the adoration of their fans are
the only thing that makes sense in a disordered universe. vain and arrogant and need to be taken down a notch,
while those who humbly demure are putting on a show
CONTROL of false humility the villain wants to expose to the world.
In either case, the adversary’s dislike for the heroes may
Some villains seek to control people and things, from their approach a need for revenge (see that motivation, follow-
immediate lives to everyone in the world! A villain’s de- ing).
sire for control may stem from a simple lust for power or
a sincere belief that everyone involved would be better
off. Control may be a means to an end (such as acquiring
FORTUNE
power) or the end in and of itself.
Greed is a powerful motivation, and many villains simply
One particular type of control villains seek is to corrupt want to “cash in” on their abilities with some get-rich-
the innocent and heroic, to exert influence over their quick scheme or another. It may be as simple as knock-

HOW EVIL IS TOO EVIL?

A question that arises in dealing with supervillains in an M&M series is: how “evil” is evil? That is, how explicit and unpleasant
is the evil or villainous element of the series?
In the vast majority of comic books, “evil” is a caricature: supervillains hatch terrible plots to conquer or destroy the world,
which they describe with great relish to hapless heroes, but their schemes are largely abstract. Even when the bad guy
manages to do something terrible, it happens “off panel” with a minimum of spectacle, and the heroes are able to undo
the damage in the end. In these types of scenarios, life is sometimes cheap—particularly the lives of villainous minions—
but even then deaths tend to be more a matter of disintegration or “off panel” demises than bloody murder, if for no other
reason than it makes it easier to explain away the victim’s survival or mysterious resurrection.
More modern comics have dealt more directly with the kind of human suffering that results from a supervillain scheme
or a clash between powerful superhumans—the equivalent of any great natural disaster. There are descriptions of casual-
ties in a shattered city, even scenes of violent death and destruction, although still largely a byproduct of the plot rather
than a direct part of it. Playing up this element can make the plight of the people the heroes protect more real, but it can
also become a buzz-kill if what the players are looking for is slam-bang superhero fights with little regard for things like
property damage.
A step further and we find comics looking dead-on at some truly evil characters and actions: implicit (or even explicit)
depictions of torture, rape, serial murder, child abuse, and worse. These sorts of things create a grim atmosphere, motivat-
ing heroes toward vigilantism and “street justice” for the perpetrators. They best suit an Iron Age style of play similar to a
police procedural or a film noir story.
When considering the sort of evil you want in your M&M series, think about both what you and your players are
comfortable with, and the style of play you want to create. Once you settle on an approach, try and stick with it as much
as possible, and make an agreement with your players to largely ignore other “types” of evil in your game. This is much like
the comics, in that heroes who regularly stop world-conquering megalomaniacs do not often wonder why it is they are
not dealing with the very real evils of, say, domestic violence or torture of political prisoners. The agreement works both
ways, however, and means nobody can call the heroes to account for not addressing these things, as they effectively do
not “exist” for purposes of the game (since, if they did, the heroes would likely be trying to do something).
This may come off as a simplistic approach, but it fits the style of the comics. If you want to run a more nuanced game,
where wrestling with the question of evil and the limits of a hero’s power is left to the players, by all means, feel free. This
will tend to produce debate and conflict, however, and take time away from the superheroic action and foiling of villain-
ous schemes, although it can produce satisfying stories in its own right.
ing over banks and jewelry stores or as complicated as a More than any other type of villain, the misguided bad
massive extortion or fraud scheme to make millions or guy feels and appears justified, and may place the heroes
even billions. It might not even be strictly cash, but other in a quandary about dealing with such a sympathetic foe.
sorts of assets, like stock or valuable commodities; the Sometimes, a misguided villain sees the light and reforms,
key point is control of considerable wealth, and all that perhaps even becoming a true hero, while others stub-
comes with it. bornly cling to their own views and never change.
In some cases, pursuit of fortune is simply a means to Misguided villains might even start out appearing to be
achieve another goal. This one assumes the wealth is the heroes, until the main characters discover their true moti-
ultimate end unto itself; obviously, the villain also has to vations or witness them about to step over the line. Han-
ensure the means to actually spend all that new-gotten dling a misguided superhuman poorly can also lead to
wealth, or it is worthless. them becoming true villains, embittered by their defeats
and those who could not understand what they were try-
Of course, using amazing superhuman powers (or worse, ing to do. They may easily change their motive to revenge
super-scientific inventions) simply to knock-over banks (see the following)... against the heroes!
is largely a trope of the four-color comics. More realistic
super-powered settings may focus on other ways super-
humans can use their powers to make money, some legal
POWER
and some illegal (complete with new laws to deal with
For some it is all about power: having it and using it. No
some of the new things supers can do). If the idea that a
matter how powerful they may be already, many villains
guy capable of inventing a working freeze-ray would use
lust after more power and will go to great lengths to
it to rob jewelry stores snaps your suspenders of disbelief,
achieve it. True master villains often seek ultimate power,
you’re probably better off with a more realistic approach
apotheosis—to become like unto a god. Obviously, the
to supervillainy in your game.
heroes are going to have objections on that score, even
MISGUIDED if the steps their foe need to take to get there are benign,
and that is rarely the case.
A misguided villain is one who does the right thing in the
Usually, acquiring greater power takes ruthlessness and
wrong way, or the wrong thing for the right reasons, who
a willingness to steal, murder, and do whatever is neces-
could almost be a hero under different circumstances.
sary. Some attempt to rationalize this as a sacrifice for the

greater good; once they have ultimate power, they will

be able to fix everything, perhaps even undoing all the
THRILLS
wrongs they have done! For most villains the only justi-
Lastly, some villains are just out to have a good time, of-
fication they need for their power-lust is that the world
ten regardless of who gets hurt or what gets broken. They
would be better off with them in charge (see Justifica-
want to have fun! Unfortunately, their definition of “fun”
tions for more).
includes mayhem and general chaos for everyone else.
Thrill-seekers are similar to bad guys motivated by chaos,
REVENGE but the key for them is all in the excitement. The chaos (if
any) is merely incidental.
The path to villainy often begins with steps toward revenge.
It can be an obsession that takes over someone’s entire life, Even the definition of thrills varies from one costumed
starting from the very moment a supervillain attains great- foe to another. For some it is danger and risk-taking, from
er-than-human power. For example, many villains are born performing hazardous stunts that may endanger others
in tragedy: terribly disfigured in the accident that grants to committing crimes and daring the police and the he-
them their powers, driven mad by the arcane secrets they roes to stop them. Others find excitement in challenge,
unlock, denied their ultimate triumph at the last moment, from the warrior in need of a worthy foe to the hunter in
but gaining some measure of power in exchange. These are search of more difficult prey. For some the challenge is in-
all moments that burn the need for revenge into one’s soul. tellectual, a battle of wits or proof of who is superior in a
particular field of endeavor.
The object of a villain’s hatred is often one or more of
the heroes. If a crime-fighter causes an arsonist to fall
into a pit of burning chemicals, transforming him into a JUSTIFICATIONS
charred creature with superhuman power over fire, the
villain may obsess on seeing the hero die in flames for Good villains, even in the most four-color style superhero
it. Likewise, a scientist who blames a hero for ruining his setting, never use the terms “villain” or “evil” to describe
career and reputation may seek to do the same before themselves, except as irony. The best villains think they
finally ending his foe’s life. are the ones doing “the right thing,” however it is that they
define it. It is the so-called “heroes” who are always getting
The same may apply to other objects of revenge, putting in their way and causing trouble!
the heroes in the position of protecting people: politi-
cians, attorneys, judges, police officers, and the like. It How supervillains justify their actions is as important, if
becomes even more complicated when the revenge fo- not more so, than their motive for acting in the first place.
cuses on the criminal elements of society! What about a A number of different rationalizations come into play, and
revenge-obsessed vigilante going around killing the city’s they can give added depth and character to foes with the
criminals? Some grudges are more than personal; a villain same essential motive. For example, one villain might be
could seek revenge on an institution, a city, or even the seeking power because she believes it is her “divine birth-
entire world for some perceived wrong. right” and she has a destiny to rule over mortals as their
benevolent goddess, while another feels greater power
SAFETY can finally rid the world of super-powered beings alto-
gether, preventing anyone else from losing their family in
Sometimes the motivation of an apparent “villain” is not the crossfire of a superhuman conflict like he did; both are
wealth or power, revenge or madness, but simply the desire power-hungry, but for very different reasons.
to be safe and sound. It is a dangerous world, after all, espe-
cially for people (or creatures) with strange, threatening ap- ENTITLEMENT
pearances and abilities. Imagine the confused alien visitor
who stumbles out of a farmer’s fields, only to be confronted Entitled villains feel they deserve whatever motivates
with a shotgun and barking dogs. When the alien disarms them, whether it is power, vengeance, or even universal
the farmer, realizing in so doing just how fragile these “hu- annihilation! Whatever it is, it is their due, and they will
mans” are, things only escalate. Similarly, consider a giant have it! Anyone attempting to stand between entitled
beast barely more intelligent than an animal, driven out of antagonists and their goals is the real villain in their eyes.
the ocean depths by pollution, sonar testing, or some other Some may even try to reason with the heroes and show
surface-world intervention. When it emerges in the harbor, them the truth of this, but others know they cannot ex-
people panic; suddenly it is an “attack”! plain or make them understand; they can only get them
out of their way. They’re entitled to it, after all.
What is really needed in cases like this is heroes willing
to find some means to communicate and learn what the While a villain’s sense of entitlement is most often sheer
“villain” wants so they can put a stop to the misunder- arrogance, in some cases a foe may truly be entitled to
standing. Of course, this can be difficult when dealing whatever it is he is after! The spoiled and undisciplined
with creatures from other planets or lacking a language or heir to an ancient power may have a right to it, just as one
even real intelligence. Plus there’s almost always a gung- can argue everyone has a right to safety from harm and
ho military or authority figure unwilling to take the risk of persecution. That does not mean, however, it is a good
communicating with a potential threat rather than simply idea to let the villain have it! This may put the heroes in
wiping it out. The heroes might need to convince both the position of denying someone their rightful due for the
sides of the conflict to talk. greater good.

THREE-DIMENSIONAL VILLAINY
Giving some thought to a villain’s role, motivation, and justifications can add considerable depth to otherwise stereo-
typed or limited characters. Sometimes all you need to liven up an old villain concept or archetype is to change around
one of those elements normally associated with them, substituting something fresh and new. For example, the Overlord
archetype is often motivated by a desire for control or power, justified by nobility or pride. What about an Overlord villain
who is seeking the thrills and challenge of brinksmanship against worthy adversaries, or one who must conquer in order
to continue to exist, being an avatar of a god or spirit of war?
Even archetypal villains can have some amount of character and personality to them. Consider a villain’s motives when
you are creating an adventure and chances are you will come up with a better story than simply having a bad guy doing
bad things for their own sake. Take a look at the In-Depth Villains section at the end of this chapter for more ideas.
NOBILITY REBELLION
Noble villains certainly do not consider themselves “vil- In every society there are those who cannot, or will not,
lains” at all; indeed, they do what they consider right and follow the rules. “I will not do as I am told,” they say. Like
just, with such dedication they will not be swayed, even Lucifer’s fall from grace, they feel it is better to rule as a
if the rest of the world decides they are wrong and labels free outsider than it is to conform. They reject society’s
them “evil” because of it. laws and become a law unto themselves, resisting any at-
tempt to stop or restrain them.
Although they are almost admirable, villains justifying
their actions as “noble” are really driven by ego: the idea Some rebels are looking to reform the system in some
that they and only they can possibly do what needs to be way. They defy what they see as unfair or unjust laws, hop-
done for the good of the ing to demonstrate to oth-
world (or at least the good ers and inspire them to do
of those the villain thinks to “Pain? Pain is like love, like compassion! It is a the same. They don’t reject
benefit). Some have mar- thing only for lesser men. What is pain to Doom?” the concept of following
tyr complexes, considering rules altogether, but often
themselves persecuted and - Dr. Doom, Fantastic Four #5 go too far to make their
willing to sacrifice for “the point. Examples include
greater good” (although it is not always self-sacrifice). Oth- the mad scientist “oppressed” by regulations on research
ers have a true messiah complex and believe they have and experimentation in dangerous areas, or the fanatic
been “chosen” (by destiny or divine providence) to change opposed to a particular law of the land, seeking to ad-
the world. vance a political cause.
There are even those noble foes who seem almost heroic: Other rebels are true anarchists, obeying no law but their
they claim they do not want to oppose the law and the he- own. They might be philosophically devoted to the ide-
roes upholding it, but circumstances give them no choice. als of anarchy and self-determination, or so egotistical as
They will fight for what they believe, regardless of the cost. to place themselves “above” or “beyond” the laws of lesser
Of course, it is the heroes’ job to prove there is always a beings.
choice, and the very assumption that they “must do what
must be done” is often the antagonist’s ego speaking, a SURVIVAL
blind spot they cannot easily overcome.
Remember this phrase: “Does the lion concern himself
PRIDE with the fate of his prey?” It is one you will get a lot of use
out of when it comes to foes who justify their actions as
They say “pride goeth before a fall,” and this is certainly part of their right to survive. Many villains have powers or
true in the world of supervillainy. Whatever their other unusual needs requiring them to prey upon others: vam-
justifications, a great many adversaries are driven by pires must feed on human blood, fear-demons feast on
the simple motivation of pride. They have something to terror, radioactive mutants must consume nuclear waste
prove to the whole world because they were rejected or products, zombies eat brains, and so forth. To the bad
abused. They want revenge to soothe a wounded ego, or guys’ view, they are just doing what comes naturally to
they have to prove they are the better of some rival, usu- them, no different than ordinary humans killing animals
ally a hero who gets all of the accolades and attention of or plants to feed and clothe themselves.
an adoring public.
Of course, this justification is often just that, an excuse
Proud villains come with sizeable egos to match and a for the villain doing what he wants to do. Still, there
tendency to pontificate and show off. They are some of are cases where it is valid, and a villain’s survival means
the easiest to get talking about their successes and their death and destruction to others. Imagine the foe who is
brilliant plans, and to anger with taunts and disdain. a living black hole, consuming matter in an annihilating
About the worst thing you can do to a proud villain is vortex. Without the constant stream of matter, the villain
ignore him, perhaps even worse than denigrating his ac- will collapse into himself, so he must “feed,” even if it dev-
complishments. astates the city, world, or the whole universe! A vampire

might be able to feed on packaged blood, or take minute

amounts without killing a victim, but perhaps not. CHANGES OF HEART
Survival is a potent justification, especially if it rings true, Once in a great while villains see the error of their ways,
since defeating the villain may be the same as sentenc- seriously reevaluate their whole reason for being and re-
ing him to death—a choice some heroes are reluctant to consider, perhaps amending or changing previously vil-
make. lainous behavior. Villains may have changes of heart and
find it within themselves to reform, redress the wrongs
MADNESS they have committed and, perhaps ultimately, redeem
themselves.
This one is listed outside the alphabetical order because
Sometimes this change of heart truly means removing the
it is less a reason for the villain’s deeds and more anti-
villain from the series as a potential threat, and it can be a
reason... literally! Sometimes there’s no justification for
significant victory for the good guys. Having a long-time
what a villain does; it is sheer madness. Many villains are
villain turn over a new leaf is a good way of retiring the
insane and any justifications they offer for their actions
character while also giving the players a sense of change
are just as crazy. Of course, the villain is not necessarily
and development in the series and a feeling that their he-
aware of this! Insane foes often think they are perfectly
roes really are making a difference.
justified, but it is inevitably all in their fevered imagina-
tions. So a crazed villain might truly believe he is a noble In some stories, a villain’s change of heart comes quite
hero trying to save the world from alien invaders, only quickly. This is most often the case with conflicted, mis-
he is really a raving paranoid who sees “invaders” every- guided, or otherwise noble antagonists doing the wrong
where. things for the right reasons. Realizing what they have
been doing, these villains change their minds just in time
Some lunatic villains do not intend harm, but also cannot
to not throw the fatal switch, or to attempt to disarm the
understand that their “games” or “hobbies” are dangerous,
doomsday device themselves. It is a way of writing out a
or that real people are being hurt. A madcap toymaker
short-term bad guy only intended to show up for a story
who believes the world is nothing more than a giant fun-
or two. By the end of the adventure, the villain has made
house, for example, is likely to treat people as if they were
the ultimate sacrifice and is no more.
dolls or action figures. A crazy dog-lover might go to great
lengths to rescue a poor Pomeranian while letting the Other times, a supervillain’s attempt to reform fails to
pooch’s owner be hit by a bus (or, worse yet, punishing “take.” Some bad guys tried to walk the straight and nar-
said owner for “enslaving” so noble a canine)! row, but found it too difficult and fell back into their old
ways. Others seem to reform, but later reveal it was all a
Other foes embrace their madness with a devil-may-care
ruse to gain the trust of the heroes and the public as part
“why not?” attitude toward their actions. True sociopaths
of their latest schemes. Having a bad guy switch sides for a
or psychopaths, they cannot feel any sympathy or con-
time before returning to villainy can be an interesting way
cern for others, seeing them as merely playthings or ob-
for the heroes to get to know their enemy, and one more
stacles. They often want to demonstrate that madness
thing for them to hold against him when he finally shows
is the only “sane” reaction to an ultimately random and
his true colors. Don’t do it too often, lest the players stop
meaningless existence, that chaos and insanity are the
trusting anyone, but used sparingly, it can be an effective
true nature of things.
plot development.
VILLAIN TACTICS
Sooner or later, even the subtlest mastermind will come into direct confrontation with the heroes, while other villains
practically live to fight. Super-foes use a variety of tactics, depending on their abilities, goals, and personal styles. From a
gamemastering perspective, villainous tactics help to make for challenging encounters for the heroes (and the players)
without being so overwhelming as to be completely unfair (and un-fun).
This section looks at some tactics used by supervillains (including one-on-one combat and one villain versus a team
of heroes), sinister plans to give the bad guys an advantage, and escape plans for when things start to go badly. It also
discusses the pacing of hero versus villain combats and the constructive and creative use of complications to help make
such conflicts exciting and fun without being either too easy or overwhelming.
VILLAINS IN COMBAT fined by their traits, including whatever powers and advan-
tages they possess. The main differences between villains
Generally speaking, villains follow the same combat rules and heroes are that villains (like all non-player characters)
as all characters in Mutants & Masterminds, as detailed in do not have hero points. Any “luck” a villain may have is due
the M&M Hero’s Handbook. Their combat capabilities are de- to instances of complications created by the GM. The he-

roes also often outnumber villains; unless a group of bad ACTION LIMITS
guys band together, the villain is typically a singular char-
acter, sometimes assisted by various minions. Perhaps the biggest limitation faced by one villain fighting
a group of heroes is the villain only gets one set of actions
(standard, move, and free) per round, while the heroes each
COMBAT ACTIONS AND MODIFIERS get a set, allowing them to make many more attacks and
giving them more tactical options than their opponent.
What combat actions a villain chooses from round to Some of the following maneuvers and ideas discuss coun-
round depends greatly on the style and abilities of the teracting this effect using area attacks and limiting how
villain; some are extremely aggressive, always on the at- much the heroes can gang up on their opponent.
tack and using actions such as charge and maneuvers like
all-out attack and power attack, perhaps combined with One possibility is to give your solo villains more actions;
attempts to demoralize or startle opponents with Intimi- provide the villain with powers that are free actions or
dation. Other foes fight more conservatively, using nor- reactions, essentially “triggering” certain responses from
mal attacks, occasionally balanced with block or defend the villain when the heroes act. This allows you to scale
actions, whereas villains simply trying to escape from the the villain’s responsiveness to the heroes. An example is
heroes might go entirely defensive, using move and de- a counterattack; perhaps the villain has a reactive energy
fend to focus on avoiding attacks long enough to make field and when a hero attempts to grab the villain, a surge
their getaway. of power rushes back at the attacker. This is basically a
Reaction Damage effect. You can do similar things with
SINGULAR VILLAINS Reaction level defensive or even movement effects that
allow the villain to “act” without taking an action. Consider
a villain who turns Insubstantial or Teleports as a Reaction
Quite often, it is one bad guy versus a team of heroes,
to being grabbed or targeted, for example.
since M&M is a group-oriented game. Singular supervil-
lains can be more powerful than the good guys (some- AREA EFFECTS
times quite a bit more powerful), but they also suffer
from certain limitations in game terms, and Gamemas- One way villains can deal with many heroes at once is by
ters may wish to use different tactics when setting up using area effects to hit all of them at the same time! This
a confrontation between one villain and a whole group is particularly effective with Close Range Burst Areas, since
of heroes. they fill the space all around the user, sure to catch any

heroes closing or engaged in close combat. Such an at- Rather than having the villain’s defense tied up in a sin-
tack may encourage heroes to keep their distance and not gle sustained power, consider “layering” defenses, such
group together too closely, giving the villain some breath- as a combination of Protection and Force Field, so if the
ing space. villain loses the latter, the drop in Toughness won’t be as
massive.
Villains with minions rarely concern themselves with their
underlings’ fates when it comes to making area attacks If all else fails, and the heroes take down the villain’s de-
that can hit the heroes. On occasions when it matters, fenses too quickly, you can always fall back on compli-
the villain might have the Selective extra to exclude the cations. Hand the player(s) responsible a hero point, say
minions, or use abilities to which the minions are immune, “nice try,” and just have the villain knocked back into a
such as biological (Fortitude) attacks that do not affect ro- building or smashed spectacularly through a wall, slight-
bots or the undead, for example. ly shaken, but otherwise unharmed and ready to rejoin
the fray. This is best reserved to avoid real game-spoilers
Even if a villain does not normally have an area attack, you that turn your climatic encounter into anti-climax, how-
can provide one using extra effort for a power stunt: chan- ever.
neling electricity through metal flooring or a puddle of
water, creating a powerful burst of flame in all directions,
and so forth. You can counteract the fatigue the villain VILLAINOUS MINIONS
would normally suffer as a complication for the heroes,
or leave it to give the heroes a slight edge once they re- Solo villains may have the assistance of various minions:
bound from the bad guy’s surprise attack! hired goons, loyal followers, summoned creatures, robot
legions, and so forth. Minions can go a long way toward
COUNTERING THE VILLAIN evening the odds between a hero team and a singular
villain, since they can run interference for the villain and
A group of heroes might make liberal use of the rules for give the heroes other things requiring their actions.
Countering Effects (see the M&M Hero’s Handbook, page
95) having one member of the team focus on counter- Minions can even turn the tables on heroes to a degree,
ing everything the villain does, while the rest of the team using some of the same “ganging up” tactics heroes might
goes on the offensive. If the heroes have the means to pull use on solo villains. In particular, large groups of minions
it off, this can become a frustrating game of waiting for often try to grab heroes, or make team attacks (see the
the countering hero to fail a roll so the villain can actually M&M Hero’s Handbook, page 199) to overcome their de-
do something before the rest of the heroes knock him into fenses.
next week. Because they are relatively “fragile,” you can make minions
Fortunately, the GM is the one who decides if a particular more formidable in terms of power level or more numer-
power can counter another. If the heroes try to counter ous than you might otherwise. At fairly evenly matched
everything the villain does, try switching tactics. For ex- levels, each hero can expect to eliminate a minion every
ample, a super-strong water-controller, confronted with other round, perhaps more. With lower-level minions, the
a flame-using hero turning his water blasts to steam, rate goes up, and things like area attacks and the Take-
might simply grab something big and heavy to hit the down advantage can increase it even more, dealing with
hero with! This is one reason why it is a good idea for multiple minions each round. It would not be unreason-
solo villains to have some flexibility and options when able to challenge a group of PL 10 heroes with three to
it comes to attacks, so one hero won’t be easily able to four times their number in PL 5 minions.
counter them all.
ADVANTAGES AND MINIONS
Another way of dealing with this problem is having
some minions provide a distraction for the countering Certain advantages can enhance a villain’s use of min-
hero. (Perhaps the villain can summon some up, if there ions. The Sacrifice extra for Summon allows a villain to use
aren’t already some there.) Alternately, a power stunt summoned minions as “fall guys,” essentially letting one
can provide a novel attack or effect that is more difficult of them take the brunt of an attack rather than the villain.
for the heroes to counter. Again, you can counteract the This counts as a complication for the heroes and awards
fatigue the villain would normally suffer from the extra the successful attacker a hero point along with a “nice try,
effort as a complication for the heroes. Similarly, you can but...” from the GM. Indeed, the extra is so useful, you may
just impose a complication to have the villain’s opposed wish to allow a version of it as an advantage that works in
countering check break through the hero’s defense this conjunction with the Minions advantage.
time around.
Leadership, on the other hand, is largely useless to villains,
since it affects the spending of hero points, which they
SUSTAINED EFFECTS don’t have. You might want to require it for a villain able to
remove conditions from minions as a complication, but it
A particularly effective tactic is to have one hero stun the
isn’t really required, since you can simply do so as a com-
villain so he cannot sustain defensive powers, then have
plication anyway.
all the other heroes gang up and hit their foe with every-
thing they’ve got. It’s so effective, in fact, you might want Lastly, minions themselves can benefit from having vari-
to take it into account in your villain designs. ous advantages. In particular the Teamwork advantage

OPTIONAL MINION RULES

In order to better duplicate how villainous underlings tend to work in the comics, you may wish to consider some or all
of the following optional rules for minions in your M&M game. Except as noted otherwise, these options do not cost the
villains any power points; they are simply how the rules apply to them. If you wish, you can make some aspects of these
options into new advantages, allowing for more of a pick-and-choose menu:
• Minions as Cover: If a villain has even one of his minions between him and a hero, the villain is considered to have
complete cover against that hero, meaning the hero cannot attack the villain, except with an Indirect or Ricochet
attack. Alternately, minions might grant a lesser degree of cover, such as total or partial, making attacks possible with
a circumstance penalty.
• Opportunity Attacks: Attempting to bypass a minion by moving around it gives the minion an immediate attack
against the hero. The minion gets to make an attack as a reaction, not taking up any of the minion’s other actions
for the round.
The main thrust of these options is to encourage heroes to deal with a villain’s minions before going after their boss, al-
lowing the minions to run interference and challenge the good guys while the villain finishes calibrating the doomsday
weapon, sets up the deathtrap, or simply flees down the escape tunnel.
is useful for cannon fodder, since they usually work with ranks, usually less. By doing so, you’re essentially giving
others. It can reflect particularly well-trained or coordi- the villain “free” Complications for which the players do
nated minions. not earn hero points, which can make them understand-
ably disappointed. In general, you’re better off reserving
VILLAINS AND COMPLICATIONS luck solely for the heroes.
Complications are a vital game mechanic when it comes PLAYER CHARACTER VILLAINS
to dealing with villains in M&M. Only the player characters
have and use hero points, which are intended as a special The only exception to the previous guidelines is when the
resource for the players to influence the outcome of the player characters are villains! In this case, the GM may want
game beyond just the random roll of the die. to assign the players “villain points” (or whatever you’d like
to call them) that serve the same role in the game as hero
Gamemaster-controlled characters do not have hero points, with Complications awarding the players more of
points or some equivalent. Why not? Well, largely because them as things progress.
these characters can already have whatever traits the
GM sees fit to give them. A villain can easily be PL 20 or
more, even Power Level X with effectively infinite power! PICKING YOUR BATTLES
Compared to that, what are a few hero points? Besides, One way villains try and get the upper hand is by choos-
the flow of an M&M adventure is based on the idea ing where and when they will fight. Not all bad guys get
that the harder it gets for the heroes, the greater their this luxury, especially when the heroes catch them red-
determination and chances of succeeding. handed in the midst of committing their latest crime!
Complications function as the “villain points” of the game, Some, however, can plan for their next encounter with
with the caveat that whenever the Gamemaster falls back their foes and ensure they are prepared and able to fight
on this option to make things more challenging for the on their own turf, and their own terms.
players, or to brush off the result of a particular die roll An application of this principle is for the GM to set up
for the good of the story, the players (and their heroes) different places for the villains to battle heroes, with the
benefit. You can think of it like this: villains in M&M bad guys having the advantage of knowing the terrain
effectively all draw from an infinite pool of “villain points,” and preparing for the fight accordingly. There might be
but whenever they do so, the heroes also gain hero points! various traps awaiting the good guys, along with the
Thus the GM wants to measure the pace of “villain point” villain’s minions. A foe can choose a battleground that
spending (use of Complications) to fit the progress of the specifically limits opponents, taking advantage of their
story and the game. known flaws and complications. For example, a villain
dealing with a hero with a weakness to non-urban en-
THE LUCK ADVANTAGE vironments might seek out a lair far from the city, just
as a villain fighting an opponent with magnetic powers
The Luck advantage is a bit problematic where villains are could try to ensure the surroundings are relatively free of
concerned, since it grants one of the prime benefits of metal to manipulate.
hero points. Since villains do not have or use hero points,
you can interpret this advantage to only apply to player If the setting for the fight proves a true complication for a
characters, which is its primary intent. Giving Luck to vil- hero, award the player a hero point. However, if the villain
lains circumvents the way the hero point system of the is merely taking advantage of a known power flaw, you do
game is intended to work, and should be limited to at not have to give the player anything; the “payoff” is in the
most half the power level of the series (not the villain!) in form of the reduced cost for the flawed power.

CREATING WEAKNESSES ESCAPE ROUTE

One way villains exploit weaknesses is to create them! That The simplest escape plan is some route planned out in ad-
is, the villain specifically does something aimed at taking vance to get away from the scene, anything from a secret
the heroes out of the game, or at least ensuring they will or hidden passage to a vehicle or “escape-pod” to take the
be easier to deal with later on. These villain-created weak- villain away faster than the heroes can easily follow.
nesses are generally complications for the heroes to over- An escape route is most effective when combined with
come, with the assistance of the hero points they earn for some other type of escape plan, such as a distraction to
having the complication put in their path in the first place. keep the heroes from following right away or a fake-out
to confuse their pursuit. For example, an escape tunnel
Examples of creating weaknesses include kidnapping might be mined with explosives to collapse after the vil-
friends and loved ones for use as bargaining chips; weak- lain flees, while a fleeing vehicle might have several drone
ening, nullifying, or altering the heroes’ powers in some duplicates to force the heroes to choose which one(s) to
fashion; turning the public or the authorities (or both) pursue.
against the heroes with a frame-up or false accusations;
arranging a fail-safe like exposing the heroes to a toxin or DISTRACTION
nanotechnology usable to threaten them later on; even
strange things like switching the heroes’ powers or minds It is easier for the villain to make a quick getaway if the
to disorient them for when the villain makes his move! heroes have more important things to do than get in the
way. Some distractions are planned, such as threatening
ESCAPE PLANS hostages or innocent people with hidden explosives (“You

can either stop me or save them, heroes, your choice!”), or
placing someone in a deathtrap.
When the heroes gain the upper hand, the smart villain
has an escape plan handy to live to fight another day. Es- Other distractions are more makeshift, including classics
cape plans are also important for the intermediate parts such as blasting away a building’s support structure, set-
of a plot (such as stealing necessary components) or any ting a fire, or causing some other minor disaster to occupy
other encounter where the villain is not yet ready to sim- the heroes with rescuing innocent people while the vil-
ply crush or eliminate the heroes and must retreat to re- lain gets away. Minions and even lieutenants make good
distractions, provided they are loyal enough to play the
group and continue working (and to further the adven-
part, knowing their boss is making a break for it. So is trig-
ture).

WHEN ALL ELSE FAILS, CHEAT!

So, it may well happen that, no matter how well you plan for an encounter, or what brilliant tactics you give your villain,
a poor die roll or a cunning move on the part of the players threatens to undo it all and end the climatic encounter of the
adventure in a single round. There are instances when the climax of your story is about to turn to anti-climax, where it is
perfectly reasonable and fair for you to “cheat.”
Now, by cheating, we mean making use of resources at your disposal such as complications, which basically let you shrug
off any setback the villain encounters, or impose any condition you like, in exchange for offering the players a hero point.
This capability is not intended to rob players of their justly earned victories, just to smooth out the sometimes-fickle
nature of the die and unforeseen twists, given that the Gamemaster is just one person, outnumbered (and sometimes
out-maneuvered) by the players.
So rolling a “1” for your villain’s first Toughness check probably justifies awarding the attacking player a hero point and
saying the attack does nothing more than the minimum. On the other hand, if the players come up with a truly effective
and original plan or tactic, it’s probably best to let them succeed, or at least give them a fair chance. But they should win
on their own merits, rather than just the immediate luck of the draw.
gering a doomsday device or other threat, even when the As with extortion, there is a chance the heroes will
villain’s plan can no longer succeed. While the heroes are choose not to bargain with a villain holding hostages
dealing with it, the villain can make good his escape. or will otherwise try and rescue them and capture the
kidnapper. If so, you’ll either need to improvise or invoke a
FAKE-OUT Complication to ensure the bad guy’s escape.
The heroes appear to win, but it turns out the villain is TELEPORT
not really who or what they thought. Their defeated foe
might turn out to be a robot, android, clone, shapeshifter, The most foolproof escape is for the villain to simply vanish
or other proxy for real villain, who is safely hidden away into thin air, using a power like Teleport or Dimensional
(although perhaps capable of taunting the heroes a Travel. This might be an innate power (making the villain
bit through the proxy before signing-off ). A lieutenant quite difficult to capture in the first place) or part of some
or flunky could be dressed-up as the villain, either to fail-safe: a device, part of a vehicle or lair, or even an ability
provide a distraction or as the real bad guy behind it all of a minion or lieutenant charged with rescuing the boss
(the true villain was never involved). A villain might even from certain capture. For example, some villain teams
set-up an innocent victim in a duplicate costume or other have a “transporter” able to provide members, or at least
camouflage to trick the heroes into unleashing their full the leader, with a quick escape.
powers on the poor, defenseless soul.
Even a method as sure-fire as teleporting has its
EXTORTION countermeasures, of course. Some heroes may be capable
of nullifying the villain’s power or even countering the
Backed into a corner, the bad guy threatens the heroes teleport. Keep in mind that characters can often counter as
or offers them something they want in exchange for a power stunt, although instant countering is generally only
freedom. Threats might include knowledge of the hero’s available for powers used offensively against the character.
secret identity, loved ones, or some dark secret, while
bargaining chips include antidotes, vital clues the heroes MYSTERIOUS DEATH
want (“I can tell you where to find your father...”), the
return of valuable items, and so forth. The ultimate “escape” is when a villain apparently dies
during a conflict, but in such a way that no body is (or can
The trick with this approach is that the heroes might
be) found. The classic example is a massive explosion that
not be willing to bargain, or may try to call the villain’s
destroys the villain’s lair or escape vehicle, with no corpse
bluff (if indeed he is bluffing). This can lead to a tricky
found among the wreckage. Is the villain truly dead, or has
situation; see What If the Villain Can’t Escape? in the
he escaped somehow? Perhaps the heroes’ foe was never
following section.
truly there to begin with!
HOSTAGE Generally speaking, every villain in a four-color style M&M

game effectively has Immortality, in that “dead” villains
Similar to Extortion, the cornered bad guy grabs or can return any time the Gamemaster wishes. In fact,
makes use of an existing hostage as a ticket to freedom, you should really only bother to assign an Immortality
threatening to harm or kill the hostage if the heroes do effect to villains capable of returning from death within
not do as they are told. Sometimes, a hostage turns out the context of the same adventure (or even the same
to be more capable than the villain expected, leading to encounter). Anything longer than that is better handled
a capture, or even a mysterious death (see the following), as a plot device. Either every villain can do it as the story
which the hostage narrowly escapes. In others, the heroes demands, or only certain specific ones can. In either case,
manage to rescue the hostage and capture the villain. it is purely at the GM’s discretion.

WHY THE VILLAIN LOSES happen, they’re temporary and the heroes find some way
to reverse them. They pull out a desperate save at the
last possible second and, even if a hero has to make the
There is a famous Internet document called the “Evil
ultimate sacrifice, they ensure the evil scheme is thwarted.
Overlord List” (also known as “If I Were An Evil Overlord”),
which is essentially a long collection of “to-do” reminders While a roleplaying game can have the same sort of built-
of all the dumb things fictional villains either do or allow, in assumption, for some the idea that a heroic win is a sure
which permit the heroes to eventually defeat them. thing can ruin their enjoyment of the story, so for many
Examples include: “I will never say, ‘I am invincible,’ because groups the question must be asked: what happens if the
no one is” and “No matter how much I desire vengeance, villain wins?
I’ll never issue the order ‘Leave him! He’s mine!’” The list—
and any list like it—is very tongue-in-cheek, and it can help The likelihood of an evil victory depends heavily on how
to point out some of the clichés of heroic and comic book the GM sets things up, particularly whether or not the
fiction. However, keep in mind that in a great many M&M heroes have any second (or third) chances. Hero points
series you do not want to avoid them! On the contrary, in a and the system of handing out more of them as the
four-color or Silver Age style game, you want to use them as complications pile up for the good guys are intended to
much as possible. help prevent heroic losses due to simple poor die-rolling.
They allow the players to have an ace in the hole for that
It is often all too easy to give villains airtight schemes and critical check. Still, hero points are a limited resource, and
such realistic expectations and reactions that the heroes even they do not always ensure success.
simply don’t stand a chance. After all, realistically speaking,
a truly good evil scheme would not even become known So, barring the intervention of some deus ex machina,
to the heroes until it was far too late for anyone to do such as NPC heroes swooping in to save the day, there
anything about it. The first warning they would get about has to exist some possibility of the bad guys winning. If
the villain’s plan to destroy the world would be the Earth this happens, let the chips fall where they may, and have
cracking in half! While it can sometimes be fun to confront events unfold according to the actions of the characters
the heroes with a fait accompli by a villain, such as having and the momentum of the plot. If the villain’s doomsday
them wake up to find the world transformed into their weapon isn’t stopped in time, then the world may suffer
enemy’s personal empire, it only works as a superhero greatly, although heroic action could still prevent its
story if they can then do something about it. complete destruction. Similarly, if the villain’s scheme for
world conquest is successful, the heroes might end up
Ultimately, that is why villains lose: they’re flawed, and prisoners or outlaws on the run from the new ruler of the
they slip up, giving the heroes a chance to take action. Earth! A villainous victory can entirely change the nature
Once that happens, it’s of an M&M series.
just a matter of time, since
true heroes are not going
“I’m not a Republic serial villain, Dan. Do you seri- The next question is, how
to give up until they’ve ously think I would explain my masterstroke to long will it last? In other
succeeded. The villain you if there were even the slightest possibility words, is the change to the
can put obstacles in their series permanent, or can
way, but the heroes will
you could affect the outcome?” the heroes potentially undo
fight on and, eventually, - Ozymandias, Watchmen what This is
the villain has done?
where you can offer
prevail. Even if it seems
the bad guys have won the players a second chance
the day, there will be another day, and another after that. and a way to get the series back on track, if you and they
prefer the old style to the new one. If everybody is having
So, unless you are specifically running a series intended a blast dealing with a post-apocalyptic world or playing
to turn the comic book standards on their heads and give the last superheroes, on the run from a world-controlling
players opportunities to make post-ironic comments mastermind, then run with it!
about how dumb they are in the first place, you’re
probably better off having your villains emulate the Evil On the other hand, if the novelty begins to wear off, it
Overlords of comics, films, and pulp novels rather than might be time to introduce a “reset” option the players
trying to have them improve on long-standing traditions can use. Fortunately, most comic book universes are full
of evil. On the other hand, if you are running a more of time travel, reality manipulation, magic, and other
realistic, postmodern game, then feel free to have a villain means of fixing just about anything short of the end of all
who captures the heroes decide to just shoot them in the existence (and maybe even that at times).
back of the head, mob execution style. Just be sure to tell
the players it’s a possibility they can expect up-front, or WHAT IF THE VILLAIN CAN’T ESCAPE?
you can end up with some serious clashes in styles!
The first question to ask yourself in this situation is:
WHAT IF THE VILLAIN WINS? does the villain really need to escape? If it is the middle
of the story and the answer is “yes,” then this is what
In comic book stories, it is generally assumed the villain complications were made for. Give the players a hero
is not going to win: the world won’t be destroyed, point they can use for the final confrontation with the bad
or conquered, or sold to aliens. If any of those things guy and arrange things so the escape is a fait accompli.

If you absolutely cannot come up with a plausible way Just as in the middle of a story, you can later have the
for it to happen (given all the suggestions in the Escape captured villain escape custody. You can also make the
Plans section), you can let the heroes capture the villain villain’s eventual trial and sentencing a part of the series,
and have the escape occur later “off-panel” after they have with the heroes called upon to testify and to keep an eye
turned things over to the authorities. The good guys get out for anything the defendant might try, wondering all
the somewhat sheepish call from the police commissioner the while what the villain has up his sleeve.
or warden, telling them their foe has escaped custody and
is doubtlessly up to no good again. If the heroes simply want to execute the defeated villain
themselves (as may well be the case in some settings),
If it is the end of the adventure, and the heroes have got you can either let them or have the villain go with the self-
the villain dead to rights, there’s little reason not to let destruct approach mentioned previously. In either case,
them enjoy their victory, unless the villain is one who re- the villain can potentially stage a miraculous resurrection,
fuses to be captured alive (in which case, trigger the self- or perhaps someone else takes up the villain’s mantle.
destruct and give their foe a mysterious death instead). Otherwise, in a series where the heroes act as judge, jury,
Otherwise, it’s a suitable reward for the good guys to cap- and executioner, you have to content yourself with the fact
ture the villain and have the last word. that you’re going to lose some bad guys from time to time.
IN-DEPTH VILLAINS
Some comic book villains are just flashes-in-the-pan, one-time foes destined to never appear again, or at least not to
play a major role in your series as a whole. Others are just obstacles, little more than bundles of powers with a name and
a theme attached to them to menace the heroes during adventures and provide them with a bit of a challenge.
Then there are those bad guys who seem to take on a life of their own, becoming the villains the heroes swear to bring
to justice, the ones the players truly love to hate. Creating these iconic foes for your M&M series involves just a few easy
to remember elements, the four “I’s”: interaction, information, integration, and infrequency. If you follow these steps,
you will soon have villains in your series every bit as intriguing and compelling as the heroes, and your players will want
them to show up over and over just so their heroes can get another shot at them!
INTERACTION heroes to interact with some of their foes in a social set-

ting. Imagine playing chess with Overshadow or discuss-
ing Greek Stoicism with Talos outside of the “game” of
The first element to in-depth villainy is interaction, mean-
hero versus villain. Interesting new facets of the charac-
ing the heroes need to have and develop a relationship of
ters’ personalities can emerge.
some sort with the villain beyond just do-gooder versus
law-breaker. It is through interaction that the players get Villains might also seek out heroes in order to interact with
to know their foes and build a history with them. Interac- them. The relationship between enemies can be complex,
tion primarily means roleplaying, and so is fairly freeform. and often close to a friendship or even romance. A foe
Players can make use of interaction skills, but the primary might feel the hero is a worthy adversary and the only one
element is what the characters say to each other, rather able to appreciate the villain’s genius, or capable of grasp-
than who has the higher skill check result. ing certain truths. Some villains become romantically ob-
sessed with their heroic opponents, and vice versa, adding
In order for this interaction to take place, you need to pro-
an element of flirtatious danger to the relationship.
vide the players with opportunities to talk to the villain.
This can include the classic banter during combat or when
the bad guy has the heroes trapped and is expounding on
his plans for world conquest, but consider other avenues
INFORMATION
of interaction to help bring your villains to life. A goal of interaction is to convey information about the
villain to the heroes (and therefore to the players). The
If your villain has a secret identity or a legitimate “cover”
better they know the details of a character’s background,
(such as a “humble businessman” or a “noted philanthro-
motives, habits, and so forth, the more the players come
pist”), have the heroes encounter that persona, perhaps in
to view the antagonist as an individual and not just a face-
their own secret identities. This lets them in on another side
less foe for their heroes to overcome.
of the villain. If the characters come to trust the public per-
sona, then the shock of discovering the truth is that much A lot of this information can come in the form of “tags,”
more potent. particular elements about the villain that make him or her
unique. For example, a master villain might have a habit
Perhaps there are some “neutral” venues in your setting,
of capturing and brainwashing beautiful female superhu-
places where members of the super-powered set can
mans to serve as a kind of “hench-girl harem.” This could be
meet on equal terms, regardless of which side of the law
because the villain is misogynistic or manipulative, or be-
they operate on. If so, then it’s a great opportunity for the
cause he is lonely and looking for a mate worthy of him (or

some combination thereof). Another bad guy might target most characters have lives from before they embarked on
journalists. Initially, the heroes don’t know why, but they criminal careers. Consider a villain’s ties with your setting
learn the villain is actually a washed-up television personal- and how they might come into play, particularly how the
ity who feels his career was ruined by the paparazzi. players might learn about them during a game (providing
Information, previously).
You can also impart information to the players as their he-
roes investigate a new villain or series of crimes. The brief- For example, imagine a Crime Lord who masquerades as a
ing with the police chief or the government official can wealthy and beloved philanthropist with a long history of
impart some background. You can even print up a mock civic responsibility and charity. Although the heroes know
“dossier” on the villain as a handout for the players to read him as a dastardly and ruthless foe, the rest of the world
and learn the basics. However, it can be even more effec- thinks quite highly of him. There’s no escaping his pres-
tive if the heroes turn up the information themselves while ence for the heroes in the city—not when there are parks,
investigating. Allow them to crack the secret of the villain’s streets, and municipal projects named after him, news
identity and piece together the motive for a series of appar- stories of his latest works, photos in the society pages,
ently unrelated crimes, and they’re more likely to remem- and so forth. The extensive integration of the Crime Lord’s
ber it all because it is part of their accomplishments. innocent façade is a powerful motivation for the heroes to
finally expose him as the fraud he is.
Keep in mind that, unlike comic book readers, RPG players
generally do not get an “omniscient” view of a villain’s You can connect villains with the themes and background
thoughts and actions. They only know what their heroes of the setting. In a modern conspiracy series a villain could
have experienced, typically by interacting with the villain be part of the conspiracy, or even the founder of it. Con-
directly. versely, the villain might also be an enemy of the conspir-
acy, with different goals and motives than the heroes, but
INTEGRATION a potential ally on occasion. If the series is about the next

stage of human evolution, the adversary could be like one
of the heroes gone bad, or someone opposed to the idea
The process of integration involves making a villain a part of
of Homo sapiens becoming obsolete. Just pick a thematic
your overall setting and of the heroes’ lives, rather than just
element and look for a way to integrate it with the villain’s
a random element or a passing problem, quickly forgotten.
background.
Integration puts interaction and information into a context,
relating it to the rest of the world and the characters in it.
INTEGRATION WITH THE HEROES
INTEGRATION WITH THE SETTING
Once you have established connections with the setting,
What is the villain’s relationship with the world beyond just consider how to integrate the villain into the heroes’ lives
being a “villain”? Everybody comes from somewhere, and as more than just an opponent.

You can do this from the very start by adding some hooks unrelated adventure. You can also set up intervening ad-
to the enemy’s background, establishing connections ventures that are part of a villain’s master scheme where
with the heroes. Consider a villain who shares a common the prime mover operates behind the scenes. Until the
origin with the heroes. If one or more of the good guys last adventure, the heroes may not even know about the
gained their powers in an accident, perhaps a villain or vil- villain’s involvement! For example, a scheme could have
lains acquired powers at the same time. minions or other villains gathering elements of their mas-
ter’s plan, or the manipulation of several factions against
What about a villain who created one or more of the he- each other. The main villain is involved without actually
roes? A mad scientist might have built an android, robot, showing up in each adventure to plague the heroes.
or cyborg, or genetically modified a test subject or clone.
A sinister mystic could have conjured a demon, elemen- Similarly, consider that if the heroes have only recently
tal, or fey creature, perhaps resulting in a bonding with overcome one of the villain’s major plans, it is probably a
an otherwise ordinary human. Plus there’s the more mun- good idea to put that character on the back burner for a
dane possibility of a villain being a hero’s parent, steppar- while and bring other villains to the forefront. Let the bad
ent, or other relative. guy cool his heels in prison, or let the heroes believe that
he is dead and gone before bringing him back with an
Likewise, perhaps one of the heroes created the villain in even more sinister plan. You can easily rotate out a half-
some fashion. A scientist hero’s attempts at creating new dozen or more regular enemies in this way, sometimes
life or artificial intelligence could go wrong, spawning a even mixing-and-matching them into temporary alliances
powerful new foe. Perhaps a mystic’s past failure results or teams (see Villain Teams, following).
in a demon or other occult creature entering the world to
menace the innocent. Such ties give the heroes a strong Lastly, once an antagonist has gotten played out, consider
sense of responsibility regarding the villain’s actions. wrapping up that villain’s story and taking him or her
out of the game altogether. This can be as simple as
Does the bad guy have a supporting cast? Sometimes re- having the heroes put the bad guy away for good or as
curring henchmen and lieutenants can provide more of a permanent (relatively speaking) as dramatically killing the
connection for the heroes and signal the villain’s involve- villain off, complete with proof the heroes can accept that
ment by showing up. An estranged family member can their foe is truly gone this time. Maybe their enemy has
become part of the heroes’ supporting cast, such as when a change of heart and seeks to reform, or finds peace on
a member of the team is dating a villain’s daughter, or the another world, leaving Earth and the criminal life behind.
hero’s mentor is also the villain’s parent. The evolution of the character can provide players with a
sense that the series is a living and changing world, and
INFREQUENCY that their heroes are having a real impact.
You don’t even have to give up on the villain entirely;

The last element to make a villain an interesting and de- there’s always the possibility of someone else coming
sired part of the series is infrequency; the opponent needs along to take up the now-fallen mantle and motif. A
to make enough return appearances to work on the el- long-lost child or heir could seek revenge on the heroes,
ements of interaction and information, but not so many or a new super-criminal might use an established and
that the players get tired of seeing the bad guy over and fearsome identity for instant recognition (as well as to
over again and lose interest. confuse potential foes). You can bring a version of the
Take a look at your recent game sessions. If the villain has villain back into the game with different motivations,
appeared recently, perhaps it is time for a break and an changes in abilities, or new twists on the modus operandi.
VILLAIN TEAMS
While criminals are less prone to cooperating than heroes, sometimes villains find it advantageous to band together in groups
and form teams. Usually, it is because their archenemies tend to work in teams, making it difficult for a solo villain who isn’t
powerful enough to take on an entire group of heroes at once (see Villain Tactics, earlier this chapter, for more on this).
This section looks at the phenomenon of villain teams: their different types, how they are formed, their goals and
resources, and how to create and use them in your Mutants & Masterminds series.
TYPES OF VILLAIN TEAMS FOLLOW-THE-LEADER

Villain teams tend to come together—and stay together— The most common means of creating and organizing a
for particular reasons. Super-criminals might team up when group of super-powered criminals is when a single mas-
it suits their needs, or when the opportunity is put in their ter villain wills the group into being, assembling a team of
path, but true villain teams are comparatively rare and re- followers or lieutenants to assist her in carrying out some
quire some special circumstances to bring them about. master plan.

Given the treacherous nature of most villains, a team leader

needs considerable power and influence to keep the group
FAMILY TIES
together, and to bring it together in the first place—but not
“Blood is thicker than water,” as they say, and sometimes
so much power that the master villain does not need the
the bonds holding together a team of criminals are fam-
team at all; otherwise there would be little reason to create
ily ties, some of the strongest around. Crime may just be
it! Typically, the leader is either a behind-the-scenes type
“the family business” or the clan could be outcasts, forced
who wants other villains as front-line fighters, or has some
into a life outside the law by circumstance, particularly if
other limitation a team can circumvent.
there are laws against particular types of superhumans
Villain teams with singular leaders are driven by that lead- (mutants, mystics, etc.) or prejudice regarding them. A
er’s agenda, although the individual members may have family of freaks with strange appearances or uncontrol-
goals and plans of their own (see Sudden—But Inevi- lable powers might choose to go on the run rather than
table—Betrayal for when those plans conflict with the dealing with the consequences of living in one place for
leader’s). The leader is also the one who decides who joins any length of time.
the team and who is out (often by summarily executing
Indeed, “family” is often used in the broadest possible
the offender!). Some team leaders recruit villains using
sense when it comes to villain teams. The members could
blackmail and other forms of leverage, appealing to their
all belong to the same culture or species, such as an ex-
greed, or manipulating them based on a keen knowledge
tended “family” made up entirely of mutants or alien-hu-
of their psychological quirks.
man hybrids, rather than being strict blood relations. They
could be a religious cult, or a group of related supernatu-
ALLIANCE ral creatures like a nest of vampires or pack of werewolves.
A few villain teams are run as democracies or cooperatives Family teams tend to be extremely loyal to one another,
of a sort, with the members all having a roughly equal say although some members of the family might feel black-
in how the group is organized and run, at least ideally. The mailed into staying and helping with their relations’ crimi-
villains are all allies, typically out of a need for self-preser- nal schemes simply out of duty or guilt. Family teams are
vation and protection against hero teams, who are often also more likely to share a particular motif (see Villain
far too capable of dealing with the villains individually. Team Motifs later in this section). A family line that passes
criminal training and behavior down across the genera-
Even in the most democratic and loosely organized alli- tions qualifies as a legacy team, as described under A Leg-
ances, some villains are likely to rise to positions of leader- acy of Villainy, following.
ship, even if only as temporary “tactical tyrants” chosen to
coordinate the team’s actions in the midst of combat or
some other crisis. Villain alliances that do not follow this
REBELS WITH A CAUSE
approach end up soundly beaten by the heroes and their A common cause can bring people together, supervillains
superior teamwork, which may or may not teach the bad included, and some teams form around furthering
guys a lesson. Of course, such opportunities to lead result a particular cause or pursuit of a goal. This is usually
in villains who do not want to give up the reins of power, something beyond the kinds of mutual-self interest that
either resulting in a follow-the-leader type group (at least unites villain alliances, like profit or protection. Causes
temporarily) or a rift in the group as the would-be leader are often political or social including (but not limited to)
and any allies are ousted. political ideologies, ecology, religion, and advancing or
Unlike hero teams, which tend to focus on ideals (justice, retarding the agenda of a particular nation or social group.
fairness, progress, and the like), villain alliances tend to be So, for example, a villain team might form around the idea
brutally practical: protection, profit, mutual self-interest, that the western world is a threat to world peace, and
and so forth. If the reason the criminals are cooperating only the weakening of western governments can ensure
goes away, odds are the alliance will crumble as well. The freedom for other nations. Radical eco-activists might ally
team may find a new purpose, or morph into one of the to curtail pollution in the world—by force, if necessary.
other types described here, but is more likely to come Note that many, if not all, such “villain” groups do not
apart, either mutually and peacefully or—in all probabil- see themselves as villains, even if some nations’ laws
ity—in a big conflict. consider them criminals. They are doing what they be-
MIXED DOUBLES
In this section, a “team” of villains generally means a group similar in size to the heroes’ team, perhaps slightly larger or
smaller. Sometimes villains work in pairs rather than as a team of three or more—this is usually either a lead villain and a
loyal sidekick or lieutenant, or a true partnership between two bad guys who regularly work together.
Even more than teams, villainous pairs tend to follow a particular motif. Examples may include a pair of opposites (light
and dark, heat and cold, fire and water, and so forth) or a complementary or related pair, like the Gemini twins, Punch
and Judy, a King and Queen, or a daisho (paired Japanese swords, katana and wakizashi). The villains may just be criminal
partners, but more often they share a deeper relationship, such as spouse, lover, sibling, or even parent and child.

lieve is right and necessary, in spite of the consequences

(and often without regard for the rights of others). Such
THE VILLAIN ARMY
groups are often fanatical about their causes, although From time to time, a villain gets the bright idea: “There
some might only be involved due to non-political con- are more of us than there are heroes, so why don’t we
nections with the group (see Family Ties) or because just all gang up on them?” This leads to the formation
they have their own agendas, using the group to further of the Villain Army, a massive collection of supervillains,
it while it is convenient. usually anywhere between two and ten times the size of
the average hero team of five or six heroes. Such gangs
THE REVENGE SQUAD tend to be heavy on the muscle, with a lot of front-line
fighters or artillery and sniper types (with range attacks),
Few motives are as strong as the thirst for revenge, and even more so than the average villain team.
if there is one thing a group of unstable criminals can Fortunately for the good
agree upon, it is that their guys, the Villain Army rarely
mutual enemies must suf- “Guy named Otto Octavius winds up with eight limbs. manages to sneak up on
fer and pay for what they them to attack en masse.
have done! Villain teams What are the odds?” At best, the heroes usually
are thus often organized
around getting revenge
- J. Jonah Jameson, Spider-Man 2 get some inkling of what is
coming and have a shot at
on a particular target or dealing with it, even if that
targets, either an individual hero, a hero team, or an insti- means fortifying themselves inside their headquarters and
tution of some sort. The archenemies of individual heroes preparing contingency plans for when the villains break in.
on a team might decide to band together and form an op- They might also see it as an opportunity to call together
posing team to crush their mutual foes. their fellow heroes to help out (if there are any).
A Revenge Squad tends to be extremely focused on its The Villain Army generally provides the GM with an
mutual goal, although its members may well have their excuse for over-the-top fight scenes featuring lots and
own agendas. The group can be a temporary alliance or lots of bad guys. One way of handling the concept without
a long-term arrangement, depending on how difficult completely overwhelming the heroes is to treat the
achieving their revenge turns out to be. Some are quite majority of the villains as minions. Even if they normally
informal, while others approach something like a cause- are not, in this circumstance they certainly qualify! Only
oriented group (previously). the master villain who organized the Army and perhaps

same origin. For example, a team exposed to the same

A LEGACY OF VILLAINY mutagenic gas in the same accident and became freaks
Some villain teams become more than just temporary might have a vendetta against the company that made
alliances of convenience; they attain an almost legend- the gas, and the “normal” world in general.
ary status, becoming institutions of a sort. This is par-
ticularly true in settings with a long history of super- Some examples of common origins for a villain team in-
criminals; why start up a completely new team of villains clude the following:
no one has ever heard of when instead you can revive
the fearsome name and reputation of “the Masters of • The villains all gained their powers in a similar fash-
Villainy” or “E.V.I.L.”? ion, which unites them against a world that rejects or
does not understand them, such as mutants, occult-
Of course, such criminal legacies can cause trouble when
ists, psychics, and so forth.
more than one heir-apparent steps up to claim them, or
when the original criminal groups who used them don’t • The villains all belong to the same race, species, or
care for the newcomers who have adopted their moni- even extended family (see the Family Ties type of
kers. You can easily build an adventure around a war be- team for more).
tween two or more factions of supervillains who claim
to all belong to the same group! • The villains share an element of their background,
such as all having served in the same military conflict,
In many cases, a legacy team of villains adopts methods
and even resources similar to their predecessors; they worked as mercenaries, or survived the same disaster.
might have similar goals, take up the previous incarna- • The villains all met and gained their powers in prison,
tion’s headquarters or equipment, perhaps even dust-off possibly as a result of interacting with another su-
and revive some of their former schemes: “Dr. Molor’s Vol-
perhuman there or some sort of accident involving
cano Trigger would have worked, if only he had compen-
sated for the internal temperature variations...” and such.
super-technology, magical artifacts, or the like.
On the other hand, some new versions of old villain teams • The villains were all empowered by the same master
bear little resemblance to them apart from the name, a villain to serve as his agents.
potential source of trouble for any old-timers who feel
disrespected by such a lack of regard for the past. • The villains were all created by the same person, be-
ing artificial beings such as clones, androids, or magi-
If you are running an M&M series with a long history,
especially one where the heroes follow a particular cal constructs.
legacy (either individually or as a team), consider pitting • The villains all invented their powers in various fash-
them against a similar legacy team of villains. For an ions. Such a team of mad inventors is almost certain
additional twist, perhaps one or two characters from the to be full of competitive overblown egos.
series have switched sides, a heroic legacy going over to
the bad guys while a the inheritor of a villain’s mantle • The villains were all empowered as a result of the ac-
becomes a hero! tions of the same hero, perhaps even one of the player
characters. They might be vengeful, particular if the
incident left some scars, or they could even be grate-
some direct lieutenants are treated as full-fledged adver-
ful—although all bets are off if the heroes tries to stop
saries. This means the heroes have a good chance of thin-
them. Maybe they hope to gain even more power by
ning the villains’ ranks before things get too ugly. Award-
defeating and using the hero in some fashion.
ing the players extra hero points is also a good idea; they
should get at least one just because you’re using the Vil-
lain Army idea against their characters! COMMON POWERS
Villains on a team might share certain powers in common,
VILLAIN TEAM MOTIFS or have a common theme to their powers. For example,
“the Weathermen” all have various weather-based pow-
In addition to the types of villain teams discussed in the ers: Air Control for one, a Lightning Blast for another, Cold
previous section, many groups of super-criminals have a Control for a third, and so on. The Factor Four have powers
particular motif or theme. This is more common with vil- based on the classical four elements. The Power Corps all
lains than heroes; in the comics it is largely because he- wear similar suits of power armor, and so forth.
roes tend to be more individual, while villains, especially
those conceived of as a group, are more interchangeable.
In an RPG this works out because player characters tend to
COMMON STYLE
be more varied and distinctive, while a shared motif helps Lastly, a villain team may share a common style or theme
make a villain team more memorable for the players. as part of its overall image. Sometimes this is accidental
(or at least unintended by the team), while other times it is
COMMON ORIGIN entirely intentional. The common powers mentioned pre-
viously are one form of a common style. Others include el-
All the members of the team might share a common ori- ements such as team uniforms, themed code names, and
gin: they gained their powers in the same way, or at the possibly themed resources such as their headquarters.
same time. They can have similar origins—such as villains So a group of aerial thieves known as the Felonious Flock
who are all superhuman mutants or aliens—or even the might all have bird or avian motifs, winged costumes al-

lowing them to fly (or actual wings), and share a high-rise
headquarters they call the Aerie. SUDDEN---BUT INEVITABLE---BETRAYAL
Super-criminals are an untrustworthy lot, to say the
VILLAIN TEAM RESOURCES least. They are either egotistical and power-mad, or sy-
cophantic and willing to side with whomever they think
is winning. Unless the team’s leader is an iron-fisted ty-
One thing groups of super-criminals can do is share vari- rant completely invulnerable to attacks from underlings,
ous resources, much like hero teams do. This includes a schism or double-cross is almost inevitable (and even
things like team equipment, bases or lairs, and vehicles. then some villainous lieutenants can’t resist becoming
the iron-fisted leader, if the opportunity presents itself ).
Team equipment includes useful items such as commlinks
or tracking devices (handy for when they are carted off to You can use conflicts within a villain team to liven up
prison and the heroes are not around to escort them any an adventure, giving things an unexpected twist when
the bad guys turn on each other. It’s all well and good
longer). Equipment could also mean weapons and armor,
for the heroes until something vital gets damaged in the
although that sort of gear tends to be reserved for orga- scuffle, or the new leader of the group decides to alter
nizations and their agents (see Villain Organizations). the plan the good guys figured out, leaving the heroes
Members of villain teams tend to be more individualistic, back at square one.
preferring their own capabilities to any standard-issue
The crime-fighters can also sometimes take advantage
gear.
of mistrust and ambition among the villains. Cunning
A villain team might share a headquarters, which they uses of interaction skills (and related powers) can sow
either set up and use as a group, or which belongs to a seeds of dissent and betrayal, nurturing them to full
bloom. Insight can suss out a foe’s reasons for working
single member—usually the team’s leader or organizer.
with the team, allowing the hero to use Deception or
Thus, a master villain might house his super-powered fol- Persuasion to get the villain to do something rash. Hero
lowers at his secret lair, while an independent coopera- points spent for inspiration can yield valuable clues or
tive of villains could share a hideout, and a family group opportunities for interaction, such as a bad guy coming
might even have an inherited estate or the like as their to the hero’s containment cell to gloat.
shared property.
Lastly, transportation allows a villain team to get around

more easily as a group and perhaps to escape pursuit by carry) or “recall bands” the members wear to allow them
the authorities and the heroes. Vehicles have to be fairly to transport in an emergency.
fast and maneuverable, able to slip under radar detection Whether or not the GM wishes to track the point costs of
and evade interception; otherwise, they need to be so the villains’ team resources and allocate the necessary
tough they can just roll over any opposition without wor- Equipment ranks among the members is largely a matter
rying about it. A villain team’s “vehicle” may well consist of of style. It does not really matter if the team resources
a single member able to transport the others: creating fly- are accounted for in the villains’ point totals, but some
ing platforms or bubbles, opening spatial or dimensional Gamemasters may prefer it for the sake of completeness.
gates, or able to teleport with a substantial number of For player character villains, the GM will likely require they
passengers. Devices or equipment able to perform these share the cost of team equipment, unless it is provided
functions are also possibilities, like an HQ with the Tele- by a patron, in which case the resources might come with
port power (locking on to tracers or beacons the villains various strings attached that the team is unaware of initially.
VILLAIN ORGANIZATIONS
A villainous organization is different from the gathering represented by a villain team in several ways. First, organizations
are usually hierarchical, with a clear leader, various lieutenants and sub-commanders, and so forth. Second, organizations
tend to have fewer actual super-villains, and indeed might not have any! Sometimes the leader of the organization is a
superhuman, or some of the leader’s lieutenants are, but the rest of the organization is made up of lower-powered or
non-powered minions: soldiers, technicians, support staff, and other followers. An organization might also have a villain
team associated with it, super-powered agents intended to carry out their agenda and deal with superheroes who try to
interfere. Lastly, organizations tend to have broader goals than individual villain teams, devoted to the multi-tentacled
schemes of the organization’s leader(s).
council of shadowy masterminds and the megalomania-

ORGANIZATION GOALS & MOTIF cal Overshadow. The Foundry is an underground organi-
zation of robots building and selling illegal technologies
The two foremost things to determine about any villain to criminals in order to fund their expansion and the
organization are its goals and motif, or signature style: for development of artificial “life.” The Labyrinth is an ages-
example, SHADOW is dedicated to world conquest and old conspiracy exerting power and influence behind the
is made up of legions of neo-Nazi clones led by a secret scenes, with a “maze” of fronts, façades, and blind alleys

to confuse its enemies, using experimentation to create most given to creating and leading organizations, since it
super-powered agents. plays to their strengths. Note that the leader is not neces-
sarily the most powerful member of the organization in
Organizations with similar goals may come into conflict or terms of power level; he’s simply the most influential. A
(worse for the heroes) find common ground and cooper- criminal mastermind might have no real powers to speak
ate, at least for a time. Organizations with divergent goals of other than a keen intellect and a ruthless cunning, rely-
may try to step around each other, although they can still ing on super-powered lieutenants and large numbers of
come into conflict if their goals do. agents to accomplish his goals.
ORGANIZATION STRUCTURE The leader of an organization might also be a formidable

supervillain in his own right, a challenge for an entire team
With some rare exceptions, villain organizations tend to of heroes. Confronting the leader can be the climax of an
follow a pyramid structure, with a supreme leader at the adventure or series focusing on the organization and its
summit, one or more levels of lieutenants in the middle, schemes. Removing the leader from power can topple the
and legions of followers or agents at the base. This tends organization, set up a power struggle within its ranks, or
to ensure the organization follows a singular vision, al- establish a new leader, and possibly a new direction for
though underlings may have agendas of their own, and the group as a whole.
even attempt coups or rebellions against the existing
Some organizations have a council or other group of
leadership. Not surprisingly, this hierarchy is the same as
co-leaders, but even then they may have a single leader
the different levels of supervillainy (see Levels of Villains
elected from their number to direct the organization day-
earlier in this chapter).
to-day. Otherwise, the group is likely heavy with intrigue
A few villain organizations are more egalitarian in struc- and slow to respond except in a true crisis, when a mem-
ture, essentially functioning like very large alliances (see ber or faction of the governing body may attempt to seize
Types of Villain Teams). A network or “co-op” of super- power. More often, any sort of council serves as an advi-
criminals pooling their information and resources might sory body to the true leader.
work like this. Even then, such groups tend to develop
members who exert greater influence over the organiza- LIEUTENANTS
tion and its direction.
The various lieutenants of a criminal organization are the
LEADER ones most likely to deal with the heroes on a regular basis.
They are the next in command to the leader and tend to
The organization’s leader is typically a master villain of control specific factions or divisions. Some agencies are
some sort: manipulators and schemers are the villains arranged in a cell structure, with each lieutenant in com-

mand of a largely autonomous unit that answers solely to ensorcelled for that trait) and highly expendable, at least
the leader. If any given cell is captured or taken out, the so the organization does not have to fear their capture
others remain, allowing the organization to continue to and interrogation.
function.
Some organizations make do with human agents,
In particularly large organizations, the lieutenants may recruiting those who share the group’s philosophy and
themselves have underlings: assistants, second officers, goals, or simply mercenaries and hired guns willing to fight
administrators, and so forth before reaching the lowest for the promise of decent pay. Authorities and heroes may
ranks of the agents. For example, a worldwide organi- be able to trace the organization’s recruiting efforts, and
zation might have operations on all of the major conti- such agents are more likely to crack under interrogation
nents, each overseen by a lieutenant who reports to the or betray the organization to the law in order to save their
supreme leader. Those lieutenants might have local or own skins. This is the prime reason why agents are not
regional commanders who report to them, and so forth. told any more than they absolutely need to know.
As with leaders, lieutenants in a villain organization may Human agents are typically outfitted with the most ad-
be superhumans, perhaps even a team of superhumans vanced equipment the organization can provide, like
that operates together, but they can just as easily be oth- blaster weapons. They may also have combat vehicles and
erwise ordinary humans with the skill and ruthlessness even resources like power armor or heavy weapons to
necessary to survive and succeed in criminal enterprise. take on superhuman opponents.
Unlike the leader of an organization, lieutenants tend to
be fairly evenly split between schemers and manipulators Lastly, villain organizations often ensure agents have
and more overt brute and skulker types, with the latter of- some sort of “self-destruct” mechanism to prevent their
ten having more of a “hands-on” approach to dealing with knowledge or equipment from falling into the wrong
problems. hands and to guard against betrayal. This can be anything
from implanted explosives or slow-acting toxins to post-
By providing an organization with a variety of lieutenants, hypnotic commands, magical curses, or agents with a
you can effectively create different sub-organizations built-in brief lifespan, ensuring they expire shortly after
with their own style and flavor, extending the usefulness capture. In game-terms, this is a plot device rather than a
of the organization as a whole in different adventures. So, game trait; although it is certainly a significant drawback
if you need a mad scientist corporation performing ille- from the agent’s perspective, it is an overall advantage for
gal genetic experiments in one scenario, and suppliers of the organization and an additional difficulty for the he-
weapons to terrorist cells in another, they might be differ- roes, so the “value” tends to balance out.
ent facets of the same larger organization, each with their
own leaders and agents.
AGENTS
ORGANIZATION RESOURCES
One thing villain organizations usually have in abundance
is resources: secret lairs, armies of agents, military-level ve-
The lowermost, and broadest, level of the organization is
hicles, orbiting mind-control rays, giant laser cannons, and
made up of agents, the rank-and-file members who do
so forth. The largest organizations are as well equipped
the grunt-work and carry out the orders of their superiors.
as many nations, capable of challenging conventional
Agents are the textbook definition of minions in Mutants
armies. Most four-color settings don’t particularly worry
& Masterminds game terms, and are nearly always treated
about where the organization is getting the money for all
as such, with the exception of special “elite” units.
this stuff; at best they provide some hand-waving expla-
“Agents” can be almost any type of character, although nation about criminal cartels, front-companies, or caches
they are usually soldiers of some sort. In more four-color of Nazi gold. In more realistic settings, Gamemasters may
settings, a villain organization might call upon legions want to give heroes the option of “following the money”
of clones, robots, zombies, demons, or other nonhuman to track down a secret criminal organization by tracing
creatures to do their bidding. Such agents have the ad- their sources of funding, and perhaps even cutting them
vantages of being extremely loyal (often programmed or off to weaken the organization.


CHAPTER 3: ARCHETYPES
Creating villains can be one of the most fun elements of running a Mutants & Masterminds game, but it can also be one
of the most time-intensive. This chapter looks to take some of the effort out of the process while retaining all of the fun
by giving you resources and options when it comes to villain creation, so you can whip up new bad guys for your M&M
adventures in no time flat.
The chapter starts off with a look at how to design villains in M&M game terms, including design considerations like
balancing them against the game’s power level, the number and types of heroes, and the villain’s intended function in
the game. It looks at the various game traits—abilities, skills, advantages, and powers—from a villain-design perspective,
and provides some advice on how to design faster and smarter.
The bulk of the chapter offers a collection of villain archetypes with complete game stats and detailed information
about that type of villain, different themes and variants, tactics and adventure ideas, even suggested names. You’ll be
able to quickly choose an archetype, customize some details, and have a ready-to-run villain in minutes! With just these
archetypes, you can create entire rogues galleries of dozens of supervillains to fill out your series.
The chapter concludes with a selection of minion archetypes for a villain’s various followers and henchmen, as well as
different creatures a villain might summon or create to battle the heroes.
VILLAIN DESIGN
Designing a villain for Mutants & Masterminds is mechanically similar to creating a hero, but differs in some important
ways. First, villains are usually non-player characters, and therefore not subject to the limits of player character heroes.
Second, villains have a different intended purpose, especially bad guys designed as foes for entire teams of heroes.
This section looks at the different aspects of villain design, from concept to the assignment of game traits, and points
out the various considerations to keep in mind when creating your own villains for M&M games, as well as adapting or
including villains from published sources.
CONCEPT villain, creating a supporting character the heroes come

to trust, only to learn the terrible truth too late.
Generally, the first step in creating a villain is the concept: It is often a good idea to keep a small notebook (or elec-
is this an arch-fiend who dreams of world domination tronic notes file) where you can jot down villain ideas as
and plans to remove obstacles from his path, starting they occur to you. Players may bring up potential villains
with the heroes; or is it a petty crook motivated solely by they’d like to see during games, and inspiration can strike
greed, and perhaps a desire to put aside some money for almost anywhere. You might find new villains in your fa-
his poor, sick mother, who doesn’t know about her boy’s vorite television shows or books, in the news or current
nightly forays or criminal career? events, or others’ descriptions of their own games, in per-
The possible concepts for supervillains are nearly endless, son or online.
and as plentiful as the inspirations for heroes. If you are
looking for a concept to help get you started, take a look
through the villain archetypes in this chapter, including POWER LEVEL
their variations, for many of the classics of the genre. You Just as a setting’s power level is the first consideration in
can also find plentiful inspiration in your favorite comic designing a hero, so too is it the first thing in designing a
books, ranging from long-standing villains that have de- villain for that setting. However, whereas power level de-
fined the genre to minor “Z list” bad guys the players prob- termines starting power points and sets limits for spend-
ably haven’t even heard of—but so much the better when ing them in the case of heroes, villains have an essentially
it comes to surprising them! unlimited power point budget, and their power level is
Take a look through the previous chapter for ideas on the based on their traits rather than the other way around. So
different roles your villain can play. Is there a particular why start with power level?
niche your series is lacking? What about the types given in It’s a good idea to have a “target” power level in mind that
the Villain Roles section? Maybe a particular hero in your fits the villain’s overall concept and role in the series. Ap-
game is ripe for a Dark Reflection or an Opposite villain to propriate power level varies based on the overall power
bring out some interesting qualities about the hero. Per- level of the series itself: henchmen tend to be in the PL
haps you want to set up a long-term plot with a Turncoat 4-PL 6 range, about 4-5 power levels lower than the he-

roes, although rarely much lower than PL 3 if they’re to be We call these characters “Power Level X” and refer to
much use as henchmen at all (since PL 0-2 encompasses similar game traits as “rank X.” In mathematics, X is often
fairly ordinary people). Superhuman henchmen are often used to designate an unknown variable. In M&M, it means
just 1-3 power levels lower than the heroes, maybe even the trait in question is as high as the Gamemaster wishes
closer, if they are minions (see the next section). or the adventure or situation requires. Essentially, a rank of
X in a trait means it is effectively unlimited in game terms,
Lieutenants should generally be close to the power level a plot device.
of the series, matching that of the heroes, maybe off by a
level or two. This makes a lieutenant a fairly even match Any foe that can be defined with the phrase “invincible ex-
for a single hero and a group of them a match for a team cept for...” is potentially a plot device character, although
of heroes. A powerful lieutenant might be a couple levels the heroes won’t necessarily know that until they try some
higher than the series PL. of the more conventional means and discover they’re not
working.
Master villains nearly always have a higher power level
than the heroes, from one or two levels to as many as five One of the key points of plot device characters is there
or more, depending on the villain and the design. Note should be some way for the heroes to “win”—which is to
that less combat-intensive villains should generally be say, to end the threat posed by the character. This may
closer to the series power level, to ensure aspects such as not necessarily include defeating their foe in a straight-
resistance difficulties against their powers are reasonable. up fight. Indeed, it probably does not include that op-
So, for example, a villain such as the Puppeteer (see page tion! Power Level X villains aren’t intended for fights, un-
118)—able to mind control victims from a distance and less it’s a fairly hopeless one where the heroes learn even
have them carry out his bidding—should be closer to the their vast powers are essentially useless, but soldier on
series PL to give the heroes a fair chance of resisting his regardless of the odds. Plot device villains are a Game-
Mind Control, whereas a Brute (see page 79)—intended to master’s prerogative, but completely unbeatable ones
fight a whole team of heroes—needs to be higher power are unfair and likely to make the players frustrated and
level, with trade-offs for commensurately large damage the game no fun.
attacks (but lowered attack bonus, giving nimble heroes
a chance to avoid getting hit altogether). See the Imp archetype (see page 92) for an example of
a plot device villain with virtually unlimited power and
Choose a power level for your villain suitable for the char- some ways of handling such a character in play.
acter’s role in the series as compared to the series power
level. PLOT DEVICES AND HERO POINTS
In some ways, a Power Level X villain is like a personified
MINION POWER LEVEL complication, where the GM is going to say “nice try, but
no,” a lot. Because of this, you’ll want to pay close attention
Villainous minions have a special consideration in terms to the awarding of hero points when dealing with a plot
of power level because minions are essentially one-shot device villain.
opponents; a single successful attack removes them
from a conflict, so a minion can potentially be higher First off, you do not have to hand out hero points every
powered than would otherwise be appropriate for a time the villain appears, or even every time he does some-
henchmen or lieutenant villain in the series. Master vil- thing. A lot of the challenges the foe raises are no different
lains are, by definition, never minions, although it is pos- than those posed by other villains. For example, if a PL X
sible to have minions with an even higher power level imp decides to bring a set of fictional or legendary histori-
than the heroes! cal villains to life, that’s just part of the plot, not necessar-
ily a setback for the heroes—especially if said villains are
If a “minion” is intended as a truly challenging fight, such as conventional characters the heroes can fight. Similarly, if
a team of heroes versus a mad scientist’s unleashed mon- a hero attacks a plot device character to no avail, that’s
ster or the like, then chances are the opponent should not not necessarily a setback, either. On the other hand, if the
be treated as a minion in game-terms. This ensures the vil- villain arbitrarily does something like remove the heroes’
lain can provide a sustained back-and-forth conflict rather powers, turn them into small animals, or transport them
than being taken out of the fight by the first successful to medieval times or the like, that counts as a complica-
attack. tion and should earn them a hero point.
The primary reason to hand out hero points when deal-

POWER LEVEL X ing with plot device characters is to allow the good guys
to deal with the threats and challenges the villain places
Some characters—particularly villains—have capabili- in their path, and to encourage the use of hero points for
ties so broad and powerful as to be outside the conven- inspiration or extra effort aimed at overcoming the villain.
tional definitions of the game system. Certainly, the comic So you want to give the players enough hero points, with-
books have a number of foes and threats so “cosmic” in out necessarily handing them out for things that are just
scale that it is hardly worth assigning numerical values to routine challenges with an unusual twist or explanation to
their capabilities. In these cases, you don’t need to assign them. As with all Gamemastering decisions, use your best
any game traits to the character at all! judgment based on the flow of the adventure, keeping in

mind that it is easier to make up for a deficiency in hero For example, the most difficult Knowledge questions are
points by giving out more than it is to take away points around DC 30, so a villain with a +20 bonus can answer
you’ve already given to the players. them routinely. Similarly, a master sneak-thief able to get
past DC 30 security needs a +20 skill bonus, if able to ac-
ABILITIES complish it routinely.
You do not have to worry about any odd or unspent ranks

A villain’s ability ranks tend to be less defining in many from the villain’s skill total, so long as the skill modifiers
ways than a hero’s. Depending on how the game plays out, are where you want them. Since villains have unlimited
the players may never even know what a villain’s Aware- points, it doesn’t really matter if they “waste” a half of a
ness or Strength score is. Plus villains aren’t restricted in point on an odd skill rank.
terms of how many points they can spend on abilities in
the way player characters are.
Use benchmarks like those in the M&M Hero’s Handbook

ADVANTAGES
to assign the ability ranks you feel the character should Assign whatever advantages are appropriate for the vil-
have, without worrying about the point values. Just add lain, keeping in mind that you’ll have to manage those
them up after, if you feel like keeping track of point totals. advantages during play. You might want to keep to a rela-
Generally speaking, the easiest thing to do when creating tively simple set of options where combat advantages are
a villain is to focus on the one or two most important abili- concerned, taking the time to include any and all appli-
ties and give them modifiers at or near the power level, cable modifiers in the villain’s game traits.
leaving the other abilities around +0 (maybe +1 or +2) un-
less you conceive of the character as particularly weak in While you could assign a villain who has equipment or
one or more of them, in which case you might want to minions the appropriate ranks in the Equipment and
assign a negative modifier. Minions advantages, there really isn’t any real need to do
so, since those advantages are just placeholders for the
points assigned to those traits, and villains do not have
ABILITIES AND POWERS the same point-budget concerns. You can figure out the
necessary advantage ranks and totals if you wish, but
For villains with permanent ability-modifying power ef- not doing so won’t really affect the villain in play either
fects, take their bonuses and penalties into account when way (see the Don’t Sweat the Small Stuff... sidebar for
you’re assigning ranks. You may find it easier to assign the more).
final desired ability rank and then work backwards, sub-
tracting the modifier provided by powers. The remainder
is what the villain pays for the ability. So, for example, if
FORTUNE ADVANTAGES
you want a growing villain to have a Strength of 13 and
A particular category when it comes to villain design in
you envision the villain 50 feet tall, look at gargantuan
M&M (and non-player character design in general) is fortune
Growth (12 ranks) and the +12 Strength it provides. Sub-
advantages. These advantages rely on or influence the use
tracting 12 from 13, the villain needs to pay just 2 points,
of hero points in some fashion. Of course, by definition,
for 1 rank of Strength, to get the desired result.
villains do not have hero points! This makes assigning
fortune advantages to them somewhat problematic, even
SKILLS in cases where it would be entirely appropriate.
Skills for villains come in two primary types: active and Fortune advantages that require spending a hero point
passive. Active skills are those you expect will see use dur- (such as Inspire, Leadership, and Ultimate Effort) can be
ing direct confrontations with the villain. They include in- treated as complications; when you activate the advantage
teraction skills, or combat-useful skills such as Acrobatics. for the villain, award the players of any characters affected
Passive skills are those more likely to come up “off panel” by it a hero point. Having the villain automatically gain
or when the heroes are not around, based mainly around initiative (Seize Initiative) or exhort a minion to shake off
routine check results. a condition (Leadership) is essentially a complication for
the heroes anyway.
For active skills, take the series power level into account
when you are assigning a bonus (and therefore skill ranks) Things get trickier in dealing with the Luck advantage.
to the villain: in a PL 10 series, a hero isn’t going to have Since this advantage grants die re-rolls like hero points,
an interaction skill bonus greater than +20, and it’ll prob- can villains (who have no access to hero points) take it at
ably be closer to +10-15 or so. Thus the villain’s skills in all? If they can, it’s potentially upsetting to the hero point
that area should be commensurate, unless you want the “economy” of the game, since it means villains can spend
bad guy to have extraordinary skill or resistance. those “points” without awarding any hero points to the
characters. This might be appropriate for some especially
Set passive skill bonuses at whatever amount fits the fortunate bad guys, with no more than a couple of ranks
concept of the villain and is sufficient to let the charac- to keep it from getting out of hand. Otherwise, it is best
ter accomplish appropriate routine checks. So a scien- not to assign Luck to villains; “lucky” foes tend to either
tific genius villain is most certainly going to have ranks have the benefit of GM-defined complications or powers
in Expertise and Technology. Assign these based on the like Probability Control.
sort of things you want the villain able to know and do.

POWERS henchmen villains can suffer more from being stunned

than master villains, giving players the satisfaction of
bringing down their defenses, messing up their power
Villains often have both a broader range of power choices
use, or knocking them out of the air. You might want to
than heroes, and a more restricted range of actual powers.
use complications to keep it from happening too soon or
This is because villains have unlimited power points to
too often, but you are generally safe to make it at least
spend but are more often “one-trick ponies” compared to
possible in the design phase, and to allow it to happen
heroes. Master villains may have as much or more variety
regularly in play.
as heroes, but lieutenants and henchmen rarely do.
Assign the powers necessary to describe the villain as

you imagine him or her. If a particular power doesn’t fit POWER RANGE OR REACH
within the power level you’ve chosen, consider either
restricting that power (and rethinking your concept a bit) Consider the overall range of the villain’s powers, par-
or changing the villain’s power level to compensate. Keep ticularly offensive ones. Is the villain primarily a distance
in mind a great many powers in M&M are not restricted by fighter with ranged attacks, a close-in fighter relying on
power level at all, so a villain can have unlimited ranks in Strength and close attacks, or a mixture of the two? Power
movement effects, for example, regardless of assigned PL. range helps determine how you want to focus the villain’s
attack bonus (via skills and advantages) and how effective
Pay particular attention to the following aspects of a the villain is in different situations. A close-combat villain
villain’s powers: stunned capabilities, overall range or may have difficulties if the heroes decide to simply pep-
“reach,” and the negation of heroic advantages. per him with ranged attacks, never getting close enough
for the villain to get his mitts on them. Similarly, a ranged
STUNNED POWER CAPABILITIES combatant might be in trouble in a hero manages to slip
past his attacks and close to hand-to-hand combat.
Odds are good that your villain will suffer a dazed or Also consider the villain’s range in terms of area effects.
stunned result in combat sooner or later. Unless you These work best for solo villains, who do not have to worry
intend to negate all of them by handing out hero points about hitting any allies; team villains should at least be a
to the players, you should consider what happens if the little concerned about taking an ally out of the fight, even
villain loses actions. In particular, is the character heavily if they care nothing for them personally. Does the villain
dependent on concentration or sustained duration effects need the Selective extra for certain area effects? Does that
like Flight or Sustained Protection? fit your concept of the character? If not, and the villain
simply has to be cautious, that’s a weakness clever heroes
Generally, the more important the villain, the less vulner-
may exploit.
able he or she should be to this tactic. Lieutenant and

NEGATION OF HEROIC POWERS DON’T SWEAT THE SMALL STUFF...
Lastly, consider to what degree the villain’s powers can ... and points and stats are all small stuff.
and should overcome various advantages possessed by Unless you particularly enjoy creating elaborately
the heroes. detailed character sheets for your M&M villains, don’t
bother. You don’t need to. A lot of those fine details—
As Gamemaster, you have a certain advantage when it like specific Benefit advantages, or an enumerated list of
comes to designing villains: You can customize them to every Alternate Effect you can imagine—are just going
the heroes in order to make them more of a challenge. to go to waste. If this is a first-time villain, you should
For example, if there is an Insubstantial hero in the group, see if the concept is even going to stick with the players
you can create villains with the Affects Insubstantial extra. before you get too attached, and find out in play if the
Similarly, you can give villains Senses that defeat a hero’s bad guy is worthy of a rematch. Then you can give some
Concealment, Immunity to certain of their attacks, or Af- additional thought to the villain’s hobbies or other
flictions that target their weakest defenses. details, if you want.
One of the Gamemastering “secrets” of M&M is this: You
There’s a delicate balance between using this advantage do not have to bother figuring out a villain’s power
to make a villain or villain-team challenging and using it to point total! It doesn’t matter. After all, since power
build unbeatable villains specifically designed to exploit points are not dependent on power level (or vice versa)
every one of the heroes’ weak points. It’s unfair to always and GM-created characters have as many points as they
confront the Insubstantial hero with foes who just “hap- need and whatever power level you choose to give
pen” to have Affects Insubstantial or to have every villain them, it doesn’t really matter how many (or how few)
“coincidentally” possess a sense capable of defeating a he- points a villain “costs”! Again, if you really enjoy adding
ro’s invisibility. Unless the bad guy is specifically designed up a villain’s points and building traits (or you’re using
as a counter to the hero, you may want to consider a ne- design software such as Lone Wolf’s Hero Lab for M&M),
don’t let us get in the way of your fun, but if you don’t
gating ability a villainous power stunt.
want to do those things, there’s really no need!
VILLAIN POWER STUNTS By the same token, there’s nothing to stop you from add-
ing or subtracting details even in the midst of a game. If,
for example, it suits the flow of the story for the villain
Villains can make use of power stunts in the same way other to turn out to have membership in a particular exclusive
characters do. The primary difference comes in when looking club, then feel free to make it so, even if you didn’t think
to shake off the fatigue from the extra effort. Doing so for a to give the character the appropriate Benefit advantage
villain is a complication for the heroes, essentially granting in advance. If a particular retroactive change to a villain
the villain the benefit of a spent hero point. Of course, while constitutes a real complication for the heroes, throw a
creating the villain you can assign potentially any power hero point award their way. Otherwise, changing the vil-
stunt you can think up as a regular Alternate Effect of the ad- lain “behind the curtain” is entirely your prerogative. If
you do it deftly, your players don’t even have to know
versary’s powers, since the character does not have a limited
that it wasn’t always planned that way!
power point budget like a player character hero. However, it
is generally easier to assign only those Alternate Effects the
villain uses regularly, treating others that come up in play as
QUICK & EASY VILLAINS
powers stunts (and possibly complications). Given that power point totals and such really don’t
matter for villains. You can even quickly and easily “fake”
COMPLICATIONS a character in M&M using the following guidelines.
Choose a power level for your villain based on the char-
Why give a villain complications? As previously mentioned, acter’s role: within 1 level of the series PL for a lieuten-
villains in M&M don’t earn or use hero points, so what use ant, 1–5 levels higher for a master villain, and 3–5 levels
are complications to them? lower for a henchman. So for a PL10 series, aim for PL11-
15 for a master villain, PL9-11 for a lieutenant, and PL
The answer is: villainous complications aren’t useful to the 5–7 for a henchman.
villain, but they do provide the Gamemaster with some
Whenever you need to know one of the villain’s ranks,
handy references for handling the villain in play. They may
use the chosen power level if it is for an important trait
also provide heroes with a weakness they can exploit to like an attack bonus, defense, power rank or ability the
help defeat the villain. In the latter case, the villain’s com- character is known for, such as Strength for a strong vil-
plication provides the heroes with an advantage, much lain or Intellect for a smart one. If it’s a skill, use the cho-
like a circumstance modifier. Since the GM chooses the sen power level, plus 8. If it is a fairly unimportant trait,
complications for the villains, this advantage does not use either half the chosen power level, or a rank of 0.
have a “cost” in game terms; it’s just there for the heroes to Using this method (and some knowledge of the game’s
exploit, if they figure out how to do so. traits and basic effects) you can whip up characters out
of “thin air” on the spur of the moment. Need a quick
Even more than heroic complications, villainous
generic crook? Given him PL4 and a commensurate rank
complications are not set in stone. The ones provided with in all appropriate abilities, and you’re done! Sure, this
the archetypes in this chapter are merely suggestions. approach lacks fine detail, but chances are the players
Feel free to modify or add to them however you like to fit won’t know the different in the middle of a game.
the type of villain you have in mind for your game.

ASSASSIN
The Assassin is a professional killer, often for hire to pernatural powers due to their faith and training, while
the highest bidder. More than a mere “hit-man,” this ar- for others, it’s all just outward trappings.
chetype is a living weapon, “the best in
the world”—or at least so the Assassin HUNTER
frequently claims. Most Assassins are
loners, working for a particular cli- For the Hunter, it is not the kill that matters, but the
ent until their contract is completed thrill and challenge of the hunt. Hunters often start out
and then moving on. Some belong stalking and killing animals, for survival or for sport,
to an entire guild of assassins, then move on to hunting “the most dangerous game”:
although this archetype is humans, especially superhumans. Although they of-
generally an exemplary mem- ten justify themselves as “sportsmen,” villainous
ber of such a group—one of Hunters are typically sadists who get a thrill
their very best—unless they out of hunting and killing their prey. A Hunter
feature in a higher power level may have a primitive style, focusing on the
series (PL 13+). use of traditional hunting techniques and
tools used by an indigenous people, or may
Assassins typically have few, take a more modern approach, using things
if any, superhuman pow- like firearms (or tranq guns), night-vision
ers, although they are the scopes, and the like. Hunters are particu-
pinnacle of human athletic larly likely to take an interest in heroes
achievement and combat skill, with animal themes or powers as po-
with a ruthlessness to match. tential prey.
Some assassins have their abili-
ties heightened by special treatments or training
(drugs, chemicals, secret martial arts, and so forth),
REVENANT
while others are the products of intense conven-
A Revenant is an undead assassin
tional training and experience. The ability to pit
that targets the living for various
themselves against superhuman targets and win
reasons, most often vengeance
is a point of pride for most assassins.
for the Revenant’s own death.
A Revenant might also seek out
THEMES targets it hated in life, such as
an undead soldier who assas-
Unsurprisingly, most assassin themes re- sinates military and govern-
volve around death, choice of assassina- ment personnel from a nation
tion method, or choice of target. Assassins against which he fought a war,
tend to stick close to their theme, with any even if that war is long since
variation from their expected M.O. a big over. Alternately, a Revenant
clue that something strange is going on. Assassin might go after targets
he once cared about, feeling they
DEATH-CULTIST have betrayed him.
At a minimuma Revenant has Im-

More than just a dealer of death, the munity to Fortitude Effects and no
Death-Cultist worships death in some Stamina rank, being already dead.
fashion. It might just be an affectation Revenant Assassins may have addi-
intended to throw a scare into targets tional powers, particularly high ranks
or an unhealthy obsession with death- in Regeneration or even Immortality
themed imagery: skull masks, black to keep coming back after being dam-
clothing, crypt-like lairs, and so forth. aged or destroyed. Some also have var-
The assassin might belong to an actual ious Senses, allowing them to detect
death-cult, worshipping a known or and track their preferred targets with
fictional deity, such as an assassin cult uncanny accuracy.
dedicated to St. Julian the Hospitaller,
patron saint of murderers. Some cult- SLAYER
ists might worship Death itself as an
embodied concept, whatever that Assassins are equal-opportunity
might mean in the context of the killers, while Slayers target a
setting. Some Death-Cultists have su- particular type of victim. It

ASSASSIN PL10
STR STA AGL DEX FGT INT AWE PRE
3 3 4 4 8 1 2 3
EQUPMENT ADVANTAGES
Arsenal: Array (16 points) Accurate Attack, Assessment, Benefit (Alternate Identity),
• Flash-Bang Grenades: Ranged Burst Area Dazzle 4 • 16 points Contacts, Defensive Attack, Defensive Roll 2, Equipment 8,
Evasion 2, Improved Aim, Improved Critical (Sniper Rifle),
• Assault Rifle: Ranged Multiattack Damage 5 • 1 point
Improved Grab, Improved Initiative 2, Power Attack, Precise
• Combat Knife: Strength-Based Damage 2, Improved Critical
Attack 4 (Close and Ranged; Cover and Concealment), Ranged
• 1 point
Attack 4, Takedown, Throwing Mastery 4, Ultimate Aim,
• Fragmentation Grenades: Ranged Burst Area Damage 5 Uncanny Dodge
• 1 point
• Heavy Pistol: Ranged Damage 4 • 1 point OFFENSE
• Sleep Gas Grenades: Ranged Cloud Area Sleep 4 • 1 point
INITIATIVE +12
• Smoke Grenades: Ranged Cloud Area Concealment Attack 4
• 1 point Assault Rifle +15 Ranged, Damage 5
• Sniper Rifle and Targeting Scope: Ranged Damage 5, Knife +12 Close, Damage 5, Crit. 19-20
Improved Aim, Improved Critical • 1 point
Pistol +15 Ranged, Damage 4
• Tear Gas Grenades: Ranged Cloud Area Affliction 4 • 1 point
Sniper Rifle +15 Ranged, Damage 5, Crit. 18-20
Body Armor: Protection 2 • 2 points
Commlink: Feature 1 (Communication) • 1 point Unarmed +8 Close, Damage 3
Mini-Tracers: Feature 1 (Tracking) • 1 point DEFENSE

Rebreather: Immunity 2 (Suffocation), Limited • 1 point
DODGE 13 FORTITUDE 9
VEHICLE: MOTORCYCLE • 11 POINTS PARRY 13 TOUGHNESS 7/5*
Medium; Str 1, Speed 6, Def 10, Tou 8; Smokescreen
WILL 11 *Without Defensive Roll.
SKILLS POWER POINTS

Acrobatics 8 (+12), Athletics 8 (+11), Close Combat: Blades 4
ABILITIES 56 SKILLS 56
(+12), Deception 9 (+12), Expertise: Assassin 8 (+9), Expertise:
Streetwise 8 (+9), Expertise: Tactics 6 (+7), Insight 8 (+10), POWERS 0 DEFENSES 29
Intimidation 6 (+9), Perception 8 (+10), Ranged Combat: Guns ADVANTAGES 38 TOTAL 179
7 (+11), Sleight of Hand 8 (+12), Stealth 9 (+13), Technology 8
(+9), Treatment 2 (+3), Vehicles 5 (+9) COMPLICATIONS
might be mutants, the undead, mystics, psychics, or Addiction: To performance-enhancing or emotion-deadening
drugs, or to the act of killing itself.
even superheroes in general, to name a few. A Slayer’s
reasons for choosing a particular target vary, from a re- Enemy: Rival assassins or vengeful victims.
ligious belief in cleansing the world of a terrible evil to Honor: A rigid “assassin’s code.”
a personal vendetta extended against an entire group. Obsession: With completing a job.
Many Slayers see themselves as righteous (if misunder- Reputation: A particular style that makes the assassin
stood) and their foes—and anyone allied with them—as predictable.
evil. Others are akin to Hunters (previously) with a par-
ticular type of chosen prey. The Favored Foe advantage
is all but required for Slayers, and they often have powers Silver Age they are out-and-out villains, while in the Iron
suited to hunting and killing their preferred targets. Age they frequently became protagonists. The Modern
Age style tends to place Vigilantes in a gray area, posing
VIGILANTE some moral quandaries for the heroes.
A Vigilante walks a gray line between “hero” and “villain” WEAPON SPECIALIST
as he assassinates criminals, acting as judge, jury, and es-
pecially executioner. Some Vigilantes act out of a sense of For Weapon Specialists, the kill is simply an expression
duty and justice (at least justice as they see it). Others are of their mastery of a chosen weapon, their dedication
driven more by vengeance, ruthlessly eliminating anyone to a particular “art” of assassination. Choices for weapon
standing between them and their targets, making little specialists range from all kinds of archaic weapons like
distinction between the innocent and the guilty (or at swords, knives, shuriken, and garrotes to modern firearms,
least assuming anyone working against them is guilty by unique super-tech gadgets, or even particular unarmed
association). Vigilantes often serve as dark reflections of combat styles. A Weapon Specialist’s skill is so great as to
costumed heroes, who are also vigilantes of sorts. In the be almost superhuman, with advantages and even pow-

ers based around the things the Specialist can do with his various traps, ranging from rigged battlefields to kidnap-
chosen weapon. ping loved ones for use as bait. An Assassin is not above
setting up various feints to test the heroes’ capabilities:
In addition to conventional targets, Weapon Specialists sending disposable hirelings after them to gather infor-
are prone to going after any hero who also specializes mation, for example, or placing innocents in traps, forcing
in their chosen weapon, simply to prove their superior the heroes to rescue them and demonstrate their abilities
skill (or get revenge for past losses, as the case may be). (and limitations) for monitors and cameras. A cunning As-
A Weapon Specialist villain might have even trained with sassin might even infiltrate a hero team with an imposter
the same teacher as a hero, or could be the hero’s teacher! (like the Master of Disguise) to learn all about them before
Similarly, a Weapon Specialist Assassin might be a failed making a move.
student of a hero, gone over to the side of evil.
NAME IDEAS CAPERS

Adventures involving an Assassin may include the follow-
Caliber, Carnifex, Dirge, Finale, Hitman, Hunter, Killer,
ing:
Reaper, Slayer
MARKED FOR DEATH
CLASSIC BITS
The heroes have crossed the wrong people, who want
Some classic elements associated with the Assassin in- them out of the picture, permanently. Guess who
clude the following: they’ve hired? The Assassin might even tip the potential
victims off, either as a “professional courtesy” or out of
CODE OF HONOR sheer arrogance. Even if the Assassin does not, the em-
ployer might, or word could reach the heroes through
Most assassins have some sort of honor code, primarily the grapevine. This is especially likely once the Assassin
as a plot device to keep them from simply killing heroes starts sniffing around for information: rather than going
outright with cowardly (but highly effective) methods after the heroes right away, their new foe takes time to
like sniping or remote-controlled explosives. The assas- do research, probe for weaknesses, and generally set the
sin either wants to test the target in honorable combat targets up for the kill. Fortunately, this gives the heroes
(which usually means face-to-face) or has a compulsion time not only to prepare their defenses, but to go on
about giving targets a “fair chance,” whatever that may the offensive and take the Assassin out before he has a
mean in the killer’s own twisted terms. Some assassins chance to make his move.
have a secret death wish and a tendency to either self-
sabotage or set up potentially deadly confrontations KISS, KISS, BANG, BANG
with their foes, such as giving clues about their plans
or whereabouts. Smart heroes can exploit an assassin’s A hero’s new love interest is a figure of mystery: suave,
code of honor to at least ensure a fair fight. Many profes- smart, and sophisticated, with a wicked sense of hu-
sional assassins place a great deal of emphasis on “my mor, and a job the interest is vague about that seems to
word is my bond,” and will not go back on an agreement allow for a lot of free time. Not long thereafter, some-
once they have made it. body makes an attempt on the hero’s life, using intimate
knowledge of his or her activities. Is the new love inter-
SIGNED IN BLOOD est the Assassin in disguise? An informant? Somebody
trying to protect the hero from the Assassin? Or just a
Assassins—like many supervillains—have sizeable egos, coincidence? For a twist on this, perhaps the new love
particularly where their area of expertise is concerned. interest is romancing someone else in the hero’s life: a
They often like to “sign” their work in some fashion, so relative, friend, or even ex-romantic interest, in order to
everyone knows who pulled off such an impressive job. get close to and find out more about the hero and per-
This might involve leaving something at the scene— haps to create a distraction.
such as a calling card, note, or symbol—or killing in a
particular fashion. Such signatures serve as clues for he- NOTHING TO LOSE
roes investigating the killings and can alert them to an
old foe who is active again. Someone else might also use The only Assassin more dangerous than the paid profes-
an Assassin’s signature to try and mislead the heroes or sional is one with nothing left to lose. The Assassin might
frame the villain, but runs the risk of having to deal not be a fanatic willing to die for a cause, or someone with
only with the heroes but with an angry Assassin out for a death wish, looking for a hero willing and able to use
revenge! lethal force. If the heroes are not willing initially, then per-
haps the Assassin can find a way to encourage them, such
IT’S A TRAP! as threatening loved ones, ruining the heroes’ reputations,
or putting them in a kill-or-be-killed situation, especially if
Code of honor or no, Assassins are not stupid, and they try lives other than their own are at stake. Of course, it’s possi-
and arrange confrontations in their favor whenever pos- ble the slain Assassin might not rest easily and could come
sible. Heroes can expect an Assassin after them to set up back as a Revenant....

BRUTE
The Brute’s concept is as straightforward as the villain itself SMART
is: a physically powerful engine of destruction, capable of
plowing a swath of devastation through the city and sur- Although the classic brute is both big and dumb, there is
rounding countryside until the heroes manage to stop it. nothing that says this has to be the case. A smart brute is,
The archetypal Brute is large and clearly physically power- in many ways, far more dangerous, as he knows full well
ful, although still packing far more power than anything how (and where, and when) to use his physical might to
its size should. Brute origins range from alien beings and his advantage. A Smart Brute uses tactics and knows to
powerful robots to mystical creatures and atomic mutants, go after opponents who can potentially target his weak-
but all share similar physical traits: big, strong, tough, and nesses (such as mentalists or mystics).
not all that bright.
MINDLESS
THEMES The Mindless Brute makes the basic archetype look like
brilliant by comparison. It is a true “mindless engine of
Most Brute themes vary some element of the arche- destruction,” having no thoughts (or Intellect rank) at all,
type’s essential theme of “big, strong, and tough” so every only preprogrammed instructions or instincts. It might be
Brute the heroes encounter is not the same, even if their an animal or machine. Unfortunately for the heroes, this
Strength and Damage ranks are. Some of these themes tends to cover one of the Brute’s weak spots—namely,
can even combine for a particularly unusual Brute adver- its mind. Mindless Brutes are immune to interaction skills
sary, such as a Fast, Mindless Brute, or a Titanic, Sympa- and mental effects; characters may be able to trick the
thetic one. Brute if they understand what drives it, but they certainly
cannot reason with or control it.
TITANIC
The Brute is big, but some are truly gigantic, towering like
DRIVEN
the skyscrapers they walk amongst and threaten. The Ti-
While a Brute may just be out to wreck downtown (or the
tanic Brute trades off ranks of Strength and Stamina for
state, or the planet...) or pound the heroes into the pave-
Growth. Titanic Brutes tend to be rampaging monsters (and
ment, some are driven by other impulses. Knowing what
may also be Mindless, see the following), but they can also
drives a Brute can be a key to overcoming it, or at least
be foes able to change size. If so, the Brute’s Growth should
luring it away from the most densely populated areas to
not be Permanent, allowing him to shrink to normal human
deal with it.
size, either voluntarily or as a complication.
A Brute may be driven to attack a particular target: going
UNSTOPPABLE after things that enrage or annoy it, for example, or pre-
programmed to focus on superhumans, mutants, mystics,
The Brute archetype is already tough, but this variation is or another class of opponent, particularly if the Brute was
nigh-invulnerable, having an even greater degree of Im- originally designed as a weapon of sorts.
pervious Toughness, or perhaps even Immunity to physi-
cal damage! Punches, blasts, perhaps even nukes are not
enough to deal with an Unstoppable Brute; indeed, no
SYMPATHETIC
mere physical attack can do the job. This calls for the he-
Just because a Brute is a tremendous force for destruction
roes to get creative to deal with the Unstoppable Brute.
does not mean it is evil—at least, not intentionally. Brutes
Perhaps it has some sort of weakness they can figure out,
might turn out to be anything from pain-maddened
such as extreme cold, high-frequency sound, or particu-
beasts lashing out in their agony to lost and confused
lar wavelengths of radiation. Whatever the case, the GM
creatures unaware the tiny, screaming things around
should provide some clues, and allow for the use of hero
them are actually people with thoughts and feelings of
points for inspiration to figure things out before it’s too
late. their own. Some Brutes are essentially animals, perhaps
enslaved to a villainous master. Other Sympathetic Brutes
FAST include aliens lost or stranded on Earth, unable to com-
prehend the environment or even driven mad by some as-
“How could something so big be so fast?” is the phrase you pect of it (such as industrial pollutants, or electromagnetic
most often hear about the Fast Brute. Rather than big and “smog” from radio and cell phone transmissions). If the he-
clumsy, this theme defies expectations by having higher roes take the time to figure out what is going on with the
active defenses and ranks of Improved Initiative, if not Sympathetic Brute, perhaps having seen some hints as to
outright Quickness or Super-Speed. The Fast Brute might its true nature, they might be able to remove the cause of
merely have quick and predatory reflexes, or a measure of its rampage or otherwise reason with it rather than just
tactical speed intended to outmaneuver opponents. pounding on it until it drops.

BRUTE PL13
18* 17* 1 0 4 -2 0 -1
POWERS OFFENSE
Big: Growth 4 (Innate, Permanent) • 9 points INITIATIVE +1
Strong: Enhanced Strength 4, Limited to Lifting (100,000 Shockwave — Close Burst, Dodge DC 19
tons); Leaping 12 • 16 points
Thunderclap — Close Burst, Dodge DC 19
Strength Tricks: Strength Damage Array (18 points)
Unarmed +8 Close, Damage 18
• Shockwave: Burst Area Affliction 9 (Resisted by Fortitude;
Dazed, Stunned, Incapacitated) • 1 point
DEFENSE
• Thunderclap: Burst Area Auditory Dazzle 9, Close Range
• 1 point DODGE 8* FORTITUDE 17
Tough: Immunity 12 (Cold Damage, Disease, Heat Damage, PARRY 8* TOUGHNESS 17
Poison), Impervious Toughness 12 • 24 points
WILL 9 *Includes Growth modifiers.
SKILLS POWER POINTS
Close Combat: Unarmed 2 (+8), Intimidation 12 (+13*),
Perception 2 (+2), Ranged Combat: Throwing 8 (+8)
POWERS 51 DEFENSES 24
ADVANTAGES ADVANTAGES 4 TOTAL 149
Close Attack 2, Great Endurance, Improved Hold
POTENTIAL COMPLICATIONS
NAME IDEAS Gullible: Easily tricked by anyone who seems friendly or
trustworthy.
Identity: The Brute is an ordinary person who transforms.
Brute, Joten, Minotaur, Ogre, Ox, Piledriver, Smasher, Tank.
Many Brutes—especially mindless ones—do not name Temper: Dominated by unchecked emotion.
themselves but are instead named by the media, military,
first victim, etc. Of course, these names are often appropriate! Brute, but with military hard-cases who do not care for cos-
tumed civilians telling them how to do their job.
CLASSIC BITS If nothing else, military personnel and equipment serve
as great opportunities to show off just how tough and ca-
Some classic elements associated with the Brute include: pable the Brute is, in case the heroes are not getting the
message. The military can also be the ones to start a fight,
THE MORE YOU FIGHT... if it looks like the heroes are being entirely too reasonable
or successful in talking the Brute down. All it takes is one
... the stronger the Brute gets. Many Brutes start out tough hotshot military salvo to destroy delicate negotiations
but then get tougher as you fight them! The reasons for and send the Brute off on another rampage.
this vary: the Brute might get stronger as he gets mad-
der (ranks of Reaction Enhanced abilities). He may absorb
physical punishment, turning it into sheer strength or
DR. JEKYLL, I PRESUME...?
mass, or seek out sources of energy ranging from heat and
It is common for a Brute to have a normal identity, often
electricity to the psychic energy of fear and panic, trans-
with the complication of transforming into the Brute, and
forming it into greater power. The key point is, the longer
possibly back again, depending on the circumstances.
the fight against the Brute goes on, the more powerful
Some normal identities are completely separate personal-
and difficult to defeat it becomes. Overcoming the Brute
ities, unaware of what the Brute does and trying—some-
typically involves cutting it off from its source of power,
what futilely—to contain it. Others are fully aware of their
which may at least reduce it to manageable levels if it
Brute nature and revel in it, looking for ways to retain the
doesn’t stop it outright.
Brute’s power at all times. Having an effective innocent
YOU AND WHAT ARMY? trapped within the rampaging form of a Brute can create
additional complications for the heroes, if they are look-
More than most other super-foes, Brutes tend to attract the ing to find a way to separate the man from the monster.
military, which appreciates a big, nigh-invulnerable target
to shoot at. Unfortunately, conventional military forces are GETTING HIT WITH A TRUCK (LITERALLY)
nearly always useless against the Brute, serving only to an-
ger or further empower him (see the previous bit). So the Although Brutes get along quite well with just their un-
heroes often have to deal not only with the rampaging armed attacks, most of them lack ranged attacks to deal

with bothersome foes who can fly or snipe at the Brute ate shockwaves that shatter windows and collapse build-
from a distance. Fortunately, the urban environments ings, and so forth. Fighting a Brute anywhere around in-
where heroes commonly fight are full of things to pick up nocent people should provide plenty of opportunities for
and throw at annoying heroes, especially when you are heroics, as some characters rescue people imperiled by
strong enough to toss an SUV like a Major League fastball. the fight while others try to contain the Brute. On the up-
Brutes also use tricks like the Shockwave and Thunderclap side, the players are at least earning hero points for their
Alternate Effects of their Strength Damage to hit groups characters to turn the tables on the Brute eventually (the
of foes at a distance. ones they do not use to soak up all the damage coming
their way, that is).
TACTICS CAPERS
Brutes are not usually big on tactics beyond “hit it until it
Adventures involving the Brute may include the following:
stops fighting back.” Still, even dim or mindless Brutes of-
ten demonstrate cunning in fights, using makeshift weap- ON THE RAMPAGE!
ons to deal with foes they cannot safely hit (or reach), cre-
ating barriers with vehicles or rubble to block dangerous The classic and straightforward Brute adventure: the
attacks, and so forth. Brute shows up and goes on a rampage, tearing up the
The typical Brute fighting style also creates additional city or countryside until the heroes intervene and man-
headaches for heroes, since Brutes age to stop it. This can just be a ripping good fight using
tend to do things like hurl buses parts of the terrain for cover and makeshift weaponry, or
full of people as weapons, cre- a desperate struggle to delay the Brute from reaching a
densely populated area (or a particularly vulnerable tar-
get such as a fuel depot or nuclear plant) as the heroes
search for a weakness or a way to stop it in time.
For an added twist, perhaps the Brute’s rampage
is not as random as it initially appears, and
some other villain arranged it to dis-
tract the heroes from some other
aspect of his plans.
MEET MY BIG FRIEND

Somebody encounters the Brute
and manages to become his de
facto “friend” and therefore in-
fluence what he does. This can
be anything from a Sympathetic
Brute mistaking an unscrupu-
lous character for a real friend
to someone getting the magic
words or special device that con-
trols a Mindless Brute. Naturally,
the newfound “handler” decides
to use the Brute’s abilities to fur-
ther his own ends, maybe settling
a few scores along the way. Things
get more interesting if the Brute’s
newfound “friend” is not a villain,
but somebody like an angry child or
teenager, a homeless or mentally ill
person, or another relative innocent
with issues. For a “beauty
and the beast” option,
the Brute’s friend might
actually be a love-
interest of sorts,
right up to a cli-
matic confronta-
tion at the top
of the tallest sky-
scraper in the city.

way, the heroes quickly discover certain factions within

RIGHT WHERE WE WANT HIM the government intend to turn the Brute into a weapon
or, worse yet, use it as a template to create more like it, but
The military (see Classic Bits earlier in this section) fi-
under government control. What could possibly go wrong
nally manages to come up with a tactic or experimental
with a plan like that? Chances are the heroes will find out
weapon to capture and secure the Brute. Perhaps they
sooner or later—sooner if they decide to intervene and
even rely on the heroes to do the job, showing up in the
later if they do not, and the results of the military’s failed
aftermath to cart the Brute away with vague assurances
plan end up rampaging through the city.
about “top men” handling things from hereon in. Either
COMPOSITE
Where one might fall, a thousand may prevail! The Com- have Insubstantial rank 2, often combined with ranks of
posite is made of countless smaller pieces—grains of Flight and either Affects Corporeal on their Strength or
sand, drops of water, individual animals, or tiny robots— another means of inflicting damage, such as being Caus-
that operate as a singular entity with a single mind and tic or an Affliction or Weaken Stamina effect that repre-
will. Slithering, formless masters of their component ele- sents suffocating victims with their bodies.
ments, they are tricky adversaries who often sidestep the
most common tactics employed by superheroes. POSSESSION
Composites double as bruisers, but also benefit from their
The physical pieces of the Composite rampaging through
unusual bodies. They can sneak through any opening
the city may only be a visible manifestation of another,
large enough to accommodate a single unit of their mass,
more subtle being using magic, psychic powers, or other
stretch and distort their forms, and shrug off certain kinds
powers to interact with the physical world. In this case,
of damage. A single intellect is shared across the entire
the Composite itself is essentially a summoned creature,
mass, or each unit holds a tiny piece of the Composite’s
maintained and commanded by another villain. It may be
identity or a single memory, and so long as one piece of
a way for an Elder Evil to interact with our world before
the Composite survives its encounter with heroes, it can
summoned, a marionette created by a combination of the
return to menace them again in the future!
Mastermind’s telekinesis and psychic senses, or created by
the Puppeteer’s influence applied to insects or animals.
THEMES This doesn’t change the game statistics of the Composite,
but the entity creating the animate swarm can simply
A Composite’s theme usually revolves around their physi- summon a new one as a standard action every time the
cal structure. A Composite made of stone may be immune heroes defeat it, requiring them to track down and defeat
to electricity as a nonconductive material, while a Com- the true villain responsible. The controlling entity may
posite made of water would be immune to fire. even be a Composite itself, with rank 4 Insubstantial and
no other way to interact with the physical world!
You should consider what Complications accompany their
structure and what effects they may be vulnerable to. A SWARM
water-based Composite might be vulnerable to electrical
attacks and freezing, while one made of insects could be Composites made from rats, bees, spiders, leeches, and
controlled or repelled by effects that affect their compo- other tiny creatures may have additional abilities based
nent bugs. on their component species. Most will provide additional
Senses, and likely a new form of movement such as Flight,
The default statblock assumes the Composite is made Swimming, or Burrowing. Venomous or stinging creatures
from liquid or small, solid particles: water, sand, gravel, may also provide a Reaction Affliction or Reaction Dam-
oil, clay, coins, broken glass, and garbage are all longtime age as individual pieces of the Composite attack anyone
comic book staples. who draws near. A Swarm Composite may also represent a
CAUSTIC mass of tiny animals controlled or summoned by another
villain via magic or psychic powers, such as a swarm of
If the Composite is made of a heated or acidic substance, bats directed by a Vampire.
their touch may cause devastating burns. They gain ranks TECHNOLOGY
of Reaction Damage to represent their dangerous nature.
A Caustic Composite may be made of molten tar, burning Tiny robots or powerful microscopic computer chips
sulfur, or acid; or if also Gaseous, steam or poison gas. making up the Composite’s body may allow the villain
GASEOUS to interact with computer networks or possess machines
in addition to its normal suite of abilities. Possessed ma-
The Composite is already difficult to contain, but if made chines can be represented with the various robot minion
from gas particles rather than a solid or liquid, they be- archetypes, or by using the statistics for vehicles found in
come almost impossible to contain. Gaseous Composites Chapter 7 of the Deluxe Hero’s Handbook.

NAME IDEAS WE ARE GREATER THAN I

Multiple personalities and dissociative disorders some-
Aggregate, Avalanche, Backfill, Colony, Hydraulic Wom-
times manifest in Composites who began their lives as
an, Johnny Butane, Mulch, the Pack, Plague, Quarry, Rat
humans, especially if their mind is spread across multiple
Queen, Throng
brains, like a computer- or animal-based form. These per-
sonalities may battle for control or—like their physical
CLASSIC BITS body—may commune toward a single purpose, allowing
the Composite to multi-task.
The following elements are often associated with Com-
Conversely, Composites who have always existed as
posite villains:
multiple entities working together usually refer to
A CHIP OFF THE OLD BLOCK themselves as a collective and long to demonstrate
the superiority of their collaborative mind. These ant
Composites (especially those made from animals) can of- colonies, rat nests, or nannite swarms are entire cities unto
ten split one or more pieces off themselves to act inde- themselves.
pendently, usually as spies but sometimes to lure heroes
into a trap. These smaller components can be treated as
minions, and are generally not combat-effective. It’s not
uncommon for these independent slices to go rogue or
even forget their creator, and become sympathetic to
the heroes, who must then protect this newborn sen-
tient when its parent comes to re-absorb it.
EVOLUTION
Many Composites struggle to become greater
by evolving beyond humanity or reaching an
intellectual singularity. Composites like this of-
ten grow cleverer as they grow larger, with in-
dividual members no smarter than a
rat or cockroach, but by “networking”
thousands of minds together they
can develop intellects far beyond
humanity. An advanced Composite
may even transform into a Mas-
termind, retaining its Composite
powers but gaining increased in-
telligence and a suite of psychic
abilities.
HUMAN AGAIN
Some Composite villains were hu-
mans caught in tragic accidents,
and can no longer return to their
normal, solid form. These villains
commit crimes just to survive or to
lash out at a cruel world, and many of
their schemes revolve around curing
themselves and regaining their lost
humanity.
A THOUSAND FACES
Some Composites have such
fine control over their elements
that they can take on human-
seeming forms at will, while oth-
ers temporarily develop this ability
after an accident or acquiring new
technology.

COMPOSITE PL11
8 9 6 2 8 -1 4 0
POWERS OFFENSE
Fusillade: Line Area on Strength Damage • 8 points INITIATIVE +6
Particulate Form: Elongation 2 (30 feet); Enhanced Fusillade — Line Area, Damage 8
Advantages 5 (Defensive Attack, Defensive Roll 2, Diehard,
Evasion, Instant Up); Immortality 1 (Return after 2 weeks);
Immunity 40 (All Physical Damage; Limited to Half Effect);
Insubstantial 1 (Fluid); Movement 4 (Safe Fall, Slithering,
DEFENSE
Wall-crawling 2) • 43 points DODGE 11 FORTITUDE 13
Resilient: Immunity 20 (Life Support, Select one common PARRY 10 TOUGHNESS 11/9*
power descriptor) • 20 points
SKILLS
POWER POINTS
Acrobatics 4 (+10), Athletics 2 (+10), Close Combat: Unarmed 6
(+14), Perception 4 (+8), Stealth 2 (+8) ABILITIES 72 SKILLS 9
Defensive Attack, Defensive Roll 2, Diehard, Evasion, Improved
Grab, Improved Trip, Instant Up, Move-by Action, Power Attack POTENTIAL COMPLICATIONS
Form Vulnerability: The Composite may take extra damage or
TACTICS suffer unusual conditions from certain kinds of attacks.
Identity: The Composite is an ordinary person who transforms.
In combat, Composites operate much like other melee-
Impulse Control: The Composite’s distributed mind wars with
focused villains. They have more mobility than a Brute itself, making them erratic and easily confused.
or Hybrid, but their strategies often default to “hit it
Insensate: The Composite lacks a sense of touch, which may
again.” Where a Composite villain stands apart from other
affect some skills checks and alienates them from human society.
villains is their resilience: they are resistant to physical and
energy damage and regenerate quickly, requiring heroes
violence from them. Composites with lower expectations
to employ unusual tactics to stop or capture the villain.
may focus on robbery, but those with ambition may per-
Heroes can’t put handcuffs on a pile of rats, or expect a
form sabotage, espionage, or assassinations as mercenar-
woman made of water to stay put in a standard prison cell.
ies or agents for more powerful villains.
Composite villains often have Complications stemming
from their makeup that heroes must exploit, such as
freezing water or dispersing sand with strong winds.
MAXIMUM MAYHEM
Thanks to the Composite’s elongation power, they can en- The Composite somehow buds or reproduces, creating an
gage distant foes with melee attacks, and their flexibility offspring—this may be a natural experience for an alien or
allows them to punch through or pelt every opponent in a a new mutation for a villain transformed into their current
continuous line. This Fusillade ability allows them to direct state. This new creature lacks whatever compassion or
other applications of Strength over a 5-foot by 30-foot humanity that stops the original villain from committing
area, such as Smash and Trip attacks. They commonly use truly heinous acts, and wields considerably more power or
Extra Effort to change the shape of the Area extra applied greater numbers. Can the heroes tackle this bigger threat
to their Strength damage. on their own, or will they team up with a former enemy
to stop the offspring before they can destroy the city (or
CAPERS worse: reproduce again). Rampaging Composites may
even draw unexpected allies from other chaotic villains.
Adventures involving a Composite may include the fol- NOW YOU’LL NEVER STOP ME
lowing:
With the help of technology or a mystic artifact, the
A QUIET SORT OF EVIL Composite manages to overcome the most obvious
weakness to its form that heroes have exploited in the past,
Composite villains can slip into and out of secure facilities allowing them to now commit crimes with no apparent
without triggering security devices or leaving the usual way to stop them. The heroes will need to find some flaw
trace evidence behind, creating an unusual mystery for in these newly-reinforced defenses—perhaps something
the heroes to solve—particularly if they are unaware of related to the plot element shields the Composite—to
the Composite’s existence, or only accustomed to random stop the Composite’s one-villain crime wave.

once they become involved, and develops a technique to
YOU MADE ME A MONSTER reverse the Composite’s mutation. But before the heroes
can attempt to capture the multitudinous menace, the
The Composite has a special hatred for whatever
Composite kidnaps their creator and forces them to begin
organization, villain, or mad scientist is responsible for
the treatment. Is the cure a genuine shot at normalcy for
their origin, and begins a campaign of harassment and
the villain? Or do the heroes discover that the technique is
violence against them. The heroes become involved either
intended to kill the Composite instead, and what do they
to aid the accidental creator, or to save a city caught in the
do with that information?
crossfire. The creator takes some insight from the heroes
CRIME LORD
While some supervillains go for wanton destruction, world should their loyal followers ever discover the scope of
conquest, or grandiose schemes, others prefer to work their betrayal.
quietly, behind the scenes, sinister spiders at the center
of a web of connections, influence, and corruption. Crime NOT FROM AROUND HERE
Lords prefer not to get their hands dirty, letting others do
the work and take the risks while they reap the rewards. Although the Crime Lord is typically a very human prob-
That is not to say Crime Lords are not capable of handling lem, you can mix things up by creating a Crime Lord who
a physical confrontation, although most are not as power- is not human at all, or at least not your run-of-the-mill
ful as their superhuman foes. On the other hand, Crime syndicate boss. For example, the Crime Lord might be an
Lords tend to be the sort that world-spanning heroes of- alien, perhaps capable of assuming human form or pos-
ten overlook, being busy protecting the planet from alien sessing a human host body. It could have either taken
invasions and cosmic megalomaniacs. over an existing criminal syndicate by impersonating and
replacing its leader, or created one for its own purposes.
THEMES Who knows what sorts of things aliens might consider
“contraband” from Earth? Otherwise harmless foodstuffs
Crime Lords may be distinguished by the style and pro- or materials might be addictive drugs or weapons for
clivities of their criminal empires; some may refuse to them. They might deal in human slaves, organs, or meat,
indulge in the “dirty business” of drugs or the sex trade, for that matter. Similarly, you can create a Crime Lord who
for example, while others prey on every dark instinct and is from another dimension, another time, or a similar off-
impulse in the human soul. beat origin.
HEAD OF THE CONSPIRACY THE NAPOLEON OF CRIME

More than a mere Crime Lord, this villain is the head of A common crossover for the Crime Lord is a touch (or
a powerful criminal conspiracy. On the surface, it might more) of the Mad Scientist archetype (later in this chap-
appear to be just another syndicate, but its mundane ter). Not just ruthless, the Crime Lord is also a fiendishly
criminal operations funnel resources into its true mo- brilliant inventive mind, capable of coming up with devic-
tives. These goals range from subtly influencing society es, treatments, and techniques to commit crimes and deal
to outright world domination, either covertly or openly, with those bothersome heroes. A Mad Scientist Crime
once the time is right to enact the master plan. The Head Lord might not just hire supervillain muscle, but also cre-
of the Conspiracy may even have various underlings who ate it from time to time, from building robots and growing
are Crime Lords in their own right, each controlling just clones to developing special treatments or devices. These
one head of a vast hydra; the heroes stop the organization opportunities are often one-time deals, too unstable for
in one place, only to find it springing up in another. Con- the inventor to use himself, but ideal for the right dupes.
spiracies tend to adopt long-range plans, and some have These techniques can also conveniently eliminate any po-
existed for a very long time. The Head of the Conspiracy tential rival or evidence in the process—if a prototype’s
might be just the latest in a series, or an immortal, shad- spectacular self-destruction should happen to take out
owy mastermind who oversees plots spanning lifetimes. the heroes as well, so much the better!
CULT LEADER NAME IDEAS

Similar to the Head of the Conspiracy, a Cult Leader is
The Baron, The Cardinal, Crimelord, The Director, El Jefe,
not just in it for the money. Indeed, profit is often a side-
Mister Big, Shadowboss
line to the cult’s real goals, which may range from world
domination to world destruction, or simply increasing the
Leader’s own power and influence. Some Cult Leaders are CLASSIC BITS
true believers, as fanatical as their followers, if not more
so. Others are cynics using the beliefs of the cult to fur- Some classic elements associated with the Crime Lord in-
ther their own ends, and playing a very dangerous game, clude:

A TOUCH OF CLASS serves as a degree of protection; it is harder for the he-

roes to bust in on a Crime Lord when he is having cock-
Crime Lords often pose as members of polite society, tails with the mayor, a local Senator, and several captains
maintaining the façade of “humble entrepreneur” and of industry.
“philanthropist” to the outside world. Even Crime Lords
who came from poor beginnings aspire to a degree of CAN’T TOUCH ME
class, and often enjoy hobnobbing with the rich and
famous who would once have never given them the More than any other sort of villain, the Crime Lord often
time of day. Having powerful and influential friends also hides behind the letter of the law, twisting it into a shield
against “vigilantes” like the heroes (as well as the legiti-
mate authorities). With plausible deniability and an army
of highly paid lawyers, the Crime Lord can reliably squirm
out of any charges the heroes might bring, getting right
back to business as usual. It is not enough to know the
Crime Lord is responsible for something: you have to be
able to prove it. This makes dealing with a Crime Lord par-
ticularly challenging for heroes used to a “nail ‘em and jail
‘em” approach to crime-fighting.
Another element of this bit is the Crime Lord often has

the resources for various traps, security safeguards, and
the like to make things more difficult for the heroes.
Some Crime Lords might not intend to put heroes into
deathtraps, but do so anyway when the do-gooders
come after them and stumble into the “home defense
system.”
A major turning point in a hero team’s conflict with a Crime

Lord is when they finally get the vital evidence they need to
bring their nemesis to justice. Consider doing this when it is
clear the players are getting tired of the plotline, as it is an
important payoff. Just because they take down the Crime
Lord publicly does not mean things are over: some villains
manage to go underground while others even continue to
run their organization from their jail cell! The characters may
still have to dismantle the syndicate and deal with any of the
Crime Lord’s would-be successors.
THE NEW HIRE

Crime Lords prefer to delegate a lot of the messier tasks
of their business, including dealing with those annoy-
ing costumed vigilantes busting up valuable operations.
This makes Crime Lords prime employers for mercenary
supervillains, as well as financiers to sponsor the creation
of new bad guys to take on the heroes. A Crime Lord can
gather a group of formerly unrelated villains together and
forge them into a team, or pay a Mad Scientist (see page
98) to whip up some new underlings in the laboratory.
Naturally, there will be nothing to link the Crime Lord to
these criminal elements, and should the heroes manage
to defeat them... well, there are always more where they
came from.
TACTICS
The Crime Lord’s watchword is “subtlety,” balanced against
a colossal ego and a need to have foes know who is re-
sponsible for their downfall. Quite often, heroes only en-
counter the Crime Lord in the form of taunting notes or
recordings, or via anonymous phone calls, hidden audio
systems, or video links.

CRIME LORD PL8

4 3 1 1 8 6 5 7
EQUPMENT OFFENSE
Heavy Pistol: Ranged Damage 4 • 8 points INITIATIVE +1
Smartphone: Features 2 • 2 points Bludgeon +8 Close, Damage 6
Walking Stick: Array (8 points) Pistol +7 Ranged, Damage 4
• Taser: Affliction 8 (Resisted by Fortitude; Dazed, Stunned,
Taser +8 Close, Affliction 8, Resisted by Fortitude
Incapacitated) • 8 points
• Bludgeon: Strength-Based Damage 2 • 1 point Unarmed +8 Close, Damage 4
HEADQUARTERS: MANSION • 15 POINTS DEFENSE

Huge; Tou 10; Features: Communications, Computer, Garage, DODGE 8 FORTITUDE 8
Gym, Infirmary, Library, Living Space, Power System, Security
System 2 (DC 25) PARRY 8 TOUGHNESS 8/3*
VEHICLE: ARMORED LIMO • 11 POINTS
Huge; Str 8, Speed 5, Def 8, Tou 10; Features: Alarm POWER POINTS
SKILLS ABILITIES 70 SKILLS 39
Deception 8 (+15), Expertise: Business 7 (+13), Expertise: POWERS 0 DEFENSES 15

Law 8 (+14), Expertise: Streetwise 8 (+14), Expertise: Tactics 6 ADVANTAGES 36 TOTAL 160
(+12), Insight 10 (+15), Intimidation 8 (+15), Perception 4 (+9),
Persuasion 8 (+15), Ranged Combat: Guns 6 (+7), Vehicles 5 (+6) COMPLICATIONS
Enemies: Rival criminal bosses and gang, police.
ADVANTAGES
Honor: Personal criminal code.
All-Out Attack, Benefit (Status), Benefit 3 (Millionaire),
Relationship: Family, a lover, or a secret child.
Connected, Contacts, Defensive Roll 5, Equipment 9, Great
Endurance, Languages 2 (French, Mandarin, Russian, Spanish), Rivalry: With opposing criminals.
Minions 10, Set-Up, Well-Informed Temper: When defied or challenged.
Confrontations between the Crime Lord and the heroes

tend to happen at the time and place of the villain’s choos-
JUST BUSINESS
ing, typically with various traps and bodyguards close at
The Crime Lord’s organization moves into a lucrative new
hand, or in a public place where the heroes are reluctant
area of criminal enterprise. It might be some new designer
to make a move without conclusive proof.
drug, unusual vice, or means of committing more mundane
crimes like robbery, such as cyber-crime or use of a new,
CAPERS experimental technology. As the crime wave expands, the
heroes have the opportunity to intervene and try to cut off
Adventures involving the Crime Lord may include the fol- the syndicate’s newest moneymaking venture. Of course,
lowing: that may be easier said than done, although taking out
black-market warehouses, secret drug labs, and other re-
THE BOSS OF BOSSES sources may make a difference. Naturally, the Crime Lord
does not take this challenge lightly and tries to eliminate
The first task for an ambitious Crime Lord is unifying all the heroes, or at least distract them with other matters.
criminal activity in the city, nation, or even world under
the direction of one organization. It begins subtly, with SO YOU WANT TO PLAY ROUGH?
certain gangs and bosses united under new leadership
and others eliminated. As the Crime Lord’s targets start One means of emphasizing the Crime Lord’s considerable
fighting back, things erupt into a full-scale gang war, with social and “soft” power is for the villain to make a project
innocent people (and the heroes) caught in the crossfire. out of ruining the heroes’ lives. The Crime Lord gathers as
As much as a group of crime-fighters might prefer to let much information about them as possible, ferreting out
the various criminal gangs wipe each other out, they have their secret identities, the names of family and friends,
to consider the consequences. In fact, the Crime Lord may their jobs, hobbies, and weaknesses or dark secrets, and
even try to manipulate events so the heroes weaken or them exploits them viciously.
eliminate some rival organizations, making the task of
Heroes find themselves evicted from their homes, their
uniting the rest that much easier!
credit ratings ruined, their reputations smeared (both in

and out of costume). Professional organizations investigate not prove it in a court of law. Will they step over the line to
and take action against them. Authorities begin to distrust exact revenge? If the Crime Lord fakes his own death in the
them, and even their friends may turn away from them. The process, will it just turn out to be his last laugh?
Crime Lord may go so far as to publicly “out” the heroes, so
their other enemies can join in on the fun, making fugitives Obviously, this can be a series-changing plot, best re-
out of the good guys in their own city. All the while, the served for fairly gritty or Iron Age-style games, although
Crime Lord makes certain the heroes know just who is re- it virtually ensures the Crime Lord will be a foe the players
sponsible for their misfortunes, but also ensures they can- grow to hate!
ELDER EVIL
While heroes often face off against foes who can rightly
be called villains, from time to time they confront true evil,
THE EVIL GOD
an embodiment of wickedness and corruption, or an alien
Always willing to dip into the well of mythology, comic
entity of such power it is beyond mere labels of good or
books have turned most historical deities of death, war,
evil, but certainly not good for humanity as a whole. El-
disease, or other unpleasant matters into supervillains at
der Evils tend to be powerful master villains, operating
some point or another. Usually the deity in question rules
behind the scenes for some time before the heroes finally
over some extradimensional domain and wants to extend
confront them. Ideally, they never have to confront them
greater power over the Earth and its inhabitants, usually
at all! Elder Evils may be imprisoned or barred from the
to their detriment. An Evil God is a natural enemy for a
earthly plane by ancient wards or pacts, requiring the as-
heroic deity acting on Earth as a superhero. The archetype
sistance of mortal cults or dupes (perhaps even the he-
also shows up in opposition to heroes empowered by or
roes!) to break their bonds and permit them access. The
following in the footsteps of mythological deities.
Cultists (see the minion archetypes, page 136) are suit-
able followers of the Elder Evil. An evil god’s powers are largely dictated by his or her
area of influence: death gods may have Darkness Control
or Magic, often legions of skeleton or zombie warriors or
THEMES ghostly minions. War gods tend to have considerable com-
bat prowess, allowing them to go head-on with a team
Elder Evils in the comic books tend to fall into one of three of superhuman heroes. Sly tricksters focus on shapeshift-
major categories or themes: the Devil, the Evil God, and ing and illusions, allowing them to get away before the
the Eldritch Horror. heroes are even wise to their schemes. Modify the arche-
type’s game stats accordingly, using the other archetypes
THE DEVIL in this book as examples, such as Sorcerer for a death god,
Brute for a war god, and Mastermind for a trickster.
Maybe not the Devil, but a devil, certainly. The villain fits
the archetype of the mythic underworld evildoer, of- THE ELDRITCH HORROR
ten complete with horns, forked tail, cloven hooves, and
shroud of hellfire. Exactly how various demons and dev- There are things in the unknowable realms beyond space
ils fit into the cosmology of the setting is left up to the and time that care little if mortals exist at all... squamous
GM: they might represent different religious or spiritual things, madness and amorphity in motion, whose very
beliefs, or have inspired said beliefs without necessarily forms defy rationality and the sight of which twists per-
being bound by them. ceptions and minds... things whose very existence is sim-
Devils are often tempters (see Classic Bits later in this ply wrong.
section); indeed, they may be prohibited from involv- Whether such things even have names other than what
ing themselves in mortal affairs without being asked or foolhardy mortal summoners attribute to them is a mat-
invited in some fashion. In this case, they rely heavily on ter for debate in the mystic community. Elder Evils answer
cults and the occasional novice sorcerer to get a cloven invocations when it suits them, not at the whim of a sum-
foot in the door. They’re often interested in souls, either moner reckless enough to reach across that final barrier.
corrupting the good and innocent, or collecting the souls
of the willing in exchange for what the Devil can provide. Physical descriptions are rather useless when dealing with
In either case, they can serve more as plot devices than creatures with no true shape or form. GMs should use
anything else. whatever comes to mind during a scene involving Elder
Evils, the grosser and more disgusting the better: sharp-
For Devils with game stats, you may want to substitute ened bills and hooks that slide in and out of view, razor-
Fire Control or Magic for the Aura of Madness power and scaled carapaces that harden and melt without warning,
remove the Permanent modifier on the Growth power, al- vents that open and close to spew sticky acidic goo or
lowing the Devil to become a threatening giant, or remain flaming mucus, and so on. Similarly, add whatever addi-
relatively human-size. Devils often have Morph to tempt tional traits the Eldritch Horror may require to make it a
victims in different guises as well. unique threat.

ELDER EVIL PL16

16* 16* -1 0 7 9 9 4
POWERS ADVANTAGES
Aura of Madness: Array (64 points) Fearless, Improved Grab, Ritualist, Seize Initiative
• Perception Range Damage 16, Resisted by Will • 64 points
• Affliction 12 (Resisted by Will; Entranced, Stunned, OFFENSE
Incapacitated), Visual Perception Area, Reaction (looking at the INITIATIVE -1
Elder Evil) • 1 point
• Affliction 12 (Resisted by Will; Dazed, Stunned, Controlled—
causes evil or irrational behavior), Visual Perception Area,
Reaction (looking at the Elder Evil) • 1 point DEFENSE
Freedom of Movement: Flight 1 • 2 points DODGE 4* FORTITUDE 16
Ghost Grasp: Strength Affects Insubstantial 2 • 2 points PARRY 6* TOUGHNESS 21
Inhuman Awareness: Senses 8 (Cosmic Awareness, Vision WILL 16 *Includes Growth modifiers.
Counters All Concealment and Illusion) • 8 points
Massive: Growth 16, Permanent, Innate; Immunity 21 (Aging, POWER POINTS
Life Support, Mental Effects); Protection 5, Impervious 12
• 71 points ABILITIES 56 SKILLS 15
Voice of the Mind: Mental Communication 5, Dimensional POWERS 170 DEFENSES 27

(Earth and the Elder Evil’s home dimension) • 21 points ADVANTAGES 4 TOTAL 272
SKILLS POTENTIAL COMPLICATIONS

Close Combat: Unarmed 6 (+13), Expertise: Magic 12 (+21), Ancient: Bound by certain ancient covenants, rules, or
Intimidation 4 (+16*), Perception 8 (+17) customs.
Outsider: Must be summoned and can be banished.
NAME IDEAS appears makes for a great cliffhanger or chapter break in
Asmodeus, Baal, Bargainer, Diabolus, K’thuul, Lord of Cha- the adventure!
os, Lord Shaitan, the Whisperer of Forbidden Secrets
POWER
CLASSIC BITS The game traits provided here assume the Gamemaster
wishes to assign an Elder Evil any defined traits at all. Elder
Classic elements associated with the Elder Evil include the Evils are ideal for use as Power Level X plot devices, with
following: powers and motives literally beyond human comprehen-
sion. Indeed, this archetype could serve as a servant or
CULTS herald of such a greater Elder Evil.
As mentioned previously, Elder Evils are often limited in their Given the variety found among such spawn of chaos,
ability to visit and influence the mortal world, so they need you have carte blanche to change around the Elder Evil’s
servants to do so. Since their power tends to inspire awe and game traits as you see fit to create a horror suitably pow-
worship, these servants usually belong to some sort of cult. erful to challenge the heroes. In particular, you may wish
The Cultist minion archetypes fit Elder Evils quite well. to change the Elder Evil’s Aura of Madness effects to oth-
ers better suited to a particular theme, such as blinding
People join cults for various reasons; some search for smoke, a burning aura, and talons of flame for an Elder Evil
meaning or belonging, others opportunistically look for associated with a fiery realm.
power and influence. Truly apocalyptic cults want to end
the world, either because they believe it would be bet- Although Elder Evils are tremendously powerful, they
ter off, or out of a foolish hope that their eldritch master often have strong limitations as well. Even a plot device
will spare them when the time comes for everyone else, demon might be unable to usurp a mortal’s free will, for
perhaps even making them rulers of the shattered post- example. The demon can tempt and threaten, even maim
apocalyptic world. and destroy, but it cannot compel cooperation or a willing
acceptance of the corruption of one’s soul, which is the
Stopping the cult of an Elder Evil from achieving its pur- creature’s ultimate goal. Similarly, other Elder Evils might
pose can form the basis of an adventure or even an entire be held at bay by certain rituals, signs, or substances,
series. The moment where the cult completes the ritual to things the heroes can use to give themselves a breather
summon its dread master to the world and the Elder Evil and come up with a plan to defeat the villain.

The real challenge of dealing with an evil tempter is not to

TEMPTATION give in, no matter how much the hero might want to do
so. The villain is certainly not going to make it easy, either.
Elder Evils often seek less tangible things compared to
While heroes can usually refuse such transparent ploys as
conventional villains. Although they have the power to
offers of godlike power or dominion over the Earth, it is
conquer worlds (and may do so, when summoned), many
much more difficult to ignore opportunities to help oth-
are more interested in trafficking in souls or expanding
ers: bringing a loved one back from death, for example, or
their extradimensional realms through complex schemes
curing someone of a fatal or debilitating disease.
or rituals. Just as they may need mortal agents (see Cults,
previously), so do many Elder Evils seek to tempt mortals
into serving them, directly or indirectly. TACTICS
Their sheer power makes Elder Evils less tactical foes. If
it comes to combat, they typically swat aside mortal op-
ponents like insects, using parts of the terrain (vehicles,
buildings, trees, and so on) as makeshift weapons, when
they’re not just using their powers to blast the heroes into
oblivion.
A lot of dealing with Elder Evils is about avoiding combat,

however. The heroes want to stop the Elder Evil from be-
ing summoned or unleashed in the first place, while the
villain would prefer to tempt and corrupt the good guys
rather than destroy them outright. Both sides tend to
dance around each other, with a full-fledged fight mean-
ing one or both of them have failed to achieve their pri-
mary objectives.
CAPERS
Adventures involving an Elder Evil may in-
clude the following:
WAKE THE SLEEPER

The classic Elder Evil scenario involves a
ritual intended to summon the crea-
ture from whatever hellish nether-
world it calls home. The summoners
might be delusional enough to
believe the Elder Evil will serve
them (willingly or bound by
the power of the ritual) or,
at least, slay them last and
mercifully when it destroys
the world. Others are mad
nihilists who care nothing
for the fate of the world or
even wish to actively has-
ten its end.
For a twist, the summon-

ers might be other heroes,
looking to bind the Elder
Evil or seal a rift to its realm,
but do so in secret to avoid
alerting its earthly worship-
pers or panicking the general
public. When the player charac-
ters stumble upon and interrupt
the ritual, things go badly wrong
and all the heroes need to work to-
gether to prevent the Elder Evil’s escape.

origin, and the hero’s powers derive from it. What’s worse,
WHOM THE GODS DESTROY the story could be true, in which case every time the hero’s
powers are used, the barrier between dimensions weak-
Members of an Elder Evil’s cult begin shadowing a particu-
ens a little more, bringing the Elder Evil closer to freedom.
lar hero, taking no hostile action. When confronted, one
Does the hero give up crime-fighting and all use of his
admits the hero is the prophesized avatar of their master!
powers to safeguard the world, or is that simply what the
The cult claims the Elder Evil in fact engineered the hero’s
cult and its master would like him to believe?
ELEMENTAL
Like many heroes, some villains are embodiments of a THE UNEXPECTED ATTACK
particular primal element, energy, or force. These range
from the primal elements of air, earth, fire, and water to Elementals are often able to use their unparalleled mas-
the forces of nature or the energies or elements of mod- tery in their particular specialty to pull off some unusual
ern science, like gravity and radiation. Elemental villains attack or effect against the heroes, from debilitating de-
are often the result of cosmic or scientific accidents, but hydration or heatstroke to electromagnetic interference
may also be the pinnacle of a lifelong quest to command a with brainwaves or fine gravitational control to disrupt
particular force through scientific or mystical means. blood flow. The main idea is the attack tends to bypass
ordinary defenses to overwhelm the targets. Some El-
THEMES emental villains have unusual attacks as regular parts of
their powers, typically some type of Affliction. This attack
The Elemental’s theme revolves around the villain’s partic- is more in the form of a villainous “power stunt,” although
ular power source: what energy or force does the Elemen- actually it should be considered a complication you in-
tal command? From whence does this power originate? clude in the adventure for the heroes to overcome. Thus,
Some elementals are mystic embodiments of their power, when you invoke the Elemental’s unexpected attack,
while others are mutants, magicians, or empowered by award the affected player(s) a hero point.
technology (either devices or altered by scientific treat- The idea is that the villain’s initial use of the effect catches
ments or accidents). the heroes entirely off-guard and puts them at a serious
Roll on the Elemental Themes table or choose a suitable disadvantage, perhaps even defeating them outright the
type for the Elemental. first time (allowing the Elemental to escape or to capture
them). Later, the heroes are forewarned about the villain’s
ability and can use their own powers and ingenuity to
NAME IDEAS counter it. In particular, encourage players to make use
of power stunts, inspiration, and inventions (all potential
See the individual elements on the Elemental Themes uses for the heroes points they have earned) to neutralize
table. the villain’s advantage.
CLASSIC BITS VULNERABILITY TO OPPOSITES

An Elemental’s power also tends to imply certain vulner-
The following are some things regularly associated with
abilities, usually to the opposite element or force: a fire
Elemental villains.
controller weakened by water or cold, an ice manipulator
vulnerable to fire, or a master of magnetism weakened by
THE UNDISPUTED MASTER heat, for example. Heroes may be able to exploit an Ele-
mental’s weakness, although the villain will certainly take
Self-proclaimed “masters” of their particular focus, El-
steps to safeguard against it, especially once a weakness
ementals are often supremely arrogant. They are so con-
is known; keep in mind even the villain might not know
fident in their unmatched power they are often left at a
about it initially!
loss when confronted with a problem their powers cannot
solve. This isn’t to say Elementals are not clever (many of Some Elementals play a variation on this theme by re-
them are), just that they tend to see everything in terms of versing or twisting the expected weakness. For example,
their power and what it can do. a Cold Elemental might act as a kind of “heat vampire,”
creating intense cold by draining the surrounding heat, in
Elementals are particularly peeved by heroes who either
fact being dependent on absorbing some heat in order to
claim to rival their ability, or who possess an opposite
function. Thus the villain is actually weakened by an in-
(but surely not equal!) power. So, for example, a Cold
tensely cold environment, and might, say, freeze solid in
Elemental might be the arch-foe of a hero with similar
sustained sub-freezing temperatures. Similarly, a Shadow
powers—perhaps even gained from the same source as
Elemental might “feed” on light, but lose power in com-
the villain—or of a hero with fire-control powers. Part
plete and total darkness, as “shadows” only exist because
of the villain’s motivation is to demonstrate superiority
of light.
over the rival hero.

display of power: destroying an abandoned building, or un-

TACTICS leashing forces against a mostly deserted area, so the pop-
ulace and authorities know the threat is for real. Claiming
Elementals tend to be ranged fighters, standing around credit, the Elemental then issues demands, such as ransom,
hurling blasts of their element while shielded by it as well, delivery of an item of technology (see the More Power! ca-
rarely mixing it up in close combat. Elementals use their per, following), or even some political concession, such as
powers to the fullest advantage, typically striking at foes the elimination of an environmental threat.
with various ranged attacks, from straightforward blasts
to more exotic effects. The initial demonstration and the villain’s demands give
the heroes something to go on. They have to track down
The Elemental’s biggest tactical vulnerability is reliance the Elemental and neutralize the threat; otherwise, the
on sustained effects. There is the potential for Elementals authorities may have no choice but to give in. Of course, if
to drop their guard if unable to focus and maintain their the heroes are not careful, their battle with the Elemental
powers. could be almost as devastating as the original threat!
For an additional level of danger, some mad Elementals

CAPERS make no demands: their threat is in deadly earnest, and
the only reason they provide a preview of it is to height-
The following are some adventure concepts involving the en public fear and panic, and so the survivors know who
Elemental: has brought this down upon them. This is suitable for re-
venge-obsessed or nihilistic Elementals. The heroes must
UNLESS MY DEMANDS ARE MET... stop the villain before the threat is carried out.
With mastery over a particular force, the Elemental can MORE POWER!
threaten and blackmail an entire city, state, nation, or even
the world! The Elemental starts off with a relatively showy Not satisfied with merely tremendous power, the El-
emental seeks to attain absolute power. The method de-

ELEMENTAL THEMES
D20 ELEMENT
Air Control with wind blast (Ranged Damage 18), cyclone (Burst Area Damage 12), fog (Visual Concealment Attack
2, Cloud Area 16 – 120 mile radius), suffocation (Ranged Affliction 9, Concentration, Cumulative; Resisted by Forti-
1
tude; Dazed, Stunned, Incapacitated), and jetstream (Line Area Move Object 12). Name Ideas: Aeolus, Aero, Jetstream,
Pneumatic, Silver Fog, Windshear, Zephyr
Cold Control with ice blast (Ranged Damage 18), ice sculptures (Create Object 18, Permanent), ice storm (Environ-
ment 9: Intense Cold, Impede Movement –2 ranks, Visibility –2 modifier), ice block (Ranged Cumulative Affliction
2-3 12; Resisted by Dodge; Hindered and Vulnerable, Defenseless and Immobilized; Extra Condition, Limited Degree),
flash-freeze (Ranged Weaken Toughness 18, Affects Only Objects). Name Ideas: Absolute Zero, Coldsnap, Frigid, Ice
Queen, Mr. (or Ms.) Winter, Sub-Zero
Darkness Control with dark blast (Ranged Damage 18), darkness field (Visual Concealment Attack 4, Burst Area
9), shadow scrying (Remote Sensing 18, visual and auditory, Medium: darkness or shadow), shadow snare (Ranged
4-5 Cumulative Affliction 12, Resisted by Dodge; Hindered and Vulnerable, Defenseless and Immobilized; Extra Condi-
tion, Limited Degree), shadow-step (Teleport 18, Accurate, Medium: darkness or shadows). Name Ideas: Darkmane,
Shadowlord, Silhouette, Umbra
Earth Control with rock throwing (Ranged Damage 18), avalanche (Burst Area Ranged Damage 12), rock-shaping
(Create 18), rock hands or chains (Ranged Cumulative Affliction 12, Resisted by Dodge; Hindered and Vulnerable,
6
Defenseless and Immobilized; Extra Condition, Limited Degree), earth-moving (Perception Ranged Move Object,
Limited to Earth and Stone). Name Ideas: Gaia, Earth Mother, Rockslide, Slate, Terra-Fist
Electrical Control with ball lightning (Burst Area Ranged Damage 12), lightning flash (Ranged Burst Area Affliction
9; Resisted by Fortitude; Visually Impaired, Visually Hindered, Visually Unaware), power drain (Burst Area Nullify Elec-
7-8
tronics 12), electrical aura (Damage 9, Reaction), taser blast (Ranged Cumulative Affliction 12; Resisted by Fortitude;
Dazed, Stunned, Incapacitated). Name Ideas: Bolt, Gigahertz, Lightning, Megawatt
Fire Control with flame bolt (Ranged Damage 18), fireball (Burst Area Ranged Damage 12), fire blast (Cloud Area
9-10 Ranged Damage 12), fire aura (Damage 9, Reaction), heat wave (Burst Area Cumulative Ranged Affliction 9; Resisted
by Fortitude; Fatigued, Exhausted, Incapacitated). Name Ideas: Firebug, Firestarter, Igneous, Pyro, Torch
Gravity Control with force blast (Ranged Damage 18), force burst (Burst Area Ranged Damage 12), force beam
(Line Area Ranged Damage 12), force wave (Ranged Burst Area Cumulative Affliction 9; Resisted by Dodge; Dazed,
11
Stunned, Incapacitated), gravitic manipulation (Move Object 18). Name Ideas: Counterweight, Gravitar, Gravitas,
Heavyweight
Light Control with laser blast (Ranged Damage 18), laser burst (Burst Area Ranged Damage 12), blinding light (Cu-
mulative Ranged Affliction 12; Resisted by Dodge; Visually Impaired, Visually Disabled, Visually Unaware), blinding
12
burst (as blinding light, but also Burst Area and rank 9), holographic projection (Visual Illusion 12). Name Ideas: Holo-
gram, Lazer, Lightwave, Photon, Sunlord
Magnetic Control with magnetic blast (Ranged Damage 18), magnetic burst (Burst Area Ranged Damage 12), mag-
netic field (Perception Ranged Move Object 18, Limited to Metal), magnetic pulse (Burst Area Nullify Electronics 12),
13-14
metallic bonds (Ranged Cumulative Affliction 12; Resisted by Dodge; Hindered and Vulnerable, Defenseless and Im-
mobilized; Extra Condition, Limited Degree). Name Ideas: Attractor, Lodestone, Master Magnet, Polarity
Motion Control with kinetic blast (Ranged Damage 18), kinetic deflection (Deflect 18), kinetic drain (Ranged Weak-
15 en Movement Effects 12, Broad), impart momentum (Move Object 18), momentum burst (Burst Area Move Object
12). Name Ideas: Erg, Go-Girl, Kinetron, Motion Master
Plant Control with animate plants (Summon), grow plants (Create 18, Permanent), pollen cloud (Burst Area Ranged
Affliction 12; Resisted by Fortitude; Fatigued, Exhausted, Incapacitated), sicken or poison (Burst Area Ranged Afflic-
16
tion 12; Resisted by Fortitude; Dazed, Stunned, Incapacitated), root transport (Teleport 18, Medium: Plants). Name
Ideas: Erl King, Flora, Forest Lord, Jack-in-the-Green, Rose
Radiation Control with radiation blast (Ranged Damage 18), radiation burst (Burst Area Ranged Damage 12), blind-
ing burst (Burst Area Ranged Affliction 12; Resisted by Fortitude; Visually Impaired, Visually Disabled, Visually Un-
17-18
aware), irradiate (Ranged Weaken Stamina 9, Progressive), meltdown (Ranged Weaken Toughness 18). Name Ideas:
Fusion, Meltdown, Nuke, Radion, Radium
Water Control with water blast (Ranged Damage 18), water burst (Burst Area Ranged Damage 12), hard water con-
structs (Create 18), blinding splash (Burst Area Ranged Affliction 12; Resisted by Fortitude; Visually Impaired, Visually
19
Disabled, Visually Unaware), water movement (Perception Ranged Move Object 18, Limited to Water). Name Ideas:
Aqua, Riptide, Tsunami, Undertow, Wave
Weather Control with lightning bolt (Ranged Damage 18), thunderclap (Burst Area Ranged Affliction 12; Resisted
by Fortitude; Hearing Impaired, Hearing Disabled, Hearing Unaware), harsh weather (Burst Area Ranged Affliction
20 11; Fatigued, Exhausted, Incapacitated; Variable Descriptor: Weather), icing (Environment 18: Impede Movement –2),
precipitation (Environment 18: Visibility –5). Name Ideas: Coriolis, Cumulous, Nimbus, Stormfront, Stormlord, Stratos,
Thunder

ELEMENTAL PL14
0 3 0 1 4 4 2 4
POWERS DEFENSE
Elemental or Energy Control: Array (36 points) based on DODGE 10 FORTITUDE 13
theme (see Elemental Themes sidebar) • 40 points
PARRY 8 TOUGHNESS 18/3*
Elemental Movement: Flight 10 • 20 points
WILL 15 *Without Protection bonus
Elemental Shield: Protection 15, Impervious 10, Sustained
• 25 points POWER POINTS
SKILLS ABILITIES 38 SKILLS 18
Expertise: Magic or Science 6 (+10), Insight 8 (+11), Intimidation
10 (+14), Perception 8 (+11), Ranged Combat: Elemental ADVANTAGES 8 TOTAL 185
Control 4 (+10)
COMPLICATIONS
ADVANTAGES Undisputed Master: Arrogant and competitive about
Accurate Attack, Power Attack, Precise Attack (Ranged, Cover), elemental mastery.
Ranged Attack 5 Weakness: To opposite or related element.
OFFENSE
What is the Elemental’s scheme? The villain might be look-
INITIATIVE +0 ing to garner public support and a new power base from
Elemental Control +10 Ranged, Damage 18 or other effect some grateful populace, making them dependent on
their benefactor’s continued aid. Perhaps the Elemental is
pends on the villain and the plot hook you wish to use. looking to make the heroes look bad in the bargain, won-
A legendary mystic idol or talisman might promise mas- dering aloud (and in front of the media) why they have
tery over a particular element or force. A new technology not taken more measures to improve the world for the
could offer the potential of increasing the Elemental’s better. Who knows? Perhaps the Elemental actually has
power, perhaps by channeling vast amounts of suitable had a change of heart and wants to help, but remains too
energy: an Electrical Elemental might seek out a new dy- arrogant to answer to any outside authority, or to surren-
namo or generator, while a Radiation Elemental is drawn der and answer for any previous crimes
to an experimental cyclotron or even fusion reactor!
Whatever the case, the Elemental jumps in power level THE ELEMENTS OF EVIL
from 14 to 16, 18, or even off the scale altogether to PLX,
becoming a living embodiment of the element, able to The only thing worse than one elemental villain is an
control unlimited amounts of it to any degree, anywhere. entire group of them. Elements often come in paired
Imagine a villain with complete command of all of the opposites (fire and water, light and darkness, etc.) or in
electrical energy on Earth much less a foe able to com- themed groups, such as the four classical elements of
mand and shape the gravitic forces of the entire solar sys- air, earth, fire, and water, or a spectrum of “fundamental
tem or galaxy! The heroes have to come up with a coun- forces” like electromagnetism, gravity, and nuclear force
ter-plan to remove the Elemental’s added power, while (strong and weak). One elemental villain might begin
surviving long enough to implement it. gathering those with similarly themed powers in order
to form a stronger team to deal with those troublesome
ELEMENTAL ASSISTANCE heroes. The Elemental’s new teammates could be equal-
ly powerful, or lower power level underlings (perhaps us-
The Elemental stuns the world by performing a series of ing the Elemental archetype from the Hero’s Handbook
good deeds, the exact nature of which depend on the ele- as a basis). Certainly, a team of PL14 Elementals would be
ment involved, but can include alleviating natural disasters, a force to be reckoned with!
bringing much needed rain or fertile soil to parched areas,
stopping wars or border skirmishes, restoring environ- The heroes have to find some way of overcoming a group
mentally ravaged areas, building or repairing housing or which may command considerable power, perhaps by ex-
infrastructure, and so forth. The formerly feared supervil- ploiting the Elementals’ innate weaknesses or even their
lain claims to have reformed, and asks no reward for these oppositions to each other. They may also be able to find
good deeds. However, the villain still refuses to surrender to the source of the Elementals’ power and use it, either to
authorities, who have an increasingly difficult time trying to remove or weaken their foes’ powers, or to increase their
arrest the criminal, given the groundswell of public goodwill own long enough to defeat them.
(and sovereign governments willing to provide asylum).

HYBRID
Like the Brute, the Hybrid is often a tragic figure, a Finding the cure may be the end of the Hybrid, but there
amalgam of human and beast. Some are creations of is always the possibility of the transformation happening
science gone wrong while others are the victims of again; perhaps the cure is only temporary, or circumstances
mystical curses (such as lycanthropy). Some Hybrids revel force the Hybrid to accept the transformation once again
in their condition and the power it brings, while others in order to, for example, save a loved one or deal with a
desperately seek a cure to restore them to normal, willing threat. If the cause can be repeated or the transformation
to do whatever it takes to achieve it. is contagious then someone else could become the Hybrid,
perhaps even at the same time as the original!
THEMES BEAUTY AND THE BEAST
Hybrid themes are based around the type of animal or
The Hybrid’s buried humanity is often obsessed with a par-
beast the villain resembles. The appearance may be strictly
ticular person. This may be a spouse, partner, child, or other
cosmetic—with the character having just the traits listed
family member of its human self, or simply someone who
for the archetype—or it may include certain additional
has shown the creature kindness and compassion, earning
traits. Roll on the Animal Types table or choose a suitable
its devotion in return. The Hybrid stalks this person, trying
species for the Hybrid..
to protect him or her in its own way—usually by threaten-
While the Hybrid is often a human transformed by sci- ing or even killing any perceived danger. Eventually, the
ence or sorcery, it may also be a natural creature, creature may abduct the object of its obses-
perhaps an alien that resembles a humanoid sion in order to keep that person
beast or a member of a super-evolved race of
beast-men. In this case, the Hybrid is usually a
confused stranger in the modern world, in need
of a means of returning home rather than restor-
ing a humanity it never had.
NAME IDEAS
Generally something based on the Hy-
brid’s animal associations (Ophidian for
a snake-man, for example, or Hammer-
head for a shark Hybrid) or a general
description of the villain’s beast-like nature:
Feral, Primeval, Atavist, Fierce, Rabid, and so
forth.
CLASSIC BITS
Classic bits for the Hybrid include:
THE CURE
The Hybrid’s condition is often the re-
sult of an accident or curse, leaving the
victim searching for a cure of some sort.
This may be a scientific formula or treat-
ment, or a magical spell or talisman,
but the result is the same. The Hybrid
engages in a series of thefts and kid-
nappings to get whatever is needed to
put a stop to the madness and reverse
the transformation. Heroes can offer to
help, and might be able to convince the Hy-
brid to let them. More likely, however, the
villain is too far gone to trust anyone, and
has already committed serious crimes the
authorities are not going to simply forget.

ANIMAL TYPES
D20 ANIMAL (ADDITIONAL TRAITS)
1 Ant: STR +2, STA +2, Movement 2 (Wall-crawling 2) • +12 points

2 Ape: Protection 3, Movement 1 (Swinging) • +5 points
3 Bat: AGL +2, Flight 2, Senses 3 (Accurate Radius Hearing) • +11 points
4 Bear: STR +1, STA +1, Protection 2; +6 points
5 Cat: AGL +2, Movement 1 (Slow Fall) • +6 points
6 Chameleon: Concealment 4 (Visual, Blending), Movement 1 (Wall-crawling) • +6 points
7 Cheetah: AGL +2, Speed +2 • +6 points
8 Crocodile: STR +2, STA +2, Movement 1 (Environmental Adaptation: Aquatic), Protection 2, Swimming 1
• +13 points
9 Dog/Wolf: AGL +1 • +2 points
10 Earthworm: Burrowing 2, +1 Regeneration rank, Senses 1 (Ranged Touch) • +4 points
11 Electric Eel: Damage 4 (electricity, Reaction), Immunity 1 (Drowning), Movement 1 (Environmental
Adaptation: Aquatic), Swimming 2 • +21 points
12 Elephant: STR +4, STA +4, Protection 4 • +20 points
13 Fly: AGL +2, Enhanced Advantages 2 (Improved Initiative, Seize Initiative), Flight 2, Senses 1 (Radius Vision)
• 11 points
14 Hawk: AGL +1, Flight 3 (Wings), Senses 1 (Extended Vision); Perception +2 • +7 points
15 Monkey: AGL +2, Movement 1 (Swinging); Acrobatics +4; +8 points
16 Octopus/Squid: STR +2, Concealment Attack 4 (ink, Visual, Cloud Area, Limited to underwater), Extra
Limbs 7, Immunity 2 (Drowning, Pressure), Movement 1 (Environmental Adaptation: Aquatic), Protection
4, Swimming 3 • +30 points
17 Shark: AGL +1, STA +1, Immunity 1 (Drowning), Movement 1 (Environmental Adaptation: Aquatic),
Protection 3, Swimming 2 • +12 points
18 Snake: AGL +2, Enhanced Advantages 2 (Improved Grab, Improved Hold), Movement 1 (Slithering),
Protection 2 • +10 points
19 Spider: STR +2, STA +2, Movement 3 (Swinging, Wall-crawling 2), Senses 1 (Ranged Touch), Web (Ranged
Cumulative Affliction 6; Resisted by Dodge; Hindered and Vulnerable, Immobilized and Defenseless;
Extra Condition, Limited Degree) • +33 points
20 Whale: STR +6, STA +2, Movement 1 (Environmental Adaptation: Aquatic), Senses 3 (Accurate Radius
Hearing), Swimming 1 • +22 points
close by and safe. The heroes need to rescue the kidnap You can handle the transformation as a plot device,
victim, which only enrages the creature. making it slow enough to not immediately overwhelm
characters, but fast enough to create a sense of urgency.
True danger to the victim may cause the Hybrid to relent Alternately, you can handle it as an Affliction effect. See
and even surrender or sacrifice itself. This can lead to a the Vampire archetype for guidelines on this.
tragic ending, with the creature dead or presumed dead
after giving itself to save the object of its affection. ANIMAL MASTERY
CONTAGIOUS TRANSFORMATION In addition to their various other powers, Hybrids often
have empathy with, and control over, creatures similar to
In some cases, like recombinant DNA or a magical themselves. This is essentially the Communication (Animals)
curse such as lycanthropy, the Hybrid’s condition may effect or Summon Animals at a suitable rank, often Limited
be contagious, usually to anyone bitten or scratched to the same type of creature as the Hybrid’s basic stock.
by it. This leads to a slow transformation of the victim So a reptilian Hybrid may be able to control other reptiles,
into a similar hybrid creature. If these new Hybrids are particularly snakes or alligators, while a feline Hybrid can
contagious, a plague of the creatures could quickly infest control cats, possibly including big cats like lions and tigers.
an area, giving the heroes a major problem to deal with.
Things get worse if the transformation not only affects UNEXPECTED IDENTITY
superhumans, but allows them to retain their powers! This
can lead to super-powered Hybrids able to shoot flames, One twist about the Hybrid has almost become cliché:
control minds, bounce bullets, and much more. namely the villain’s human identity turning out to be

HYBRID PL10
6 6 5 3 8 -2 4 1
POWERS OFFENSE
Claws: Strength-based Damage 2, Penetrating 6 • 8 points INITIATIVE +9
Healing Factor: Regeneration 10 • 10 points Claws +12 Close, Damage 8, Penetrating 6
Animal Senses: Senses 6 (Acute Smell, Danger Sense,
Darkvision, Tracking, Ultra-hearing) • 6 points DEFENSE
Bestial Speed: Leaping 2 (30 feet), Speed 4 (30 MPH) • 6 points DODGE 12 FORTITUDE 10
SKILLS
Acrobatics 10 (+15), Athletics 9 (+15), Close Attack: Claws 4
(+12), Expertise: Survival 12 (+10), Insight 8 (+12), Intimidation POWER POINTS
12 (+13), Perception 10 (+14), Stealth 11 (+16)
ADVANTAGES POWERS 30 DEFENSES 21
Agile Feint, All-out Attack, Defensive Roll 2, Evasion, Fearless, ADVANTAGES 14 TOTAL 165
Great Endurance, Improved Initiative, Improved Trip, Move-by
Action, Power Attack, Startle, Takedown, Uncanny Dodge COMPLICATIONS
The Beast Within: Subject to uncontrolled animal impulses.
someone other than who you would expect. For example,
if the heroes think the Hybrid is the obsessed geneticist
experimenting with his own work, the creature will turn influence of the beast. The mercenary is a heartless killer
out to be his lovely wife or daughter, either the victim of who intends to make the Hybrid just another trophy for
an accident the scientist is attempting to protect while he his wall, unless the heroes intervene.
looks for a cure, or a willing test subject trying to prove his
theories (often without his knowledge).
KINGDOM OF THE BEAST
The Hybrid is involved in a series of thefts of scientific
TACTICS equipment and supplies, just like in The Cure bit,
perhaps even kidnapping experts in the field. Evidence
The Hybrid’s tactics tend to be as its name implies: direct points to the villain’s human identity and the accident
and brutal. It attacks like a wild animal, relying on its or experiment that caused the initial transformation.
strength and speed. However, it turns out the Hybrid is not looking for a cure,
Still, when faced with multiple opponents, the Hybrid but a way of replicating the transformation on a much
can be a cunning foe. It often tries to lead pursuers into wider scale! The villain is creating a formula or device that
ambush or takes advantage of the natural features of the will turn everyone in a city, nation, or even the world into
terrain, if it operates in the wilderness. So a Hybrid might a human-beast hybrid like it is, with the Hybrid as ruler of
lead heroes into quicksand or sinkholes, off of cliffs, or a new kingdom, unless the heroes find a way to stop it.
into riptides, as well as constructing crude traps such as THE VESSEL
deadfalls and snares.
A Hybrid known to the heroes unexpectedly returns,
CAPERS perhaps even after being cured in a previous adventure.
Shortly after the creature is sighted, however, it is captured
Adventures involving the Hybrid may include the by parties unknown and whisked away. Evidence points to
following: the Hybrid’s transformation being deliberately arranged
and triggered by a secret mystical cult. The entity they
THE HUNT worship has a half-human, half-beast avatar that sounds
very much like the Hybrid. The cult members have taken
After a few attacks by the Hybrid in which some people this as an omen that the creature is destined to be the
have been hurt (but no one killed as yet), the authorities vessel of their god, and they intend to use the Hybrid in an
agree to work with a noted bounty hunter and mercenary occult ritual to summon it into the world. The heroes have
who offers to track down the creature and bring it back, to find the cult’s hidden lair and put a stop to the ritual, or
dead or alive. A friend of the Hybrid’s human identity find a way to banish the cult’s patron after it has possessed
comes to the heroes and begs them for help, saying the a physically powerful body to use in conjunction with its
Hybrid is not really responsible for his actions under the own mystical abilities.

IMP
The Imp is less of a “villain” and more a high-level nui- of testing their abilities and limitations. This might be
sance or a bother—a foe intended more to make heroes scientific curiosity or some need to put heroes through
want to bang their heads against walls than anything a “crucible” to refine their power and determination in
else. Some Imps are potentially deadly, but even these some fashion. Some Testers are self-appointed judges of
like their elaborate games and twisted ideas of what “worthiness,” and may seek to eliminate those who do not
constitutes “fun.” meet their high standards.
Entertainment is the main idea of the Imp... for the Imp, THE TRICKSTER
anyway. The character is generally bored and seeks chal-
lenge or excitement by pestering the heroes in different Mythologies from many different cultures have stories of
ways. Some Imps are deadly serious about this, looking trickster gods and spirits who use cunning and guile to
for ways to humiliate or even destroy their chosen oppo- get into and out of a lot of trouble. A trickster Imp causes
nents, while others are just out for some fun, even if they problems for the heroes largely because he can, out of a
turn the world upside-down in the process. sense of boredom or to “lighten up” the otherwise overly
serious good guys. For some it’s childish good fun, for
Thus the Imp tends to combine a childish sense of amuse-
others, it’s a vicious attempt to tear down the heroes and
ment and cruelty with almost unlimited power. The Imp is
make them look foolish.
usually nigh omnipotent, making it that much harder for
heroes to get rid of him (or simply punch his lights out, as In spite of their tremendous power, tricksters tend to be
they will no doubt be tempted to do). cowardly when confronted, and sometimes get caught up
in their own web of lies and deception. Smart heroes can
THEMES play on their weaknesses and might be able to get some
help from other members or factions of the trickster’s
“pantheon” (whomever they may be). Otherwise, it’s up to
Some themes common with Imp adversaries include the
the good guys to come up with some clever plan to out-
following.
trick the trickster.
COSMIC BRAT
YOUR NEW BEST FRIEND!
The most common type of Imp is the bothersome pest
who just won’t leave and who is far too powerful for the Sometimes an Imp means well, even if things do not work
hero to get rid of any way other than according to the out that way for the object of its attentions. Rather than
rules of the Imp’s game (or trickery involving said rules). seeking to play against the heroes, the Imp wants to work
The Imp may be an actual child (or at least look and act with them, becoming their new partner, teammate, or
like one) or an adult or other being with childish qualities. sidekick. Unfortunately, as initially tempting as it might
Some Imps seem like adults at first, but demonstrate in- appear to have an ally with unlimited power, the heroes
creasingly childish behavior, revealing their true nature. quickly learn that having the Imp on your side isn’t nearly
as helpful as it might seem.
In addition to an inherent weakness or winning the terms
of the Imp’s game, the Cosmic Brat may have another limi- For one thing, the Imp still doesn’t understand human
tation: sooner or later, Mom and Dad might come looking.... limitations or customs, going around violating all kinds
of laws and procedures to get the job done. Then there’s
PLAYER OF GAMES the inability to tell a serious supervillain from some rude
newspaper publisher who calls the heroes names (“But I
Some “Imps” are hardly deserving of the title, being almost thought you said you didn’t like him?”“That’s no reason to
full-fledged devils, except these cunning figures are not turn him into a rat!”) or problems that should not be solved
the primordial forces of evil (see the Elder Evil archetype with superhuman powers (“You wished he loved you, now
for that). Instead, they are nigh-omnipotent nuisances for he does!” “But it’s not real!”). Lastly, there’s the temptation
heroes in one manner or another, just as insistent on their for the Imp to “liven things up” by making them even more
“game” (and their rules) as other Imps tend to be. challenging for the heroes! After all, stopping a routine
mugging is dull, but thwarting a massive alien invasion by
One example is the Game-Master, a cosmic game-player an alliance of a dozen different races... now that sounds
interested in various tests of wit and skill involving the awesome!
heroes. Sometimes they play against the Game-Master,
other times they are just pawns in one of his larger games,
pitting them against other heroes or villains on an oppo- NAME IDEAS
site team.
Anansi, the Brat, Coyote the Trickster, Kilroy, Mister
Another Player of Games is the Tester, who puts heroes in Muggles, Pooka, Puck, Rumpelstiltskin, Sidekick,
situations similar to the Game-Master, but for purposes Storytime, the White Rabbit

CLASSIC BITS tween the Imp and the heroes, be creative when it comes
to challenging them. Instead of a big, damaging blast, the
Imp is more likely to bring buildings or statues to life to
The following are some things regularly associated with
fight the heroes, or enlarge ordinary urban rats or roach-
the Imp:
es into giant monsters. Maybe the Imp transforms into
JUST LIKE MAGIC something the heroes can fight, such as a creature, giant
robot, or fighter plane, and gives them a fair shot. Even
The exact descriptors of the Imp’s almost limitless power when it comes to mind control, Imps are more likely to
are left up the nature of the character; it almost doesn’t force heroes to dance a jig uncontrollably than to simply
matter. An Imp could wield powerful magic, science so entrance them. It should be a challenge the players can
amazingly advanced as to be indistinguishable from find a clever way around rather than just “make this resis-
sorcery, higher-dimensional forces, or simply the ability to tance check or you’re dead.”
reshape reality at will. Whatever the source of the power, it
is, for all intents and purposes, limitless (with possibly one
exception, see One Weakness, following).
C’MON, LET’S PLAY!

Looking for entertainment, the Imp is more prone than
most antagonists toward playing games, often childish
or cruel (or both), such as high-powered versions of hide-
and-seek, scavenger hunts, tag, checkers (perhaps played
with buildings or landmarks, or living “pieces”), or various
sports or board games. The Imp may pull mean pranks
intended to make heroes look bad or just show them up,
such as altering their powers or costumes, threatening
their personal lives, trying to expose a hero’s secret
identity, steal away a significant other, and so forth.
IT’S MY IDIOM
Although the Imp is capable of accomplishing nearly any-
thing, he tends to stay within a particular theme or style.
For example, an Imp could be a shape-changer able to
turn into anything he can imagine; or the Imp might be
obsessed with 18th century pirate regalia, so all his vari-
ous effects are associated with it (flintlocks, cannons,
parrots, peg-legs, and so forth), even when they’re
fantastic in nature (firing energy beams or growing
to giant size). There might be a reason for the Imp’s
particular style or it could just be a matter of taste. What-
ever the Imp’s idiom, it often has something to do with his
weakness as well.
PASSIVE AGGRESSION
Although the Imp might have unlimited
power, even when it comes down to a
direct confrontation, Imps do not do
things like simply making heroes
vanish, turning them into stone (or
any other inert matter), controlling
their minds, or otherwise destroy-
ing or defeating them outright
with nothing more than a thought.
Why? The exact reason varies, but
generally because it would offend
the Imp’s sense of “fair play” or make
the whole conflict too easy, especially
when the idea is provide some chal-
lenge and entertainment.
So when you are running a confrontation be-

making all of his wishes come true! Now the guy who gave
ONE WEAKNESS the heroes trouble with limited or no powers of his own
has almost unlimited source of power! The heroes have to
There is always a way to get rid of the Imp, and it is usually
contend with the problems their newly empowered foe
fairly easy to suss out or even trick the Imp into admitting
causes for them while trying to figure out how to separate
what it is. Of course, it may then be a matter of fulfilling that
the Imp from the new “ideas guy” so they can deal with
condition, but smart heroes can often exploit loopholes in
them both.
the requirement to get the cosmic pest to go away.
The nature of the weakness can be almost anything: BUILDING BETTER HEROES
learning and saying the Imp’s true name (or getting the
Imp to say it, perhaps backwards), winning a particular In an effort to be “helpful,” the Imp decides heroes need
contest, waiting for a particular time (such as an Imp who challenges to not only stay sharp, but to hone and
only appears at night, or only on a particular night, like improve their skills. Therefore, he takes it upon himself to
Halloween), or confronting the Imp with some intangible become their “hero coach” and provide them with all sorts
quality, such as love, hope, fear, or the like. of new and innovative challenges. At first, the good guys
might not know the Imp is behind it all. They just notice
Once the Imp’s weakness is triggered, he’s gone, at least an uptick in strange happenings and crises. The more they
for a while. Some Imps have the same weakness, and it’s a deal with things, the worse they seem to get, however,
matter of knowing and using it when the Imp reappears. until the heroes cannot seem to catch a break. Only when
Others change weaknesses, often within a theme, such all seems lost (the Moon begins falling out of the sky
as the Imp who always leaves if you can beat him at a toward Earth, or a giant monster threatens to eat the Sun),
game, but the game (and its rules) change with every does the Imp appear to harangue the hopeless heroes
appearance. and tell them they need to meet this latest challenge! Lack
of gratitude might well turn the Imp away from helping
TACTICS and back to just causing trouble, not that the heroes will
be able to tell the difference.
Imps do not have a lot of use for tactics beyond “this
sounds like fun!” The Imp usually has enough power to do CHALLENGE OF THE CHAMPIONS
just about anything, so the tactic of choice is usually the
one that makes things the most difficult for the heroes The Imp takes the role of referee in a contest (or series of
but also gives them the opportunity to show what they’re contests) between two or more teams of superhumans.
made of. The teams could be the classic “heroes versus villains” or
various superhero teams competing, mixed groups of
CAPERS heroes and villains, the heroes versus heroines, adults
versus teens, or anything else that catches the Imp’s fancy.
Perhaps the teams even vary from one contest to the
Adventures involving an Imp may include the following:
next. Similarly, the prize can be anything from the Imp
THERE’S A NEW HERO IN TOWN not wiping out life as we know it on Earth to the promise
of fulfilling the winner’s every wish, something the good
An amazing new superhero shows up in the same area as guys are not going to want their archenemies to get!
the characters and begins showing them up with a dizzy- This adventure is an excuse to put the heroes through any
ing array of incredible powers. He wraps up a dangerous series of contests you care to think up, including staging
hostage situation in no time, stops natural disasters, cap- interesting fights with various opponents in exotic locales,
tures escaped super-monsters, and so forth, all without around the world or in the far corners of the universe.
raising a sweat.
As the heroes begin to suspect this new champion of

IT’S A MAD, MAD WORLD
justice is too good to be true, they discover they are right:
A series of just plain weird things start happening to the
he’s just a disguise for the Imp, who is actually creating
heroes: clouds made of actual cotton; cartoon characters
many of the crises in order to swoop in and handle the
coming to life; inanimate objects talking to people and
problem! He might mean well, sincerely wanting to help
developing temperamental personalities, and so forth.
his idols (the heroes) but he’s too impatient to wait around
The more surreal the idea, the better it is. After a series of
for actual things to happen. On the other hand, the Imp
incidents that make everyone doubt their sanity, the Imp
might be maliciously messing with the “do-gooders” by
shows up to explain how the physical world needed some
showing them up and making them look bad in public.
“livening up.” Incapable of fully understanding the divide
Either way, they have to figure out how to get rid of him
between imagination and solid reality, the cosmic visitor
before his grandstanding creates a real disaster!
has begun blurring it, causing dreams, imagination, and
THE IDEAS GUY nightmares to bleed over into the real world.
It’s the heroes’ worst nightmare come true: the Imp The good guys have no end of crises and emergencies to
latches on to a cunning and dangerous supervillain (such handle, along with ultimately convincing their strange
as the Psycho archetype) and, like a magical genie, starts visitor to stop and put things back to normal.

JOBBER
Not every villain is cut out to rule the world or bring Jobbers may be frustratingly difficult to catch in a chase
society to its knees, and not every villain wants to. For or possess oddly specific scientific expertise relevant to a
many, villainy is a strict 9-to-5 day job. Once all is said problem the heroes must solve, forcing them to persuade
and done, they punch out and hit the bar to complain or intimidate the Jobber into working with them willingly.
about their kids’ braces and the overbearing mastermind This ability is best reflected with advantages like Favored
signing their checks. Others may simply have a schtick or Foe or Favored Environment—perhaps even allowing
gimmick they love that’s never amounted to much more Jobbers to stack two ranks of these advantages to improve
than holding up jewelry stores and shaking down tourist the provided circumstance bonus to +5.
busses, continuing their villainous schemes for the art,
rather than for power or profit. IT’S ALL THE SUIT
The Jobber is a classic low-power goon who nonetheless Many Jobbers rely on advanced technology to provide
brings some powers to the fight. They are lieutenants who their powers, having no abilities of their own and instead
lead minions or support more powerful villains with clear- using a weapon, suit, or other gadget for their power. Con-
cut agendas. The typical Jobber excels at something (see sider where this technology comes from: Is it a mystical ar-
the Jobber Themes table), and applies that skill to criminal tifact they found? A gift from a mad scientist? Equipment
activities, but without the style or raw power of more provided by an employer? Or did they build it themselves?
experienced villains. Some are happy with their brand If the technology is provided by someone else, consider
of “casual villainy,” never quite being leadership material, what happens if the Jobber goes rogue, or if their boss
while others resent their role as second-string evil. Some is taken down. If the villain provides their own technol-
earn a measure of respect working as the strong arms for ogy, can they provide a similar (less powerful) version of
a criminal syndicate under a Crime Lord or Mad Scientist, that same technology to their minions, or even sell it to
and just as many still trash talk and posture no matter how other criminals? Also consider if their device is removable
many times they’re defeated. or easily removed; a gravity gun can be disarmed, while a
What they lack in terms of power, most Jobbers make up villain with a wearable “cosmos rig” has to be taken down
for with personality. They lovingly embrace their gimmicks before the heroes can take their powers away.
with an appropriate costume for themselves and minions,
themed crimes, and strings of bad puns. Most inexplicably THAT’S ODDLY SPECIFIC
escape prison with ease to haunt their favorite heroes
time and time again. Many Jobbers rely on amazingly advanced technology
they build themselves, despite having no special genius
or other technical skills. Many could become wealthy
THEMES if they learned to apply their technological insights or
patented their creations, but somhow never manage to.
A Jobber’s theme revolves heavily around whatever This savant-level tinkering is always limited to their theme
particular power set they possess. Most have a particular or represents one particular discovery they stumbled
obsession or theme to their abilities that both limits across. It is considered a plot device rather than anything
the theme and scope of their crimes and provides a requiring appropriate skills or advantages.
curiously savant-like mastery of some subject. A clock-
themed Jobber may not be able to do multiplication in
his head but can track and predict timing within a tenth NAME IDEAS
of a second, while a Jobber with a freeze ray may build
it herself but otherwise be unable to change her own See the individual elements on the Jobber Themes table.
oil or set the clock on her microwave. Consider where a
Jobber’s powers come from: Are they natural abilities? CLASSIC BITS
Are they provided and maintained by another villain? Are
their abilities from a magic source, strange radiation, or a Some classic elements associated with the Jobber include:
strangely specific mastery of science?
CHECK THIS OUT
CAN’T TOUCH ME
Jobbers have a tendency to reinvent themselves along
While Jobbers are generally considered a joke, most their theme, returning with new skills, new advantages,
have one unexpected area where they shine or easily different minions, or changes to their powers. They
outmatch even veteran heroes. This is sometimes played may upgrade or change out their arsenal of gimmick
for laughs but other times represents a serious challenge weapons or learn a new alternate power, always keeping
the heroes must overcome. The most common example heroes on their toes. These new abilities are an excellent
is the amphibious villain who is a joke on dry land but excuse to introduce plot devices used to kick off the real
extraordinarily powerful, swift, or skilled underwater. Other adventure, such as a mirror-themed Jobber’s new ray gun

JOBBER PL8
2 3 1 1 4 0 1 0
POWERS DEFENSE
Armored Costume: Protection 5 • 5 points DODGE 8 FORTITUDE 9
Jobber Schtick: Powers based on theme (see Jobber Themes PARRY 8 TOUGHNESS 8/3*
sidebar)
WILL 7 *Without Protection bonus
SKILLS POWER POINTS
Athletics 5 (+7), Expertise: Streetwise 8 (+8), Intimidation 6 (+6),
Perception 4 (+5), Ranged Combat: Powers 7 (+8), Technology ABILITIES 24 SKILLS 17
4 (+4) POWERS varies DEFENSES 23
ADVANTAGES 8 TOTAL 72+
ADVANTAGES
Beginner’s Luck, Close Attack 2, Improved Initiative, Power COMPLICATIONS
Attack, Takedown, Teamwork, Ultimate Effort (Toughness
checks) Accident: The Jobber is especially prone to causing mayhem
and accidents, or losing control of their powers.
OFFENSE Goober: No one seems to take the Jobber seriously.
INITIATIVE +5 Quirk: The Jobber has a personality quirk or obsession related
to their power set.
Jobber Attack +8 Effect Varies
Responsibility: The Jobber has obligations to a more powerful
Unarmed +6 Close, Damage 2 villain or group.
accidentally swapping the heroes’ minds or a Nightmare- office and sit down for a drink with heroes out of costume,
themed Jobber’s new sleeping dust trapping everyone in though they generally want to leave “shop talk” at the office
a shared dream for the session. and discuss anything else, from sports to the local gossip.
Most workaday Jobbers have shockingly mundane

COLD OPEN concerns, like how to pay for healthcare, save for
retirement, or get their kids to respect them, and invariably
A recurring narrative device in comics is to open with
turn to villainy to solve these problems.
the heroes already engaging a minor threat such as a
criminal gang caught mid-heist. Because they are neither MY RIGHT HAND
especially threatening nor especially subtle, Jobbers
make excellent leaders for otherwise ordinary criminals in Jobbers who take their career more seriously often serve
opening encounters like this, adding some special effects as lieutenants for more powerful villains, assisting them
to a short and exciting opening scene. in combat and leading their minions on jobs. While this
doesn’t necessarily make a Jobber more powerful, it
DOUBLE TROUBLE grants them access to better vehicles and equipment, and
may mean they can readily escape custody to rejoin their
Jobber powers sometimes straddle multiple themes, and
criminal master. Those who lead minions usually have
because the effects listed generally don’t stack you can
higher ranks of the Intimidate skill.
feel free to select two different themes to provide more
interesting power options and increased mobility, such as Multiple Jobbers—often with complimentary powers—
a stilt-themed villain whose powersuit also provides them may even serve the same master and provide a potent
with super strength, or an aerialist who throws trick feath- one-two punch that helps a mastermind manage an en-
ers that explode or entangle targets. tire team of heroes in combat. A villain who creates icy en-
vironments, for example, would benefit from lieutenants
IT’S A LIVING who can survive or thrive in icy conditions, while a villain
with powerful psychic powers and a fragile body may turn
For many Jobbers, crime is a day job and they still have to super-strong Jobbers to defend them. A Jobber who
a regular life outside the suit. They hang out at bars with can maneuver around on the ceiling pairs well with an-
other minor villains, hold down apartments, and may have other who lays out sticky traps on the floor, and so forth.
families to support. Some turn to villainy because their
expertise or powers ruined their chance at a normal life, and VILLAINS WITHOUT NUMBER
a criminal record prevents them from finding legitimate
work, feeding a vicious cycle of criminal behavior. Many of Jobbers straddle the Power Level between villains
these “blue collar” villains are happy to leave business at the and minions, and can also represent “elite” minions of

especially powerful villains, such as an Elder Evil’s demon-
imbued shock troops or an Overlord’s royal guard. Simply
I MISS THE OLD GUY
apply the minion rules (or don’t, if you want to use them
A long-running Jobber who has opposed the heroes
sparingly) and select a theme reflective of their employer.
before finally retires, disappears, or dies. More a colorful
Even when they aren’t minions, Jobbers often flock character than a dangerous criminal, her loss leaves
together for strength in numbers against a city’s heroes. the hero community and local news feeling awkwardly
They are more likely than most villains to work well down. But soon, a new criminal picks up her mantle and
together, forming a criminal league or gallery of rogues equipment, but with far darker, more violent tendencies,
who focus on one hero in particular they have in common. sensible tactics, and possibly even powerful minions. This
new legacy Jobber may even have an increased power
level. What is their tie to the original villain and what is
TACTICS motivating their new crime wave, and can the heroes stop
them from tarnishing the legacy of a far less dangerous
When all you have is a hammer, every problem looks like criminal that may even think of as a peer?
a nail. Jobbers typically have one strategy and stick with
it, often getting creative in how to best apply their limited
powers. They select their targets, environments, or even
time of day based on what provides an advantage—
especially those with movement powers. In combat, they
are direct and overconfident, opening up with their
strongest power before trying alternate powers or
maneuvers.
While they easily outmatch local law enforcement,

Jobbers are rarely on equal footing with superheroes.
Jobbers often lead minions—either their own or other
criminals loyal to their employer—and use Aid actions
and Team Attack maneuvers with their minions to
match a hero’s power level. Others may use their
minions for cover—in this case, consider applying the
Interpose advantage to minions or even a mandatory
Interpose-like effect that allows a Jobber to sacrifice
an adjacent minion to block a hero’s attack.
CAPERS
Adventures involving a Jobber may include:
A CONTEST OF CRIMINALS
Over a few drinks, several Jobbers decide to settle
which of them is the best by all targeting the same
treasure. The first to attack may provide a red
herring, making heroes believe that an unaffiliated
employer is after the treasure or that a wave of
theme-robberies is about to begin, but as more
and more villains make a run at the same target the
situation becomes more obvious. Once the heroes
get involved, the rules change, and the Jobbers
split into teams to see who can catch the most
heroes unprepared and take them down.
HEROIC EFFORTS
A Jobber accidentally manages to stop a crime in
progress while waiting to rob the same business,
leaving them basking in the adulation of a crowd
and smiling for news cameras. After this, he begins
fighting street crime. Do the heroes get involved
and help their old foe reform, or do they watch
and wait for him to relapse into his formerly
felonious ways?

JOBBER THEMES
D20 ELEMENT
Aerialist with wings (Winged Flight 8), wing slash (Strength-Based Damage 4; Accurate 2), and avian senses (Sens-
1 es 6 [darkvision, extended vision, infravision, tracking 2]). Name Ideas: Butcher Bird, Con-dor, Dragonfly, Flying Fox,
Kingfisher, Pinfeather, Rocketrix • 20 points
Energy Projection with energy blast (Ranged Damage 8), stun blast (alternate; Ranged Affliction 8, Resisted by
Fortitude; Dazed, Stunned, Incapacitated), Energy Wall (alternate; Create 8), Blast Off (alternate; Leaping 5), and
2-3
energy battery (Immunity 10 [one energy type]); Name Ideas: Combustor, Lighter, Living Frost, Master Ohm, Mr. Hot,
Shakedown • 29 points
Glue/Traps with snare (Ranged Cumulative Affliction 8, Resisted by Dodge; Hindered and Vulnerable, Defenseless
and Immobilized; Extra Condition, Limited Degree), snare trap (alternate; Cumulative Affliction 7, Resisted by
Dodge; Hindered and Vulnerable, Defenseless and Immobilized; Extra Condition, Limited Degree; Triggered),
4–5
and snare bomb (alternate; Burst Area Cumulative Affliction 6, Resisted by Dodge; Hindered and Vulnerable,
Defenseless and Immobilized; Extra Condition, Limited Degree); Name Ideas: Adheser, Flypaper, Goo Girl, Handy
Man, Mountain Man, Snap-Trap, String King, Trapules, the Welder • 26 points
Leaping with super leaping (Immunity 5 [falling damage], Leaping 5, Speed 4) and power kick (Strength-Based
6–7 Damage 4, Accurate 2). Name Ideas: Bullfrog, Triathlete, Hare Trigger, Hopscotch, Kangarude, the Leapist, Pole Vault
• 20 points
Mirrors/Illusions/Shadows with projections (Visual Illusion 8), reflection/misdirection (Deflect 7; Redirection,
Reflect), illusion damage (alternate; Ranged Damage 7; Alternate Resistance [Will]), invisibility (alternate; Visual
8–9
Concealment 4); and mirror-step (alternate; Extended Teleport 10; Medium). Name Ideas: Adonis, Bloody Mary,
Chiaroscuro, Figment, Mirror Miser, Refractor, Shadowplay • 40 points
Poison with venom (Weaken Stamina 8, Resisted by Fortitude; Accurate), hallucinogenic poison (alternate; Af-
fliction 8, Resisted by Fortitude; Dazed, Compelled, Controlled; Accurate), paralytic poison (alternate; Affliction 8,
10–11 Resisted by Fortitude; Dazed, Stunned, Paralyzed; Accurate), poison spray (alternate; Line Area Weaken Stamina 4,
Resisted by Fortitude), and sneaky (Enhanced Stealth 10, Movement 1 [slithering or wall-crawling 2]). Naming Ideas:
Dr. Feelbad, Ghost Shrew, Injector, Mr. Medici, Pusher, Scorpion X • 19 points
Stilts/Spiders/Striding with long-legs (Elongation 4 [limited to legs], Speed 4), kickback (Strength-Based Damage
12–13 4; Accurate; Linked to Close Move Object 8 [limited to away]), and Teflon-coating (Immunity 1 [being climbed]).
Name Ideas: Bowlegged Man, the Crane, the High Heel, Leg Man, Lifts, Mommy Longlegs, Power Walker • 17 points
Spinning with whirlwind spin (Concealment 4 [visual; partial], Senses 1 [radius vision], Speed 6), dizzying embrace
(Affliction 8, Resisted by Will; Dazed, Defenseless, Incapacitated; Accurate), and tornado control (alternate; Close
14–15
Cone Area Move Object 4). Name Ideas: Brawllerina, Gustnado, Gyro-Master, Madame Centrifuge, Pinwheel, Spin
Cycle, Turnabout, Whirligig • 21 points
Strength with powerhouse (Enhanced Strength 7, Enhanced Advantage [Close Attack, Improved Grab]) and
16–17 resilient (Immunity 10 [life support; limited to half effect]). Name Ideas: Buffalo Gal, Crusher, Gravestone, Johnny
Legbreaker, Miss Grizzly • 26 points
Throwing Weapons with exploding ammo (Ranged Damage 8), entangle ammo (alternate; Ranged Affliction 8,
Resisted by Dodge; Hindered and Vulnerable, Defenseless and Immobilized; Extra Condition, Limited Degree),
18–19 flash ammo (alternate; Ranged Burst Area Affliction 8, resisted by Fortitude; Impaired, Debilitated; Limited Degree),
thrown flurry (alternate; Strength-Based Ranged Damage 6; Split 4), and swingline (alternate; Movement 2 [safe fall,
swinging]). Name Ideas: Boomerage, Captain Javelin, Deadeye, Throwing Star, Zuboshi • 20 points
Whips/Tentacles with lash line (Strength-Based Damage 6; Accurate 2; Fast Grab, Improved Grab, Improved Hold),
power pull (Enhanced Strength 6; Limited to Grappling and Pulling), and swingline (Movement 2 [safe fall, swing-
20
ing). Name Ideas: Bullwhip, Cat-O-Nine, Chainbringer, Creeping Ivy, Filament, Lash Master, Man-O-War, Ribbondanc-
er, Rocktopus, Urumi • 19 points
THE NEW ORDER YOU’RE NOT LAUGHING NOW

After the heroes take down a local crime lord, one or more A common element of the Jobber life is humiliating
of the Jobbers in their employ decides to pick up the reins defeat, and the Jobber has taken one too many quips or
and take over the organization. While not as criminally right-hooks from their rival hero at this point. With some
brilliant as their ex-boss, the Jobber offers unique outside help, they have upgraded their power significantly,
firepower by creating replicas of their own power suite increasing their PL to 12 or higher (or consider using the
at an appropriate rank for their minions. With power and Elemental or Jumped-Up Nobody archetypes) and are
no subtlety, they begin a more overt and violent crime now rampaging through the city to draw out the heroes
wave than the ones the heroes just stopped, and taking or take revenge on old rivals. They’re eager to settle the
the Jobber down becomes even harder when they begin score and see how many jokes the heroes can crack
outfitting their criminal headquarters with powered traps. through a broken jaw.

JUMPED-UP NOBODY
If it were not for a strange twist of fate, the Jumped-Up even well-intentioned people suddenly gifted with enor-
Nobody would be just that: no one of any consequence. mous power without the ability to understand or control
After a lifetime of frustration and obscurity, suddenly it. They are like giants in a sandbox, capable of unleash-
a great Item of Power has found its way into his hands ing blasts that can level buildings or even worse with a
and the nobody finally has a chance to be somebody, to glance; they’re usually frightened by the circumstances,
make the world sit up and take notice! Now he will show then angry at being attacked, and therefore unable to
them what real power can do! He’ll show them all! exercise the mental discipline needed to keep their new
powers in check. Heroes dealing with Blundering No-
More often than not, the Jumped-Up Nobody is a tempo- bodies have to keep them calm and under control while
rary villain, a character who gets his powers at the start of containing their incredibly dangerous powers. It can get
the story and loses them by the end. Still, that does not even worse when the Nobody wants to “help out” by
necessarily have to mean the end of the villain, since the joining the team before he or she is ready, and it appears
Nobody may be looking for a way to regain the lost power; the influence of the Item of Power is starting to corrupt
he might even succeed, if a return appearance is desired. the user....
THEMES OMNIPOTENT NOBODY

The primary variations on the Jumped-Up Nobody in- The most extreme type of Jumped-Up Nobody is a plot
volve the exact nature of the Item of Power. It can be a device character with truly limitless power, even beyond
book of spells, a magical talisman, cosmic artifact, piece that of the item given in the archetype’s stats. The No-
of advanced alien technology, or anything else the GM body might possess a literal plot device, an item capable
cares to make up. Likewise, the Nobody could have come of turning thought into reality or granting wishes, or may
by the Item in any number of ways. Some find them by be granted untold power by an outside agency. The ba-
accident, literally in the mud at the character’s feet (or in sic principles of the archetype still apply, but coming up
the trash, washed up on the beach, etc.). Others hunt for with a way of defeating the villain is even more based on
the Item for years until they are rewarded with success. A the heroes figuring out the Nobody’s weakness and put-
few stumble across an Item of Power meant for somebody ting it into use, rather than engaging him in toe to toe
else, such as the hapless henchman who ends up with the combat. It might require taking away the Item of Power,
Item a villain has worked to acquire, or the cosmic mis- or tricking the villain into over-extending his abilities or
take that assigns something meant for a heroic wielder using them in some way that ensures his defeat.
to a less worthy subject. The Item often “imprints” on its
wielder such that no one else can use it. NAME IDEAS
You can further customize the archetype by assigning differ- Typically over-the-top and grandiose monikers like “the
ent or additional powers to the Item of Power’s array. They Master,” or anything with Cosmic, Mega-, Power, Supreme,
can round out the character’s arsenal of attacks and provide or Ultimate in it.
some additional effects. You can also leave some or all of
them undefined and fill them in during game play as ideas
suggest themselves (see Classic Bits for more on this). CLASSIC BITS
POWER SOURCE The following are some classic bits associated with the
Jumped-Up Nobody villain archetype:
Some Jumped-Up Nobodies don’t gain their power from
an item, but from another outside source. The classic ex- SHOWS OF POWER
ample is a “D-list” sorcerer who has sold his soul to a de-
mon or other entity in exchange for tremendous power. Ignored before he possessed such might, the Jumped-Up
Naturally, once the sorcerer is defeated, his master calls Nobody likes to show off with displays of now-amazing
the debt due, and he is dragged down into some hellish power, such as blasting away at anyone foolish enough
afterlife. These Nobodies have the same sorts of powers, to defy his pronouncements, or going after those who
just without the Removable modifier (and with a corre- previously tormented him and forcing them to grovel
sponding increase in cost). In its place, they may have an- and beg for their lives. “Subtle” tends to be something
other flaw, usually involving the temporary nature of their the Nobody needs to grow into, and most rarely get the
time for it.
powers or a price they must eventually pay.
When choosing additional powers for the archetype’s ar-
BLUNDERING NOBODY ray, go for things that make a good show. Attack effects
such as various kinds of Damage or Move Object (usable
The default archetype assumes a villainous character, for throwing around massive objects, or hitting heroes
but some Jumped-Up Nobodies are actually average or with them) are good choices.

JUMPED-UP NOBODY PL12

0 0 0 0 0 1 0 0
POWERS OFFENSE
Item of Power: 135 points, Removable (–27 points) • 108 points INITIATIVE +0
Amazing Confidence: Enhanced Advantages 5 (Beginner’s Energy Blast +6 Ranged, Damage 18 or other effect
Luck, Ranged Attack 6); Enhanced Defenses 18 (Dodge 6,
Energy Burst Ranged, Burst Area Damage 12
Parry 6, Fortitude 6) • 25 points
Energy Mastery: Array (36 points) DEFENSE
• Energy Blast: Ranged Damage 18 • 36 points
DODGE 6 FORTITUDE 6
• Energy Burst: Burst Area Ranged Damage 12 • 1 point
• Energy Bonds: Perception Ranged Cumulative Affliction 9 PARRY 6 TOUGHNESS 18/0*
(Resisted by Dodge; Hindered and Vulnerable, Defenseless WILL 12 *Without Protection bonus
and Immobile), Extra Condition, Resisted by Dodge, Limited
Degree • 1 point
POWER POINTS
• Transmutation: Ranged Transform 6 (50 lbs.), any material
into any result • 1 point ABILITIES 2 SKILLS 8
Immunity 11 (Life Support, Own Powers) • 11 points POWERS 108 DEFENSES 0
Invulnerability: Impervious Protection 18 • 36 points ADVANTAGES 0 TOTAL 118
Mental Shield: Enhanced Will 12, Impervious • 24 points
COMPLICATIONS
SKILLS I’ll Show You! Angered by reminders of previous nobody
Expertise: Magic or Science 6 (+7), Expertise: Pop Culture 6 status.
(+7), Insight 4 (+4) Short-Sighted: Has a lot of power, but doesn’t know what to
do with it.
ADVANTAGES
Beginner’s Luck, Ranged Attack 4 disdainful of self-control and the “little people” who are no
longer a threat or concern.
“I DIDN’T KNOW I COULD DO THAT!” Some Items of Power even actively corrupt their wielders,
their essences tainted by evil magic, or perhaps possessed
Given their typically accidental origin stories, Jumped-Up of malevolent intelligences of their own. The more the
Nobodies rarely understand their powers very well. (It’s villain uses the item, the worse the effects get. The heroes
not as if they come with a user’s manual.) They may have
should get an opportunity to convince the villain to turn
no idea of what they can do until they try. You can use this
back and reject the tainted power, although it does not
for comedic effect by showing the villain attempt some-
necessarily have to succeed.
thing with nothing happening, or having abilities produce
unexpected results, such as a shattering blast rather than
the delicate beam intended to carve the villain’s name TACTICS
into a wall.
The Jumped-Up Nobody is a terribly unbalanced
You can also use this trope as a way of introducing new character, and intentionally so. Note the 18 ranks of
powers (or Alternate Effects) for the villain, based on what Impervious Protection along with the Immunity and Mind
is going on in the adventure. Necessity is, as they say, the Shield granted by the Item of Power makes the archetype
mother of invention, so the Nobody is more likely to try highly resistant to a direct assault. He’s likewise highly
something if there’s a reason than just pulling out new resistant to mental assault and immune to mere mortal
powers at random. If you feel this sudden power develop- concerns like having to breathe.
ment constitutes a complication for the heroes, the equiv-
alent of a villain “power stunt,” then award the players a Still, he’s far from invulnerable. The Nobody’s weaknesses
hero point for it. lie in human frailties: a fairly low Fortitude defense and
a mediocre Insight modifier. Nobodies often forget just
POWER CORRUPTS how powerful they are, and old (human) habits die hard.
Even if a Jumped-Up Nobody doesn’t start out as a power- Offensively, Jumped-Up Nobodies tend to go for big,
mad villain, they tend to end up that way, given the kind showy effects, especially dishing out a lot of damage to
of might at their command. The archetype is often used blast their foes through buildings and across town. When
as an example of the maxim “power corrupts,” with the they go up against opponents with sufficient defense to
opportunity to fulfill any whim making the empowered evade their direct attacks—given the relatively low +6
Nobody selfish and cruel, becoming increasingly attack bonus—most are smart enough to go for area

attacks or to use any perception ranged effects they may of people hostage to get the heroes’ attention and en-
have in their array. The Area Perception Affliction attack courage them to play along, or he might simply show up
is there for just such a reason: it lets the Nobody entangle at their headquarters or a public event and attack them.
a group of heroes in energy bonds (earth manacles, the Ideally, the Nobody wants an audience to witness his
grasping skeletal hands of undead minions, or whatnot) inevitable victory; if they’re not cheering him on, well,
and then let them have it while their mobility is limited. there’s always the possibility of a Visual Area Affliction
with a control effect....
CAPERS
Capers involving the Jumped-Up Nobody might include
the following:
I’LL SHOW THEM!

With the power he now wields, the Jumped-Up
Nobody goes after a “hit list” of everybody
who ever crossed him, and it’s a long list.
The heroes’ first encounter with the vil-
lain is when panicked calls for help come
from the people threatened by his ven-
detta (directly or indirectly). The Nobody
might be kidnapping former tormenters
in order to give them a taste of their own
medicine, or simply going out and blast-
ing them (or turning them to stone, or
into newts, or the like). Some of the vic-
tims might also be the Nobody’s attempts
to show affection for those who were nice
to him. For example, he might kidnap the girl
he never had the courage to talk to, hoping to
finally win her love. Ideally, the heroes can fig-
ure out a pattern to the attacks and anticipate
where the villain will strike next, perhaps allow-
ing them the opportunity to lay a trap.
MASTER OF THE WORLD!

Using the Item of Power, the Nobody transforms the he-
roes’ home city into his personal fiefdom, with himself
as its supreme ruler. The city might be surrounded by
an impenetrable shield, or even transported off the
earthly plane altogether. To add insult to injury,
the villain might also seize control of the minds
of the populace, remove the heroes’ powers, or
both. On the run in a strange version of their
familiar stomping grounds, the heroes must
rely on their skills, wits, and advantages to
figure out what’s happened and what they
can do to reverse it. This caper concept best
suits the Omnipotent Nobody version of the
archetype, given its scope.
YOUNG GUN
Following the tremendous rush of pow-
er, the Jumped-Up Nobody goes look-
ing to kick some capes and demonstrate
what a powerful super-being he is now.
Naturally, the costumes he finds are the
heroes, and he challenges them to a battle
for supremacy. He might do something
showy like take a bus, train, or building full

MAD SCIENTIST
The Mad Scientist is a classic villain archetype, isolated of super-tech gadgets in a setting when the heroes start
by a combination of brilliance, arrogance, and madness, wondering, “Where are people getting all this stuff?”
driven to prove something by hatching schemes for
conquest and plunder. Some Mad Scientists are motivated ASIAN MASTERMIND
by a desire for revenge against a society that mocked and
rejected the fruits of their genius. Others want to carry out The Asian Mastermind is based on the “yellow peril” ste-
experiments no ethical society could condone, arrogantly reotype of pulp adventure stories translated into the
disdainful of “lesser” intellects and their so-called scruples. comic book medium. Typically the villain is an older Asian
A few are motivated by sheer lust for power or knowledge, scholar or scientist who styles himself after the mandarins,
no matter the consequences. Mad Scientists naturally daimyo, or other aristocratic or warrior classes of the past,
have formidable intellectual abilities but most rely heavily and wishes to combine modern science and ancient am-
on devices, equipment, and minions for physical matters. bition to conquer the world. Some Asian Masterminds mix
alchemy or Taoist sorcery with their science.
THEMES CORPORATE CRIMINAL
Mad Scientists tend to be distinguished by two things: the
Not all Mad Scientists are solo acts, unable to profit from
ways in which they are “mad” and the areas of science they
their genius. A few manage to fit into the business world
focus on. There can be a considerable difference between
and climb the corporate ladder, perhaps even to the very
a geneticist obsessed with the creation of new life versus
top. These geniuses may become the heads of top-secret
a chemist looking to perfect a wonder drug to grant
research organizations, “black science” laboratories, gov-
superhuman powers, or a physicist seeking the secrets of
ernment projects, or even presidents or CEOs of major
the universe’s creation (even if it means its destruction as
corporations. So far as most of the world is concerned,
well). Some common Mad Scientist themes in the comics
they are legitimate businesspeople and inventors, putting
include the following.
their skills to work for the good of the company and the
world. The heroes quickly learn the truth when they come
ARMS MERCHANT face-to-face with the Corporate Criminal’s brand of mad
science in action.
Rather than directly confronting the authorities and
the heroes who back them up, a Mad Scientist might
prefer the quiet life of tinkering in a lab or workshop. MONSTER-MAKER
Unfortunately, their work costs, and often costs big, so to
arrange a source of income, the scientist sells high-tech Ever since Frankenstein, a classic image of the Mad
devices to customers willing to pay, usually providing Scientist is as “the modern Prometheus,” stealing fire from
weapons to criminals and even other supervillains. A Mad heaven and creating new life in defiance of the laws of
Scientist arms merchant can explain the widespread use nature. Advances in genetic engineering, biotechnology,
ANY SCIENCE CAN BE MAD, IF YOU’RE DOING IT RIGHT!

In the comics, engineering sciences with their “big iron” (and later, life sciences, by way of Dr. Frankenstein) get all the at-
tention. After all, Mad Scientists are always building (or growing) things to trouble the heroes. Still, that doesn’t mean the
other sciences cannot get in on the action. Indeed, it can be interesting to play around with ways to make other scientific
disciplines just as evil. Some possibilities to consider:
• Chemistry: Great for brewing up all sorts of concoctions, from acids to wonder drugs, indestructible polymers and
adhesives, or chemically created life forms (living embodiments of the periodic table of elements are a popular op-
tion). Possibly mixed with alchemy and mysticism.
• Mathematics: While it often seems evil, mathematics might not seem all that powerful, until you realize that it is the
science underlying many other disciplines. Esoteric or “mad math” could grant a villain power over probability or
even the foundational building blocks of reality itself! A Mad Mathematician might quest for “The Implicate Theo-
rem” or some other formula that unlocks unlimited power.
• Psychology: The science of the mind might produce methods of brainwashing, psychological prediction or “profil-
ing,” or base-level reprogramming (through means like neurolinguistics, for example). Mad psychologists are often
obsessed with phobias or other mental disorders.
• Sociology: On a broader level than individual psychology, a “mad sociologist” (or perhaps a “mad anthropologist”)
could develop means of manipulating entire societies or subcultures, perhaps through “energized memes” or “social
engineering.” Such a villain could potentially take over the world without anyone even knowing it! Perhaps they
already have...

MAD SCIENTIST PL9

-1 0 0 2 2 11 3 1
SKILLS DEFENSE
Expertise: Science 8 (+19), Insight 4 (+7), Ranged Combat: DODGE 6 FORTITUDE 6
Guns 4 (+6), Technology 8 (+19), Vehicles 4 (+6) PARRY 4 TOUGHNESS 0
ADVANTAGES WILL 12
Eidetic Memory, Equipment 20, Inventor, Second Chance POWER POINTS

(Technology skill checks), Skill Mastery (Technology)
OFFENSE POWERS 0 DEFENSES 23
INITIATIVE +0 ADVANTAGES 24 TOTAL 97
Ranged, typically Damage 12 or
Ranged Weapon +6
similar effect POTENTIAL COMPLICATIONS
Unarmed +2 Close, Damage –1 Arrogant: Underestimates intellectual inferiors (which is
everyone).
and nanotechnology have only solidified this kind of foe They Called Me Mad! Obsessed with success.
in the comics, a maker of monsters in various forms.
ape-god or spirit) to more traditional super-powers. The
Of course, most Monster-Makers don’t see themselves
Simian might have the ability to assume human form
that way. In their view, they are expanding the boundaries
(Morph), either a human who turns into a super-simian or
of knowledge regarding life and adding to the biological
an ape able to disguise itself as a human.
diversity of the world. They are seeking new ways to un-
derstand and control life, perhaps improving it, even to
the point of conquering death! Those who call them dan- NAME IDEAS
gerous are short-sighted fools unable to see the value of
their work. Whatever it is, it should most definitely include a title like
“Doctor” or “Professor” (“I didn’t attend eight years of evil
Monster-Makers have the Minions advantage for their university to be called ‘Mister’!”). It might be the villain’s
various creations, perhaps in place of Equipment. Some real name or a suitable “surname” like Arkana, Improbable,
may have Summon as well, being able to call their mon- Malevolence, Malific, Quark, and so forth.
strous minions out of nowhere or control them directly. A
few have other innate powers, either direct control over
biology or improvements made to their own physiology,
CLASSIC BITS
using themselves as experimental subjects.
Some classic elements associated with the Mad Scientist
A sub-type of the Monster-Maker is the Robot-Builder, include:
who creates new “life” out of steel, silicon, and plastic.
The Robot-Builder’s creations may be nothing more than SIGNATURE DEVICES
mindless machines or a true new form of intelligent life,
potentially threatening to displace its organic predeces- Mad Scientists are intensely egotistical and competitive,
sors. so they tend to develop distinctive modus operandi. In
particular, there are usually devices or technology asso-
SINISTER SIMIAN ciated with that Scientist and no other. So the Monster-
Maker, for example, engineers unique life forms and bio-
As apes are common characters in the comics, so are sim- technology whereas the Robot-Builder creates machines
ian super-criminals. The Sinister Simian is just that—an capable of independent action. Sometimes Mad Scien-
intelligent (usually very intelligent) Mad Scientist ape. The tists have even more refined themes, like one who creates
combination of intellect, super-science, and simian physi- only human-like androids and another who focuses on
cal traits makes for a formidable, if unusual, supervillain. In nanotechnology, for example. One might be known for
addition to the usual Mad Scientist traits, add the physical inventing invulnerable force fields, while another special-
abilities and skills of an ape: STR 6, STA 4, AGL 3, Athletics izes in adhesives and chemical solvents.
6 (+11), Growth 4, Protection 2, and Senses 2 (Low-light
and Acute Smell). Signature devices can create adventure hooks when a
Mad Scientist feels threatened by a similar invention in
Some Sinister Simians have innate powers other than just the same field, such as parallel development (or even
their intellect, ranging from mental powers or mystical improvement) of the breakthrough signature technology.
abilities (perhaps associated with some mythological Similarly, others may steal the villain’s technology, provid-

ing a clue for astute heroes and also provoking the villain’s some new invention on the heroes, or else orders loyal as-
wrath when the theft is discovered! sistants and minions to “get them!” A Mad Scientist with
the heroes in his clutches can go on for some time about
THE LAB his brilliance, but catch one out in the open and he’s more
likely to cower behind his flunkies or try and make a break
Every scientist needs somewhere to work, and setting up, for it.
maintaining, and supplying a lab or workshop is impor-
tant. Heroes may be able to track a Mad Scientist by fol- If you are keeping with the archetype’s listed power level,
lowing a trail of thefts or black-market purchases to sup- then the Mad Scientist has the capacity for ranged attacks
ply a lab, and it can offer clues as to the villain’s eventual with a rank of up to 12, or 9 for those not requiring an at-
plans. tack check. Modify this as suits the desired power level for
the character and series.
ASSISTANTS
Similarly, the archetype does not account for whatever
In addition to a lab, minions the Mad Scientist may have, from
Mad Scientists often hired goons to home-made monsters.
need assistants to do Include them to help run interfer-
the grunt work around ence for the villain and provide the
the place. Some may heroes with more of a physical
create their own, mak- challenge.
ing do with robots, uplift-
ed animals, or mole-men;
others need human as-
CAPERS
sistance, often with at Adventures involving
least a minimal amount the Mad Scientist may
of training. Assistants include the following:
may double as effective
minions, if they have other THEY CALLED ME MAD!
useful abilities. Otherwise, they
are primarily part of the Personnel The scientific community has
feature of a lair. panned the Mad Scientist’s latest
In some cases, a Mad Scientist needs discovery or invention, claiming it is
expert assistance, which usually involves flawed, too dangerous, or simply won’t
kidnapping other scientists or scholars and work. The enraged scientist disappears,
forcing them to work on a particular proj- along with all of the experimental
ect, allowing heroes the opportunity to data and even prototypes, leading
thwart the kidnappings or track the miss- the heroes to investigate. The (now
ing scientists to the villain’s lair. mad) scientist intends to provide
“those fools” with clear evidence
RANTS of success, most likely by using the
new invention on them! You can
Their tremendous egos make Mad Sci- choose almost any sort of new
entists especially prone to ranting and scientific device or gadget, from
bragging about their accomplishments weather control to shrink ray, and
and their brilliance. After all, they want oth- set the villain up to use it on an
ers to appreciate their genius and find it dif- unsuspecting world.
ficult to pass up an opportunity to explain
their latest invention or scheme to the igno- INTELLECTUAL RIVALRY
rant dolts who think they can stop it. One of
the prime functions of assistants (other than A hero famous for his or her intel-
stepping and fetching) is to listen to their boss- lectual and scientific accomplish-
es’ ongoing rants. ments is being honored by the
city or a national organization. All
TACTICS of this pomp and circumstance
surrounding such an “obvious
intellectual inferior” enrages the
Mad Scientists tend to be behind-the-scenes bad
Mad Scientist, who swears to
guys, troubling the heroes with the spawn
prove once and for all who is the
of their fevered intellects while
greater genius. Perhaps the vil-
they watch from afar in their hid-
lain kidnaps whoever is giving
den labs. When the inevitable con-
the award to force them to
frontation does happen, the Mad
acknowledge him, or simply
Scientist tends to flip a switch (or
plans to attack the award
whatever) that unleashes some fear-

ceremony with an army of robots or some new fiendish only have to deal with formerly two-bit criminals armed
device to show up his rival. with photonic blasters and quantum phase shifters (and
whatnot) but also discover the source of the gizmos. A
THE VILLAIN-MAKER Mad Scientist Arms Merchant is turning a tidy profit from
sales of the devices. The heroes learn of an underground
A sudden flood of black-market mad-science devices is auction and look to break it up, but have to deal with the
responsible for a crime-wave in the city. The heroes not Scientist, his minions, and his customers in the process.
MARTIAL ARTIST
Whether a rogue ninja, master of unarmed combat, or a as part of their unlife, which can create this type of villain.
peerless mercenary soldier, the Martial Artist is often an Simply add Immunity 30 (Fortitude Effects) to the arche-
agent used to remove obstacles for a master villain or type’s powers, along with any other undead traits (such as
organization. Usually, this includes the heroes. Some are Regeneration) it may have. If the Revenant does not recover
true masters themselves, the opposite numbers of martial on its own, remove its Stamina score as well.
artist heroes, peerless mercenaries, or the leaders of secret
orders of assassins. A revenant may also represent other types of unliving
Martial Artists, like statues imbued with a semblance of
Martial Artists are built for combat, and may be capable of life and considerable fighting skill, or even kung-fu ro-
taking on superhuman foes with the right planning and bots programmed with the hand-to-hand styles of old
tactics. They’re often coldly professional, claiming there’s masters.
nothing personal in their missions of mayhem. It’s just
their duty to their employer and their devotion to the arts SUMOTORI
of combat and killing.
The Martial Artist archetype is built, like most Martial Art-
ists, around speed, agility, and accuracy. One unarmed
THEMES fighter type is quite different: the criminal sumo wrestler
or sumotori. This massively built foe relies on strength
Martial Artist themes tend to revolve around the and sheer bulk rather than quickness, although he is of-
character’s combat style and background. You can use ten far quicker than most expect. For this type of Martial
the fighting styles mentioned in Chapter 7 as templates Artist, reverse the archetype’s Strength and Agility scores,
for different sorts of Martial Artist villains, varying the reduce base attack bonus by 2, and exchange Defensive
archetype’s advantages and other traits accordingly, even Roll advantage for the Protection effect (keeping Tough-
adding appropriate weapons for fencers or stick-fighters, ness the same).
for example.
EVIL NINJA ULTIMATE FIGHTER

The Ultimate Fighter is all about the “art” in “martial art-
Black-clad ninja have been staples of the comic books for
ist,” and all about the win after going one-on-one against
decades. The villainous ninja archetype might be an in-
a tough opponent. Natural competitors, Ultimate Fighter
heritor of the traditions and secrets of the fabled ninja of
types test their skills in the crucible of the fighting ring
medieval Japan, or a more modern interpretation of their
or cage-match, and they’re often driven to seek out new
legend. Historical ninja worked as assassins—likely em-
challenges by taking on costumed heroes as opponents,
ployment for their modern successors as well. In addition
inside and outside the ring.
to their formidable collection of advantages and skills, a
ninja may also carry a selection of equipment including The Ultimate Fighter may be a cold and heartless mer-
a sword (the straight-bladed ninjato is their traditional cenary, interested only in proving he is the best there is
weapon) and the equivalent of a utility belt with throw- against any and all opponents, putting his skills to work
ing stars, smoke bombs, and other devices uses to carry for the highest bidder. Alternately, the character might be
out their missions and ensure their escape. A ninja master a reluctant warrior, masterfully trained but seeking peace,
may also have lesser ninja as minions (see the Minion Ar- until circumstances force him into the ring to earn money
chetypes for details). or protect a loved one from criminal elements. The charac-
ter is often young, with something to prove, although an
KUNG FU REVENANT older fighter trying to hold on to his glory days is a good
alternative.
The Martial Artist is not a living person, but an undead rev-
enant returned from the grave! Some revenants are mys-
tical undead like zombies or Chinese “hopping vampires” NAME IDEAS
while others are products of scientific research or a fusion
of science and sorcery. In some sources, undead suddenly Black Hand, Bloodsport, Golden Tiger, Shadow Dragon,
seem to develop considerable hand-to-hand combat skills Steel Fist, Thunder Fist, White Crane

CLASSIC BITS TACTICS

The following are some classic bits associated with the The Martial Artist is a close-in fighter with plenty
Martial Artist archetype: of tactical options, thanks to a full range of combat
advantages. Initially, the villain is likely to rely on surprise
THE OLD RIVAL and a Power Attack to inflict the maximum damage. After
mixing it up in melee combat, the Martial Artist relies
If one or more of the heroes are martial-arts experts, then on a combination of high active defenses, Improved
odds are good the Martial Artist knew them once. They Defense, and the Defensive Attack manuver to make it
might have been students of the same master, probably more difficult for opponents to counter-attack. The Startle
rivals although perhaps good friends back then. They advantage provides additional opportunities to catch
could also have been master-and-student, with either the foes vulnerable. Do not overlook the Martial Artist’s ability
hero turning against a teacher who stepped over the line to use Redirect when fighting multiple opponents, setting
or unable to save a student who followed the wrong path. up situations where the heroes attacks hit each other as
This kind of rivalry can add an interesting roleplaying
element to the Martial Artist’s appearance, along with an
opportunity for complications and hero points.
THE SECRET TECHNIQUE

Some Martial Artists know one or more eso-
teric techniques, allowing them to perform su-
per-human feats. Most often this technique is
some sort of close combat attack, with
an Affliction or Weaken effect. Some
have modifiers Alternate Resistance
and Progressive to represent attacks
that work on a target’s chi or life force.
Other secret techniques can justify a range
of powers based on sheer skill or mystical fo-
cusing of the user’s chi. They include things
like walking up walls or across water, passing
through solid barriers, leaping great distanc-
es, and rapid healing or resistance to injury.
SENSE OF HONOR
While they are ruthless killers, some criminal Martial Art-
ists still have a sense of personal honor. Heroes may be
able to turn this to their advantage by having the villain
swear an oath to uphold a particular agreement, or by
challenging their foe to a fair contest or single com-
bat. If the Martial Artist agrees, then
the outcome is binding. Honorable
villains can be counted on to
follow their codes, even if
they sometimes look for
ways out of them.
STRIKING FROM THE

SHADOWS
Martial Artists—especially
the ninja types—tend to
strike with surprise. Even
those who prefer a direct
confrontation are likely to
take advantage of a vulnerable
opponent. The surprise and feinting
rules from the M&M Hero’s Handbook
are particularly relevant to Martial Artists.

MARTIAL ARTIST PL11

4 3 6 4 10 0 2 0
SKILLS DEFENSE
Acrobatics 10 (+16), Athletics 8 (+12), Close Combat: Unarmed DODGE 14 FORTITUDE 10
6 (+16), Insight 6 (+8), Intimidation 10 (+10), Perception 6 (+8),
Stealth 10 (+16)
ADVANTAGES
POWER POINTS
Accurate Attack, All-out Attack, Assessment, Defensive Roll
4, Evasion, Grabbing Finesse, Improved Defense, Improved ABILITIES 58 SKILLS 28
Disarm, Improved Grab, Improved Hold, Improved Initiative 2, POWERS 0 DEFENSES 30
Improved Smash, Improved Trip, Instant Up, Move-by Action,
ADVANTAGES 32 TOTAL 148
Power Attack, Precise Attack 2 (Close; Cover and Concealment),
Prone Fighting, Quick Draw, Redirect, Skill Mastery (Acrobatics),
Skill Mastery (Athletics or Stealth), Startle, Takedown, Trance, COMPLICATIONS
Uncanny Dodge, Weapon Break Code of Honor: Fights by the rules.
Obsession: The Martial Artist is often obsessed with vengeance
OFFENSE or a desire to be the very best fighter in the world.
INITIATIVE +6
their foe dodges out of the way!

SECRETS OF THE MASTERS
Note that the archetype as written can have up to an The already formidable Martial Artist begins searching
additional +2 Damage bonus (from weapons or other for a legendary scroll from a lost temple. This instruction
Strength-based Damage effects) and an additional +1 manual contains martial arts secrets lost to the ages and
Dodge defense while remaining at PL11. can give the student untold powers: invisibility, immor-
tality, the ability to kill with a mere touch, and more. The
clues to its location are scattered, requiring the villain to
CAPERS gather various artworks and items now in museums and
private collections.
Adventures involving the Martial Artist may include the
following: A hidden order of monks and mystics might be charged
with protecting the secret, calling upon the heroes for
THE BEST OF THE BEST help in preventing the villain from finding the scroll. Per-
haps the Martial Artist’s first step is to wipe out the scroll’s
An underground freestyle, no-holds-barred martial arts guardians so they cannot stand in his way. The last survi-
competition is held at a particular place and time each vor manages to reach the heroes and warn them of the
year, and the best unarmed fighters in the world are invit- danger facing the world before he, too, perishes. Now
ed to attend and fight each other for the prize of being de- they are all that can stop the villain from becoming the
clared the greatest combatant in the world. Naturally, the ultimate assassin!
Martial Artist—indeed, all of the great martial artists—are
there. Heroes known for their skilled fighting techniques SCHOOL OF SHADOWS
may attend as well, but they are expected to follow the
rules of the competition. The heroes notice a disturbing increase in the quality of
hired muscle available to the criminal underworld: men
The fight may be a simple grudge match for a trophy and
who are trained far beyond just street toughs and more
bragging rights, or there could be more going on than
like professional soldiers or ninja (see the Ninja minions
meets the eye. Perhaps the organizers of the bout are of-
on page 140 for examples). After a brush or two with
fering a bigger prize, or are looking to gain something from
these “shadow ninja” goons, they investigate and learn
it. The winner might be chosen for ultimate power, or sacri-
of a new “broker” offering muscle-for-hire to the high-
ficed to an evil force that values combat prowess. It might
est bidders. The Martial Artist is teaching crooks in the
be staged by aliens looking to recruit the Earth’s best fight-
“School of Shadows” how to fight, how to obey orders
ers. The fights could offer valuable information to certain
and, worst of all, how to work as an actual team. The he-
parties, perhaps even allow a mimicking villain to copy the
roes have to locate the secret school and break it up, all
moves and fighting styles of the world’s greatest!
the while dealing with the “Shadow Sensei” and the lat-
est class of students, for whom this may be their gradu-
ation exercise.

MASTER OF DISGUISE
The Master of Disguise is a specialist in deception, able (affecting only the villain and only to match thought to ap-
to appear as anyone, or perhaps even anything! The pearance). Unless the mind reader has a reason to believe
Master of Disguise could be a spy or assassin for hire, a the villain is not whom he appears to be, there isn’t even a
thief relying on misdirection and deception to get the resistance check!
job done, or a master villain using various guises to sow
dissent, confusion, and trouble. MASTER OF THE MARTIAL ARTS
While not much of a direct threat to a group of superheroes,
Although the archetype is a fairly formidable
the Master of Disguise is capable of doing quite a bit
fighter, some Masters of Disguise are true
of damage to their reputations and personal rela-
adepts in the arts of combat. You may wish
tionships, given the opportunity. The villain often
to combine the traits for this archetype with
works to “soften up” heroes for an employer, in-
those of the Martial Artist to create an agile
filtrating their group to learn about their abili-
and fearsome fighter capable of changing ap-
ties and weaknesses, then sowing mistrust and
pearance virtually at will to confuse opponents.
conflict to keep the good guys busy while
the real scheme unfolds.
NAME IDEAS
THEMES Doppelganger, Effigy, Everyman, False-
Face, Imitator, Incognito, Manikin, Mr. No-
While the typical Master of Dis- body, Nemo (meaning “no one”)
guise is fairly low-powered,
you can create a more formi-
dable version by applying the CLASSIC BITS
Mimic or Shapeshift powers,
allowing the villain to copy The following are some classic bits in-
others’ physical traits as well as volving the Master of Disguise:
appearance. At the highest level,
the Master of Disguise becomes more of a “NO, I’M THE REAL ONE!”
Mimic (see the Mimic archetype).
Sooner or later, the Master of Dis-
DISGUISE DEVICES guise will take on the appearance
of one of the heroes or a trusted
The villain’s power(s) may come from a ally, and the genuine article and
Device, such as a “chameleon belt” or the fake will be seen together.
a series of realistic masks; apply the How do the heroes tell them
Removable modifier to the villain’s apart?
Morph effect. The villain’s powers
might also be dependent on a se- In the case of a player character, this
rum or other source. can be tricky to handle, since the players
obviously know who is playing the real
DOPPELGANGER character and who is playing the villain! It
can be best to either encourage the player
In addition to looking like other to take on both roles and play them equally,
people, the Master of Disguise or for the GM to temporarily take control of
has sufficient ranks of Mind the player’s character, just the same as if the
Reading to think like them as hero were otherwise under a villain’s influ-
well. In essence, the villain ence, so the other players can’t tell the dif-
can pull off a near-perfect ference quite so easily.
deception, circumventing
discovery due to gaps in The classic way the good guys figure out
knowledge, at least so long the truth is the real hero’s willingness to sac-
as the victim fails to resist rifice for the greater good, and knowledge
the mental effect. of things the villain couldn’t possibly know.
Even in the case of a doppelganger possess-
Perhaps the villain has a ing superior knowledge, the former method
form of “mental mimicry” usually works. Many players may be inclined
able to fool unusual sens- to simply capture or knock out both charac-
es. This is essentially a ters and then sort out which of them is the
Limited form of Illusion real thing!

MASTER OF DISGUISE PL7

2 2 4 5 7 2 2 6
POWERS DEFENSE
A Thousand Faces: Morph (humanoid forms) • 15 points DODGE 10 FORTITUDE 6
SKILLS
Acrobatics 8 (+12), Close Combat: Unarmed 4 (+11), Deception
10 (+16), Insight 12 (+14), Intimidation 5 (+11), Investigation POWER POINTS
10 (+12), Perception 10 (+12), Persuasion 4 (+10), Ranged
Combat: Guns 6 (+11), Sleight of Hand 10 (+15), Stealth 11 ABILITIES 60 SKILLS 51
(+15), Technology 8 (+10), Vehicles 4 (+9) POWERS 15 DEFENSES 19
ADVANTAGES
Daze (Deception), Defensive Roll 2, Equipment 4, Evasion 2, POTENTIAL COMPLICATIONS
Grabbing Finesse, Improved Defense, Improved Initiative,
Devious: Fond of overly complex plots.
Improved Trip, Instant Up, Precise Attack (Ranged, Cover),
Quick Draw, Redirect, Skill Mastery (Deception), Taunt, Ultimate Vindictive: Wants to tear down others’ lives.
Effort (Deception checks), Uncanny Dodge Who Am I?: The Master of Disguise has identity issues from the
ability to be almost anyone.
OFFENSE
INITIATIVE +6 suit and sunglasses. The good guys hear that all the time
Light Pistol +11 Ranged, Damage 3
and turn criminals and victims over without question.
Only with the Master of Disguise, they can later discover
Unarmed +11 Close, Damage 2 they’ve been tricked, and the bad guy they thought they
were handing over to “authorities” has actually escaped!
“HOW DID YOU KNOW IT WASN’T ME?”
Used sparingly, this provides the villain with an excellent
Sometimes a Master of Disguise is foiled by a hero with opportunity to pull one over on the heroes. In some cases,
the right Senses effect to penetrate the villain’s disguise particularly in the midst of an adventure, you might want
and notice the deception: X-ray vision to see through a to consider it a complication, especially if the good guys
mask, Scent for noticing the villain is not who he appears, don’t get an Insight or Perception check to discover the
or abilities such as Mind Reading for sensing the thoughts villain. If so, award the players a hero point when they
behind the guise. learn the truth.
In general, if the villain genuinely wouldn’t know about Try not to overuse this trick, as it is likely to make the play-
a hero’s particular sensory advantage, it’s best to let the ers paranoid and mistrustful of everyone, unless that is
good guy learn the truth and act on it. Of course, if he has the specific effect you are going for. In that case, the vil-
the opportunity, the Master of Disguise might assume lain can often get edgy heroes to take the kind of extreme
that hero’s identity and proclaim he is the real one and steps likely to alienate them from the authorities and the
the other is a fake! (See the previous bit for details.) Other- people who rely on them.
wise, the villain gets caught red-handed.
Once the Master of Disguise knows about a particular sen-

TACTICS
sory advantage, either because it is public knowledge or it
Although capable of handling fights against normal op-
was used against him before, you can be sure of him tak-
ponents, the Master of Disguise tends toward the better
ing it into account next time. The villain can prepare coun-
part of valor when it comes to superhumans, opting to
termeasures, from special layered materials to chemical
retreat when discovered. The villain’s first line of defense is
sprays to mind-shielding devices, to fool or defeat heroes’
to try and convince foes to look the other way, distracting
Senses. This is just a villain doing his homework, unless
them long enough for a getaway.
you truly didn’t take a Sense effect into account and do
not want to let the hero spoil things by revealing the vil- If that doesn’t work, then ideally the villain prefers to get
lain prematurely, in which case a hero point award for the out of sight long enough to change appearance again,
player is fair. either blending into a crowd or (if that’s not an option)
looking like someone else known to be in the area long
QUESTION AUTHORITY enough to get the heroes distracted and slip away once
more. For example, the villain might change appearance
“Thanks, heroes, we’ll take it from here,” says the police and then tell the pursuing heroes, “He went that way!”
officer, paramedic, or government official in the dark pointing down a corridor or dark alley. Only after the good

guys realize they’ve been hoodwinked do they discover For a twist on this scenario, the villain might not be im-
evidence (a discarded mask or the unconscious form of personating the character’s heroic persona, but his secret
the real person) that the villain is long gone. identity, especially if he is someone of importance, such as
a wealthy industrialist, political figure, respected journal-
When forced to fight, the Master of Disguise relies on ist or television personality, or the like. The villain simply
agility and confusion, particularly mixing things up in has the misfortune of choosing a target who is secretly
close combat. The villain might assume a hero’s appear- a superhero, although the incident might also clue the
ance and grab that character so the two of them are Master of Disguise in on the hero’s secret, especially if, say,
mixed-up enough to momentarily confuse the hero’s the villain breaks into the hero’s home or place of business
teammates. and finds evidence of a double life.
CAPERS WITH FRIENDS LIKE THESE...

A villain or team of villains moves against the heroes in
Adventures involving the Master of Disguise may include
a devastating lightning attack that targets their weak-
the following:
nesses, secret identities, and even families and loved ones
in ways that practically ensure their defeat (and racks up
YOU STOLE MY LIFE! the hero point awards). The crushing blow comes when
the characters learn that a close friend and confidant of
The hero starts having personal trouble, first with close
the team has betrayed them, revealing all their secrets to
friends and associates who are upset about things they
their archenemies! Now the heroes are left in the clutches
say the hero has done, but which he can’t recall. In some
of the villains’ deathtrap while their foes go on an unre-
cases, he has a clear-cut alibi, being away on a mission or
stricted crime spree in the city.
the like. Things get worse when there are public sightings
of the hero causing trouble or even committing crimes! When they escape, the heroes find their supposed betray-
Naturally, the police get involved and have to investigate, er trapped in the villains’ lair as well. It turns out the per-
and may want to arrest the hero on suspicion while they son they thought was their friend was actually the Master
do so. Resisting arrest only makes matters worse, but sur- of Disguise, who kidnapped the real ally and infiltrated
rendering and being locked up, even for a short while, al- the heroes lives to learn everything about them. This rev-
lows the hero’s foes to act unopposed. elation is a great element to insert into a series retroac-
tively; after all, so long as all the evidence is consistent,
Of course, this is exactly what is supposed to happen, as
there’s no way for the players to know their trusted friend
the Master of Disguise is impersonating the hero to cause
hasn’t actually been a disguised supervillain for the past
trouble and provide a distraction, either for one of his own
several months!
schemes or for a villainous employer.
MASTERMIND
The Mastermind is a mentalist supervillain, possessing dinary mental prowess, and the exact types of powers the
considerable intellect and psionic abilities which compen- Mastermind possesses.
sate for a relative lack of physical prowess. Masterminds
tend to emphasize the cerebral over the merely physical, ALIEN MASTERMIND
making them effective foes of physically powerful heroes
(who might be more vulnerable to their powers), as well In keeping with the comic book concept that evolution
as mentalist heroes, for whom they are a kind of dark re- is headed toward the superiority of the brain over the
flection. body (as described for the Evolved Mastermind), some
alien villains from advanced species and civilizations have
Some Masterminds have little outward sign of their mental Mastermind qualities: an enlarged head or brain and ex-
superiority, looking like ordinary people, while others have traordinary psionic powers. These powers may be native
clear examples of their emphasis on the mind, such as bald- to the villain’s species (perhaps with the Mastermind an
ness, an enlarged cranium (often with pulsating veins), and extraordinary example) or the villain could be a mutant of
an atrophied, almost vestigial body. Taken to extremes, the some sort, or even an outcast.
villain might have a transparent skull, a brain-like pattern
of folds on his head as though his brain were escaping, or An Alien Mastermind typically has access to advanced
even being all brain, with no physical body at all! (See the technology along with his other powers: assign the villain
Brain in a Jar theme for an example of this.) appropriate devices for personal gadgets such as weap-
ons, force fields (perhaps in place of the innate Psionic
Force Field power), and the like, as well as big equipment
THEMES such as a starship or outer space headquarters. The villain
could be alone in exile on Earth or the leader of an alien
The primary themes of the Mastermind, in addition to armada bent on conquest.
“mind over matter,” are the source of the villain’s extraor-

BRAIN IN A JAR
The Brain in a Jar is a truly
“cerebral” villain: a dis-
embodied brain kept in a
container and sustained by
life-support equipment. In
addition to the listed traits, the
Brain has no Strength or Dex-
terity (having no physical body)
but does have equipment
providing it with Immu-
nity—Life Support at a
minimum, perhaps even
Immunity to Fortitude
Effects in general.
The Brain is primarily

a plotting villain, op-
erating through min-
ions and underlings,
although capable of act-
ing through Telekinesis.
The Brain may exult in its
current “evolved” state or
seek to acquire a new
body, perhaps target-
ing one of the he-
roes for this dubious
“honor”!
The brain might be-

long to some infamous his-
torical villain (Hitler, Stalin, Mordred,
etc.), preserved over the years. Perhaps
the “brain” is actually just a disembodied intel-
lect, such as an artificial intelligence, digitized
personality, or a spirit lacking a physical body.
In this case the “life support” is some other
equipment allowing it to function, such as a
computer or magical touchstone. Alternately,
into beings like themselves. Whether or not it can actu-
the Brain might be an entire severed head kept alive in
ally work is up to the GM, but generally superheroes aren’t
a similar manner, or a villain with a massively enlarged
inclined to let villains “improve” the human race without
head but atrophied and useless body, left immobile and
its consent.
in need of special life support while his mind is free to
roam and plot.
ILLUSIONIST
EVOLVED MASTERMIND The Mastermind’s powers are generally the combination
of telepathy and telekinesis listed for the archetype. The
Comic book “evolution” often depicts far-future humans Illusionist is a type of Mastermind focused on deception,
as small and big-brained, with superhuman mental pow- controlling victims’ perceptions, and therefore their real-
ers. The Evolved Mastermind is an example of such a charity. Typically, the Illusionist drops the Mind Control, Teleki-
acter, either a “future being” from a potential future time, nesis, and Telekinetic Blast powers and replaces them with
or a present day human, hyper-evolved to this state by Illusion 5 (all senses; Selective, Resistible by Will), Illusion
scientific means, accidentally or by deliberate experiment. 6 (all senses; Limited to One Subject, Resistible by Will),
For Silver Age villains, exposure to exotic radiation is often and Morph 4 (any form; Continuous, Resistible by Will).
the source of the hyper-evolutionary effect.
With an Illusionist, heroes can never be entirely certain what
Evolved Masterminds have a major superiority complex is real and what isn’t, and neither can anyone else. Illusionist
around their “exalted” state. They often seek to rule the villains often rely on psychological attacks, particularly if
world as their due, given that they are the most evolved they can read opponents’ minds to learn their deepest fears
and developed intellect, and some even wish to bestow and desires. Illusionists’ schemes often involve tricking
the same “gift” on the rest of humanity, turning others heroes into doing the wrong thing, or otherwise framing

MASTERMIND PL13
-1 0 0 0 0 9 8 2
POWERS OFFENSE
Levitation: Flight 2 (MPH) • 4 points INITIATIVE +0
Psionic Force Field: Protection 14, Impervious 10, Sustained Mind Blast — Perception, Damage 6
• 24 points
Mind Control — Perception, Affliction 8
Psionics: Array (26 points)
Telekinetic Blast +9 Ranged, Damage 11
Mind Blast: Perception Ranged Damage 6, Resisted by Will,
Subtle 2 • 26 points
DEFENSE
Mind Control: Perception Ranged Affliction 8 (Resisted by
Will; Dazed, Compelled, Controlled), Subtle 2 • 1 point DODGE 9 FORTITUDE 10
Telekinesis: Perception Ranged Move Object 8, Subtle 2 PARRY 9 TOUGHNESS 14/0*
• 1 point WILL 15 *Without Protection bonus
Telekinetic Blast: Ranged Damage 11, Indirect 3, Subtle
• 1 point POWER POINTS
Telepathy: Mind Reading 13 • 1 point ABILITIES 36 SKILLS 26
Psychic Senses: Senses 4 (Danger Sense; Mental Awareness,
Extended 2) • 4 points
SKILLS
COMPLICATIONS
Expertise (Choose One) 4 (+13), Insight 10 (+18), Intimidation
8 (+10), Investigation 6 (+15), Perception 7 (+15), Persuasion 8 Disdainful: Prefers to avoid physical conflict and effort.
(+10), Ranged Combat: Telekinetic Blast 9 (+9) Superiority: The Mentalist is better than “lesser minds.”
ADVANTAGES The process of resisting the Mastermind’s Mind Control

Contacts, Eidetic Memory, Ranged Attack 3, Second Chance Affliction can reflect this kind of struggle. A team of
(Resistance checks vs. mental effects) heroes can even cooperate to win it: allow the target’s
allies to make supporting Will resistance checks, granting
them for criminal acts. They also delight in using illusions the primary character a circumstance bonus to resist the
to trick their foes into attacking each other, or that some villain’s power.
crisis is occurring when actually nothing is happening (or
something else entirely is going on). TACTICS
One variation on the Illusion is the Dream-Master, whose
mental powers only affect sleeping targets, but can trap Masterminds often prefer to use their powers against
them in a “nightmare world” where the villain is seemingly opponents from afar, rather than risking any sort of
all-powerful. physical confrontation. This is not always the case,
however, and some Masterminds are quite willing to prove
For a Mastermind who focuses on controlling others’ their superiority face-to-face, given that their Force Field
minds, see the Puppeteer archetype. makes them effectively bulletproof and their Telekinesis
is capable of picking up cars and similar heavy objects to
NAME IDEAS wield as weapons.
Brainscan, Cerebrax, ESPer, Mentallus, Mr. Mind, Professor Even in a direct combat encounter, Masterminds prefer
Psi, Psithon, Psyche to keep their distance from the heroes, making full
use of their mental powers. Note that the archetype’s
Perception Ranged Move Object effect is capable of
CLASSIC BITS grabbing anything the villain can see, but grab checks
are still required to hold on to a struggling opponent,
The following are some classic bits involving the and telekinetic attacks made with grabbed objects do
Mastermind archetype: not hit automatically, but require a ranged attack check.
CONTEST OF WILLS Masterminds commonly use telekinesis to pin opponents
to a wall, ceiling, or floor or to hurl objects at them. Those
Quite often, the conflict between a Mastermind and one too strong or tough for such maneuvers receive the
or more heroes comes down to a contest of wills. Whose villain’s Mental Blast, or become subject to Mind Control,
mind is stronger: the heroes’ or the villain’s? turning against the other heroes.

CAPERS down the “fugitives”! The good guys have to deal with
the thralls or prove their own innocence while also track-
ing down the Mastermind and putting the kibosh on his
Adventures involving the Mastermind may include the
scheme.
following:
MIND OVER MATTERS PERCHANCE TO DREAM...

A strange “sleeping sickness” is spreading rapidly through
The Mastermind has come up with a way of expanding his
the city and surrounding area: people are falling asleep
Mind Control power, granting it enough area to blanket a
and then into a coma from which they cannot be awak-
huge area like a city, nation, or even the entire world! To
ened. Brain scans show considerable activity and rapid
build the full-size device, however, the villain needs cer-
eye movement indicates a dreaming state. The plague
tain components, perhaps a power source, and so exerts
even affects the heroes, should they happen to sleep any-
an improved mental influence to send various mind-con-
where within the area.
trolled thralls to acquire them.
A Mastermind villain is exerting his influence, which is
For a classic “hero vs. hero” conflict, the Mastermind
only expanding as the number of victims under his sway
might control another team of heroes. For a deeper mys-
increases. Heroes who fall asleep are trapped in a night-
tery, the villain could control the characters without their
mare world where they must find a way to save people
knowledge; they only learn about the incident when the
from the villain’s vampire-like drain on their mental en-
authorities come knocking on their headquarters with
ergies. The good guys in the waking world have to track
some questions they want answered! This can also set up
down the villain somehow, without succumbing to their
a hero-fight, as another team aids the police in tracking
own fatigue and falling asleep as well.
MIMIC
Sometimes, imitation is the sincerest form of villainy. The An Animal Mimic might be a spiritual champion of the
Mimic is a villain capable of duplicating one or more of animal kingdom, or a super-science user of DNA/RNA
the heroes’ qualities—most often their powers, but some- adaptations. Of all the various Mimics, this one has the
times abilities, skills, advantages, and other traits as well. least interest in studying heroes, since it gains little from
Mimics are a kind of ready-made dark reflection, an exam- doing so. It shares more in common with the Hybrid and
ple of what the heroes’ abilities could do, if turned to evil. Elemental archetypes.
In keeping with their imitative style, Mimic villains in the ARTIFICIAL MIMIC
comics are often artificial beings—such as androids or
clones—with little or no life experience, or aliens with An Artificial Mimic is not a living being, but a construct
no real understanding of human life or culture save what such as an android, robot, or even magical golem of some
they absorb through imitation. This makes the Mimic a sort. It is designed to mimic the traits of others and alters
way of looking at human foibles and virtues from an out- its structure to do so, perhaps using nanotechnology,
sider’s perspective. When a confused Mimic asks, “Explain morphic materials, or a magical process such as alchemy
this thing you call ‘justice,’” how do the heroes respond? or transmogrification. In addition to its other traits, the Ar-
tificial Mimic has Immunity 30 (Fortitude Effects).
A Mimic’s power level is somewhat difficult to peg, being
highly variable. The archetype is set at PL 15 to allow for POWER MIMIC
targeted offensive traits (like Damage) of up to rank 20,
given a +10 attack bonus. However, you may wish to sim- This is the classic Mimic type: a villain able to duplicate
ply treat the villain’s power level as fluid, changing it as the subject’s powers, often the powers of multiple sub-
needed to reflect the Mimic’s current capabilities. jects at once. Power Mimics are often Limited to particular
power types or descriptors to give them a more coherent
THEMES theme and differentiate them from others with similar ca-
pabilities. So one villain might mimic only mutant or mys-
tical powers, while another can duplicate racial or species
Mimic themes revolve around the types of traits the villain
traits, but not deviant powers possessed by individuals of
duplicates and how it does so. Different themes allow for
a species. Mimics able to copy all powers tend to be ei-
a wide range of different Mimics in a setting without too
ther limited to settings with a common power origin or
much overlap between them.
are also Unlimited Mimics, able to duplicate any power in
any amount (see the following).
ANIMAL MIMIC
SKILL MIMIC
An Animal Mimic does not duplicate the traits of other
people, but rather the abilities of animals, sometimes Skill Mimics only duplicate powers with a “skill” or “training”
limited to one at a time, others able to mix-and-match. descriptor (or something similar). Instead, they primarily

MIMIC PL15
0 0 0 0 0 0 0 0
POWERS DEFENSE*
Mimic: Variable 20 (100 points), Continuous, Move Action DODGE 10 FORTITUDE 10
• 180 points
PARRY 10 TOUGHNESS 10
Sense Powers: Senses 4 (Detect Powers, Ranged, Acute,
WILL 10 *Varies based on mimicked traits
Analytical) • 4 points
ADVANTAGES POWER POINTS

Assessment
OFFENSE* ADVANTAGES 1 TOTAL 225
INITIATIVE +0
COMPLICATIONS
Unarmed +0 Close, Damage 0*
Freakish: The Mimic is often an outcast due to its physical
appearance, origin, or manner.
copy skill ranks and related traits like combat bonuses and
sometimes advantages, particularly those that come from Identity Crisis: Mental or psychological confusion due to
mimicking different subjects.
training. A Skill Mimic able to copy multiple subjects can
become incredibly skilled in many different areas, able to
rival a whole team of heroes. Some Skill Mimics are limited VAMPIRE MIMIC
to physical skills, others to mental or knowledge skills,
while some can do both. Vampire Mimics do not just copy powers; they steal them!
In addition to the Mimic power, the villain has a long-
TAINTED MIMIC lasting Nullify effect against the powers it copies. Some
Vampire Mimics must kill or even consume their victims in
Tainted Mimics not only duplicate the powers of their some fashion in order to gain their powers, making them
targets, but also their power-related complications and particularly gruesome and dangerous foes.
weaknesses. This is a -1 cost per rank flaw and, if it’s ap-
plied to the villainous Mimic’s power, looks like this: NEMESIS
Mimic: Variable 20 (100 points), Continuous, Move Action, The Nemesis is a kind of Mimic who, rather than using the
Limit—Tainted Mimicry (Acquires subjects’ complications heroes’ own powers against them, has the traits necessary
and weaknesses as well as their traits) • 160 points to counter their powers, replacing the Mimic power with
a Variable effect called Nemesis. This typically means a
Now, when the Tainted Mimic copies another character’s Mimic specifically designed to be “the ultimate opponent”
powers, it has to take all of the complications related to for a wide range of foes, from a hero-fighting construct to
those powers. A Tainted Mimic that duplicates powers an alien super-gladiator. A Nemesis may be limited to one
from too many different subjects can quickly become foe at a time (the default and common limitation of the
overwhelmed by inherent weaknesses. power) or could potentially adapt to multiple opponents,
even an entire team of heroes.
UNLIMITED MIMIC
A variation on the Nemesis is a villain with super-adapta-
An Unlimited Mimic is a Power Level X character with tion abilities; however the heroes overcome the villain, he
essentially limitless Variable points, although the effect effectively gains Immunity to it or adapts a power to deal
might still be limited in terms of what it can duplicate, with it, forcing the good guys to come up with a new way
perhaps using one of the other themes. of beating him (or even affecting him) each and every time.
So an Unlimited Mimic might be able to duplicate an SCAVENGER

endless number of powers, for example, possibly even
the powers of every superhuman in existence! Needless Scavenger villains are kind of “do-it-yourself” Mimics. They
to say, Unlimited Mimics grow exponentially in power as pick up “discarded” powers to add to their arsenal and use
they gather subjects, unless there is something that “re- them against the heroes. The typical Scavenger collects
sets” the Mimic’s tally and forces it to start over again (such different devices and equipment, often stolen from their
as having to have subjects in close proximity or line of prior owners, or copied from existing items.
sight). The GM sets any limitations on the Mimic’s power
However, a Scavenger could also collect the “residue” left
in accordance with the villain’s concept and the needs of
behind by certain powers, either by means of a device
the adventure.

or power, allowing the villain to duplicate the effect. pensate in various ways, such as combining the traits of
Similarly, a Scavenger might even collect traits from two or more subjects to reduce or eliminate a particular
deceased subjects in some fashion, either like a Vampire weakness; if one subject’s Protection is overcome by a
Mimic (previously) or a grave robber. particular attack, and another’s is not, the Mimic might be
able to “layer” them to ignore or reduce the attack. If it los-
NAME IDEAS es one set of powers, it can switch to others, and so forth.
Sometimes this particular problem extends to taking on

Archetype, Doppelganger, Dupplex, Echo, Legion, some of the subjects’ personality traits (and related com-
Template, Totem, Touchstone plications) as well as abilities, especially for Mimics that
are essentially blank slates otherwise. This might allow
CLASSIC BITS heroes to appeal to their own better qualities to convince
the Mimic to change its planned course of action.
Some classic elements associated with the Mimic include:
FACE-OFF TACTICS
The standard Mimic tactic can be summed up as: “Study,
Some Mimics do more than just copy their subject’s
copy, strike.” The Mimic take the opportunity to do what-
traits; they can also duplicate someone’s appearance,
ever is necessary for it to duplicate a target’s traits, then
essentially Morphing into the subject. Some Mimics do
uses them against its foes in
this deliberately, to further confuse opponents about
the most efficient manner
who is the genuine article or even to replace a subject and
possible. Mimics often use
impersonate them. Mimicking multiple subjects often
novel combinations of traits
results in a strange composite appearance for the Mimic.
from different targets—such
KNOW YOUR ENEMY
Since Mimics often benefit from first- or even second-hand
knowledge of their subjects, they may make an effort
to observe a group of
heroes carefully and
gather information
before confronting
them. The Mimic
arranges means of
surveillance and in-
telligence gathering
(spy-cams, magical
scrying, hired minions,
etc.) and may also set
up particular encoun-
ters to test the heroes’
capabilities in various
ways. This can range from
staged crimes to phony tests for
scientific research or exhibitions
for charity or the like. The more
the villain learns, the more effec-
tive he becomes, until the time is
ripe to confront the heroes and
defeat them with their own abilities!
THE BAD WITH THE GOOD

A common complication for
Mimics is a tendency to ac-
quire their subjects’ weakness-
es along with their strengths.
This may allow the heroes
to capitalize on their known
weaknesses to slow or over-
come the villain, although
some Mimics learn to com-

as super-speed and shrinking, or stretching and super- and can duplicate. Eventually, the Mimic will have copied
strength—to do things their individual subjects cannot. all of their abilities, gaining considerable power. The he-
roes have to figure out a way to stop their foe without us-
A Mimic capable of doing so may well imitate targets’ tac-
ing their powers, or come up with a plan to trick or disable
tics as well as their traits, allowing the villain to use the
the Mimic before it can learn too much.
heroes’ most effective tricks against them.
THE RETURN
CAPERS
A hero believed dead (perhaps even a former player char-
Adventures involving the Mimic may include the following: acter) suddenly returns with no explanation or clear mem-
ory of what has happened since his or her death. The res-
LEARNING CURVE urrected hero has some adjusting to do but, as time goes
on, things don’t seem right. Eventually, the good guys dis-
The heroes encounter a new Mimic villain for the first cover the hero is not the genuine article, but the Mimic,
time. Their foe is either a relative innocent, unaware that it accidentally trapped in the hero’s form, suffering memory
is endangering people or causing harm, or else is deliber- loss from an accident or some overload of its powers. Ini-
ately looking to engage the heroes in order to study them. tially it truly believes it is the hero it appears to be, but
In either case, the more the good guys fight the Mimic and what happens when its real memories begin surfacing, or
show off their abilities, the more their opponent learns the impersonation imposes too much mental strain?
OVERLORD
The Overlord is a true master villain, possessed of a bril- is usually an advanced suit of power-armor, although it
liant mind and formidable force of will. The Overlord’s am- can just as easily be a suit of ancient magical armor or
bitions are nothing less than domination over the nation, something else such as a pair of gauntlets, a belt (magi-
world, even the cosmos! Overlords tend to have extensive cal or projecting a high-tech force field), a helmet, and so
headquarters; they may be wealthy business tycoons, and forth. Apply the Removable modifier to the archetype’s
some are already rulers of their own small nations! This powers.
gives them considerable resources for their various world-
conquering schemes. Typically, the Overlord created the device himself, or
sought out and won it. If not the villain’s own work, you
might wish to lower the archetype’s Intelligence rank
THEMES somewhat. Armored Overlords are often initially moti-
vated by a rejection of the same genius that allows them
Overlord themes involve the villain’s origins and particular to create or discover the powers they use to gain revenge
goals or reasons for conquest. The Overlord archetype is on the world.
often connected with totalitarian and dictator archetypes
from history, especially recent history, building ties be-
tween the Overlord and forces such as the Axis powers of
IMMORTAL OVERLORD
World War II or the Communist regimes of the Cold War.
For some Overlords, the process of conquering the world
ALIEN OVERLORD (or dimension, or cosmos) is a long-term game indeed. The
Immortal Overlord has Immunity to Aging, at the least,
From beyond the stars, the Alien Overlord comes to con- and often Regeneration or true Immortality, meaning
quer! The villain is a warlord or military leader of an alien the villain may have lived for centuries or even millennia.
empire or invasion force, seeking to crush whole worlds This may explain the Overlord’s considerable intellect and
beneath his heel. wide breadth of knowledge, as well as formidable combat
skills.
The Alien Overlord’s powers may be innate, part of a non-
human physiology or the result of an accident or genetic Immortal Overlords predictably take the long view of
experimentation (perhaps to create some type of super- things; their schemes can take considerable time to come
soldier). Alternately, the villain may wear a high-tech to fruition and they are often patient enough to even wait
battlesuit of some type, like the Armored Overlord (fol- out years in prison. After all, they will still be around long
lowing). Some Alien Overlords have additional powers, after their present-day enemies are nothing but a memo-
most commonly those of the Alien Mastermind; see the ry. They can afford to wait.
Mastermind archetype for details. A variant of the Immortal Overlord is the Temporal Over-
lord, who may also be ageless, but appears throughout
ARMORED OVERLORD history due to the ability to move back and forth between
different eras. Most often, the Temporal Overlord hails
A common archetype in the comics, the Armored Over- from a far-future period, but parallel realities are also a
lord derives all of his listed powers from a device. This possibility.

ting, then a Meta-Supremacist villain may arise to defend
META-SUPREMACIST them... by conquering humanity!
Every Overlord comes with a massive ego and a belief in his Some Meta-Supremacists have the power-sets of the El-
or her own superiority, but the Meta-Supremacist believes emental or Mastermind archetypes rather than the one
in the superior nature of an entire class of beings, of which given here, or some combination of the three power-sets,
the villain is the ultimate example, of course. This might be although even more exotic powers are possible.
a particular origin for super-powers in the setting, such as
mutants, psychics, or mystics, or a general belief that super-
humans are clearly better than ordinary people and should NAME IDEAS
guide human society by right of their powers.
Grandiose titles like Doctor, Emperor, King, Lord,
A Meta-Supremacist may be a heartless and arrogant Master, and Professor are common for Overlords,
conqueror, considering ordinary humans little more as are mythological names, particularly those of
than cattle, but some see themselves as champi- deities. Examples include Doctor Genesis, the
ons and defenders of an oppressed or threatened Emperor, the Forever King, Lord Hyperion, Master
people. If a class of superhumans is mistrusted Khan, Professor Power, and War-Lord.
or persecuted in the set-
CLASSIC BITS
Some classic bits involving the Overlord archetype
include the following:
CONSORTS
What is a ruler without a consort to help establish and
carry on a dynasty? Oftentimes, an Overlord seeks a
suitable partner, and may choose a hero or supporting
character in the series to fill that role, whether the pro-
spective consort wants to or not! Male Overlords may
kidnap a chosen female and either try to sweep her off
her feet or force her into marriage (although the latter
tends to be more of an artifact of the Golden and Silver
Ages). Female Overlords are often seeking a mate that is
truly a match for them, as well as a good potential father
for any future offspring.
Of course, there’s nothing to say an Overlord can-

not have an entire harem, or some sort of multiple
mate arrangement, especially for Alien Over-
lords with entirely different customs, or Immor-
tal Overlords who expect to out-live all their
mortal partners (and have no doubt done so
many times in the past).
DEATHTRAPS
Overlords are particularly given to “reward-
ing” their enemies with a showy and in-
volved death, placing them in deathtraps
that allow the villain time to gloat and
explain their glorious plans to
the only ones truly able to
appreciate them before the
end. Of course, the villain
often has to attend to those
plans for conquest or is
called away by some-
thing, leaving the heroes
to their fate and giving
them the opportunity to
escape.

OVERLORD PL15
13 2 1 1 8 12 7 7
POWERS OFFENSE
Force Field: Protection 15, Impervious 10 • 25 points INITIATIVE +1
Life Support: Immunity 10 (Life Support) • 10 points Power Blast +15 Ranged, Damage 15
Power Blast: Ranged Damage 15 • 30 points Unarmed +15 Close, Damage 13
Propulsion: Flight 6 • 12 points
Sensory Enhancements: Senses 11 (Accurate and Extended DEFENSE
2 Radio (radar), Darkvision, Direction Sense, Distance Sense, DODGE 13 FORTITUDE 14
Infravision, Radio, Time Sense) • 11 points
SKILLS WILL 16
Close Combat: Unarmed 7 (+15), Expertise (Choose One) 8
(+20), Insight 8 (+15), Intimidation 8 (+15), Investigation 4
POWER POINTS
(+16), Perception 4 (+11), Persuasion 8 (+15), Ranged Combat: ABILITIES 102 SKILLS 14
Power Blast 7 (+8), Technology 12 (+24), Vehicles 4 (+5)
Assessment, Equipment 20, Improvised Tools, Inventor, COMPLICATIONS

Ranged Attack 7, Second Chance (Insight checks), Skill Mastery
(Technology), Takedown Destined to Rule: The Overlord is obsessed with power and
rulership.
Megalomania: Convinced of superiority and eventual success.
RANTS
the Overlord often has a trap prepared to deal with any
Overlords are particularly fond of the sound of their interlopers. In the final match-up, the villain has to rely
own voices, and tend to rant or ramble at the slightest more on his own abilities.
opportunity. When the heroes are not around for them to
threaten or gloat at, the villains rant to their underlings Given their supreme arrogance, many Overlords refuse to
(who know enough to either agree or keep their mouths accept the ignominy of defeat and capture; they may rush
shut), and when no one else is available, they will often into the exploding ruins of their lairs, trying to salvage a
rant out loud to themselves (or to the heroes, even if they last-minute victory or save a priceless artifact or device.
are not present and cannot possibly hear them: “So, you Some even deliberately self-destruct, hoping to take the
think to approach my stronghold unnoticed, do you? heroes with them or, more likely, faking their own deaths
Little do you know that I have eyes everywhere!”). You so they can return at a later date with a new scheme for
can use various rants, delivered in a haughty and arrogant conquest.
tone, to liven up encounters with an Overlord.
STRONGHOLD CAPERS
Adventures involving the Overlord may include the fol-
Overlords typically have some kind of secret lair or strong-
lowing:
hold from which they launch their schemes of conquest.
Invest some of the villain’s equipment points in a suitable KING’S GAMBIT
headquarters, and stock it with appropriate minions.
As the first stage of an ambitious scheme, the Overlord
TACTICS seeks to eliminate opposition by removing the heroes from
the board, sending various minions to capture or even kill
In spite of their considerable personal power, Overlords tend them outright. These might be fairly run-of-the-mill (albeit
to be hands-off opponents, preferring to enact their schemes tough) minions like those from the Minion Archetypes
from afar. Indeed, they often take great offense to any hero section or hired or created supervillain lieutenants. Natu-
who dares to lay hands on them, focusing their wrath on that rally, the threat to the heroes tips them off to the villain’s
character before turning against other foes. The villain often scheme and gives them the opportunity to take action.
has various minions to do his dirty work, including defend- If this is an early adventure in the series, it can even serve
ing the Overlord’s lair and keeping the heroes busy. as a way of getting the heroes together in the first place.
Of course, once it comes down to a direct confrontation, By attempting to eliminate the opposition, the villain in-
the Overlord is no pushover. In early confrontations, stead unites them into a team to oppose him! Perhaps the

Overlord is successful in capturing some of the setting’s good guys. Just when the heroes have won and think the
more experienced or established heroes, leading to a universe is saved, the Overlord reveals it was all a larger
group of novices coming together to help them (and per- scheme to get the bigger threat out of the way and secure
haps avenge and replace them, if the Overlord has killed power!
the captives or rendered them powerless).
SOVEREIGNTY
The Overlord’s plans for the heroes might involve more
than just getting them out of the way. Perhaps the cap- The Overlord petitions the United Nations for recognition
tives are brought back to the villain’s lair so they can be as the head of a sovereign nation: either because the vil-
brainwashed into an invincible superhuman army, or their lain really does rule some corner of the world, or perhaps
powers can be copied into an artificial Mimic (see the as a representative of a people (a good approach for the
Mimic archetype) or transferred to the Overlord himself, Meta-Supremacist), or simply on the basis of the Over-
making him virtually unstoppable. lord’s sheer power. To the heroes’ surprise, the UN grants
it! Now the arch-villain is a head of state with diplomatic
THE ENEMY OF MY ENEMY immunity, who wastes no time establishing an “embassy”
in the heroes’ home city, perhaps in full view of their head-
Faced with a world- or even cosmos-destroying threat, the quarters just to taunt them.
Overlord reluctantly offers to help the heroes to overcome
it, since there is not much point in trying to conquer the The Overlord carries out schemes against the heroes, who
world when there’s no world left to conquer! Certainly, the can do nothing but turn the defeated villain over to the
villain’s genius and considerable resources can be useful “justice” of his home nation, unless they want to step out-
in the fight. side the law. Perhaps the entire exercise is an effort to get
the heroes to do just that, forcing them to violate interna-
Of course, the Overlord is looking for just the right mo- tional law and become vigilantes while the Overlord re-
ment to double-cross the heroes, either betraying them veals the foe they think they captured and punished was
to their common foe in exchange for some consider- nothing but a decoy or doppelganger. Maybe the villain
ation (such as being made ruler over the Earth or some used underhanded means to get the UN to cooperate—
other corner of the cosmic villain’s domain), or seizing anything from blackmail to mind control—but can the he-
the cosmic foe’s power for himself and turning it on the roes prove it and gets his diplomatic status revoked?
PSYCHO
The Psycho is, to put it bluntly, completely crazy. The vil- onry as well as a means of choosing crimes and leaving
lain’s madness opened the door to a certain genius, how- clues for the heroes. For example, a Psycho obsessed with
ever, coupled with a particular obsession. The Psycho is an threes might target the Holy Trinity Church, or memorabil-
excellent foil for edgy, driven heroes and often a dark re- ia from a famous sports triple-play, for example. If you’re in
flection of their own obsession with vengeance or justice. need of inspiration for a Psycho obsession, take a look at
The background of the Psycho is typically tragic—horri- the Psycho Obsessions table.
bly scarred physically, psychologically, emotionally, or all
three. Psychos deal with their pain just like some heroes REVENGE
do: by inflicting it upon others. The only difference is that
Psychos are less selective (or at least less socially accept- A common variation on the Psycho theme is a need for
able) about their targets. This often leaves only a thin line revenge for whatever happened to leave the Psycho wan-
between them and obsessed vigilante heroes. dering in the fields of madness. This may or may not be
tied to the Psycho’s main obsession. For example, a bril-
liant game designer robbed of his rightful credit for a par-
THEMES ticular design might turn to crime with a variety of game-
based gimmicks and seek revenge on the unscrupulous
A Psycho most often has a focus for his or her madness, publisher as his first crime, discovering that he enjoys the
a way in which it manifests itself other than mere bloody challenge of this new “game” and transferring some of his
carnage. It is this obsession that leads the Psycho into a desire for revenge to the heroes who defeat him (but not
career in supervillainy rather than just being a run-of-the- necessarily abandoning his original vendetta).
mill criminal. Psycho obsessions can be almost anything,
but are often either whimsical or connected to the Psy- Revenge-obsessed Psychos tend to want more than just to
cho’s condition in some way. For example, a villain who kill the target of their revenge; they want their vengeance
snaps over an international crossword puzzle competition to be poetic in some way. So if a Psycho is targeting the
or the like might become “Mr. Acrostic,” a criminal ob- police officer who gave her a parking ticket (leading to
sessed with crossword style puzzles and games. some personal tragedy in her twisted view), better to
kidnap him and arrange for him to be crushed inside an
The Psycho tends to take an obsession to, well, crazy impounded car at a junkyard, rather than just killing him
lengths, making it into a motif for costume and weap- and dumping the body somewhere. The lighter a story is

PSYCHO OBSESSIONS
D20 OBSESSION
Animals: Obsession with pets or “animal friends,” targeting animal rights issues or the fur industry, a
1 preference for animals over people, perhaps a desire to be an animal or a focus on a particular type of
animal (such as cats, dogs, birds, and so forth).
Art: Equipment based on art supplies (paints, brushes, canvases, etc.) or art icons (famous works), ob-
2
session with art critics or artists or particular styles.
Books: Obsessive collecting of different rare volumes, literary references, stalking authors, committing
3
crimes based on famous novels, perhaps a focus on a particular genre.
Clowns: Comedy props (squirting flower, seltzer bottle, cream pie, etc.), elaborate—and often deadly—
4
“jokes” or pranks.
Computers (and possibly the Internet): Hacking and computer skills, complex programming, com-
5
puter-crimes, perhaps even a delusion of being a robot.
Conspiracies: Spy-tech or “psychic” devices; complex schemes based around “the Truth” about the Con-
6
spiracy and whoever is behind it, paranoid precautions and security measures.
Fear: A fascination with fears and phobia, fear-inducing weapons or techniques, setting up frightening
7
scenarios.
Finance: Either a “moneybags” or “poor-house” persona, obsession with obtaining or destroying wealth,
8 banking and finance gimmicks (bags with dollar signs, fountain pens, “free toasters,” barrels, bears and
bulls, etc.).
Gambling: Casino gambling props (cards, dice, chips, roulette wheels), targets casinos, poker tourna-
9
ments, etc., cannot resist a gamble or game.
Games: Complex games (puzzles, board games, even RPGs) as crimes, use of game tokens as props and
10
weapons.
Halloween: “Spooky” devices and crimes intended to frighten or spook. Alternately, choose another
11
holiday or season as the villain’s obsession.
Heroes: Delusions of being a costumed hero or having powers, stalker-like obsession with a particular
12
hero or team, gadgets intended to duplicate various powers.
Medicine: Doctor or nurse lab coats or uniforms, medical instruments, paraphernalia, and terminology,
13
perhaps a germ-phobia or targeting the medical profession.
Occult: Mystical, occult, or “Satanic” paraphernalia and trappings, often delusions of supernatural pow-
14
ers or possession by demonic entities (or is it a delusion...?)
Religion: Religious iconography and costuming, targets religious enemies or “heretical” members of a
15
particular religion. Perhaps an insane hatred of all religions.
Science Fiction: “Futuristic” gadgetry, interest in technology and fandom (conventions, Hollywood
16
premieres, etc.). Alternately, substitute another fan subculture.
17 Sports: Sporting equipment devices and weapons, crimes around major sporting events or team rivalries.
Stage Magic: Elaborate “magic tricks” and use of props such as top hats, magic wands, vanishing cabi-
18
nets, and sawing people in half (often not a trick...).
Time (and timepieces): Brilliant split-second timing, devices based on clock-faces, hands (making pointed
19
weapons), springs, clockworks, ticking bombs, etc. Perhaps actual devices for controlling or affecting time.
Toys: Weapons and devices styled as toys: boomerangs, yoyos, tops, jacks, bouncy balls, pogo sticks,
20
etc. Crimes based on or targeting toys.
in style, the more elaborate a Psycho’s revenge schemes

necessarily become.
CLASSIC BITS
The following elements are often associated with Psycho
NAME IDEAS villains:
In addition to names based on the Psycho’s obsession DEATHTRAPS

are ones referencing his or her mental condition: Cuckoo,
Loon, Madman, Noose, Nutcase, Screwloose, Straitjacket, Psychos love deathtraps associated with their particular
and so forth. obsession in some way. So a Halloween-themed Psycho
might trap the good guys in a “house of horrors” with a

PSYCHO PL9
4 6 3 3 9 5 5 4
SKILLS
Deception 8 (+12), Insight 8 (+13), Intimidation 8 (+12),
Perception 4 (+9), Ranged Attack: Guns or Throwing 8 (+11),
Sleight of Hand 8 (+11), Stealth 8 (+11), Technology 6 (+11),
Vehicles 4 (+7),
ADVANTAGES
Chokehold, Close Attack 2, Contacts, Daze (Intimidation),
Defensive Attack, Defensive Roll 2, Diehard, Equipment 6,
Fascinate (Intimidation), Great Endurance, Improvised Tools,
Leadership, Minions 6, Set-Up, Startle, Taunt, Well-Informed
OFFENSE
INITIATIVE +3
DEFENSE
DODGE 10 FORTITUDE 9
POWER POINTS
COMPLICATIONS
Obsession: Utterly obsessed with something (see the Psycho
Obsession table).
variety of lethal displays and the whole thing rigged

to blow sky-high at the stroke of midnight! Similarly, a
video-game-obsessed Psycho could place the heroes
in deathtraps based around various classic arcade
games.
Psycho deathtraps also tend to come into play when

dealing with the villain’s other victims; the snares are
intended for particular targets who aren’t the crime-
fighters! The heroes just blunder into these traps, rather
than being placed in them deliberately. The same goes
for heroes interfering in a Psycho’s “fun” in other ways.
So characters might run into things like exploding Easter
eggs or hallucination-inducing fear toxins as they try to
protect people from a rampaging Psycho.
MINIONS
Psychos tend to have at least a few minions around to do
the heavy lifting and run interference if necessary. They’re
typically hired goons, possibly dressed up to fit the villain’s
theme, although they can also be cult-like followers (Psychos
tend to have a strange sort of personal charisma) or equally
crazy, perhaps even buying into the villain’s particular

delusions. A few Psychos have non-human minions based public venues or on live television! Each crime is carefully
on their obsessions, such as a sci-fi obsessed Psycho who has planned, providing the heroes with a suitable distraction
cobbled together some robots, or a toy-obsessed one with and the kidnappers with an escape route. No ransom de-
mechanical toys able to move and act on their own. mands or other forms of contact from the villain appear,
leaving the police baffled as to the motive. The heroes
Allocate points from the Psycho’s Minions advantage must investigate the crimes in order to find out where the
as needed to suit the character’s particular brand of un- victims are being held, and whatever pattern there might
derlings, including increasing the rank to accommodate be, in order to guess the next target.
more powerful or plentiful minions as you see fit.
It turns out the villain is kidnapping people involved with
his or her particular obsession and getting them all to-
TACTICS gether for a crazy “dream dinner party” wherein the Psy-
cho gets to meet and spend time with such a wonderful
Psychos tend to be cat-and-mouse opponents. Heroes group of interesting people! The victims are treading on
hear about their latest crime-spree and receive some thin ice, since the slightest thing can send the villain over
cryptic clue or taunting challenge. Then they must inves- the edge, and the heroes are running out of time before
tigate, figuring out the villain’s current plan and hideout the Psycho gets bored or angry and decides to end the
before eventually confronting the Psycho, either at the “party” early, by killing all of the guests!
site of the next intended crime or at the villain’s lair.
In either case, the final confrontation often consists of dif-

OH, WE’RE ALL MAD HERE
ferent cunningly designed traps and minions to keep the
A series of crimes involving the theft of various chemicals
heroes busy. The Psycho might take the opportunity to
gets the heroes’ attention, particularly when later crimes
rant to them, or instead seize the better part of valor and
leave victims affected by strange, but familiar, manias.
look to escape while the good guys are occupied. Psychos
Investigation reveals the Psycho is developing—and test-
who manage to capture the heroes usually put them into
ing—a chemical compound that induces madness. Hav-
an appropriate deathtrap.
ing decided to “enlighten” the whole city, the villain plans
When finally cornered, most Psychos are fierce fighters, to release the compound into the water supply (perhaps
even if they lack superhuman strength and resilience. If tainting a reservoir or processing plant) or even in the air
the final confrontation takes place somewhere potentially over the city via balloon or plane.
dangerous (in a factory, atop a moving train, etc.), the Psy-
Ideally, the heroes can piece together clues from the
cho will almost inevitably appear to die (lost in a fall or
crime scenes and early encounters with the Psycho’s
explosion, for example), only to manage to return in the
gang and find the villain’s new hideout. This gives them a
future. Even a captured Psycho is rarely sent to prison, but
chance to prevent the release of the madness compound.
rather to an asylum of some sort, from which the villain
Otherwise, they also have to deal with a city full of people
may eventually escape.
suffering from the same sort of insanity as their foe!
CAPERS For a twist, perhaps the villain has already released the
chemical into the environment. However, it requires some
Adventures involving the Psycho may include the following: sort of activator, such as a binary compound released in
a spray or aerosol to match the one in the water supply,
IT’S MY PARTY... or some sort of broadcast signal that triggers the latent
chemical in the system. If the heroes can stop the trigger
The Psycho begins a series of kidnappings, snatching from being used, the substance should pass harmlessly
various people from their homes, workplaces, and even from everyone’s system, given time.
PUPPETEER
The Puppeteer is a manipulator of the first order. The typi- tra effort to develop other power stunts, perhaps includ-
cal Puppeteer has Mind Control powers of some sort, of- ing a devastating Area Damage effect resisted by Will or
ten far-reaching. Other Puppeteers are more subtle, ma- an Illusion sufficient to fool the heroes and provide an
nipulating people through a web of influence, contacts, escape route.
blackmail, and extortion.
Physically, Puppeteers are little threat, but heroes rarely

confront them directly, dealing instead with their various
THEMES
pawns and schemes. A Puppeteer may maintain the guise Puppeteer themes revolve around how the villain controls
of an ordinary citizen or even a hero to throw off suspicion.
and manipulates people, what effect it has on them, and
Although Mind Control is a formidable power in and of what the heroes find when they work their way to the cen-
itself, a Puppeteer backed into a corner may also use ex- ter of the villain’s web of influence.

FOCUS PUPPETEER
While the archetype as given
can attempt to control subjects
simply by seeing them, a Focus
Puppeteer requires some talisman or
focus in order to establish control. This
could be the classic elements of sympa-
thetic magic, such as hair or nail clippings
or a blood sample, perhaps incorporated
into a small doll or other representation of
the victim. It can also include a particular
device, or an artistic representation like a
sculpture, painting, or photograph. Imagine
a villain with a camera that really does capture
people’s souls, allowing him to control them
through their photograph!
MINION MASTER
Rather than directly controlling the heroes or
their allies, the Minion Master is a Puppeteer
with legions of loyal or mind-controlled
minions. These may range from large
numbers of low-powered oppo-
nents to a small number of very
powerful minions, typically
“monsters” of some sort. The
villain may have some de-
fensive capabilities, but
relies heavily on sending
wave after wave of min-
ions against the heroes.
PHANTOM PUPPETEER
The Puppeteer is a
disembodied entity,
having Insubstantial
3 or 4, and exerting in- SEDUCTIVE PUPPETEER
fluence over the material
world almost entirely through Although Puppeteers can be disembodied brains, alien
mental power. The villain might be a slugs, and hideous dwarfs with giant heads, they can also
ghost or spirit, an astral form, energy being, or even an in- be quite attractive. A Seductive Puppeteer exerts at least
telligent virus or meme spread through physical or social some influence through sheer appearance and attractive-
interaction. They tend to be among the most alien and ness, often a sexual allure. The Puppeteer’s motif may in-
creepy of Puppeteers (along with the Spawn Puppeteer, volve acquiring a “harem” of thralls willing to do anything
following). to please the object of their affections. Of course, many
Seductive Puppeteers turn out to be truly hideous, their
POD PUPPETEER appearance of beauty an illusion or some other manifes-
tation of their powers.
Rather than controlling victims, the Pod Puppeteer re-
places them with exact duplicates under its control. These SOCIAL PUPPETEER
are often clones or alien replicants, although they can just
as easily be convincing androids or even mystical change- Similar to the Seductive Puppeteer, the Social Puppeteer
lings created out of previously inanimate matter. The manipulates people through Presence, interaction skills
victims are generally kept alive and unconscious, either and guile. In fact, the character might not have Mind Con-
to feed memories and life force to the duplicates, or as a trol powers at all, simply a high Presence and skill rank.
back-up in case a new duplicate is needed. The appear- Add some minor mental powers on top of that (perhaps
ance of a Pod Puppeteer is often a prelude to an invasion with the Check Required flaw), and you’ve got a formi-
intended to replace all of humanity with duplicates. dable foe.

PUPPETEER PL10
-1 0 0 0 0 3 5 5
POWERS DEFENSE
Mind Control: Perception Ranged Affliction 10 (Resisted DODGE 6 FORTITUDE 5
by Will; Dazed, Compelled, Controlled), Cumulative,
PARRY 4 TOUGHNESS 0
Progressive, Subtle; Linked to Senses 1 (Communication
Link with Target) • 62 points WILL 15
SKILLS POWER POINTS

Deception 6 (+11), Expertise: Behavioral Sciences 8 (+11), Insight ABILITIES 24 SKILLS 19
8 (+13), Perception 4 (+9), Persuasion 8 (+13), Stealth 4 (+4) POWERS 62 DEFENSES 25
ADVANTAGES
Assessment, Connected, Contacts, Daze (Deception), Fascinate COMPLICATIONS
(Deception)
Cowardly: Prefers to avoid direct physical confrontations.
OFFENSE Manipulative: Sees people as objects to manipulate.
INITIATIVE +0
thing they control in the game (their character). It’s
Mind Control Perception, Affliction, Will DC 20 best to make sure you have the player’s “buy-in” on the
Unarmed +0 Close, Damage –1 idea in general before using this option. If you do use
a player character as the Puppeteer’s pawn against the
other heroes, be sure to at least award the player a hero
SPAWN PUPPETEER point for being a good sport and going along with the
complication. Chances are it will see use during the next
A Spawn Puppeteer does not control thralls directly, but
instead creates a type of “spawn” that does so: a parasite, confrontation with the villain!
offspring, implant, or the like that takes control of the vic- NO, NEVER!
tim, allowing the Puppeteer to issue commands. Spawn
Puppeteers are most often aliens, using parasitic spawn In many scenarios where a hero is under a Puppeteer’s
to seize control over populations as a prelude to repro-
control, the villain will order the thrall to do something
duction or invasion, but they can also be mutants or even
like attacking a friend or loved one, or dooming the
technological, with their “spawn” being artificial or nano-
entire city or world to fall under the fiend’s control. At the
tech implants they manufacture.
last moment, through a massive effort of will, the hero
manages to shake off the villain’s domination and resist
NAME IDEAS the command, at least long enough for fellow heroes to
take action.
Ant Queen, Chess-Master, Director, Marionette, Poppet,
Prime-Mover, Shadowplay, Voodoo, Web-Master M&M handles this with both regular resistance checks
against Afflictions and in particular the Resistance aspect
CLASSIC BITS of the extra effort rules, which permit an immediate
resistance check. Players can spend hero points to aid
these checks to break free of the villain’s control.
Some classic elements associated with the Puppeteer in-
clude:
TACTICS
MY FRIEND, MY ENEMY!
Puppeteers tend to be behind-the-scenes bad guys, using
The Puppeteer provides a perfect excuse for the comic their thralls to do their dirty work and take all the risks for
book classic of heroes fighting each other: the villain sim- them, while they remain safely out of sight. Some (like the
ply controls one or more heroes and sets them against the Phantom Puppeteer) are literally beyond the heroes’ grasp
characters. without some special measures.
There may be a strong temptation to have the Puppeteer
seize control of one or more of the player characters, CAPERS
using them against their teammates. This can be fun
for some players, especially if they’re competitive, but Adventures involving the Puppeteer may include the
others just find it annoying, since it takes away the one following:

ined and no one will believe them when they claim some
CAN’T FIGHT CITY HALL sinister puppet-master is secretly taking over the city!
The public and the media in the city suddenly become
increasingly critical of the heroes and their activities. Edi- WITH FRIENDS LIKE THESE...
torials dig up every mistake they’ve ever made and head-
lines over their photos read “Threat or Menace?” Not long Another team of heroes (perhaps with a friendly rivalry
thereafter, the Mayor and other city officials come to see with the player characters) has gone on a sudden and un-
the team. Rather than supporting them, the government explained crime spree! Authorities are baffled and largely
demands they leave the city immediately! Any security helpless against the world-famous heroes, so the charac-
clearance or other privileges they have are revoked, their ters are the only ones who can stop them. This is a set-up
landlord tries to evict them, vehicles are ticketed or im- for the classic “hero vs. hero” battles of the comics, and a
pounded, and so forth. If the heroes defy any of this legal great opportunity to use a group of non-player heroes.
harassment, a warrant for their arrest is posted almost im- The rogue heroes are under the Puppeteer’s control, and
mediately and they become hunted fugitives. are stealing the components for the next stage of the vil-
Naturally, the sudden change of heart on the part of the lain’s plans: a super-science gadget or magical artifact or
city and its populace is the work of the Puppeteer, influ- ritual to massively increase Mind Control range, allowing
encing key people to turn public opinion against the he- the villain to take over the city, country, or even the entire
roes. The goal is to either chase them out of the city so the world! The good guys might be able to snap them out of
villain can work there unopposed, or to force them into a it, but otherwise they have to figure out how to stop them
confrontation with otherwise innocent people that puts without harming them too badly. Of course, then the Pup-
the good guys on the wrong side of the law. Either they’ll peteer might decide the player characters would make
be jailed and out of the way or their reputations will be ru- even better pawns....
ROBOT
A common theme in the comics onward is technology run or advantages from the Master of Disguise you find ap-
amok, when advances intended to improve the human propriate. Perhaps the Android was originally intended as
condition turn against humanity. The evil Robot is one a kind of “infiltration” unit. At the extreme level, it may be an
such advance, an artificial intelligence lacking in morality, Artificial Mimic (see the Mimic archetype for details).
coldly devoted to the domination or even extermination
of humanity. Some Robots are alien in origin, but most EVIL COMPUTER
come from well-intentioned human experimentation
gone awry. Robots typically have formidable physical and The villain is an evil or amoral artificial intelligence that ex-
intellectual capabilities and a vast array of technological ists as software running on a computer, rather than in a spe-
weapons and devices at their command. cific robotic body. An Evil Computer may control a number
of different “slave” robots, perhaps even able to directly per-
THEMES ceive whatever they do as a Remote Sensing effect.
The Evil Computer is more like the Brain in a Jar version of

The Robot’s themes tend to involve the nature of its cre- the Mastermind archetype, with powers such as Datalink
ation and what type of robot it is, ranging from a fairly and various machine minions rather than mental powers
human-looking android to more industrial shapes or even that target living beings. Evil Computers often make use
immobile computers, giant machines, or magical cre- of the Rebuild and Return bit.
ations.
ANDROID GIANT ROBOT
To the casual observer, the Android looks like an ordi- Rather than blending in, the villain is a huge robot, with
nary human being. There might be some “tells”—such one or more ranks of (most likely Permanent) Growth. A
as slightly glowing eyes, a plastic sheen, or a completely “small” giant robot (no more than Growth 6-7) may be a
expressionless face—but under most circumstances, the master villain or lieutenant. Larger giant robots are nearly
villain can “pass” for a human, providing the opportunity always minions, although you can break type and go with
to blend in and move among us. Often, an Android’s hu- a giant robot master villain. In the latter case, the giant ro-
man façade is torn away during conflicts, revealing metal bot tends to be a vehicle or supplemental body for the
and circuitry beneath. true villain operating it from afar or within.
Some Androids might not only look human, but have the MAGICAL CONSTRUCT
capability to change their outward appearance, a combina-
tion of the Robot and Master of Disguise archetypes. Add In a superhero setting, a “robot” may actually be an ar-
the Morph effect to the archetype’s powers, and any skills tificial construct given animation and intelligence by

means other than technology. The Magical Construct is pabilities based on prior defeats. So, for example, if the
a golem, animated statue, or even steampunk clockwork, heroes beat the Robot by melting it in the last encoun-
some creation of mysticism or “weird science” rather than ter, the new version may have potent heat shielding that
conventional technology. The game traits are largely the grants additional Protection or even Immunity to heat
same, although the Robot may have different skills, such damage. This can create a villain the heroes can never de-
as Expertise: Magic in place of Technology, for example. feat the same way twice.
A Magical Construct is often the lieutenant of an occult A CREATED RACE

master villain, while lesser Magical Constructs may be the
“robotic” minions of a mystic (see the Minion Archetypes The Robot is often a unique entity, created by accident or
for examples). The Construct might also be a master vil- with a creator who is now dead (often by the creation’s
lain in its own right. own hand). Many Robots seek to build others like them,
creating a “family” or even a “race” of sorts, subservient to
ROBOTIC BRUTE their maker, of course.
The archetype as presented assumes the Robot is highly The Robot typically lacks some key element, prevent-
intelligent and programmed with extensive technologi- ing it from doing all the work itself. It might need the
cal information, but that does not have to be the case. A creative genius of its original maker, or someone equally
robot villain might have only average intellect by human skilled in robotics, the brainwave patterns of living hu-
standards, and little or even no knowledge other than its
programmed instructions. This can be by design of the
robot’s artificial intelligence or a limitation in its program-
ming. For example, a robotic soldier may be only modest-
ly intelligent and possess extensive tactical information,
but not much else. Robotic brutes tend to be lieutenants
or minions rather than master villains by nature.
See the end of this chapter for sample robot
minions.
NAME IDEAS
Artifice, Galatea, Mechanix, Tin-Man,
Techno, Tronix
CLASSIC BITS
The following are some classic bits associ-
ated with the Robot archetype:
REBUILD AND RETURN

Robots are notoriously diffi-
cult villains to get rid of;
never having been alive
in the first place, they’re
essentially impossible
to “kill.” Even a destroyed
robot can potentially be
rebuilt, and robotic computer “minds”
can be copied to backup files and downloaded
into new bodies, potentially including upgrades
and improvements.
You can choose to treat this in game terms as Immor-

tality. Alternately, you can simply consider it a plot de-
vice, since most other supervillains find ways to myste-
riously return from death as well. It is really only worth
defining as a power if the villain can use it during an
adventure, being destroyed and re-
turning multiple times.
Some Robots also learn from their

mistakes. They may improve their ca-

ROBOT PL13
15 --- 0 2 8 10 6 1
POWERS DEFENSE
Armor: Protection 16, Impervious • 32 points DODGE 10 FORTITUDE Immune
Datalink: Comprehend Machines, Radio Communication 4, PARRY 10 TOUGHNESS 16
Rapid 3 • 23 points
WILL 13
Energy Beams: Ranged Damage 15 • 30 points
Robot: Immunity 30 (Fortitude Effects) • 30 points POWER POINTS
SKILLS
Close Combat: Unarmed 3 (+11), Insight 6 (+12), Intimidation 12
(+13), Ranged Combat: Energy Beams 3 (+5), Technology 12 (+22) ADVANTAGES 11 TOTAL 237
ADVANTAGES COMPLICATIONS
Accurate Attack, Assessment, Eidetic Memory, Power Attack, Inhuman: Lacking both living physiology and human
Precise Attack (Ranged, Cover), Ranged Attack 6 emotions.
Machine: Vulnerable to certain effects like electricity,
OFFENSE magnetism, and so forth.
INITIATIVE +0
Similarly, Robots often lair in places dangerous or lethal
Energy Beams +11 Ranged, Damage 15
for organic beings, such as radioactive or toxic sites, mak-
Unarmed +11 Close, Damage 15 ing it more difficult for heroes to locate and reach them.
Coincidentally, the hazards might also screen the lair from
things like sensors or certain superhuman powers.
mans on which to base new neural matrices, rare earth
elements, special technology, or the like. This gives the
Robot something to acquire and the heroes something CAPERS
to guard, or recover if the Robot manages to get its arti-
ficial hands on it. Adventures involving the Robot may include the following:
Even if the Robot manages to create others like it, they THE BRIDE OF THE ROBOT
often end up turning against their maker, being more in-
nocent or sophisticated, capable of emotion and empa- It all begins with the theft of electronics parts and equip-
thy for humanity. Thus the prodigal creations of the Robot ment, and the kidnapping of prominent roboticists and
are new potential heroes. On the other hand, some might technicians. Then an important female supporting char-
have just as much ego and lack of empathy as their maker, acter goes missing, abducted in public by the Robot or its
deciding they are superior by virtue of being later models. minions! The heroes may have a chance to try and prevent
In this way the Robot may end up creating new rival vil- the abduction, but it can succeed as a complication, if
lains as well! necessary, awarding the players one or more hero points.
By the time the heroes manage to track the Robot to its

TACTICS hidden lair, it has already completed the construction of
a mechanical “bride” and hooked its kidnapped victim to
Although intellectually brilliant, the Robot tends to be a device intended to transfer her brain patterns—perhaps
something of a brute in combat, relying on inhuman even her memories and life force—into the new automa-
strength and durability, blasting away at foes it cannot ton to activate it. The heroes have to act quickly if they are
reach with its crushing grip. All the while the Robot lec- to save her!
tures its foes on their innate inferiority and how the odds Even if they interrupt the process, the Robot’s “bride”
are mathematically stacked against them. might still come to life, but with the unexpected “fault” of
having an all-too human sense of feeling. The Bride may
A cunning Robot sometimes takes advantage of its free-
reject its creator-suitor, preferring to ally with the heroes
dom from the needs of the flesh, distracting foes with
to defeat it. Or it could be dangerously insane, making it
brutal physical combat while also exposing them to envi-
just as much of a threat as the Robot, giving the heroes
ronmental dangers such as airborne toxins, radiation, or a
twice the trouble!
slow depletion of oxygen, to name a few. By the time the
heroes realize their danger, it is usually too late to stop the Even if the Bride is initially an ally, “she” may have a diffi-
Robot from overwhelming and defeating them. cult time adjusting to her new “life,” especially if she shares

some of the personality and traits of her original human Now the hunt is on for the thief of several types of deadly
template, such as affection for one of the heroes. Driven microorganisms. The good news is the Robot engineered
by a desire to have a normal life, the new robot may be- the theft, and the villain (or its mechanical minion) is im-
come unstable and dangerous, forcing the heroes to take mune and therefore not a carrier. On the other hand, the
action. metal menace intends to reproduce the diseases and then
release an amount sufficient to wipe out all human life on
KILL ALL HUMANS! Earth!
A government or corporate facility researching deadly The heroes have to trace the theft, and later heists of the
bioengineered diseases is locked down after a major se- necessary materials and equipment, back to the villain’s
curity breach releases a deadly cocktail into the air, kill- hidden lair. (Use a suitable earthbound headquarters
ing everyone in the facility. The lockdown has managed from later in this chapter.) They have to stop the Robot
to prevent the release of the pathogens into the general from releasing the bio-weapons, without doing so acci-
environment, and steps are being taken to sterilize the fa- dentally themselves. To further complicate matters, the
cility, but there is evidence the systems failure was caused Robot might use captured humans as carriers, leaving
by a break in, by someone—or something—that man- the heroes with the dilemma of whether or not they can
aged to escape. rescue these innocent people and what to do with them
once they have.
SORCERER
The mystical arts offer the potential of tremendous power, and so forth, or could have different physical game traits
and some fall victim to the temptation to misuse their arts as well, including increased Strength and Stamina, Protec-
for evil. The Sorcerer is much like the Mystic hero arche- tion for improved Toughness, Immunity (up to or includ-
type but eager to strike deals with evil forces in exchange ing Immunity to Fortitude Effects), and so forth. Demonic
for power or willing to explore and use forbidden secrets. Sorcerers are often vulnerable to certain holy rituals and
Some Sorcerers are ancient menaces, their lives unnatu- relics.
rally sustained by their sinister arts. Others are more con-
temporary, but no less powerful or dangerous, having NECROMANCER
bargained with powers beyond human ken for mystical
forces no mortal was meant to wield. The necromancer works with the dead, particularly reani-
mating corpses as zombie or skeleton minions (see the
THEMES Minion Archetypes) and summoning the shades of the
dead to provide knowledge and forbidden lore. Necro-
mancers often survive by draining the life force of victims,
Themes for the Sorcerer typically involve what type of
in a vampire-like fashion, and may intend to turn the en-
magic the villain commands, and the marks that power tire world into a graveyard they can control.
has left on the Sorcerer’s body, mind, and soul.
SEDUCTIVE SORCERESS
ALCHEMIST
The Seductive Sorceress matches sinful beauty with ar-
The alchemist works with mystical forces of transmutation cane power, often using her magic to sustain her youth-
and transformation, seeking mastery of the primal ele- ful good looks and enhance her considerable charms.
ments and the perfection of the legendary Philosopher’s Although the Sorceress often uses seduction to get her
Stone, a talisman able to transmute and control the ele- way, she can be as ruthless and powerful as any Sorcerer,
ments and grant immortality. An alchemist villain typically perhaps even more so. Like the witches and sorceresses of
relies on various potions, powders, and other magical for- legend, she often has a penchant for enchanting men or
mulae to cast spells and rituals, although the character transforming them into her bestial servants.
may be so powerful as to possess the legendary Stone
and its abilities. A minor alchemist who stumbles upon UNDEAD SORCERER
the Philosopher’s Stone is more of a Jumped-Up Nobody
archetype, but a masterful alchemist is easily the equal of Not even death can trap a true master of the mystic arts.
a full-fledged Sorcerer. The Undead Sorcerer exists in a kind of half-life, either
trapped there by the decree of foes who bound and
DEMON SORCERER entombed him, or through his own machinations, tran-
scending the limits of mortality at the price of the plea-
The Sorcerer is not human at all, but an infernal creature: a sures and aesthetics of the flesh. Undead Sorcerers are
demon, devil, or some similar being from a hellish dimen- almost universally hideous, desiccated corpses, although
sion. The villain may simply look different, having demon- some conceal their true nature beneath masks and heavy
ic features like red skin, horns, a forked tail, cloven hooves, robes or spells of illusion. Often the undead state is merely

a steppingstone toward an eventual goal of apotheo-
sis—the achievement of virtual godhood—even if the
whole world must be sacrificed on the altar of the
Sorcerer’s ambition.
NAME IDEAS
Arcanix, Eidolon, Infernus, Magus, Mor-
gan, Umbrus, often with a title like
Doctor or Master in front of it for
men and Lady or Madame in front
of it for women. Some sorcerers
also draw names from myth and
legend.
CLASSIC BITS
The following are some classic elements
involving the Sorcerer archetype:
AGELESS EXPERIENCE
If not actually immortal, Sorcerer vil-
lains are often far older than they seem.
Mighty magics sustain the villain’s life far beyond a natu-
ral span, whether the Sorcerer is an ageless beauty or a
hideous living corpse. Sorcerers often belong to a world
of myth and magic now all but forgotten, and may seek MYSTIC MINIONS
to return to it, perhaps by transforming the modern world
into one better suited to their tastes. More than heroic magicians, Sorcerers are prone to using
their powers to summon up various magical creatures as
FORBIDDEN LORE minions to deal with bothersome pests such as superhe-
roes. These minions include all sorts of monsters: animat-
Villainous Sorcerers by definition dabble with forces man ed statues and suits of armor, demons of all shapes and
was not meant to know. Sorcerers seek power, usually in sizes, dragons, goblins, ghosts, and undead such as skel-
the form of lost and forbidden occult knowledge. So the etons and zombies. See the Minion Archetypes section
villain is often after a particular tome, scroll, or magical for inspiration.
item, or the equivalent of the Item of Power wielded by
the Jumped-Up Nobody archetype. If such a talisman can You can either assign the villain appropriate ranks in the
turn a virtual no one into a world-class supervillain, just Minions advantage for the associated minions—cultists
imagine what it could do in the hands of a masterful evil or demons in particular—or a Summon spell with the
Sorcerer! suitable qualities for the villain’s Magic array.

SORCERER PL14
-1 0 0 2 2 3 8 2
POWERS OFFENSE
Magic: Array (36 points) INITIATIVE +0
• Mystic Blast: Ranged Damage 18 • 36 points Mystic Blast +10 Ranged, Damage 18
• Mystic Bonds: Ranged Cumulative Affliction 12 (Resisted by
Mystic Bonds +10 Ranged, Affliction 12
Dodge; Hindered and Vulnerable, Defenseless and Immobile;
Extra Condition, Limited Degree) • 1 point Unarmed +2 Close, Damage –1
• Mystic Passage: Teleport 18 • 1 point
• Scrying: Remote Sensing 9 (visual, auditory, mental) • 1 point DEFENSE
Mystic Levitation: Flight 4 • 8 points DODGE 10 FORTITUDE 11
Mystic Senses: Senses 2 (Danger Sense, Magical Awareness) PARRY 8 TOUGHNESS 18/0*
• 2 points
WILL 16 *Without Mystic Shield
Mystic Shield: Protection 18, Impervious 12, Affects
Insubstantial, Sustained • 31 points POWER POINTS
SKILLS
Deception 4 (+6), Expertise: Magic 16 (+19), Intimidation 9
(+11), Persuasion 4 (+6), Ranged Combat: Magic 3 (+5), Sleight ADVANTAGES 8 TOTAL 175
of Hand 4 (+6)
COMPLICATIONS
ADVANTAGES Arrogant: Superior and overconfident.
Artificer, Ranged Attack 5, Ritualist, Trance Power Loss: Requires magical rituals or talismans.
RITUALS VANISHING ACT

Rituals are a Sorcerer’s doomsday machines and infernal
More than any other villain, Sorcerers are prone to simply
devices; defeating an evil Sorcerer is often a matter of pre-
disappearing into thin air when their business is conclud-
venting the villain from acquiring the necessary elements
ed or they need a quick escape. The Mystic Passage spell
for a ritual, or stopping a ritual before it is complete and
of the archetype’s Magic array is sufficient to permit the
unleashes whatever corrupt magical powers the villain
Sorcerer to go virtually anywhere in the blink of an eye,
wishes to call upon.
although limited to places the villain knows fairly well.
Rituals are usually elaborate, having to be performed at a
This power allows the villain to escape earlier confronta-
particular place and time, and needing exotic ingredients
tions with the heroes leading up to the final encounter,
ranging from a rare flower from the highlands of Tibet to
when the Sorcerer is usually too busy to pull another van-
the heart of a pure maiden (symbolically or literally). Cir-
ishing act, or unwilling to abandon the culmination of a
cumstances often mean the Sorcerer has only one shot at
scheme to the heroes.
performing the ritual: the necessary astrological or cosmic
conjunction might occur only once every 3,000 years, for
example, or the primary ingredient is so rare that the rite TACTICS
will use up all of it known to exist. This means if the he-
roes are successful, the villain is not likely to try the same Sorcerers almost universally prefer to fight at a distance,
scheme again. Unfortunately, there’s always another for- overseeing a battle and using their spells to hinder or dis-
bidden ritual hidden in an arcane book or ancient scroll able foes. As mentioned under Mystic Minions, they most
somewhere. commonly summon up various creatures to engage their
enemies, allowing them to work their magic unhindered.
Exactly what the ritual is intended to do is up to the GM
Sorcerers tend to favor broad area effects, particularly
and depends on the Sorcerer’s ultimate goals. Typically,
trapping foes in webs of arcane force, hands of earth and
a ritual grants the villain almost limitless power, or sum-
stone, or the cold grip of undead shades, allowing the vil-
mons a being capable of doing so. For more nihilistic
lain time to gloat and arrange a proper demise for the in-
Sorcerers, the ritual may be intended as a means of de-
terfering heroes.
stroying the world, perhaps by unleashing eldritch mon-
sters from beyond the veil of our reality, such as demons Sorcerers often become invisible or teleport, vanishing
or elder gods. See the Elder Evil archetype for some pos- and reappearing elsewhere on the battlefield, or attempt-
sibilities. ing escape if the heroes gain the upper hand.

CAPERS allies rescue the hostages. The villain does not give up eas-
ily, of course, trying to seize the desired items and com-
plete the ritual or, at least, gain revenge on the heroes and
Adventures involving the Sorcerer may include:
their friends.
THE LOST TREASURES OF POWER DEVILISH DOUBLE-DEALING
The Sorcerer kidnaps several friends or loved ones of the
The Sorcerer shows up unexpectedly and challenges the
heroes, holding them hostage in another dimension or
heroes to a fight to the finish. The already-powerful villain
other inaccessible realm; the villain demands the heroes
displays massive and previously unknown levels of power,
do exactly as they are told, or the prisoners will be tor-
able to overcome the heroes with ease; either increase
mented in a hellish netherworld for eternity. The Sorcerer
the archetype’s power level to 20 (improving all PL-limited
wants them to find and recover certain mystical artifacts,
traits accordingly) or simply make the villain a PL X plot
which are the key components of a grand ritual that will
device, able to withstand anything the heroes can dish
bring the villain unlimited power and mastery over reality.
out and capable of defeating the heroes, one per round.
In a series of encounters, the heroes—transported by the
The villain’s victory is short-lived, however. It turns out the
villain’s magic—face a variety of mystic guardians and
desperate Sorcerer literally sold his soul to gain revenge
traps protecting the talismans. They can visit exotic lo-
on the heroes—not once, but twice! The villain cut deals
cales, or even other dimensions or times, from European
with two different demon-lords, gaining virtually untold
castles to remote Asian monasteries or South American
power from each, but at the cost of surrendering his soul
ruins. The collection of items can be a series of short en-
to them once the day was done. Now both infernal pow-
counters or even whole adventures of their own, with he-
ers are coming to collect their due, and neither will be
roes getting involved in local affairs or running into com-
satisfied with anything less than payment in full. The de-
petition for the talismans.
mon-lords will use the slight offered by the other’s pact to
Eventually, their task complete, the heroes are summoned engage in a struggle that will devastate the earthly plane,
into the Sorcerer’s presence, giving them the opportunity unless the heroes can exercise something akin to the wis-
to pull a double-cross (perhaps substituting fakes for the dom of Solomon to prevent it!
real talismans) or arrange a distraction while they or their
VAMPIRE
The Vampire is a common villain in folk legend. Comic the result of a biological accident or experiment, perhaps
book Vampires tend to focus less on the horror aspects concerning tissue regeneration or blood-borne diseases.
of the legend and treat them more as an exotic type of The villain often has the various qualities of a Vampire,
super-human. The archetype is a powerful example of the particularly great strength, regenerative abilities, and a
type, and may even be based on an existing Vampire from need for human blood, but may lack some of the more
legend, such as Count Dracula, Elizabeth Báthory (the supernatural powers such as Insubstantial or Summon,
“Blood Countess” of Hungary), or the Nosferatu from the along with some of the weaknesses such as holy symbols
film of the same name. Vampires have an array of mystic and perhaps even sunlight, although bright light usually
powers and minions at their command, but also a number still pains Living Vampires (perhaps due to a skin condi-
of distinct vulnerabilities. tion or more light-sensitive eyes).
Living Vampires may revel in their new condition or, more

THEMES commonly, seek a cure for it. Usually this involves nighttime
thefts from hospitals and biomedical companies, perhaps
More powerful Vampires have greater and more varied even kidnapping doctors and world-famous authorities
powers. They may have higher Strength and a Mind Con- on mutation and blood diseases. In this regard, the Living
trol Affliction (dependent on sight) rather than Fascinate, Vampire is quite similar to the Hybrid archetype.
plus Magic or Weather Control. Some Vampires have the
Ritualist advantage, allowing them to perform magical QUEEN OF THE DAMNED
rituals (a good intermediate step before full-blown Mag-
ic powers). Vampires fitting some of the Hollywood and Although a great many Vampire villains are male, female
comic book interpretations of the legend may have the Vampires are common, often with a femme fatale element,
ability to transform into a bat, wolf, or other shapes (typi- as they seduce their prey and lure them to their doom.
cally Morph with the Metamorph modifier).
A female Vampire may fixate on a hero as a potential
“consort,” seeking to transform him into a Vampire as well.
LIVING VAMPIRE Some might even collect a number of “suitors,” creating a
kind of male harem of mind-controlled or influenced ser-
Rather than a supernatural undead creature, the Vampire
vitor Vampires or thralls.
is biological in nature: a mutant freak, alien humanoid, or

NAME IDEAS THRALLS

Vampires often have various sorts of minions at their
The Baron, The Blood Count (or Countess), DeGhul, Diable,
disposal. In particular, their Summon allows them to
Nosferatu, Sangré, Schreck
control swarms of bats and rats, or packs of wolves to do
their bidding.
CLASSIC BITS A Vampire’s other thralls include victims under its mental
The following are some classic bits associated with the influence, lesser Vampires of its creation, and possible
Vampire archetype: other monsters, such as an assistant or some creation of
the Vampire’s science or magic.
HAUNTED MANOR If the Vampire’s bite is addictive or in some way grants
supernatural influence over the victim, assign the
The archetypal lair for the Vampire is a spooky old castle or archetype a suitable Affliction, Limited to victims of the
manor house. Since Vampires have limited mobility dur- Vampire’s Drain attack. For an added complication for the
ing the daylight hours, they tend to remain fairly close to heroes, thralls can be supporting characters connected
their lair, so they can return to it before the sun rises. The with them, perhaps even other heroes who have fallen
first sign an investigator gets of a Vampire moving into an under the Vampire’s sway.
area may be the acquisition of a suitable lair there, a task
usually entrusted to one of the Vampire’s thralls. Lesser Vampire thralls have traits similar to the arche-
type, although abilities, skills, and combat bonuses likely
differ somewhat. Newly made Vampires may
be under the control of their “sire,” or could
have a measure of free will, serving the
master Vampire for other reasons. A
Vampire able to create others of its
kind quickly can potentially assem-
ble a small army of undead, given
the opportunity.
Lastly, the Vampire might have min-

ions that are other monsters, such
as demons, gargoyles, golems
(perhaps even a combination
of reanimated corpses as
a single flesh golem), skel-
etons, werewolves, or zom-
bies. A powerful Vampire
could even be the leader of a legion
of such nightmare creatures.
TRANSFORMATION
Although in many legends only those
slain by a vampire will become one,
in the comics, vampires often pos-
sess the ability to slowly trans-
form victims into Vampires over
time. They accomplish this ei-
ther through the power of their
bite, or by feeding the victim
small amounts of the Vampire’s own blood, filled with cor-
rupt, transformative power.
You can treat the transformation like a slow, progres-

sive Affliction, with the victim making Fortitude or Will
checks against it to fight it progression. After a number
of failed checks, the victim irrevocably becomes one of
the undead. Often, the proto-vampire falls into a death-
like coma (incapacitated) as the final transformation
takes place, although there may still be time for heroes
to reverse the process with the right arcane ritual or other
technique. Slaying the “master” Vampire often serves to
free any victims.

VAMPIRE PL9
6 --- 1 2 6 1 3 3
POWERS OFFENSE
Children of the Night: Summon Animals 2 (Bats, Rats, INITIATIVE +5
or Wolves; Horde, Mental Link, Multiple Minions 6 (64 Unarmed +9 Close, Damage 6
minions)) • 31 points
Form of Mist: Insubstantial 2 • 10 points DEFENSE
Spider-Climb: Movement 1 (Wall-crawling) • 2 points
DODGE 9 FORTITUDE Immune
Undead Invulnerability: Immortality 10 (Not When Staked
or Beheaded), Immunity 30 (Fortitude Effects), Impervious
Protection 7 (Limited: Not Versus Blessed, Magical, or Silver WILL 9
Weapons), Regeneration 10 (Source: Blood) • 52 points
Vampiric Bite: Weaken Stamina 9 (Resisted by Fortitude), POWER POINTS
Limited to Draining 1 rank per round, Grab-based • 3 points ABILITIES 34 SKILLS 31
SKILLS
Close Combat: Unarmed 3 (+9), Deception 7 (+10), Expertise:
Magic 4 (+5), Insight 6 (+9), Intimidation 9 (+12), Perception 8
(+11), Persuasion 10 (+13), Ranged Combat: Throwing 6 (+8),
COMPLICATIONS
Stealth 9 (+10) Dependence: The Vampire must feed on blood or weaken.
Weaknesses: Traditional vampires are destroyed by exposure
ADVANTAGES to sunlight and repelled by religious icons and certain plants
Animal Empathy, Fascinate (Deception), Fearless, Improved (particularly garlic).
Hold, Improved Initiative, Power Attack, Startle
You can usually treat this slow transformation as a plot CAPERS

device and an aspect of the Vampire’s Weaken attack; set a
resistance difficulty appropriate for the series’ power level. Adventures involving the Vampire may include:
If you want to build it as a full-fledged power, treat it like an
Affliction. The victim makes one resistance check per day, BRIDE OF THE VAMPIRE!
and three successive failed checks result in transformation
into a vampire over the course of the final 24 hours. After uncounted years of unlife, the Vampire has chosen a
woman worthy to be his bride and consort for all eternity:
TACTICS a heroine of great power and beauty. He begins to visit
her in the night, slowly drinking her blood and beginning
The Vampire as presented is a somewhat low-powered foe her transformation into a vampire like him. Friends and
for a group of superheroes, unless the characters are PL 8 teammates notice changes in behavior and a general
or less. The villain tends to stay in the shadows, striking malaise and do their best to help, but the heroine is in the
from surprise and using gaseous form to slip in and out Vampire’s thrall and resists their efforts. Eventually, she
of places and as a means of escape. The Vampire usually goes to join her new lord and master so he may complete
prefers getting a single victim alone, using Fascinate in her transformation. If the heroes do not prevent it, the
preparation for a bite attack (with a fair grab bonus for Vampire will have a new super-powered thrall with all the
holding an ordinary human victim immobile). abilities of a vampire as well!
A Vampire expecting to confront a group of heroes relies This scenario works best with a non-player character as
on assistance from thralls, perhaps even co-opting the le- the Vampire’s victim, unless a player is particularly willing
gal authorities to provide protection. The Vampire likely to play the role. With the player’s permission, it is a suitable
flees if confronted or thwarted in claiming a victim. If un- part for a character whose player is absent or otherwise
able to escape, the creature fights fiercely, summoning unable to participate, keeping the character involved
whatever potential minions might be at hand. in the game. Naturally, it also works as a “Groom of the
Vampire” story as well, with a seductive female vampire
If you are looking for a more formidable Vampire to confront after a hero for her new consort.
the heroes as a team, increase the archetype’s power level
and associated traits (particularly combat bonuses and DAWN OF THE DAYWALKER
defenses). Alternately, you can confront the good guys
with an entire team or “family” of vampires at roughly their The Vampire has located a legendary lost artifact reputed
power level. to grant the undead immunity to their traditional weak-

nesses, such as holy water, garlic, wooden stakes, and— tombs, and ruins to piece together the clues to its
most of all—sunlight. A Vampire with this talisman would location. Perhaps more than one villain is interested in
be virtually indestructible, able to move about during the it, pitting the heroes against multiple foes and the bad
day and immune to the concerns of others of its kind. The guys against each other. Eventually, it comes down to
heroes learn of the Vampire’s quest for the artifact when a confrontation at the artifact’s resting place, where
an archeologist or renowned collector of ancient manu- the heroes have to keep it out of the wrong hands and
scripts turns up missing or dead, and drained of blood.
ensure it remains safe. Maybe the Vampire gets it, and
Then the race is on to keep the Vampire from acquiring the good guys have to find a way of neutralizing a foe
the item, as both parties visit libraries, museums, who lacks any apparent weaknesses!
MINION ARCHETYPES
Although the villain archetypes in this book provide a full ed for in their point totals, since they also lack the ability to
roster of threats for a team of heroes, many villains prefer move and operate on land for any length of time.
not to sully their hands with the dirty work of dealing with
heroic pests. They leave that to their various minions, who The archetypes here can serve as a baseline for creating
also run interference, fetch needed components, or kid- more exotic creatures. You can create similar animals from
nap “guests” the villain wishes to “entertain.” Heroes often a basic archetype, such as basing a rhino off the elephant’s
spend more time in an adventure interacting with min- traits, or an antelope off the herd animal or horse. You can
ions than they do with their boss, since the minions tend create giant animals by adding ranks of Growth (and its
to compose the majority of the challenges leading up to associated modifiers) to an archetype or robotic or un-
the final confrontation with the villain. dead animals by adding Immunity 30 (Fortitude Effects)
and removing the animal’s Stamina rank.
This section offers a variety of ready-made minion
archetypes suitable for use with different villains, power Please note that all modifiers for Growth and Shrinking
levels, and adventures. You can use them as given in have already been taken into account in the creatures
your own M&M games, or as examples for creating presented here.
or customizing suitable minions for your villains and
evil organizations. Keep in mind these characters are APE PL4 • MR3
intended to be treated according to the rules for minions, STR 6 STA 4 AGL 3 DEX 1 FGT 3 INT –4 AWE 1 PRE –1
so their effective power level is somewhat less than their Powers: Growth 4 (Permanent, Innate), Protection 2, Senses
game traits indicate. Of course, you can choose to treat 1 (Accute Smell). Skills: Athletics 6 (+12), Perception 6 (+7).
a particularly exceptional minion or lieutenant as a full- Offense: Init +3, Unarmed +3 (Close, Damage 6). Defenses:
fledged character, not subject to the minion rules. Dodge 3, Parry 3, Fortitude 6, Toughness 6, Will 2. Totals:
Abilities 10 + Powers 12 + Advantages 0 + Skills 6 + Defenses
After its power level, each minion archetype has “MR” 7 = Total 35 points.
which stands for “Minion Rank.” This is the rank of the Min-
ion advantage or Summon effect needed to have a single
example of that archetype as a minion. Creatures with BAT PL3 • MR1
a power point total less than 15 (including 0 points) are STR –5 STA 0 AGL 2 DEX –3 FGT 0 INT –5 AWE 2 PRE –3
listed as MR1. Powers: Flight 3 (16 MPH; Wings), Senses 2 (Accurate Hearing),
Shrinking 12 (Permanent, Innate). Skills: Perception 4 (+6),
ANIMALS
Stealth 2 (+16). Offense: Init +2, Bite +0 (Close, Damage –5).
Defenses: Dodge 8, Parry 6, Fortitude 0, Toughness –2, Will 2.
Totals: Abilities –18 + Powers 30 + Advantages 0 + Skills 3 +
With various villains possessing powers like animal con- Defenses 0 = Total 15 points.
trol, shapeshifting, and mimicking the traits of different
animals, as well as a tendency to acquire pets, heroes may
encounter many different types of animals. BEAR PL6 • MR3
STR 8 STA 4 AGL 1 DEX 0 FGT 3 INT –4 AWE 1 PRE –2
All animals have certain game traits in common: they have
Powers: Growth 4 (Permanent, Innate), Protection 2, Senses
an Intellect rank of –5 or –4 (any creature with a higher In- 2 (Low-light Vision, Acute Smell). Skills: Athletics 4 (+12),
tellect isn’t a normal animal). Most animals have a low Dex- Perception 4 (+5). Offense: Init +1, Claw +3 (Close, Damage
terity rank, since they have no manipulative limbs. Animals 8). Defenses: Dodge 4, Parry 5, Fortitude 6, Toughness 6, Will
tend to have a higher than average Awareness, particularly 3. Totals: Abilities 6 + Powers 13 + Advantages 0 + Skills 4 +
those in the wild that need to remain alert to either poten- Defenses 13 = Total 36 points.
tial threats or prey. Senses effects, particularly Low-light
Vision and Acute Smell, are common for many animals. Bears stand nearly 12 feet tall on their hind legs and weigh
Aquatic animals are adapted for life underwater: they ef- in at 1,200 pounds. This archetype suffices for most spe-
fectively have Immunity to Drowning and the Movement cies of bear. Polar bears have +1 Str and Environmental
(Environmental Adaptation) effects. These are not account- Adaptation (Cold).

CAT PL3 • MR1 HAWK PL4 • MR3

STR –4 STA –2 AGL 3 DEX –2 FGT 2 INT –4 AWE 1 PRE –2 STR –2 STA 0 AGL 3 DEX 0 FGT 3 INT –4 AWE 2 PRE 0
Powers: Shrinking 8 (Permanent, Innate), Senses 1 (Low-light Powers: Flight 4 (30 MPH; Wings), Senses 2 (Extended Vision,
Vision). Advantages: Benefit 1 (Athletics based on Agility). Low-light Vision), Shrinking 8 (Permanent, Innate). Skills:
Skills: Acrobatics 3 (+6), Athletics 3 (+6), Perception 4 (+5), Close Combat: Unarmed 4 (+7), Perception 6 (+8). Offense:
Stealth 2 (+13). Offense: Init +3, Claw +2 (Close, Damage –4). Init +3, Unarmed +7 (Close, Damage 2). Defenses: Dodge 7,
Defenses: Dodge 7, Parry 6, Fortitude 0, Toughness –2, Will 1. Parry 7, Fortitude 2, Toughness 0, Will 2. Totals: Abilities 8 +
Totals: Abilities –12 + Powers 18 + Advantages 1 + Skills 6 + Powers 23 + Advantages 0 + Skills 5 + Defenses 2 = Total 38
Defenses 2 = Total 15 points. points.
The statistics here may represent other birds of prey.

CROCODILE PL7 • MR3
STR 8 STA 8 AGL 1 DEX –2 FGT 4 INT –5 AWE 1 PRE –4 HERD ANIMAL PL3 • MR1
Powers: Growth 8 (Permanent, Innate), Senses 1 (Low-light
Vision), Swimming 4. Advantages: Environmental Adaptation STR 4 STA 4 AGL 0 DEX –4 FGT 0 INT –4 AWE 0 PRE –3
(Aquatic). Skills: Perception 4 (+5), Stealth 12 (+5). Offense: Powers: Growth 4 (Permanent, Innate), Speed 3 (16 MPH).
Init +1, Bite +4 (Close, Damage 8). Defenses: Dodge 4, Parry 6, Skills: Perception 4 (+4). Offense: Init +0, Attack +0 (Close,
Fortitude 8, Toughness 8, Will 3. Totals: Abilities –10 + Powers Damage 4). Defenses: Dodge 2, Parry 2, Fortitude 4, Toughness
22 + Advantages 1 + Skills 8 + Defenses 15 = Total 36 points. 4, Will 0. Totals: Abilities –22 + Powers 12 + Advantages 0 +
Skills 2 + Defenses 8 = Total 0 points.
The crocodile described here is up to 20 feet long, with
powerful, toothed jaws. The archetype also serves for This archetype includes cows, bison, and buffalo, typically
large alligators, including ones sometimes encountered 5 to 6 feet tall at the shoulder, weighing 1,500 to 2,400
in city sewers in the comic books. pounds.
DOG PL2 • MR1 HORSE PL3 • MR1

STR 1 STA 1 AGL 1 DEX –2 FGT 2 INT –4 AWE 1 PRE –2 STR 4 STA 4 AGL 1 DEX –4 FGT 2 INT –4 AWE 1 PRE –3
Powers: Senses 3 (Acute Smell, Tracking, Ultra-hearing), Powers: Growth 4 (Permanent, Innate), Senses 2 (Extended
Shrinking 2 (Permanent, Innate). Skills: Athletics 2 (+3), Vision, Low-light Vision), Speed 4 (30 MPH). Skills: Perception 4
Perception 4 (+5). Offense: Init +1, Bite +2 (Close, Damage (+5). Offense: Init +1, Attack +2 (Close, Damage 4). Defenses:
1). Defenses: Dodge 3, Parry 3, Fortitude 3, Toughness 1, Will Dodge 2, Parry 2, Fortitude 5, Toughness 4, Will 1. Totals:
1. Totals: Abilities –4 + Powers 8 + Advantages 0 + Skills 3 + Abilities –14 + Powers 15 + Advantages 0 + Skills 2 + Defenses
Defenses 3 = Total 10 points. 6 = Total 9 points.
A popular sidekick among Golden-Age heroes, the trusty This archetype represents most horses. Heavier work-
dog is loyal and easily trained. These same traits make horses have +1 Str. Trained war-horses have higher Fgt or
them common adversaries, as criminals and legitimate se- Close Combat skill. Exotic winged horses (like the mythical
curity forces employ them as guardians. Smaller lap dogs Pegasus) have Flight with the Wings modifier. Characters
are better represented with the cat, above. use Athletics to ride horses, unless the GM wishes to re-
quire an Expertise: Riding skill.
DOLPHIN PL4 • MR3
HYENA PL4 • MR2
Powers: Senses 4 (Accurate Hearing, Low-light Vision, Ultra- STR 3, STA 4, AGL 1, DEX –3, FGT 4, INT –4, AWE 1, PRE 0
hearing), Swimming 4 (8 MPH). Skills: Athletics 8 (+9), Close Powers: Damage 1 (Bite; Strength-Based), Senses 4 (Acute
Combat: Unarmed 2 (+4), Perception 8 (+9). Offense: Init +3, Smell, Low-light Vision, Tracking, Ultra-hearing). Skills:
Unarmed +4 (Close, Damage 1). Defenses: Dodge 4, Parry 4, Perception 4 (+5). Offense: Init +1, Bite +4 (Close, Damage 4).
Fortitude 5, Toughness 1, Will 3. Totals: Abilities 10 + Powers 8 Defense: Dodge 4, Parry 4, Fort 6, Tou 4, Will 2. Totals: Abilities
+ Advantages 0 + Skills 9 + Defenses 9 = Total 36 points. 12 + Powers 5 + Advantages 0 + Skills 2 (4 ranks) + Defenses 6
= 25 points.
ELEPHANT PL8 • MR2
STR 10 STA 9 AGL 0 DEX –1 FGT 2 INT –4 AWE 1 PRE –2 LION PL6 • MR4
Powers: Extra Limbs 1 (Trunk), Growth 9 (Permanent, STR 5 STA 2 AGL 3 DEX 1 FGT 4 INT –4 AWE 1 PRE 0
Innate). Skills: Perception 6 (+7). Offense: Init +0, Attack +2 Powers: Growth 2 (Permanent, Innate), Protection 4, Senses
(Close, Damage 10). Defenses: Dodge 0, Parry 0, Fortitude 2 (Acute Smell, Low-light Vision). Skills: Close Combat:
9, Toughness 9, Will 6. Totals: Abilities –6 + Powers 20 + Unarmed 3 (+7), Perception 5 (+6), Stealth 8 (+9). Offense:
Advantages 0 + Skills 3 + Defenses 11 = Total 28 points. Init +3, Unarmed +7 (Close, Damage 5). Defenses: Dodge 6,
Parry 6, Fortitude 6, Toughness 6, Will 3. Totals: Abilities 16
This archetype represents the African elephant. Indian el- + Powers 11 + Advantages 0 + Skills 8 + Defenses 13 = Total
ephants are –1 Str, but +1 Awe. This archetype also suits 48 points.
prehistoric mammoths and mastodons, which have Envi-
ronmental Adaptation (Cold). The lion may also be used to represent other large felines.

SHARK PL4 • MR3

Powers: Strength-based Damage 1, Protection 3, Senses
2 (Acute Smell, Low-light Vision), Swimming 4 (8 MPH).
Advantages: All-out Attack, Power Attack. Skills: Athletics
4 (+6), Close Combat: Bite 1 (+5), Perception 5 (+6). Offense:
Init +2, Bite +5 (Close, Damage 3), Slam +4 (Close, Damage
2). Defenses: Dodge 4, Parry 4, Fortitude 5, Toughness 4, Will
3. Totals: Abilities 6 + Powers 10 + Advantages 2 + Skills 5 +
Defenses 8 = Total 31 points.
Many aquatic supervillains rely on shark minions for pro-

tection and offense, while tyrants and mad scientists may
employ shark pools as traps to protect their layers. Mad
scientists in particular may “modify” their sharks to add cy-
bernetic weapons or the ability to run across dry land. For
a giant shark, add Growth to the desired level and alter the
shark’s abilities appropriately.
SNAKE, CONSTRICTOR PL4 • MR2

Powers: Movement 1 (Slithering), Protection 2, Senses 2
(Infravision, Acute Smell). Advantages: Improved Grab. Skills:
Athletics 6 (+9), Perception 8 (+9), Stealth 8 (+10). Offense: Init
+2, Attack +3 (Close, Damage 3). Defenses: Dodge 5, Parry 5,
Fortitude 4, Toughness 3, Will 3. Totals: Abilities 2 + Powers 6 +
Advantages 1 + Skills 11 + Defenses 10 = Total 30 points.
This archetype represents constrictor snakes large enough

MONKEY PL3 • MR2 to threaten a human, like boa constrictors and anacondas.
STR –1 STA –2 AGL 4 DEX 0 FGT 0 INT –4 AWE 1 PRE –3
Powers: Extra Limb 1 (Tail), Feature 1 (Use feet as hands), SNAKE, VIPER PL4 • MR3
Shrinking 6 (Permanent, Innate). Advantages: Benefit
1 (Athletics based on Agility). Skills: Acrobatics 7 (+11), STR –3 STA 0 AGL 3 DEX 0 FGT 3 INT –5 AWE 1 PRE –4
Athletics 4 (+8), Perception 4 (+5), Stealth 3 (+13). Offense: Powers: Movement 1 (Slithering), Senses 2 (Infravision,
Init +4, Attack +0 (Close, Damage –1). Defenses: Dodge 7, Acute Smell), Shrinking 8 (Permanent, Innate), Weaken
Parry 5, Fortitude 2, Toughness –2, Will 2. Totals: Abilities –8 Stamina 4 (Progressive, Linked to Strength Damage, venom).
+ Powers 15 + Advantages 1 + Skills 9 + Defenses 7 = Total Advantages: Benefit 1 (Athletics based on Agility). Skills:
24 points. Athletics 4 (+7), Perception 7 (+8), Stealth 3 (+14). Offense:
Init +3, Attack +3 (Close, Damage –3 plus Weaken). Defenses:
Dodge 7, Parry 7, Fortitude 2, Toughness –2, Will 3. Totals:
This archetype represents small, tailed monkeys like the Abilities –10 + Powers 33 + Advantages 1 + Skills 7 + Defenses
capuchin and spider monkey. Larger simians have fewer 6 = Total 37 points.
ranks in Shrinking and correspondingly greater Str.
This archetype represents a wide variety of small, poison-
OWL PL2 • MR2 ous snakes: asps, cobras, rattlesnakes, vipers, and so forth.
Feel free to vary the venom effect to suit the particular
STR –2 STA –2 AGL 2 DEX –2 FGT 1 INT –4 AWE 2 PRE –3 breed, including using or adding an appropriate Affliction.
Powers: Flight 3 (16 MPH; Wings, Subtle), Senses 2 (Low-light
Vision, Ultravision), Shrinking 8 (Permanent, Innate). Skills:
Perception 6 (+8), Stealth 2 (+12). Offense: Init +2, Attack +1 SQUID, GIANT PL8 • MR4
(Close, Damage –2). Defenses: Dodge 6, Parry 5, Fortitude
2, Toughness –2, Will 2. Totals: Abilities –12 + Powers 23 +
Powers: Concealment Attack 4 (Visual, Cloud Area, Limited to
Underwater), Extra Limbs 4 (Tentacles), Growth 12 (Permanent,
Innate), Swimming 6 (30 MPH). Advantages: Improved
RAT PL3 • MR1 Grab. Skills: Perception 6 (+7). Offense: Init +2, Attack +4
(Close, Damage 12). Defenses: Dodge 0, Parry 2, Fortitude
STR –4 STA 0 AGL 2 DEX –1 FGT 1 INT –4 AWE 1 PRE –4 12, Toughness 12, Will 4. Totals: Abilities –2 + Powers 43 +
Powers: Senses 2 (Low-light Vision, Acute Smell), Shrinking 10 Advantages 0 + Skills 3 + Defenses 11 = Total 55 points.
(Permanent, Innate). Advantages: Benefit 1 (Athletics based
on Agility). Skills: Athletics 3 (+5), Stealth 1 (+13). Offense: Init Giant squids are popular minions for seafaring heroes and
+2, Attack +1 (Close, Damage –4). Defenses: Dodge 7, Parry 6, villains, usable for attacking ships and water-borne foes.
Fortitude 2, Toughness –2, Will 1. Totals: Abilities –18 + Powers This archetype can also represent a giant octopus or simi-
23 + Advantages 1 + Skills 2 + Defenses 4 = Total 12 points. lar creature.

SWARM, DEVOURING PL5 • MR2 CIVILIANS

STR 2, STA 5, AGL 5, DEX –1, FGT 2, INT –4, AWE 0, PRE –5 Numerous innocent people are under the heroes’ protection,
Powers: Damage 5 (Shapeable Area), Insubstantial 1 (Innate; but their game traits don’t often matter in the context of the
Permanent), Movement 1 (Wall-crawling). Offense: Init game. The following are some examples of “civilians” the he-
+5, Shapeable Area Damage 5. Defense: Dodge 5, Parry 2, roes may interact with on a regular basis, and can be used as
Fortitude 5, Toughness 5, Will 0. Totals: Abilities 8 + Powers 18 templates for similar types of characters in other situations.
+ Advantages 0 + Skills 0 (0 ranks) + Defenses 0 = 26 points.
*No effective Strength due to Insubstantial effect
BYSTANDER PL0 • MR1
STR 0 STA 0 AGL 0 DEX 0 FGT 0 INT 0 AWE 0 PRE 0
SWARM, IRRITATING PL3 • MR1 Equipment: Cell phone. Advantages: Equipment 1. Skills:
Expertise: Choose One 4 (+4), Expertise: Current Events 2 (+2),
STR —* STA 0 AGL 3 DEX –2 FGT 0 INT — AWE 0 PRE —
Expertise: Pop Culture 2 (+2). Offense: Init +0, Unarmed +0
Powers: Burst Area Affliction 3 (Resisted by Fortitude; Dazed,
(Close, Damage 0). Defense: Dodge 0, Parry 0, Fort 0, Tou 0,
Stunned, Incapacitated), Insubstantial 2 (swarm, Permanent,
Will 0. Totals: Abilities 0 + Powers 0 + Advantages 1 + Skills 4 +
Innate), Flight 2 (8 MPH). Offense: Init +3, Burst Area Affliction
(Fortitude DC 13). Defenses: Dodge 3, Parry 0, Fortitude
0, Toughness 0, Will —. Totals: Abilities –18 + Powers 21 +
Advantages 0 + Skills 0 + Defenses 0 = Total 3 points. The bystander represents the people that populate the
*No effective Strength due to Insubstantial effect world, the sort a supervillain or other criminal might take
hostage or otherwise endanger. Customize the bystander by
Rather than a single creature, a Swarm represents choosing an expertise such as a profession or trade skill.
hundreds or thousands of tiny insects or animals acting
as a single entity. The swarm is immune to direct physical REPORTER PL1 • MR2
attack, although area effects and energy attacks still
work against it. It attacks by engulfing targets and using Equipment: Camera, computer, digital recorder, smartphone.
its Affliction, which represents numerous stings or bites. Advantages: Contacts, Equipment 1. Skills: Deception 4 (+5),
Targets Immune to Fortitude effects or with any rank of Expertise: Current Events 4 (+6), Expertise: Pop Culture 2 (+4),
Impervious Toughness can ignore the swarm’s attack. An Expertise: Streetwise 2 (+4), Expertise: Writing 4 (+6), Investigation
insect swarm that is incapacitated is dispersed. 2 (+4), Perception 4 (+6), Persuasion 4 (+5), Stealth 4 (+4), Vehicles
2 (+2). Offense: Init +0, Unarmed +0 (Close, Damage 0). Defense:
A Devouring Swarm causes physical damage to targets, Dodge 0, Parry 0, Fort 0, Tou 0, Will 2. Totals: Abilities 10 + Powers
biting or clawing anything they overrun. Irritating Swarms 0 + Advantages 2 + Skills 16 + Defenses 0 = Total 28 points.
sting or poison, or overwhelm victims with fear.
In a world filled with superheroes and supervillains, there
For non-flying creatures, remove the swarm’s Flight.
are always reporters around to get the latest story—or
For unusual swarms like undead or robots, remove the
just get in the way. The reporter archetype can also be
swarm’s Stamina and give it Immunity to Fortitude Effects.
used for any other type of professional by swapping out
the Expertise specialties for others.
WHALE PL8 • MR4
STR 12 STA 0 AGL 2 DEX –3 FGT 2 INT –3 AWE 2 PRE –3 SCIENTIST PL1 • MR2
Powers: Growth 12 (Permanent, Innate), Protection 1, Senses 4
(Accurate Hearing, Low-light Vision, Ultra-hearing), Swimming STR 0 STA 0 AGL 0 DEX 1 FGT 0 INT 4 AWE 1 PRE 0
5 (16 MPH). Skills: Athletics 2 (+14), Close Combat: Unarmed Equipment: Camera, smartphone. Advantages: Equipment 1.
2 (+4), Perception 10 (+11). Offense: Init +0, Unarmed +4 Skills: Expertise: Current Events 2 (+6), Expertise: Pop Culture 2
(Close, Damage 12). Defenses: Dodge -4, Parry -2, Fortitude (+6), Expertise: Science 6 (+10), Technology 6 (+10), Vehicles 2
12, Toughness 13, Will 4. Totals: Abilities –6 + Powers 35 + (+3). Offense: Init +0, Unarmed +0 (Damage 0). Defense: Dodge
Advantages 0 + Skills 7 + Defenses 7 = Total 43 points. 0, Parry 0, Fort 0, Tou 0, Will 2. Totals: Abilities 12 + Powers 0 +
A roughly 50--foot long humpback or sperm whale. For

Scientists are specialists in their chosen field. This arche-
larger whales such as the blue whale, or smaller whales,
adjust the ranks of Growth. type can be used as anything from an archaeologist to
zoologist, or for anything with a lot of knowledge about a
particular subject, such as a professor.
WOLF PL3 • MR2
Powers: Senses 3 (Acute Smell, Low-light Vision, Tracking).
Advantages: Improved Trip. Skills: Perception 4 (+6), Stealth
CULTISTS
4 (+6). Offense: Init +2, Unarmed +3 (Close, Damage 2). Cults have a strong recurring role as threats in the com-
Defenses: Dodge 4, Parry 4, Fortitude 4, Toughness 2, Will 2. ics, often in service to a powerful master villain or an even
Totals: Abilities 10 + Powers 3 + Advantages 1 + Skills 4 + greater plot-device-level threat. Some cults may be try-
Defenses 5 = Total 23 points. ing to infiltrate normal institutions to exert secret control
over society, while others may be trying to summon alien
The wolf may also be used to represent other large canines. masters from another dimesnion—or even trying to bring

CULT ADEPT PL3 • MR3

Equipment: Dagger (Damage 1), Pistol (Damage 3).
Advantages: Connected, Equipment 2. Skills: Close Combat:
Dagger 2 (+3), Deception 6 (+7), Expertise: Cult Lore 6 (+6),
Insight 5 (+5), Persuasion 6 (+7), Ranged Combat: Guns 3
(+3). Offense: Init +1, Dagger +3 (Close, Damage 2), Pistol
+3 (Ranged, Damage 3), Unarmed +1 (Close, Damage 1).
Defenses: Dodge 4, Parry 4, Fortitude 4, Toughness 1, Will 2.
Totals: Abilities 10 + Powers 0 + Advantages 3 + Skills 14 +
The Acolyte, Initiate, and Adept represent the rank-and-

file worshippers of a cult. Most have additional skills to
help them blend into society until called upon.
CULT MASTER PL4 • MR4

Equipment: Dagger (Damage 1), Pistol (Damage 3).
Advantages: Connected, Equipment 2, Quick Draw, Ritualist.
Skills: Close Combat: Dagger 3 (+4), Deception 6 (+8),
Expertise: Cult Lore 8 (+10), Insight 6 (+6), Persuasion 6 (+8),
Ranged Combat: Guns 3 (+4). Offense: Init +1, Dagger +4
(Close, Damage 2), Pistol +4 (Ranged, Damage 3), Unarmed
+1 (Close, Damage 2). Defenses: Dodge 6, Parry 6, Fortitude
4, Toughness 2, Will 4. Totals: Abilities 22 + Powers 0 +
The term “Cult Master” is a bit of a misnomer, since many

about the end of the world. Cultists are often fanatically so-called Masters are in fact servants of a master villain,
loyal to their cause, making them effective minions will- evil entity, or some other power. Still, compared to most
ing to do anything for their master. members of the cult, the Master has considerable power,
A cult need not be religious in nature: some are “cults of not the least of which is use of the Ritualist advantage and
personality” dedicated to a particular leader (typically a the ability to perform magical rituals, using Expertise in
master villain) while others are more political, social, or Cult Lore in place of Magic Expertise.
cultural in nature. Trade out appropriate Expertise skills
and trappings for members of these cults, such as arcane ARCANE CULTIST PL6 • MR6
lore, civics, or even popular culture in place of theology
STR 2, STA 4, AGL 2, DEX 2, FGT 2, INT 4, AWE 1, PRE 2
and philosophy.
Powers: Shadow Magic Array (Ranged Damage 6 [Icy Shadows],
Ranged Affliction 6 [Paralyzing Fear; Hindered, Immobile,
CULT ACOLYTE PL1 • MR1 Paralyzed; Resisted by Will], Teleport 3 [250 feet; Extended
[8 miles], Increased Mass 3], Move Object 6). Equipment:
Knife. Advantages: Artificer, Equipment 1, Extraordinary
Equipment: Dagger (Damage 1). Advantages: Connected,
Effort, Ritualist, Trance. Skills: Close Combat: Dagger 4 (+6),
Equipment. Skills: Close Combat: Dagger 1 (+1), Deception
Deception 6 (+8), Expertise: Cult Lore 6 (+10), Expertise: Magic
4 (+4), Insight 3 (+3), Persuasion 4 (+4). Offense: Init +0,
6 (+10), Ranged Combat: Spellcasting 4 (+6), Treatment 2 (+6).
Dagger +1 (Close, Damage 1), Unarmed +0 (Close, Damage
Offense: Init +2, Icy Shadows +6 (Ranged, Damage 6), Knife
+6 (Close, Damage 3), Paralyzing Fear +6 (Affliction 6), Tendrils
of Darkness +6 (Move Object 6), Unarmed +2 (Close, Damage
2). Defense: Dodge 8, Parry 7, Fortitude 4, Toughness 4, Will 6.
Totals: Abilities 38 + Powers 15 + Advantages 5 + Skills 14 (28
CULT INITIATE PL2 • MR2 ranks) + Defenses 16 = 88 points.
STR 1 STA 1 AGL 0 DEX 0 FGT 0 INT 0 AWE 0 PRE 1 While most cults grant their followers little true arcane
Equipment: Dagger (Damage 1), Pistol (Damage 3). power, devotees of sorcerers, elder evils, and similar vil-
Advantages: Connected, Equipment 2. Skills: Close Combat:
lains may wield a degree of magic power that makes them
Dagger 1 (+1), Deception 4 (+5), Expertise: Cult Lore 4 (+4),
Insight 4 (+4), Persuasion 4 (+5), Ranged Combat: Guns 1
more dangerous than their robe-clad brethren. Rather
(+1). Offense: Init +0, Dagger +1 (Close, Damage 2), Pistol than serving some powerful master, an Arcane Cultist
+1 (Ranged, Damage 3), Unarmed +0 (Close, Damage 1). may replace a Cult Master as the leader of a secret society.
Defenses: Dodge 2, Parry 2, Fortitude 3, Toughness 1, Will Their shadow magic animates darkness to attack on their
1. Totals: Abilities 6 + Powers 0 + Advantages 3 + Skills 9 + behalf, but the description of their magic can be changed
Defenses 7 = Total 25 points. to suit their cult or master.

DEMONS DEMON, TEMPTER

PL8 • MR9
A “demon” is generally an evil creature from a hellish realm, Powers: Affliction 8 (Resisted by Will; Dazed, Stunned,
which resembles various places from human myth and Controlled), Strength-based Damage 3 (Claws), Flight 2 (8 MPH;
legend. Not all demons are created equal, nor are they Wings), Immunity 18 (Acid Damage, Aging, Cold Damage, Fire
all the same. While some appear as the bestial, horned Damage, Poison, Disease), Morph 1 (Human guise), Impervious
monsters that immediately strike fear into those around Protection 5, Senses 2 (Darkvision). Advantages: Attractive,
them, others look human... at first glance. When confronted Close Combat 4, Diehard, Fascinate (Deception). Skills:
Deception 8 (+13), Expertise: Magic 6 (+7), Insight 8 (+10).
or angered their true nature is revealed by a slip in their
Offense: Init +2, Claws +7 (Close, Damage 3). Defenses: Dodge
façade: an intense fiery glow held within their eyes that 7, Parry 7, Fortitude 7, Toughness 9, Will 7. Totals: Abilities 38
not even the contact lenses can mask. The majority of + Powers 48 + Advantages 7 + Skills 11 + Defenses 17 = Total
demons—no matter their appearance—do share common 121 points.
abilities, such as bat-like wings and a penchant for flinging
hellfire at their targets when in their natural form. The Tempter Demon’s primary purpose is to lure the moral
into betraying their beliefs. Appearing as beautiful men
DEMON, IMP PL4 • MR5 and women, They often keep their large, leathery wings
concealed under clothing. Otherwise, they tend to wear
STR 1 STA 2 AGL 1 DEX 1 FGT 3 INT 0 AWE 1 PRE 0 very little, opting for leather straps or stylish clothing
Powers: Strength-based Damage 2 (Claws), Flight 2 (8 MPH;
when prowling for victims.
Wings), Immunity 18 (Acid Damage, Aging, Cold Damage, Fire
Damage, Poison, Disease), Senses 2 (Darkvision), Shrinking 4
(Permanent, Innate). Advantages: Defensive Roll. Skills: Close
Combat: Claws 2 (+5), Deception 4 (+4), Expertise: Magic 4
DINOSAURS
(+4), Insight 4 (+4), Perception 4 (+4), Stealth 4 (+9). Offense: Dinosaurs are most commonly the minions of monster-
Init +1, Claws +5 (Close, Damage 3). Defenses: Dodge 5, Parry makers who have resurrected them using cloning, or time-
5, Fortitude 5, Toughness 3 (2 without Defensive Roll), Will 3.
manipulating villains able to bring them from the distant
past into the present. They also show up in “Lost World” sce-
narios where the heroes visit places where the giant beasts
still thrive or end up stranded in the distant past. Some vil-
Imps are small demonic creatures, usually with bat-
lains may specifically grant them other powers; by adding
like wings, forked tails, and horns. Sorcerers commonly
Immunity to Fortitude Effects, you can easily create robotic
summon them as spies and minions.
or undead dinosaurs as well.
DEMON, WARRIOR PL6 • MR5 BRACHIOSAURUS PL9 • MR3

STR 6 STA 5 AGL 1 DEX 0 FGT 5 INT –1 AWE 1 PRE 0
STR 17 STA 15 AGL –2 DEX –4 FGT 0 INT –5 AWE 2 PRE 0
Powers: Strength-based Damage 1 (Claws), Immunity 18 (Acid
Powers: Line Area Damage 8 (Tail Smash; Alternate Effect of
Damage, Aging, Cold Damage, Fire Damage, Poison, Disease),
Strength Damage), Growth 14 (Permanent, Innate), Protection
Protection 2, Senses 2 (Darkvision). Skills: Intimidation 4 (+4),
3, Senses 3 (Low-light Vision, Acute Smell, Ultra-hearing).
Perception 4 (+5). Offense: Init +1, Claws +5 (Close, Damage
Skills: Perception 4 (+6). Offense: Init –2, Tail Smash (Dodge
DC 18, Damage 8), Unarmed +0 (Close, Damage 17). Defenses:
Dodge –5, Parry –5, Fortitude 15, Toughness 18, Will 2. Totals:
Abilities –10 + Powers 36 + Advantages 0 + Skills 2 + Defenses
6 = Total 34 points.
Warrior demons tend to be human-sized, with powerful
builds and tough (often scaly or bony) hides. They have One of the most massive land animals ever, the long-
horns, claws, and a vicious temperament. Evil Sorcerers necked brachiosaurus is suitable as a template for similar-
summon them as minions and foot soldiers. ly massive and placid dinosaurs such as the brontosaurus.
DEMON, BRUTE PL8 • MR7 DEINONYCHUS PL6 • MR4

STR 10 STA 5 AGL 0 DEX 0 FGT 6 INT –1 AWE –1 PRE –1 STR 3 STA 3 AGL 4 DEX 0 FGT 8 INT –4 AWE 3 PRE 0
Powers: Immunity 32 (Critical Hits, Fortitude Effects), Leaping Powers: Strength-based Damage 1 (Bite), Leaping 1 (15 feet),
2, Impervious Protection 5. Advantages: Diehard, Improved Protection 1, Speed 2 (8 MPH), Senses 4 (Low-light Vision,
Grab, Power Attack. Skills: Intimidation 8 (+7). Offense: Init 0, Acute Smell, Tracking, Ultra-hearing). Advantages: Improved
Unarmed +6 (Close, Damage 10). Defenses: Dodge 6, Parry 6, Grab, Improved Initiative. Skills: Perception 6 (+9), Stealth 4
Fortitude —, Toughness 10, Will 6. Totals: Abilities 36 + Powers (+8). Offense: Init +8, Bite +8 (Close, Damage 4). Defenses:
44 + Advantages 3 + Skills 4 + Defenses 13 = Total 100 points. Dodge 8, Parry 8, Fortitude 7, Toughness 4, Will 5. Totals:
Brute demons are dull-witted creatures that bully and 10 = Total 60 points.
pummel their prey. Usually standing well over seven feet
in height, these demons are typically a rotted green in Six-foot-tall carnivorous pack-hunters, deinonychus are
color, with massive builds and dark eyes. They are known noted for their ability to chase down prey. They’re often
to favor the use of grabs as they lay into their target. confused with their smaller cousin, the velociraptor.

STEGOSAURUS PL9 • MR4 MONSTERS

STR 11 STA 8 AGL 0 DEX –2 FGT 6 INT –5 AWE 2 PRE 0 “Monsters” is a catch-all category of creatures that show up
Powers: Strength-based Damage 1(Tail Strike), Growth 8 as minions, ranging from hostile plant-life to fantasy crea-
(Permanent, Innate), Protection 6, Senses 3 (Low-light Vision, tures and giant, monstrous versions of otherwise mundane
Acute Smell, Ultra-hearing). Skills: Perception 8 (+10). Offense:
things. Comic book monsters may be creatures out of leg-
Init +0, Tail Strike +6 (Close, Damage 12). Defenses: Dodge 2, Parry
end, the spawn of science run amok, aliens, beings from
4, Fortitude 13, Toughness 14, Will 5. Totals: Abilities 8 + Powers
27 + Advantages 0 + Skills 4 + Defenses 16 = Total 55 points. other dimensions, or anything else the GM wants.
This archetype can serve for most of the larger, “armored” ANIMATED TREE PL8 • MR2
dinosaurs such as the stegosaurus, ankylosaurus, and tric-
STR 8 STA 8 AGL –2 DEX 0 FGT 4 INT — AWE 0 PRE —
eratops.
Powers: Extra Limbs 4 (Branches), Growth 8 (Permanent, Innate),
Immunity 2 (Suffocation). Advantages: Improved Grab. Offense:
TYRANNOSAURUS REX PL11 • MR5 Init –2, Attack +4 (Close, Damage 8). Defenses: Dodge 0, Parry 4,
Fortitude 8, Toughness 8, Will —. Totals: Abilities –16 + Powers
STR 13 STA 12 AGL 0 DEX –1 FGT 8 INT –4 AWE 3 PRE 0
23 + Advantages 0 + Skills 0 + Defenses 10 = Total 17 points.
Powers: Strength-based Damage 1 (Bite), Growth 10
(Permanent, Innate), Protection 2, Senses 4 (Low-light Vision,
Acute Smell, Track, Ultra-hearing). Advantages: Improved This archetype represents a full-grown tree able to up-
Grab, Improved Initiative. Skills: Perception 8 (+11). Offense: root itself and move about using its branches and roots.
Init +4, Bite +8 (Close, Damage 14). Defenses: Dodge 4, Parry 6, Animated trees are common minions for plant-controlling
Fortitude 12, Toughness 14, Will 6. Totals: Abilities 22 + Powers characters or those with nature-based powers.
The “king of dinosaurs,” the infamous “T. Rex” is the most

BLOB PL8 • MR3
aggressive predator of its type. A slightly smaller version STR 8 STA 8 AGL 0 DEX –4 FGT 4 INT — AWE 0 PRE —
can suffice for the similar allosaurus. Reduce Growth—and Powers: Reaction Damage 5 (When touched), Growth 8
therefore Strength, Stamina, and related traits—by 2 ranks. (Permanent, Innate), Insubstantial 1 (Permanent, Innate),
Movement 1 (Slithering). Advantages: Improved Grab,
Improved Hold. Offense: Init +0, Attack +4 (Close, Damage
PTERANODON PL5 • MR3 8, plus Reaction Damage 5). Defenses: Dodge 0, Parry 4,
STR 2 STA 2 AGL 4 DEX 0 FGT 6 INT –4 AWE 3 PRE 0 Fortitude 8, Toughness 8, Will —. Totals: Abilities –20 + Powers
Powers: Strength-based Damage 1 (Beak), Flight 3 (16 MPH; 45 + Advantages 2 + Skills 0 + Defenses 8 = Total 35 points.
Wings), Senses 3 (Extended Vision, Low-light Vision, Ultra-
hearing). Skills: Perception 6 (+9). Offense: Init +4, Bite +6 This archetype is a slithering blob of acidic ooze. It might
(Close, Damage 3). Defenses: Dodge 8, Parry 6, Fortitude 5, be an escaped scientific experiment, a primordial creature
Toughness 2, Will 5. Totals: Abilities 26+ Powers 7 + Advantages from the dawn of life on Earth, an alien visitor, or demonic
0 + Skills 3 + Defenses 9 = Total 45 points. hellspawn. Larger and more powerful blobs are possibly
by adding additional ranks of Growth.
This archetype is a medium-sized flying dinosaur, al-
though its wingspan is some 25 feet. You can create larger
pterosaurs by adding ranks of Growth to increase size and
other traits accordingly.

Gargoyles are flying creatures with stony hides. They
DRAGON PL9 • MR6 may be animated from actual statues on the spur of the
STR 12 STA 12 AGL 0 DEX 0 FGT 6 INT –2 AWE 1 PRE –1 moment or stone-like creatures that simply look like me-
Powers: Ranged Damage 12 (Fiery breath), Flight 6 (120 MPH; dieval gargoyles. Gargoyles that are true unliving con-
Wings), Growth 12 (Permanent, Innate), Protection 3 (Scales). structs have no Stamina rank, Immunity to Fortitude Ef-
Skills: Perception 4 (+5), Ranged Combat: Fiery Breath 6 (+6). fects and Protection 6 for their Toughness bonus.
Offense: Init +0, Bite and Claw +6 (Close, Damage 12), Fiery
Breath +6 (Ranged, Damage 12). Defenses: Dodge 3, Parry 3,
Fortitude 12, Toughness 15, Will 6. Totals: Abilities 8 + Powers
GIANT FLYTRAP PL9 • MR2
58 + Advantages 0 + Skills 5 + Defenses 17 = Total 88 points. STR 9 STA 9 AGL 0 DEX 0 FGT 6 INT — AWE 0 PRE —
Powers: Extra Limbs 4 (Vines), Growth 9 (Permanent, Innate).
This archetype is a fairly unintelligent monster. Some fan- Advantages: Improved Grab. Offense: Init +0, Attack +6 (Close,
tasy dragons, however, are highly intelligent: for these, in- Damage 9). Defenses: Dodge 0, Parry 6, Fortitude 9, Toughness
crease the archetype’s mental abilities and provide it with 9, Will —. Totals: Abilities –8 + Powers 23 + Advantages 0 +
the necessary skills, including interaction skills, Insight, and Skills 0 + Defenses 8 = Total 23 points.
possibly Expertise: Magic. Some intelligent dragons are also
sorcerers with a Magic array and/or the Ritualist advantage. This archetype is a giant version of the normally innocu-
ous insect-eating plant, a popular minion for plant-con-
The dragon may have a different descriptor to its breath trolling villains. Even larger and more powerful versions
weapon than fire, perhaps even a Variable Descriptor, al- are possible with additional ranks of Growth.
lowing it to make different types of attacks. You can make
larger and more powerful dragons by adding ranks of GIANT INSECT PL6 • MR1
Growth to the archetype.
STR 4 STA 4 AGL 1 DEX –1 FGT 3 INT — AWE 0 PRE —
Powers: Growth 4 (Permanent, Innate), Movement 2 (Wall-
FAERIE, JINX PL4 • MR4 crawling 2), Protection 1, Senses 4 (Darkvision, Acute Smell,
STR -1, STA 3, AGL 3, DEX 1, FGT 2, INT 0, AWE 3, PRE 0 Tracking). Skills: Perception 6 (+6). Offense: Init +1, Bite +3
(Close, Damage 4). Defenses: Dodge 3, Parry 3, Fortitude
Powers: Luck Control 2 (Force a Re-roll, Negate Luck), Shrinking
6, Toughness 5, Will —. Totals: Abilities –14 + Powers 18 +
4. Advantages: Hide in Plain Sight, Luck 4, Redirect, Startle.
Skills: Expertise: One Craft 4 (+4), Intimidation 10 (+8), Stealth
2 (+9). Offense: Init +3, Unarmed +2 (DC 14). Defense: Dodge
5, Parry 5, Fort 3, Tou 3, Will 3. Totals: Abilities 24 + Powers 14 + Various sorts of giant insects appear as a result of scientific
Advantages 7 + Skills 8 (16 ranks) + Defenses 1 = 54. experiments, mutagens (like radiation or biochemicals), or
as visitors from alien worlds. This archetype is a baseline
giant insect. Add appropriate effects for particular types
FAERIE, TRICKSTER PL5 • MR6 of insects, such as Flight (Winged) for flying insects,
STR -2, STA 0, AGL 6, DEX 1, FGT 0, INT 0, AWE 2, PRE 0 Affliction or Weaken effects for venomous insects, and
snare Affliction effects for web-spinning insects. For even
Powers: Feature 1 (bright glow), Flight 4 (30 MPH), Illusion 5 bigger creatures, add ranks of Growth. In spite of the
(Affects All Senses), Shrinking 8. Advantages: Improved Initia- name, this archetype also serves for giant arachnids like
tive, Set-up, Taunt. Skills: Acrobatics 2 (+8), Deception 8 (+8), spiders and scorpions as well.
Expertise: Nature 4 (+4), Stealth 0 (+14). Offense: Init +10, Un-
armed +0 (DC 13). Defense: Dodge 10, Parry 6, Fort 3, Tou 0,
Will 6. Totals: Abilities 18 + Powers 50 + Advantages 3 + Skills 7 TULPA PL7 • MR5
(14 ranks) + Defenses 9 = 87 points.
STR 2, STA —, AGL 6, DEX 0, FGT 6, INT —, AWE 7, PRE —
Powers: Immunity 30 (Fortitude Effects), Close Damage 7
Faeries are capricious little creatures that dwell where
(Mind Lash, Alternate Resistance: Will). Advantages: Close
magic still runs thick, or in their own magical realms. Attack. Skills: Perception 4 (+11), Stealth 4 (+10). Offense: Init
While not usually malicious, faeries love strong emotions, +6, Mind Lash +7 (Close, Damage 7; Will Resists), Unarmed +7
including embarrassment, anger, and fear, and so they (Close, Damage 2). Defense: Dodge 6, Parry 6, Fortitude —,
rarely know when they’ve gone too far with their pranks. Toughness 8, Will —. Totals: Abilities 12 + Powers 44 +
Jinx faeries are withdrawn and grumpy, and cause bad Advantages 1 + Skills 4 (8 ranks) + Defenses 8 = 69 points.
luck for anyone who disturbs them. Trickster faeries are
hyperactive and social, and love using their illusion pow- Formed from psychic energy, tulpas are servants created
ers to sew chaos and steal food or shiny baubles. by psychics, or rogue thoughts that wander the astral
plane or mystic dimensions. More aggressive tulpas
GARGOYLE PL5 • MR3 may even spawn spontaneously from powerful fears or
nightmares, particularly in people with psychic potential.
STR 2 STA 4 AGL 1 DEX 0 FGT 4 INT –2 AWE 0 PRE –2 Their touch inflicts agony to living minds.
Powers: Flight 2 (8 MPH; Wings), Immunity 10 (Life Support),
Impervious Protection 2. Skills: Perception 4 (+4), Stealth 4 Because they are created from the mind, tulpas can take
(+5). Offense: Init +1, Claws +4 (Close, Damage 2). Defenses: almost any form, particularly those created from dreams,
Dodge 3, Parry 4, Fortitude 6, Toughness 6, Will 4. Totals: and may have additional powers related to their form,
such as special forms of movement, additional limbs,
8 = Total 42 points.
and growth.

NINJA ADEPT PL4 • MR5

Equipment: Sword (Strength-based Damage 3), Shuriken
(Ranged Multiattack Damage 1). Advantages: Defensive
Roll 2, Equipment 2, Improved Initiative. Skills: Acrobatics
7 (+10), Athletics 6 (+7), Deception 6 (+6), Expertise: Ninja
Lore 6 (+6), Intimidation 4 (+4), Perception 4 (+6), Ranged
Combat: Throwing 4 (+7), Sleight of Hand 5 (+8), Stealth 7
(+10). Offense: Init +7, Sword +4 (Close, Damage 4), Shuriken
+7 (Ranged, Multiattack Damage 1), Unarmed +4 (Damage
1). Defenses: Dodge 5, Parry 5, Fortitude 4, Toughness 3/1
(without Defensive Roll), Will 4. Totals: Abilities 28 + Powers
Adept ninja are solid mid-tier minions with fairly high

combat accuracy and impressive stealth and acrobatic
abilities for their power level.
NINJA MASTER PL5 • MR6

Equipment: Sword (Strength-based Damage 3), Shuriken
(Ranged Multiattack Damage 1). Advantages: Defensive
Roll 2, Equipment 2, Improved Initiative. Skills: Acrobatics
7 (+10), Athletics 6 (+7), Deception 6 (+6), Expertise: Ninja
Lore 8 (+8), Intimidation 5 (+5), Perception 4 (+6), Ranged
Combat: Throwing 6 (+9), Sleight of Hand 6 (+9), Stealth 8
(+11). Offense: Init +7, Sword +6 (Close, Damage 4), Shuriken
NINJA +9 (Ranged, Multiattack Damage 1), Unarmed +6 (Damage
1). Defenses: Dodge 7, Parry 7, Fortitude 5, Toughness 3/1
The ninja have been a staple of comic books since the (without Defensive Roll), Will 5. Totals: Abilities 32 + Powers
1980s, particularly as minions for sinister cults and in- 0 + Advantages 5 + Skills 28 + Defenses 12 = Total 77 points.
scrutable Asian masterminds, although for a time they
showed up almost everywhere. Highly capable ninja can Master ninja are capable lieutenants for lower power
be full-fledged villains in their own right (see the Martial level games. Their attack bonus can make them a threat
Artist archetype, for one example). Ninja minions tend to against even more powerful characters, especially if they
have martial arts skills and weapons primarily as window are armed with special weapons, such as poison or attacks
dressing; they’re capable fighters, but still no match indi- aimed at a hero’s weaknesses.
vidually for superheroes.
The listed archetypes are armed only with traditional

MYSTIC NINJA PL7 • MR8
ninja weapons: shuriken (throwing stars) and a ninja-to STR 2, STA 2, AGL 4, DEX 4, FGT 8, INT 0, AWE 3, PRE 1
(straight-edged sword). Modern ninja can also have more Powers: Chi Powers Array (Concealment 10 [All Senses; Limited
conventional weapons; any weapon with a Damage rank to in Darkness], Illusion 5 [Shadow Duplicate; Affects Vision
of 3 or less—such as a light pistol—may be added with- and Hearing, Limited to recreating the ninja’s image], Focused
out changing the ninja’s overall power level. Strike [Penetrating 5 on Strength], Teleport 5). Equipment:
Shuriken, Smoke Grenade, Sword. Advantages: Close Attack,
Defensive Roll 3, Equipment 4, Evasion, Hide in Plain Sight,
NINJA NOVICE PL3 • MR4 Improved Initiative, Precise Attack (Close, Concealment).
STR 1 STA 1 AGL 2 DEX 2 FGT 2 INT 0 AWE 1 PRE 0 Skills: Acrobatics 7 (+11), Athletics 6 (+8), Deception 8 (+9),
Equipment: Sword (Strength-based Damage 3), Shuriken Expertise: Ninja Lore 10 (+10), Intimidation 5 (+6), Perception
(Ranged Multiattack Damage 1). Advantages: Defensive 4 (+7), Ranged Combat: Throwing 6 (+10), Sleight of Hand
Roll, Equipment 2, Improved Initiative. Skills: Acrobatics 6 6 (+10), Stealth 10 (+14). Offense: Init +8, Shuriken +10
(+8), Athletics 5 (+6), Deception 4 (+4), Expertise: Ninja Lore (Ranged, Damage 1, Multiattack), Sword +9 (Close, Damage
4 (+4), Intimidation 4 (+4), Perception 4 (+5), Ranged Combat: 5, Penetrating), Unarmed +9 (Close, Damage 2, Penetrating).
Throwing 3 (+5), Sleight of Hand 4 (+6), Stealth 6 (+8). Offense: Defense: Dodge 9, Parry 9, Fort 7, Tou 5/2 (without Defensive
Init +6, Sword +2 (Close, Damage 4), Shuriken +5 (Ranged, Roll), Will 7. Totals: Abilities 48 + Powers 13 + Advantages 12 +
Multiattack Damage 1), Unarmed +4 (Damage 1). Defenses: Skills 31 (62 ranks) + Defenses 15 = 119 points.
Dodge 5, Parry 5, Fortitude 3, Toughness 2/1 (without Defensive
Roll), Will 3. Totals: Abilities 18 + Powers 0 + Advantages 4 + Mystic ninjas are dedicated to the mastery of mysterious
Skills 20 + Defenses 8 = Total 50 points. martial arts techniques that grant them superhuman
powers, including the power to vanish into shadows,
Novice ninja are essentially themed crooks primarily note- summon shadow clones to confuse enemies, and cleave
worthy for their stealth abilities, which make them good through solid steel. They often represent lost societies or
at infiltration and surprise. ancient warrior clans concealed from history.

USING MINIONS
Minions allow heroes to tackle large numbers of opponents and feel, well, super! But sometimes minions may feel like
they slow combat down rather than improve the game. If your heroes face a dozen PL 2 criminals who can only hit with
a roll of 19 or 20, what’s even the point? Sometimes, players may feel like minions are such a minor threat, they ignore
them entirely to focus on the primary villain. Sometimes feeling superhuman is the point, but other times you may
want to use minions more creatively to help their villainous commander.
You can reliably use 2 to 4 minions per player character hero in an encounter without overwhelming your players. Use
fewer minions if they are higher Power Level or if the minions have a full-fledged villain commanding them, and more
if the villains are particularly puny.
Aid and Team Attacks
Minions can use the Aid action and Team Attacks to assist one another or villains. With the Aid action in particular, they
only need to succeed at a DC 10 check rather than hit the PCs’ defenses. Enough minions can reliably provide a +2 or
even +5 circumstance bonus to their leader’s attack checks and defenses, making a villain difficult to defeat before all
their minions are dealt with. To save time and dice rolling, you may choose to count every two minions that contribute
to an Aid action as one Degree of Success.
Ablative Minions
Some supervillains may use their minions as protection from heroes’ attacks. Simply provide every minion with the
Interpose advantage, allowing them to intercept attacks meant for their leader. This is appropriate for leaders who
inspire great confidence in their minions, like the Crimelord, Overlord, and Puppetteer, but can represent any ruthless
villain who uses their own henchmen as personal shields.
Minions and Takedown
The Takedown advantage is intended to let heroes feel more powerful by pummeling multiple opponents in a single
action, but two ranks of Takedown combined with Speed or a ranged attack can easily sweep all the minions in an area
in a single round. If this is the case at your game, you may consider not allowing heroes to make Takedown attacks
against minions using a routine action; because the advantage requires a successful attack and has consequences for
failure, each attack should be rolled, with missed attacks ending the hero’s turn. You may also consider altering the
rules for Takedown, so that the total ranks in the advantage determines the maximum number of minions that can be
targeted in a round. You may also choose to have reinforcements arrive at a later point in the combat.
PUBLIC SERVANTS POLICE CHIEF

PL3 • MR4
The heroes’ regular allies—and sometime rivals—are Equipment: Pistol (Ranged Damage 3), cell phone, handcuffs.
those entrusted with public safety and the enforcement Advantages: Connected, Equipment 2. Skills: Athletics 2 (+2),
of the law. These public servants have no special powers Expertise: Streetwise 6 (+8), Expertise: Current Events 4 (+6),
or heroic code-names but all the same risk their lives Expertise: Police Officer 6 (+8), Insight 8 (+10), Intimidation 4 (+7),
on a daily basis to do their jobs. Some take a dim view Investigation 6 (+8), Perception 6 (+8), Ranged Combat: Pistol 2
of “costumed vigilantes” getting involved in what they (+3), Treatment 2 (+4), Vehicles 4 (+5). Offense: Init +0, Unarmed
consider work for serious professionals, but most public +1 (Damage 0), Pistol +3 (Ranged, Damage 3). Defense: Dodge
servants appreciate the help of heroes in dealing with 3, Parry 3, Fort 2, Tou 0, Will 4. Totals: Abilities 18 + Powers 0 +
menaces no ordinary human beings can handle.
The police chief can be a hero’s greatest ally or worst

GOVERNMENT AGENT PL4 • MR5
enemy. Police chiefs may be dedicated public servants or
corrupt politicians on the take, depending on the location
Equipment: Pistol (Ranged Damage 3), camera, cell phone,
computer, handcuffs. Advantages: Defensive Roll, Equipment and the style of your series.
2. Skills: Athletics 4 (+5), Deception 2 (+4), Expertise: Behavioral
Sciences 3 (+5), Expertise: Civics 2 (+4), Expertise: Current
Events 2 (+4), Expertise: Government Agent 3 (+5), Expertise:
POLICE OFFICER PL4 • MR4
Streetwise 2 (+4), Intimidation 4 (+6), Investigation 6 (+8), STR 2 STA 2 AGL 1 DEX 1 FGT 3 INT 0 AWE 1 PRE 1
Perception 3 (+5), Persuasion 3 (+5), Ranged Combat: Chosen Equipment: Bulletproof vest (+4 Toughness vs. Ballistic), pistol
Weapon 4 (+5), Technology 2 (+4), Vehicles 4 (+5). Offense: Init (Ranged Damage 3), tonfa, cell phone, handcuffs. Advantages:
+1, Unarmed +3 (Close, Damage 1), Pistol +5 (Ranged, Damage Equipment 3. Skills: Athletics 3 (+5), Expertise: Current Events
3). Defense: Dodge 5, Parry 5, Fort 3, Tou 3/2, Will 3. Totals: 2 (+2), Expertise: Streetwise 3 (+3), Expertise: Police Officer 4
Abilities 28 + Powers 0 + Advantages 3 + Skills 22 + Defenses (+4), Insight 4 (+5), Intimidation 2 (+3), Investigation 2 (+2),
8 = Total 61points. Perception 4 (+5), Ranged Combat: Pistols 4 (+5), Treatment
2 (+2), Vehicles 4 (+5). Offense: Init +1, Unarmed +3 (Close,
Government agents include members of organizations Damage 2), Tonfa +3 (Close, Damage 3), Pistol +5 (Ranged,
like the FBI, CIA, DEA, ATF, and even the DEO. Government Damage 3). Defense: Dodge 2, Parry 4, Fort 4, Tou 6/2, Will 2.
agents are well-rounded with a good selection of skills Totals: Abilities 22 + Powers 0 + Advantages 3 + Skills 17 +
and combat abilities.

This archetype focuses primarily on uniformed beat cops. ROBOT, SMALL PL4 • MR2
Detectives, undercover. and plainclothes officers have
STR 0 STA — AGL 0 DEX 0 FGT 0 INT — AWE 0 PRE —
more ranks in Investigate and often in other social skills
Powers: Immunity 30 (Fortitude effects), Protection 5,
like Persuasion and Intimidation.
Shrinking 4 (Permanent, Innate). Skills: Close Combat:
Unarmed 4 (+4). Offense: Init +0, Unarmed +4 (Close, Damage
SWAT OFFICER PL5 • MR4 +0). Defenses: Dodge 3, Parry 3, Fortitude —, Toughness 5,
Will —. Totals: Abilities –28 + Powers 44 + Advantages 0 +
STR 2 STA 2 AGL 2 DEX 2 FGT 4 INT 0 AWE 1 PRE 1 Skills 2 + Defenses 2 = Total 20 points.
Equipment: Submachine gun, riot gear (+4 Toughness), tonfa,
cell phone, handcuffs. Advantages: Close Attack 2, Equipment 4.
Skills: Athletics 3 (+5), Expertise: Current Events 2 (+2), Expertise: Small robots tend to have non-humanoid forms, more
Streetwise 4 (+4), Expertise: Police Officer 5 (+5), Expertise: Tactics often insect-like or snake-like, perhaps resembling
5 (+5), Intimidation 4 (+5), Perception 2 (+3), Ranged Combat: quadrupeds such as cats or dogs. They may be intended
Submachine Gun 4 (+6), Stealth 4 (+6), Treatment 3 (+3). Offense: for scouting or maintenance work, re-tasked to serve as
Init +2, Unarmed +6 (Close, Damage 2), Tonfa +6 (Close, Damage attack drones.
3), SMG +6 (Ranged, Multiattack Damage 4). Defense: Dodge 4,
Parry 4, Fort 6, Tou 6/2, Will 3. Totals: Abilities 28 + Powers 0 +
ROBOT, MEDIUM PL5 • MR2
STR 5 STA — AGL –1 DEX –1 FGT 0 INT — AWE 0 PRE —
SWAT (Special Weapons And Tactics) squads are made Powers: Immunity 30 (Fortitude Effects), Protection 10
up of police officers with special training in squad-level (Impervious 6). Advantages: Close Attack 5. Offense: Init –1,
tactics and weapon-use. They deal with serious criminal Unarmed +5 (Close, Damage 5). Defenses: Dodge 0, Parry 0,
Fortitude —, Toughness 10, Will —. Totals: Abilities –24 + Powers
threats, including mutant criminals.
ROBOTS The stock robot is usually humanoid. Some are androids,

designed to look like humans, while others are more
Robots are the minions of choice for Mad Scientist types, clearly mechanical. They’re slow moving, but quite tough,
unless they have a specific focus—such as life sciences— compared to most minions. Some robots may be equipped
that prohibits them. After all, robots feel no pain, do not with built-in ranged weapons (guns or blasters), giving
get tired, have no personal agendas, and don’t have to be them Ranged Damage 5 and Ranged Combat 6 skill with
paid. They also generally can’t be subverted, except by re- them, increasing cost by 13 points and making them rank
programming them. 3 Minions.
The robot minions given here are non-intelligent, only
capable of carrying out specific programmed instruc- ROBOT, LARGE PL7 • MR4
tions and orders, such as “guard this installation against STR 9 STA — AGL 0 DEX 0 FGT 5 INT — AWE 0 PRE —
anyone who does not know the password” or “attack!” Powers: Ranged Damage 8 (Built-in Weapons), Growth
More sophisticated intelligent robots are better handled 4 (Permanent, Innate), Immunity 30 (Fortitude Effects),
as individual characters, although an interesting twist Protection 6. Skills: Ranged Combat: Built-in Weapons 6 (+6).
would be to have one of a villain’s robot minions unex- Offense: Init +0, Unarmed +5 (Close, Damage 9), Weapons +6
pectedly develop sentience (adding Intellect and Pres- (Ranged, Damage 8). Defenses: Dodge 3, Parry 4, Fortitude
ence ranks to the archetype). —, Toughness 10, Will —. Totals: Abilities –10 + Powers 61 +
The archetype offers a basic model you can modify to
suit robots with particular tasks. Common add-ons in- These hulking robots are easily a match for superheroes
clude sensor packages providing Senses, special Move- when they work in pairs. They can also represent various
ment capabilities or Flight, and other weapons systems, kinds of military and combat-oriented robots.
typically as Alternate Effects of the built-in weapons
package. ROBOT, COLOSSAL PL10 • MR6
ROBOT, DRONE PL3 • MR3 STR 16 STA — AGL 0 DEX 0 FGT 4 INT — AWE 0 PRE —
Powers: Ranged Damage 11 (Built-in Weapons), Growth 16
STR –1, STA —, AGL 1, DEX 0, FGT 0, INT —, AWE 1, PRE — (Permanent, Innate), Immunity 30 (Fortitude Effects). Skills:
Powers: Ranged Damage 4 (Blaster), Immunity 30 (Fortitude Ranged Combat: Built-in Weapons 6 (+6). Offense: Init +0,
Effects), Shrinking 6 (Innate; Permanent). Skills: Perception 4 Unarmed +4 (Close, Damage 16), Weapons +6 (Ranged,
(+5), Ranged Combat: Blaster 2 (+2), Stealth 2 (+9). Offense: Damage 11). Defenses: Dodge 0, Parry 0, Fortitude —,
Init +1, Blaster +2 (Ranged, Damage 4), Unarmed +0 (Close, Toughness 16, Will —. Totals: Abilities –22 + Powers 85 +
Damage –1). Defense: Dodge 6, Parry 4, Fortitude —, Advantages 0 + Skills 3 + Defenses 12 = Total 78 points.
Toughness 0, Will —. Totals: Abilities –26 + Powers 51 +
Advantages 0 + Skills 4 (8 ranks) + Defenses 3 = 32 points. The Colossal Robot is a city-demolishing minion suitable
as the invention of a Mad Scientist or the basis for a giant
Small, practical robots within the price range of more mecha. It can constitute a threat for a whole hero team,
down-to-earth criminals and organizations, drones work especially if it is treated as a full-fledged villain capable of
as spies, sentries, and front-line defenses. sustaining multiple hits.

ROBOT JOCKEY PL7 • MR5 SOLDIER, GREEN PL4 • MR2

STR 5/0*, STA 2, AGL 4, DEX 1, FGT 4, INT 0, AWE 0, PRE 0 STR 1 STA 1 AGL 1 DEX 1 FGT 3 INT 0 AWE 0 PRE 0
Powers: Piloted Robot (Removable; Ranged Damage 7 Equipment: Body Armor (Protection 4), Assault Rifle
[Blasters], Enhanced Strength 5, Enhanced Advantage 9 (Ranged Multiattack Damage 5), Heavy Pistol (Ranged
[Close Attack 3, Ranged Attack 6], Protection 7, Senses 3 Damage 4). Advantages: Equipment 6. Skills: Athletics
[Sensors; Darkvision, Radio]). Advantages: Accurate Attack, 2 (+3), Expertise: Soldier 2 (+2), Perception 2 (+2), Ranged
Close Attack 3, Improved Smash, Power Attack, Ranged Attack Combat: Guns 2 (+3). Offense: Init +1, Pistol +3 (Ranged,
6. Skills: Perception 4 (+4), Technology 4 (+4), Vehicles 8 (+9). Damage 3), Rifle +3 (Ranged, Multiattack Damage 5),
Offense: Init +4, Blasters +7 (Ranged, Damage 7), Unarmed Unarmed +3 (Close, Damage 1). Defenses: Dodge 3, Parry
+7/+4* (Close, Damage 5/0*). Defense: Dodge 5, Parry 4, 3, Fortitude 3, Toughness 5 (1 without armor), Will 2. Totals:
Fortitude 2, Toughness 9/2*, Will 0. Totals: Abilities 22 + Abilities 14 + Powers 0 + Advantages 6 + Skills 4 + Defenses
Powers 34 + Advantages 3 + Skills 8 (16 ranks) + Defenses 1 6 = Total 30 points.
= 68 points.
*without Piloted Robot The green soldier is newly trained, but still quite capable,
particularly with the benefits of their modern weapons
The Robot Jockey is a staple minion of mad scientists, and armor.
invading alien forces, and law enforcement agencies
tasked with policing superbeings. Each one pilots a small
robotic vehicle that provides strength, durability, weapon
systems, and sensors. Many power suits also provide
some form of movement power and additional senses
appropriate to their mission, or specialty weapons
that inflict Affliction instead of Damage.
SOLDIERS
Soldiers are professional trained fighters used in
military operations, as opposed to toughs and crooks
(following), who are primarily hired muscle intended to
intimidate and deal with criminal matters. Villains and
organizations sometimes have both as minions, with
soldiers handling the more direct fighting, and crooks
the enforcement and internal matters. Ultimately,
use whichever archetypes work best for the
situation and modify accordingly.
The archetypes’ equipment represents

just their essential weapons and
armor. Assign additional equipment
as needed for particular missions,
including different weapons, as
appropriate.
MILITANT PL4 • MR3

Equipment: Light pistol, 9 points of equipment as needed.
Advantages: Equipment 3. Skills: Close Combat: Unarmed
4 (+5), Deception 4 (+5), Expertise: Choose One 3 (+4),
Expertise: Demolitions 6 (+7), Intimidation 3 (+4), Ranged
Combat: Pistol 4 (+5), Technology 4 (+5), Vehicles 4 (+5).
Offense: Init +1, Unarmed +5 (Close, Damage 1), Pistol +5
(Ranged, Damage 3). Defense: Dodge 4, Parry 4, Fort 4, Tou 1,
Will 2. Totals: Abilities 16 + Powers 0 + Advantages 3 + Skills
16 + Defenses 10 = Total 45 points.
This archetype represents any sort of militant

from militia members to terrorists—anyone
who’s trained and ready to kill or die for their
cause. More capable militant leaders are
supervillains in their own right, often possessing
advanced equipment or powers.

SOLDIER PL5 • MR3 BODYGUARD PL4 • MR4

STR 1 STA 1 AGL 1 DEX 1 FGT 3 INT 0 AWE 0 PRE 0 STR 3 STA 2 AGL 1 DEX 1 FGT 4 INT 0 AWE 2 PRE 1
Equipment: Body Armor (Protection 4), Assault Rifle Equipment: Brass knuckles (Strength-based Damage 1),
(Ranged Multiattack Damage 5), Heavy Pistol (Ranged Handcuffs, Pistol (Damage 3), Pepper spray. Advantages:
Damage 4). Advantages: Equipment 6. Skills: Athletics 4 Chokehold, Equipment 2, Interpose, Quick Draw. Skills:
(+5), Close Combat: Unarmed 2 (+5), Expertise: Soldier 4 Athletics 2 (+5), Expertise: Bodyguard 6 (+6), Intimidation 4
(+4), Intimidation 2 (+2), Perception 4 (+4), Ranged Combat: (+5), Perception 6 (+8), Ranged Combat: Guns 4 (+5). Offense:
Guns 4 (+5). Offense: Init +1, Pistol +5 (Ranged, Damage Init +1, Pistol +5 (Ranged, Damage 3), Unarmed +4 (Close,
3), Rifle +5 (Ranged, Multiattack Damage 5), Unarmed +5 Damage 3, 4 with brass knuckles). Defenses: Dodge 6, Parry
(Close, Damage 1). Defenses: Dodge 5, Parry 5, Fortitude 5, 6, Fortitude 5, Toughness 2, Will 3. Totals: Abilities 28 + Powers
Toughness 5 (1 without armor), Will 5. Totals: Abilities 14 + 0 + Advantages 5 + Skills 11 + Defenses 11 = Total 55 points.
Powers 0 + Advantages 6 + Skills 10 + Defenses 15 = Total
45 points. The bodyguard is paid to stick close to the boss and
provide cover—with his own body, if necessary. A fair
SOLDIER, VETERAN PL6 • MR4 number of supervillain bodyguards are women, and this
archetype works just as well for them (add the Attractive
STR 2 STA 1 AGL 1 DEX 1 FGT 4 INT 0 AWE 0 PRE 0 advantage—or not—as you prefer).
Equipment: Body Armor (Protection 4), Assault Rifle (Ranged
Multiattack Damage 5), Heavy Pistol (Ranged Damage 4).
Advantages: Equipment 6, Improved Initiative. Skills:
BOSS PL4 • MR4
Athletics 4 (+6), Close Combat: Unarmed 3 (+7), Expertise: STR 0 STA 1 AGL 1 DEX 0 FGT 2 INT 3 AWE 2 PRE 4
Soldier 7 (+7), Intimidation 4 (+4), Perception 6 (+6), Ranged Equipment: Bulletproof vest (+4 Toughness vs. Ballistic), heavy
Combat: Guns 6 (+7). Offense: Init +5, Pistol +7 (Ranged, pistol, cell phone. Advantages: Benefit 5 (Millionaire, Status:
Damage 3), Rifle +7 (Ranged, Multiattack Damage 5), Crime Lord), Connected, Equipment 3, Well-informed. Skills:
Unarmed +7 (Close, Damage 2). Defenses: Dodge 7, Parry Expertise: Criminal 8 (+11), Expertise: Streetwise 6 (+9), Expertise:
7, Fortitude 6, Toughness 5 (1 without armor), Will 5. Totals: Current Events 2 (+5), Intimidation 6 (+10), Perception 2 (+4),
Abilities 18 + Powers 0 + Advantages 7 + Skills 15 + Defenses Persuasion 4 (+8), Ranged Combat: Pistols 4 (+4). Offense: Init
19 = Total 59 points. +1, Unarmed +2 (Close, Damage 0), Heavy Pistol +4 (Ranged,
Damage 4). Defense: Dodge 3, Parry 3, Fort 3, Tou 5/1, Will 5.
SOLDIER, ELITE PL7 • MR5 Defenses 8 = Total 60 points.
Equipment: Body Armor (Protection 4), Assault Rifle (Ranged Sitting on top of the criminal underworld are the bosses—
Multiattack Damage 5), Heavy Pistol (Ranged Damage 4). mob lords, mafia dons, yakuza oyabun, and triad dragons,
Advantages: Equipment 6, Improved Initiative. Skills: Athletics among other—who command legions of specialized
4 (+7), Close Combat: Unarmed 4 (+9), Expertise: Soldier 8 (+8), criminals and civilian assets. These are men and women
Intimidation 4 (+4), Perception 6 (+6), Ranged Combat: Guns who’ve come up through the ranks and now run the show.
8 (+9). Offense: Init +5, Pistol +9 (Ranged, Damage 3), Rifle +9 Physically a boss is no match for a hero, but their connec-
(Ranged, Multiattack Damage 5), Unarmed +9 (Close, Damage 3).
tions, resources, and knowledge of the underworld can
Defenses: Dodge 9, Parry 9, Fortitude 6, Toughness 5 (1 without
armor), Will 6. Totals: Abilities 22 + Powers 0 + Advantages 7 + be problematic. The boss presented here is a fairly small
Skills 17 + Defenses 23 = Total 69 points. fish, who presents an organizational threat and likely con-
trols a large swath of territory within a city; Gamemasters
should make any changes needed to increase the crime
UNDERWORLD lord’s power and influence for the series.
The criminal scum of the city’s underworld comes in The Crime Lord archetype, presented earlier, represents
many different varieties, from run-of-the-mill street the ultimate evolution of the boss.
criminals and gangs to organized crime bosses and
their lieutenants, guards, and professional killers. Their CRIMINAL PL2 • MR3
backgrounds may vary, as well as their allegiances to a STR 1 STA 0 AGL 2 DEX 1 FGT 1 INT 1 AWE 0 PRE 1
particular mob, syndicate, or gang, but the following ar- Equipment: Leather jacket (+1 Toughness), pistol (Ranged
chetypes provide the major types of criminals heroes are Damage 3), knife, cell phone. Advantages: Equipment 2.
likely to encounter in their nightly patrols and ongoing Skills: Athletics 4 (+5), Expertise: Choose One 4 (+5), Expertise:
investigations. Streetwise 4 (+5), Expertise: Current Events 2 (+3), Perception 4
(+4), Stealth 6 (+8), Technology 4 (+5), Vehicles 4 (+5). Offense:
Criminals aren’t limited to the archetypes presented Init +2, Unarmed +1 (Close, Damage 1), Knife +1 (Close, Damage
here. Boss’s often recruit various Bystanders, such as 2, Crit. 19-20), Pistol +1 (Ranged, Damage 3). Defense: Dodge 3,
politicians and journalists, for their exclusive access and Parry 3, Fort 2, Tou 1/0, Will 0. Totals: Abilities 14 + Powers 0 +
influence. Cities rife with corruption likely have many Advantages 2 + Skills 16 + Defenses 5 = Total 37 points.
Public Servants on the local Crime Lord’s payroll. Espe-
cially powerful criminals may hire Soldiers or buy exotic This archetype represents run-of-the-mill career criminals.
Animals to guard their fortified estates, or even hire a Gamemasters should shuffle the criminal’s skill ranks
Mad Scientist to provide them with Monsters around to specialize as needed.

CROOK PL3 • MR3 HIRED KILLER PL6 • MR5

STR 2 STA 2 AGL 1 DEX 1 FGT 2 INT 0 AWE 0 PRE -1 STR 2 STA 2 AGL 2 DEX 4 FGT 5 INT 1 AWE 1 PRE 1
Equipment: Leather jacket (+1 Toughness), pistol (Ranged Damage Equipment: Garrote (Chokehold and Improved Hold
3), cell phone. Advantages: Equipment 2. Skills: Athletics 4 (+6), advantages), Sniper rifle (Ranged Damage 5, Improved Critical).
Expertise: Choose One 4 (+4), Expertise: Criminal 2 (+2), Expertise: Advantages: Improved Aim, Equipment 3. Skills: Deception
Streetwise 4 (+4), Expertise: Current Events 2 (+2), Intimidation 4 6 (+7), Expertise: Criminal 6 (+7), Perception 5 (+6), Ranged
(+3), Stealth 2 (+3), Vehicles 4 (+5). Offense: Init +1, Unarmed +2 Combat: Guns 3 (+7), Stealth 8 (+10). Offense: Init +2, Rifle +7
(Close, Damage 2), Pistol +1 (Ranged, Damage 3). Defense: Dodge (Ranged, Damage 5, Crit. 19-20), Unarmed +5 (Close, Damage
2, Parry 2, Fort 4, Tou 3/2, Will 0. Totals: Abilities 14 + Powers 0 + 2). Defenses: Dodge 9, Parry 9, Fortitude 5, Toughness 2, Will
Advantages 2 + Skills 13 + Defenses 3 = Total 32 points. 7. Totals: Abilities 36 + Powers 0 + Advantages 4 + Skills 14 +
Crooks can be used as muggers, gangsters, gang
members, and henchmen for supervillains. They rely on The hired killer is tasked with removing obstacles from
muscle. This stablock can also be used as any type of hired her employer’s path, usually with a high-range sniper rifle,
muscle from a bodyguard to security guards. although some prefer bombs, poisons, or other means.
This archetype is suitable for a skilled contract killer, mob
GANG LEADER PL2 • MR3 trigger-man, terrorist sniper, or the like. For truly world-
class killers, see the Assassin villain archetype.
Equipment: Leather jacket (+1 Toughness), pistol (Ranged
Damage 3), knife, cell phone. Advantages: Equipment 2.
Skills: Athletics 4 (+5), Deception 4 (+5), Expertise: Choose
One 4 (+5), Expertise: Streetwise 4 (+5), Expertise: Current
Events 2 (+3), Perception 4 (+4), Stealth 6 (+8), Technology
4 (+5), Vehicles 4 (+5). Offense: Init +2, Unarmed +1 (Close,
Damage 1), Knife +1 (Close, Damage 2, Crit. 19-20), Pistol +1
(Ranged, Damage 3). Defense: Dodge 3, Parry 3, Fort 2, Tou
1/0, Will 0. Totals: Abilities 14 + Powers 0 + Advantages 2 +
Skills 18 + Defenses 5 = Total 39 points.
Useful as the leader of a small gang of criminals or crooks.

Give the gang leader more ranks in Deception, Expertise,
and Persuasion if he leads a larger gang. Most small-
time gang leaders rely on their wits and connections
to keep them safe and aren’t exceptional combatants,
but Gamemasters should feel free to add extra combat
options or skill to noteworthy gang leaders they intend
to face off against the heroes, perhaps even granting
them minor super powers.
For an even more influential and powerful gang leader,

use the boss archetype.
GOON PL4 • MR3

STR 4 STA 5 AGL 0 DEX 0 FGT 3 INT –1 AWE –1 PRE 0
Equipment: Pistol (Ranged Damage 3). Advantages: Close
Attack 1, Equipment 2. Skills: Intimidation 6 (+6), Ranged
Combat: Guns 4 (+4). Offense: Init +0, Pistol +4 (Ranged,
Damage 3), Unarmed +4 (Close, Damage 4). Defenses: Dodge
2, Parry 3, Fortitude 5, Toughness 5, Will 1. Totals: Abilities 20
+ Powers 0 + Advantages 2 + Skills 5 + Defenses 6 = Total 33
points.
Similar to crooks, goons are the bruiser-types, even bigger

and stronger, specializing in brutal, bare-knuckle beat-
downs, but still none too bright.
Some villains might make goons more of a threat by

enhancing them, either with their own powers or outside
resources. Examples include Strength- and Stamina-
enhancing drugs (boosting those abilities as high as
6) or things like magical enhancements to defenses.
Othervillains may provide unique weapons, armor, or
gadgets that add special attacks.

This archetype is a typical low-level zombie. They are not

STREET INFORMANT PL2 • MR3 much a threat to superheroes, but can be to ordinary peo-
STR 0 STA 0 AGL 1 DEX 1 FGT 1 INT 1 AWE 1 PRE 1 ple, particularly given their immunity to most things that
Equipment: Leather jacket (+1 Toughness), knife, pistol concern living beings.
(Ranged Damage 3), cell phone. Advantages: Contacts,
Equipment 2. Skills: Athletics 4 (+4), Expertise: Criminal 4 (+5),
Variations on the basic zombie archetype include making
Expertise: Streetwise 6 (+7), Expertise: Current Events 4 (+5), them flesh-eaters (no real change in game traits, apart
Perception 4 (+5), Stealth 2 (+3), Vehicles 4 (+5). Offense: Init from the gruesome visuals) and making their condition
+1, Unarmed +1 (Close, Damage 0), Knife +1 (Close, Damage contagious, either to anyone killed by them, or even any-
+1, Crit. 19-20), Pistol +1 (Ranged, Damage 3). Defense: Dodge one scratched or bitten (suffering at least an injured result
3, Parry 3, Fort 2, Tou 1/0, Will 1. Totals: Abilities 12 + Powers 0 + from damage).
SKELETON PL2 • MR2
Street informants are the eyes and ears of the under-
world. They aren’t usually involved in anything illegal, but STR 2 STA — AGL 1 DEX 0 FGT 1 INT — AWE –1 PRE —
they know what’s going on. They’re not the most physi- Powers: Immunity 45 (Fortitude effects, Cold Damage, Half
cally capable or violent members of the criminal element, Damage from Slashing and Piercing Attacks), Protection 2.
Advantages: Improved Initiative. Offense: Init +5, Unarmed
but they’re useful contacts and can fill the role of street
toughs and gang members. —, Toughness 2, Will —. Totals: Abilities –24 + Powers 47 +
TOUGH PL3 • MR2
Skeletons are essentially fleshless zombies, faster and
STR 1 STA 0 AGL 0 DEX 0 FGT 2 INT –1 AWE 0 PRE 0 more agile because of it, and even more resistant to vari-
Equipment: Pistol (Ranged Damage 3). Advantages:
ous forms of harm. The kind of skeletons that show up to
Equipment 2. Skills: Close Combat: Unarmed 2 (+4),
Intimidation 3 (+3), Perception 4 (+4), Ranged Combat: Guns 3
fight heroes are often those of ancient warriors, and so
(+3). Offense: Init +0, Pistol +3 (Ranged, Damage 3), Unarmed may be equipped with appropriate armor and weapons,
+4 (Close, Damage 1). Defenses: Dodge 4, Parry 4, Fortitude 4, improving their damage and Toughness by +2 each and
Toughness 0, Will 2. Totals: Abilities 4 + Powers 0 + Advantages increasing their power level by 1 (although minion rank
2 + Skills 6 + Defenses 12 = Total 24 points. remains the same).
Whether in a rumpled suit with a shoulder-rig for the gun MIND-CONTROLLED ZOMBIE PL0 • MR2
or biker leathers with chains, the basic tough is a staple of
criminal henchmen. Not overly bright, toughs have some STR 0 STA 0 AGL 0 DEX 0 FGT 0 INT — AWE 0 PRE 0
Powers: Immunity 30 (Will Effects). Offense: Init +0, Unarmed
basic combat capabilities. For the most part, they are
around to keep heroes busy long enough for their boss to 0, Toughness 0, Will 0. Totals: Abilities –10 + Powers 30 +
finish a job, or just get away. Advantages 0 + Skills 0 + Defenses 0 = Total 20 points.
ZOMBIES Otherwise ordinary people brainwashed or controlled by

malevolent forces, these “zombies” are living people but in
Zombies are typically animated human corpses given a a profound trance that leaves them mindless and utterly
semblance of life through magic or sometimes by scien- obedient to their master’s will. As a side effect it complete-
tific means (exposure to a disease or toxic waste, for ex- ly shields them against mental powers and interaction tar-
ample). They’re a common threat on their own in hordes geting Will (such as Intimidation).
as well as serving as minions of necromantic villains. Although not as powerful as even conventional undead
The following zombie archetypes are all based on humans. zombies, mind-controlled zombies make up for it in two
You can easily create other kinds of zombies and undead areas. First, they tend to be numerous, perhaps even the
creatures by taking another archetype, removing its Stami- entire population of a city or world! Second, because they
na rank and applying Immunity to Fortitude Effects and suf- are innocent people, heroes tend to be reluctant to hurt
ficient Protection to make up for its lost Stamina in terms of them or even risk seriously harming them.
Toughness defense. This way you can make zombie animals
or zombie dinosaurs, or you can create intelligent undead TEMPLATES
that retain their various advantages, skills, and equipment,
such as zombie soldiers or undead cultists risen from the Minions are flexible and readily-available opponents for
grave to follow their sorcerous master. your adventures, but don’t always fit your exact needs. To
make quick adjustments, apply one of the following tem-
ZOMBIE PL2 • MR1 plates to change a minion’s statistics and abilities on the
fly to create new kinds of opponents. For example, adding
STR 2 STA — AGL –1 DEX –1 FGT 1 INT — AWE –1 PRE — the Flying template to a Lion creates the griffon of Greek
Powers: Immunity 30 (Fortitude effects), Protection 3. mythology.
Offense: Init –1, Unarmed +1 (Close, Damage 2). Defenses:
Dodge 0, Parry 1, Fortitude —, Toughness 3, Will —. Totals: Each template includes a PL adjustment to help you de-
Abilities –30 + Powers 33 + Advantages 0 + Skills 0 + Defenses termine how dangerous your new creation will be, but
1 = Total 4 points.

this is only an estimate. Some minions—especially those
that rely on firearms for their damage—may not see their GIANT TEMPLATE • 11 POINTS
offensive power level increased substantially. See what PL Adjustment +2
statistics are affected, use your best judgment as a Game- Statistic Adjustments Growth 4 (Permanent, Innate),
master, and adjust the final numbers where you see fit. Protection 2 (Impervious Protection 6)
When you apply a template, consider if it adds a new Combat Adjustments Close Damage +4, Dodge –2,
Complication to a minion. Do Bestial minions become Fortitude +4, Parry –2, Toughness +6
more easily enraged? Can Aquatic minions stay above Minions of unusual size stand twice their normal height
water indefinitely, or are they limited to only a few minutes? and possess incredible strength and resilience. They may
Does a Flying minion have wings that can be targeted? be unusually large “dire” versions of ordinary animals, or
towering alien beings.
AQUATIC TEMPLATE • 9 POINTS
PL Adjustment +0 MYSTICAL TEMPLATE • 12 POINTS
Statistic Adjustments Immunity 1 (Drowning), Movement PL Adjustment +0
1 (Environment Adaptation [underwater]), Swimming 6 (30 Statistic Adjustments Magic Array (10pp; Concealment 5
MPH) [all visual and auditory senses], AE: Teleport 5 [Extended;
Combat Adjustments None Medium]), Senses 1 (Magic Awareness)
Aquatic minions are perfectly adapted to an underwater Combat Adjustments None

environment, where many superheroes have a distinct Mystical minions are creatures of magic who can fade
disadvantage. They may represent a mystical underwa- from sight and step great distances through shadows,
ter race like Lemurians or merfolk, or be minions of more mirrors, or other mystically-themed mediums. Most also
powerful aquatic villains who provide them with technol- possess a magical-themed Affliction, Damage, or Move
ogy, magic, or gene therapy to adapt them to the sea. Object effect in addition to the two spells listed here, with
ranks appropriate to the PL.
BESTIAL TEMPLATE • 22 POINTS
PL Adjustment +2 ROBOTIC TEMPLATE • 20 POINTS
Statistic Adjustments STR +4, STA +4, Ranged Attack 2, PL Adjustment +0
Senses 2 (Acute Smell, Low-Light Vision), Speed 2 (8 MPH) Statistic Adjustments Immunity 30 (Fortitude effects)
Combat Adjustments Close Damage +4, Ranged Attack +2, Special: Remove the creature’s STA score. Replace Toughness
Fortitude +4, Toughness +4 defense with equal ranks in Protection
Bestial minions possess phenomenal strength and dura- Combat Adjustments None
bility, able to rend opponents with their bare hands, but
Mad scientists may construct robotic versions of common
also possessing keen senses and reflexes. They may rep-
minions or animals, while aliens may hunt alongside
resent mythical animal-human hybrids like a minotaur,
mechanical animals, and museums or movie sets may
gene-spliced soldiers, or powerful alien beasts.
feature lifelike robotic dinosaurs.
ELITE TEMPLATE • 16 POINTS ZOMBIE TEMPLATE • COST VARIES
PL Adjustment +1
PL Adjustment +0
Statistic Adjustments STR +1, STA +1, AGL +1, DEX +1, FGT
+1, INT +1, AWE +1, PRE +1 Statistic Adjustments No Stamina, Intellect, or Presence
Combat Adjustments Increase all skill modifiers, attack Powers: Immunity 30 (Fortitude effects)
modifiers, and defenses by +1 Combat Adjustments none
Elite minions are a cut above the rest: faster, stronger, and This template can be added to any creature to turn it into
smarter than others like them. Those with powers usually a zombie. It assumes the creature also loses any Intellect-
have their primary offensive abilities increased by +1 rank or Presence-based skills, but that it retains its relative
as well. Toughness: apply ranks of Protection to make up for any
Toughness lost due to having no Stamina rank.
FLYING TEMPLATE • 11 POINTS Example: A necromancer in the Lost World raises
PL Adjustment +0 a zombie tyrannosaurus rex! The creature loses
Statistic Adjustments Favored Environment (airborne), its Stamina (from 12 to —) as well as Intellect and
Flight 5 (60 MPH) Presence but gains Immunity 30 (Fortitude) effects.
Combat Adjustments None The GM gives it an additional 2 ranks of Protection
to make up for the loss of its Stamina, keeping its
Flying minions are swift and maneuverable masters of the Toughness at rank 14, so the creature has a net
skies. Their flight may be derived from technology, such increase in cost of 12 points, increasing the regular
as soldiers with jet packs, or the result of natural (or un- archetype’s cost to 83 points (from 71). Now, of
natural) wings. course, the monstrous dinosaur is tireless and
immune to attacks which target Fortitude...

158 GAME MASTER’S GUIDE

CHAPTER 4: PLOTS
CHAPTER 4: PLOTS
When talking about the “plot” of a Mutants & Masterminds adventure you can be talking about one of two things. The
first is plot in terms of story: how events develop and build on each other, flowing from one event to the next. The other
use of plot refers to the plans developed by villains, ranging from a simple heist or revenge scheme to a complex plot
to take over the world!
Villainous plots are often the driving force behind an adventure. The general assumption in superhero stories is that the
good guys are defenders of the status quo. While they might patrol the streets and monitor the police bands on alert for
crime, they generally do not act until there is a problem to solve or a threat to confront. Thus it isn’t until a villain puts a
plot into motion that the adventure really begins.
This chapter looks at six major types of villainous plots, including how the heroes learn about them, what they can do
about them, and many different variations you can use. It also looks at some of the successful (and challenging) ele-
ments of creating a Mutants & Masterminds adventure and provides plenty of ideas you can use as inspiration for the
creation of your own adventures. With the material in this chapter, you have potentially endless villainous schemes to
challenge the heroes in your game!
CONQUEST
“The world will soon be mine!”
The goal of many a master villain is to conquer and rule the world (or even the galaxy or universe, for the truly ambi-
tious). The motives vary from sheer arrogance and power-lust to a sincere belief that the world would be better off with
the villain in charge of things, able to fix problems the petty and squabbling governments cannot.
• A generator of natural disasters: earthquakes, vol-

ROADS TO CONQUEST canoes, tidal waves, hurricanes, and so forth, either
targeted wherever the villain wishes, or affecting the
Comic book supervillains have tried nearly every way entire world.
imaginable to take over the world, and comic book writers
have invented more than a few. Here are some of the roads • Melting the polar ice caps to flood the coastal areas
a villain might take toward world conquest, although they of the planet, even putting most of the world under
are by no means the only possibilities. Feel free to come water—perfect for the aquatic villains.
up with your own mad schemes!
• Technology able to launch long-range nuclear weap-
ons from the world’s arsenals, or simply set them off
THREAT in their silos, provoking a thermonuclear war and a
lingering “nuclear winter.”
By far the most common scheme for taking over the world
is by threat: the villain comes up with some sort of dooms- • A railgun able to hurl asteroid-sized rocks at targets
day device, capable of destroying or laying waste to the on Earth, or a tractor beam able to pull asteroids or
world (or at least civilization as we know it) and then comets toward Earth, causing devastation with their
threatens to unleash it if the world does not surrender im- impacts.
mediately to his rule. Typically, the villain provides at least
• Shifting the Earth or the Moon out of their orbits,
one demonstration of the threat in order to prove it exists,
wreaking havoc with weather patterns and causing
and sets a deadline for world leaders to respond, giving
massive natural disasters.
the heroes some time to take action. This demonstration
might be the tell for the plot, or it could come earlier, with • Blotting out or blocking the sun so its light cannot
the villain’s plans to acquire the necessary resources for reach Earth, causing plants to die and the world to
the threat, or even the threat itself. slowly freeze.
• An artificial singularity or a black hole, capable of

DOOMSDAY DEVICE consuming all matter and crushing the Earth, solar
system, or even entire universe into nothingness.
A “doomsday device” is any generic device capable of de-
stroying the world, or at least ending human civilization, • Self-replicating “gray goo” nanotechnology, able to
sufficient threat for a world-conqueror. Exactly what the break down all matter at the molecular level and use
doomsday device does varies, and is largely up to your the raw material to make more of itself until it con-
imagination. Possible doomsday devices include: sumes the entire world.
GAME MASTER’S GUIDE 159

BIO-WEAPON BLACK MAGIC

Life can sometimes be the greatest threat to itself, and Although mad science tends to be the preferred means
minds can devise many biological hazards capable of wip- of threatening the world, it is far from the only one. Mysti-
ing out human life on Earth. Villains with expertise in biol- cal master villains can get into the game, too, with magic
ogy or powers over living creatures and processes might capable of doing anything science can, and more, such as:
use them as weapons, as might ecological foes who con-
sider themselves “champions of the environment.” Some • Raise an army of undead, demons, or other magical
possible bio-weapons: creatures capable of destroying humanity, and prob-
ably quite eager to do so.
• An engineered disease, capable of spreading quickly
through the population and causing almost certain • Wield supernatural control over the elements, suf-
death. Once released, it becomes almost impossible ficient to create world-threatening natural disasters.
to stop without a vaccine or medical treatment (and • Transform ordinary people or animals into monsters
perhaps not even then). (similar to the Invasion approach) or threaten to turn
• A means of killing all plant life on Earth, ensuring the people to stone or some similar mystic curse.
world’s slow suffocation as the cycle of oxygen re- • Overthrow the laws of science and institute a world
plenishment is disrupted. Alternately, causing plants ruled by magical powers. This often shifts over into
to super-oxygenate the atmosphere could lead to di- full reality alteration (see that section, following).
sastrous levels of volatility.
COMPUTER CRASH THE DOOMSDAY BLUFF

In a world where super-criminals with doomsday ma-
The modern world is more heavily dependent on comput-
chines are a regular and common threat, the authorities
ers and telecommunications than ever. Even a brief disrup-
have to take any and all such threats at least somewhat
tion of the world telecommunications network could have
seriously. This means a villain could actually try to bluff
tremendous cost both economically and even in lives. Tech-
the world into surrendering! It would probably take more
savvy villains may seek to use this dependence to their ad-
than just an idle threat broadcast over the Internet or the
vantage with one or more of the following threats:
like, but a villain might be able to produce a small-scale
• A computer virus designed to infect and disable threat (such as the destruction of an uninhabited island,
computers worldwide, spreading across the Internet. for example) and then claim to be able to reproduce it on
a larger scale. After all, the only way of knowing for certain
• Control over computers and machines sufficient to that any villain’s doomsday threat is for real is by calling
control the world’s arsenal of military or even nuclear his bluff and having him go through with it!
weapons to use them as a threat.
• Seize the world’s financial markets, threatening to MIND CONTROL

wipe out the global economy in one fell swoop.
If everyone in the world has to do as you command, then you
• Control or threaten to disrupt worldwide air-traffic already have conquered it! Some villains use various means
control, sending numerous planes into fiery crashes of mind control to take over the world, although some find it
and effectively grounding all air travel. unsatisfying; ruling over a world of mindless puppets is not
WE DIDN’T START THE FIRE

One world-conquering scenario that can be interesting to explore in an RPG is having the heroes decide to take over the
world! People have long been aware that superheroes have the potential power to conquer nations or even the entire
planet—of grave concern to some—and some comics have explored this theme.
Heroes usually start out with the best of intentions: perhaps the world is in dire straits following an alien invasion or other
disaster and is in need of strong, decisive leadership, or the world is sliding into chaos and headed for disaster—such as
a global war—unless the heroes intervene. The good guys might simply be tired of doing their best and not really having
much effect; they decide taking over is the way to bring about real change for the good of everyone, whether they want
it or not.
This scenario can pit heroes against heroes as some favor the takeover plan and others oppose it. It also creates unusual
alliances as some villains oppose the heroes’ plans—they don’t want the competition! Other villains might support the
takeover, especially in exchange for a pardon or a place in the “new world order.”
Implementing or opposing a heroic takeover scenario can form the basis for an entire Mutants & Masterminds series, from
the first steps of the plan through its consequences and permutations. The heroic conquerors might realize the error of
their ways and abandon their plans, or they might have to be forcibly overthrown, fighting to the finish, with the future
of the world hanging in the balance.

CHAPTER 4: PLOTS
INVASIONS AND MASS COMBAT

If you are running an invasion scenario and the heroes are expected to join in the fight against the invaders directly, you
may find the optional mass combat rules (found in Chapter 7) useful. They can handle large numbers of invaders and help
determine the characters’ overall effect on the course of the battle.
the same as forcing an enemy to capitulate, and there is of- cluding friends, loved ones, and even other heroic allies!
ten no one to lord it over! On the other hand, some villains Hunted fugitives, the heroes have to figure out some way
are just fine with the concept of everyone in the world as of undoing the villain’s control and freeing the world be-
their puppets, and are willing to take full advantage. fore it is too late.
Techniques of villainous mind control vary, but the key ele-

ment in nearly all of them is a mode of transmission—get- INVASION
ting the effect to reach every person in the world. Gaining
access to the medium is typically the plot’s tell, allowing Some villains like to achieve their conquests the old fash-
the heroes to figure something is up, and giving them a ioned way: through sheer military might. This approach
means to do something about it by interfering with the involves building up an army or other invasion force and
carrier medium. Some mind-control media include: using it to conquer the world nation by nation, or all at
once through a massive invasion. Sometimes a sufficient-
• Broadcasting on radio or television waves or, in the ly large and powerful army is enough of a threat for the
21st century, over cell phones or other wireless de- world to surrender without a single battle being fought—
vices. This could be a subliminal signal or some sort although for the most militaristic villains, that takes all the
of “super-hypnosis.” fun out of it.
• Biochemical agents placed in food, water, or even in THE INVASION FORCE

the air. This often involves dosing sources of drink-
ing water or creating a new “food craze” with a mind- The key to an invasion is an army or invasion force, strong
control additive that subliminally encourages people enough to overwhelm conventional military forces, but
to introduce others to it, spreading the effect. which the heroes might be able to defeat in some fash-
• Enhancement of existing mental powers using tech- ion. The build up or formation of the invasion force might
nology or arcane devices or rituals. For example, a be the scheme’s tell, where the heroes learn about the
psychic villain might use a “mento-web” to exert con- plot and have a chance of stopping the army before it is
trol over nearly every mind on Earth, just as an evil unleashed. Otherwise, the invasion’s tell is usually some-
sorcerer might use a potent mystic gem or long-lost thing else (see The Weak Point, following). Types of inva-
rite to cast a spell over the entire world. sion forces include:
• Orbital satellites beaming down mind control rays on • Mercenaries or other human soldiers, but equipped
a hapless and unsuspecting populace. with high-tech or otherwise superior weaponry to
make them more than a match for a conventional army.
• Sheer superhuman charisma or ability to control
people who see or hear the villain, with influence • Clones, often equipped with high-tech as well, al-
spreading as public appearances do. This is the same though part of their advantage comes from superior
as broadcasting control, if the power works over the numbers and the ability to replenish their losses (as-
airwaves. Otherwise, the villain has to do things the suming a fairly rapid cloning process). They are often
old fashioned way, arranging a lot of public appear- conditioned for absolute loyalty.
ances in different parts of the world, which gets hard- • Aliens—an army of alien soldiers, often loyal to an
er as people figure out what is happening. extraterrestrial warlord master villain. The aliens may
• A “contagious” form of mind control that spreads have superior technology as well as super-powers of
from person to person like a disease. It might be their own. An extreme example is a small alien army
psychic or due to some physical agent (biochemical, of very powerful soldiers, each of them PL 12 or more
nanotech, etc.). and equivalent to a whole battalion of conventional
troops!
HEROES HUNTED • Robots, in shapes and sizes from small to giant, with
various weapons and capabilities. Perhaps the villain
A common theme of the mind control scenario is the he- has a means of transforming ordinary machines such
roes, for one reason or another, are the sole exceptions to as cars or appliances into mechanical soldiers!
the villain’s absolute rule. Perhaps it is some quirk of bio-
chemistry or circumstance, such as being off-world when • Plants, capable of moving and attacking on their own.
the mind control is established. The villain might also de- They might be ordinary vegetation animated by some
liberately exclude the heroes in order to enjoy turning the process of the villain’s, elemental spirits, alien plant-
whole world against them. They retain their free will but beings, or the like. Perhaps the villain is capable of stir-
are alone against an entire planet loyal to their enemy, in- ring the slumbering forces of nature to attack!

• Animals, either ordinary non-human creatures or scheme is often some sort of weak point of the invasion
beasts altered or enhanced in some fashion. For ex- force. The attacking animals are afraid of fire. Plant sol-
ample, a villain might have animal control powers or diers are vulnerable to herbicides. Aliens are allergic to
world-wide mind control that only affects lower life Earth germs. Zombies are driven off by salt or religious
forms, but sufficient to turn them into a conquering icons. Flashbulbs free mind-controlled soldiers from
army! the villain’s thrall. Whatever it may be, the weak point
is enough to potentially turn the tide of the invasion in
• Monsters, usually giant ones capable of taking on favor of the defenders, provided the heroes figure it out
armies and flattening cities, although massive numbers and make use of it in time.
of smaller monsters work, too. The villain may be ca-
pable of calling creatures from the hidden depths, the
inner-earth, other dimensions, and the like, or simply REALITY ALTERATION
growing them in laboratories until they are needed.
For some villains, it is not enough to simple conquer the
• Mind control victims, turned into utterly loyal sol- world; no, they have to remake the world in their own
diers for the conqueror’s cause. If a mind control twisted image, as supreme ruler of a new reality! Like
technique is not powerful enough to conquer the other world conquest schemes, reality-alteration scenar-
world all at once, it can still raise a powerful army for ios tend to have two tells: one when the villain first puts
the villain to take over the rest of the world through the plan into effect, giving heroes a chance to prevent the
brute force. People may be initially reluctant to fight changes to reality from coming about, the other after the
back against mind-controlled innocents. change has occurred, giving heroes the opportunity to
put things back the way they were (ideally without any-
• Zombies! A massive army of the undead is a clas- one else knowing anything has happened at all).
sic, best suited for the evil sorcerer, necromancer,
or death-god type, but also suitable for some mad What are some of the ways villains seek to control and al-
scientists. You can substitute skeletons, demons, or ter reality?
other occult creatures as well.
• Acquire a particularly powerful cosmic or magical
device capable of reordering reality to fit the user’s
THE WEAK POINT wishes. Examples include ancient vessels of magical
power, mysterious cosmic artifacts, complex spells or
If the heroes do not get to prevent the invasion from rituals, alien “wishing machines,” powerful genies or
happening in the first place, then the flaw in the villain’s similar entities, and so forth.

CHAPTER 4: PLOTS
WHOSE UNIVERSE IS IT ANYWAY?

A mind-bending approach to a reality alteration scenario is to confront the heroes (and the players) with the possibility
that their “default” reality is not what it appears! What if, rather than getting a tell about a potential reality alteration,
someone tries to warn the heroes that the world they have been adventuring in for the whole series is actually not what
it is “supposed” to be? This gives the players a better sense of what it is like to have to doubt the reality that has been all
you have known your entire life, which characters often must do in an alternate world scenario.
What will they do about it? Presumably, unless the series started out in a grim world ruled by villains, the heroes will
wonder if the “real” world is that much better off than their own. Perhaps the whole thing is merely a ruse to get the heroes
to trigger a change in reality to suit the villain’s larger plans, or the “real” world is actually worse than the one in which the
heroes now reside.
• Access a “higher” or “lower” level of reality in order to ALONE IN A WORLD NOT THEIR OWN
change the world as we know it. This might include
divine or mystic dimensions, or other layers of the Typically, if a villain’s reality alteration scheme succeeds,
cosmos, such as the ability to “redraw” reality from then the heroes are the only ones (apart from the villain)
the vantage point of the fourth, fifth, or higher di- unaffected by the whole thing, or at least able to do some-
mensions. thing to put things right once again.
• Travel in time and change history, rewriting the pres- The heroes might be immune to the effect by virtue of
ent into an alternate world where events follow a being involved in the process in one way or another. For
path set out by the villain. Classic examples include example, their proximity to the device or effect, or pre-
preventing archenemies from gaining their powers vious contact with it, could shield them in some way. If
(thus ensuring there is no one to oppose the villain) the villain uses time- or dimension-travel, and the heroes
or helping to make sure a previous scheme succeeds, are in pursuit, then they remain “outside” of the changes
giving the villain a second chance at success. that happen back home and find an altered world when
they return. Their powers might protect them from the
• Overthrow a higher cosmic entity (even a deity or
world-altering effect, or the villain could even deliber-
the equivalent) and seize its power, using the being’s
ately exclude them, providing an opportunity to gloat
might to recreate the cosmos according to the vil-
over their defeat!
lain’s wishes. A villain might even trick the heroes into
weakening or defeating the chosen target! Sometimes the heroes are affected right alongside ev-
erything else, transformed into alternate versions of
• Destroy the universe (or even an omniverse of every themselves, or even wiped out of existence altogether!
possible universe) in order to trigger a cycle of re- In this case, the players take on the roles of the alternate
creation the villain can direct. See the Destruction characters, or even entirely new ones native to this real-
schemes for ways the villain might go about this. ity, and they get a chance to find out what really hap-
• Create a virtual world—an extremely realistic com- pened and fix it.
puter simulation the villain controls, changing “real- Something informs the heroes that all is not right with
ity” at a whim. Some villains find this an unsatisfying the world. They might remember their previous existence,
cheat, no equal for altering and ruling the real world, transformed physically but not mentally, for some of the
but others try to take their friends and foes there to previous reasons described. A particular trigger or circum-
enjoy the experience of absolute power, planning on stance could “awaken” them to an awareness of what has
trapping the heroes and returning to take over the changed, especially for heroes with superhuman senses.
real world! Someone else from their original reality might find a way
to get a message to them, or they could have even sent
• Shrink the whole world down and put it inside a
one to themselves!
bottle or other container (mystic gem, portable
hole, etc.) so the villain literally “holds the world in
the palm of his hand”! This often allows the villain to
control the environment but, even if it doesn’t, it is RULING THE WORLD
difficult to defy someone who can crush the world as Of course, there’s the question of what to do with the
easily as we might break a fragile glass bottle. world once you have it in the palm of your hand, or un-
der your power-armored heel. This, more than anything,
The reality-alteration effect itself is the very definition of a
tends to trip would-be conquerors up, when they discover
plot device. It requires no game stats, since it can literally
holding on to the world isn’t the same as getting it in the
do anything! The only chance the heroes have of prevent-
first place.
ing it is by stopping the villain from fulfilling the require-
ments of the effect, be it acquiring a particular device or In the event that a villain’s scheme of conquest is suc-
changing a particular historical event. If they cannot do cessful, the plotter is faced with the prospect of actual
so, then they need to deal with the altered reality and find rulership of his newly conquered realm. Depending on
a way to undo it. the nature of the series, you may be able to spin this

out into an ongoing plot. For example, a villain might A villain might even manage to conquer the whole world,
manage to conquer and hold on to control of a city or and then relinquish it once he finds out what the job en-
country, forcing a stalemate with the heroes and world tails! This works especially well for a scenario where every-
powers. Later adventures can deal with attempts to thing returns to the way it was before the scheme even
“dethrone” the villain and restore the legitimate govern- started, leaving no one the wiser that the villain had the
ment, and the repercussions thereof. world for a time, before giving it up.
DESTRUCTION
“Soon it will all be over... forever!”
The greatest threat a group of heroes can face is a foe willing to destroy a city, nation, world, or even the entire universe
in pursuit of some mad scheme. The stakes could not possibly be higher, since a tremendous number of lives hang in
the balance should the heroes fail. Some villains are willing to commit such acts of destruction to attain their goals
(reasoning “there are always sacrifices”) while others seek annihilation simply for its own sake, perhaps even intending
to end their own existence in the bargain.
WHY DESTROY? secondary effect of unleashing enough energy to

destroy the world. The villain doesn’t care; he’ll just
create another world, if he feels like it.
There are a number of reasons why villains choose to in-
flict destruction and devastation on the world. For some, it • The true target is not an area, but a specific individ-
is merely a side effect of the attainment of their true goals. ual, group, or object the villain considers a threat.
The rest is just “collateral damage.” For example, it’s
POWER not hard to imagine an alien empire devastating an
entire world in order to eliminate a particular super-
human they consider dangerous, or a mystic villain
Perhaps the most common motive for widespread destruc-
seeking to destroy an ancient and powerful artifact,
tion is the attainment of power. This is beyond just con-
even knowing that doing so will unleash a cascade
quest (as described in the Conquest section); the villain
of destructive occult energies able to annihilate a
doesn’t use the threat of destruction to attain power, but
continent.
the devastation itself in some fashion. Even if the world was
willing to surrender, the villain might not consider it!
Here are some ways in which destruction might aid a vil-

SURVIVAL
lain in acquiring great power:
Some villains destroy because they need to do so in order
• The process of destroying the target unleashes tre- to survive. Indeed, it can be questionable whether or not
mendous forces, perhaps the equivalent of convert- such foes are “villains” at all. Often they are merely follow-
ing all matter in the affected area into usable energy ing their own instincts and nature. Others might have a
the villain can then capture. This can range from part choice in the matter and it is frequently the heroes’ role
of a city to an entire universe! to convince their destructive foe to take a different path.
Then there are the truly selfish villains who destroy in or-
• The villain gains the ability to re-create the destroyed der to extend their own lives beyond their natural means.
target, shaped and re-ordered as he sees fit. A villain Some examples of survival-based destroyers include:
might plan to destroy the universe, for example, in
order to re-form it in his own image. • A cosmic entity that devours life force, planets, or
even stars in order to feed. This galactic scourge
• The destruction of the target is a sacrifice or offer- might be just a massively powerful eating-machine
ing to a higher being willing to grant the villain great with nothing resembling sentience, or a vastly intel-
power in exchange. Of course, there is a chance this ligent and experienced being driven by impulses be-
offer is actually just a ploy to get a gullible mortal yond its control.
pawn to unleash destruction on the world, in which
case the villain might be willing to help the heroes • A villain sustaining his life by draining or sacrificing
prevent it if they can reveal the truth. the lives of others. This might be part of a mystical
pact or ritual, or a scientific process requiring massive
• The devastation is merely a side effect of something amount of biological material or life-force “energy.”
else the villain is doing. For example, a foe might The destroyer is essentially a vampire on a massive
want to reach a powerful artifact at the center of the scale; perhaps the energy requirements grow expo-
Earth, but the only way of doing so is to crack the nentially as time goes on, and the villain is willing to
world open like an egg. Similarly, a villain’s ritual or kill all life in the world or even the universe if it means
process for attaining godlike power might have the just one more day of existence for him.

CHAPTER 4: PLOTS
• A being whose very presence is toxic in some fashion: looking for a way to die, and it usually involves something
radioactive, contagious, or inflicting some sort of mad- big enough to kill everyone else, too. Examples include
ness. It might still have to go out among other crea- immortal or regenerating characters tired of continually
tures if only to stave off going mad from loneliness, living, imprisoned and exiled gods seeking oblivion, and
knowing that all it touches or passes are doomed. cosmic beings tied to the very existence of the universe,
who can only “die” if everything comes to an end.
• Alien larvae that use worlds as “incubators” but
then erupt from the planetary crust to consume
everything on the surface, much like hungry grubs
or caterpillars. Then they metamorphose into their
THE THREAT
space-faring adult form to seek out new planets and Once you know why the villain wants to destroy, the next
continue the cycle. question is: how? See the Threat and Doomsday De-
vice sections of the Conquest scheme for various ideas
• A race or entity from outside our universe who feels on how a villain might attempt to destroy the world. The
threatened by our existence and believes destroying difference here is the bad guy is not just threatening, but
our universe is the only means to ensure we never pose fully intends on following through and actually carrying
a threat. Alternately, a dying universe might seek to re- out the threat!
vive or restore itself by draining or taking over ours.
• A villain imprisoned in such a fashion that escape re- TEST RUN

quires destruction on a massive scale. This might be
a sacrifice of sorts to re-empower the villain (particu- Fortunately for the world, villains rarely ever come up with
larly suitable for exiled gods of war or death), or the a doomsday weapon in secret and then throw the switch,
process of breaking the prison could do tremendous making the first anyone learns of it the moment when the
damage to the world or even the fabric of reality. world ends. Instead, complex destructive plots usually
involve steps that give the authorities and heroes some
warning of what is coming. These include acquiring the
NIHILISM doomsday method itself, any necessary components, and
potentially testing it to make certain it will work when it
For the nihilist, destruction is its own reward. A nihilistic is supposed to.
villain seeks to destroy in order to make an offering to the
gods or concepts of death, to create perfect order and If the villain does not invent the threat, then it is most like-
peace by ending all life, or to satisfy the urge to prove that ly stolen, the first potential clue for the heroes. If a scientist
all existence is ultimately meaningless. known for his work with artificial singularities suddenly
goes missing, for example, or the Department of Defense
Nihilistic villains are some of the most dangerous because loses top-secret research on an alien super-weapon, the
total destruction is their goal rather than just being a means heroes know something bad is about to happen and can
to an end. Heroes might be able to talk power-mad or sur- start investigating. They might even be on-hand when the
vival-driven foes out of their schemes, or find other options, villain steals the first stage of the threat, telling them ex-
but it is difficult to convince a true nihilist otherwise. actly who is behind it!
Nihilists are also often tremendously powerful, in order to Once the villain has the concept or plan for the threat,
carry out their plans, although that does not have to be then comes the means of building or activating it. That
the case. A nihilistic villain could be a mad (but otherwise could require getting particular parts, equipment, or ex-
human) genius who has created some type of doomsday otic supplies. Again, when a series of thefts adds up to the
weapon, for example. equipment needed to build a bomb capable of turning
reality inside-out, or the components of a ritual to throw
SUICIDE open the gate to the Elder Gods, the heroes have a good
idea of what’s coming and can begin taking steps. Perhaps
The villain seeks to end his own existence and taking a lot they figure out the next link in the chain and set a trap, or
of others with him (perhaps even all of creation) is just a use the opportunity to track the villain back to his lair and
side effect or a fringe benefit, depending on how you look find any hostages along with the rest of the stolen goods.
at it. Many nihilists (previously) are also suicidal, the final
stage of their work being to end their own lives once they Finally, once the villain has the means, there may be a
have destroyed everything else. Other suicidal villains need to test the method, especially if it has never been
don’t particularly care whether or not anyone else dies, used before. So, for example, if the villain’s doomsday de-
but they won’t be dissuaded by the possibility that they vice is supposed to shift the entire world into a nightmar-
will destroy entire civilizations. ish other-dimension, the bad guy might try it out first on
a smaller section of real estate—the heroes’ headquarters,
Suicidal destroyers are, unfortunately, usually quite tough, for example. The test is an opportunity to show off to the
since if it were easy to disable or kill them, they would players the very real nature of the threat and what it could
have already managed it on their own. Some are hell- do on a larger scale, while also giving them another chal-
bent on taking a lot of others with them and going out lenge. Now the good guys have to deal with a minor di-
in a blaze of glory, in which case they may not have any saster (like finding their way back to Earth) and still stop
special protection. However, the typical suicidal villain is the villain in time.

DOOMSDAY effort, inspiration, and the other options hero points pro-
vide to find ways around them. This helps make for a more
Eventually, it comes to the moment of truth: the villain is exciting conclusion than just showing up and knocking
ready to bring about terrible destruction and the heroes the villain for a loop.
are the only ones who can prevent it. Often, villains are hoist on the petard of their own dooms-
Unless you are willing to allowing for the possibility that day plans: when the heroes stop the doomsday device it
the villain will actually destroy things, the best way of turns its destructive impulses inward, for example, or the
handling this final confrontation is to make thing difficult villain loses control of whatever terrible forces he has un-
for the heroes, but hand out lots of hero points as you leashed when the heroes disrupt his concentration. This
do so, giving the players opportunities to spend them in provides a good opportunity for a mysterious death as the
last-ditch efforts to put a stop to the villain’s plans. Place bad guy plunges into the heart of the Annihilation Reactor,
roadblocks in their way and encourage them to use extra or is seemingly dragged off into some hellish netherworld.
KIDNAPPING
“There’s no escape for you now!”
Rescuing someone held captive by a supervillain can be one of the greatest challenges that heroes face. Dealing
with danger comes with the superhero game, but things are different when there are potentially innocent victims
caught in the crossfire. Kidnap victims often have no superhuman powers to protect them, and heroes pledged to
keep them safe sacrifice a certain amount of leverage. They must proceed cautiously, and their usual method of just
bursting through a wall could get the victim killed. This becomes even more potent when the villain abducts some-
one personally important to one or more of the heroes; loved ones have a tendency to end up captured and held for
ransom or used as bargaining chips.
The primary things to consider in a kidnapping scheme be as simple as demanding the electronic transfer of
are: who gets abducted, why, how, and what (if anything) funds or a more involved interrogation to find out some-
does the kidnapper want in exchange for their safe return? thing the victim knows, such as a password, vital piece
of technical information, or the location of a stolen item,
THE MOTIVE for example. The target is sometimes not an innocent in

the whole matter, such as when the hero is unaware the
victim stole something from the villain, leading to the
The reason for the kidnapping comes first, since it tends to
kidnapping.
dictate the choice of target. There are a number of reasons
why a villain would seek to kidnap someone: Kidnap victims who give up what the abductor wants usu-
ally serve no further purpose, meaning the villain might
RANSOM let them go or seek to eliminate them. Often, the kidnap-
per keeps the target around to ensure the information
The first, and most common, reason for kidnapping is to acquired was accurate or in case they are needed further
use the victim as a bargaining tool in order to get some- to attain the villain’s ultimate goal, giving the heroes a bit
thing. This might be money, information, material re- more time.
sources, or even another, less accessible, target willing to
surrender or trade places with the hostage. See The Ran-
som section for details on these various options.
REVENGE
Ransom targets are chosen for their value to the party The villain has a grudge or vendetta and the abduction
with whom the kidnapper wishes to negotiate. The loved is the first step toward revenge. In this case, the target
ones of notable wealthy individuals are potential targets is either also the focus of the kidnapper’s vengeance, or
for financial ransoms, for example. Sometimes the ran- simply a means to an end. So, for example, a villain might
som people expect is not the one the villain is seeking; abduct the man he blames for ruining his life, or he may
for example, a CEO’s daughter is seemingly kidnapped for kidnap one or more of that man’s loved ones, intending to
monetary ransom, when the kidnapper is actually looking make him suffer by taking out his anger on them.
for top-secret access to the executive’s hidden files on an
The exact nature of the kidnapper’s revenge can be as
illegal research project.
simple as killing the victim or as elaborate as the villain’s
imagination (and that of the GM) can dream up. Revenge
RESOURCES schemes tend toward the elaborate, both because it satis-
fies the villain’s need for the victim to suffer and because
Sometime the kidnapper is looking to negotiate a ran- it’s more dramatically interesting, providing the heroes
som directly with the target of the abduction. This can with time to actually do something about it.

CHAPTER 4: PLOTS
REVELATION
The last sort of catchall category for kidnapping schemes
is for those where the villain wants the victim(s) to learn
or witness something. So a super-criminal might kidnap
a woman only to reveal that he is actually her father, for
example, or an obsessed stalker might kidnap the object
of his “affection” in hopes of winning her over. This type of
kidnapping is often the culmination of a subplot involving
the relationship between the villain and a hero, where the
hero learns what is really going on.
If and when the revelation does not go as the villain

planned, this type of kidnapping can turn into another
type. Thus the spurned abductor decides to get revenge
by placing the former object of his affection in a death-
trap, or to hold a victim for ransom after revealing a ter-
rible truth, for the double-impact of returning the target,
but not entirely “unharmed.”
THE VICTIM
The victim of a kidnapping depends a great deal on the
type of scheme: someone wealthy and connected for a
ransom, someone involved with the kidnapper in some
fashion for revenge or revelation. Chances are good the
heroes will interact with the victim at least somewhat if
they are successful, so give some thought to whom it is.
For added involvement, the kidnap victim can be some-

one connected to the heroes, or even a friend-of-a-friend,
rather than a complete stranger. An abduction is that
much more forceful if the heroes have a personal stake in
finding the victim safe and sound. Sometimes the charac-
ters do not discover this connection until after the crime
has occurred; for example, a third party might reveal the
kidnap victim is a hero’s long-lost sibling in order to en-
courage the good guys to help, or simply out of concern
that the hero know the truth before it is too late.
MISTAKEN IDENTITY
A common element of kidnappings in the comics is a case
of mistaken identity; the villain abducts the wrong person
based on faulty information. It may be the person taken
bears a startling resemblance to the intended victim, or
the kidnapper was misinformed in some fashion. Perhaps
a villain thinks he has stumbled upon a hero’s secret iden-
tity and kidnaps that target; imagine the hero’s surprise
when she learns the villain thinks he is holding her hos-
tage, or the villain’s shock when the hero shows up for real!
Mistaken identity often involves heroes in the kidnap-

ping because one of their supporting cast gets targeted,
perhaps even the hero’s civilian identity. This can turn an
otherwise routine case for the police into something that
gets superhuman attention.
SUPERHUMAN VICTIMS
In a typical M&M setting, a kidnap victim may be a fellow
superhuman, particularly a well-known hero, or even

KIDNAPPING AND SECRET IDENTITIES

A common twist in the comics is for a hero’s secret identity to become the target in a kidnapping attempt, often one
aimed at the hero! This is particularly common if the secret identity is known to be a “friend” or person of importance to
the heroic identity. Kidnappers might believe they are abducting a costumed crime-fighter’s best friend, employer, or
relative without knowing they have in fact captured the hero himself! Such schemes either end up succeeding due to
blind luck, the hero’s inability to take action without exposing his secret, or a hero’s willingness to play along with the
scheme in order to find out what is really going on and prevent anyone else from being endangered. After all, if the initial
attempt fails, the kidnappers might go after one of the hero’s other friends or loved ones.
The primary conflict comes in dealing with the kidnappers without exposing the hero’s secret. There may also be some
real danger, if the hero isn’t invulnerable or the kidnappers have weapons capable of harming him. For example, a
powered-armor heroine abducted in her secret identity is without the benefits of her suit, and as vulnerable as any
other ordinary person. Even a hero with special protection has to be careful, lest the criminals discover it and put two
and two together.
Teammates can assist in the rescue operation as well as covering for the captured hero’s absence, perhaps using
disguise, shape-changing, illusions, or even clever computer and audio/video tricks. An even more involved version
can have multiple heroes captured in their secret identities, which gets even trickier if they are kept secret from each
other!
a villain! A common plot device is to set up a situation to prevent it, depending on the nature of the scenario. If
wherein non-player character heroes are abducted and the you intend to focus on the good guys rescuing the vic-
player characters have to come to their rescue. It’s a good tim, then having the heroes present when the crime hap-
way to introduce new heroes in a setting with established pens is primarily a reason to hand them clues directly and
good guys, demonstrating to the established crime-fighters award the players hero points when the villain inevitably
that the newcomers have what it takes to get the job done. escapes with the victim. If the heroes can prevent the ab-
duction initially, then the adventure becomes about safe-
In a somewhat more gritty setting, it’s also a way of thin-
guarding the victim against another attempt while track-
ning the ranks of the costumed hero set at the same time.
ing down the villain (or perhaps using the target as bait
The player characters might not be able to save the vic-
and setting a trap).
tims, only avenge them, or the kidnapped heroes may de-
cide it is time to hang up their capes and cowls and turn
things over to the new kids, especially if the abduction
involved terrible revelations that have shaken their con-
THE RANSOM
viction in their heroic calling. Kidnappers demand a variety of things as ransom for the
return of their target(s)—assuming the abduction of the
Capturing and holding a super-powered victim tends to
target was motivated by a desire for ransom of some kind,
require special preparation and resources. The kidnapper
and not an end unto itself (as with the revenge and revela-
may need to overcome certain protective powers (includ-
tion types).
ing superhuman senses that might warn of an attack) and
prevent the target from using powers to escape or fight
back. The simplest measure is to keep a captured victim CASH
unconscious using drugs or similar measures, although it
leaves the villain without an audience for taunts and rants, The simplest and most straightforward ransom is cash,
and certainly does not work for a revelatory kidnapping. and lots of it. The kidnapper may demand a particular
Other abductors may have power-nullifying countermea- kind of currency, delivered in a particular way, like the
sures or knowledge of the target’s weaknesses, if any. stereotypical “small, unmarked bills” left at a drop point.
Others may demand more exotic forms of payment, rang-
ing from electronic credit transfers to shares of common
THE ABDUCTION stock, bearer bonds, or even valuable items.
The actual capture of the victim often takes place before A demand for a monetary ransom may turn out to be
the heroes are even alerted to the crime. Indeed, it is the a cover for some other goal, such as luring the person
kidnapping itself that gets the crime-fighters involved. So meant to deliver the ransom into a trap, or acquiring a
they learn about it after the fact, meaning you should con- valuable piece of jewelry that is also a powerful magical
sider how the villain did it and what the heroes can find artifact or part of some larger scheme.
out from witnesses, examination of available evidence,
A common twist on the monetary ransom is for the kid-
and so forth. This sets up an investigative phase where
napper and the “victim” to turn out to be secretly working
the heroes’ main job is to figure out who the kidnapper
together to scam a large sum of money out of a rich rela-
is, their motivation, and where the victim is being held in
tive or other associate. They then either disappear togeth-
order to stage a rescue.
er, or the “victim” is returned home, only to vanish a short
Occasionally, the heroes are around when the kidnapping while later. This arrangement often ends in a double-cross
occurs, although they may or may not have much chance of some sort to further complicate matters.

CHAPTER 4: PLOTS
INFORMATION times the kidnapper tries to kill both hero and victim!
Other villains claim more of a sense of “fair play,” releas-
ing the “pawn” in their scheme in order to capture the
Rather than mere cash, the kidnapper may demand infor-
more important piece.
mation in exchange for the victim’s safe return. In the right
hands, passcodes and similar secrets can be more valu- A cunning villain does not even have to actually abduct
able than any portable sum of money. Obsessed villains someone. The bad guy could simply fake the abduction
might demand a heroic foe unmask in front of them, or on of someone the hero cares about. Perhaps the support-
nationwide live television, for that matter. They can ask for ing cast member is incommunicado and the villain uses a
the secret of a hero’s powers, her closely guarded weak- doctored video or an android simulacrum. After the hero
ness, nuclear launch codes, the formula for Coca-Cola ... has rushed to the rescue, the “victim” turns up safe and
nearly anything that is potentially valuable to someone. sound, wondering what’s happening!
OBJECT THE DROP

The ransom can be something the kidnapper wants other The planned delivery of the ransom is often a key dramat-
than money or information, from a personal keepsake to ic moment in a kidnapping scenario. The heroes may seize
the Eiffel Tower, assuming the victim’s friends and fam- upon it as their chance to get at the villain, or at least a
ily are in a position to provide it. The value of the desired lead to track the victim’s location. The abductor may even
object might be obvious to everyone, or just to a select insist that a hero deliver the ransom for some reason, from
few—perhaps only the villain. As with cash, the apparent a simple power trip to luring the hero into a trap.
value might also be a blind for some other purpose. A sor-
cerer demanding a rare Indian ruby could have plans to The typical ransom drop is placed in a predetermined
use it as a component in an arcane ritual rather than just place, from a trash bin to a train station locker, allowing
keeping it or selling it on the black market. the kidnapper or his associates to retrieve it later. The kid-
napper may require a drop-off that moves in some fash-
ion, such as a subway train car, dump truck, delivery van,
ANOTHER VICTIM or the like, allowing for a pick-up anywhere along its route
and making pursuit more difficult. Of course, this need is
A common villain trick in the comics is to kidnap some- lessened if the villain has some means of appearing and
one important to a hero in order to lure him into a trap disappearing at will, making the drop perhaps the only
or situation of the villain’s choosing. The victim is merely shot the heroes will get at him. A common trick is to place
bait, although the villain won’t necessarily let a useful a bug or tracer in or on the ransom, using it to track the
bargaining chip go while dealing with the hero. Some- villain back to his lair and, hopefully, the victim.
EXTORTION
“Unless you meet my demands, the city will pay a terrible price!”
Extortion, using force or leverage to demand something from a victim, is actually a very common crime, but much of
what might be called extortion is covered by other sections of this chapter, particularly conquest, kidnapping, and
theft. In this section, “extortion” is focused on using some kind of threat other than kidnapping to get something the
villain wants from a victim. It may involve an ongoing relationship where the villain “squeezes” the target, using threats
to ensure compliance. The longer it goes on and the deeper the victim gets, the more difficult it can be to get out from
under the extortionist’s influence.
An extortion scheme has two main elements: what the vil- what they claim. So a villain looking to extort money out
lain wants and the threats used to get it from the victim(s). of a city with the threat of a powerful weapon, for example,
Let’s look at the threats first. may use the weapon on a smaller target where everyone
can see it, then send demands to City Hall.
THREATS Related to and often restraining believability is discretion.

Sometimes the villain wants to avoid notice, so no one
The key things about an extortion threat are believability else finds out about the extortion. This means more of a
and degree of discretion. In the first case, the threat offered subtle threat that can be conveyed to the target behind
by the extortionist has to be credible. If the target does not the scenes without anyone else finding out. Villains going
feel threatened, or thinks the villain may be bluffing, then for this sort of extortion tend toward blackmail; after all, if
there’s less of a tendency to go along with the demands. the information they have gets out, it’s useless in terms of
This is why villains often demonstrate their threat in ad- exerting influence over the target, so both sides have an
vance to prove they are in earnest and capable of doing interest in keeping things quiet.

DEATH AND DESTRUCTION tions. In the comics, would-be blackmailers often end up
either dead or robbed of their memories, or at least of
whatever proof they might have, rendering their threat
Overt threats tend to take the form of super-powered
terrorism, with villains promising death and destruction harmless. Keep in mind, however, that such scenarios
(often on a massive scale) if their demands are not met. have the potential to significantly alter a character’s life
The Threat section of the Conquest scheme offers a wide and career.
range of potential threats also usable for extortion. Rather
than demanding outright surrender, the villain may re-
quire money or some other ransom to stave off the threat
DEMANDS
(see Demands, following). Once the threat is established, there’s the matter of what
the extortionist wants in exchange for holding off. Are the
Other threats are devastating, but somewhat less de-
victims willing to meet the villain’s demands and, if so, for
structive. For example, a villain with transmutation abili-
how long? Or will they choose to call the extortionist’s
ties might threaten to flood the world markets with huge
bluff, hoping the villain really is bluffing and won’t carry
amounts of gold or other precious metals or commodities,
out the threat? The range of demands varies depending
essentially reducing the value of such things to almost
on the extortionist’s goals.
nothing overnight. This could have a devastating impact
on global economies and serve as a sufficient threat to
extort cooperation from governments and businesses. CASH
Similarly, a villain could threaten to release certain na-
tional secrets, or disrupt other important infrastructure, The most common demand is for cold, hard cash, usually
ranging from blacking out global radio or satellite comas much of it as the extortionist thinks the victim is willing
munications to crashing the entire Internet. Perhaps the and able to hand over. As with the Ransom discussed for
villain can influence weather patterns enough to cause all Kidnapping schemes, different villains require different
kinds of trouble, or can incite machines to “revolt” against kinds of currency, from small bills to bearer bonds or elec-
humanity. tronic transfers, handed over in various ways.
Commonly, extortionists (especially blackmailers) tend to

BLACKMAIL get greedy. Once they get an initial cash payment, they
are tempted to milk the scheme—and the victim—for all
Blackmail threats tend to be subtle, since much of the they can. So one payment may turn into several, slowly
threat is contained in even knowing the potential for bleeding the victim dry. The criminal may even demand a
blackmail exists. Essentially, the villain knows (and is able “payment plan” up-front, expecting regular sums of mon-
to prove) something someone would prefer to keep se- ey to stave off the threat. A common motive for murder
cret, and threatens to release that information if demands is to eliminate an extortionist and put an end to their de-
are not met. mands, while also ending the threat (at least until some-
body else finds out about it).
The blackmail information can range from merely embar-
rassing (but with serious personal consequences, such as
evidence of an affair or indiscretion) to devastating, such OBJECTS
as proof of serious crimes. For example, a villain may learn
that a certain pillar of the business community in fact Rather than money, an extortionist may be interested in
earned much of his wealth through criminal means, and something else, usually a particular rare or hard-to-get
threatens to expose the truth unless the tycoon agrees to item or piece of information. Thus a villain might extort
a big payoff. the owner of a particular corporation to acquire some
new piece of technology or a component in one of the
Blackmail scenarios are often morally ambiguous, since villain’s other schemes. An arch-foe could threaten the
they can put the heroes in the position of defending one city with destruction in an effort to force a hero to unmask
criminal from another. Frequently the information the vil- in public, or even just admit responsibility for the actions
lain threatens to reveal is personal and private. It might be that led to the villain’s vendetta.
a youthful indiscretion, or a mistake the victim has long
since repented that has come back to haunt them. Heroes may try and stage a fake hand-off of a demand in
this case to draw the villain out, or at least buy them enough
A variation on the blackmail scenario is for a villain to
time to find the extortionist and nullify the threat. So passing
blackmail one or more of the heroes! The most common
off a fake for the item the mad scientist needs to complete
information is knowledge of a hero’s secret identity, which
his doomsday device may not only offer the good guys a
a villain can potentially auction off to the highest bidder,
chance at capturing him, but can also thwart his long-term
unless a hero is willing to pay hush money or otherwise
plans... if the villain doesn’t catch the switch right away.
meet the blackmailer’s demands to keep quiet. An extor-
tionist might learn of other skeletons in a hero’s closet,
ranging from a secret criminal past to knowledge about FAVORS
the hero’s true origins, such as being related to a notorious
villain. How the heroes deal with the threat of blackmail Lastly, the extortionist may ask for certain favors or ser-
can be a major turning point and a test of their convic- vices from the victim. This is generally limited to blackmail

CHAPTER 4: PLOTS
threats, wherein the blackmailer initially asks for some- A villain such as the Crime Lord (see page 82) may have
thing fairly innocuous. Once the victim is committed, of an extensive network of blackmail and extortion, provid-
course, each additional favor digs the hole deeper, as they ing leverage throughout a city’s government and judicial
only give the criminal more material with which to black- system. This is part of what makes the villain so danger-
mail the victim, until eventually the villain can demand ous, and one of the prime reasons why only an incorrupt-
almost anything. ible and unknown (i.e., masked and mysterious) vigilante
working outside the system can take that villain down.
MURDER
“Some might call this justice... I think of it as fun.”
Outright killings are often more of a threat in the comics than an actual reality, although in some Iron Age and modern
comics the body counts can be quite high. Still, murder (or, at least, attempted murder) is a common crime, and it is up
to the heroes to ensure it remains just attempted rather than successful.
THE MOTIVE act vengeance. The good thing from the heroes’ perspec-
tive is that a quick and unexpected death is not usually
enough to satisfy revenge-obsessed villains. No, the vic-
Why does the villain want to kill someone? The motive is
tim has to know who is responsible and why. This means
the driving force behind the scheme, so it is the first thing
either a series of threats or near-misses intended to instill
to consider. People are willing to kill for any number of
terror in the victim, along with taunting threats to make
reasons, but the assumption for a murder scheme is a pre-
clear who is responsible, or else a kidnapping scheme (see
meditated crime, one the heroes can potentially thwart,
Kidnapping) that culminates in the death of the victim,
which limits the range of motives somewhat.
once the villain has had time to rant and rave and perhaps
torment the target before finally finishing the deed.
REVENGE
Sometimes a villain’s revenge killing may almost be justi-
One of the most common motives for murder is revenge: fied, such as a monster created by callous scientific experi-
the villain feels wronged by the target and intends to ex- mentation going after the scientists or the management-

types responsible. Still, heroes dedicated to the idea that tion schemes (see Extortion) try to kill the blackmailer to
killing is wrong should look to prevent the crime and con- put an end to the threat. Villains often kill to cover their
vince the attacker not to sink to the level of the real crimi- tracks, eliminating witnesses to their crimes, or killing the
nals. There is a fine line between “justice” and “revenge,” one expert who could figure out their scheme before it is
especially in the world of masked vigilantes, and a hero too late, and in so doing triggering an investigation that
who crosses that line may become a fugitive from the law brings the heroes right to their doors.
for executing criminals rather than bringing them to jus-
tice (a version of the Assassin or Martial Artist archetypes This motive is the one most likely to end up with the good
as vigilantes). guys investigating a murder rather than trying to prevent
one, but a potential target who knows of the danger may
come looking to trade information for heroic protection.
JUST BUSINESS Sometimes this ends with the heroes as witnesses to the
murder, with the victim managing to gasp out one final
Murder-for-hire is a lucrative job for villains with the right clue. In other cases, the good guys can protect the target
abilities, and heroes may face off against mercenaries long enough to make use of the information and take
and assassins. They range from non-powered but highly down the villain.
skilled (and equipped) professionals such as the Assas-
sin archetype (see page 76) to superhumans willing to
use their powers to make a literal killing as mercenaries.
Usually the good guys are tipped off by either a failed first
THE PROTECTION
attempt at a hit or the first in a series of assassinations of The primary obstacle between the killer and the target is
related targets. They might also learn about a known killer often the heroes, but the villain’s plans must take into ac-
coming into their territory from underworld or police con- count any other protection the target might have. High-
tacts and take the proactive step of trying to find the vil- profile types such as government officials, executives,
lain before anyone dies. and celebrities often have hired bodyguards or the direct
protection of law enforcement. Witnesses to crimes and
Professional killers generally do not have it in for the he-
criminals willing to enter protective custody also have po-
roes unless they happen to get in the way of the job. Then
lice protection, or even that of a federal agency.
all bets are off, unless the killer has a particular honor
code about not taking out “bystanders” or simply “not do- Many of the same measures discussed under The Secu-
ing freebies,” letting the good guys live because nobody is rity in the Theft scheme are also used to protect people,
paying to have them killed! although security measures also decrease the ability of
someone to move about freely and without notice.
In fact, sometimes the hired killer is gunning for the he-
roes themselves. Master villains often hire assassins to A target’s protection may prove sufficient to thwart the
remove heroic obstacles to their plans, and the first the initial attempt, but so narrowly that the heroes get called
heroes may learn of a villain’s scheme is when someone in to help deal with the problem before the killer tries
takes a shot at them. Capturing and interrogating the as- again.
sassin can provide clues to kick off the investigation and
move the plot along.
THE EXECUTION
MAKING AN EXAMPLE When it comes down to exactly how the killing will be
carried out, the answer is usually some sort of direct con-
Criminals use murder as a means of terrorizing others and frontation, although not necessarily between the person
keeping them in line by making an example of someone. who orders the killing and the victim. Proxies are often
The classic Silver Age master villain casually kills under- used, from hired assassins to killer robots, but the key is
lings who dare to question his judgment as an example the attempted killing is something the heroes can prevent
to the others, while criminal syndicates murder those who through quick and decisive action. Comic book murders
refuse to toe the line or choose to defy them. rarely use exotic poisons, for example, unless the heroes
Knowing this, a potentially defiant underling or target are likely to have the means of preventing the poisoning
may seek out a group of known superheroes for pro- or saving the victim. A method that leads to a big fight
tection from the villain’s inevitable wrath. Consider the generally works better than one that does not.
agent of a criminal organization, willing to spill all that As with many things, the villain’s motif may dictate the
he knows in exchange for protection from the agency’s preferred method of execution. A professional assassin
assassins, or the target of an extortion racket willing to might use a sniper rifle from a distant rooftop, setting up
testify in court, provided the heroes can keep him alive a shot with great precision; a hero notices the targeting
long enough to do so. laser at the last instant and pushes the victim out of the
way, or leaps in the path of the bullet. Conversely, a crimi-
COVERING TRACKS nal obsessed with chess might send the victim a booby-
trapped chess set or even go for an elaborate deathtrap
A victim may be marked for death for knowing too where the victim is forced to play a live game of chess
much, information that could potentially damage the against murderous robot “pieces” that “take” other pieces
killer’s future plans. For example, some victims of extor- in the game by smashing or destroying them!

CHAPTER 4: PLOTS
As discussed under Motive, villains out for revenge are particular victim profiles and have complex rituals for
not likely to be satisfied with quick and clean killings. carrying out their crimes. In terms of plot, these proclivi-
They want the opportunity to confront the victims, per- ties give the heroes the opportunity to locate the victim
haps toy with them, draw out their torment. The same and arrive just in the nick of time to prevent the villain
is also true of many serial-killer types, who often go for from following through.
THEFT
“Hello there, my pretties...”
Some villains do not want power, revenge, or attention ... they simply want things, and they are willing to steal them.
Indeed, theft may be the only way of getting certain rarities, and a lot of super-criminals simply find it easier to use their
abilities to steal rather than for honest work.
In other cases, theft is merely a means to an end for villains, providing them with either needed cash or various resourc-
es to further their other schemes. These thefts may tip off the authorities—and the heroes—about the villain’s plans,
giving them a chance to investigate and do something before it is too late.
The primary elements of a theft scheme are the target, what is between it and the thief (the security), and dealing with
the goods after they have been stolen.
Thieves looking for cash tend to target places and people

THE TARGET with a lot of it: banks, major retailers, armored cars, and so
forth. There is also the modern option of stealing cash elec-
The target of a theft may be something obviously valu- tronically, although this is a harder crime for superheroes
able, such as cash, or an item whose value is known only to thwart, unless they have computer- or electronic-related
to the thief (and, perhaps, its owner). Some targets are powers (for a confrontation with the thief in cyberspace, for
common but well protected, others rare. example), or they can track the villain back to his lair.
CASH VALUABLES
Cold, hard cash is still a thief’s favorite target, although “Valuables” is a catch-all for things with a significant mon-
it is more difficult than every for modern thieves to get etary value that are not usable as cash, ranging from
away with large amounts of paper currency and still be jewelry and precious metals to antiques, electronics, and
able to spend it. Countermeasures such as tracking serial more. The items’ value might be more historic or senti-
numbers, dye packs to permanently stain bills, ultraviolet mental than strictly material; rare valuables are more dif-
imprints, and so forth make it easier to render cash both ficult to sell, but also tend to have wealthier buyers inter-
traceable and useless to the thief. ested in acquiring them.
On the other hand, things like automatic teller machines This category can also include commodities, such as crude
(ATMs) can make stealing small amounts of cash relatively oil or other materials transported and sold in bulk. They’re
easy, especially for super-powered villains able to simply rarely the targets of supervillain attacks, however, unless
rip an ATM out of a wall or lift a freestanding one and carry the villain in question is leading a band of modern pirates
it away! The crook can then simply crack open the case or is otherwise interested in such resources (say, a villain in
and pull out the cash at leisure. need of raw materials to build a new nation-state).
THEMED THEFTS
One way of differentiating thieves in an M&M series, especially one with a Silver Age flavor, is to give them a strong modus
operandi and a tendency toward “themed” crimes. So, rather than just stealing anything of value, for example, the Luna
Moth always goes for items of feminine luxury, like jewelry, rare perfumes, furs, and high fashion, while the Trawler hunts
the ocean floor for shipwrecks, perhaps even causing one or two to provide opportunities for “salvage.” Doc Holiday
steals whatever is most prominent on the calendar—rare and priceless ornaments for Christmas, national treasures on
Independence Day, and so forth—while Scrounge is only interested in the gadgets and devices of other costumed types.
Themed thefts provide villains with a degree of character and style, and they also help out the heroes, who may see a
particular crime and immediately think of the villain behind it. They make the bad guys who just go after mere cash seem
that much more pedestrian. Themed thefts also provide the occasional opportunity to play against expectations, having
one villain use another’s M.O. as a frame-up or to throw the heroes off-track. Don’t do this too often, however, or you’ll
make the themes less useful overall.

INFORMATION In addition to prototypes, thieves may be interested in tech-

nological components, useful for creating said prototypes,
and furthering a villain’s own schemes. So a mad scientist
Information has always been a valuable commodity, from
who comes up with a design for an anti-gravity device may
personal and state secrets to industrial espionage. In the
need certain items to actually build it, and have no choice
modern world, information can be both easier to secure
but to steal them. The same goes for a great many villainous
and simpler to steal and transport than ever. “Stealing”
inventions, and the theft of the technology helps to clue
information generally means something recorded, from
heroes in on what the bad guy is planning.
a notebook to a compact disc or computer hard drive.
Digital information might also be stolen over the Internet,
although security generally takes that possibility into ac-
count, often isolating the information offline and making THE SECURITY
it inaccessible in that way. Sometimes there’s next to nothing standing between the
The value of the information depends a great deal on villain and the target, in which case the theft is a simple
what it is. Personal information might be used for black- matter of actually taking it. Most of the time, however,
mail, especially if it is embarrassing or incriminating. Al- there is some kind of security in place to prevent theft,
ternatively, it could be exploited for identity theft, used to something the villain needs to get around.
acquire other valuables or information, such as emptying Barring the use of various powers, the primary trait for
someone’s bank account, or gaining access to a secure getting past security measures is the Technology skill
vault. Political or technical information may be valuable (M&M Hero’s Handbook, page 75) and professional thieves
in its own right to certain parties, particularly competing will have as much training with it as reasonably possible.
nations and businesses. As a general guideline, someone with a +10 skill modifier
can expect to overcome most common locks and simple
HIGH TECHNOLOGY alarms, a +20 modifier makes a character a major profes-
sional thief, while a +30 modifier is sufficient to beat virtu-
Closely related to the theft of information is that of high ally any security system in the world, with enough plan-
technology, typically one-of-a-kind prototypes or pro- ning and preparation.
duction models. This may be instead of or in addition
to stealing the plans and technical specifications of the
technology. Just about any high-tech invention found in
LOCKS
a comic book super-science lab is a potential target. If
Locking systems restrict access, from keeping doors and
a scientist invents a matter-duplicating ray as a way of
windows closed to sealing display cabinets or shutting
ending world hunger or economies based on scarcity,
entire vaults and their contents. They include not only the
you can be sure a villain will see it as the key to endless
latches on doors, windows, and other means of entering
personal wealth or power. The same applies to technol-
or leaving a building, but also locks on safes, vaults, and
ogy for invisibility, telepathy, memory alteration, tele-
even containers holding items.
portation, and just about every other well-intentioned
scientific project. While older locks may still be simple mechanical tumblers
or pin designs, more modern locks are often electronic
and may include “keys” such as fingerprint, palm-print,
THEFT AS PRELUDE and retinal scanners, along with voice identification and
similar measures. A clever thief may be able to fake the
Often, a theft is merely the first step in a villain’s larger information needed to open the lock (especially if the
scheme, and the first clue the heroes get of something thief is a shapeshifter or illusionist) without having to
afoot. Therefore, the theft often takes place before the start overcome it through other means.
of the adventure. The good guys get called in or otherwise
hear about the crime, and the investigation begins. Some locks may present particularly difficult challenges,
One offbeat way of staging this is to run a “prelude” such as a magical seal only certain individuals can open,
scene wherein the players take the roles of security or a sophisticated encryption key with a complex math-
guards, bystanders, or other people who witness the ematical formula. In some cases, it might be necessary for
theft. Then play out the crime, perhaps with one or more the thief to steal the key before being able to stage the
“citizen heroes” trying to stop the thieves. If the players theft of whatever is protected by the lock! Alternately, a
do a good job, in spite of certain defeat, award them frustrated thief might come after the key after discover-
each a hero point, starting the good guys off with a ing no other way around it.
slight advantage. You can also more easily skip over the
police recap of what happened, since the players were
“there” to see for themselves. ALARMS
You can do the same sort of prelude and include one or
more of the heroes, who might be present in their secret Alarms alert guards, owners, and others of a potential
identities. Circumstances prevent them from stopping the theft. They are triggered by something, ranging from
crime, but they learn enough to tell their teammates where simple electrical circuits broken by opening doors or win-
to start looking and get a jump on the thieves’ next target. dows to sophisticated sensors capable of facial recogni-
tion or picking up human body heat, for example. If an

CHAPTER 4: PLOTS
alarm is triggered, it sets off a predetermined alert, rang-
ing from flashing lights and loud klaxons to a silent alarm CLASSIC THEFTS
flashing on a monitoring panel elsewhere. The following are some classic comic book style thefts
you can use in your own M&M game:
In game terms, alarms have a trigger, often based around
a passive Perception score for a sensor connected to the
alarm. For example, an alarm may go off in a door is opened BANK
while it is active. Alternately, an alarm may have a computer-
Perhaps the ultimate comic book theft is holding up
controlled camera, with a routine Perception check of 18,
a bank, so much so it has become cliché. Comic-style
providing a DC for checks such as Stealth to avoid detection.
bank heists—where criminals in ski-masks carrying guns
Attempts to disarm alarms use the guidelines given for ransack the place, stuffing money into sacks, with the
getaway car idling out front—are relatively rare in reality.
the Technology skill. In some cases, a failed attempt to
That doesn’t mean you can’t run such a scenario for your
disable an alarm also sets it off. For others, the tampering
heroes, however. You can liven it up with twists such as
is only detected if the alarm itself is monitored. having one or more of the heroes in the bank in their
secret identities when the robbers show up, or the crooks
Some thieves may be so brazen as to set off an alarm de-
associating with one or more villains to back them up.
liberately once the theft is complete, in order to taunt the
guards or owners, perhaps even to bring witnesses run-
ning just in time to see the thief escape. In other cases,
JEWELERS
the first “alarm” raised is when someone notices the theft! Next to a bank, a jewelers is the most popular theft target:
jewelry is valuable, portable, and relatively easy to fence,
SENSORS since it can often be melted down or broken up. Modern
gemstones often have microscopic serial numbers or ID
Sensors provide information about the environment tags to help identify and track down stolen goods, some-
around a protected object or area. Unlike alarms, sensors thing criminals may or may not take into account.
are not usually triggered by anything, but are on all the CHARITIES
time. They may be monitored by computer or by a living
operator, with orders to trigger an alarm or take some other One of the lowest lows for villains is robbing a charitable
action if an intruder or other sensor information is detected. event with a lot of cash on-hand, not only taking the
money, but also depriving the most worthy and needy
The primary problems sensors create for thieves are people from getting it. High-society charity events also
acting as a kind of alarm (previously), where someone tend to offer plenty of wealthy people with other valu-
monitoring the sensor may discover the theft in progress, ables (jewelry, etc.) or worthy of ransom themselves.
and capturing information about the thief and the theft
that investigators may use after the fact to track down TECHNOLOGY
the missing item(s) and whomever took them. The latter
is not so much of a concern if the thief wants everyone It’s quite common for villains to steal technology (or
to know who did it. If not, then the sensors must be dis- technological information). It is usually so they can use
abled, but in such a way that it does not raise suspicions. the tech or incorporate it into another scheme, although
some just want to sell it to the highest bidder. Some
The Concealment power comes in very useful for a thief
technology thefts can lead to whole new villain origins,
in these situations, and a silent, invisible intruder can get such as a criminal using a stolen military power-suit to
away with a great deal without fear of detection. become a new supervillain.
GUARDS ARTIFACTS
Guards serve as sentries to both keep watch (or moni- In the same vein as technology, ancient artifacts tend
tor the sensors and alarms that do) and to take action to to go missing, stolen not just for their historic or mone-
stop and capture thieves. In a superhero setting, guards tary value, but often for arcane secrets or powers they
do not have to be ordinary humans, but can be almost contain. In the comics, private collections, museums,
and art galleries are always having run-ins with thieves
anything—robots, demons, animated statues, trained an-
looking to get their hands on the Mask of Mysteries or
imals, or the like—that suits the owner’s proclivities and the Scarab of Life Eternal.
resources. Still, the most common guards will be ordinary
hired humans. See the Minion Archetypes in Chapter 3
for some useful game information and ideas on who (or
what) might be standing guard. one place to another (en route). Any of these approaches
might be done subtly or using brute force.
THE HEIST BREAK-IN

Actually committing the theft can involve one of a num- A break-in involves getting into where the target is kept,
ber of different approaches, depending on the circum- taking it, and leaving, with or without anyone else know-
stances and the villain. The major ones are a break-in, a ing you have done it. The subtle break-in approach is the
hold-up, or trying to take the target as it is moved from classic “cat burglar” where a stealthy thief disables locks

and alarms, slips into a secure area, takes the item, and
slips back out again. The first anyone learns of the theft
EN ROUTE
is when the target turns up missing sometime later, al-
One of the easiest times to steal something is often
though break-ins often encounter unexpected trouble if
when it is in the process of being moved from one place
the thief manages to set off an alarm along the way.
to another. There is usually less security and you can
The brute force approach is to simply smash in through sometimes simply grab whatever it is being moved in: hi-
any defenses, ignore alarms, disable guards, and take jack an armored car, snatch a briefcase or package from
what you want, using force against anyone foolish a courier, and so forth. That is not to say targets en route
enough to stop you. It’s the preferred method for villains have no security with them; breaching an armored car
lacking in subtle skill, who generally don’t care if anyone is still tricky, but it is easier than opening a time-locked
notices them (or actually prefer their actions be noticed), bank vault.
especially if said villains are physically powerful enough to
As an additional benefit, an en route theft usually pro-
ignore obstacles such as concrete walls and guards armed
vides for a quick getaway. Rather than being trapped in
with nothing more than firearms. A brute-force break-in
a bank or other building, the villains likely have vehicles
may partake of some of the less violent techniques—es-
or movement capabilities of their own and can simply run
pecially if, say, picking a lock happens to be faster than
once they have what they came for. This can turn the con-
trying to break through it—but it aims for expediency.
frontation into a chase scene.
HOLD-UP
FENCING THE GOODS
A hold-up is much like a break-in, except it involves deal-
ing with people present at the crime scene, usually forc- Once the theft is carried out, there comes the question
ing their cooperation. So, for example, sneaking into a of what to do with the stolen goods. If the primary mo-
closed bank, disabling the alarms, and opening the vault tive for the theft was money, then the villains need to
to empty it is a break-in, whereas coming into the bank “launder” cash and fence stolen valuables, turning them
while people are present, threatening them to ensure into spendable funds. If the theft was done for-hire,
compliance, and perhaps forcing them to help you emp- then there is the matter of turning the goods over to the
ty out the vault is a hold-up. thief’s employer.
The simplest hold-up is essentially a mugging, where the These occasions provide opportunities for the heroes,
thief takes something from someone by threat of force, since they can cover known fences and dealers in the
with or without actually using it against the victim. More kinds of goods stolen, hoping to pick up on signs of the
complex hold-ups can easily turn into hostage situations thieves setting up a meeting. They can likewise attempt
as the criminals try to enforce cooperation from the vic- to trace the stolen goods, using means such as electronic
tims but also have to deal with alerted heroes or authori- tracking devices, or various superhuman senses.
ties. A break-in gone wrong can turn into a hold-up situ-
ation, if someone happens to notice what the thieves are The fencing of stolen goods can also provide an opportu-
doing and confronts them. nity for investigators after the fact. Take the example of a
stolen gemstone that is then sold to a private buyer who
Hold-ups are brute-force arrangements by nature. Some brags about it to the wrong person. Heroes can backtrack
are more carefully planned set-ups using only the threat from the buyer to the fence who sold the stone, perhaps
of force, while others are more impromptu affairs where learning who originally brought it in. This can lead to a
the villains gladly make examples of any would-be heroes breakthrough in an investigation where a thief’s identity
among the hostages, and do not particularly care who is unknown, or provide information on a known thief’s
gets hurt in the process. whereabouts.
ADVENTURE ELEMENTS
It’s harder to provide challenges for heroes able to fly and ignore gunfire, and some powers can short-circuit plots alto-
gether, if they are not handled properly. On the other hand, super-powers also provide plot hooks and opportunities for
new rewards players can earn during the game.
There are a couple things to keep in mind running M&M adventures. The first is to allow heroes the opportunity to actually
use their abilities. The second is to keep the game from becoming entirely about those abilities and not the heroes.
SPOTLIGHT TIME Therefore, every adventure should ideally offer “spotlight

time” to each hero, letting them all show off their abilities.
An important part of having powers is the opportunity This means spotlighting the particular abilities of each
to use them. After all, each player has devoted points to hero. You can spotlight combat-related abilities with a fight,
powers, so they should be able to have fun with them. but that doesn’t necessarily suit the skulker, who needs to

CHAPTER 4: PLOTS
sneak around, or the clairvoyant, who wants a chance to Focusing on interpersonal relationships and subplots is a
demonstrate his unique insight. It also includes any non- good way of doing this. Provide a recurring supporting cast
powered characters in the group. They need spotlight time for the series to give the heroes opportunities to interact and
just as much (if not more!) than the ones with powers. form relationships. Encourage the players to roleplay and in-
teract in-character during the game. Then you can include
Try and ensure each adventure has opportunities for all of subplots to give the heroes a human touch: a powerful wiz-
the heroes to shine, whatever their powers and abilities ard worries about his ailing mentor and hopes to find a cure
may be. This usually means some get to take center stage in for the ravages of age; a teen superhero is hiding her powers
one scene, then step aside for others in another part of the from her family and trying to get a date for the prom while
adventure. Sometimes it’s impossible (or just impractical) battling supervillains downtown; the monster-slaying hero
to include spotlight time for everyone in the same adven- has to reconcile his love for a beautiful and seductive vam-
ture. When this happens, at least try and balance things out pire, who may or may not be leading him on; and so forth.
over the course of multiple adventures. If you run a com-
bat-intensive game where the skulkers and thinkers don’t You can also introduce challenges in adventures where
have much to do, try to have an espionage-style adventure the heroes’ powers don’t make any real difference. Be-
not long thereafter to give them their time in the spotlight. ing immune to bullets and able to pick up buses doesn’t
necessarily give a hero an immediate solution to a tense
If there are particular powers or abilities you don’t think hostage or rescue situation. Divinely granted powers may
you’ll be able to spotlight in the series at all—either be- not help a hero resolve a schism over religious doctrine.
cause you don’t like the type of adventures involving Being able to read minds may actually complicate matters
them or because they don’t fit into your idea of the game’s for a heroine trying to have a “normal” relationship with
style—you’re better off asking players not to create he- a non-psychic… especially when she suspects there’s
roes with those powers right from the beginning. That something her significant other isn’t telling her.
way, you can be sure to include everyone and the players
won’t feel neglected or cheated of opportunities for their When creating adventures, ask yourself these two ques-
characters to shine. tions: What are the best opportunities to spotlight the
characters’ capabilities, and what are the best opportuni-
THE HUMAN TOUCH ties to spotlight the characters as individuals?
While it’s important to allow the heroes to show off their POWERS AS PLOTS
powers, it is equally important to have adventures and
encounters where the heroes’ powers don’t really matter, Powers also serve as plot hooks, providing ideas for dif-
where it’s the human and not the superhuman element ferent adventures and complications. Some of the more
that’s significant. common power-based plots include the following:

• Secret Origin. Clues may arise about the true origin powers, and some improvements may only be pos-
or source of a mysterious power. Perhaps someone sible under certain conditions or at specific times. A
turns up claiming to be a long-lost relative with simi- patron may require a quest or similar undertaking
lar or identical powers and knowledge of a charac- before granting additional power. Conversely, he-
ter’s true origins. A religious cult might attach itself to roes may take up a task to remove flaws or even rid
a hero, proclaiming him their messiah and fervently themselves of an unwanted or uncontrolled power.
believing his powers are divinely given (whether Antagonists may dangle opportunities for power
they are or not). Conversely, monster-hunters may at- improvement in front of the heroes as bribes or
tack, claiming the hero’s powers are actually a sign of temptations.
demonic influence, or even possession. Some claims
• Uncontrolled Power. An uncontrolled power can
may be misguided, delusional, or attempts to scam
certainly cause complications. A normally controlled
the hero, but others may be true (at least, from a cer-
power can also become uncontrolled as a complica-
tain point of view).
tion due to accident, injury, and so forth. This can
• Power Alteration. Some incident alters a hero’s create problems during an otherwise routine adven-
powers in some way, creating new opportunities ture, as the hero and his allies try to cope with the
and headaches. Examples include sudden temporary unpredictable power. Perhaps a particularly inauspi-
increases or decreases in power rank, shifts in power cious event (celestial alignment, passing comet, holy
focus (a fire-controller switches over to harnessing day, sunspots, dimensional shift, or whatever) causes
cold or water for a time), temporary loss of powers some or even all powers to become uncontrolled for
altogether, or the sudden acquisition of new a while!
powers. An accident may even cause a group of
characters to switch powers! Such alterations are
usually temporary, lasting no more than one or two MEANINGFUL CHALLENGES
adventures, and resolved by the end of the story. Still,
How do you offer meaningful challenges to heroes able to
some power alterations may be permanent, or lead
shrug off bullets, fly through the air, see through walls, or
to less serious lasting changes once they’re resolved.
read minds? (Or all of the above!) Some traditional adven-
• Power Improvement. Chances to improve powers ture challenges become almost meaningless when super-
can lead to adventures. Heroes may seek out teach- powers get involved, so you need to either adjust the level
ers, guides, or experts to assist them. They may need of challenge according to the powers or find new things
rare elements or devices to expand or alter their to challenge the heroes.

CHAPTER 4: PLOTS
THREAT OF FORCE The most straightforward means is to prevent the powers
from solving the problem. For example, perhaps the mur-
derer has amnesia and doesn’t know he’s the guilty party
In many settings a gunshot or dagger thrust is a serious
(keeping a mind-reader from solving it). Or the criminal
concern. This isn’t the case when you’ve got sufficient
has powers of his own and uses them to cover his tracks
Toughness to shrug off such puny weapons, or even great-
with, for example, a version of Nullify, clearing any trace
er attacks, without even flinching. How do you threaten
evidence effects like Postcognition or other Senses might
heroes who are practically invulnerable, or possess com-
pick up later. These tend to be rather brute-force methods,
bat traits great enough to win any fight they get into?
since they render the powers the player paid points for
The first, and most obvious, way is using overwhelm- relatively useless. You shouldn’t over-use them or players
ing force. A hero is immune to bullets? How well can he may rightly feel cheated.
handle a bazooka or a shoulder-fired missile? He is one of
A more complex option is to make the powers key to
the world’s greatest martial artists? What about one of his
solving the mystery without making it an easy solution.
close rivals, or even one of the handful of fighters in the
Perhaps it’s a crime or riddle so baffling that powers are
world better than him?
required to even have a chance of figuring it out (a good
Oftentimes threats of force are a matter of scale: there’s reason for the heroes to get involved in the first place: the
nearly always a greater force to use against the character, problem is beyond the conventional authorities). Perhaps
although it’s difficult to justify that force all the time. An or- a medium can contact the spirit of a murder victim, but
dinary mugger isn’t going to be carrying hand-grenades, there are spiritual obstacles in the way. A special ritual is
and the guards at a top-secret facility aren’t all going to be necessary to contact the victim, and even then things are
among the top ten unarmed fighters in the world. Such not what they appear. For example, the victim may have
routine challenges just aren’t challenging for someone actually committed suicide, but a guilty relative arranged
with extraordinary powers, which is just as it should be. things to look like murder to cover up the truth.
One concern with overwhelming force is it can be too Finally, you can start a mystery based on an extrasensory
overwhelming; the hero virtually immune to gunfire ability. Perhaps someone has a precognitive vision of his
might be seriously hurt by an anti-tank rocket. This be- own death, and has to figure out how and when it will
comes especially true when dealing with very powerful happen in order to prevent it. A telepath may pick up a
attacks and defenses. There’s a huge difference between a stray thought from someone in a crowd, suggesting a
conventional weapon and a tacnuke, for example. Beware threat of violence. Now he must find the criminal before
that you don’t overwhelm characters when trying to chal- his scheme can go forward, and also find solid evidence to
lenge them. take to the authorities, since mind-reading doesn’t consti-
tute sufficient cause to arrest or convict someone!
When high Impervious Toughness scores are an obstacle,
you can use more exotic sorts of attacks, either Afflictions
or modifiers like Alternate Resistance. Tough heroes may TIME AND DISTANCE
still need to breathe, or have other weak spots. Again, be
careful attacks bypassing the target’s Toughness aren’t Many challenges in adventures involve issues of time and
too powerful. Still, having unusual attacks show up from distance: heroes have to travel from place to place (often
time to time can keep players on their toes and prevent through perilous terrain), cross yawning chasms, ford
them from becoming complacent in their invulnerability. rushing rivers, and get where they’re going in the nick of
time. Such challenges are far less serious for those able to
Then there are always threats of force against others. fly, teleport, or walk through solid walls, to say nothing of
Sure, the hero may be nigh-invulnerable, but odds are his heroes able to travel through time or jump across dimen-
friends and loved ones, or even his teammates, aren’t. Ene- sional barriers!
mies may take hostages, or threaten the hero with attacks
he could surely survive, but which will also devastate the In some cases, the ability to ignore trifles (like travel time)
surrounding area. Even if you can walk away unharmed suits M&M games just fine. For example, superheroes
from a nuclear blast, do you really want one to go off in rarely worry about getting from place to place; they make
the middle of your home town? The collateral damage the trip “between panels” in a negligible amount of time.
around an otherwise invulnerable target can be as serious On the other hand, some challenges rely on travel to one
as personal injury in some ways, perhaps even worse. This degree or another. If heroes can bypass every wall, fence,
is typically an advantage villains have over heroes; many gate, and locked door with ease, then those things aren’t
care nothing for collateral damage or harm to others and viable challenges.
so take full advantage of their own invulnerability.
While lesser challenges of time and distance are simply
irrelevant to those with the right powers, you can pose
MYSTERIES others. For example, if a teleporter needs to see or prop-
erly visualize his destination, then a maze or a location an
Powers like Mind Reading and Remote Sensing can make indeterminate distance underground may make it more
a mockery of any mystery in an adventure. With a single difficult (and risky) to make the jump. Perhaps a hero can
successful check, the hero has it all figured out. Game assume insubstantial form to pass through a wall, but risks
over. How do you pose a mystery for such abilities? drawing the attention of evil wraiths, able to attack him

in that form; and should one of them happen to stun him

while he’s inside the wall….
NORMALS
When the heroes have powers, it can be difficult to make
SOCIAL TABOOS normal people much of a challenge. That’s in keeping
with the comic book superhero genre, where heroes
Tremendous power allows its wielder to ignore many of mow through hordes of minions and lesser opponents,
the rules of society, both written and unwritten. This is and stand head-and-shoulders above ordinary humanity.
particularly true for those largely immune to harm and However, when you want to have an otherwise normal
having no need of society’s protection or support. With person pose a challenge, how do you do it?
the power to do as they please, heroes may wonder: why The solution lies in the definition of “normal.” While some-
should they follow society’s rules? Who’s going to stop one may be entirely normal physically, and have no powers
them, if they don’t? of any kind, that doesn’t mean he can’t challenge a super-
Probably no one, if the violations of social taboo are rela- powered character, or even a group of them. Just consider
some of the advantages a normal person might have:
tively minor and infrequent. Throughout history, the pow-
erful have been able to get away with a great deal more • Numbers. One advantage of normal people: there
than the weak and powerless. Odds are the same is true sure are a lot of them. No matter how powerful a
of those with superhuman powers. However, the greater hero is, the normal population outnumbers him by a
the violation, the more likely someone or something will considerable amount. He may be able to take down
intervene to put a stop to it. Possibilities include the fol- one soldier easily, but what about ten, a hundred, or
lowing: even a thousand? What about an entire army? While
throwing armies at the heroes shouldn’t be common-
• Peers. The first, and most likely, reaction comes from
place (except in the most over-the-top adventures), it
the character’s close friends, family, and associates
is a potential threat leveled against supers who get
(possibly including other player characters). Unless
out of hand. Even on a smaller scale, numbers can
the violator is a hermit with no social life, and his vio-
make a difference. Trained fighters will use flanking
lations are comparatively minor, he will face the dis-
techniques, try and gang up on their opponents, and
approval of those close to him. The GM can use the
otherwise seek to take advantage of their superior
reactions of these characters to tell players they’re
numbers.
making inappropriate choices.
• Resources. Wealth (and associated resources) can be
• Role Models. A useful way of getting the message a great leveler. While a normal antagonist might not
about socially unacceptable behavior across to play- have the power to face the heroes in a head-on con-
ers is through a role model, someone the character frontation, he may be able to hire people who can,
looks up to or respects. This might be a teacher, men- as well as bodyguards to keep any super enemies at
tor, elder statesman, or other experienced NPC. The bay. A wealthy foe can buy out businesses (or simply
reprimand might come in the form of a stern lecture, ruin them), bribe people to cause trouble, and spend
the cold shoulder, or even stronger measures. For money on things like media smear campaigns and
example, an experienced hero might feel compelled whatever countermeasures are available for powers in
to bring a wayward peer back to the straight-and- the series.
narrow (or to the justice of a court!).
• Equipment. Wealth and resources can also provide
• Social Outcry. After the people closest to the of- all sorts of useful technology. This includes counter-
fender, society in general reacts to any misdeeds. The measures against powers and other things that help
offender may be shunned in polite society at best, or even out a mismatch. How much equipment can
face legal prosecution at worst. A negative reputa- help depends on what’s available: a normal person
tion is a virtual certainty, affecting reactions toward might only have access to common equipment, but
the character accordingly. In the extreme, there may some can also afford various devices, edging into the
even be an entire social movement against the char- realm of having artificial powers of a sort.
acter (or supers in general).
• Influence. As useful as material resources, if not
• Higher Powers. The ultimate social arbiters may be more so, is the goodwill of the community. A normal
higher beings, either actual gods or others acting in adversary with a good reputation and a lot of influ-
their stead. In settings where higher powers intervene, ence can cause plenty of trouble, and there’s very
they may do so to prevent abuses of power, especially little the heroes can do about it unless they want to
if they control those forces! Characters with divine provoke a tremendous public backlash. For example,
abilities may lose them for misbehaving, and wielders they may know a certain philanthropic businessman
of other powers may still face higher judgment if they secretly hates them and is trying to ruin them, but if
flout social and moral codes. GMs should feel free to they move openly against him, they’ll only support
give players due warning of such punishment, either his claim that they are a menace to society, and the
in the form of tales of others who have suffered it in authorities will try to protect him! The same can be
the past or a “first warning” from the Powers That Be true of an ambitious politician, or a crime-lord mas-
when they stray too close to crossing the line. querading as an “honest citizen.”

CHAPTER 4: PLOTS
• Blackmail. Many people have skeletons in their clos- up with lists of goals or things the heroes want to accom-
et, and the powerful can have very dark secrets. Per- plish. You can then work them into the overall series, in-
haps someone uncovers a secret about the heroes troducing them as subplots or even building adventures
important enough to provide leverage, especially if around them.
the blackmailer had the foresight to ensure it will get
out should something happen to him. The best goals for this purpose are ones you can break
down into steps, allowing the heroes to accomplish them
• Dependents. A hero’s dependents—friends, family, a little at a time until they reach the ultimate goal. Some
and loved ones—can become targets of foes looking goals may be short-term and others long-term, possibly
for leverage or influence over him. A foe simply out lasting for the duration of the series.
for revenge may resort to striking at his target’s loved
ones, knowing it will hurt far worse than if he simply For example, a group of heroes may have cleaning up
killed the hero outright! crime in a city as their overall goal. Each also has indi-
vidual goals: vengeance against an old enemy, attain-
• Vulnerabilities. Powers often come with weak- ing honor and recognition, redemption, finding a lost
nesses. In addition to the various countermeasures parent, and so forth. Achieving each goal provides a
that might take away or neutralize a hero’s powers, sense of accomplishment. The goals also suggest stories
there may be other things a knowledgeable enemy and may even create conflict in the game; for example,
can use against him. A demon vulnerable to holy rel- maybe they learn that the hero’s lost parent has ties to
ics might confront a normal foe who has surrounded another hero’s nemesis. Gamemasters can use goals as
himself with them, for example, and who seeks ref- story hooks while players can use them as roleplaying
uge on holy ground. A hero weakened by a mysteri- cues, and they may suggest complications for earning
ous glowing mineral finds his worst foe has acquired hero points.
a supply he keeps close at hand. A vampire hero must
deal with a crusading priest supplied with garlic, holy
water, and wooden stakes, and so forth. KNOWLEDGE
Normal adversaries may combine some or all of these ad- Most stories have their mysteries and unanswered ques-
vantages. For example, a government official designed tions. Finding the answers to those questions can be a
as a foil may wield the influence of the law and have the suitable reward. What is the secret source of powers in the
support of public opinion (as well as law enforcement). world? What is the true origin of a hero or villain? What
A criminal businessman may have considerable wealth, happened to the mentor who vanished years ago? What
some equipment, and the willingness to use both to ferret is the real nature of the conspiracy?
out his enemies’ secrets. The “demon-hunting” priest com-
bines the resources of the church with intimate knowl- Like other achievements, knowledge may come in stag-
edge of his prey’s weaknesses and a flock of fanatically es. You learn the name of a higher-up in the conspiracy,
loyal followers. leading you to his superior, and so forth toward the heart
of the matter. Investigations of an ancient ruin turn up
fragments of information about a lost artifact, pointing
MEANINGFUL REWARDS toward additional clues as to its whereabouts, and so
forth.
Just like many challenges seem insignificant to heroes
with the power to move mountains, so too the rewards Knowledge can also come in the form of useful facts:
of wealth, influence, and so forth may not matter much to things like the true name of a spirit, a villain’s secret weak-
them. What’s the use of wealth when a hero has no mate- ness, or a clue to a hero’s missing past. These rewards help
rial wants or needs? What influence equals the power to guide adventures and plots: once the heroes uncover the
control minds? Gamemasters need to consider appropri- villain’s weakness, or learn the secret to unlocking their
ate rewards for powerful heroes. own hidden powers, then they’re ready for the big con-
frontation. Before that point, their nemesis may seem all
These rewards are in addition to the simple enjoyment of but invincible.
playing the game, of course, which is a reward everyone
gets! It may well be enough for some players, who don’t
really care about getting rewards other than having fun. This
POWER IMPROVEMENT
section addresses options for those players who do care, In a game focused on powers, opportunities for power
and might find rewards otherwise lacking in a M&M game. improvement make suitable rewards, particularly unusual
or limited opportunities. For example, if power improve-
ACHIEVEMENT ment is normally a slow and steady process, then a trans-
formation granting additional power makes an excellent
Those with great power are capable of achieving great and immediate reward. The same is true of things like
things, and players may want those achievements for finding a teacher, discovering information necessary to
their heroes. If so, you can make accomplishing a particu- learn a new ability, or earning the favor of a higher power,
lar goal a reward of sorts. Encourage the players to come who grants access to new abilities or powers.


CHAPTER 5: CHALLENGES
Not all of the threats Mutants & Masterminds heroes face are villains they can fight. Sometimes they must deal with
other challenges, as outlined in the Challenges section of the M&M Hero’s Handbook. This chapter looks at challenges in
greater detail. In particular, it looks at two types of challenges common in the superhero comics: disasters (natural and
otherwise) and traps, both capture traps and villainous deathtraps.
As a Gamemaster, you can use these challenges to liven up the plots of your adventures and provide some ideas of
things to throw at your players during a game. The challenges in this chapter also offer some examples to base your
own unique challenges upon.
DISASTERS
The M&M Hero’s Handbook covers the basic environmental hazards heroes may encounter. This section expands on
those dangers with true disasters that can befall a group of heroes. These challenges also provide some ideas for rescue
missions, allowing heroes to save innocent people threatened by disaster.
Indeed, some disasters are deliberately arranged by villains, either as distractions to keep heroes busy while the vil-
lain is off doing something else or as part of a villain’s larger scheme. For example, a bad guy looking for a mystical
artifact in an ancient mountain shrine might trigger an avalanche or landslide that threatens a village or vacation
lodge below. While the heroes rush off the save innocent lives, the villain absconds with the loot to start the next
phase of the plan. These kinds of complications should earn the players hero points for doing the right thing when
they happen.
AVALANCHES bic feet of debris in one minute (time rank 3). Armed with
an appropriate digging tool, a character can clear debris
The combination of high peaks and heavy snowfalls make twice as fast as by hand (increase volume rank by 1). You
avalanches a danger in many mountainous areas. While may allow a buried character to free himself with a DC 25
avalanches of snow and ice are common, it’s also possible Strength check. Bonuses to lifting Strength, such as from
to have an avalanche of loose rock and soil (a landslide). Power-lifting, apply to this check.
Unless specified otherwise, the term “avalanche” covers
The typical avalanche has a width of 120 to 500 feet (dis-
both here.
tance rank 2 to 4), from one edge of the slide zone to the
Characters can spot an avalanche with a DC 5 Perception opposite edge. The bury zone in the center is half as wide
check (modified by distance). It’s possible to hear an ava- as the avalanche’s full width (–1 distance rank). Avalanch-
lanche coming even if you can’t see it. Under optimum es move at around speed rank 5, for those attempting to
conditions (no other loud noises occurring), a character outrun them.
who makes a DC 15 Perception check can hear an ap-
proaching avalanche.
An avalanche consists of two distinct areas: the bury zone

COLLAPSES
(in the direct path of the debris) and the slide zone (the Characters caught in the collapse of a building, tunnel,
area the debris spreads out to encompass). Characters in cave, or similar structure face damage and the possibility
the bury zone take Damage 8, half that if they make a DC of being buried in the debris. Underground cave-ins are
15 Dodge check. They are subsequently buried. Charac- dangerous not only because of tons of falling rock, but
ters in the slide zone take Damage 4, or none if they make also the possibility of being cut-off from the surface.
a DC 15 Dodge check. Characters in the slide zone who fail
A collapse buries anyone in the middle of the collapsing
their Dodge checks are also buried.
area, while sliding debris damages anyone in the periph-
Characters must make an additional Toughness check ery of the collapse. The slide zone is generally about half
each minute while buried. The initial DC is 15 (equal to the radius of the bury zone. Treat being caught in a col-
Damage 0), increasing by +1 per check. If a character is lapse like an avalanche (previously), including characters
incapacitated, a failed Toughness check changes the char- getting buried and dug-out.
acter’s condition to dying.
A hero strong enough to lift the collapsing mass over-
Characters who aren’t buried can try to dig out others. head may be able to hold it up, at least until any support
Each minute, a character can clear a volume rank of debris structures crumble, resulting in a rain of debris. Effects
equal to Strength rank. So Strength 10 can clear 1,000 cu- improving Toughness can protect against the damage

of a collapse like any other sort of damage; sufficient Im-

pervious Toughness can even shield against the collapse
altogether.
EARTHQUAKES
An earthquake knocks people down, collapses structures,
opens cracks and fissures in the ground, and more. The
specific effects depend on the nature of the terrain:
AVALANCHE
Cliffs and mountainsides may crumble, creating land-
slides. See Avalanches.
COLLAPSE
Buildings and other structures may collapse, the same for
caves or tunnels. See Collapses. Building fires also often
follow in the wake of an earthquake, see the following
section for details.
FISSURE
Each person standing in the area of the quake must make
a DC 15 Dodge check or fall prone. Fissures may open in
the earth, and anyone in the area has a chance to fall in
(Difficulty 20 Dodge check to avoid such a fissure).
FIRES
Large fires, such as building fires or forest fires, pose three
main dangers: heat, flame, and smoke.
HEAT
Characters caught in a fire are exposed to extreme heat
(see M&M Hero’s Handbook, page 186). Those wearing
heavy clothing or armor take a –5 circumstance penalty
on their resistance checks. Characters with Immunity
(Heat) are unaffected.
FLAME
Characters engulfed in a fire must make a DC 15 Dodge
check each round. A failed check results in the character’s
clothing and/or hair catching fire. This inflicts Damage 1
immediately. Each subsequent round, the burning char-
acter must make another resistance check. Failure means
additional rank 1 fire Damage, up to a maximum of rank 6
Damage. Success means the fire has gone out. Once the re-
sistance check succeeds, the character is no longer on fire,
but still has to make a check each round while engulfed.
A character on fire may automatically extinguish the

flames by jumping into enough water to douse them.
If no body of water is at hand, rolling on the ground or
smothering the fire with blankets or similar materials
grants the character another check with a +5 circum-
stance bonus.

SMOKE SNOW
Fires produce a great deal of smoke. A character breathing Falling snow has the same effects on visibility as rain, and
heavy smoke must make a Fortitude resistance check each reduces ground movement speeds through the area by 1
round (DC 15, +1 per previous check, up to a maximum of rank. Heavy snow has the same effects and also restricts
rank 8) or become stunned, spending that round choking visibility like fog. It reduces ground movement speeds by
and coughing. A character who chokes for two consecu- 2 ranks.
tive rounds makes a Fortitude check against Damage 1.
Also, smoke obscures vision, providing concealment to SLEET
characters within it (see Concealment, M&M Hero’s Hand-
book, page 192). Sleet has the same effect as snow: –5 circumstance pen-
alty to visibility and –1 rank of ground movement speed
FLOODS through the area.
During a flood, rivers become wider, deeper, and swifter. HAIL

A flooded river imposes a –5 circumstance penalty to Ath-
letics checks to swim. Hail does not reduce visibility, but the sound of falling hail
makes auditory Perception checks more difficult (–5 cir-
SWEPT AWAY cumstance penalty). Sometimes (at the GM’s option or on
a natural 20 on a d20 roll) hail becomes large enough to
Characters failing an Athletics check to swim in a flood deal Damage 0 (per storm) to anything out in the open.
are swept away by it at a speed rank of 1. An Athletics Once on the ground, hail has the same effect on move-
check with two or more Degrees of Success can arrest ment as snow.
their motion, catching onto a rock, tree limb, or other
protrusion—they are no longer being carried along by
the flow of the water. Escaping the flood requires a total
QUICKSAND
of 3 Degrees of Success on an Athletics check before three A character approaching a patch of quicksand at a normal
degress of failure. pace is entitled to a DC 15 Perception check to spot the
danger before stepping into it, but characters moving at
FOG twice their normal pace (two move actions) don’t have a
chance to detect quicksand before blundering in.
Whether a low-lying cloud or a mist rising from the Characters in quicksand must make a DC 10 Athletics
ground, fog provides partial concealment for everything check every round to tread water in place, or a DC 15
in the area it covers. (See Concealment, M&M Hero’s Hand- check to move 5 feet in whatever direction is desired. Two
book, page 192.) or more Degrees of Failure and the character sinks below
the surface and begins to drown (see Suffocation, M&M
LAVA Hero’s Handbook, page 186).
Characters below the surface of quicksand may swim back

Contact with lava or magma inflicts Damage 4. Immersion to the surface with a successful Athletics check (DC 15, +1
of any part of the character’s body inflicts Damage 15, per consecutive round of being under the surface, up to a
while immersion of more than half of the character’s body maximum of +10).
inflicts Damage 18.
Pulling out a character trapped in quicksand can be difficult.
Immunity to heat damage also serves as immunity to A rescuer needs a branch, pole, rope, or similar means to
damage from lava or magma. However, a creature im- reach the victim. Make a DC 15 Strength check to success-
mune to heat damage might still suffocate if completely fully pull the victim, and the victim makes a DC 10 Strength
immersed. check to hold on. If the victim fails to hold on, he must make
a DC 15 Athletics check to stay above the surface. If both
PRECIPITATION checks succeed, the victim is pulled 5 feet closer to safety.

Effects like Flight, Elongation, or Movement (Water-walking)
Bad weather slows or halts travel and makes it difficult to naturally make quicksand rescues much easier!
navigate. Most precipitation is rain, but in cold conditions
it can manifest as snow, sleet, or hail. Precipitation of any
kind followed by a cold snap in which the temperature STORMS
drops below freezing may produce ice. The combined effects of precipitation (or dust) and wind
that accompany storms impose a –10 circumstance pen-
RAIN alty on Perception checks. Storms make ranged attacks
with muscle-propelled weapons impossible; other ranged
Heavy rain reduces visibility by half, resulting in a –5 cir- attacks have a –5 circumstance penalty on attack checks.
cumstance penalty on Perception checks. Storms extinguish unprotected flames. They cause pro-

tected flames, such as those of lanterns, to dance wildly

and have a 50% chance to extinguish them. Storms are
SEVERE WIND
divided into the following types:
In addition to automatically extinguishing unprotected
flames, winds of this magnitude cause protected flames
DUSTSTORM (such as those of lanterns) to dance wildly and have a 50%
chance of extinguishing them as well. Ranged weapon at-
These desert storms differ in that they have no precipita- tacks and auditory Perception checks are at a –5 circum-
tion. A duststorm blows fine sand that obscures vision, stance penalty.
smothers unprotected flames, and can even choke pro-
tected flames. There is a 10% (a 1 or 2 on a d20 roll, or
at the GM’s discretion) chance for a duststorm to be pow-
WINDSTORM
erful enough to inflict Damage 0 each round to anyone
Powerful enough to bring down branches if not whole
caught out in the open without shelter and to also pose
trees, windstorms automatically extinguish unprotected
a choking hazard (the same as suffocation, see the M&M
flames and have a 75% chance of blowing out protected
Hero’s Handbook, page 186).
flames. Ranged attacks with thrown or muscle-powered
weapons are impossible, and other ranged attacks are at a
SANDSTORM –5 circumstance penalty. Auditory Perception checks are at
a –10 circumstance penalty due to the howling of the wind.
A sandstorm reduces visibility and imposes a –5 circum-
stance penalty on Perception checks. A sandstorm deals
Damage 0 per hour to anyone caught in the open, and
HURRICANE
leaves a thin coating of sand in its wake. Driving sand All non-powered flames are extinguished. Ranged attacks
creeps in through all but the most secure seals and seams, with thrown or muscle-powered weapons are impossible,
to chafe skin and contaminate carried gear. and other ranged attacks are at a –10 circumstance penalty.
Auditory Perception checks are at a –20 penalty (all char-
THUNDERSTORM acters can hear is the roaring of the wind). Hurricane-force
winds often fell trees and even buildings (see Collapses).
In addition to wind and precipitation (usually rain, but
sometimes also hail), thunderstorms are accompanied by
lightning that can pose a hazard to characters without prop-
TORNADO
er shelter. As a rule of thumb, assume one bolt per minute All flames are extinguished. All ranged attacks are impos-
for a one-hour period at the center of the storm. Each bolt sible, as are auditory Perception checks. Characters in close
causes electricity rank 1–10 Damage (roll d20 and divide by proximity to a tornado who fail a DC 20 Strength check are
2, rounding up, to determine effective rank). Ten percent of sucked toward the funnel. Those who come in contact with
thunderstorms (a 1 or 2 on a d20 roll, or at the GM’s discre- the funnel cloud are picked up and whirled around for 1–10
tion) are accompanied by a tornado (see the following). (d20/2 round up) rounds, resisting Damage 4 each round,
before being violently expelled (falling damage may also
WIND apply, see the M&M Hero’s Handbook, page 186). While a
tornado’s rotational speed can be as great as speed rank 7,
The wind can create a stinging spray of sand or dust, fan a the funnel itself moves forward at an average of speed rank
fire, and blow gases or vapors away. If powerful enough, it 3. A tornado uproots trees, destroys buildings, and causes
can knock characters down, interfere with ranged attacks, other similar forms of major destruction.
or impose penalties on some checks. Wind challenges are
categorized as follows:
UNDERWATER
LIGHT WIND Land-based characters have some difficulties under water.
The following applies whenever a character is swimming,
A gentle breeze, having no real game effect. walking in chest-deep water, or walking along the bottom.
MODERATE WIND CLOSE ATTACKS

A steady wind with a 50% chance of extinguishing small, Close attacks underwater have a –2 circumstance penalty
unprotected flames, such as candles. on attack checks. Characters with Movement (Environ-
mental Adaptation (Aquatic)) ignore this penalty.
STRONG WIND
RANGED ATTACKS
Gusts that automatically extinguish unprotected flames.
Such gusts impose a –2 circumstance penalty on ranged Attacks with ranged weapons through water take a –2
attack checks with thrown weapons and on auditory Per- circumstance penalty on attack checks, in addition to the
ception checks. normal penalties for range.

ATTACKS FROM LAND INVISIBILITY
Characters swimming, floating, or treading water on the A solid invisible body displaces water and leaves a visible,
surface, or wading in water at least chest deep, have body-shaped “bubble” in the water. The invisible character
partial cover from opponents on land. A completely sub- still has partial concealment, but not total concealment.
merged creature has total cover against opponents on
land.
PERCEPTION AND STEALTH
FIRE How far you can see underwater depends on the water’s clar-
ity. As a guideline, creatures can see 60 feet (distance rank 1)
Effects with a fire descriptor are ineffective underwater. if the water is clear, and half that (30 feet or distance rank 0)
The surface of a body of water also blocks the effect of if it’s murky. Moving water is murky, unless it’s a particularly
any such power. large, slow-moving river. It’s difficult to find cover or conceal-
ment to hide underwater (except along the bottom).
TRAPS
Heroes encounter two types of traps when dealing with villains and their lairs. One, the deathtrap, is handled in its own
section, since it is a particular challenge all its own. The other type is the capture trap, not intended to kill intruders, but
merely render them helpless so the villain can dispose of them in a leisurely fashion with a proper deathtrap (and vil-
lainous soliloquy explaining the details of their impending doom and the brilliance of the plan they can no longer stop).
Capture traps often turn into deathtraps once the heroes are captured and the villain has the opportunity to explain
their inevitable demise.
material (which does not affect the container itself ), or ra-

CAPTURE TRAPS zor spikes. It might also have an energy field with one of
the effects listed under Stunners, following.
Capture traps generally either render their targets immo-
bile in some fashion (limiting their movements or contain- ENERGY REFLECTION
ing them) or render them helpless and easily contained by
villains or minions, usually by leaving them unconscious, The trap reflects back attacks used against it, causing the
stunned, paralyzed, or the like.
attacking hero to suffer their effects. It may do so through
some sort of unique energy reflective material, a force
CONTAINERS field, sympathetic magic spell, or some other effect.
Container traps close the victims off in a small area from A particularly vicious sort of reflection trap is a container
which they cannot easily escape. It may be as simple as surrounded by a net or web or monofilaments (wires
walls sliding from the ceiling or walls to cut off escape only a single molecule thick). Anyone physically
routes, or it can be as complicated as an enclosing force pushing against or hitting the net will be slashed to
field, magical ward, or similar effect. The key is the targets ribbons, perhaps even losing a limb! This is Damage
are contained inside the trap, but otherwise have their proportionate to the force used (that is the damage
freedom of movement and their normal abilities (but see suffered by the hero equals the damage of the physical
Nullifying, following). attack) with massive ranks of Penetrating (at least 20,
A container trap is often just a prelude to another sort enough to effect heroes in virtually all M&M games). On
of trap to ensure the targets are neutralized and cannot top of it, the monofilaments might be able to conduct
easily escape. After all, even a tempered steel cage would other forms of energy like heat or electricity to reflect
be hard-pressed to contain heroes with superhuman them or use them to further empower the trap.
strength and power blasts (to say nothing of the ability
to pass through solid objects or transmute them). Con- SEALED
tainers prepared for specific targets often have counter-
measures to deal with their powers, such as: The container is “sealed” against certain effects such as
Insubstantial, Movement (Dimensional Travel or Perme-
DAMAGING AURA ate), or Teleport, preventing victims from simply vanish-
ing from the trap. The seal could be entirely passive like a
A container may have some secondary effect to keep Nullify effect (see Nullifying, following) or active, giving it
trapped heroes from touching or attacking the sides of a feedback effect: a character attempting to use a power
the container. Examples include electrified or superheat- to escape the trap and failing suffers damage against For-
ed surfaces, a thin layer of acid or some other damaging titude or Will (like the Feedback flaw).

an entire room or corridor so the attack cannot miss and

CAPTURE COMPLICATIONS is more difficult to avoid. Lastly, stunner traps tend to be
One simple and direct way of handling capture traps is ongoing, affecting targets in their area each round until
as a kind of complication (see the M&M Hero’s Handbook, the target escapes or the trap is shut down.
page 27). In this case, the heroes do not get an opportu-
nity to detect, avoid, or escape the trap; instead, the GM
simply explains the circumstances, tells the players their
heroes are captured, and gives each player a hero point
DEATHTRAPS
The heroes are defeated after a terrible battle and at the
for the complication. This has the advantage of simplify-
ing matters (all you need to do is describe what happens) villain’s mercy. What does the fiend do? Well, simply kill-
and speeding up play, but it may also be somewhat less ing the helpless heroes outright would make for a very
dramatic, skipping over a potential opportunity for the short series, wouldn’t it? Similarly, killing off the title hero
heroes to struggle against the odds. in a comic book is not usually an option (at least, not for
A player who refuses the hero point can theoretically at-
very long). So comic book writers perfected the art of the
tempt to evade the trap, but that is made more difficult deathtrap: putting heroes in perilous situations requiring
by the capture of the other heroes, leaving just one (or cunning, skill, and effort to escape so they can come back
maybe two) characters to deal with it on their own. If you and take the villain down for the count.
want to run a “single hero escapes and rescues the rest”
scenario, allow one character this option to get away. Deathtraps are a staple of the superhero genre, and an im-
portant element of any major villain (at least, any villain like-
If all the players refuse to go along with the capture, ly to ever manage to defeat the heroes). This section takes a
then perhaps it is best to re-think the scenario and come
look at the concept of deathtraps, details on how to handle
at it from another angle (and to ask the players how they
want to deal with the issue of capture complications in them, and provides a selection of premade classic death-
future adventures). traps for you to try out on heroes the next time they get a
little cocky and think they’ve got the villain on the ropes!
NULLIFYING THE CLOSING WALLS

So common a deathtrap it has become cliché: the heroes
One way to ensure a capture trap can hold super-powered
are trapped in a room and the walls begin closing together.
targets is to simply take away their powers! Capture traps
If they cannot escape in time, they will be crushed between
often involve some sort of Nullify effect (see M&M Hero’s
them! In some variations the walls might have spikes or
Handbook, page 121) although the descriptors, and the
some hazard that prevents the heroes from touching them
types of powers affected, vary from one trap to another.
(red-hot, having a powerful electrical charge, etc.) to make
Villains expecting particular heroes will tune traps to tar-
it harder to stop them from closing. In others, the ceil-
get and remove their powers specifically.
ing lowers rather than the walls close, or the entire room
shrinks somehow. The victims have to find a way out of the
SNARES room before the walls finish closing in, often delaying or
holding them off long enough for them to do so.
Snare traps, unlike containers, seek to immobilize targets,
severely restricting their freedom of movement. They are
Affliction effects that hinder and immobilize, with de-
THE CREATURE PIT
scriptors ranging from grappling steel tentacles and fast- The victims are cast into an environment with danger-
hardening foam to paralysis beams and capture-webs. ous or deadly creatures. This includes (but is not limited
Trapped heroes may be able to break out of snares with to) alligators or crocodiles, lions, snakes, tigers, wolves,
sufficient strength or damaging powers, and the snares or flesh-eating insects. It can also include any number of
might impose additional conditions to further restrain more exotic creatures such as dinosaurs, alien monsters,
their targets. gladiators, mutants, cyborgs, or robots. The victims may
be expected to fight (although they may be restrained or
STUNNERS handicapped in some fashion) but are also expected to
lose and suffer a terrible death.
Stunners are capture traps inflicting some form of dam- If the threat in the Creature Pit is almost instant and certain
age or effect capable of leaving targets unconscious, al- death (say a massive swarm of poisonous, flesh-eating in-
lowing the villain to collect and imprison them at will. sects), then this trap is a kind of Deadly Conveyor (see the
Stunner traps may use simple Damage, or an Affliction following) with the tension coming from being lowered or
effect that ends in incapacitated. Descriptors are as wide put into it. If creatures are things the heroes can fight, it is
as those effects permit, anything from automated weap- more of a Death in the Arena trap (see the following).
ons (firing non-lethal ammunition) to gas attacks, vertigo
beams, sonic screamers, and much more. A stunner trap THE DEADLY CONVEYOR
often has the Alternate Resistance modifier, targeting For-
titude or Will rather than sheer Toughness, better allowing The Deadly Conveyor is the classic deathtrap: the vic-
it to overcome targets. Many are also Area effects, filling tims are helpless as they move slowly towards inevitable

doom. Originally, it was strapped to a log and headed for This trap is somewhat like a Creature Pit, but the victims
a sawmill’s whirling blade. Other variations include the are expected to put up a fight (and, presumably, an enter-
following: on a smelting factory conveyor belt headed taining show). They might even be permitted a chance to
for a dip in molten metal, suspended above (and slowly win as a means of escape, but other Arenas simply pile on
lowered into) a vat of acid, and strapped to a table with greater and greater challenges until there is no chance for
a laser beam creeping closer and closer. The options are the heroes to make it out alive—unless the come up with
nearly endless, but the key elements are restraining the an alternative plan.
victim(s) and the slow approach of inevitable destruc-
tion, long enough to heighten the peril.
THE FATAL FRIEND
A variation on the Deadly Conveyor is the Deadly Con-
tainer, where the victims are trapped in an area, and a In a fiendish twist the villain makes a friend or loved one
fatal threat gets closer and closer to entering that space. into the instrument of the heroes’ doom! The Fatal Friend
Examples include a chamber about to be flooded with scenario typically involves an ally or supporting character
molten magma, radiation, or rocket exhaust, or slowly be- mind controlled or mesmerized into activating the fatal
ing crushed by the pressure of the sea floor, until tons of trap to finish off the heroes, or even attempting to kill them
water burst through the walls. The Deadly Container dif- directly (for characters capable of it). The friend may not be
fers slightly from the Killing Jar (following) in that once the conscious of what is happening, or could struggle against
danger gets in, it’s generally all over in an instant, rather the villain’s influence, perhaps encouraged by the victims.
than prolonging the victims’ suffering. This trap is either a variation on the Deadly Conveyor (with
the Fatal Friend holding the switch that will save or de-
DEATH IN THE ARENA stroy the heroes) or Death in the Arena, with the Friend as
the opponent the heroes must fight to the death, banking
on their unwillingness to hurt someone they care about.
As a somewhat less certain deathtrap intended to enter-
tain the villain and any cohorts or minions, the heroes In some variations, the Fatal Friend is tricked into the role;
are placed in an arena and expected to fight to the death the villain’s influence might convince the Friend the he-
against various opponents. The choice of foes is as wide roes are actually monsters, for example, or villains, robot
as the imagination, from fairly conventional gladiators doubles, evil twins, or whatnot. In others, the Fatal Friend
(especially for Roman- or history-themed villains) to ani- is not the characters’ friend at all, but an impostor—say, a
mals, robots, evil duplicates, super-powered fighters, or robot double or shapeshifter—intended to fool them into
monsters. fatally hesitating and falling victim to the rest of the trap.

THE MULTIPLE-CHOICE ENDING

For added zest, some villains combine different deathtraps into one. Pick any two of the examples and put them together,
such as a Killing Jar (a sealed chamber filling with water) along with a Creature Pit (the water has sharks or cybernetic alli-
gators in it!). Or Death in the Arena (the heroes are set to fight combat robots) with The Ticking Time-Bomb (all the robots’
power cores are set to explode within a minute, win or lose). The Multiple-Choice Ending is a good complication to spring
on your players if they figure out the initial deathtrap too easily and you want to provide some additional challenge and
tension. It also helps to keep some of the classics from becoming too stale.
THE GAUNTLET Other gauntlet traps include pits opening in the floor
(possibly lined with spikes or dropping victims into a crea-
This trap tempts victims with the promise of escape: all ture pit or killing jar trap) or triggers for another sort of
they need to do is cross the length of a corridor or room deathtrap, such as barriers that drop down and set up a
to reach the other side. Unfortunately, the entire route is Closing Walls scenario.
mined with deadly traps intended to prevent them from
ever reaching their goal. THE KALEIDOSCOPE OF MADNESS
Most of a gauntlet is made up of weapons: flamethrowers, Rather than attacking them physically to kill them out-
automated guns, spring-loaded arrows, spears or darts, right, the villain uses this deathtrap to mount an assault
spike-throwers, gas projectors, lasers, and so forth. These on the heroes’ sanity, seeking to destroy their minds and
are conventional attacks, although the GM might want to wills. The name of the deathtrap comes from a common
encourage a more active resistance on the heroes’ part by version: a crazed kaleidoscopic display of flashing multi-
having them make defense checks against a fixed attack “dif- colored lights and deafening sound designed to overload
ficulty class” rather than rolling attack checks for the weap- the senses. It can also include subliminal conditioning,
ons. Acrobatics and Technology checks are also appropriate fear-inducing weapons or toxins, exposure to a sanity-
for running a gauntlet, and attack checks can be attempted threatening dimension, imagery tailored to personal pho-
to disable the various weapons with counterattacks. bias, and so forth. The key element is an ongoing mental
or sensory assault. The heroes have to endure the assault
as they find a way to stop it and escape.
THE UNINTENDED DEATHTRAP
If the effect of the Kaleidoscope of Madness is immedi-
Some bad guys aren’t clever or resourceful enough to ate and irrevocable, then it is a kind of Ticking Time-Bomb,
deliberately set up a deathtrap. They may not have a with a mental rather than physical effect, and it is the lead-
tricked-out lair equipped with a crocodile pit or a giant
up to the unleashing of the assault that is the deathtrap.
laser cannon or what have you. That does not mean,
If the effect is resistible, at least for a while, then it can be
however, that these villains cannot put heroes in death-
trap-style situations. seen as a kind of Gauntlet or Killing Jar affecting the mind
rather than the body.
For example, a hero fights a ruthless mercenary super-
villain in an abandoned building. During the fight, stray
attacks set the building on fire. Then the villain manages THE KILLING JAR
to get in a lucky shot and pins the hero to a wall. Before
he gets a chance to deliver the finishing blow, part of The victims are trapped in a room with no exits while the
the burning ceiling caves in, separating them. The mer- room slowly fills with a deadly substance, such as sand,
cenary dives out the window and down the fire escape water, or toxic gas. Eventually, the room will fill completely
to a waiting getaway vehicle, where his employer calls and the victims will suffocate, but before then they will
to ask if the job is done. have plenty of time to experience the terror of their situ-
“Don’t worry,” the bad guy growls, “there’s no way he’ll ation as the breathable space in the room shrinks (or the
survive that!” gas has its effect) and they inch ever closer to their doom.
The same sort of thing can happen in any situation Escaping the trap involves escaping any restraints and
where a villain leaves a hero to a “certain death”: for ex- finding a way out of the room before it’s too late.
ample, knocked into the tiger cage at the zoo, lying in
the path of a lava flow, trapped in a building or vehicle
that’s about to explode, or with a foot caught in the
THE TICKING TIME-BOMB
tracks in front of an oncoming train.
Another classic deathtrap: the helpless heroes are left
As the Gamemaster, you decide if an unintended death- by a bomb that is counting down to a fatal explosion,
trap counts as a complication (and therefore merits a
from the old-school bundle of dynamite with a clock-
hero point award). Generally, it does, although it may be
face attached to it to a modern suitcase nuke or super-
a part of the complication of being defeated by the vil-
lain. If the situation keeps the heroes busy while enabling science weapon. Sometimes the “bomb” is some other
the villain’s escape and the furtherance of the plot, it’s a danger, such as an overloading nuclear reactor or even
good idea to slip the player(s) a hero point. They’ll want it an out-of-control metahuman about to “go critical.” It is
to deliver payback to the bad guy later on. usually an explosion; other threats tend to shift over to
the Deadly Container trap (previously). The challenges to

“IT’S A TRAP!”
One case where the players should be able to avoid a deathtrap is if one of them figures out on their own that a situation
is a trap and chooses, in character, to warn the others and try to avoid it. Note, the “in character” part is important: lots of
M&M players can figure out when in an adventure a villain would likely spring a trap, but that does not necessarily mean
they, as players, do not want their characters to face that challenge. After all, if it were entirely up to the characters, they
would probably take a lot fewer risks!
When players make this decision, essentially what they are telling you is: “We do not want our characters to get caught up
in this particular trap right now.” If you want to be certain, you can offer the players a hero point each for going along and
letting their heroes fall into the trap. If they refuse, then that should be that. If you do not want to let them refuse, then it’s
generally best to plan the trap as a complication so they do not even have the option in the first place. By the time anyone
realizes it is a trap, it is already too late.
the heroes are to get loose from their bonds and find a hidden lair. They get into the room where the person is held,
way to disarm or remove the bomb without endanger- only to discover a holographic decoy! Then the armored
ing anyone else. doors slam closed and the villain’s voice comes over a hid-
den loudspeaker, chuckling evilly and telling them they are
THE WIND TUNNEL OF DOOM now doomed! The trap is sprung. This sort of capture, even
thought it does not render the heroes unconscious or help-
less first, still rates a hero point if you choose to spring it on
This is a surprisingly common deathtrap, although it often
the players with essentially no chance of avoiding it with a
shows up as an unintentional one (see The Unintended
good Perception check or Dodge check.
Deathtraps sidebar). The victims are trapped in a tunnel
with a whirling fan at one end, creating a powerful suction
that pulls them toward the fan and its spinning blades,
which are almost certain to cut any vulnerable targets to
EVADING TRAPS
ribbons. The heroes have to hang on against the wind and Assuming the heroes have a chance to avoid falling into
find some way of stopping the fan or escaping the tunnel the trap in the first place (see Capture Complications for
before they are pulled in. discussion of this), how do they avoid and overcome traps?
Detecting a trap is a Perception skill check. Avoiding the

GETTING TRAPPED trap once it is discovered might require a Technology
check to disarm or disable it, or another appropriate skill
Instead of a “fate worse than death,” deathtraps are gener- check, such as Acrobatics to get through a triggered trap
ally “a fate instead of death”—or at least a means of de- area without setting it off. A suitable Expertise skill check
laying a hero’s death. For the villain, it draws things out might allow a character to deal with a trap as well.
and helps ensure enemies will suffer spectacularly. For the
story, it does the same thing, but ensures the heroes get Avoiding a trap that gets triggered usually requires a
another chance at a comeback. Dodge resistance check, reflecting the characters dodg-
ing out of the way or ducking at the very last second.
Ending up in a deathtrap requires the hero to suffer a defeat Similarly, the check can include things like holding one’s
of some kind. It might be as simple as getting knocked out breath or clasping a hand over the nose and mouth (for
in a fight with the bad guy; the hero wakes up in a fiendish gas and suffocating traps) or bracing yourself for an im-
deathtrap! This is a good option if the heroes lose to the vil- pact or otherwise preparing for the trap’s effect. This cov-
lain in one of the earlier encounters in an adventure. ers most area effect traps that allow a check for half effect.
On the other hand, if you’re planning on putting the he- Other sorts of traps may call for different resistance
roes in a deathtrap as part of the adventure, then you checks, such as Fortitude to overcome gas attacks and
might not want to give them a fighting chance to avoid other toxins (perhaps following the initial Dodge check
it. That means going the “certain capture” route. In this to simply get out of the affected area) or to resist things
case, you use a complication to arrange for the heroes’ like sonic stunners. Will checks may apply to certain psy-
defeat and capture so they can end up in the deathtrap. choactive chemical weapons or “psionic” technology that
This can happen any way you would like, such as taking directly affects the mind.
one of the capture traps and springing it on them, but not
giving them a chance to avoid or resist it—essentially a
built-in complication. That is why you award the players a FIGURING OUT THE TRAP
hero point for the set-up, as a kind of “thank you” for going
along with one of the major elements of the genre. Then Once the heroes are in the trap, then comes realizing the
they can also use that hero point later when it comes to nature of the trap and the potential fate awaiting them if
dealing with the deathtrap. they do not escape. If the heroes were unconscious when
captured, they all regain consciousness. In fact, their cap-
Finally, there may be cases where the “capture trap” is also tor will almost certainly insist upon it, since one of the
the deathtrap. For example, the heroes might come to res- main ways the heroes will learn about the nature of the
cue a supporting character, following the clues to a villain’s deathtrap is directly from the trapper.

cerely believe they won’t get another chance, at least not

WHAT IF THE DEATHTRAP SUCCEEDS? with these heroes.
In superhero stories, it is generally a foregone conclu- So, while the heroes are groggily regaining consciousness,
sion that the hero will escape from the deathtrap some-
or casting about trying to figure out what their foe has in
how, and it’s a major plot twist if that does not happen.
mind for them, put on your best melodramatic tone and
The tension comes from how the hero will manage to
escape at the very last moment, rather than any real be- tell them in character as the villain exactly what you have
lief that he will fail. In an RPG such as Mutants & Master- planned for them, in loving detail.
minds, however, it can be difficult to make deathtraps
Here’s the payoff for the players: if the heroes listen to
seem like much of a challenge if there’s no real penalty
for failure. If the players cannot come up with a way out the villain gloat and rant or, better yet, encourage it, they
of the trap, what happens then? might get valuable time and information when it comes
to getting out of the deathtrap.
Ultimately, it depends on the style of your series and
your game. You can always let the chips fall where they Have any player who interacts, in character, with the vil-
may and mercifully draw the curtain on the demise of lain (even if it’s just a defiant “You’ll never get away with
the character(s) in the deathtrap. Perhaps the players’ this!”) make a skill check using Perception, Insight, or an
new heroes—who go after the infamous super-criminal
interaction skill such as Deception, Persuasion, or even
responsible for the callous killings of so many of their
Intimidation. The skill used depends on the approach the
fellow crime-fighters—will be more successful. For
certain, players will be on their toes when it comes to hero takes in dealing with the villain, but generally players
deathtraps in the future! should focus on their heroes’ strengths. The DC is the vil-
lain’s routine Insight check (10 + Insight bonus), although
You can also have it seem like the deathtrap is fatal, but
you can give players a circumstance bonus for good role-
have it turn out to be otherwise. Perhaps it is a hoax or
playing and targeting the bad guy’s ego.
illusion on the villain’s part, intended to psychologically
torture or break down the heroes. Maybe they do perish, A successful check awards the player a hero point usable
but a higher power intervenes and restores them to life,
only to help escape from the deathtrap. If the player does
possibly with some strings attached. Maybe, at the very
not spend it by the time the heroes escape, it is lost.
last moment, time suddenly stops so a cosmic entity can
offer the heroes a second chance.
For a somewhat less heavy-handed outcome, try a last-
“OF COURSE YOU KNOW...”
minute save from another hero or heroes, or a member
of the supporting cast. Perhaps one of the villain’s hos- In the process of gloating, the villain should essentially
tages manages to get free and release the heroes, or tell the heroes the nature of the deathtrap and what is
the villain’s daughter (who is in love with a hero) does expected to happen to them. This is essential for some
so. This is not necessarily a cop-out; there are plenty of deathtraps, since if the actual result of the trap were to
times when a hero’s significant other, friend, or even pet occur in-game, the heroes would be dead! So the villain’s
has saved him from otherwise certain death. taunts and threats are a primary way for the players to get
Finally, you can choose to impose a hero point “surcharge” a feel for the danger their heroes face.
on any or all of these last-minute rescues. At the very least,
The villain may also take the opportunity to gloat about
you should probably consider taking back the hero point
awarded to the players for putting their characters in the plans that will reach fruition after the heroes’ inevitable
deathtrap in the first place, since they didn’t overcome the demise, reasoning they will not be able to do anything
challenge. If it means saving a hero from otherwise certain about it and, again, it is the bad guy’s last chance to brag
death, you can potentially charge all of the player’s re- before this particular captive audience. This is your chance
maining hero points, even though that probably means a to lay out the villain’s plans for the players, filling in any
tougher fight against the villain, or at least a longer one, as parts they might have missed or not figured out from ear-
the player has to earn back some of those points! lier in the adventure so they know just what to do after
their heroes have escaped the deathtrap.
“NOW THAT YOU ARE IN MY POWER...” Once all the gloating is done, the villain may leave the
heroes to their fate, having to oversee the next stage of
If there is one thing supervillains love more than anything, the master plan (“I would stay and enjoy your demise, but
it is a captive audience. The only way it could be better my robot armies await ... farewell!”). Sometimes, the cap-
is if the captive audience was made up of hated enemies tor stays around to watch, giving the heroes an immedi-
helpless to resist and about to perish at the villain’s own ate second chance against the villain after they escape the
hand. When things are going that well, it is time to gloat. trap, although the villain might try and flee or move up
the timetable in response.
Yes, supervillains are not only sore losers, they are not
particularly graceful winners, either, and they love an op-
portunity to lord it over the heroes who have frustrated ESCAPING THE TRAP
and thwarted them in the past. What better moment than
when you have them right where you want them and are Escaping from a deathtrap requires a series of checks rath-
about to remove those bothersome heroes as an obstacle er than a single die roll or resistance check. The exact traits
once and for all? At least part of the reason why villains checked depend on the nature of the trap and the victim’s
gloat before they unleash a deathtrap is because they sin- tactics in the escape attempt.

Essentially, the GM sets a Difficulty Class for the trap and a perhaps the heroes can get the information out of the
number of successful checks needed to escape. The char- villain using Deception instead. The key to handling the
acters must achieve that number of successes before roll- escape sequence is to be flexible and adjust according to
ing a total of three failures. The more successes required, what the players think up rather than forcing them into a
and the higher the DC, the more the heroes must struggle preconceived notion of how it should go.
to overcome the deathtrap before it is too late. Each failure
brings the heroes closer to doom as the trap progresses. TEAM CHECKS
The base Difficulty Class is equal to the series power level Since escaping a deathtrap requires building up a certain
(so a PL 11 series would have a deathtrap DC of 11 as well) number of successes while avoiding failed checks, it is
and the base number of successes is equal to half the generally a good idea for characters who do not have a
power level, rounded up (six for the aforementioned PL decent chance of success to not do anything, since they
11 series, or 11 divided by 2, rounded from 5.5 up to 6). may only make matters worse. For example, a hero with
You can increase both the DC and required successes for only a +0 modifier on the required check has a better than
more difficult traps. average chance of adding to the failures tally rather than
the successes.
The traits checked are based on the means of escaping
from the trap. The GM may require certain checks, while However, one option is for the character to make a team
the players can propose others based on whatever plan check for one of the others involved in the escape (see
they come up with. For example, stopping a trap might Team Checks, M&M Hero’s Handbook, page 16). A suc-
require a Technology check at some point, but clever play- cessful check provides a bonus to the lead character but,
ers could substitute another skill check (such as Expertise more importantly, a failed check does not count toward
or Sleight of Hand) or even a power check. Figuring out failures on the escape attempt. Thus, characters can help
how to deal with the trap may be an Expertise check, but out without hindering their teammates.
ESCAPE EXAMPLE
The sinister Doctor Shock, seeking revenge on the Rook Dragoneye, on the other hand, only has Dexterity 3, and his
for past defeats, has captured three of his Sentinels team- player rolls an 8 for an 11—a failure!
mates—Victor, Ultramarine, and Dragoneye—and placed
“Sorry!” Dragoneye says as Ultramarine yelps.
them in manacles after disabling Ultramarine’s power
armor. The heroes were left in a chamber beneath Emer- “Maybe you should let me,” Victor says. “Hold this lead
ald City when Doctor Shock activated an army of his new steady.”
Shocktroopers; as the mad doctor left, he opened a wa-
Not wanting to risk any more failures, Victor’s player sug-
ter main which is flooding the chamber, threatening to
gests Dragoneye provide assistance, which his player readily
drown the heroes!
agrees to. The GM says Ultramarine’s player may do the same
Dragoneye’s powers are nullified by the imprisoning by offering instructions.
chains (one of his complications). Their best hope is to ei-
“Cross the circuits in the following order...” Ultramarine
ther jam the mechanism allowing water to pour into the
begins.
room, or to reboot Ultramarine’s armor in time. Unfortu-
nately, the brave heroine is without her cybernetic helm Victor does not have sufficient Expertise, so he must make
and cannot reach the armor’s vital systems with her hands Intellect checks with a +2 bonus (his Intellect rank). Fortu-
bound. Some teamwork is clearly needed! nately, Ultramarine has a +13 bonus, and her player rolls an
18 on the die. A total of 31 provides a +5 circumstance bonus.
The GM decides this particular trap is challenging; a DC 13
Dragoneye’s player rolls a 10, which—with his Intelligence of
deathtrap, needing 7 successes before 3 failures. That means
3—is equal to the DC and does not reduce the circumstance
these PL10 heroes are potentially in serious trouble.
bonus. Victor’s player rolls a 6... with the total +7 modifier it’s
“Victor,” Ultramarine says, “can you reach the access panel just enough! They now have three successes.
at the small of my back?”
Ultramarine talks her teammates through the process as the
“I think so,” the man of action replies. water rises. They roll one more failure, leaving no more mar-
gin for error, but then Victor’s player manages three more
Victor’s player tells the GM he’s going to make a Technology
successes with the aid of his teammates, leaving just one
check, which the GM approves. He rolls the die and gets a 9,
more to go.
plus Victor’s skill bonus of +5 for a 14—success!
Not wanting to leave things to chance, Victor’s player spends
“Pull out the two leads, the black one and the white one,”
a hero point on the last roll, ensuring an 11, for a total bonus
Ultramarine instructs.
of 13, which is just enough: the armored avenger’s battlesuit
“Dragoneye, give me a hand here,” Victor says. reactivates, and she is able to shatter the chains binding her
and the other Sentinels, allowing them to rocket up out of
“I’ll try.”
the chamber before the water pulls them under entirely.
The GM tells Victor’s player to make a Sleight of Hand
“Now let’s go after Doc Shock,” Ultramarine says, looking
check, which is a Dexterity check for him. Fortunately, he’s
over the now-empty chamber that held the Shocktrooper
got Dexterity 5, so when he rolls a 10 he gets a 15 for an-
army and the massive hole in the wall. “I doubt his trail will
other success.
be hard to follow.”


CHAPTER 6: ADVENTURES
The most common—and perhaps hardest—job as a Gamemaster is creating adventures, the stories heroes play through
in the Mutants & Masterminds games. Each adventure should present a self-contained story, but also bring in enough
familiar terrain, themes, or characters to feel like it’s a part of a continuing saga. As the Gamemaster, you serve as your
players’ eyes and ears into the world, describing what they experience. Knowing how the world and its villains react to
player actions is important.
This chapter begins by looking at basic story elements and where to get ideas for adventures and continues by laying
out the most common adventure design techniques used by Gamemasters. Some of the advice may be familiar to
Gamemasters who have studied creative writing. A good adventure also hinges on the unique way player characters
contribute to the story, and this chapter explains how to negotiate with your players and adapt your plans to their
actions at the table. Most of the major elements of Mutants & Masterminds can be divided into Challenge, Conflict,
Investigation, and Roleplaying, and this chapter dives into building scenes around each of these ideas to present a fun
and varied experience for your players.
Every Gamemaster has their own secrets and techniques for good adventure design. This chapter isn’t intended to re-
place whatever skills experienced Gamemasters have developed, but provides tools and ideas to get new Gamemasters
started while shoring up the skills of old hands.
ADVENTURE DESIGN
Creating adventures for Mutants & Masterminds is a lot like creating a story for any other medium: Consider who your
characters are and what they want, then decide what obstacles stand in their way. Because the protagonists of any
Mutants & Masterminds game are the player character heroes, the Gamemaster must decide what villains, NPCs, and
events the heroes encounter, spurring them to action. The biggest challenge is formulating the villain’s plot and
deciding how they react once the heroes get involved.
As a Gamemaster, you can approach your adventures as but good ideas can come from science fiction, historical
an outline or a toolkit (both approaches are described drama, romance, or any other genre of media.
later), but both techniques require a few basic elements.
Classic literature can inspire character depth: You can
borrow the single-minded obsessiveness of Moby Dick’s
CONCEPT Ahab to color a superhero crossing the line to take down
their longtime nemesis with your players in the middle,
At the heart of every adventure lies a simple concept. The or your villain may train a protégé to enact her revenge
so-called “elevator pitch,” a one- or two-sentence idea you against a whole caste of people in the style of Miss Hav-
could explain to get someone excited in the time it takes isham from Great Expectations. The real news may inspire
for an elevator to reach your stop. “Thieves steal jewels and heroic adventures as you ask how superheroes would
unleash an ancient curse.”“Crashed aliens build a portal to change the same events, or how supervillains may be
bring an invading army to Earth.” “The hero’s loved ones behind seemingly innocent human interest stories. Vid-
are taken hostage by gun-toting mole rats.” You can add eo games may give you ideas for fun missions, charac-
extra details as the story develops, but the central concept ters, or locations. Your local urban legends and tall tales
should be straightforward, punchy, and fun. may inspire adventure ideas, villains, strange events, or
Once you have a central idea, build up from there. Who NPCs. Even architecture can inspire ideas, as anyone who
is the antagonist that threatens the PCs and forces has walked through a stylish hotel lobby or ultramodern
them to confront the scenario? A villain? A natural di- convention center and thought “this would look good in
saster? An enthusiastic but ultimately misguided hero? a movie” knows.
A ticking clock? Look at later chapters for more ideas
on handling Adversaries, Plots, and Challenges. Decide
what your antagonists need, and how they accomplish
FLESHING IT OUT
it, and at what point the heroes become aware of their Once you have your core concept, you can begin to have
activities. fun with the details. What NPCs will the heroes interact
Ideas for plots and characters can come from all around with? Can you add challenges or opponents that allow
you. Obviously comic books and superhero TV shows and each hero to shine in turn? What sort of fun scenes can
movies are the easiest to borrow superhero plots from, help define the story and give the players a headache?

Every adventure needs a beginning, middle, and end. defeat should lead the heroes into a detour rather than a
While the Gamemaster may think the adventure begins dead end. Lower-power villains likely flee with their loot
when the villains hatch the scheme, for your players—the if they defeat the heroes, while masterminds may take
protagonists of your story—the adventure begins when them prisoner or lock them in an improbable deathtrap
they get involved. How do the heroes become involved the heroes must escape. Missing clues in an investigation
in the adventure? Does a robbery grab their attention? means the heroes are delayed and give the villain more
Does an informant tip them off to trouble? Does a hench- time to gather their power, not that the villain can never
person have second thoughts and approach them with be found. Failing to win over the public on an issue means
details about the villain’s master plan? Is the disaster self- the heroes will operate with increased scrutiny and angry
evident? What are your heroes doing when everything be- mobs, not that they’re run out of town.
gins? Don’t be afraid to ask your players how they want to
get involved—especially what their heroes are doing as a
new day dawns—and you might be surprised how many BALANCING ENCOUNTERS
good ideas and story hooks they offer.
It can be challenging to know exactly how threatening a
Endings are easy to imagine: They’re the exciting climax villain is for your hero. Power Level only provides a rough
with whatever villain is behind the whole adventure. Think estimate, and different powers and modifiers will affect
of an exciting place for the showdown and what kinds of the danger level of every encounter. In theory, a PL 10
resources the villain ideally has to aid them. Accept that hero has about a 55% chance of defeating a PL 10 villain,
your heroes’ actions may change all these plans, and be and a 45% chance of being defeated—a tough fight, but
prepared to be flexible. one the hero is likely to win thanks to advantages like
Middles are more challenging. You must guide your play- Hero Points. The rules assume a villain is roughly twice as
ers from the beginning to the end in a way that feels dangerous for every +2 increase in their PL, so a PL 12 vil-
natural. Think of what clues you can drop and when, and lain would be a tough fight for two PL 10 heroes, while a
what resources the villain spends to stop the meddling PL 14 villain should be a tough fight for four PL 10 heroes.
do-gooders. If the heroes succeed at given scenes, does Conversely, four PL 6 minions should cause at least mo-
that affect their final confrontation at the adventure’s cli- mentary concern for a single PL 10 hero. So a PL 12 villain
max? Perhaps if they defeat the hired mercenary sent to and eight PL 6 minions should present a respectable fight
stop them, that character isn’t around to help defend the that four PL 10 heroes would likely win.
villain at the climax. If the heroes stop the theft of a vital But the above is just an estimate. Mutants & Masterminds
component, does the villain gather their forces and attack is a complex system that allows for many exceptions. a
the heroes directly? Most adventures that last an evening PL 10 villain whose attacks affect a wide area may en-
have two to five scenes filling out their middle, so try and danger multiple heroes every turn and can defeat mul-
present different opportunities for different skills, powers, tiple heroes with a few bad Toughness checks. An ice-
and personalities to shine. themed villain vulnerable to heat likely won’t last long
against a hero with fire powers. A hero with the Take-
COMPLICATING MATTERS down advantage might clear the scene of minions in a
single action or two. There is no hard-and-fast rule for
challenging your players that covers every possible char-
Look at your players’ heroes and decide if any of their
acter build. Use the above benchmarks as a guideline,
Complications make sense in the adventure you’re
and be prepared to learn and try different combinations
designing. Does an old nemesis or rival show up? Does
in the future. Luckily, in Mutants & Masterminds, failure
the villain use a hero’s weakness? Are one or more heroes
rarely means death. Instead, heroes receive a Hero Point
stuck in their secret identities as events unfold, requiring
for their defeat and get to try again.
creative thinking before they can help out? Your heroes’
Complications can help you fill out interesting scenes that
feel personal or be springboards for adventure ideas all on
their own. How do your heroes react if they discover their
THE OUTLINE APPROACH
stodgy day-job boss actually funded the creation of their The outline approach positions the Gamemaster as an
newest supervillain? author or director and the player characters as actors in
your story, riding through a pre-set sequence of events
Remember that Complications help your players earn to a final destination. This approach has all the benefits
Hero Points, so don’t shy away from using them. A well- and drawbacks of a rail-shooter style video game, as the
spent Hero Point can mean the difference between defeat heroes advance through the story with their decisions
and victory in the final confrontation! and actions tallying up to a final success or defeat. This
approach is often simpler for new Gamemasters—as it
HANDLING DEFEAT has fewer moving parts to track—but can make players
feel like their decisions and initiative don’t matter. Most
In comic book stories, heroes don’t win every fight or find published adventures are written using the outline
every clue, and the same goes for Mutants & Masterminds approach, guiding Gamemasters through a pre-written
adventures. You should decide what defeat means in story (sometimes with advice for how to handle things
any given scene of your adventure. Whenever possible, when players wander too far afield).

To create an adventure as an outline, imagine each of Dr. Stormsurge knows that Front Dynamics will push back,
the scenes as a chapter in a story, or a scene in a movie. so they’ve used the same weather-controlling technology
One scene leads into another, ideally dropping enough to empower a few friends into superbeings—Sirocco and
hints about what the next scene is that your players make Windshear (using the Energy Controller and Speedster
the transition naturally and feel like they’re making their hero archetypes from the Deluxe Hero’s Handbook, respec-
own decisions. The player heroes become involved, jump tively)—and arm a few high-tech guards (using the Robot
from exciting scene to exciting scene, and finally arrive Jockey minion type). Dr. Stormsurge has established a se-
at the climax, just as they would if they were characters cret lab in an old missile silo (see the headquarters maps in
in a book. The Gamemaster makes notes for themselves Appendix: Villainous Lairs) as a stronghold. Most of the
ahead of time about what each scene is and what there is threat the players face will be weather-related dangers.
for the heroes to do—ideally with multiple possibilities, as
they may succeed or fail at different approaches. Scene 1 (Challenge Scene): The heroes become involved
when they witness a freak tornado form in the city. They
The sample adventure Power Play on page 260 is present- must rescue civilians trapped in its path and minimize the
ed as an outline-style adventure. destruction. They may stop the tornado itself (likely with
creative power checks), but if not, they’ll have to simply
FOR EXAMPLE keep its path clear and stop any disasters in its wake. Sev-
eral industrial buildings are destroyed and the heroes can
If you have a mad scientist who wants to hold the world try to investigate afterward, but all signs point to this be-
ransom with a weather-control satellite, you must decide ing a one-in-a-million weather anomaly.
who that scientist is and how far along they are in the pro- Scene 2 (Challenge Scene): The heroes can attend to
cess. Are they trying to settle a grudge? Greedy? Proving whatever personal business they like (a mini roleplay
their theories? Have they built the satellite yet? Is it in orbit? scene, if you want to get technical), but the next day a
Can this mad scientist create other minions empowered by sudden thunderstorm targets a private airport outside
their weather-control technology, do they have the power of town, endangering workers with sudden flooding,
to handle things first-hand, or do they hire goons to run fires started by strikes, and planes about to crash as the
errands for them? Let’s call our villain Dr. Stormsurge (and air traffic control tower is struck by lightning. Once again,
use the Mad Scientist archetype from Chapter 3), who the heroes must protect whomever they can and may at-
turned to villainy after their former employer—Front Dy- tempt to end the disaster with power checks, otherwise
namics—stole their designs and ruined their reputation. they must wait it out.
Front Dynamics has already launched the weather-control
prototype, and now Dr. Stormsurge is going to hack into it Scene 3 (Investigation Scene): Two impossible weather
and use it to target properties owned by Front Dynamics. events in two days is too big a coincidence, and the he-

THE DREADED BLOCK

One of the worst opponents any Gamemaster can face is the dreaded block. Writer’s block, gamer’s block, general execu-
tive disfunction—whatever you call it, the part of your brain responsible for fun ideas and connecting dots simply refuses
to work. Coming up with fun ideas on a regular schedule can be challenging, even stressful. It’s natural that your brain
rebels now and then.
If you’re out of ideas for a new adventure, look at your favorite inspiration. Read a comic. Watch a movie. Stream
a few episodes of your favorite TV show—superheroes or not—and just let yourself get excited. If nothing else,
you can steal the plot and hope your players don’t notice. You may also want to look for a random writing prompt
generator on the internet and see if the hooks it provides strike your interest. If time is short, consider picking up
a published adventure and either using it as-is or dropping in your own villains and supporting cast. You can even
let your players do most of the work for the night by dropping some plot device in their laps—like a time-traveling
pocket watch or duplication machine—and see what they do with it, assembling your own plot later from whatever
ideas they spark.
Sometimes block strikes in the middle of a game session. Your players take an unexpected action or you lose your
place in the notes and suddenly all your energy and momentum just stops as you try and fail to figure out what to do
next. In this case, it’s perfectly acceptable to call a break and review your notes. If that doesn’t help, you can always
throw in a random element of danger—such as a trap or a challenge or an assassin sent to attack your heroes (or their
loved ones). Your players may even speculate about what’s going on if you act cagey, providing you with inspiration
for what just happened, or you can leave it random and mysterious, with vague allusions to a plot thread you can use
in the future.
You can always ask your players to fill in the blanks on a new scene or development. They provide plenty of brain power
you should be eager to tap. If one player seems left out of this new direction, ask them to describe the scene, the NPC their
partners encounter, or some weird story element that complicates things. You might not have any idea how to portray
the gas station attendant who witnessed last night’s robbery, but you can simply tell your player they know this NPC and
ask them how.
roes can now investigate. The the fight, or even create warmer
airport is owned by a scientific conditions that the scientist’s
think-tank called Front Dynam- “When in doubt have a man come through preparations leave the villain
ics, as was one of the buildings a door with a gun in his hand.” forces vulnerable to. How they
destroyed by the tornado. The handle this fight may lead to fu-
right Expertise skills or Investi- -Raymond Chandler ture adventures, such as busting
gate can help the PCs uncover Front Dynamics for their illegal
records of a secret weather-control device FD has been business practices, but those are stories for another time.
working on for over a year, while Persuasion-based skills
may let them learn that a disgruntled employee was let
go from the project several months ago. Front Dynamics
insists their weather satellite is still entirely under their
THE TOOLKIT APPROACH
The toolkit approach positions the Gamemaster as a ref-
control, and even if it weren’t, it’s only a prototype and not
eree rather than an author, allowing the players more
powerful enough to cause such widespread (and expen-
freedom in how they solve their problems and adjusting
sive) destruction.
the world and the villain’s plan accordingly. If the outline
Scene 4 (Conflict): Once the PCs begin investigating, Dr. approach is a book, then the toolkit approach is more
Stormsurge is convinced the interlopers are working for like a sandbox video game, where heroes can explore on
Front Dynamics and sends Windshear and half their ro- their own, encounter enemies out of order, and possibly
bot jockeys out to confront the heroes and scare them stumble across bigger problems than they can handle.
away from helping Front Dynamics. Once it becomes This approach generally feels more realistic and allows
obvious the heroes are winning, Windshear and any re- players greater control and investment in the campaign,
maining robot jockeys retreat, but they have mentioned but also requires more research and improvisational
enough about Dr. Stormsurge in the fight banter that skills on the part of the Gamemaster, or else a large ar-
the heroes know the scientist is operating from a nearby chive of villains, NPCs, and locations they can draw on at
missile silo. a moment’s notice.
Scene 5 (Mixed Challenge/Conflict Scene): As the PCs The toolkit approach requires the Gamemaster to build
arrive at their lair, Dr. Stormsurge activates the weather a “kit” for each adventure, know who the villain is, their
control satellite to create a hail storm, pelting the area with personality, their resources, and a rough schedule of the
light damage and making the terrain slick while equipping villain’s plans, as well as likely locations the PCs will visit
themselves and their minions with technology to compen- and information on relevant NPCs. Because the heroes
sate. The PCs must battle Dr. Stormsurge, Sirocco, Winds- can quickly go “off script” to investigate new angles and
hear (if he escaped the last scene) and any remaining robot people, other creative tools, like name generators, NPC
jockeys to finally end the threat to the city. Heroes can de- personality lists, or a handy folder of urban maps are all
activate the weather satellite to improve conditions during useful when the players select an unexpected strategy.

The Gamemaster needs to be ready to react organically as tigate, they may find the webcam and monitoring
the PCs wander through the plot, and feed them enough equipment Sirocco set up, as well as her garbage.
information regardless of the approach they take to keep
the adventure moving forward, but players must also be • Event 2: Dr. Stormsurge uses the weather control sat-
willing to accept that the Gamemaster may need a fifteen ellite again to create a tornado in the city’s industrial
minute break during a session to review their notes and district, destroying a facility owned by Front Dynamics.
decide how a new scene plays out. Scenes generally flow • Event 3: Dr. Stormsurge uses the weather control
more organically from one to the next, and while some satellite to create a thunderstorm at Front Dynamics’s
will be pre-arranged (such as an attack the villain has al- private airport on the edge of town.
ready prepared, or a negotiation the PCs must find their
way into the middle of ), how they occur, and the fallout • Event 4: Dr. Stormsurge uses the weather control sat-
are more open to interpretation. ellite to create a downburst to destroy the mansion
of Front Dynamic CEO Eli Thrust.
The Gamemaster might want to jot down a few notes on
how to handle whatever possibilities they can think of, but • Event 5: Front Dynamic, having failed to re-take con-
there’s no sense in going into detail: there’s no guarantee trol of the satellite from Dr. Stormsurge, launches a
any given NPC, location, or plot element will come up, and private rocket to knock it out of orbit.
they’ll likely invent a few on the fly. Ideally, a Gamemaster
can cannibalize their unused notes into new plans—if the Dr. Stormsurge is paranoid and reactionary, certain that
heroes skip fighting guards in the cannery, for example, the Front Dynamics controls the authorities and—by exten-
Gamemaster can use that map later for a robotics factory sion—the superheroes in the city. If the heroes get in-
or that minion statblock to represent a crime lord’s goons. volved, Dr. Stormsurge immediately targets them, perhaps
with bizarre weather at public appearances or their head-
The sample adventure The Island of Doctor Sersei on page quarters (if it is publicly known), but likely by sending one
274 is presented as a toolkit-style adventure. of their super-powered lieutenants and some robot jockeys
to scare them. The heroes can investigate Front Dynamics
FOR EXAMPLE once they recognize them as the common element in all
the weird weather attacks, and learn about Dr. Stormsurge’s
Using the same scenario, characters, and resources, we history with the company. They may even take the scien-
wouldn’t break the adventure down into specific scenes, so tist’s side and win them as an ally by taking down Eli Thrust
much as events that will happen according to a schedule, (and in this case, the Gamemaster should be ready to give
and then figure out what’s going on with Dr. Stormsurge Thrust a few super-powered or technologically-advanced
and their minions as time goes on. Each event is separated guards of his own). If the heroes can’t track Stormsurge by
by a few days, assuming the heroes don’t get involved. the time Front Dynamic’s rocket knocks the satellite out of
alignment, the scientist may launch their own satellite or a
• Event 1: Dr. Stormsurge tests the weather-control rocket of their own to reclaim the technology (or incorpo-
satellite by creating a heat wave that wipes out one rate it into a space station, taking the adventure into orbit).
of Front Dynamic’s experimental farms. Because this
is away from the city, the heroes likely never learn The adventure ultimately resolves when the heroes en-
of it, but it may come up in their investigations, and sure Dr. Stormsurge no longer threatens the city, whether
they may want to visit the farm later. Stormsurge sent they ally with the scientist, defeat them, or temporarily
Sirocco to observe the test, and so if the PCs inves- drive them into space.
SCENE TYPES
Mutants & Masterminds roughly divides game events into four types of scenes: Challenge, Conflict, Investigation, and
Roleplay, each described in detail over the next several pages.
• Challenge scenes are scenes that use skill checks, ability checks, and/or power checks to overcome or bypass a
barrier.
• Conflict scenes are scenes that place the heroes in direct competition with other characters, including combat.
• Investigation scenes are scenes that use skill checks, ability checks, and/or power checks to uncover information.
• Roleplay scenes are scenes that use player interaction to uncover information, overcome barriers, or generally
have fun.
These aren’t hard and fast categories—simply ways of thinking about the challenges and story opportunities you pres-
ent at your table—and can easily be combined or changed to suit your game style.
Generally, adventures mix and match scene types, with an evening’s game using anywhere from three to eight scenes
for one adventure.

CHALLENGE SCENES
Challenge scenes generally present some danger the heroes must escape or some goal they want to accomplish, often
with a ticking clock or consequences for failure. While some are easily resolved with a single skill check or power use,
most require multiple checks or challenge sequences to resolve and get the heroes to their goal. Challenge scenes are
often broken down into action rounds or other small units of time, with each check representing a character’s efforts
during that period of time.
Examples of Challenge scenes include: enter the secret base by burrowing through the earth, the
Gamemaster should decide if the base has seismographs
• Escaping a flooding room, crushing chamber, or oth- that can detect them, or sensors to detect superbeings, or
er villainous deathtrap. burrowing defenders. Think on your feet and ask yourself
• Stopping a tidal wave as it rushes toward the city, or the important questions: Is it fair, and is it fun?
clearing citizens out of the area so no one is hurt. Challenge scenes make excellent consequences for failure
• Breaking into a secure building with different alarms, in other scenes: An investigation went poorly, and now
guards, and even traps. the PCs must rush across the city as fast as possible to
reach the villain before the bomb goes off. The heroes fail
• Repairing an alien device or performing a magic ritu- to win over the alien prince and are locked in the armada
al that can stop a rampaging kaiju. brig. The villain defeats the heroes, and seals them inside
an overly-elaborate death trap that will surely finish them
Creating a fun Challenge scene only requires understand-
off while she oversees the final stages of her plan.
ing what the heroes want, what keeps them from getting
that prize, and what steps they can take to reach their
goal. Sometimes a challenge is simple: A locked door
can be circumvented with a Technology check to pick
SUCCESS AND FAILURE
the lock, a Strength check to bash it open, or powers like Success in a Challenge scene should have obvious re-
Insubstantial. Other challenges might be more complex: wards. The benefits of success are usually the whole
Getting into a secret government base means using Ex- purpose of the Challenge scene: the heroes escape the
pertise or Persuasion to learn its location, Sleight of Hand deathtrap, or rescue civilians, or find the secret informa-
to steal a base guard’s ID, Deception to craft a disguise, tion they need. You should feel free to reward heroes for
and Stealth to sneak in to restricted areas. You must de- exceptional creativity or good luck as well, including Hero
cide if everyone needs to succeed at a check to bypass the Points, temporary (or even permanent) equipment, ad-
challenge (everyone needs to sneak past the guards one ditional information, or positive morale that provides a
way or another), or if only one person needs to succeed circumstance bonus to certain checks in the next scene.
(there’s only one doomsday device to diffuse).
Failing a Challenge scene should never bring the entire
You can decide the ideal way to solve each step of the adventure to a screeching halt, but it should usually have
problem, but be flexible with your players if they want to consequences: It may mean the villain gathers more re-
try a different approach or use a power or skill in a creative sources, or the heroes go into the next scene with a con-
way. Be fair when assigning check DCs to these new solu- dition or damage, or cost the heroes a resource like Hero
tions; an outlandish plan may be much more difficult, or it Points (requiring them to edit the scene to resolve the
may be easier because it’s a tactic no one would think to challenge). Alternatively, the failure keeps pushing the
defend against. story forward but triggers a new scene type, like a fight
breaking out or a tense Roleplay scene as the heroes
You should also decide beforehand how much time the plead their case.
heroes have and how many failed checks they get before
they fail. In general, heroes need twice as many successes
to succeed as they need failures to lose, so heroes may
need 4 Degrees of Success before they accumulate two
AWARDING HERO POINTS
The Gamemaster should award Hero Points in a Chal-
failures for a simple task, or 10 Degrees of Success before
lenge scene whenever a player suggests a particularly
they have five failures for a very complex challenge. Alter-
fun or insightful solution, whenever failing the challenge
natively, instead of forcing the characters to fail the scene
makes the situation much more hazardous, or whenever
at a certain point, you can place some slowly-escalating
the Gamemaster throws in new or unexpected challenges
consequences on failure, such as Toughness checks to re-
to keep the scene from being too easy. You should also
sist increasing damage with every failed check.
reward heroes who make the challenge more difficult for
Challenge scenes are an opportunity for everyone to get themselves by trying to live up to a heroic ideal, like refus-
creative. Player input and planning can come up with fun ing to leave another prisoner behind or using their turn
solutions, while the Gamemaster must decide how these to comfort an NPC instead of make progress on the chal-
new tactics interact with the scene. If the heroes want to lenge sequence.

PLOT TWISTS TABLE

Sometimes a failed skill check doesn’t end the chal-
lenge scene, it just makes the scene more interesting.
Likewise, if things are too easy or predictable, you might
throw in an unexpected twist. Roll a d20 and consult the
following table, or pick the most interesting result.
D20 RESULT
Family Arrival: A friendly NPC

somehow becomes involved in the
1–2 challenge; your daughter’s field trip just
happens to be to the museum you must
rob, your boss gets caught by goons.
Bad Timing: An Unrelated Villain
Arrives; another villain needs the same
3–4
information you do, a C-list villain robs
something nearby.
Okay, Creepy: The hero stumbles
across something unsettling but
unrelated, delaying you briefly; you
5–6
find a guard’s hero-worship shrine to
you; this bathroom hasn’t been cleaned
in months.
Well THAT Wasn’t It: The challenge
randomly gets harder in a way related
7–9 to the check the PC just made; you
accidentally fry the keyboard, you insult
the mayor’s mother.
Disaster Strikes: Another, smaller
challenge interrupts and needs to be
tended to; you set off an alarm that now
10–12
needs to be disabled, you break into the
kitchens and must pass yourself off as a
new chef or health inspector.
Oversight: A superior, journalist,
bureaucrat, or concerned citizen’s
group becomes involved; student
13–14
protesters make the guards edgy, your
commanding office buzzes you on the
radio to demand an explanation.
That Hurt: The check goes wrong,
and the hero picks up a condition
like Entranced, Fatigued, Hindered, or
15–17 Unaware; crossing the wrong wires gives
you a zap, someone flipped the lights
on before you could remove your night
vision goggles.
What Was That?: A guard, villain,
or dangerous monster shows up to
18–19 investigate; your cologne is too strong,
museum patrons mistake you for an
exhibit.
I Did Not Need to See That: The hero
learns some useful scrap of information
as part of their failed check, but is also
disturbed by the context, leaving them
20 Impaired for the rest of the scene;
that mystical secret was not meant to
be known by a mortal mind, the villain
keeps his password in the folder with his
vacation pictures folder.

CONFLICT SCENES
Conflict scenes place heroes in direct competition with other characters to achieve a goal and move the story forward.
The most common examples of this are fight scenes, where heroes use their skills and fantastic powers in exciting slug-
fests, but a conflict scene can also be a race, debate, or cooking competition. Any action-focused scenario that places
the PCs primarily against opponents who can react and adapt to them qualifies as a conflict scene.
Some examples of Conflict scenes include: an opposed roll; a success for the pursuer brings them
closer while a success for the prey widens the lead. A
• Brawling with supervillains in the street. battle of the bands might be treated like combat, with the
• Chasing down escaping bank robbers as they make audience essentially being minions each band “attacks”
their getaway. with Expertise skill checks to win them over. As always, be
flexible and be fun, and as with Challenge scenes, be open
• A cosmic dance-off. to new input from your players. The scenes presented later
in this chapter present several ways of using the rules for
• A training session in the Doom Room.
alternative Conflicts.
• Arm wrestling for the fate of California.
The key to any conflict scene is knowing who opposes

the heroes and what their motivation is. It’s important to
SUCCESS & FAILURE
know the antagonists’ skills and powers, but it’s just as im- Success in Conflict scenes usually amounts to survival and
portant to have a feel for their Complications, personality, pushing the story forward: The heroes defeat the villain’s
and goals. A team of professional thieves will have differ- minions or win the competition and gain its rewards. In a
ent strategies than an anarchist looking to tear down the fight, capturing some of the villains or their minions means
system, even though either of them could be holding a the mastermind or organization involved can’t use those
bank hostage. Some criminals only want to get away, and same forces again (for now). Unlike many roleplaying
want to distract the heroes long enough to make their games, Mutants & Masterminds doesn’t generally allow
escape. Unscrupulous sorts may threaten or endanger players to loot their enemies—take their weapons, armor,
civilians and force the heroes to choose between saving or quantum manipulators—but in some fights taking a
innocent people or pressing the fight. Other antagonists tool or plot device from a villain may be the whole point
may be cunning master planners who have three escape of the conflict, while at other times it can be fun for a
routes planned out beforehand and seem to vanish with- hero to pick up a defeated enemy’s weapon for a scene
out a trace once the fight turns against them. Outside of or two. Player characters generally only retain powers and
a fight, knowing the adversary’s personality means know- equipment they have paid Power Points for, and so “loot”
ing if they are likely to cheat at competitions, how they like this generally breaks down or runs out of fuel quickly.
will react to interactions, and whether they’re the sort of
The consequences of failure depend heavily on who the
character to prepare secret surprises for their opponents.
heroes’ opponents are and their agenda. Villains trying to
Understanding where a conflict happens can help add escape with their loot are likely to leave defeated heroes
fun options. A battle in the park means trees and rocks where they fall, while evil masterminds may imprison
may serve as cover while bushes can offer concealment, them, and mad scientists might strap them to tables for
benches and statues are available for super-strong char- fun experiments. The consequences for failure in non-
acters to throw, and lakes can change the fight environ- combat Conflicts are more similar to Challenge scenes,
ment. A rooftop chase becomes more treacherous in the with failure costing the heroes resources, information, or
middle of the night if a hero doesn’t have nightvision or a pride. Some fights are true battles for survival, with failure
light source. Make sure whatever environment rules you meaning a hero’s death, but these should be the exception
use are imposed on the villains as well as the heroes. unless your campaign is especially gritty or dark.
BEYOND COMBAT AWARDING HERO POINTS

The Gamemaster should award Hero Points in a Conflict
While combat is the most common Conflict scene in
scene whenever you use the environment to make the
Mutants & Masterminds, other conflicts can arise. By and
situation worse for the PCs or bring in reinforcements to
large, use the way combat works to model other kinds
help a villain. You can also give out a Hero Point to grant
of conflicts: Characters all roll initiative, time is tracked in
your villain the benefits a hero would normally get for
rounds or turns of some sort, and characters make action
spending one, such as shaking off a condition or rerolling
rolls on their turns, with the affected character resisting
a die; award this Hero Point to the player character most
with another roll. For a chase, action rolls might be effect
directly affected. If the villain wins, award every hero in-
checks using a movement power, or an Athletics or
volved a Hero Point.
Vehicles skill check, with the target being chased making

THAT WAS TOO EASY TABLE

Sometimes players roll a lucky critical success on the first
turn of combat, or your master villain flubs a Toughness
check and ruins what should have been a challenging
final battle. If the heroes seem to have too easy a time
with defeating your villain for a Conflict scene, consider
rolling on this chart to figure out why their encounter
went too smoothly (and award them a Hero Point).
D20 RESULT
It Was All a Dream: The fight was

somehow a fake; the entire fight was a
dream, hologram, or illusion meant to
1
distract or test the heroes, leading to
an Investigation as to what happened
or a new Conflict.
You Don’t Understand: The villain
was on-scene to try and stop the same
crime because they had a personal
2–3
stake in the adventure, or they were
blackmailed into helping by someone
else.
Deadman’s Switch: The villain’s defeat
initiates some disaster (their base col-
4–5 lapses, a bomb countdown begins, an
experiment runs out of control), start-
ing a Challenge scene.
This Isn’t Even My Final Form: The vil-
lain’s true power is revealed in defeat,
6–7
and they begin a new Conflict in with
more power.
All According to Plan: The PCs
winning somehow furthers the villain’s
8–9
true goal, possibly setting up a major
plot hook for the next adventure.
He’s a Robot?: The supposed villain
10–11 was a robot, clone, or other duplicate
sent for unknown reasons.
We’ve Gone Too Far: The PCs acciden-
tally injured or (apparently) killed the
12–13
villain, possibly triggering a Roleplay
scene dealing with the consequences.
NOW They Show Up: The proper au-
thorities arrive on the scene, and the
14–15
PCs must negotiate with or evade
them.
Merely a Test: This was just the villain
testing the heroes to gauge their abili-
16–17
ties, with a pre-planned escape and a
feigned defeat.
The True Master: The apparent villain
was only a minion for a more powerful
18–19 villain lurking in the shadows, waiting
to confront the heroes after they tired
themselves out battling the puppet.
Wrong Place, Wrong Time: The he-
roes or the villain are accidentally in
the wrong time or dimension, and de-
20
feat the villain well before or well after
the crime in question. Getting back
may be an adventure on its own.

INVESTIGATION SCENES
Like Challenge scenes, Investigation scenes focus on skill use. the difference revolves around the pacing and reward.
Investigation scenes focus on uncovering knowledge rather than bypassing barriers or escaping danger. Investigation
scenes generally don’t have the tight time requirements of a Challenge scene, and so time can be tracked more loosely;
each hero’s efforts may amount to ten minutes’ work, or an hour’s, or a full day of chasing down leads.
Some examples of Investigation scenes include: Players will generally begin an Investigation scene with
one big question, and the temptation is generally to an-
• Searching a crime scene and using various skills to swer that question once they have succeeded at a pre-
analyze what was found. determined number of skill checks. For short investiga-
• Hacking into a computer system. tions, this solution is practical and fast. For more detailed
investigations, break that central question into many
• Uncovering remnants of a civilization that vanished smaller questions and answer one with each successful
thousands of years ago. check. If the heroes want to know who robbed the bank,
tease out the villain’s identity by revealing the powers
• Communing with spirits to learn about a supernatural
used, the equipment they had, and a lead on where they
menace.
came from—enough information to push the story for-
Investigation scenes are generally reactive; the heroes inward while letting players speculate on the details and
vestigate in the wake of something else happening. It may feel satisfied if their guesses were right. Always be ready
be the scene of a recent crime or a ritual chamber sealed to steal your player’s speculations and adjust your own
500 years ago, but in either case the players want to learn plot if they happen across a twist more clever than what
what already happened. The Gamemaster’s job is to know you’d planned.
what happened, what traces of it would be left behind,
No mystery is entirely unsolvable. Every person leaves
and how the heroes find and understand those traces. The
traces of themselves as they pass through an area, and
Investigation skill is the most obvious tool for Investiga-
even more evidence if they try to conceal their presence.
tion scenes, but the Perception skill can also be used to
Your goal in an Investigation scene is never to hide infor-
find clues and patterns, while various Expertise skills can
mation from your players, only to make obtaining it fun
be just as handy for recognizing their significance. The
and interesting.
technology skill can be used to trace electronic crimes
or tell when a lock or security system has been tampered
with (and how), while Treatment can reveal the source of
injuries, illness, or poisons if a mystery involves living crea-
SUCCESS & FAILURE
tures. Presence-based skills like Deception, Intimidate, Most Investigation scenes boil down into Challenge se-
and Persuasion can all be useful for getting information quences, with bits of information doled out as the reward
out of witnesses or suspects. Powers like Senses can be for each successful test. Successful investigations might
especially useful, granting one or more automatic suc- provide heroes with enough information to lay an am-
cesses during an Investigation scene depending on what bush or trap, or provide additional information on their
the hero can detect. target—floor plans of a villain’s lair, passwords, or guard
schedules. Alternatively, they may uncover resources like
Some powers may make Investigation scenes too easy, new contacts or single-use equipment to help with the
or redundant. Senses (Postcognition) allows a hero to see rest of the adventure.
exactly what happened, while Mind Reading allows a hero
to dive into a suspect’s mind to determine what they saw Failure in an investigation should never lead the PCs to a
or if they are lying. You may want to consider the ethical complete dead-end, but may leave them chasing down a
ramifications of using powers to violate peoples’ privacy dangerous false lead before learning the truth, potentially
in your game, but you should generally allow players to leading to a Challenge or Conflict scene. Alternatively, a
enjoy the powers they’ve invested Power Points into. You failed Investigation may point the heroes in the correct
don’t need to address every mystery in perfect detail; in- direction, but they arrive so late that the villain has addi-
stead look at these powers as new means of doling out in- tional time to prepare, recruiting additional villains, laying
formation. Postcognition can reveal that a masked wom- a trap, or otherwise making the climax more difficult.
an pulled the trigger on the murder victim—and even
enough of their conversation beforehand to seed some
leads—but uncovering who she was or why she killed him AWARDING HERO POINTS
still requires old-fashioned detective work. Likewise, he- The Gamemaster should award Hero Points in an Investi-
roes may still need skills like Deception or Persuasion once gation scene whenever a player makes a particularly good
inside a suspect’s memories to tease out information; the insight, observation, or leap of logic that moves the plot
criminal just can’t shut up or refuse to answer like they can forward. You should also award a Hero Point whenever
in real life. you throw in a new complication to keep the Investigation

NEW LEADS TABLE

No detective can catch every clue, and sometimes the
best-laid trails go cold. If comic book heroes lose track of
the investigation or can’t seem to catch a clue, the plot
often drops new leads into their lap to get them back
on track. If your players are struggling, consider provid-
ing a new clue, lead, or solution by way of one of the
following.
D20 RESULT
Accident: A complete accident allows

the heroes to stumble into a new lead,
1
often by accidentally damaging some-
thing important to a hero.
Convenient News Report: Television
or social media picks up a relevant
2–3
news story that directs the heroes to
the trouble they seek.
Anonymous Source: An unknown
figure offers the information without
4–5 revealing their identity. Are they a
concerned citizen, a heroic mentor, or
a rival villain?
Interested Party: Some antagonist
from the hero’s life will provide infor-
6–7
mation in exchange for a treasure or
future favor.
Helpful Authorities: The police, a
sheriff, or a government agency have a
8–9
lead and would like the hero to follow
up on it.
Reluctant Authorities: The authori-
ties reveal they have more information
10–11 than the heroes, but won’t share, pos-
sibly forcing a Challenge or Roleplay
scene to obtain it.
Seen Too Much: A friend or family NPC
saw something, but was injured or
12–13
captured in the process, and may need
medical attention or rescue.
Right Place/Right Time: The heroes
14–15 happen to arrive somewhere with a
clue or a knowledgeable NPC.
Heroic Cooperation: Another hero—
maybe a condescending old hand or
16–17
an eager would-be sidekick—has in-
formation to share.
Enemy of My Enemy: Another
supervillain wants to take down the
18–19
target of the PC investigation, and
offers them free information.
Fan Support: The hero’s fans hear
about the investigation and do their
20
own snooping to pass the information
along to the hero.
scene from being too easy for the heroes, or whenever a

player does an especially good job of thinking in-charac-
ter, especially in ways that complicate the Investigation.

ROLEPLAY SCENES
Roleplay scenes allow heroes to overcome a barrier or uncover information by use of character drama and description
rather than skill checks, and help the campaign feel more realistic as character traits outshine mechanical bonuses.
Roleplay scenes are especially important when drama or major reveals in the storyline shouldn’t be ruined by a single
bad roll of the die. They help highlight a character’s unique flavor, abilities, background, and melodrama, and provide
players a valuable opportunity to earn Hero Points.
Some examples of Roleplay scenes include: sheet you may already have. Props, including character
portraits and minis, but also distinctive headwear, glasses,
• Talking down an angry mob. and other quick costume details can help everyone keep
• Negotiating with a captive villain to find out where track of who is speaking. For Roleplay scenes intended
she hid the doomsday device. to communicate important facts, Gamemasters should
make lists of what needs to be said and look for natural
• Navigating a tense press conference. opportunities to slip those plot points into the scene.
• Picking your kid up from school on game day. One of the biggest challenges with running Roleplay
scenes is dividing your attention and table time between
• Being a kid at the big game, and deciding whether or
your players equally. One player will often stand out as the
not to use your powers to help your team win.
dramatist while more introverted players may retreat into
Most Roleplay scenes revolve around dialogue as the the background. If a player seems shy or doesn’t want to
heroes interact with their supporting cast, authorities, participate, that’s fine, but make sure you make space for
captive villains, reporters, or the general public. They may them if they do and prevent other players from interrupt-
mentor their child after a hard day of school, run errands ing or hogging the spotlight.
for a sickly uncle, describe their adventures to a skeptical
reporter, or talk down an angry mob. Beyond dialogue,
Roleplay scenes may involve tough character-building SUCCESS & FAILURE
moments and choices, often tempting or requiring a Success in Roleplay scenes is generally measured by par-
hero to discreetly use their powers in their everyday. ticipation. So long as a player felt like they got to partici-
Sometimes this is for personal satisfaction—cheating pate as much as they were comfortable with, some mea-
on a test, getting the raise you need, getting the cute sure of success should emerge, whether that’s obtaining
guy to notice them. Other times it’s a matter of life and new information, overcoming a plot barrier, or just having
death—saving a friend from an accident, stopping a fun and earning a few Hero Points.
speeding car, or deciding whether to share information
only a superhero would know while maintaining a secret When things do go wrong in a Roleplay scene, it should
identity. Players can generally narrate their activities with deepen the story and complicate the heroes’ adventure
fewer or no dice rolls, with the Gamemaster acting as the rather than slow down the adventure. Nothing makes an
final judge for what is reasonable or mediating disputes awkward date even worse quite like a kidnapping, while a
when two or more players argue. As always, don’t forget hero who sticks their foot in their mouth while talking to
your responsibility to keep the game moving and fun for the FBI might suddenly find all their government contacts
everyone. going quiet for the adventure.
The challenge for a Roleplay scene comes from how much

a character reveals (do they tell the police everything they
know, even if it may leak their secret identity?) and what
AWARDING HERO POINTS
Roleplay scenes are an opportunity for a character’s
choices they make—perhaps they can’t stop a carjacking
Complications to shine without endangering their lives.
and still get to work on time. Roleplay scenes are generally
Gamemasters should draw on those Complications often
freeform, and Gamemasters don’t need to track time
and shamelessly in Roleplay scenes, and even take the op-
beyond vague estimates, just as “over the course of the
portunity to introduce temporary Complications a char-
evening” or “in the next hour.” Likewise, while skills and
acter must navigate for the rest of an adventure, like visit-
powers may come up—especially skills like Persuasion
ing family, powers going haywire, or an unknown family
and Insight that revolve around character interaction—
legacy popping up. Every use of a Complication earns the
these should generally measure a hero’s success or lead to
character a Hero Point for later, and Gamemasters should
plot twists rather than stymieing their progress.
award additional Hero Points whenever a player puts their
Because Roleplay scenes involve tracking many freeform, heart and soul into portraying their character. Keep intro-
moving parts and active characters, they can become verted players in mind during Roleplay scenes as well, and
confusing or overwhelming. When portraying multiple award Hero Points when a player keeps the table on-task
NPCs, make notes for each character’s distinctive speech and moving forward, or when quiet contributions help ev-
patterns, grimace, or accent in addition to a character eryone have fun.

NPC PERSONAL AND VERBAL QUIRKS

Sometimes heroes go looking for new friends when you
don’t have anything prepared. If you need a memorable
hook for an NPC, roll on one or both of these tables.
D20 PERSONAL QUIRK
Always chewing on a toothpick, gum,

1
or candy
Constantly mentions their romantic
2
partner
3 Big fan of one hero
4 Big critic of one hero
5 Goes off on tangents; can’t focus
6 Dresses for the wrong decade
7 Acts younger than they seem
8 Talks to someone who isn’t there
9 Has a colorful catchphrase
10 Won’t make eye contact
11 Flirtatious
12 Talks in an old-fashioned style
13 Clearly biased against a group
14 Pushy about a product
15 Thinks villains are sexy
Loud about a political belief or con-
16
spiracy
17 Seems distant or dreamy
Knows the hero or the hero’s non-he-
18
roic identity
Always thinking about food and refer-
19
encing restaurants
Might be in the wrong comic/attitude
20
seems counter to the campaign mood
D20 VERBAL QUIRK
1 “...like you do.”

2 “I tell you...”
3 “Don’t you know?”
4 “Sorry.”
5 “Yeah, no.”
6–7 “Quite.”
8–9 “That’s fair.”
10–11 “...you know.”
12–13 Long pauses
14–15 “Absolutely.”
16 “...I mean, technically.”
17 “Whatchucallit...”
18 “Could be, yeah.”
19 “Know what I mean?”
20 Excessive profanity

COMBINED SCENES
At the table, few scenes fall neatly into a single category. Your heroes will try to negotiate with a sympathetic villain even
as they battle him, roleplay with one another and supporting cast as they work through an investigation, and split up to
solve a mystery and gather the ingredients for a magic ritual at the same time. Combined scenes give players a choice in
how to showcase their heroes’ talents and personalities, as well as additional ways to solve their problems. Consult the
previous pages for each of the component scenes for advice on how to construct the individual parts.
You may plan out combined scenes in advance, such as a Examples of Challenge/Conflict scenes include:
fight where the heroes must also rescue civilians in harm’s
way, or emerge spontaneously as the players find creative • Completing an ancient ritual while an invading de-
solutions to other scenes, perhaps attempting to rewire mon army attempts to overwhelm the heroes.
an alien’s spaceship while fighting off their champion. • Disarming a bomb while battling the villainous mas-
termind.
SUCCESS & FAILURE • Battling robots downtown while protecting civilians

from collateral damage.
Success and failure are generally gauged and rewarded as
they would be for the component scenes. Succeeding at a • Racing another starship to a mysterious location,
Conflict/Investigation scene means that the heroes defeat tweaking and repairing your ship’s systems as they
opponents and uncover valuable information, jointly overheat.
moving the plot forward. Bear in mind that combined
scenes will often see one component end in failure while
the other leads to success, and you should consider how
CHALLENGE/INVESTIGATION
to deal with that.
Scenes combining elements of a Challenge and an Investi-
In some cases, this may simply make the other half of gation often revolve around specific barriers the PCs must
the scene more difficult. Failing at the Challenge half of first find before they can uncover. Investigation scenes
a Challenge/Conflict scene means the heroes never de- normally rely on skill and effect checks to uncover infor-
crease the villain’s maximum power and face a far greater mation, and so combined scenes often add consequences
challenge in the Conflict than they needed to. Refusing to failed skill checks or else place specific barriers in the
the compromise or relying on a Complication during an PCs’ way whose defeat doesn’t yield any new information
Investigation/Roleplay scene may mean the Investigation so much as open new avenues in the investigation.
takes more time and risks failure. Alternatively, it’s pos-
Examples of Challenge/Investigation scenes include:
sible for mixed successes to complicate the final victory.
The heroes may disarm the doomsday weapon during the • Tracking down a courier with a thumb drive contain-
final showdown, but at the cost of letting the mastermind ing all your leads.
escape or even defeat and capture them, or the heroes
may focus on defeating the villain but the weapon goes • Hunting for a weather control device while saving
off, leading to widespread destruction they must now the city from the destruction it causes.
help minimize. Neither outcome is entirely a win nor a
• Gambling for information against a cheating oppo-
loss, instead leading to new scenes and more complicated
nent.
stories.
• Performing a dangerous heist to recover clues.
CHALLENGE/CONFLICT
CHALLENGE/ROLEPLAY
Challenge/Conflict scenes generally make for fun, dy-
namic climaxes to adventures, where the heroes can use Roleplay scenes often include a few dice rolls to see how
their skills to alter the battlefield or victory requires com- well a hero performs various tasks or how believable their
pleting a task that the antagonist is violently opposed to. bluffs are, but Challenge/Roleplay scenes generally raise
They provide a vital role for heroes who are less combat- these stakes to include consequences for failure and/or
inclined, or whose powers the villain may be invulnerable rewards for success beyond the Hero Points and charac-
to. They also allow you to increase the stakes in a con- ter development Roleplay scenes normally provide. They
frontation; the heroes must battle an opponent not just may involve witty banter or tense standoffs, but these
for the sake of victory or capture, but to stop some event combined scenes generally present a situation where
they have laid in motion. Whatever danger you present, players must be creative in applying their skills to solve
be sure to reduce both the threat of the Conflict’s antago- problems and Gamemasters must be equally creative in
nist and the number of successes your Challenge requires interpreting the results. A failed check may steer the tone
to reflect the fact that heroes can’t devote their whole at- of the interaction or raise new challenges that must be
tention to either one. addressed before talks can continue. As Gamemaster, you

should decide early on how many Degrees of Failure end • Talking the mastermind’s mercenary into switching
the interaction and how many Degrees of Success yield sides mid-battle.
the best positive impression.
• Distracting the conqueror from her mission of de-
Examples of Challenge/Roleplay scenes include: struction with a dance-off.
• Negotiating with a sympathetic criminal syndicate to

ally against your mutual enemy. INVESTIGATION/ROLEPLAY
• A cooking competition littered with smack-talk, sup- Most Investigation scenes rely on skills and powers to
port, and narration. uncover information, with players’ descriptions adding
fun and flavor. But sometimes a well-placed word, com-
• Talking to a hostile AI to keep it distracted while promise, or exchange of information opens doors as part
teammates hack into it. of that investigation without the need for a twenty-sided
• Plunging into a comatose ally’s brain and navigating die. Investigation/Roleplay scenes often evolve organi-
their mental landscape to coax them back to life. cally from Investigation scenes, but you may also present
heroes with opportunities to learn more during investi-
gations by compromising their morals or falling back on
CONFLICT/INVESTIGATION their Complications.
Sometimes information is protected, and when violence Examples of Investigation/Roleplay scenes include:
or competition is required to reveal important clues or • Grilling a suspect as part of an investigation.
protect the investigators, Gamemasters can combine the
elements of Conflict and Investigation scenes for action- • A tense romantic encounter where each member has
packed reveals. More than just roughing up a criminal and an agenda, but also burning passions.
fighting off guards before forcing an informant to talk,
Conflict/Investigation scenes blend the head-to-head • Exploiting your relationship with your father the
competition into the process of revealing information, nurse to access a suspect’s medical records.
and rarely does a single fight reveal every bit of available • Using magic or psychic powers to commune with the
information. Instead, a fight may reveal one piece of data spirit inside a clue.
while sleuthing uncovers more, or multiple opponents
each only have a single clue, or part of the team must hold
a threat at bay while others uncover information.
Examples of Conflict/Investigation scenes include:
• Fighting off assassins while grilling your informant.
• Chasing down a masked criminal to finally reveal

their identity.
• Keeping a regenerating monster subdued while

teammates study it.
• Defending an unconscious teammate from alien

predators while they search the astral plane for clues
about the beasts’ origins.
CONFLICT/ROLEPLAY
Heroes love to banter during fights in the comics, and it’s
hard to draw a distinct line between a fight scene with
smack-talk and a combined Conflict/Roleplay scene, so
be flexible in interpreting it. The defining difference is of-
ten that the player’s own in-character dialogue can affect
the course of the fight without the need for dice rolls; an
impassioned speech or dramatic reveal is enough to alter
the plot, redoubling a villain’s attack, persuading criminals
to surrender, or driving a wedge between antagonists.
Examples of Conflict/Roleplay scenes include:
• Character-building banter while training in the

Doom Room.
• Persuading a fallen hero to reform even as you battle

their rampage.

EXAMPLE SCENES
The following pages present ready-made scenes to • Scenes are the individual parts of an adventure. The
challenge heroes, filling in a number of superhero tropes scenes presented here are only one section of a pos-
like chase scenes, crowd control, and mass invasions. Each sibly larger adventure.
scene shares a few common sections:
• Variations describes adjustments you can make to
• In This Exciting Issue describes the adventure, giv- the adventure to make it a whole new challenge or
ing you the details of the plot and villains involved.. add a fun twist if you want to re-play it.
• Involving the Heroes offers you some advice on You can use a scene here as a short adventure, as a part of
how to draw the player characters into the story. a larger adventure, or borrow the rules for your own ideas.
THE CHASE
The Chase focuses on catching escaping villains before
they get away. SCENE: RUNNING THE NUMBERS
Read the following aloud to the players:
IN THIS EXCITING ISSUE When you arrive at the ASTRO Labs facility, there’s
The Power Corps has stolen a hard-drive containing valu- no question as to the cause of the alarm: several
able data from ASTRO Labs. Upon spotting the heroes, the members of the infamous Power Corps mercenary
power-armored mercenaries make a run for it and split up, team hover in the air outside, near a good-sized hole
forcing the heroes to give chase. punched in the side of the building. The armored
criminals apparently spot you as you arrive, and im-
INVOLVING THE HEROES mediately scatter. The boot jets from their power
armor roar as they fly off in different directions!
The simplest way to involve the heroes is for them to re-
Set the number of Power Corps members to match the
spond to an emergency call from ASTRO Labs. They arrive
number of heroes—they probably don’t need their full
just in time to see the Power Corps split up and fly off, giv-
complement of eight for a simple tech-heist. Either as-
ing the heroes the opportunity to chase. The heroes might
sume the other mercenaries are on another job, waiting at
instead be at ASTRO Labs for other reasons when the theft
the group’s meet-up point, or reserved as back-up.
occurs, perhaps in their secret identities.
If you don’t have access to the Power Corps’ statblock
PROBLEM POWERS (available in Threat Report or the Basic Hero’s Handbook),
use the Battlesuit archetype from Chapter 2 of the Deluxe
If one or more of the heroes has a significantly higher (or Hero’s Handbook.
lower) movement speed rank than the Power Corps—
who have Flight 7—then The Chase might seem like it’s
over before it begins! There are a few ways you can handle
THE PURSUIT CHALLENGE
this problem. The Power Corps members split up and rocket off, forcing
Make sure the heroes have some movement options. If the heroes to give chase. The pursuit itself is a challenge,
they split up and one or more of the heroes cannot move a series of checks measuring maneuverability and speed.
fast enough to keep up with the Power Corps, feel free Remember that the heroes and villains are navigating
to have ASTRO Labs lend them several sky-bikes—anti- the canyons and hazards of a crowded city, not matching
gravity “motorcycles” with Flight 7. If a limited number of speed in a straight-off chase, and so control is as impor-
heroes have enough movement speed to give chase, you tant as raw speed.
might want to split the Power Corps into larger groups,
rather than having them all scatter in different directions. Time: 1 round
If your heroes are fast, use the situations described in Checks: Acrobatics (for Flight or Leaping), Athletics (for
Road Hazards to justify slowing down the faster heroes. Speed or Leaping), or Vehicles (for heroes piloting a vehi-
Because the villains split up, one or two swift heroes won’t cle) opposed by the Acrobatics check of the Power Corps
necessarily eliminate the whole chase, and catching up to member. If one side has a significant speed advantage,
the Power Corps members is just the first step! The first apply a circumstance modifier to their pursuit checks: a
Power Corps members the heroes catch are probably not 2-rank advantage grants a +2 circumstance bonus, while
the ones with the stolen hard-drive. 5+ ranks of difference grant a +5 bonus instead.

Success: If the hero generates 6 Degrees of Success, the
hero catches up with the villain, although this doesn’t
mean they’re defeated yet! If the hero catches up with the
villain, roll for initiative and shift to a Conflict scene.
Consequences: If the fleeing villain obtains 6 Degrees of

Success, the villain escapes.
ROAD HAZARDS
The pursuit is more than just a test of speed. The Power
Corps pull off various maneuvers to slow the heroes down
or shake them. Each round of the pursuit, choose one of
the following or roll randomly to determine what the vil-
lains do to make things more difficult for the heroes.
d20 Challenge
Blast Back: The villain hurls an energy bolt
that blows up a vehicle or building cornice,
collapses a tunnel, or otherwise hurls damage
the heroes’ way. The hero must roll a DC 20
1–3
Dodge check. If they fail, they suffer rank 10
damage, and lose a number of successes from
their threshold equal to their Degree of Failure
on the Damage Resistance Check.
Collision Course: The villain flies straight at
an obstacle, like the side of a building, before
swerving at the last moment. Roll an opposed
test of the villain’s Acrobatics against the hero’s
4–6 Acrobatics or Vehicles (as suits their mode of
movement). If the villain wins, the hero collides
with the obstacle, suffering rank 8 damage, or THE MEET-UP
their speed rank +1 (whichever is higher), and
loses one success from their success threshold. The Power Corps members who escape have arranged
Duck Out: The villain uses quick maneuvers, to meet up at an abandoned airstrip outside the city.
attempting to lose the hero. Roll an opposed Any captured member of the Corps gives up the loca-
check of the villain’s Deception against the tion to the heroes with a successful Intimidation check
8–10
hero’s Insight or Perception (whichever is against them. Heroes may also be able to use their skills
higher). Add the resulting Degrees of Success and powers to track the villains other ways—encourage
to the threshold of the winner of the test. the players to be creative! This can lead to another con-
Endangered Civilians: The villain endangers flict encounter with the remaining villains, including any
civilians, cutting the line of a window-washing of the eight members who were not originally present. If
platform, knocking someone off a balcony, or outnumbered two-to-one, the Power Corps surrenders.
11–13 using a power blast to send debris falling to
the street below. If the hero pauses to save Hero Points: Award a Hero Point to any hero whose target
civilians, they lose a success from their success escapes. Award a Hero Point to any heroes who come up
threshold, but gain a Hero Point. with a clever plan to locate the escaped villains.
Flying Low: The villain swoops down to street
level, flying among busy traffic on the city
streets. The pursuing hero needs to roll an VARIATIONS
14–16 opposed test of their pursuit skill against the
The Chase works as a model for similar kinds of chase
villain’s Acrobatics. If the villain wins, the hero
scenes where the heroes pursue villains. You can adapt
loses the villain’s Degree of Success from their
accumulated successes. it by changing the setting of the pursuit and the chal-
lenges the heroes face, or replacing the flying villains with
Tight Maneuver: The Power Corps member criminals on souped-up motorcycles or aquatic creatures
makes a tight turn, bank, or flies through
diving into the ocean. You can reverse it for scenes where
a narrow space. Roll an opposed test of
the villain’s Acrobatics against the hero’s the heroes are being pursued, or make it into a race where
17–19 Acrobatics, Athletics, or Vehicles (as suits their whoever has the higher success total is ahead, and who-
mode of movement). If the villain wins, the ever reaches the threshold first wins.
hero must succeed at a DC 15 Perception check
to stay on their trail or the villain gains another You can also change things in the adventure by changing
success. the villains and what they have taken. It might be a dan-
gerous device, creating complications of its own during
20 No hazard this round
the pursuit for everyone.

THE FRAME-UP
The Frame-Up places the heroes on the wrong side of the Berrindino’s AEGIS team consists of eight agents who use
law as they are accused of crimes they didn’t commit. the SWAT Officer archetype from Chapter 3, except their
weapons are energy blasters and instead of handcuffs
IN THIS EXCITING ISSUE they have power-nullifying manacles able to exert a rank
10 effect that prevents the wearer’s powers from working;
heroes can use extra effort to roll their highest power rank
Agents of AEGIS (the American Elite Government
against DC 20 to overcome the nullifier. If they succeed,
Intervention Service) or a similar law-enforcement
they can use their powers for one round (ideally to es-
organization show up at the heroes’ headquarters or
cape). If they fail, they do not overcome the effect.
public appearance to arrest them on suspicion of a series
of thefts. The authorities have video surveillance evidence Additionally, the AEGIS squad is backed up by three more
implicating the heroes. Do the heroes surrender peacefully, agents in power armor; use the Robot Jockey archetype
or do they go on the run in hopes of clearing their names? from Chapter 3. The power-suit wearers stand back, but
step in if things get violent (see Fight Back, following).
INVOLVING THE HEROES SURRENDER PEACEFULLY

Involving the heroes in this scenario is straightforward:
The authorities show up to arrest them! This is easy if the If the heroes choose to surrender to the agents, they are
hero team has a public headquarters. It gets more compli- taken into custody and brought to the local AEGIS head-
cated if the heroes are less public. The team might make a quarters for processing. If the arrest is made in public, it
public appearance at a charity event, arrive at a television doesn’t take long for the media to fixate on it, and smart-
studio for an interview, or some other activity the govern- phone videos of the heroes being led away in cuffs play on
ment agents can track. If the team is in communication all of the networks. The heroes are put through the process
with the authorities, AEGIS might call them in for a meet- of being booked and placed in holding cells. Exactly how
ing and arrest them when they arrive! If nothing else, the much information the feds are allowed to collect depends
heroes might hear about a warrant for their arrest. They on your setting, and whether or not there are any laws
have the choice of going right to the On the Run section in place to protect the identities of costumed heroes. At
or turning themselves in for the Surrender Peacefully op- worst, the authorities will unmask the heroes, take mug
tion without confronting the agents sent to arrest them. shots and fingerprints, and ask them for identification and
their real names. In a more four-color world (like the Earth-
SCENE: YOU HAVE THE RIGHT… Prime setting) known heroes get the benefit of the doubt
and can maintain their secret identities—for now.
Read the following to the players: The heroes are permitted to make a call and provided with
a lawyer, if they do not already have one—or if one of the
Monitor systems report the arrival of the AEGIS heroes is the team’s lawyer in their secret identity! Unfortu-
agents before they reach the front entrance. Given nately, the wheels of the justice system grind slowly, and ev-
there are nearly a dozen of them, decked out in full eryone involved wants to avoid any appearance of treating
field-gear and carrying a battering ram, you’re sure the heroes with favoritism. So the prosecutor assigned to
they’re not here for a social visit. their case makes an argument that they are most definitely
a (possibly literal) “flight risk” and must be kept imprisoned
Let the players decide what they want their heroes to do.
until their arraignment, which seriously limits the heroes’
If they go out to meet the government agents or let them
option. If the heroes choose to wait things out regardless,
in to speak with them, they find out the squad is under
the real villains might go to ground (so as not to give away
the command of Agent Derek Berrindino, a hot-shot who
their deception) or they might try and make things worse
is none too fond of superheroes, and enjoying the pros-
for the heroes by staging a “jail-break” for them and either
pect of taking the team “down a peg or two.” He brusquely
capturing the heroes or leaving them to face the authorities
identifies himself and informs the heroes they are under
while their “criminal allies” escape.
arrest on suspicion of larceny, breaking-and-entering, and
other charges. He orders the agents with him to cuff the
heroes and read them their rights. FIGHT BACK
If the heroes do anything that can be construed as “resist-
AEGIS AGENTS ing arrest” or threatening, they give Agent Berrindino the
opportunity he’s craving, and he orders his squad to take
Agent Derek Berrindino uses the Government Agent the team down by force. Although the AEGIS agents likely
archetype from Chapter 3, except he carries a blast outnumber the heroes, chances are they’re outclassed
rifle (ranged, damage 8) and wears an armored vest (+4 when it comes down to a fight. If the heroes win, they
Toughness) for the raid, increasing him to Power Level 6. must decide whether to go on the run (following) or wait

and surrender to Berrindino’s back-up, which is twice as same, possibly with those powers granted by a master
many agents and armor pilots. Chances are that a fight villain, or a team of Jobbers with visually-similar powers
against the AEGIS agents also gets caught on video and may be wearing copies of the heroes’ costumes.
shows up on the news almost immediately.
EVIL TWINS
ON THE RUN
The criminals committing the thefts not only look like the
If the heroes prefer not to entrust their fate to AEGIS and heroes, but are them—their “evil” twins or duplicates. They
the legal system, especially when it’s clear they’ve been could be clones, evil versions of the heroes from a parallel
set up, they can choose to go on the run so they can universe, robot or android duplicates, or magical simula-
investigate and clear their own names. It shouldn’t be cra, to name a few possibilities. Villains like Overshadow
overly hard for a team of heroes to escape from the AEGIS and Malador the Mystic from the Basic Hero’s Handbook or
agents, especially if they have various movement powers villain archetypes like the Elder Evil, Imp, Mad Scientist,
or a team vehicle at their disposal. They may have to adopt Overlord, Robot, or Sorcerer from Chapter 3 might be
a lower profile to avoid the police, offering opportunities using the evil twins to accomplish their goals while at the
for heroes with stealth and disguise abilities to show off. same time getting the bothersome heroes out of the way.
The thefts can be connected to the villain’s larger scheme,
or just an added bonus to framing the heroes.
SCENE: INVESTIGATION
The heroes must prove their innocence, ideally by track- MIND CONTROL
ing down the real perpetrators and finding evidence of
their impersonation. Part of this process involves the fol- On the other hand, perhaps the heroes are guilty, after a
lowing challenge sequence: fashion. They might have been mind-controlled or other-
wise influenced into committing the crimes (and leaving
Time: 1 hour evidence so they would get caught), with their memories
of the whole experience erased! This could be the work
Checks: Investigation (DC 15) is the primary check, but of a Basic Hero’s Handbook villain like Malador’s sinister
various other abilities can come into play, depending on sorcery, Mindfire’s telepathic powers, or even Luna Moth
how the heroes approach things, including interaction with a modified version of her pheromone formula. Simi-
skills, Expertise, and Technology, as well as unusual senses. larly, the Mastermind and Puppeteer archetypes from
Success: If the heroes obtain 5 Degrees of Success, they’re Chapter 3 are well-suited to this scheme.
able to track down where the real thieves have taken
their ill-gotten gains. This lets the heroes confront the real
villain(s), possibly getting either a confession or evidence
they can use to clear themselves.
Consequences: If the heroes accumulate 3 Degrees of

Failure, the authorities are on to them and an AEGIS team
similar to the previous one that came to arrest them
shows up and tries to take them into custody.
VARIATIONS
Things get interesting for The Frame-Up in terms of who
has framed the heroes, how they did it, and why. The fol-
lowing are some possibilities you can consider. Exactly
what the villains are stealing, and why, is left for the GM
to decide based on their larger plans. As a default, they’re
robbing banks, jewelers, or wealthy homes, either for the
money or just the opportunity to frame the heroes.
IMPOSTERS
While the criminals look like the heroes, they’re actually
imposters, and any appearance that they have the he-
roes’ powers are either faked or mimicked. For example,
the Power Corps from the Basic Hero’s Handbook might
be using advanced hologram generators to look like the
heroes, faking some of their abilities with their armor. A
group of villains with the traits of the Master of Disguise
or Mimic archetypes from Chapter 3 could be doing the

HEARTS & MINDS

Hearts & Minds is a one-scene Mutants & Masterminds sce- been gathering outside the police station where the
nario focusing on a different kind of conflict between he- creature is being held, with many people demanding
roes and their rivals: social competition. The heroes have action be taken to eliminate it, or at least interrogate
to succeed by winning over hearts and minds, rather than it to ensure there isn’t an invasion of some sort in
using fists and energy blasts. progress. Police are deploying outside the station in
case the scene turns violent.
IN THIS EXCITING ISSUE Hero Points: If the heroes have any Relationship compli-
An alien refugee has been taken into police custody fol- cations with law enforcement, media, or governmental
lowing an incident where a bystander was injured by the authorities, those characters might be involved in this
alien. Now an angry mob is forming, looking to exact vigi- scene to give them added motivation.
lante justice on the “alien monster” unless the heroes can
find a way to defuse things before they get out of hand.
THE ALIEN
INVOLVING THE HEROES The alien is an immature skr’ee, a four-limbed spider-like
species. An absentee parent placed its egg-sac in the
If the heroes are a known group, authorities may contact maintenance tunnel. Skr’ee care for their young commu-
them regarding the alien, asking for their advice or nally, but there are no others of its kind around. How it got
assistance. If you want, you can even run a short prelude there in the first place may be a mystery for the heroes to
to this scene where the heroes are around when the alien is solve but for now the young skr’ee is alone, frightened,
first discovered and have to help capture it in the first place. and dependent solely on instinct and genetically-encod-
This gives them some additional investment in its fate. ed race memories, without even a name to call itself.
Otherwise, the heroes may simply hear about the capture
of the alien and reports in the media about a growing The skr’ee has ability and skill ranks of 0 along with Move-
demonstration outside the jail where it is being held, with ment 2 (Wall-crawling), Senses 4 (Darkvision, Acute Smell,
authorities concerned the situation might turn violent. Tracking) and a venomous bite (Cumulative Affliction 6,
Resisted and Overcome by Fortitude; Dazed, Stunned,
Incapacitated). Victims must make an initial resistance
PROBLEM POWERS check, followed by another every hour, with the Affliction
progressing a degree with a failed check. A successful re-
A scenario like Hearts & Minds is largely aimed at the heroes sistance check ends the effect.
not using their powers to solve a problem, but there are
some powers that might come into play and influence
the outcome. In particular, heroes with mind- or emotion- THE MOB
influencing powers might try and use them to “convince”
an audience to go along with them. Generally, most A large crowd of people 30 people strong has gathered
heroes understand that such influence is problematic and outside the police station. As videos of the initial skr’ee
may come back to haunt them at a later point, but feel free incident go viral, people begin to panic about what is be-
to have someone else point this out if none of the players ing done about the “alien invader” the police have in cus-
do. Likewise, heroes resorting to force and intimidation tody, whether or not they can hold it, or even if the alien
to make their case might enhance a fearsome reputation, is somehow influencing people or “using” the police for
but are not likely to win over a lot of people in the long its own protection. Fear, anger, and rumors are spreading,
run. They might have later problems when it comes to not and the crowd is growing, shifting into an angry mob. Use
having the public’s trust. the Bystander archetype from Chapter 3.
SCENE: WEB OF FEAR THE AGITATOR

Read the following aloud to the players: Egging the mob on is Conrad Zoraz, an anti-alien advo-
cate who argues all alien beings are a potential threat to
Reports of the capture of an alien being—a multi- humanity and that governments must take more action
limbed spider-like creature—in the downtown to eliminate alien presences on Earth. Zoraz is a xeno-
area are all over the news. Apparently, the creature phobe who believes all outsiders are dangerous, and that
was found by some public works personnel in a humanity has a moral obligation to destroy aliens rather
maintenance tunnel, and managed to bite one of than allowing them to “infiltrate” Earth. He isn’t much of a
them before it was captured by police. The injured direct threat; base his abilities off the Reporter archetype
worker is in critical condition in the hospital. in Chapter 3 with Presence 2 and Expertise: Aliens 6 (+8)
Meanwhile, an increasingly agitated crowd has in addition to the other listed skills.

THE CHALLENGE opposed and the side that gets 5 successes first wins the
debate. Three or more successive failures on the part of
the heroes might anger their audience, leading to them
The heroes must convince the crowd to calm down and
also being thrown in jail, a dungeon, or a gladiator pit!
let the authorities or the heroes handle the alien, ideally
before things get violent. This is a challenge sequence
with the following parameters: THE FEAR-MONGER
Time: 1 minute For a bigger challenge, the heroes might be up against
Checks: Deception (if the heroes lie to the crowd), Intimi- a foe with far greater interaction skills or powers that al-
dation (to threaten the crowd), Persuasion (to convince low them to control people’s emotions! From the Basic
everyone). Some types of Expertise might work, too. The Hero’s Handbook, Luna Moth’s Pheromone Capsules might
DC of the first check is 12 but, after that, Conrad Zoraz do this, as could Malador’s Curse of Transformation, and
steps forward to question and counter the heroes, and the Mindfire might power-stunt a version of her Terrifying
following checks become opposed by Zoraz’s own. He has Hallucination to do the same. From this book, the Elder
a +6 bonus with Deception and Persuasion and a +8 with Evil, Imp, Mastermind, and (especially) Puppeteer vil-
Expertise: Aliens. lain archetypes could do it, and the Jumped-Up Nobody,
Mad Scientist, Psycho, Sorcerer, and Vampire arche-
Success: The heroes need 5 successes to calm the crowd types could easily use Extra Effort for a power stunt.
and convince them to leave peacefully.
Consequences: If the heroes fail two checks, the crowd

RALLY
becomes a violent mob and tries to rush the police sta-
Rather than calming an angry mob, the heroes have to
tion, but can be calmed with a successful check. If the he-
rally a frightened crowd to find their courage and stand
roes fail four checks, there’s no convincing the mob any
up to some danger. If they get 5 successes, the bystanders
longer and the heroes must use other means to resolve
all rush to their aid and help the heroes against the villain,
the situation. Deceiving or intimidating the mob can tem-
providing them with a needed distraction or opportunity
porarily defuse the situation but may have consequences
to escape the villain’s trap, for example. Along with skill
for the heroes and their reputations later.
checks, uses of advantages like Inspire and Leadership
This initial incident can easily lead into a follow-up adven- can count as one success each, and suitably heroic ac-
ture. Once the heroes have handled the crowd, you can tions, such as a use of Interpose to protect someone, can
decide whether or not they have to get the infant skr’ee also count as one or more successes.
back home (if they have or can borrow a means of space
travel) or just keep things calm until another hero can
handle it. They may also find or manufacture an antidote
for the skr’ee’s venom.
VARIATIONS
The basic concepts of Hearts & Minds can work for other
social competitions.
BATTLE OF THE BANDS

Rather than winning over an angry mob, the heroes
could be trying to win over an audience in a performance
competition. This could range from Hero High characters in
a band looking to defeat their rivals to a group of heroes
in an interstellar music competition to save the Earth! The
heroes make a team check of their relevant Expertise skill(s)
for the performance, with the DC based on how difficult the
audience is to win over. Whoever gets the largest Degree of
Success after a total of 3–5 checks is the winner!
THE DEBATE
One or more heroes are engaged in a public debate. This
could be arguing with a prejudiced demagogue like Con-
rad Zoraz over the rights of aliens, mutants, robots, or any
other group, arguing a legal case before a judge, or de-
bating an opponent in front of a third party the heroes
must sway, like the ruler of an alien empire. Each check is

THE INCREDIBLE SHRINKING HEROES

Incredible Shrinking Heroes is a one-scene Mutants & Mas-
You find yourselves in a vast chamber—the ceiling
terminds scenario where the heroes must overcome larg-
hundreds of feet overhead—with strange, massive
er-than-usual challenges, because they have become so
buildings surrounding you that … no, not buildings—
small! It offers advice for dealing with heroes operating at
workbenches and furniture. You haven’t been trans-
different sizes.
ported. You’re in the same room, only seeing it from
the floor-level, only an inch tall! You hear the rattling
IN THIS EXCITING ISSUE of a cage door opening somewhere in the room and
claws scrabbling against the tile floor...
The heroes track down the secret laboratory of a mad
scientist and raid it, only to fall into a trap that shrinks Hero Points: Award the players a Hero Point for the trap:
them down smaller than mice! What’s worse, another of the field of an experimental shrinking ray, which has re-
the scientist’s experiments, cybernetic lab rats, stalk the duced them in size to just a couple of inches tall.
heroes through the now-giant (to them) laboratory.
LITTLE HEROES, BIG CHALLENGES

INVOLVING THE HEROES The heroes are essentially under the effect of 16 ranks of
The heroes have been on the trail of a mad scientist. Use
Shrinking, reducing their size rank by 4 (see Shrinking in
the Mad Scientist archetype from Chapter 3. The villain
the Deluxe Hero’s Handbook). However, rather than applying
is at-large and the heroes have found a lead to his latest
the modifiers for the Shrinking effect, it’s easier to simply
hideout, so they’re off to apprehend him before he can do
treat the world around them as larger, turning inches into
any further harm!
yards from the characters’ perspective. Thus the 30-by-30
Alternately, you can start this adventure immediately after foot lab becomes roughly a half-mile wide from the heroes’
the heroes have been captured by a villain, either the mad perspective—several city blocks! The three-foot high coun-
scientist or another bad guy willing to trade them off to tertops are the equivalent of 100-foot tall buildings, while
the scientist as experimental subjects. They’re subjected the spaces underneath them are like caverns with 15-foot
to the shrinking field as part of a deliberate experiment, ceilings. The lab’s eight-foot ceiling and light fixtures are
but the scientist is called away by something, allowing the now a staggering 300 feet overhead.
heroes the opportunity to escape.
There is a lot of scientific bric-a-brac in the lab the heroes
can interact with, including:
PROBLEM POWERS
• Glassware: Beakers, flasks, and test tubes are now
Heroes with Growth ranks sufficient to counteract the huge compared to the heroes. It takes a proportion-
Shrinking effect may seem to overcome the scene’s ate Strength of 4 to lift a test tube and 6 for a beaker
unique challenge. The simplest solution is to say that the or flask, more if they are full. The heroes are small
scaling effect of the shrinking field also nullifies or reduces enough to climb inside any of the glassware as well
those powers. This means a growing or shapeshifting hero (or fall into it accidentally). At this size, glass is as
cannot simply return to normal size, but they can grow tough as stone (Toughness 5).
“giant” compared to their tiny default size. Heroes with
• Bunsen Burners: Burners emit a Line Area Damage
high ranks of movement powers find their top speed
10 effect, if the heroes can ignite one. Turning the gas
scaled down to match their new size. You should award
on takes Strength 3 and a Standard action.
the affected player(s) a Hero Point for this complication.
• Chemicals: The smallest chemical bottles take
SCENE: A SMALL PROBLEM Strength 4 to lift, while larger ones require Strength
7 or more. Tipping over a chemical container releases
its contents in a Cone Area from the mouth of the
Read the following aloud to the players:
container. Usually the effect is something like Dam-
age 8 each round for anyone in the area, although
You’ve finally got a break on a case you’ve been
some chemicals might cause Afflictions instead. Play-
working, a lead to the location of a criminal
ers can spend Hero Points to edit the scene and de-
laboratory hidden beneath the city streets. Now
fine the effects of a particular chemical.
that you know where it is, even its steel-reinforced
secret door is no match for your abilities. The dimly- • Sinks: Countertop basins are 30 feet deep from the
lit chamber beyond hums with the electrical power heroes’ perspective and 60 feet across. Turning on
stolen from the city’s grid. A second steel door slides the facets takes Strength 5, and heroes are small
down, closing the way you came, and a bright flash of enough to be washed down the drain. Swimming or
shimmering light fills your vision, inducing a sense of moving against the current from the spigot is a DC 18
vertigo, as the room spins around you! Athletics check.

• Dissection Instruments: A tray with scalpels, nee- Consequences: If the heroes accumulate 4 Degrees of
dle-like probes, and other instruments. A hero could Failure, they short out the device and it takes an addition-
wield one like a bulky spear (Damage 3), or the whole al DC 18 Technology check for them to start the process
tray could be knocked over, striking the floor below over again. If they short it out a second time, the shrink ray
with a Damage 6 attack in the equivalent of a 30-foot is fried without extensive repairs.
Burst Area.
• Laser Pointer: Takes Strength 4 to lift, but can be

used as the equivalent of a rank 8 Dazzle attack
VARIATIONS
against a single target. The Incredible Shrinking Heroes can work for other adven-
tures where the characters are reduced in size from their
normal world.
RATS!
A small pack of cybernetically altered lab-rats—one for LAND OF THE GIANTS
each hero—are released from their containment to attack
the shrunken intruders. At the heroes’ current size, the Heroes might visit a “land of the giants” in a hidden cor-
rats are monsters the size of elephants, with vicious claws, ner of the world or another dimension with a vastly larger
brain-implants to control their behavior, and cybernetic scale, and people wander through “forests” of grasses 20-
tails that can make grab or Trip attempts from the equiva- feet tall with giant insects. A fast and messy way to make
lent of 30 feet away. a creature the “giant” version of itself is to simply add +8
to Strength and Stamina, though you may want to make
specific statblocks for important creatures or characters.
CYBER-RATS PL9
STR 10, STA 10, AGL 3, DEX 0, FGT 6, INT -4, AWE 1, PRE -4
Powers: Brain Override Implant Enhanced Will 7, Cyber-
BODY WARS
Claws Damage 2, Cyber-Tail Elongation 2 (30 feet, Limited
The heroes shrink to cellular size cells to enter someone’s
to Tail), Enhanced Senses Senses 2 (Acute Smell, Low-light
body, either to treat a serious medical issue, or to deal
Vision), Frickin’ Lasers Ranged Damage 10
with another microscopic intruder. White blood cells are
Skills*: Athletics 3 (+6), Stealth 1 (+4); *The rats’ Athletics skill the equivalent of the Blob archetype from Chapter 3, and
is based on their Agility rather than their Strength the heroes need life supports suits (or a vehicle) to navi-
Offense: Init +3, Claws +6 (Close, Damage 12), Frickin’ Lasers gate the circulatory system to their destination.
+0 (Ranged, Damage 10), Unarmed +6 (Close, Damage 10)
Defense: Dodge 8, Parry 8, Fort 10, Tou 10, Will 8
ranks) + Defenses 7 = 85
Complications: Rat: The lab-rats are just ordinary animals
otherwise and, at normal size, have the traits of ordinary rats
with a Damage 1 laser that has only a 3-foot range.
GETTING BIG
The emitter for the shrink ray is located near the ceiling on
the opposite side of the lab from the entrance, aimed in
a wide beam at the area where the heroes entered. They
must cross the room, get up to the top of the counter, and
access the ray’s control systems in order to reverse it. They
need to be in the area of effect, back where they started,
when the ray goes off.
Resetting the shrink ray is complicated by the fact that

the controls are huge and hard to manipulate from the
heroes’ perspective. It takes at least Strength 4 to perform
the necessary manipulations, so some of the heroes might
have to work in tandem to do so. Resetting the ray is a
challenge as follows:
Time: 1 round
Checks: Technology (DC 16)
Success: If the heroes obtain 6 Degrees of Success, they’re

able to reactivate the ray for a short burst (one round)
with up to a one-minute (10 round) delay.

SHADOW INVASION
SHADOW Invasion is a one-scene Mutants & Masterminds SHADOW is sending waves of clone troops into the city via
scenario pitting the heroes against the forces of a clone teleportal and they are moving out with perfect precision
army trying to take over their city. to seize targets of strategic value, particularly police sta-
tions, military installations, and government buildings. In
IN THIS EXCITING ISSUE terms of the mass combat rules, each SHADOW force is a
company of 100 veteran troops, giving them a Force rank
of 7. There is one company in the invasion force per player
The evil organization SHADOW invades the city! This sce- character. Each company has the following mass combat
nario makes use of the Mass Combat rules in Chapter 7, traits:
as the heroes confront hundreds of SHADOW’s clone sol-
diers. You’ll want to familiarize yourself with those rules. SHADOW Clone Troops: Attack 11, Damage 13, Defense 4,
With conventional authorities overwhelmed, it is up to the Toughness 9, Initiative 4, Morale 3*
heroes to stem the tide of the invasion before it is too late *See description
and SHADOW has seized control.
The combined force includes some heavy weapons, hover
tanks, sky-bikes for air-support, and the like, which are all
INVOLVING THE HEROES abstracted in the force’s traits. Essentially, so long as he-
roes are in the area of a SHADOW company, it can poten-
The heroes most likely get involved in this adventure tially attack them, and be attacked in turn.
when SHADOW’s forces attack and they are called upon
to help stem the invasion! You can always start things off By default, the SHADOW clone troops are immune to
slowly, as the heroes investigate leads they pick up, sug- morale checks, succeeding on them automatically. They
gesting that SHADOW is about to launch a major opera- are programmed and psychically linked and cannot be
tion. As they are interrogating informants and searching swayed from their orders, nor will they surrender under
the city, the invasion begins. If you have run Shadows of normal circumstances.
the Past from the Basic Hero’s Handbook, you can make this
If the heroes are all together when the adventure begins
adventure a sequel: The elimination of the old SHADOW
(at their headquarters, for example), have one company
base in Shadows of the Past has triggered a failsafe mecha-
appear close enough to begin to attack them. They quick-
nism and a SHADOW cloning facility has begun turning
ly learn of other companies of SHADOW troops appear-
out an invasion force, unleashing them upon the city! The
ing throughout the city, so they may want to split up in
heroes have to find the hidden clone-factory and shut it
order to deal with them. Using the mass combat rules,
down to stop the flow of soldiers.
you can treat each company as an individual “opponent”
for the heroes, keeping in mind that forces can split into
PROBLEM POWERS smaller groups: essentially, each time a force splits in half,
it creates two groups with the same traits, but –1 Attack,
Heroes with powers affecting a substantial area have an Defense, and Toughness.
added advantage in overcoming an enemy force (see
Powers under Forces in Action in the Mass Combat Hero Points: If the heroes begin this scenario in their se-
section of Chapter 7). You may want to take that into cret identities and break away to change before they can
account when running the adventure. In the case of engage, award them a Hero Point.
damaging area powers, the heroes can only be so effective,
since the attackers are invading the city and mixed among IN THE LINE OF FIRE
thousands of innocent civilians who are in the line of fire,
so this advantage should not be overwhelming. The invasion allows plenty of opportunities for heroism,
as there are a lot of innocent people in harm’s way, and
SCENE: SHADOW STRIKES plenty of things for heroes to do other than just fight
SHADOW troopers. Pose any or all of the following
Read the following aloud to the players: challenges to the heroes:
• They must rally and coordinate overwhelmed civilian

Morning is ordinarily a quiet time: few emergencies police and emergency forces. This could be as simple
other than the occasional rush-hour accident and as a DC 15 or better Persuasion or Intimidation skill
this morning is no different—at first. But then the check to snap them out of their shock, or a challenge
distant sound of weapons-fire reaches you. A lot of sequence intended to accumulate at least 4 Degrees
weapons-fire, followed by sirens and fearful cries of Success to get them all working together.
from a panicked crowd of morning commuters. You
spot the black-and-gray-clad troops moving through • They must calm panicked crowds. Again, this could
the streets in the distance, sweeping everything out be a simple interaction skill check (especially Persua-
of their way. It’s an invasion! sion) or a challenge sequence.

• Use the guidelines from the Disaster Strikes! scenario
from the Basic Hero’s Handbook for heroes saving
COMMANDERS
people from buildings damaged by weapons-fire.
In addition to the ordinary troops, one or more supervil-
• Abandoned or damaged cars or other debris may be lains may lead the assault, ranging from super-powered
blocking streets or bridges. It takes at least Strength toughs like the Assassin, Brute, Jobber, or Martial Artist
8 to clear it in one round. Lower Strength can clear villain archetypes who fight alongside companies, to true
the way in +1 time rank per –1 Strength rank, down leaders like the Overlord, Sorcerer, or Mastermind.
to Strength 5 clearing the blockage in one minute (10
rounds). INFERNAL INVASION
• People may be trapped in damaged vehicles, threat- The invasion is made up of magical creatures like de-
ened by fires or even explosions. Getting them clear mons, gargoyles, or city fixtures and appliances animated
requires breaking through a Toughness 8 barrier and by fiendish magic. A supernatural invasion is generally
making a DC 15 Acrobatics or Dodge check to avoid the handiwork of a supernatural villain like Malador the
Damage 5 from the flames. Mystic, or a villain archetype like the Sorcerer or the
Jumped-Up Nobody (perhaps using an ancient demon-
THE HIGH GROUND summoning tome or magic item). The invaders may have
additional advantages over mundane troops, having cer-
One SHADOW company is aiming to seize control of the tain Immunities (such as to fire) but they may also be vul-
highest building or point in the city. There they set up nerable to magical countermeasures.
equipment that projects a force field dome over the en-
tire city to prevent outside aid from reaching it. The dome
is Impervious Toughness 16, meaning most conventional
PLEASE AND TANKS
weapons won’t even scratch it. If they succeed, the heroes
In addition to the soldier companies, you may want to add
are largely on their own with whoever they rally inside the
military vehicles like tanks, APCs, and military helicopters
city, and they must take down the dome by destroying the
as individual opponents the heroes must destroy to add
machinery projecting it, which is Toughness 10.
variety to the encounters. Assume the pilot has a Vehicle
skill modifier and ranged attack bonus of +8.
VICTORY
If the heroes defeat every company of SHADOW troopers,
they stop the invasion. They may also be able to achieve
victory by other means, like finding a way to disrupt the
troopers’ psychic connection. This could be mental conflict
like that in the War of the Minds scenario in this chapter.
Similarly, the heroes might find a technological means
of backtracking the clones’ teleportal signatures and
reversing the teleport so all of the SHADOW troopers are
transported instantly back to where they came from. This
should be a Technology skill challenge requiring access to
some of the invaders’ equipment, probably salvaged after
defeating at least one company. Let the players come
up with their own plans for achieving victory over the
invaders, and encourage them to get creative.
VARIATIONS
SHADOW Invasion is a useful template for other types of
invasion scenarios where the invaders are not clones but
aliens, demons, mole-people, or some other force. The
following are some common variations you can use.
ALIEN INVASION
Rather than clones, the invaders are alien troops, either
landing in ships or teleporting down from orbit. Their
abilities are similar to the forces of SHADOW troops,
although they might have unusual powers or weaknesses.
They may be led by an alien Overlord or Brute champion
from the villain archetypes.

WAR OF THE MINDS

War of the Minds is a one-scene Mutants & Masterminds
scenario involving a psychic struggle within a character’s INTO THE MIND ZONE
mind, where the heroes’ extraordinary powers and abili-
ties may not help them in the same ways they do in the When the heroes visit Hani’s hospital room and approach
physical world! It offers guidelines for scenes and adven- her bedside, her trapped mind recognizes and reaches
tures taking place outside of the physical realm. out to them, pulling the heroes into her mindscape, where
she struggles with a psychic impression of the villain she
IN THIS EXCITING ISSUE encountered that still haunts her.
Hani Egal’s small frame is almost lost in the broad

Called to the bedside of a comatose teen injured during
whiteness of the hospital bed. The only sounds in the
a psychic villain’s crime spree, the heroes find themselves
room are the quiet beeping and humming of monitors,
draw into a mindscape where the teenager struggles
but as you approach the bedside, Hani seems to stir, a
against the psychic manifestation of the villain’s power
faint groan escaping her lips as she exhales. Suddenly,
and the victim’s own psychic potential. They must help
the world seems to turn inside out and you feel like
her overcome her trauma to return to the waking world.
you’re falling, plunging through a kaleidoscopic swirl
The inciting villain may be Mindfire (Basic Hero’s Hand- of color. The ground lurches out from under you and
book) or the Mastermind archetype from Chapter 3, or a then just as quickly, you find yourself standing on a city
supernatural villain wielding mind magic via extra effort. street. There’s debris scattered around and panicked
people fleeing from the figure who floats above the
INVOLVING THE HEROES street, laughing at their terror!
Award the players each a Hero Point for the setback of

You can set up this adventure by pitting the heroes becoming trapped in Hani’s mindscape. They’ll need it, as
against the villain in question and having them rescue they quickly discover that the “rules” in this psychic realm
some injured bystanders during or after the fight. Hani are different from those in the physical world:
Egal is among the injured. The heroes later visit Hani in the
hospital or are called to her bedside. Alternately, you can • The heroes’ minds are linked by Hani’s mind and a
assume all of the previous and just tell the players about remnant of the psychic villain’s telepathic influence.
the encounter, as in the introduction to this scene, and Nothing they experience is what it appears to be,
move on with the encounter with Hani’s unusual abilities. but that makes it no less “real.” The heroes can
Heroes may particularly be called in if they have known suffer damage and other conditions while in the
medical, healing, or psychic abilities, but in any case, mindscape, potentially even death.
Hani’s doctor feels that the presence of the heroes the girl
• Physical abilities are essentially irrelevant here.
admires might do her and her family some good.
The heroes think they have their usual traits. A
weak imagination or will may even leave them less
SCENE: MIND WARP! powerful than normal:
• Strength becomes the lower of its usual rank
Read the following aloud to the players: or Presence.
• Stamina becomes the lower of its usual rank
Hani Egal is thirteen. She was with her parents when or Intellect.
she was caught in the crossfire of the villain’s assault. • Agility and Dexterity become the lower of
Hani was among those injured in the ensuing con- their usual rank or Awareness.
flict. She has been in a coma, unconscious and unre-
sponsive since her arrival, and it is unclear when—or • A hero who specifically attempts to exert their will
even if—she will regain consciousness. can use their mental ability rank in place of the
appropriate physical ability if the mental rank is
Hani’s parents, Daahir and Faduma Egal, are Somali higher. So a hero with Str 0 and Awe 6 could act as if
immigrants. They both sustained minor injuries but are they had Str 6 in the mindscape.
more concerned for their daughter. Dr. Amara Patel is
Hani’s attending physician. She tells the heroes Hani is • Since the mindscape is purely imaginary, heroes can
physically in no danger. She suffered only minor cuts and exert their will and imagination to potentially make
abrasions from debris. The real concern is that she has anything happen. In game terms, a player can spend
been unconscious since being brought into the hospital a Hero Point to momentarily gain any power effect or
and has shown no signs of regaining consciousness. Dr. ability, up to their Power Level! This includes things
Patel cannot explain the cause of the coma and, although the hero would normally never be able to do in the
she intends to run other tests, feels the only real course of physical world. At the Game Master’s discretion,
treatment is to wait and hope Hani recovers. heroes can also do this by taking an entire round
concentrating, and rolling a Will check with a DC

equal to 10 + the desired power rank. This can be
useful if the players are short on Hero Points. VARIATIONS
• The heroes’ normal powers are unreliable, requiring a War of the Minds can form the basis for a number of dif-
successful DC 15 Will check to activate. ferent adventures where most of the action takes place
in an otherworldly realm where the heroes’ abilities may
The villain in Hani’s mind is an illusion—a collection of Nani’s be different. You can easily substitute the Elder Evil or the
overwhelming fear and lingering bits of psychic energy— Imp for a psychic villain.
who immediately attacks, taunting the heroes and telling
them they should never have entered “her domain.” Keep
in mind the heroes’ normal powers are unreliable; this is the
PERCHANCE TO DREAM
perfect opportunity to hit them with new Complications You can substitute a “dream realm” for the “psychic realm”
like Disability or Power Loss, allowing the villain to bypass described in this adventure, using the same guidelines.
their defenses or otherwise overwhelm them. The psychic Perhaps Hani’s condition is part of a magical “sleeping
enemy clearly has the “home field advantage.” sickness” that’s spreading across the city or the world.
While the heroes can fight, and even defeat the villain, her
psychic manifestation is feeding off of Hani’s power and
fear. In the mindscape, the villain effectively recovers from
VIRTUALLY REAL
defeat or even “death,” disappearing and reappearing Instead of a psychic plane, the heroes visit a virtual real-
a minute (10 rounds) later completely unharmed, with ity inside a computer system. Rather than Will, they might
all her abilities restored. Until they can get Hani to eject use the Technology skill to reflect their ability to “hack re-
the telepathic influence, the heroes cannot permanently ality” to perform power stunts. They could be caught in
defeat this manifestation of the villain. some type of virtual simulation, or go into one in order to
rescue trapped scientists or experimental subjects.
EVER CHANGING SETTING
FREE SPIRITS
Because the encounter occurs inside Hani’s mind, the
backdrop can change according to Hani’s thoughts. The The heroes visit an “astral plane” or other conceptual magi-
scene begins in the city because she is still fixated on her cal realm where the mind and spirit are more important
dangerous encounter, but fleeing heroes may enter mem- than the body. They might be aided in doing so by a magi-
ories of Nani’s home or school, their family vacation, or cal ritual or spell, or the assistance of a magician NPC.
their original home in Somalia. Clever heroes may be able
to use this to their advantage by asking Hani to think of
safe places or places the villain may be at a disadvantage.
OVERCOMING FEAR
The heroes have to find a terrified Hani Egal—or her psy-
chic self—hiding from the battle, much as she did in the
real world. Then it is a challenge for the heroes to convince
Hani to use her own power to stand up to the villain:
Time: 1 round
Checks: The heroes can use Presence or any Presence

skills to try and convince Hani, although Persuasion is
best. The Difficulty of the check is 15. At the GM’s discre-
tion, other actions taken by the heroes while convincing
Hani may offer support and a circumstance bonus.
Success: If the heroes obtain 8 Degrees of Success, Hani

gathers her courage and stands between them and the
villain, shrugging off her psychic attacks and demanding
that she get out of her mind! The heroes suddenly find
themselves regaining consciousness in Hani’s hospital
room as she wakes up for a joyful reunion with her family.
Consequences: If the heroes accumulate 4 Degrees of

Failure, the villain appears in the real world, seizes Hani,
and vanishes before the heroes recover from the psychic
shock. The heroes must track the villain down in order to
confront her and rescue Hani. Use the Search the City
challenge from the Basic Hero’s Handbook as a guideline.

ONE HUNDRED ADVENTURE IDEAS

Stuck for an idea or just not sure what to do for your next adventure? Look over this list and pick something that sounds
interesting or roll 2d20, ignoring the “tens” digit, to generate a number between 1 and 100 (treating a roll of two zeroes
as “100”). Instant adventure idea!
1. An asteroid, meteor, or comet is on a collision course 25. A villain captures the heroes in order to “play” against
with the Earth. them in a life-or-death game.
2. An intelligent super-virus begins taking over the 26. The rightful ruler of an alien empire comes to Earth
minds of people exposed to it. seeking help to reclaim her throne.
3. The heroes’ archenemies band together to take out 27. An alien warrior arrives looking for a worthy opponent
their foes by trading opponents. to challenge him.
4. Atlantis invades the surface world because of 28. A villain attempts to steal all of the heroes’ powers for
pollution of the oceans and underwater weapons himself.
testing.
29. The heroes are kidnapped to become gladiators in an
5. A super-villain attempts to trigger a nuclear war. alien arena.
6. A vigilante is assassinating criminals in the city and 30. A mythic god starts a modern cult of worshippers, but
the heroes must enforce the law. isn’t exactly what he seems.
7. Criminals have stolen advanced weapon prototypes 31. An accident sends the heroes to a parallel Earth where
they are using to commit robberies. good is evil and vice versa.
8. A “monster” threatening the city turns out to be a 32. A villain attempts to melt the polar ice caps to flood
confused alien infant. the entire world.
9. An omnipotent entity comes to Earth looking to have 33. A murderous spirit goes on a killing spree, possessing
some fun “playing” with a group of heroes. innocent host bodies.
10. A fire rages through the city, threatening lives and 34. A hero is infected with lycanthropy, slowly
property. transforming into a were-creature.
11. Mercenary villains are hired to capture or kill the 35. A villain steals a powerful weapon and attempts to
heroes. blackmail the government with it.
12. A tidal wave or tsunami threatens a coastal area. 36. A secret and corrupt government black-ops
organization tries to co-opt or eliminate the heroes.
13. A villain transforms people in the city into creatures (de-
mons, zombies, plants, etc.) under the villain’s control. 37. A new crime lord begins consolidating power in the
city.
14. A vampire is on the loose, feeding on innocent vic-
tims in the city at night. 38. Assassination attempts are made against govern-
ment or public figures.
15. A would-be sorcerer botches a spell, opening a gate
to a demonic netherworld. 39. A villain steals the components necessary for a
procedure or ritual intended to vastly increase his
16. Cultists are kidnapping people to use as sacrifices to powers.
their evil god(s).
40. A super-human with out of control powers steals the
17. Villains commit crimes posing as the heroes to black- components necessary for a cure.
en their good names.
41. Villains abduct the heroes’ loved ones in an attempt
18. Shapeshifting aliens infiltrate the government and to blackmail them or lure them into a trap.
law enforcement and outlaw the heroes.
42. The heroes are trapped in their own headquarters,
19. A villain attempts to use mass mind-control to take which is counting down to self-destruction.
over a city, country, or the world.
43. The heroes are pulled into a dream world where their
20. A rampaging monster is let loose on the unsuspect- deepest fears and desires come to life.
ing city.
44. A strange meteorite causes mutations and unusual
21. An earthquake strikes a major city, causing numerous phenomena.
disasters and opportunities for looters.
45. An alien “world killer” weapon is headed for Earth.
22. Another team of heroes has gone missing.
46. A powerful hero turns to evil for no apparent reason.
23. Aliens invade the Earth. The “aliens” might also be from Is he an imposter, possessed, or something else?
another dimension, demons, mutant monsters, etc.
47. Alien bounty hunters come to Earth looking to collect
24. A scientific accident creates giant insects that swarm a price on a hero’s head.
through the city.

ONE HUNDRED ADVENTURE IDEAS

48. A mythic figure challenges a hero to a contest of skill 74. Super-villains hold up a bank or attempt a robbery.
or ability to prove who is better.
75. A villain tries to steal all the parts of an ancient map to
49. The heroes need to find a particular rare device or a hidden treasure.
item to save a friend’s life.
76. An object on display in a museum turns out to be a
50. The heroes discover a lost or hidden civilization iso- powerful mystic artifact.
lated from the rest of the world.
77. A scientific experiment causes time to behave
51. Subterranean creatures “steal” buildings by pulling strangely, perhaps mixing the past, present, and fu-
them down into the Earth. ture.
52. New super-villains are actually aliens trying to get the 78. A hurricane, tornado, or other severe weather threat-
supplies they need to repair their crashed starship. ens.
53. The entire population of a small town has mysteri- 79. Animals of all kinds suddenly turn against humanity.
ously vanished without a trace.
80. Damage to a tanker threatens to spill oil or chemicals
54. A young and powerful superhuman needs guidance into the ocean.
in the responsibilities of great power.
81. A new designer drug on the streets gives addicts tem-
55. A major new rock star is mentally influencing fans porary super-powers.
through hypnotic music.
82. Two warring alien races want to use Earth as a battle-
56. A villain blackmails the heroes into assembling the field for their conflict.
scattered parts of a powerful device or key.
83. A traveling circus or carnival is actually a cover for a
57. An innocent man on death row appeals to the heroes criminal organization.
as his last hope.
84. A villain places an indestructible force field around a
58. Someone is sabotaging various high-tech companies city to turn it into a personal fiefdom.
without setting off any of their security.
85. An accident involving mutagens alters a hero’s powers.
59. Archeologists inadvertently unleash a terrible force
86. A villain brings cartoon, movie, or literary characters
from the past during a dig.
to life.
60. A popular new nightclub in town is a front for criminal
87. New threats are actually the mental projections of a
activity.
young mutant unable to control her powers.
61. A psychotic killer leaves taunting clues for the heroes
88. Supervillains seize control of a small, isolated nation
and the police.
and the heroes are asked to oust them.
62. Thieves hijack a shipment of valuables (gold, cash,
89. An accident splits the heroes into good and evil twins.
jewels, etc.).
90. A villain poses as a hero to infiltrate the heroes’ team.
63. Terrorists seize control of a site with numerous hos-
tages and begin issuing demands. 91. A hero’s actions or legal rights are called into ques-
tion.
64. A ceremony to publicly honor the heroes is disrupted
by super-villains. 92. A villain kidnaps an NPC hero as the final component
of a fiendish device.
65. A deceased hero (or villain!) leaves an unusual be-
quest to someone in his will. 93. A villain suddenly seems to turn over a new leaf. Is it
for real or a scam?
66. On Halloween night the city is threatened by a plague
of ghosts, zombies, or other monsters. 94. The heroes are shrunk down to miniature size right
before they have to deal with another crisis.
67. Someone conducts a media smear campaign against
the heroes. 95. Super eco-terrorists are threatening targets and the
heroes have to defend them.
68. The heroes are invited to participate in a sporting
event or competition for charity. 96. An omnipotent being pits the heroes against their
archenemies to determine whether good or evil is su-
69. A hero’s powers begin to go out of control.
perior.
70. Villains kidnap an important person for ransom, per-
97. A cosmic crisis threatens to destroy the entire fabric of
haps even a hero in his secret identity!
reality.
71. The heroes forget their super-heroic identities for
98. The heroes are displaced in time and have to get back
some reason.
home without changing history.
72. Everyone in the city suddenly develops super-powers
99. A villain asks for the heroes’ aid against another, more
while the super-powered people lose theirs.
dangerous, villain.
73. The heroes are asked to help safeguard an impor-
100. A super-villain assembles an army of villains to con-
tant diplomatic meeting threatened by terrorists.
quer the Earth.


CHAPTER 7: OPTIONS
Mutants & Masterminds is a game all about options: the hero creation system is designed to give players complete
control over the type of characters they want to play, and the power design system is intended to allow you to build
a wide range of powers to do just what you want them to do. This breadth of options requires group cooperation and
Gamemaster oversight, but it is worthwhile for the flexibility and freedom it provides, making for a more fun and enjoy-
able game.
Of course, not every game system suits every player, Gamemaster, or group. That’s why this chapter (and other M&M
source material) offers you some options for changing or adding to the existing game rules to suit you particular tastes.
Want an even more flexible game where players can create any character within a particular power level? How about
more detailed guidelines for things like martial arts, mass combat, or character reputation? Options for more lethal
damage or playing with different dice mechanics? They’re all here in this chapter.
Just as the chapter title says, everything in here is optional. While you’re never under any requirement to use any part
of the rules as-written; this material in particular is not considered an “official” part of the game rules. Other M&M books
may refer to it, but again only as an option to consider, rather than an expected part of the rules. It is up to the individual
GM and game group whether or not to adopt any of these options and, if so, how. Read an option over carefully before
you apply it to your M&M game, and feel free to change it if it doesn’t work out like you want. The power is in your hands!
HERO CREATION
Mutants & Masterminds hero creation is intended to produce relatively balanced characters within the guidelines set for
a particular power level. Some may prefer a looser and more open-ended approach, however, in which case the follow-
ing options may be useful.
UNLIMITED POWER POINTS limitations of the hero creation system. The Gamemaster
may choose to remove power level and all its associated
This variant is recommended only for fairly experienced restrictions from the series, allowing players to spend
groups interested in setting aside some of the limitations their power points in any way they wish (with the GM’s
of the hero creation system. The Gamemaster sets the final approval).
power level for the series, with its limits on character traits. This allows for considerable freedom in character design,
However, players are given an unlimited number of power but may lead to unforeseen problems in game balance or
points to create their characters within those limits. In es- in some characters having major advantages over others
sence, they don’t need to track power point costs, since in play (or, conversely, major disadvantages due to over-
they have as many as they need. spending elsewhere). The Gamemaster should carefully
This provides considerable flexibility, of course, since monitor such free-form character creation (even more
some character concepts may be more or less expensive than usual) and players should be prepared to modify
than others. It also has considerable potential for abuse, their character designs as needed to fit the Gamemaster’s
so Gamemasters should review the players’ characters guidelines for the series.
carefully and discourage characters able to do anything in
order to encourage teamwork and cooperation. FREE EQUIPMENT
On the other hand, having an unlimited power point bud-
In some series settings, the GM may wish to give equip-
get can free up some players from fretting over how to
ment no cost in power points, just a monetary cost us-
“conserve” points or how to spend a handful of unspent
ing Wealth. So characters can have whatever equipment
points rather than “wasting” them. It can open up hero con-
they can afford and the GM allows, keeping in mind some
cepts that might require a few more points than the players
items may be legally restricted or simply unavailable. This
would otherwise have, or encourage looking at concepts
option is best suited to series where equipment doesn’t
that are less “point efficient” but might be fun to play.
need to compete with innate powers, balancing the cost
of a gun or bullet-proof vest against being able to shoot
UNLIMITED POWER LEVEL energy blasts or being invulnerable. Examples include su-
per-spy games or pulp era adventures where powers and
This variant is also recommended only for fairly expe- devices are fairly rare and most characters have equip-
rienced groups interested in setting aside some of the ment or some sort.

Devices may still exist in this type of series, and the GM setting in the far future may have advanced equipment
may still charge power points for them, since devices (see Tech Levels in this chapter). Likewise, a fantasy set-
are unique items that exceed the capabilities of normal ting may have magical equipment that doesn’t exist in our
equipment. Note, however, some series settings may con- world but is common there. These things aren’t devices if
sider some devices “equipment.” For example, a high tech they’re commonly available to everyone in those settings.
FIGHTING STYLES
In Mutants & Masterminds you can use various collections of advantages to duplicate different armed and unarmed
fighting styles, including various styles of martial arts. This section expands upon that idea and offers some suggestions
for putting together your own fighting styles.
HARD VS. SOFT STYLES Acrobatics, Deception (primarily aimed at feinting in com-
bat), Intimidation (primarily aimed at demoralizing an op-
ponent in combat), Insight (primarily aimed at detecting
Most fighting styles, particularly unarmed styles like mar-
and avoiding the previous two effects), Ranged Combat,
tial arts, can be divided into “hard” and “soft” categories.
and Sleight of Hand (for quick hand movements and feint-
Hard styles focus on a strong offense and direct, powerful
ing dependent upon them).
attacks to disable an opponent as quickly as possible. They
tend to be built around advantages like All-out Attack and
Power Attack that enhance accuracy and damage at the
cost of defense and precision. Soft styles, conversely, fo-
CREATING FIGHTING STYLES
cus on a strong defense and the use of holds, throws, and Creating a fighting style is a simple matter of building a list of
similar indirect attacks to restrain an opponent. Soft styles the style’s advantages, plus any associated skills, and weap-
tend to be built around advantages like Accurate Attack on elements (if that option is in use). Characters trained in
and Defensive Attack, providing defense and precision a style invest power points into its traits. They don’t have to
over power and strength. Advantages like Improved Hold take all of them at once; indeed, most students do not gain
and Improved Trip are common in soft styles. complete mastery of a fighting style all at once.
There’s no specific game effect as to whether a style is hard Generally speaking, a complete style should consist of be-
or soft; it’s entirely a matter of description (much as it is with tween a half dozen and a dozen or so advantages; fewer usu-
real-world martial arts). Some styles are blends of the two ally isn’t enough to constitute a coherent style, while more
approaches, and most soft styles have offensive moves just tends to represent branching out to master multiple styles of
as many hard styles have defenses, throws, or holds. combat, unless you want to create a “master style” or secret
martial art for your game encompassing every combat ad-
UNARMED VS. vantage. (True masters of such a style should be rare indeed!)
A number of sample fighting styles are presented here.

WEAPON STYLES You can use them in your game as-is, modify them to suit
your own view of the style, and use them as models for
Some fighting styles focus on fighting unarmed, others creating new fighting styles of your own.
with a particular weapon or weapons, and a few with
both. Like the distinction between hard and soft styles,
the distinction between unarmed and armed fighting AIKIDO
styles is largely one of flavor and description. Combat
advantages work the same whether you’re using them Aikido is a Japanese martial art school founded by Sensei
unarmed, armed, or with powers. The GM may choose to Morihei Uyeshiba in the 1920s. It is the epitome of a “soft”
apply certain situational modifiers based on a style’s usual martial arts style, strongly focusing on “flowing” with an
weapons as needed. attack and using the attacker’s momentum against him.
Aikido emphasizes throws and evading attacks, along
with a few holds for “guiding” an attacker to the ground.
SKILLS AND STYLES Advantages: Defensive Attack, Evasion, Fast Grab, Grab-
Some fighting styles teach particular skills in addition to bing Finesse, Improved Grab, Improved Hold, Improved
advantages. A true expert in the style is likely to have at Trip, Uncanny Dodge
least some training in these associated skills although, like
the style’s advantages, you can choose how many points
(if any) to invest in them.
BOXING
The most common skills for fighting styles are, of course, Called “the sweet science” by some, modern boxing is a
various Close Combat skills. Other common skills include fairly brutal and direct fighting style involving powerful

CHAPTER 7: OPTIONS
OPTION: WEAPON ELEMENTS

If you want a more detailed way of defining what weapons or attacks are usable with what fighting styles, you can use
the following guidelines.
Each fighting style gets one “weapon element,” an attack it’s intended to work with, automatically at no cost. So an un-
armed style works automatically with unarmed attacks. An armed style must choose a particular weapon (or narrow
category of weapons, like blades, at the GM’s discretion). Adding another weapon element to the style is an advantage
(called Weapon Element), allowing you to use that style with an additional type of attack.
Example: The kung fu style is defined as unarmed, so all of its advantages are usable with unarmed attacks automatically.
However, various types of kung fu also teach the use of weapons, including nunchaku, swords, and staves. Each of these
types of weapons is considered a Weapon Element advantage for the style. A character must have the advantage in order
to use the style’s combat advantages in conjunction with those weapons.
Note that characters can spend a hero point to emulate the Weapon Element advantage like any other advantage, grant-
ing a one-time use of a different attack in conjunction with a particular fighting style when the character does not have
that attack as a standard weapon element.
This option is best for fairly realistic games where it’s important to differentiate between otherwise similar martial artists. For
more general superhero settings, it’s probably more detail than the setting or characters require.
punches and evasive footwork, usually close in with an cuses on speed, with a combination of defensive blocks
opponent. Feinting is a common skill, used to get an op- and offensive strikes and thrusts, along with feints to
ponent to lower his guard for a devastating attack. fake-out your opponent. The more “swashbuckling” style
of fencing also involves Acrobatics and Agile Feint.
Skills: Deception
Skills: Sleight of Hand
Advantages: All-out Attack, Defensive Attack, Improved
Defense, Improved Smash, Power Attack, Takedown Advantages: Accurate Attack, Defensive Attack, Im-
proved Defense, Improved Disarm, Improved Initiative,
CAPOEIRA Power Attack, Taunt
The national martial art of Brazil, Capoeira originated with JUJITSU

ritual dancing among African slaves. When these slaves
rebelled, they developed an unarmed fighting style and This style, also known as judo, grew out of a number of
disguised it as folk dancing. Capoeira involves many hand- Japanese fighting styles over hundreds of years, and
stand moves, allowing practitioners to use it while their spread to the western world in the 19th and 20th cen-
hands were bound or chained. It’s usually practiced to turies. Its primary techniques focus on throws and holds
music like a dance form. to put an opponent on the ground and keep him there.
There are hundreds of modern sub-styles teaching vari-
Skills: Acrobatics
ant techniques, allowing you to justify including most un-
Advantages: Agile Feint, Defensive Attack, Improved armed combat advantages in it.
Grab, Improved Trip, Power Attack, Prone Fighting
Advantages: Accurate Attack, Defensive Attack, Im-
proved Disarm, Improved Grab, Improved Hold, Im-
ESCRIMA proved Trip
This Philippine stick-fighting style typically uses a pair of

short batons, but is also practiced with a balisong knife or KARATE
unarmed (and may include them as weapon elements at
the GM’s discretion). It focuses on deflecting or blocking Karate originated on the Okinawa Islands. When Japanese
attacks and fast strikes to the body. conquerors forbade the natives from carrying weapons,
they focused on this style of unarmed combat. Karate in-
Advantages: Accurate Attack, Defensive Attack, Im- corporated various farming tools that could be discretely
proved Disarm, Improved Hold, Power Attack, Quick Draw, carried as weapons, including the staff, nunchaku (thresh-
Weapon Bind ing flail), kama (sickle), rope or chain, and tonfa (mill-
wheel handle). Modern karate tends to focus on unarmed
FENCING techniques. It spread widely to the west after American
soldiers learned it in Japan after World War II. Karate is a
“Fencing” is used here to describe western sword-fighting “hard” style focusing on powerful punches and kicks. A ka-
styles in general. Traditional fencing uses a slim, slight rate teacher is called sensei and the practice hall or school
sword like a foil, but characters in Mutants & Masterminds is a dojo.
can fence with whatever sort of sword the GM approves, Advantages: All-out Attack, Improved Defense, Improved
including Japanese kenjutsu sword-fighting. The style fo- Disarm, Improved Smash, Instant Up, Power Attack

KRAV MAGA fighting style can be used for other modern, constructed
styles taught to commandos and military personnel.
Krav Maga was developed about 40 years ago for use Advantages: All-out Attack, Chokehold, Improved De-
by the Isreali Defense Forces (and later Isreali police and fense, Improved Disarm, Improved Hold, Improved Trip,
Mossad intelligence agents). It’s a highly practical style Power Attack
borrowing moves from many different fighting styles
and focused entirely on quickly and efficiently disabling
an opponent. It lacks the “forms” of other fighting styles,
KUNG FU
since it’s intende solely for fighting, not for show. This
Kung fu means, essentially, “hard work” or “great skill.” It is
the common name of an ancient Chinese style of mar-
tial arts dating back a thousand years or more. It’s most
famously associated with the Shaolin Temple, where it
was taught beginning in the sixth century AD. It spread
to the west with Chinese immigration in the 1800s, but
did not become popular among westerners until the mid-
1900s. There are hundreds of kung fu variants and styles,
many based on the movements of animals (Crane, Drag-
on, Leopard, Mantis, Monkey, Snake, and Tiger, to name
some). A kung fu teacher is called a sifu and the practice
hall is called a kwoon.
Skills: Expertise: Concentration
Advantages: Defensive Attack, Improved Critical, Im-

proved Defense, Improved Smash, Improved Trip, Instant
Up, Power Attack, Startle
MUAY THAI
Also known as Thai kickboxing, Muay Thai is a brutal fight-
ing style of kicks, knee- and elbow-strikes, and punches.
It relies on blocks for defense and has no holds or throws,
the intention being to beat an opponent to a pulp as
quickly as possible.
Advantages: All-out Attack, Improved Critical, Improved

Defense, Power Attack, Takedown
NINJUTSU
Not a “fighting style” per se, ninjutsu is associated with
Japanese ninja and similar stealthy assassins. The ninja
fighting style is technically called taijutsu, but the style
here assumes the broad range of “ninja” training. It does
not include whatever superhuman capabilities the GM
wishes to grant ninja; those are better acquired as powers.
Skills: Acrobatics, Athletics, Stealth
Advantages: Chokehold, Evasion, Hide in Plain Sight, Im-

provised Weapon, Startle, Takedown
SUMO
Sumo wrestling is a Japanese martial art, usually practiced
by large, heavy fighters. The object of a match is to push
the opponent out of the fighting ring or pin him down
within the ring. Sumo matches tend to be short, but in-
volve a great deal of lengthy ritual. Unlike most Asian mar-
tial arts, sumo focuses heavily on strength and size.
Advantages: Fast Grab, Great Endurance, Improved

Grab, Improved Hold, Improved Trip, Power Attack

CHAPTER 7: OPTIONS
TAE KWAN DO WRESTLING
The name of this Korean martial art means “the way of Wrestling focuses on grabs and holds to restrain an op-
kicking and punching.” It’s a forceful fighting style, widely ponent, rather than direct physical attacks, although a
taught in schools throughout the world. As its name im- wrestler who gains the upper hand can do a fair amount
plies, tae kwan do relies on both powerful strikes and vari- of damage to a foe.
ous types of kicks, including side and flying kicks.
Advantages: Chokehold, Improved Disarm, Improved
Advantages: All-out Attack, Defensive Roll, Improved De- Grab, Improved Hold, Power Attack, Weapon Bind
fense, Power Attack, Takedown
REPUTATION
This system models how well known a character is and how that reputation affects interaction with others. A good
reputation can be a useful advantage, but a bad one can be a troublesome hindrance.
Reputation affects non-combat interaction checks between characters by providing a modifier. A positive reputation
makes others more likely to favor and help the character, while a negative reputation makes the character’s social en-
treaties less effective.
FAME OR INFAMY character with Reputation 19 or more is instantly recog-

nizable and known to virtually everyone.
Reputation rank represents a character’s notoriety. Those
with a Reputation 4 or higher can be considered well
known within their professional and social circles. Wheth- SKILL CHECKS
er the character is famous or infamous depends on the When an NPC recognizes you and has a positive opinion
point of view of the person recognizing the character. of your reputation, you get a bonus on Deception and
Persuasion checks equal to half your reputation bonus,
REPUTATION AND SECRET IDENTITIES rounded down.
Characters with secret identities effectively have two When an NPC recognizes you and has a negative opinion
separate reputation ranks: one for their costumed identity of your reputation, you get a penalty on Deception and
and another for their secret identity. The character should Persuasion checks equal to half your reputation bonus,
use whichever value is appropriate. One reason many su- rounded down, but gain a bonus of the same amount to
pers maintain secret identities is to leave their Reputation your Intimidation checks, since the subject is more likely
(and the recognition that comes with it) behind for a while to believe the worst about you.
to live a “normal” life. The bonus or penalty only applies when you are interact-
ing outside of combat with an NPC who recognizes you
REPUTATION CHECKS and is therefore aware of your reputation. Those unaware
of your reputation are unaffected by it either way.
Most of the time, the character doesn’t decide to use repu-
tation. The GM decides when your reputation is relevant
to the scene or encounter. When it becomes relevant, the NPC REPUTATIONS
GM makes a reputation check for an NPC that might be Players decide how their characters act. Sometimes, howev-
influenced in some fashion by your character’s notoriety. er, it’s appropriate for the GM to call for a skill check using an
A reputation check is calculated as follows: interaction skill affected by reputation. For example, an NPC
might use Deception to lie to the heroes, who, in turn, use In-
d20 + reputation rank + the NPC’s Int modifier. sight to detect the lie. If an NPC tries to intimidate a hero, the
GM can use the NPC’s Intimidation check result to determine
The GM may substitute an Expertise skill bonus for the Int which heroes see the NPC as intimidating and which don’t.
modifier if your activities, and therefore reputation, ap- Similarly, a Persuasion check can tell the GM which charac-
ply to a particular field. Non-intelligent characters do not ters find an NPC persuasive and which don’t. Players may
make checks to recognize someone’s reputation, nor do also want to know if their heroes recognize a particular NPC.
characters unable to interact. Reputation checks can be useful in these situations.
The standard DC for a reputation check is 20. If the NPC The GM should make a reputation check to see if player char-
succeeds on the check, he or she recognizes the character. acters recognize an NPC in secret. This prevents the players
That recognition grants a bonus or penalty on subsequent from using the results of reputation checks as a means of
interaction skill checks based on the NPC’s reaction. A measuring the importance of every NPC they encounter.

Modify the results of the NPC’s interaction skill checks by

their reputation bonuses when they interact with charac- EVENT-BASED REPUTATION
ters who recognize them.
Reputation also changes based on the things characters
do, at least the things other people know about. When
DETERMINING REPUTATION a character performs some important action, the Game-
master can assign a Reputation modifier based on it.
Determining a character’s reputation is based on two fac- This can range from +1 for acts of local fame (saving the
tors: power level and points invested in the Benefit (Re- city, stopping a major crime wave, etc.) to +4 or more for
nown) advantage. things like saving (or trying to take over) the world. Keep
in mind that the Reputation bonus only measures how
As a default, all characters have a reputation bonus equal
well known a character is, not how people feel about the
to their power level. For heroes this is the power level of
character.
the series. For NPCs, it is their power level relative to the
series; more powerful characters tend to be better known. The GM can likewise decrease a character’s Reputation
So heroes in a PL11 series have a base Reputation of 11 for staying out of the limelight, lying low, and otherwise
(meaning their reputation comes into play on a roll of 9 or not attracting attention for a while. People move on and
better with a DC 20 reputation check). forget about old headlines. Still, a hero or villain with a sig-
nificant Reputation usually has to be out of circulation for
Each rank in the Benefit (Renown) advantage increases a
years before most people forget.
character’s reputation by +2.
WEALTH
Mutants & Masterminds, like the comics, doesn’t pay much attention to money. A character’s wealth has little or no im-
pact on the game. It is mainly for background color and whatever advantages the GM sees fit to provide based on the
Benefit advantage. However, some may prefer to keep track of character wealth and resources in more detail, in which
case the following system may be used.
Every character has a Wealth rank which reflects buying power—a composite of income, credit rating, and savings. A
character’s Wealth serves as the basis for a Wealth check, used to purchase goods and services.
WEALTH BONUS MAKING PURCHASES

A character’s base Wealth rank is 8. The Benefit (Wealth) Wealth rank reflects buying power. Every item and service
advantage (see the M&M Hero’s Handbook, page 82) in- has a purchase Difficulty Class based on how expensive
creases Wealth by 4 per rank. Decreases to base Wealth and hard to get it is. To purchase something, make a Wealth
grant power points, similar to decreasing an ability: 1 check against the purchase DC. As a general guideline,
point for Wealth 4, 2 points for Wealth 0. equipment purchase DC equals 10 + the equipment’s point
Over the course of play, your Wealth rank may decrease

as you purchase expensive items. A character’s Wealth SAMPLE PURCHASE DIFFICULTIES
rank can never fall below 0, and there is no limit to how
high Wealth rank can climb. If your Wealth is 0, you don’t ITEM PURCHASE DC
have the buying power to purchase any item or service
Flashlight 4
with a purchase DC of 10 or higher, and you can’t make
routine Wealth checks (basically, any spending is signifi- Restaurant meal 4
cant for you). Common household item 4-5
Casual clothing 8
Cell phone 9
WEALTH BONUS Professional services 10 + skill rank
WEALTH RANK FINANCIAL CONDITION Weapon 10 + point cost
0 Impoverished Expensive clothing 12-15
1–4 Struggling Tool kit 13
5–10 Middle class Plane ticket 14
11–15 Affluent New computer 22
16–20 Wealthy New automobile 28
21–30 Rich House 30
31 or higher Filthy rich Mansion 36

CHAPTER 7: OPTIONS
cost. The GM sets the Wealth check DC for any particular tempt is successful, you provide the purchaser with a +2
purchase, using the examples given here as guidelines. bonus on their Wealth check, +5 for three or more degrees
of success. If you assist a Wealth check for an item with a
purchase DC higher than your current Wealth rank, it de-
THE WEALTH CHECK creases as normal.
A Wealth check is a d20 roll plus your current Wealth rank.

Wealth rank is fluid; it increases as you gain Wealth and
decreases as you make purchases.
WEALTH AND INVENTING
Gamemasters may wish to add a Wealth check to the in-
If you succeed on the Wealth check, you purchase the venting process (M&M Hero’s Handbook, page 159). Once
item. If you fail, you can’t afford the item at this time. the inventor has come up with a design for the device,
make a Wealth check to obtain the necessary components
You can make a routine Wealth check, just like any other
(purchase DC = device’s point cost). A failed check means
routine check (see M&M Hero’s Handbook, page 13). This
you can’t afford the materials. Spending a hero point to
means you can automatically purchase any item with a DC
jury-rig the device out of materials at hand allows you to
equal or less than your Wealth +10.
skip the Wealth check.
If you purchase an item with a purchase DC higher than
This requirement for inventing explains why so many vil-
your current Wealth rank, your rank decreases by 1 point
lains look to steal the components they need!
for every 5 points the purchase DC exceeds your current
Wealth rank (1 point for 1–5 points higher, 2 points for
6–10 points higher, etc.). Lost Wealth rank returns at a rate
of 1 point per month.
MONEY TALKS
Wealth can be quite influential. To reflect this, the GM
You can try again if you fail a Wealth check, but not until might wish to allow Wealth rank to substitute for an in-
your character has spent an additional number of hours teraction skill bonus like Deception, Persuasion, or even
shopping equal to the purchase DC of the object or ser- Intimidation in situations where the character’s wealth
vice, looking around for a better deal. and influence can be brought to bear, either through
bribery, more subtle shows of wealth, or “charitable do-
SHOPPING AND TIME nations.”
Example: Hieronymus King is fabulously wealthy

Buying less common items generally takes a number of
(Wealth +30). When negotiating with certain balky
hours equal to the purchase DC of the item, reflecting the
government officials, Mr. King makes it clear he can
time needed to locate the item and close the deal. Get-
compensate them for their trouble. The GM decides to
ting a license or buying a legally restricted item may also
use King’s Wealth rank in place of his Persuasion bo-
increase the time needed to make purchases.
nus, allowing him to seal the deal quickly and easily.
FINANCIAL AID Alternately, instead of substituting Wealth rank for a skill

bonus, you can choose to treat Wealth as providing a cir-
You can help someone else purchase an item by making cumstance bonus to the relevant skill check, much like a
a DC 10 Wealth check, just like a team check. If the at- team check.
SYSTEMS
The options in this section affect how Mutants & Masterminds is played, from resolving checks using different
randomizers or die rolls to variants on different sub-systems of the game rules. Most of these options can be plugged
into the existing M&M rules without affecting the rest of the game significantly, except as noted in the discussion of
the variant itself.
ABILITY STRAIN When attempting an ability check, you can accept a tem-
porary –1 penalty to your ability rank to receive a +1 bonus
on your check. The penalty goes into effect the round after
With this option, characters can choose to suffer a tem-
the results of the check (successful or not). You can gain up
porary reduction in an ability rank in order to gain a brief,
to a maximum bonus of +5 (and therefore a maximum pen-
one-time bonus with an ability check, essentially “push-
alty of –5) in this way, but you cannot suffer a penalty great
ing” the ability beyond its normal limits, resulting in some
enough to debilitate the ability (lowering it below -5).
strain from which the character must recover. Ability
strain is in addition to the effects of spending hero points Once you’ve strained an ability to its limit, you can’t do so
in play, allowing characters to go that extra distance when again until it is fully recovered. A strained ability regains 1
the odds are against them. rank per hour until back to its normal rank.

ABILITY STRAIN AND EXTRA EFFORT Also note combats tend to be longer using a bell-curve
die roll since the chances are lower that characters will fail
resistance checks badly enough to knock them out or dis-
Additionally, at the Gamemaster’s option, ability strain can
able them quickly. These results tend to occur after char-
serve as a substitute for the fatigue caused by extra effort
acters have taken some hits, unless overwhelming dam-
(see M&M Hero’s Handbook, page 19). This may be across the
age is involved.
board or only for particular abilities (such as physical abili-
ties or only Stamina). Allowing ability strain for extra effort All the game systems in this book assume 1d20 as the die
in conjunction with fatigue gives players some additional roll. Simply substitute the alternate dice (3d6 or 2d10) and
options and the opportunity to use extra effort much more adjust DCs as needed to change the die-rolling system.
without their heroes passing out from the fatigue.
ABILITY STRAIN AND POWERS HIGH-LOW ROLLS

Another means of adding a “bell curve” to M&M die roll-
At the GM’s option, ability strain can be expanded to
ing is by using high-low rolls: in place of any single d20
power effects, suffering the same penalty to gain a one-
roll, roll three 20-sided dice and take the middle number
time bonus with the effect. So a character might take
(dropping the highest and lowest). If two or more dice
a +3 bonus to a Damage effect that imposes a –3 rank
come up the same number, use that number (since the
penalty thereafter, recovering at a rate of 1 rank per hour.
third die is by definition higher or lower).
This option adds some flexibility to power use and extra
effort, at the cost of requiring some additional book- This method tends to produce results weighted more to-
keeping and tracking. ward the middle range, with 10 as the average. Rolling a
“natural 20” requires two of the dice to come up 20 (about
ALTERNATE DICE a 1-in-400 chance or 0.025% rather than 1-in-20 or 5%).

The same is the case for a “natural” 1. Generally, this means
Mutants & Masterminds is designed to use only a single characters achieve the effect of their routine checks more
20-sided die. This has certain effects on game play. A often, but succeed at high Difficulty tasks less often, and
20-sided die produces a “flat” probability curve; the chanc- have fewer critical successes or failures. High-low rolls in-
es of rolling a 20 on the die are the same as rolling a 1, volve more dice, but are only slightly more involved than
7, 12, or any other number: 1-in-20 or 5%. The chances rolling and reading a single d20.
of rolling a particular number or better differ, of course Spending a hero point with high-low rolls allows the play-
(which is where Difficulty Classes and modifiers come in), er to keep the best die roll of the three dice rather than the
but the chances of any particular number coming up on middle roll. So a roll of 4, 11, and 18 would normally count
the die are the same. as an 11. Spending a hero point makes it an 18 instead. If
This produces a certain amount of randomness in the all three d20 rolls are below 11, take the highest and add
flow of the game. A character might make several suc- 10 to get the result of spending a hero point on that roll.
cessful checks in a row only to suddenly fail. Anyone You may wish to have something special occur on the rare
might get a lucky shot (or, conversely, manage to miss occasion that a high-low roll comes up with the same re-
the mark). Things like hero points and routine checks sult on all three dice: a major or automatic success on a
help to limit this randomness in some cases. There are high roll or a serious or automatic failure on a low roll.
also situations where the difficulty or difference in abili-
ties is so great the die roll hardly matters. The “wildness”
of the d20 roll contributes to the comic book feel of the KNOCKBACK
game, where sudden strokes of luck or reversals of for-
Super-powerful attacks can send opponents flying. A
tune are common.
character failing a Damage resistance check by two or
These alternate die-rolling methods (either 3d6 or 2d10) more degrees may be knocked back. The distance is based
produce more predictable results, with less of the ran- on the rank of the effect and the target’s mass and du-
domness (and, to a degree, suspense) of a flat roll like rability. Take the Damage rank and subtract the target’s
1d20. These more reliable results make certain aspects of Toughness rank. Subtract the target’s Growth rank (if
the game more predictable and routine. any). In addition, an effect such as a Feature defined as
extra weight or density should subtract its rank. Add the
Gamemasters who want to switch over to an alternate Strength modifier of a character with Shrinking (so +2 for
die-rolling method may wish to change the DCs of some a character with Shrinking 8, for example).
tasks slightly, since the chance of achieving a very high
roll are somewhat less with a bell curve. For example, if us-
ing 3d6 instead of 1d20, reduce DCs about 20% to reflect Knockback = Damage - Toughness - modifiers
the generally lower rolls that will occur (plus the fact that
3d6 only goes to 18 rather than 20). Regardless of the die- The target is knocked back that distance value. A result
rolling option, characters should still be allowed to make of –5 or less results in no knockback. –4 or –3 means the
routine checks and spend hero points to improve their character falls prone in roughly the same spot (although
rolls, as outlined in the standard rules. a knockback distance of a few feet may matter if the char-

CHAPTER 7: OPTIONS
acter is standing on a ledge, for example). So a knockback scene, and blasts Junkpile with her blue-green laser
result of 5 means the character is knocked back 900 feet! using the Power Attack maneuver for +2 Damage
(distance value 5). and scores a critical hit! Her laser does Damage 10
damage, +2 for the Power Attack, +5 for the criti-
The character suffers additional damage equal to the cal, or 17 total. Junkpile has Toughness 16. He also
knockback result or the Toughness of any obstacle (such has Growth 4 for a total knockback modifier of –20
as a wall), whichever is greater. The obstacle suffers dam- and a result of –3. If the blast dazes Junkpile, it will
age equal to the original attack (which may damage or knock him prone (and drive him back a mere 3 feet
break it). If the character breaks through the obstacle, he (distance value –3) if that’s important). If it weren’t
keeps going the remainder of the knockback distance. for the critical hit, the knockback result would be
If the obstacle is another character, treat the result as a –8 and have no effect.
slam attack (see M&M Hero’s Handbook, page 198) doing
damage equal to the original attack to both parties. The
character ends up prone and must get back up normally.
LETHAL DAMAGE
You can choose to inflict less than your attack’s maximum
The default Mutants & Masterminds rules don’t
knockback (just like you can choose to do less than your
differentiate between lethal and non-lethal damage;
attack’s maximum damage).
Damage is Damage, and it can all potentially kill, but
Example: Junkpile strikes Ultramarine with an killing a character is difficult. For those who want more of
enormous rusting fist resulting in two Degrees an element of risk and realism in their damage, there is the
of Failure on her Damage resistance check. The option of categorizing some Damage as Lethal. This is a +0
armored avenger may suffer some knockback. modifier by default, but is permanent like other modifiers,
Junkpile’s strike does Damage 16. Ultramarine has so once a Damage effect is lethal, it cannot be used for
Toughness 12 and no other modifiers for size or non-lethal damage. Instead, take the non-lethal version as
immovability. So the knockback result is 4, send- an Alternate Effect of the Lethal Damage.
ing Ultramarine flying 500 feet and striking a wall
The key difference with Lethal Damage is that it inflicts ad-
before she skids to a stop. The wall’s Toughness is
ditional conditions on a failed resistance check, as follows:
8, and it suffers Damage 16 (equal to the original
attack). Ultramarine breaks through it and goes • Failure (three degrees): In addition to being stag-
the remaining distance. She has to resist Damage 8 gered, the target is disabled.
(the wall’s Toughness), which she does easily. She’s
dazed and prone as Junkpile continues his ram- • Failure (four degrees): In addition to being incapac-
page. Ultramarine picks herself up, flies back to the itated, the target is dying.

All of the conditions from lethal damage also recover at a

slower rate: one hour per condition rather than one minute. HERO POINT TRADEOFFS
Effects like Healing and Regeneration speed this up normally.
Run into that situation where you really need a hero point,
but have none left? In such instances, the GM may choose
INSTANT DEATH to apply the following option: a player may ask the GM for
a hero point in exchange for a complication to follow im-
At the GM’s option, a resistance check against lethal dam- mediately after that point is used. In essence, the player is
age that fails by 5 or more degrees can result in immedi- “borrowing on credit” and “paying” for the hero point with
ate death, rather than changing the character’s condition the complication. Hero points acquired in this way can be
to dying. This is suitable for series with more realistic lethal spent normally.
damage; such massive damage is almost certain to kill
poorly protected or unlucky characters. The players can, of Example: Ultramarine’s player is out of hero points
course, still spend hero points to improve such poor resis- and really wants to make her next shot count. So
tance checks. she asks the GM for a point in exchange for an
immediate complication. The GM agrees and Ul-
tramarine makes her next attack against the vil-
LETHAL KNOCKBACK lain using the hero point to help ensure a hit. The
overcharge on her armor’s laser shorts out some
For greater realism, you may wish to have lethal attacks systems, however, and the GM imposes a power
use only half their Damage rank when determining loss complication, saying Ultramarine’s weapon is
knockback. This reflects that lethal attacks tend to have out of commission until she can make a Technol-
less overall “push” compared to non-lethal attacks. ogy check to bring it back on-line.
MASS COMBAT
While the basic Mutants & Masterminds combat rules handle the one-on-one superhero vs. supervillain clashes of the
comic books quite well, large-scale battles, whether between armies or a small handful of superhumans against an
army, are on a different scale altogether. Even superheroes can find themselves overwhelmed by a sufficient force, but
some can take on entire armies and win! Things can get a little hectic for the Gamemaster, when a fight involves dozens
or even hundreds of participants!
The following optional rules are designed to assist Gamemasters in simulating mass battles between large forces.
FORCES Like individual characters, forces have their own traits,

measuring their capabilities. In general, the traits of a
The mass combat system sums up the actions and traits force are based on the components making up that force
of a number of less powerful combatants and treats (individual soldiers, for example), with certain traits gain-
them as a single more powerful “individual” for the pur- ing a modifier based on the overall size of the force.
poses of combat and conflict. This combined entity is
called a force. FORCE SIZE
The most important quality of a force is its size, how
MILITARY UNIT SIZE many individuals make up that particular force. Game-
masters may choose to treat an entire group as a single
APPROX. NO. OF force or split the group up into smaller forces, as suits
UNIT TYPE FORCE RANK the needs of the story. Sometimes having the characters
TROOPS
deal with several smaller forces can be much more in-
Corps 20,000–50,000 14 teresting than a single massive force, particularly if more
Division 9,000–15,000 13 than one character is interacting with the force(s) at the
Brigade 6,000–8,000 12 same time.
Regiment 3,000–4,000 11
Battalion 500–1,000 9 FORCE RANK
Company 140 7 A force’s size determines its Force rank. A force’s size, read
Platoon 30–50 5 on the volume column of the Measurements Table (see
Squad 10 3 M&M Hero’s Handbook, page 11), gives the force rank. So
a force of two individuals is Force rank 1, four individuals

CHAPTER 7: OPTIONS
Force rank 2, eight individuals (a squad) rank 3, and so
and other heavy weapons in addition to man-portable ar-
forth. The Military Unit Size table shows the Force ranks
maments. The force’s damage capabilities are generalized
for common military units. Generally speaking, it’s easier
and summed up as single damage rank.
to break entire armies down into corps, divisions, or bri-
gades and use their Force modifiers. Generally speaking, a military force’s Damage is Lethal
(see Lethal Damage, earlier in this chapter), unless the
TROOP QUALITY GM decides the force is specially armed with stun-damage
and incapacitating weapons (more likely in a comic book
Troop quality refers to the overall abilities of the individu- setting, but becoming more plausible in the real world). A
als making up a particular force and forms the basis for the force’s Damage works just like an individual Damage ef-
force’s traits. There are three levels of troop quality: green, fect and is resisted in the same way.
trained, and veteran. Gamemasters may want to divide
a larger force into smaller forces in order to differentiate
them by quality. For example, a battalion of 750 soldiers
DEFENSE
might be made up of three forces: a force of 50 veteran
troops, a force of 200 trained troops, and a force of 500 A force’s defense represents how difficult it is to inflict a
green troops. successful attack on that force, like a character’s active de-
fenses. A force’s defense is used against both close (Parry)
Green troops are inexperienced and largely untrained, and ranged (Dodge) attacks. Defense is based entirely on
unfamiliar with combat and working together as a unit. the force’s quality, with no modifier for Force rank. A larg-
Conscripts and average people are green quality, as are er force is easier to “hit” overall, but can also suffer more
troops in societies where armed conflict is rare. damage than a smaller force (represented by also apply-
ing the force modifier to Toughness).
Green Troops: Attack 1, Damage 4, Defense 1,
Toughness 0, Initiative 0, Morale –3
TOUGHNESS
Trained troops have experience and training in combat
Add the Force rank to base Toughness rank for troop qual-
and unit tactics. Most trained military fall into this cate-
gory, along with police officers and others experienced in ity to determine the force’s total Toughness resistance
combat situations. check bonus.
For a force as a whole, this Toughness doesn’t represent

Trained Troops: Attack 2, Damage 5, Defense 2,
the ability to shrug off damage so much as how long a
Toughness 1, Initiative 2, Morale 0
force can suffer damage and continue fighting. See Force
Damage for details on force Toughness checks.
Veteran troops have considerable experience and train-
ing in warfare, tactics, and working together as a unit.
They include special-forces units and other elite military
INITIATIVE
units.
A force’s Initiative modifier is likewise based solely on
Veteran Troops: Attack 4, Damage 6, Defense 4, troop quality, unaffected by Force rank. A force uses its
Toughness 2, Initiative 4, Morale 3 Initiative modifier just like a character, and all parts of the
force are assumed to act together as a unit during its turn
in the initiative order.
ATTACK SURPRISE
A force’s attack bonus is the total of its base attack rank Under the right conditions, such as a well-planned am-
for troop quality and its Force rank, so a larger force has a bush—the GM may rule that a force is surprised at the
greater attack bonus than a smaller one of the same qual-
start of a combat. This has its normal effects: the attacker
ity. A force’s total attack bonus is based on a large number
gets to take an action during the surprise round before
of troops making simultaneous attacks, using coordinat-
combat begins. The force is not vulnerable unless the
ed tactics, and so forth. It doesn’t assume all the troops
attack or even hit at once; like other traits, it abstracts the GM feels the entire force was caught by surprise, in which
force’s capability. case the force’s defense may be halved for the surprise
round.
DAMAGE MORALE
A force’s damage rank is the total of its base damage rank
and Force rank. This assumes larger forces of troops have A force has a modifier to its morale checks based on troop
both more attacks and more powerful weapons, so it quality, unmodified by Force rank. When the force must
takes into account that a large force is likely to be using make a morale check, apply its morale modifier to the
grenades, rocket launchers, and eventually tanks, bombs, check. See Morale Checks later in this section for details.

FORCES IN ACTION recalculated according to its new troop compliment. If the

original force suffered any damage, both of the split forces
have the same damage.
When one or more forces are involved in a conflict, the
combat shifts to battlefield rounds. Each battlefield round
is approximately ten times the length of an ordinary six- COMBINE
second action round, or one minute (time value 3), and
represents a considerable amount of maneuvering and Two forces may also choose to combine to form a single,
activity on the battlefield during that time. larger, force. Combining forces is a standard action that re-
quires the forces be adjacent. This increases the force’s size,
Individual characters and forces can take the normal al- and therefore Force rank, normally. For example, if two forc-
lotment of actions during a battlefield round: one move es of 250 troops combine to form a single force, that force
action and one standard action (possibly trading the stan- has a force modifier one higher than the original forces.
dard action for an additional move action). Free actions
and reactions are also allowed, up to the limits imposed If any of the forces are disrupted (see Force Damage) when
by the GM. they combine, the combined force has the highest total of
hits from among its components. The components’ hits are
A force makes an attack just like an individual does: a d20 not added together. Disabled forces cannot combine.
roll, plus the force’s attack bonus, against the Difficulty
Class of the target’s Defense +10, whether the target is COORDINATED ASSAULT
another force or an individual character. A force may also
move before or after an attack. Typically a force’s move- Two or more forces may attempt to make a coordinated
ment is limited so long as a significant portion of the force assault on a target. This works like a team check (see M&M
is on foot. Vehicle equipped forces may be able to move Hero’s Handbook, page 16): Each assisting force makes a
more quickly as the GM’s discretion. normal attack check against the target. A successful check
inflicts no damage, but grants the coordinating force a cir-
MANEUVERS cumstance bonus on its attack against that same target.
Note that a coordinated assault does not increase the at-

A force can use particular maneuvers in battle, much
tack’s damage, only the likelihood of a successful attack,
like individual characters. These maneuvers are similar in
so several small forces looking to increase their damage
many ways to character-scale maneuvers.
potential are better off combining into a larger force with
a higher Force rank (see Combine, previously).
ALL-OUT ATTACK
FLANKING
This works like the character maneuver: for each –1 the
force takes to defense, it adds +1 to its attack bonus. Two forces may attempt to catch an opponent in between
Green forces can take up to a –2 penalty, while trained and them, flanking that opponent. If two forces are located on
veteran forces can take up to a –5 penalty (as if they had opposite sides of a target, each force gains a +2 circum-
the All-out Attack advantage). stance bonus to attack checks against that target.
DEFENSIVE ATTACK
FORCE DAMAGE
This also works like the character maneuver: for each –1
attack, the force gains +1 defense. Green forces can take Forces successfully attacked during a round attempt
up to a –2 penalty, while trained and veteran forces can Damage resistance checks as per the standard M&M rules.
take up to a –5 penalty (as if they had the Defensive Attack The results of Toughness checks are found under the
advantage). Force Damage table below.
CHARGE Each round’s attacks are considered to happen simultane-
ously in mass combat. Therefore, the effects of damage
A force can charge as its standard action, just like a charac- are not applied until the start of the following round.
ter, with the same –2 modifier to the force’s attack check at
the end of the charge.
FORCE DAMAGE
SPLIT
TOUGHNESS CHECK ... EFFECT
A force can choose to split off into smaller forces with re- Succeeds No Effect
duced Force rank, but greater maneuverability and free-
dom of action. A force must be made up of troops of the Fails (one degree) Disrupted
same quality; the force uses the traits of its least qualified Fails (two degrees) Disrupted + Stunned
troops if it has troops of mixed quality. Fails (three degrees) Disrupted + Staggered
Splitting a force is a standard action. When a force splits, + Demoralized
it becomes two forces, each with a portion of the troops Fails (four or more degrees) Destroyed
of the original force. Each separate force has its Force rank

CHAPTER 7: OPTIONS
DAMAGE CONDITIONS pact on the battle is negligible as the majority of the force
has been killed, captured, or has taken flight in a disorga-
nized retreat. The force in question is obviously done in
The stunned and staggered conditions are the same for
the battle at hand—and likely for all battles to follow, for
forces as for characters (see M&M Hero’s Handbook, pages
that matter.
18 and 19, respectively). The other conditions suffered by
forces are as follows:
PLAYER CHARACTERS AND FORCE DAMAGE
DISRUPTED As a general rule, player characters—whether ordinary
grunts or superhumans—are considered separate from a
Casualties and wounded are starting to add up and it is be- force with regard to damage. Damage to the overall force
ginning to feel the pinch of lost manpower. Cohesion is start- does not directly impact the heroes, except insofar as it
ing to break down under stress, making it difficult to relay weakens the support they can expect.
orders from component unit to component unit. Moreover,
the loss of officers or other leaders is adversely affecting Gamemasters should handle possible damage to the
the force’s ability to fight effectively. The sight of dead and heroes individually according to the standard M&M rules.
wounded comrades has begun to hurt the force’s morale. So a mortar bombardment would require a Toughness
check from the overall force, and the GM might call for
As a result, each disrupted condition enforces a –1 penalty Dodge and Toughness checks against a particular instance
to all the force’s checks, including further Toughness and of Burst Area Damage for the player characters.
morale checks. The penalties for multiple disrupted condi-
tions are cumulative with each other and with any other
penalties incurred. MORALE CHECKS
DEMORALIZED Certain events require a force to make a morale check
to determine if it is still willing and able to continue the
The force has been damaged to the point where it can no fight. A failed morale check has the same effects as a failed
longer fight effectively. It may not attack other opponents, Toughness check, given on the Force Damage table, from
but may still attempt resistance checks and take actions to disrupted (one degree) to destroyed (four or more de-
retreat from the field of battle. grees).
A morale check is a d20 roll plus the force’s morale modi-

DESTROYED fier (based on troop quality). The Difficulty Class for mo-
rale checks starts out at 10, but each disrupted condition
A destroyed force has had its morale completely broken. the force suffers imposes a –1 morale check modifier.
Scattered elements may continue to fight, but their im-

Forces must make morale checks after any of the follow-

ing events:
• The force fails a Toughness check.
• The force fails to inflict damage against any target for

two successive battle rounds.
• The force suffers a serious setback or reversal (in the

opinion of the Gamemaster).
Additionally, the Gamemaster may impose circumstance

modifiers to the morale check based on the conditions.
An especially effective use of Intimidation or powers by
a superhuman foe may apply a –2 (or greater) penalty to
a force’s morale checks, while the presence of a skilled
leader with a successful Expertise (tactics or leadership)
check may add a similar bonus to the force’s morale
checks.
ADVANTAGES
The effects of most combat advantages are not incorpo-
rated into the mass combat rules. The Gamemaster might
assign the Improved Critical advantage to a veteran unit,
or Precise Attack to a platoon of expert marksmen. For the
most part, however, combat advantages don’t apply when
dealing with mass battles, and the average soldier doesn’t
have that many of them, anyway. They’re difficult to bring
to bear in the chaos of mass combat in any meaningful way.
General and skill advantages are too small-scale and in-

dividual to figure into these rules. Sure, it’d be no fun to
suffer the effects of the Taunt advantage from an entire
regiment of troops, but it’s hard to hear even the most
cutting comment over machine-gun fire. In any case, their
targets are probably more worried about being shot and
killed than they are about the enemy making fun of them.
POWERS
For the most part, power effects work on forces like indi-
viduals, with a few exceptions:
• Damage effects do damage against the force as a

whole, even if the effect does not normally have an
area. The wielder is assumed to be making multiple
attacks with that power during the battle round. Dam-
aging effects with the Area extra inflict +2 damage to
a force, with each additional Area rank increasing this
bonus by +1, but the total additional damage cannot
exceed the target force’s Force rank (since the area ef-
fectively encompasses the entire force at that point).
Essentially, the attack’s additional area “cancels out”
the force’s Toughness bonus for being a large group.
• Non-damaging powers that do not normally affect an

area have a negligible effect on a force in battle. The
character can only use such powers if they have the
sufficient Area ranks to encompass the entire force.
So a character with a mind controlling Affliction, for
example, could not attempt to control an entire force
unless he possessed sufficient Area ranks for the
power to affect the entire force. The GM can allow

CHAPTER 7: OPTIONS
these powers to operate normally at the individual
scale; they just don’t have much influence on the out- THE LIMITS OF THE MASS COMBAT SYSTEM
come of force-level conflicts. Of course, the GM is free The mass combat rules are intended to provide quick
to allow plausible power-use in a mass combat situa- “shorthand” for Gamemasters to handle conflicts be-
tion, if it can reasonably affect the outcome. tween superhumans and large forces. It can be quite
tedious to run combats involving dozens, much less
• A particularly spectacular or destructive use of pow- hundreds or thousands, of troops, and it’s unfair not to
ers may impose a modifier to a force’s morale checks give large forces at least a chance against super-pow-
at the GM’s discretion, either a penalty for an enemy ered foes. Seen one-on-one, no soldier has a prayer
force of a bonus (rallying the troops) for an allied force. against a power level 10 superhuman with significant
offensive and defensive powers, but working as a unit,
• Impervious Toughness is compared against the force’s a force of soldiers should have a chance (even if only a
total damage (including the Force rank) before deter- slight one).
mining whether or not the character has to make a
The system is necessarily abstract, boiling down mul-
Toughness resistance check against the force’s attack.
tiple rounds of normal combat into longer battle rounds
This is one of the advantages of larger forces: they can that resolve many different exchanges of attacks and
overcome—through superior numbers and firepow- maneuvers in one or two die rolls. It’s quite possible to
er—Impervious Toughness that would render a target resolve a conflict between a character (or a small group)
immune to the attacks of a smaller force. So, for ex- and an entire army in just a couple battle rounds (as
ample, a character with Impervious Toughness 20 can seen in the example previously). It also summarizes the
ignore the damage of a platoon of green troops (Dam- inclusion of things like equipment, weapons, and tactics
age 9 total) but not that of a trained platoon (Damage with few additional rules.
10) that knows how to apply its firepower. The GM is responsible for providing the description of the
battle and what exactly occurs, while the system provides
SAMPLE CONFLICT
a general outline of things (who won and by how much,
etc.). Gamemasters who feel that the mass combat system
tends to run too quickly should try breaking a single large
A force of 100 trained troops is defending a military force into two or more smaller forces and running the
base from Bruiser, a super-powered mercenary. The battle with those, giving the individual characters a few
troops have a Force rank 6 for their numbers. This more “opponents” to overcome. This is particularly true
gives the force the following traits: for battles involving multiple super-powered characters.
As a rule of thumb, try to give each character involved in
Troops: Attack 8, Damage 11, Defense 2, Toughness 7, the battle either a superhuman foe or a single force as an
Initiative +2, Morale +0 opponent, preventing the characters from “ganging up”
on a single force and quickly ending the battle.
As with all game systems, the mass combat system is not
Unfortunately for them, Bruiser is a physically pow-
meant as a substitute for common sense. If a particular
erful foe with the following traits: outcome seems unreasonable, the GM should feel free
to modify it as needed to suit the series and the story. In
Bruiser: Attack 9, Damage 13, Defense 9, Toughness 11 fact, Gamemasters don’t have to use this system at all if
(Impervious), Initiative +2. As an individual character, Bruiser they’re not looking to play out a battle in game terms. If
doesn’t have a morale bonus or make morale checks. a particular large-scale engagement is just background
color for one of your adventures, it’s perfectly fine for it
The troops win initiative and attack Bruiser. They keep it that way, providing the occasional complication
roll an 11 on their attack check for a total of 19, for the heroes, but nothing more.
which is a hit, so Bruiser makes a Toughness check The mass combat system is not intended as a war game
(DC 26, the force’s Damage 11, plus 15). He gets a for resolving military conflicts between armies; its main
22 and suffers a –1 check penalty, grunting angrily intent is as an individual vs. force system. It’s far better to
at the “bugs” stinging at him. handle large-scale military engagements as background
color, modified according to the actions of the heroes
Then the mercenary counterattacks: he only needs and their major foes. There are plenty of far better and
to roll a 3 or better to hit the troops, given his attack more detailed games for playing out actual battlefield
bonus, and does so. The force makes a Toughness conflicts, if that’s what you’re looking to do.
check (DC 28 for Bruiser’s Damage 13). They roll a
19, and manage to suffer only a disrupted result.
However, the force has taken damage, so they which fails the check by three degrees, meaning
must make a morale check (DC 10). The GM rolls the force is demoralized. The GM rules that Bruiser’s
and gets a 9. They suffer an additional disrupted fierce onslaught overturns vehicles, smashes bun-
result from the display of Bruiser’s power. kers, and sends the remainder of the force packing.
The troops attack again and hit. The villain makes Mere minutes after his arrival, Bruiser leaves a dev-
another Toughness check (modified for his check astated military base behind, carrying away what
penalty) and succeeds, shrugging off their assault. he came to get from the top-secret lab. Only a few
He counterattacks and the force makes another scattered troops remain to tell others of the villain’s
Toughness check. This time they roll only a 10, assault so they can go after him.

APPENDIX: VILLAINOUS LAIRS

While some super-powered criminals make do with a flop- taining) the lair. This is particularly efficient for bad guys
house, cheap motel, or abandoned squat in the heart of with non-human minions, such as robots or summoned
the city, having a true lair is a real sign you have arrived magical creatures, able to work tirelessly and with great
in the world of supervillainy. Master-criminals often have precision. It is certainly not difficult to believe an army of
complexes to rival powerful nations, concealed in mysteri- robots with industrial fabrication capabilities can hollow
ous and inaccessible parts of the world, or else hidden in out a mountain and set up a high-tech complex. Myths
plain sight, right under the heroes’ noses, perhaps even and legends are full of stories of genies, demons, and oth-
out in the open, protected by diplomatic immunity or a er creatures creating palaces and castles virtually out of
façade of innocence. thin air for their masters.
This section looks at the various types of lairs villains Even ordinary human minions can construct a lair, given
may have and offers a number of pre-constructed lair time and the right resources. Of course, it is more likely
archetypes, complete with maps, for M&M Gamemasters for such workers to slip-up, both in terms of construction
to use in their own games. Just choose a lair and have one and security. Word about the project might leak out, if
of your villains move in and set up shop! only in the underworld as the villain looks for potential
workers. Heroes might be able to pry information about
BUILDING LAIRS the lair from current or former workers, unless the villain
takes some countermeasures to ensure their silence, such
When confronted with a massive underground complex as altering their memories or even imprisoning or killing
threaded throughout a tropical island volcano one some- everyone who worked on the project!
times cannot help but wonder: who builds all this stuff?
In a four-color style series, the question can be hand-waved

AGENCY
away. It hardly matters how the lair got there—it’s there, An outside agency can construct a lair for a villain, possi-
the villain is a menace, and the heroes have a job to do. bly without knowing what the headquarters will actually
That’s what really matters; the rest is mere details and trivia. be used for, or by whom!
However, some games thrive on details, and a more re- In this case, the agency is most likely a legitimate con-
alistic series might give some consideration to where vil- struction company or division of a larger business, such
lainous lairs come from, and how to use that information as a multinational corporation. The villain has sufficient
to create further story hooks for the game. Possibilities influence to get the project authorized and underway
include the following: without anyone the wiser, or at least without anyone will-
ing to question orders from above. In some cases, particu-
MINIONS larly when the agency is the villain, the whole project is
completely “legitimate” under the guise of their normal
The easiest explanation is that a villain’s minions do all operations, such as a government “black ops” project or a
the grunt work of constructing (and, presumably, main- criminal corporation.
REUSE AND RECYCLE

Supervillain lairs tend to be fairly short-lived; even if they are not destroyed in a massive explosion or super-fight when
the bad guy is brought down, they are likely abandoned or placed under protective custody after their owner goes to
prison or mysteriously disappears, presumed dead. Four-color settings may be littered with abandoned and former hide-
outs, and why go to the trouble of building a new headquarters when you can just move in and occupy an old one?
Of course, reusing an abandoned lair has its drawbacks, not the least of which is that heroes already know where it is and
are certain to come sniffing around at some point. For some villains, this may be a feature rather than a detraction, since it
is the perfect opportunity to lure said heroes into a trap! Other problems with a “used” lair include repairing previous dam-
age and dealing with any leftover traps or machinations set up by the previous occupant. On the other hand, a recycled
lair can be a form of hiding in plain sight, since heroes may not think to check a place they already consider “cleaned out”.
From a practical point of view, reusing supervillain lairs in your M&M series can cut down on the amount of game-prep-
aration work you need to do. Just pull out the map and game information for a prior hideout and put it back to work for
this week’s villain. The players may be able to take advantage of their prior knowledge about the place, but it can just as
easily trip them up, if the new occupant has taken that into account and prepared accordingly.
Old villain hideouts are not the only reusable ones, either. A particularly daring bad guy might take over a defunct heroic
base and turn it into a new lair! This is particularly poetic if the villain adopts one of the player characters’ old hangouts,
figuring it is the last place where the heroes would think to look for them!

Alternately, an agency may exist for the express purpose A “technokinetic” villain, for example, able to mold and
of constructing supervillain lairs, a kind of “villain’s con- shape technology, can easily create a high-tech head-
tractor” handling such tasks in exchange for a fee. It is cer- quarters out of collections of junk and spare parts, or even
tainly one way to make a great deal of money off a “cap- raw materials. Similarly, a transmuter or earth controller
tive audience” of customers, although negotiations may can easily bore tunnels, create walls and structures, and
be required to avoid customers who promise payments so forth. Inventor villains may create robotic construction
they cannot deliver, especially if they are arrested before crews or industrial fabricators and use them to build the
their big schemes come through! The Foundry from Free- lair (see Minions, previously).
dom City can serve as such an agency, given its consider-
able resources and tireless robot workforce. The most common powers associated with lair building
tend to be magical. Powerful spells and rituals can create
palaces and strongholds out of thin air, summon ancient
ENTITY temples and sunken cities from their resting places, or
open up portals to other dimensions and realms where
A single fairly powerful entity might be capable of and the villain can hold sway. Such a magical lair is often
willing to create lairs for supervillains, either for a price or linked to the villain’s power, such that upon defeat the lair
for reasons of its own. Such a being could potentially be crumbles, collapses, or simply vanishes, at least until sum-
a powerful villain in its own right, but perhaps it chooses moned anew.
instead to work behind the scenes.
In the World of Freedom setting, an amoral analog of Dr. INHERITANCE

Metropolis (from Freedom City) could fill this role. Per-
haps Junkpile (from Threat Report) develops sufficient Lastly, a supervillain might well inherit a suitable lair from
intelligence to understand the needs of others and seeks a relative, mentor, or other source. Of course, where vil-
to fulfill them. Similarly Master Metropolis (the good lains are concerned “inherit” may well mean “steal” if the
doctor’s evil twin from Anti-Earth) could do the same, bad guy chooses to kill off a relation or former ally to gain
or another as yet unknown “urban elemental” could fill control of the place.
the niche. The wish-granting Mr. Infamy could provide
bad guys with incredible lairs, seemingly created out of Inherited lairs tend to be relatively mundane—mansions,
nowhere, although his “gifts” tend to come with hidden family estates, or the like—although they can be as exotic
price tags attached. The same can be said of the goddess as castles or even full-blown supervillain headquarters
Eris from Threat Report. inherited from another bad guy. The new owner has to
deal with any deficiencies or legacies connected with the
place, making changes or upgrades as needed.
POWER In addition to inheriting a lair, a villain might also seek out
Some villains are fortunate (or focused) enough to have an abandoned headquarters and take up residence there.
powers suited to creating their own lair to suit their needs. See the Reuse and Recycle sidebar for more on this.

1. TICKET BOOTH 9. WATER PISTOLS

2. CONCESSION 10. HORSE RACIING
STAND 11. ROLLER COASTER
3. GRAVITRON 12. HAUNTED HOUSE
4. FERRIS WHEEL 13. HALL OF
5. BALLOON DARTS MIRRORS
6. RING TOSS 14. MERRY-GO-
7. PITCHING BOOTH ROUND
8. BEAN BAG TOSS

AMUSEMENT PARK
giant spiders, werewolves, etc., see Chapter 3). It could
AMUSEMENT PARK 9 POINTS also create realistic Illusion effects (with a appropriate Will
Size: Colossal • Toughness: 5 (typically) • Features: Deathtraps, resistance DC for the series power level) or fear-causing
Power System, Secret, Workshop devices (an Affliction effect with a similar Will DC).
A staple for villains with funhouse, circus, or arcade SHOOTING GALLERY

themes is the abandoned amusement park, either closed
down for the season or shut down for good because of One of the classic carnival games, this booth for target-
hard times or changes in entertainment interests. The shooting might be turned into a lethal back-and-forth
villain either buys the place for a song or moves in when where helpless heroes are shot at, having a certain amount
nobody is looking and modifies things to suit, usually by of time to escape. Perhaps one of the heroes’ teammates
“upgrading” the harmless carnival games and rides and or loved ones is mesmerized into being the shooter! For
making them into dangerous weapons and deathtraps. heroes immune to ordinary bullets, the “gallery” might use
specialized ammo or specific weaknesses instead.
FEATURES THRILL RIDES

The main features of an Amusement Park lair are the vari- This includes roller coasters, tilt-a-whirls, and various other
ous rides and attractions, turned into tools of villainy! rides intended to induce terror and nausea in their scream-
ing “victims.” Villains often convert them into deathtraps,
FERRIS WHEEL spinning or caroming off into terrible crashes as the he-
roes struggle to get loose. You can treat the ride’s effects
The primary role of the Ferris wheel in an amusement like an Affliction effect causing conditions like dazed and
park lair is a big object to break or hit someone with, al- stunned. The heroes might need to escape from “safety”
though if there are any customers in the park (see Behind restraints (requiring a Damage effect or Sleight of Hand
the Scenes under Variations), then a fully loaded Ferris check) while struggling against the side effects to get free
wheel will almost inevitably break loose from its moor- of the ride before it is too late.
ings, requiring a hero to come to the rescue (and earn a
hero point for doing so).
VARIATIONS
A 30-foot Ferris wheel weighs around 60 tons and car-
ries a maximum of 120 riders (adding another approxi- Variations on the Amusement Park lair may include:
mately 12 tons, fully loaded). It takes Strength 12 to hold
up, although bracing and extra effort can enhance lesser BEHIND THE SCENES
Strength to do the job. Larger and more complex Ferris
wheels are heavier and harder to lift. In this scenario, the amusement park is not abandoned,
but continues to operate while also serving as cover for
HALL OF MIRRORS the villain’s activities. The bad guy might hide in plain
sight as one of the acts or operators of the park, or stay out
The classic hall of funhouse mirrors is often a place where of sight. He might be pulling the strings of everyone else
the villain will lure heroes or flee when pursued. The doz- working at the park, or remain hidden even from them,
ens of confusing reflections provide characters in the save for a select few allies or henchmen. Exactly why the
place with visual concealment (Hero’s Handbook, page villain hides out in a functioning amusement park de-
192) allowing for, among other things, Stealth checks and pends on the villain. For some it is the only game in town;
surprise attacks. The mirrors can reflect light-based ef- others might need the fair-goers in some way, whether to
fects, making them suitable for certain stunts or to cause feed off their psychic energy, to use them as mesmerized
complications for characters with light-based powers. pawns, or simply to be close to the life and fun and laugh-
ter they can never have. Whatever the case, having a park
A more exotic hall-of-mirrors trap causes the funhouse
full of innocent people can pose all sorts of complications
mirrors to create distorted duplicates of the characters,
for the heroes as they try to deal with the bad guy without
which step out of the mirrors to attack: a Summon effect
anyone getting caught in the crossfire.
that creates a near-exact duplicate of the onlooker. It is
commonly magical, although the duplicates can be prod-
ucts of super-science as well. UNDER THE BIG TOP
HAUNTED HOUSE Rather than an amusement park, the villain’s lair is a cir-
cus, with a similar midway hosting carnival games and
A scare ride with various special effects, a haunted house the like, but also a big top with clowns, acrobats, and
may be modified with robotic or “live” versions of classic trained animals such as lions and elephants, any or all
movie monsters to attack trespassers (zombies, skeletons, of which could be part of the villain’s overall theme. The

1. BRIDGE 13. SITTING ROOM

2. BATTLEMENTS 14. TROPHY ROOM
3. GUARD HOUSE 15. SERVANTS
4. COURTYARD QUARTERS
5. LIVERY 16. GUARD BARRACKS
6. SEA TOWER 17. MEETING ROOM
7. GRAND FOYER 18. CONSERVATORY
8. THRONE ROOM 19. GUEST CHAMBERS
9. DINING HALL 20. ROYAL SUITE
10. LIBRARY 21. TORTURE CHAMBER
11. KITCHEN 22. HIDDEN LAB
12. STORAGE 23. RITUAL CHAMBER

master villain might style himself “the Ringmaster” or clown all the kids find scary is something really scary, like
could be another member of the circus troupe. Maybe a demon in human form. The possibilities are many. See
the lion they call “the King of Beasts” is smarter than Chapter 3 for game information on elephants and lions,
anyone thinks and a “king” in truth, with the power to along with other animals suitable as additional features
control the minds of humans and animals! Maybe the for a circus lair.
CASTLE
CASTLE 10 POINTS A dungeon may also serve as a deathtrap, if the prison-
ers are faced with a threat like a ticking bomb or a swarm
Size: Huge • Toughness: 10 • Features: Holding Cells of flesh-eating beetles, for example. But the more likely
(dungeon), Laboratory, Library, Living Space, Power System, castle deathtraps are found in...
Security System
The dark castle on a hilltop, illuminated by flashes of THE LABORATORY

lightning from the roiling clouds overhead, is a classic
villainous lair. Castles suit “old world” bad guys, either Ever since the days of Dr. Frankenstein, Gothic castles
villains who are literally from the past (such as immortal have been associated with mad scientists challenging
sorcerers or ghostly “black knights”) or those with old- the limits of nature and tampering with forces Man Was
world ties, such as self-proclaimed European nobility. Not Meant to Know. Therefore a castle lair often comes
equipped with a laboratory for the archfiend to experi-
Although one does not typically associate castles with
ment. It is either filled with scientific apparatus, sparking
North America (settled by Europeans well after the great
or crackling with power, or—for mystical villains—with
age of castle-building was over), there are still a great
a magic circle and workbenches of arcane potions and
many castle-like structures in the United States. Techni-
powders. The centerpiece is a cage or worktable where
cally speaking, these are not true castles, as they were
heroes can be bound as they await the mastermind’s at-
not designed as medieval fortress-manors. They are
tention.
more properly private mansions or estates build as re-
productions or along the same lines as European-style
castles. SECRET PASSAGES
Many of these private castles were built during the 19th Castles frequently have secret or hidden passages or
century, as the estate-homes of American business ty- chambers, either part of the original structure, or added
coons and robber barons looking to emulate European by their new occupants to suit their needs. The classic
style and sophistication, declaring themselves a kind of entrances and exits include rotating bookshelves in li-
“American nobility.” Some are “follies,” deliberately built for braries or laboratories, shifting fireplaces, flagstones
appearances and decoration rather than function. Later that serves as concealed elevators, and doorways hid-
castles were built as or became public buildings or tourist den in otherwise ordinary seeming stone- or woodwork.
attractions. Villains typically use these passage as escape routes, or
to conceal their lair within an otherwise normal-seeming
Although American castles are often situated on isolated
structure.
estates, others can be found in the midst of urban areas,
such as New York City’s Belvedere Castle, a folly built in
Central Park and used by the U.S. Weather Bureau to col- VARIATIONS
lect meteorological data in the park. It’s not hard to imag-
ine a “private investor” taking over such a castle and con- Alterations to the castle theme involve variations to suit
verting it into a supervillain lair! the occupant’s style, be it high-tech, mystical, or of a dif-
ferent cultural background.
FEATURES HIGH-TECH CASTLE
Some important features of a castle lair include:
Just because a place looks like a castle does not mean it
DUNGEON is limited to the materials and technology of the Middle
Ages! Since mad scientists are also often fond of castles,
Any castle worth its portcullis has a dungeon: dank and chances are good a fortress lair may have some hidden
dark cells with chains bolted to the walls, complete surprises: anything from electronics and computers con-
with optional rats and cobwebs. This is where the villain cealed inside the walls to a turret converted into a mis-
imprisons captured heroes as well as hostages and sile silo! Supposedly empty suits of armor make excellent
where the good guys come to rescue them. The dungeon guard robots (see the Robot minion archetypes in this
might be guarded (by anything from goons to robots to book). Stone structures may be reinforced with advanced
actual ogres) or the locks and chains may be considered stone-like materials, or conceal layers of strange alloys or
sufficient to hold prisoners. super-metals beneath them.

1. MAIN ENTRANCE 6. COLLAPSING MAZE 11. PRIEST ROOM

2. HALL OF THE GUARDIANS 7. TRAPPED MAZE 12. ROYAL CRYPTS
3. THE DESCENT 8. KEY ROOM 13. KING’S REST
4. PATH OF RIGHTEOUSNESS 9. LAST STAIR
5. FALSE DOOR 10. ALTAR CHAMBER

even dragons lairing down in the dungeons! You can use
SHOGUN’S CASTLE
the gargoyle and dragon creature archetypes from Chap-
Nothing says a “castle” has to be European in origin. It ter 5 for inspiration.
could just as easily be in the style of medieval Japanese VAMPIRE’S CASTLE
castles, or from some other historical background that
suits the villain. The Gothic castle is the archetypal lair of the Vampire
SORCERER’S CASTLE (page 130). It may appear abandoned: covered in dust
and cobwebs, lit only by flickering candlelight and silvery
Mystical and fantasy villains often have castles right out moonlight, with coffins tucked away in the crypts below.
of fairy tales and sword and sorcery yarns, complete with Minions include various sorts of undead, lesser vampires
animated gargoyles, flaming moats, armored knights, and (often “consorts”), or entranced servants.
HIDDEN TEMPLE
able as magical constructs such as animated statues or suits
HIDDEN TEMPLE 8 POINTS of armor), warrior demons, skeletons, or zombies.
Size: Huge • Toughness: 10 • Features: Deathtraps, Holding
Cells (dungeon or tombs), Isolated, Secret TRAPS
Many supervillains want to be worshipped like gods, but Also potentially guarding the temple are various traps,
not all of them have their very own temples. Some mega- usually placed along the entry route to protect the tomb
lomaniacal bad guys do, and use the hidden (and often or central chamber. Once the temple is converted to a lair,
ancient) structures as lairs from which to launch their the villain may use the traps to defend against intruders
schemes of conquest and domination. or as deathtraps for imprisoned heroes. Classic hidden
temple traps include closing walls, a gauntlet, killing jars,
A temple lair is most often hidden by virtue of being in
and the kaleidoscope of madness, although a creature
some ancient and forgotten corner of the world: a ruin
pit filled with deathless monsters is also an option (see
deep in a desert canyon, concealed beneath layers of
Deathtraps in Chapter 5 for details).
jungle growth, or at the bottom of a ravine created by an
earthquake, and so forth. The temple may have been the
villain’s tomb or prison for centuries before unwitting ex-
WORSHIPPERS
plorers ventured where they should not have and awak-
What is a temple without worshippers? Often, a villain’s
ened the evil there. In other cases, a godly foe raises the
very next step after raising or creating the temple lair is to
ruins of a temple in order to restore it to its former glory.
gather a group of fanatical followers there. They may be
A few other hidden temples are new—created by the vil- the remnants of the villain’s ancient cult, perhaps respon-
lain’s power or built by minions—or nearly new, having been sible for his return, or otherwise innocent people who
raised or restored, such as a sorcerer lifting an ancient temple have fallen under the sway of their new “god.” Worshippers
from beneath the desert sands or the bottom of the sea. are typically minions (using the archetypes in this book),
either ordinary humans or minor creatures such as the
undead remnants of the temple’s ancient worshippers,
FEATURES raised from the dead to serve their master once again.
While not particularly high-tech, hidden temples do have

a number of useful features, some originally intended to VARIATIONS
hamper the villain, but which turn into challenges for the
heroes instead. Some variations on the Hidden Temple lair include the fol-
lowing:
GUARDIANS OTHERWORLDLY
If the temple was originally a prison, then it may well have
An otherworldly hidden temple is very well hidden, in an-
guards, able to wait out centuries or even millennia and
other realm or dimension altogether! The temple may lie
keep watch over their prisoner. This typically means un-
on a dimensional rift or fold, or on the mysterious border
living guardians, such as animated statues, undead war-
between one realm and another, such as the shadow-
riors, or even ancient robots. Alternately, they may be
lands between life and death. Its current state could be
kept in suspended animation, revived only to defend their
the work of its creator, or part of whatever banished the
charge, like statues that suddenly become flesh upon
temple (and its occupants) from the world long ago. This
sensing an intruder.
means reaching the temple requires some special route or
See the minion archetypes in this book for potential guard- means, such as a mystic ritual or the appropriate power(s).
ians. Examples include gargoyles, golems, robots (also suit- Add the Dimensional Portal feature to the temple, if it is

1. RECEPTION DESK 14. HEAD NURSE

2. STORAGE 15. HEAD PHYSICIAN
3. OFFICES 16. HEAD OF SECURITY
4. MESS HALL 17. WARDEN’S OFFICE
5. MAINTENANCE 18. MINIMUM
6. CHIEF ENGINEER SECURITY
7. CHIEF ORDERLY 19. SECURITY POST
8. LAUNDRY 20. NURSE STATION
9. SHOWERS 21. COMMON AREA
10. PHYSICAL THERAPY 22. HIGH SECURITY
11. GROUP THERAPY 23. VIOLENT WARD
12. HUMAN SERVICES 24. MAXIMUM
13. INFIRMARY SECURITY
25. ACTIVITY YARD
26. CATWALKS

possible to navigate to and from it with nothing more from the earth where the temple once stood in ancient
than an appropriate skill check. Otherwise, this is covered times, or created out of thin air by the villain’s power. It
by Isolated. In either case, add the Concealed feature. stands as a proclamation of its creator’s divine might and
a challenge to any who would oppose it, providing both
OVERT the authorities and the heroes with a clear target. Unfor-
tunately, just finding a godlike villain is often not the hard
This temple lair is far from hidden, instead, it appears right part of overcoming him! Remove the Isolated feature from
smack in the middle of an urban area, either erupting the temple’s stats.
INSANE ASYLUM
on the floor and walls to prevent patients from injuring
INSANE ASYLUM 10 POINTS themselves if they become violent or have fits. They are
Size: Huge • Toughness: 5 • Features: Holding Cells, Infirmary,
typically of concrete or brick construction underneath
Laboratory, Living Space, Secret, Power System, Security System (Toughness 7) with steel doors (Toughness 9), although a
villain might reinforce them to hold super-powered pris-
More than a few villains end up in asylums once the he- oners (and the same would be the case in an asylum that
roes catch them, but how many would think to set up routinely deals with superhumans). A super version of a
shop there? It’s an idea so crazy ... well, you’d have to be “rubber room” might includes some kind of reflection field
mad to try it! Still, some bad guys may use the very asy- or material, causing any attempts to break out of the room
lums intended to hold and treat them as hideouts, enjoy- to rebound against the character.
ing the symbolism or the irony of it. They work well for STRAITJACKETS
characters with a motif of fear or madness, such as the
Psycho archetype. Villains occupy two types of asylums: The accompaniment to a padded cell is a straitjacket, de-
abandoned ones or those still operating. signed to hold the wearer’s arms close to the body and
The abandoned asylum may have shut down due to lack of limit mobility and the ability to manipulate things. A typical
funding, some scandal over patient treatment, or a terrible straitjacket is Toughness 4 with its reinforced straps, making
incident such as a murder that took place there. Comic book it difficult for a wearer to break without proper leverage or
asylums tend to come in either Victorian Gothic or 1950s damage (since the straps pull against the wearer as well).
Industrial styles, the former a spooky combination of tur- Slipping out of a straitjacket is a DC 25 Sleight of Hand check.
rets, wrought ironwork, and creaking staircases; the latter Straitjackets are excellent camouflage for means of neu-
cinderblock walls with steel hatches for doors and barred tralizing a wearer’s powers, housing either dampening
windows, all painted in generic industrial gray, tan, green, circuitry and some mystical enchantment. Villains might
or pale blue. The villain may adapt some of the asylum’s use power-nullifying straitjackets to keep heroes prisoner,
facilities to create traps and use its cells to hold hostages. or even in an effort to convince them they are legitimate
A functioning asylum controlled by a supervillain is almost patients and their “super-powers” and costumed identities
more frightening, in some ways. Obviously, the criminal are all just a delusion!
has to operate behind-the-scenes (or the asylum exists in a
truly corrupt setting, where the authorities don’t really care TREATMENT FACILITIES
who runs things). Perhaps the director or another impor-
tant official is the villain’s secret identity, or the villain has Facilities normally used to treat the mentally ill in an asy-
kidnapped and replaced that person, leaving him locked lum’s care can become deathtraps and torture devices in a
up in a cell and raving about how someone has stolen his villain’s hands. Examples include:
life! As another example, maybe a psychologist obsessed
with curing “aberrant” behavior crosses the line, turning the • Chairs and tables with restraining straps (Toughness
asylum he runs into the secret lair of his costumed alter ego. 5, Sleight of Hand DC 20).
• Electroshock (or electroconvulsive) equipment, ca-

FEATURES pable of delivering shocks for an Affliction or Dam-
age effect of rank 1–6 or more.
Apart from being downright creepy, an asylum’s main
features involve its ability to hold people against their will • Psychopharmaceuticals used to treat various condi-
(possibly enhanced by the new “management”) and the tions, able to sedate, weaken the will, and disrupt
various facilities normally used to treat patients. concentration (Affliction effects, Fortitude or Will
save to resist, as appropriate).
PADDED CELLS An asylum may have one or more full-fledged operating
rooms for surgical procedures, although some do not have
In addition to most hospital-style rooms, an asylum has any. This can add an array of surgical instruments, drugs,
the classic “rubber room,” essentially a cell with padding and complications such as anesthetics to the arsenal.

1. HANGAR
2. MACHINE SHOPS
3. WORKSHOPS
4. STORAGE
5. MESS HALL
6. MASTER’S
QUARTERS
7. BARRACKS
8. LABORATORIES
9. GEOTHERMAL
STATION
10. ARMORY
11. DOCKS
12. GUEST ROOMS
13. LIBRARY
14. HOLDING CELLS
15. SECURITY
16. COMPUTER
SYSTEMS
17. TRAPPED HALL
18. MISSILE DEFENSE

In some settings, an asylum’s treatment facilities might in-
clude experimental super-science gadgets such as virtual function. A small, private clinic may even have a layout es-
reality rigs or “mind probes” able to read or even rewrite sentially the same as the asylum building, but with more
dreams, thoughts, or psychological conditions. Naturally, conventional patient rooms and treatment facilities.
in the wrong hands, these devices can be instruments of PRISON
terror and torture.
A prison can serve as a secret lair the same as an asylum.
VARIATIONS An abandoned prison facility is sturdy, with usable infra-
structure and a good motif for “law and order” or jailer vil-
Although the asylum has one of the strongest themes, lains (such as Warden from Freedom City). A working prison
similar lairs use full-fledged hospitals or even prisons. might fall under the influence of an unscrupulous warden
or governor, or a convict on the inside could exert control
HOSPITAL over the place, either through various powers or social
means. The Lockdown sourcebook details a super-prison
A hospital is a similar, but more extensive, facility; it may following this concept and the Freedom City sourcebook
even have a psych-wing similar to the asylum in form and describes the Blackstone super-prison as an example.
ISLAND BASE
• Electromagnetic pulse weapons or similar devices in-
ISLAND 13 POINTS tended to disable boats and aircraft (or at least their
Size: Awesome • Toughness: 5 • Features: Defense System, Dock, navigational and communications systems), a Nullify
Hangar, Isolated, Living Space, Power System, Security System Electronics effect. This type of system might provide
“mysterious losses at sea” for heroes to investigate.
There are few lairs more private than your own island (at
• Creature minions acting as guard dogs, ranging from
least still on Earth), and some villains manage to buy, claim,
trained or mind-controlled dinosaurs to sea mon-
or even create an isolated island retreat where they can “get
sters, ordinary sea life (such as sharks), or various
away from it all,” including those bothersome heroes.
types of robots (possibly mimicking sea creatures,
Often, an island lair is merely a setting for another type of like robot sharks or robotic giant squids). See the
headquarters, such as a castle, hidden temple, mansion, Minion Archetypes in this book for some options.
mountain (or volcano) lair, underground complex, or the
like. The majority of the island’s space may be unused or LOCATION
largely ignored, filled with wilderness or barren stretches.
In this case, you may want to reduce the lair’s effective size An island’s location affects its style and overall useful-
and ignore the extra land, or apply the Grounds feature as ness as a villain lair. Ideally, the island is in international
a midway measure to reflect the added space. waters, not claimed by a particular nation or power, or at
least largely ignored so no one notices a secret installa-
FEATURES tion there. The villain might legitimately purchase the is-
land through proxies or a front company before setting
up shop there.
An island lair’s main features are its relative isolation and
size, offering lots of places to put the villain’s real hideout, Tropical islands offer good weather (except during hur-
or even multiple bases or facilities on the same island. ricane season) and often a prime location near the equa-
tor, important for some schemes and doomsday weap-
DEFENSE SYSTEMS ons. They tend to be hard on equipment and technology,
however, and volcanic magma taps used to provide
The first challenge in storming a villain’s island lair is ac- power can also overload and cause an eruption if things
tually reaching it; the island may have various defensive happen to go wrong—virtually assured once the heroes
systems intended to keep unwanted visitors away. These show up.
may include air- and sea-based weapons systems. Exam-
ples include: Arctic islands, conversely, tend to be plenty isolated, but
are far from civilization, requiring special transport, and
• Surface-to-air missiles for shooting down planes installations have to be properly shielded from the ele-
and flying heroes, inflicting Damage appropriate to ments. Any waste heat often shows up too easily on scans
the series power level and possibly having Area and of the area.
Homing capabilities (with Homing usually based on
heat sensors or radar). Aquatic versions include guid- TERRAIN
ed torpedoes. See page 173 of Hero’s Handbook for
some examples. Unlike many lairs, islands have terrain, which can provide
opportunities and challenges of its own. Some island ter-

1. MAIN ENTRANCE
2. SLIDING DOORS
3. CONCEALED
ENTRANCE
4. MISSILE SILO
5. BARRACKS
6. LIVING QUARTERS
7. BLAST LOCK
8. ARMORY / STORAGE
9. GALLEY
10. OFFICERS
QUARTERS
11. CONTROL ROOM
12. DECONTAMINATION
13. INFIRMARY
14. LABS/WORKSHOPS
15. POWER STATION

rain offers interesting new environments for chase scenes that allow it to hover or fly. In this case, the island might also
or combats, from outracing snowmobile-riding minions have some means of concealment to hide its movements
on a frozen isle to fighting on the slopes (or in the caldera!) from satellite surveillance and other methods of detection.
of an active volcano in the tropics. See the Environment
effect in Hero’s Handbook and the information in Chapter HIDDEN ISLAND
5 of this book for further inspiration on how the terrain
can challenge heroes. Sometimes just being on a small, uncharted island hun-
dreds of miles from civilization is not enough, especially
for arch-villains wanted by authorities around the world.
VARIATIONS So an island lair might also be hidden from the outside
world with the addition of the Concealed feature. The lair
Variations on the island lair include changing the nature might be concealed on or in the island so it appears com-
of the island, its inhabitants, or its level of concealment. pletely uninhabited, or the island itself might be hidden
in some fashion, by an artificial fog bank, holographic or
ARTIFICIAL ISLAND mystic illusion, or some similar measure.
An island lair might be entirely artificial, a colossal float- INHABITED ISLAND

ing platform or the top of a manmade mountain on the
sea floor. The island’s surface is typically covered with Although villain lairs are typically uninhabited, an island
dirt and either real plants and sculpted terrain or artificial could be inhabited when the bad guy takes up residence.
landscaping to make it look like a real island. Features of The locals might be previous residents, now under the vil-
the artificial landscape might conceal elements such as lain’s boot and in need of rescue, or they could be loyal sub-
listening outposts, buildings, weapon emplacements, and jects, especially if it is an island-nation under the “rightful”
secret entrances or launch bays. rule of an authoritarian overlord. A mad scientist type might
populate an island with various creations, like the Island of
An artificial island might even be mobile, with propulsion
Dr. Moreau (from the book of the same name), populated
systems capable of moving it slowly across the oceans to dif-
with the animal-men created by the island’s master.
ferent positions or exotic means such as anti-gravity systems
MISSILE SILO
MISSILE SILO 11 POINTS LAUNCH!
Size: Large • Toughness: 10 • Features: Communications, A missile silo large enough to serve as a headquarters
Computer, Concealed, Fire Prevention System, Hangar (of generally holds an intercontinental ballistic missile (ICBM)
sorts), Power System, Security System, Workshop or the equivalent. These rockets have vast range, able to
reach other continents or carry payloads into Earth orbit,
A missile silo is typically an underground shaft wide and suitable for any number of villainous schemes. Most of-
tall enough to accommodate a large rocket with an explo- ten, the missile is used to carry a weapon to threaten or
sive warhead (sometimes conventional, but potentially destroy an Earth-based target, or to carry a payload such
nuclear) and its support materials. Some missile silos are as a satellite into orbit (which the villain can use to beam
built above ground, but most are underground, both for mind-control rays or the like down onto Earth).
security and safety. A hatch opens and closes to allow the
missile to launch from the silo, and the rest of the facility Heroes may need to prevent the launch of the missile,
is accessible via an elevator and/or ladder opening onto or chase after it if they are unable to prevent the launch.
the surface. Stopping the launch sequence might be a simple matter
of a Technology skill check (possibly a challenge sequence
A missile silo turned into a supervillain’s lair was either involving Technology). You can use the guidelines for dis-
constructed in secret for that purpose, or done without arming a deathtrap given in Chapter 5, especially if the
the knowledge of the original owner(s). It’s certainly pos- missile launch will trigger such a trap (see the following).
sible, especially in a four-color setting, for some post-Cold Heroes may also be able to damage the missile or launch
War era silos to have been decommissioned, then taken systems: figure Toughness 10-12 for most of the materials
over by the villain. Other missile silo lairs still belong to involved. However, damaging the missile might cause an
their government owners, either used covertly by crimi- explosion, the same with tactics such as preventing the
nals without their knowledge, or provided to said crimi- launch hatch from opening. The blast is likely to have a
nals by a government “black ops” organization. damage rank from 10–15 or more, depending on the mis-
sile and its payload.
FEATURES Chasing after a missile requires Flight 7 or using another
power such as Teleport to reach the missile and grab
The central feature of a missile silo is, naturally, the silo it- onto it. You can use the challenge rules to model chas-
self and the missile or rocket it contains. ing after a missile but, generally, a hero either has suf-

1. STATION HOUSE 7. GUARD COMMONS 13. PRIVATE STORAGE

2. WAITING ROOM 8. BARRACKS 14. MASTER BEDROOM
3. LIBRARY 9. STORAGE 15. OFFICE
4. STORAGE 10. WORKROOM 16. RESEARCH LIBRARY
5. BATHROOMS 11. LABORATORY 17. SUBWAY PLATFORM
6. KITCHEN/DINING 12. MEETING ROOM 18. SUBWAY RAILS

ficient speed or range to catch the missile or not. Extra tough heroes, or those immune to the intense heat, may
effort may be required to put on a final burst of speed potentially survive it. Heroes are typically restrained in
to catch up, since the missile’s flight speed remains fairly some fashion to keep them from escaping the blast, al-
constant. though an impromptu deathtrap may simply leave them
unconscious at the bottom of the silo, able to wake up just
Once the hero has caught up, he can attempt to disarm in time to find an escape route.
or otherwise interfere with the missile’s systems, requiring
a Technology check, or damage the missile or push it off
course. Treat it as Toughness 10 for damage purposes. VARIATIONS
Changing its course takes a Strength check with a DC of
25. Two or more Degrees of Success is sufficient to divert The large size version of the missile-silo lair given here
the missile toward another target, including crashing it should be considered the minimum size and capabilities.
Some missile silos are much larger, even capable of hold-
into the ocean or an uninhabited area, or even sending it
ing and launching multiple rockets, or having an entire
hurtling out of the atmosphere.
underground complex and support structure. Such a base
would probably also have a sizeable staff, perhaps includ-
OUT OF THE FRYING PAN... ing soldier minions (see the Minion Archetypes in this
book for ideas).
A common villainous deathtrap is to place heroes at
the bottom of a silo, beneath the rocket’s exhaust ports, A missile silo can also be part of a larger headquarters,
where they will be flash-fried when the rocket launches. such as an island or mountain lair, with the silo concealed
In terms of the material in Chapter 5, this is a Deadly Con- inside the mountain or other high ground, or in a castle
tainer variant on the Deadly Conveyor deathtrap. Damage lair, concealed inside a converted turret. See those lair ar-
from the rocket blast is about rank 12–15, so particularly chetypes for details.
SUBWAY STATION
SUBWAY STATION 5 POINTS GOT A TRAIN TO CATCH!
Size: Medium • Toughness: 8 • Features: Concealed, Power
System, Workshop A staple of comic book action is stopping a runaway train
before it crashes. To do this in Mutants & Masterminds, use
With mole monsters, earthquakes, and various other disas- the following guidelines:
ters, a superhero city can end up with various underground
facilities such as subway stations declared unsafe or derelict Strength check DC = 10 + vehicle Str + Speed
and closed off to the public, but potentially useful for an en-
terprising supervillain. Whether classic art deco, cleaned up The character(s) trying to stop the train makes a Strength
and classy, or urban post-apocalyptic, an abandoned subway check against a DC of 10 + train’s Strength and current
station is a convenient lair often right under the heroes’ feet. Speed ranks. Each Degree of Success reduces the vehicle’s
speed by 1 rank. Extra effort is good for a +2 bonus on the
FEATURES check, along with the normal use of hero points for re-rolls
or avoiding the fatigue of extra effort. At the Gamemaster’s
The primary selling point of a subway station is the con- discretion, characters can add ranks of Flight for additional
cealment of hiding in plain sight, along with convenienc- stopping power (since the vehicle is essentially using that
es such as built-in power connections and ways of getting guideline for its forward momentum).
in and out. Other features associated with the lair include: Characters can use powers other than sheer Strength to
try and stop a moving train. Substitute a power rank check
STATION INTERIOR for the Strength check.
Concrete walls and floor (Toughness 6), concrete support Example: Captain Thunder has only seconds
pillars (Toughness 7), ticket booths (weight rank 6, Tough- (two rounds) to stop a runaway monorail before
ness 8), turnstiles (weight rank 2, but anchored down and it jumps the tracks and crashes! Catching up
must be broken to lift, Toughness 6), and vending ma- to it, he tries to slow and stop the train with his
chines (weight rank 4, Toughness 7). tremendous Strength. The monorail has Str
10 and Speed 3, for a DC 23. Captain Thunder
has a Strength 14. The GM also lets his 6 ranks
SUBWAY CAR of Flight apply to momentum, giving him an
Size: Gargantuan • Strength: 10 • Speed: 3 • Defense: 6 • additional +6. His player rolls a 9, for a total of
Toughness: 11 • Interior materials Toughness 4 (plastics) and 1 29, two Degrees of Success. The train loses 2 ranks
(glass), doors Toughness 7 (light metals and glass). Weight rank of Speed, but doesn’t stop (it’s still at Speed 1).
11. An entire subway train is weight rank 14 or more. With only moments to go, Cap’s player decides to

1. CONTROL TOWER
2. TURBO THRUSTERS
3. FLIGHT DECK
4. WEAPON MOUNTS
5. LIFTS
6. HANGAR
7. PLANNING ROOMS
8. MACHINE SHOPS
9. WORKSHOPS
10. OFFICES
11. SHIP’S STORES
12. BRIDGE
13. OPERATIONS
14. CREW QUARTERS
15. OFFICER QUARTERS
16. INFIRMARY
17. MESS HALL
18. PROVISONS
19. LAUNDRY
20. THRUSTER MOTOR

21. COMPUTER/
ELECTRONIC
SYSTEMS
22. POWER CORE
23. COOLING SYSTEMS
24. PROPUSION
SYSTEMS
25. ENGINEER
QUARTERS
26. ESCAPE PODS

exert extra effort, for a +2 bonus, but rolls only a BOMB SHELTER
2! That’s a result of 22, not enough. So his player
spends a hero point and rolls again, getting a 13. The structural stats for a subway station can also serve as
That’s a result of 33, more than enough to reduce those of a good-sized bomb shelter, although the latter
the train’s Speed to 0 and bring it to a halt. typically has less space and only one, or maybe two,
entrances. A bomb shelter prepared with extra shielding
VARIATIONS against radiation might be a useful, and thematic, lair for
a villain with radiation-based powers (such as Hiroshima
Shadow from Freedom City or Fallout from Threat Report),
The Subway Station archetype is also useful for similar un-
blocking any radioactive signature from detection.
derground structures with rooms and often tunnels.
Likewise, the shelter can shield the occupants from
various exotic sensors or Senses effects from the outside.
SKY FORTRESS
or for bombardments or attacks against targets on the
SKY FORTRESS 16 POINTS ground. These may include, but are not limited to:
Size: Huge • Toughness: 15 • Features: Communications,
• Machine Guns: Ranged Multiattack Damage 6
Computer, Concealed, Defense System, Hangar, Holding Cells,
Living Space, Power (Flight 4), Power System, Security System, • Heavy Gun Batteries: Ranged Damage 10–12, Burst
Workshop Area 6
Part vehicle, part floating headquarters, and part military • Air-to-Air Missiles: Ranged Homing Damage 10–12,
carrier, the sky fortress is the lair for the villain whose mot- Burst Area 8
to is: “The one who controls the skies, controls the world!”
If the owner of the sky fortress has a “signature” weapon,
the vessel may also be equipped with it—anything from a
FEATURES freeze ray to a lightning cannon. The game traits for such
weapons are left for the GM to develop as needed.
The sky fortress is essentially a flying aircraft carrier: a mas-
sive vehicle with a flat top-deck usable as a takeoff and CONCEALMENT
landing strip for smaller aircraft it stores on board. The
lower decks have crew quarters and facilities while the The sky fortress has the Concealed feature, since a giant
main control tower has the bridge and central systems. A hovering aircraft carrier is more than a little conspicuous.
series of massive turbofan engines provide lift, often as- The default assumption is the fortress creates its own ar-
sisted by super-science anti-gravity or similar systems, al- tificial cloud cover, which surrounds the vessel and hides
lowing the sky fortress to fly almost indefinitely. it from prying eyes, although the fortress is still visible to
measures such as radar.
The sky fortress has a default Toughness 15, but could have
a Toughness score of up to 18, with as much as half of that More extensive concealment may actually make the sky
score being Impervious (allowing the vessel to ignore dam- fortress invisible and conceal it from ground-based and
age from lesser weapons). It has an effective Strength rank aerial radar systems as well. This means the lair is a potential
of 20 and it requires a similar lifting Strength to lift or move air-traffic hazard, and the first the heroes may learn of it is
the vessel, particularly should the sky fortress’ engines fail. when an unsuspecting aircraft accidentally collides with it!
AIRCRAFT VARIATIONS
The sky fortress carries a complement of aircraft capable
Most of the variations on the sky fortress are cosmetic,
of launching from the deck of the vessel and returning to
such as a turn-of-the-century “steampunk” style vessel re-
land there. The type of aircraft depends on the style of the
liant on propellers and strange anti-gravity elements and
fortress and its owner. They might be modern fighter jets,
equipped with autogyros or biplanes. The game traits are
pulp weird-science planes, or even WWI vintage biplanes.
essentially the same, although the GM may wish to modify
The aircraft are used to raid or strafe targets on the ground
the lair’s Toughness and vehicle qualities accordingly.
or to defend the sky fortress from attack. See Chapter 7
of the M&M Hero’s Handbook for examples of aircraft a sky ALIEN SKY FORTRESS
fortress may carry.
An alien invasion force might have a “sky fortress” of sorts
WEAPONS using a starship or landing craft as a launching point for
its forces. The image of a massive alien ship hovering over
A sky fortress may have batteries of different weapons, ei- a city is a common one in the comics. You can use the
ther for attacking incoming aircraft (or airborne heroes) sky fortress as a basis for such an alien base, substituting

1. ELEVATORS
2. ANTECHAMBER
3. ENTRY HALL
4. FOYER
5. LIBRARY
6. WAITING ROOM
7. MASTER OFFICE
8. BATHROOM
9. JACUZZI
10. SITTING AREA / BAR
11. ESCAPE ELEVATOR
12. MASTER BEDROOM
13. GUEST BEDROOM
14. THEATER
15. PANTRY
16. FREEZER
17. KITCHEN
18. CLOSET
19. DINING ROOM
20. BALCONY

space fighters and shuttles for the vehicles on board, and headquarters. Just change the descriptions, substitute
replacing the vessel’s weapons with blaster- or laser can- flying minions like demons, gargoyles, or dragons for the
nons, “photonic” missiles, and similar technology. aircraft, and spellcasting lieutenants or magical devices
for the weapon batteries. The island’s Concealment may
FLOATING CASTLE still be a magically created cloud or veil of invisibility. Its
structure can be arcane-reinforced masonry and rock,
The technological sky fortress can also serve as a tougher than steel plate. This type of lair suits the Sorcerer
template for a magical “floating island” or “flying castle” archetype well.
SKYSCRAPER PENTHOUSE
movement effects to do so. Falling characters can likewise
SKYSCRAPER PENTHOUSE 5 POINTS use such powers to save themselves, including teleport-
Size: Small • Toughness: 5 • Features: Fire Prevention System, ing safely to the ground or another floor of the building,
Gym, Library, Living Space, Security System or using a swing-line to arrest their fall and land on a ledge
or nearby building.
Not every villain has the means or even the desire for a
Acrobatics can lessen falling damage somewhat: each
hidden volcano lair, a secret underwater base, or a reno-
Degree of Success reduces the fall’s damage rank by 1.
vated missile silo. Some prefer to live the high life in style,
Acrobatics may also be useful to catch onto a flagpole,
in the city rather than apart from it, and overlooking the
cable, ledge, or other protrusion to arrest a fall. The DC
dominion they will eventually rule (or already do, in their
is equal to 15 plus the falling damage at that height (not
estimation).
the total amount of the fall). So if there is a flagpole 60
The exclusive penthouse is the lair of the wealthy and feet down from where the hero falls, amounting to falling
influential super-criminal, typically a Crime Lord (see the damage 6 (4 + twice the distance rank of 1), then the DC of
archetype on page 82). It may be paid for by legitimate the Acrobatics skill check to catch it is 21 (15 + 6).
wealth or part of the villain’s criminal enterprise.
VARIATIONS
FEATURES
Variations on the skyscraper penthouse are usually based
The interior of a penthouse is generally sheetrock or plas- on where it is, keeping a somewhat similar layout.
ter over wood (Toughness 4) with wooden interior doors
(Toughness 3), possibly a steel-case outer door (Tough- EXCLUSIVE APARTMENT
ness 8). The windows are either ordinary glass (Toughness
1), Plexiglas (Toughness 2), or possibly bullet-proof glass Rather than the top floor, the apartment may be part of
(Toughness 7). an exclusive high-rise on one of the upper floors, with
one or more floors above it as well as below. In some
There are plenty of things for combatants to throw about, ways, this improves security, since it’s impossible to land
from furniture to expensive electronics and kitchen on the roof of the apartment and you have to work your
appliances. The owner of the penthouse may have some way down through the floors above or up through the
bodyguards or other private security on-hand, see the floors below.
Soldier or Crook archetypes in the Minion Archetypes
section. MODERN MANOR
A LONG WAY DOWN The layout of the penthouse could also be for a small
freestanding house located on a hilltop, cliff side, or other
One of the more important elements of the skyscraper overlook, away from the prying eyes of the public. It’s bet-
lair is its height, dozens or even more than a hundred ter suited as a getaway rather than a villain’s main lair.
stories above the street below. Reaching it from the out-
side is no challenge for flying heroes, but poses some PENTHOUSE OFFICE
problems from others, especially if they should happen
to be thrown from a window or over a balcony railing Rather than a residence, a penthouse could be an office
during a conflict! for a CEO or other important executive, high atop a com-
pany headquarters. It is ideal for the villainous corporate
Rules for falling are found on page 186 of the Hero’s Hand- raider or similar variations on the Crime Lord or Mad Sci-
book. The maximum falling damage is 16 (a DC 31 Tough- entist. The office may even still have some living space for
ness check), likely for a fall from a penthouse. Catching a occasions when its owner needs to stay over or perhaps
falling character is a Dexterity check (DC 5), fairly easy pro- have a guest—even an unwilling one.
vided you can reach the character in time. Heroes may use

APPENDIX: ASTONISHING ADVENTURES!

Each of these adventures is divided into Secret Origins, You can also use each adventure here as a toolkit to build
In This Exciting Issue, Involving the Heroes, Scenes, your own adventures, pulling out elements, scenes, or
Conclusion, and Cast: characters for your own adventures. You can also bulk
up these adventures by using the villains involved in
• Secret Origins describes the adventure background other adventures, either before or after running these
and the villain’s plot and resources in more detail adventures as described. The Island of Dr. Sersei can feel
than the heroes may necessarily be aware of. more like a culmination of several adventures if the heroes
• In This Exciting Issue describes the adventure, giving have already defeated the not-so-good doctor or her
you the details of the plot and villains, and telling you minions on previous occasions.
what happens if the PCs don’t get involved. You don’t need to know the rules or the adventures per-
• Involving the Heroes offers you some advice on fectly. If you’re not sure how to handle a situation, just
how to draw the player characters into the story. make up a sensible solution and look up the exact rules
later. It’s more important to keep the adventure rolling
• Scenes are the individual parts of the story. and keep the players engaged. If you get stuck or frustrat-
ed, take a five-minute break to review your notes. You’re
• Conclusion tells you how to wrap up the story.
a player, too, after all, and it’s just as important for you to
• Cast offers details on the NPC villains and, where have a good time.
necessary, statblocks.
POWER PLAY
A bold new power makes its move to claim control of the city’s criminal underworld. But their string of heists is more
than random robberies—they’ve partnered with the notorious supervillain NegaWatt in a plan to bring the presumed-
dead villain back to full power and hold the city hostage! Can the heroes stop the return of a long-vanished threat with
the backing of an international criminal enterprise, or will they become yet more pawns in NegaWatt’s Power Play?
Power Play is a sample adventure that uses the outline approach to adventure design, providing an organized, linear
stream of events for players.
SECRET ORIGINS commander—the cold-blooded warrior Oleander—

the Black Rose Syndicate eventually tracked NegaWatt
down and made him a simple offer. They would use the
Ten years ago, the electrically empowered supervillain
information gained during their years spent studying
NegaWatt was the unparalleled lord of lightning. In his ul-
the villain’s powers to restore him to full strength, and in
timate bid for power, he held the city’s infrastructure hos-
exchange he would use those powers to support their
tage until his defeat at the hands of the Freedom League
upcoming bid to take over the city’s underworld and
(the Freedom League does not appear in this adventure,
unite—or eliminate—all the competing gangs. Their initial
and you can swap in whatever hero group you like based
attempt to restore NegaWatt’s powers was a partial success,
on the city and setting you use). The League believed
granting NegaWatt only enough electrical control to black
NegaWatt died in the confrontation—his body was never
out a single building or—with considerable effort—a city
found after he seemingly fell to his death in the bay. But in
block. For a full restoration of the villain’s legendary powers,
fact the villain was discovered by the criminal Black Rose
the Syndicate would need additional resources.
Syndicate. For years, they held NegaWatt in a medically
induced coma while he healed, studying his powers all The adventure begins as the Black Rose Syndicate makes
the while. But when NegaWatt awoke, he escaped, only to its opening moves to seize control of the city’s underworld.
discover that his electrical super powers had been all but They target the resources of other crime lords and hit the
obliterated in his encounter with the Freedom League. strongest gangs hard and fast, using NegaWatt’s powers
to disable security systems, disrupt communications, and
The Black Rose has never had a strong presence in the
wipe out electronic assets. Thanks to this assistance, many
city, but has always coveted the various resources the city
of the gangs believe the Black Rose have supernatural
holds—and they had hoped NegaWatt might be their key
powers. Those gangs who agree to work for the Syndicate
to seizing them. NegaWatt’s sudden departure threw a
have been given seemingly random criminal missions—in
wrench in those plans.
fact gathering resources to help fully restore NegaWatt’s
After deposing the leader responsible for allowing powers—to prove their loyalty. It is this spike in criminal
NegaWatt’s escape and replacing him with a new activity that first attracts the heroes’ attention.

IN THIS EXCITING ISSUE… Further investigation reveals that NegaWatt is largely

without his legendary electrical powers, but the items
being stolen across the city could be combined with
The heroes are called in to help with a bizarre heist, as
an enormous burst of electrical energy to restore his
members of a small-time gang in the city have stolen
former abilities. Investigations also reveal the Black
several tanker trucks of liquid nitrogen and make their
Rose Syndicate has quietly infiltrated the city’s Transit
getaway along the freeway. After subduing the thieves,
Authority, which among other things controls incredibly
they learn that a new crime syndicate in town—the
powerful electrical transformers used to power the entire
Black Rose Syndicate—is strong-arming other gangs
city’s subway and electrical bus systems. The heroes
into performing random thefts. Further investigation
must confront the Black Rose Syndicate’s top leaders
reveals these seemingly unconnected events might
as they begin to restore the villain’s power—and if they
not be independent after all, and that this new crime
don’t act fast enough, they must also overcome a newly
organization plans to produce superconductors on a
empowered NegaWatt to save the city.
massive scale.
As the heroes trace the stolen goods or stay abreast of

conflicts in the city, they stumble across another heist in
INVOLVING THE HEROES
progress—this one personally conducted by the Black Heroes can become involved in this adventure in any
Rose Syndicate, though another of the city’s gangs has number of ways:
taken its own action to stop the theft. Whether the heroes
side with the Syndicate or the established gang, fight it • The most obvious hook is for local heroes to respond
out or talk one or both sides down, they draw the atten- to the in-progress liquid nitrogen heist, either as
tion of the Black Rose Syndicate’s members and are lured law enforcement called in to assist or simply being
into a deadly trap. nearby when trouble breaks out.
In an unexpected alliance, one of the city’s smaller crime • Technological heroes may have had important
lords, Barbie Sinclair, sends the heroes a message, asking components stolen from them; in this case, simply
to parlay. She explains the Black Rose Syndicate’s recent add these thefts to the list in Scene 2.
aggressions and that the new organization has called a • Proactive heroes may be aware that the city’s
meeting of the city’s gangs. The heroes can infiltrate or underworld has recently fallen into chaos, whether
disrupt the meeting, where they learn the Syndicate’s through watching one particular gang that has
local leader, a woman named Oleander, now demands started feeling the Black Rose Syndicate’s pressure
the gangs and criminals of the city unconditionally or simply noticing a general increase in unrest and
submit to the Black Rose Syndicate or be destroyed by the disorder.
resurrected villain NegaWatt.

trying to stop them. The others are riding as passengers

SCENE 1 CONFLICT SCENE in and behind the cab and are much more prepared to
fight off meddling heroes, going so far as to grab the tank
hoses and spray liquid nitrogen at anyone who interferes
HANDLE WITH CARE with their heist.
The heroes are called in to assist the local police force in If only one truck remains, the criminals riding in it turn
preventing an in-progress heist! Several members of the their hoses onto the freeway, creating an ice slick that
local Nine Titans street gang have stolen a trio of tanker drives two cars into dangerous spins and threatens to
trucks filled with liquid nitrogen and are careening down cause severe accidents. If a hero pauses to save civilians,
the interstate to make their getaway. Characters with ve- award them a Hero Point.
hicles or powers that allow them to keep pace with a high-
If captured, the Titans are uncooperative, knowing that
speed chase can make their own way to the site; others
the Black Rose Syndicate will bail them out if they keep
are conveyed by helicopter to an overpass to get the drop
quiet but will hunt them down if they talk. Powers like
on the trucks as they pass below. Read or paraphrase the
Mind Reading or Postcognition, or a DC 15 Expertise
following once the heroes are in position and have sight
(Streetwise) check, reveals that the Nine Titans’ boss is
of the trucks.
called Cronus, and that the gang members are hoping he’s
not too angry with their failure.
The hurried description from the police scanner
checks out: three full-size tanker trucks careen down Success on a DC 15 Intimidation check scares the crooks
the highway, their silver tanks reflecting the flashing more than the Black Rose Syndicate does, convincing
red-and-blue lights of the police cruisers in pursuit. them to share what they know. The Titans explain that a
As a cruiser draws close to the cab of one truck, a new criminal organization called the Black Rose Syndicate
pistol-wielding arm reaches out the window and is moving into everyone’s territory. The Titans have been
fires wildly. The cruiser’s front tire explodes, and as it promised protection and positions in the new syndicate
veers off to the shoulder, a billowing cloud of white in exchange for completing this job, but they don’t know
fog blasts out from the tanker, covering the police much beyond that.
vehicle in a thick layer of frost while a goon clinging
to the tank itself laughs maniacally. The other cruisers Good roleplaying or tricks supplies the same information,
hang back as the distance to the speeding tanker which gives the heroes a leg up in Scene 2.
trucks swiftly closes.
NINE TITANS (9) PL 3
The heroes need to stop the heist, hopefully keeping the Use the Crook archetype from Chapter 3 for the Nine Titans.
stolen goods intact—though the tanker trucks must be These crooks have a Vehicles modifier of +5.
handled delicately (see Hazardous Cargo).
If a character incapacitates a truck’s driver, they’ll need to

take over operating the vehicle to bring it to a halt. Barring WRAP-UP
additional complications, finding a safe place to stop one The heroes’ goal is to prevent the Nine Titans from get-
of the speeding commercial vehicles and bringing it to a ting away with the liquid nitrogen, or at least prevent any
halt requires a successful DC 15 Vehicles check or DC 20 major injuries among motorists. Ideally, the heroes also
Strength check. learn about the new syndicate in town, but failing to do
so won’t impede their progress. The police gratefully ap-
Once the trucks and their cargo have been recovered, the
prehend any Titans captured by the heroes.
heroes can question any remaining members of the Nine
Titans to learn more about the reasoning behind the heist.
SCENE 2 INVESTIGATION SCENE
HAZARDOUS CARGO
The tanker trucks are all full of liquid nitrogen. A criminal
on the back of the truck can spray the stuff at a vehicle or
GETTING DIRT
a character, an attack which inflicts rank 8 damage. Stray Once the heroes have dealt with the stolen liquid nitrogen
bullets that puncture a tank can cause an ongoing jet of tankers, they likely want to learn more about this new syn-
the same effect, targeting anyone who comes into range. dicate and the reasons behind the theft. They can work as
Should a tanker truck crash (due to an intentional collision, a team, or split up—this latter method allows each char-
a failed Vehicles check, or other explosive effects), the acter to shine.
resulting explosion does area damage 8. There are several avenues of investigation available to in-
quisitive heroes.
TACTICS
There are, in fact, nine Nine Titans spread across the three
CONNECTING THE DOTS
trucks. Three are occupied with driving the trucks, though While the Nine Titans don’t know why the Black Rose
they are all armed and won’t hesitate to fire at anyone charged them to steal a massive quantity of liquid nitro-

gen, the heroes might suspect a pattern behind the rob- While devising a gadget or ritual is only one potential se-
beries. With a successful DC 13 Investigation check (which cret to success, learning the exact location of the stolen
the heroes can perform as a routine check), they discover goods leads to the confrontation in Scene 3.
a series of thefts of seemingly random and unrelated
items over the past few weeks, including the following: TITAN SHAKEDOWN
• A theft similar to what the Nine Titans attempted, in
which operatives successfully made off with several The heroes may have learned the name of the Nine Titans’
tanker trucks of liquid oxygen. boss in Scene 1 and can learn his location with a DC 15
Investigation or Expertise (Criminal or Streetwise) check.
• A report from a ceramics manufacturer in the sub- Otherwise, a DC 18 check is required to learn his name
urbs indicating a large number of kilns stolen from and location.
a warehouse.
Cronus (real name: Malcolm Getty; use the statistics for
• A missing train transporting a wholesale shipment of a Gang Leader in Chapter 3) has retired from the active
microwave ovens imported from China. aspects of gang life to focus on administrative tasks, and
as such has lost some of his nerve in the face of opposi-
• An elaborate heist in which a series of Victorian-era tion. If shown any demonstration of superhuman abilities,
statues were stolen from city hall. City officials have or if a character succeeds at a DC 15 Intimidate check, he
tried to deflect attention from the embarrassing af- spills the beans.
fair by claiming the statues’ removal was part of a
larger redecoration. The Nine Titans’ boss shudders and holds his hands
• A subway station offline for weeks after much of its up to placate any hostilities. “All right, hold up. You’ll
electrical cabling disappeared. find it all out soon enough anyway—just don’t tell ‘em
it was me who told you. There’s a new mob in town,
• A local grocery distribution center’s entire stock of part of a big ring called the Black Rose something,
canned and smoked fish products has disappeared taking orders from a freak by the name o’ ‘Oleander.’
from the company warehouse. They’re takin’ over the city’s underworld, one gang at
a time. Now, me and the Titans, we’re happy enough
While these thefts initially seem unconnected, a success-
to work with ‘em, but others aren’t so much. Ash Cats,
ful DC 25 Technology check reveals that most of the thefts
for one, they’ve been makin’ all kinds of noise and
involve items related in one way or another to the cre-
puttin’ up a fight. Bad call, if you ask me. I wouldn’t
ation of superconductors. While the liquid oxygen, liquid
want to get on the Black Rose’s bad side—thought
nitrogen, and kilns have practical application in the man-
they were normal enough, but last few weeks, seems
ufacturing process, the stolen statues were made from a
they’ve got a bit of, you know, super something on
barium-copper alloy, and the yttrium oxide filters in the
their side.
microwave ovens can be used as a base for a supercon-
ductor. The missing fish products are unrelated (in fact, an The Ash Cats’ resistance to the Black Rose Syndicate leads
error in the distribution center’s inventory management to Scene 3, where the two gangs battle openly in the
software has led to the entire supply being delivered to a streets. Cronus can answer other questions, but he knows
small suburban grocer who now struggles to deal with the little more than what he already revealed.
sudden influx of preserved seafood).
TRACKING THE GOODS WRAP-UP

By the end of their investigation, the heroes should know
Using the Inventor or Ritualist feats, the heroes can easily
about the recent thefts and perhaps the connections be-
assemble a plot device to track these missing items. They
tween them, as well as the existence of the Black Rose
must know what was stolen and, if they haven’t deter-
Syndicate. Whether through tracking the goods or fol-
mined what the goods are being used for, must succeed
lowing up on a separate tip, the heroes should proceed to
at a DC 10 Technology check to determine that the rarest
Scene 3. Award each character a Hero Point for tracking
of the stolen materials (and thus the best for tracking) is
down the trouble before it escalates.
the yttrium from the microwaves.
Decide if the heroes can learn anything about the Black
The most basic creation would be Senses 3 [Ranged
Rose Syndicate with appropriate Expertise checks. No
Detect Yttrium] for a single Power Point and requiring 1
matter the skill results, they won’t know anything about
hour to design and 4 hours to assemble for an invention,
the organization working locally.
or 4 hours to design and 10 minutes to cast as a ritual. This
version is largely useless beyond 50 feet, which won’t do If the heroes fail in their investigation, the party eventu-
the heroes much good at this point. The easiest addition is ally hears about a confrontation between two gangs. This
to add Tracking to the Senses power, allowing the heroes news might come from one of their contacts, from a TV
to follow the rare element to wherever it has gone now, report, or even as “unrelated” information gained in an
though they are limited by their movement powers. This otherwise failed attempt to gather information, but the
increases the creation’s cost to 2pp and doubles the time heroes arrive late to a confusing scene and suffer a –5 cir-
needed to create it. cumstance penalty to Initiative checks.

Heroes who defeat the Black Rose Syndicate find that

SCENE 3 CONFLICT/ROLEPLAYING each member wears a distinctive style of street fighting
gloves in various colors with a stylized rose embroidered
in black thread across the back of the hand. (The color is
SHOWDOWN ON THE STREETS an indication of rank within the organization—a hero who
succeeds at a DC 15 check with an appropriate Expertise
The heroes arrive on the scene, either having traced the skill, such as Tactics or Martial Arts, recognizes this sys-
stolen goods or receiving a tip from an ally. tem and the order of colors, from lowest to highest: blue,
green, red, white, yellow, silver.) The members are also all
A semi-tractor hauling a full-sized trailer has come carrying or wearing gas masks, which becomes relevant in
to a stop in the middle of the road, and two groups Scene 4 if the PCs follow them.
face off alongside it. One side is dressed almost com-
pletely in black, with only a few flashes of color on
their hands and costumes. The opposing team better
fits the image of a street gang, its members sport-
TACTICS
ing spiked leather jackets and carrying makeshift There are a number of Ash Cats here equal to the number
weapons—except for the woman in a sharp-edged of heroes. Shrapnel wades into any fray, throwing punch-
super suit standing at the truck’s front end, lifting it es and soaking whatever her opponents dish out.
so its spinning wheels are just barely off the ground. The Black Rose Syndicate force is the same size as that
She drops the truck with a resounding crash as the of the Ash Cats, in addition to their hidden asset of Nega-
two forces close in, stomping into the fray. Watt in the background.
Each gang prefers to focus its attacks on the members

THE GANGS of the other gang. The Black Rose first works to contain
the threat Shrapnel presents unless the heroes join in the
The black-clad fighters are members of the Black Rose fight, in which case they turn their attention on the more
Syndicate. They’ve stolen this truck and its cargo—a load dangerous foe. If the heroes have Shrapnel occupied and
of old CRT television sets whose picture tubes contain the Syndicate sees an opening, they ignore the Ash Cats’
a high concentration of yttrium. This particular squad is rank-and-file members and attempt to flee with their sto-
accompanied by NegaWatt himself, who bolted for the len cargo—if they haven’t made use of NegaWatt’s Nullify
shadows when the heist was interrupted. He now watches Electronics power yet, they do so now. They otherwise
the conflict, waiting for a signal to unleash his powers. flee rather than be taken into custody, hoping to lure the
heroes into a trap (see Scene 4).
The more traditional street gang is the Ash Cats, a minor
operation that claims a rough industrial part of town as If the heroes side with the Black Rose Syndicate or try to
its turf. They’ve recently acquired the services of a minor take on both gangs, the Ash Cats fight only until it be-
supervillain named Shrapnel when they need heavy comes clear that they are outmatched, whereupon they
hitting (or to move a particularly large or heavy object). recognize that a single truck isn’t worth their lives and sur-
They responded to the theft of this truck on principle, as render.
it was stolen from a recycling facility in their territory, and
they mean to teach these trespassers a lesson. ASH CATS PL 3
Use the Tough archetype from Chapter 3 for the Ash Cats.
If the heroes tracked down the cargo on their own, they
They all carry chains, pipes, or other simple weapons: Makeshift
can intervene in the conflict. The Ash Cats can be talked
Weapon +4 (Close, Damage 2)
down from the fight if the heroes can convince the Black
Rose Syndicate to turn over the stolen truck. The Syndi-
cate doesn’t care much about the truck, only its cargo, and SHRAPNEL PL 8
the Ash Cats care far more about the truck—and their rep- See the Cast section.
utation—than the old TVs. A successful DC 20 Persuasion
check convinces the Syndicate members to hand over BLACK ROSE ENFORCER PL 4
the vehicle and for everyone to go their separate ways.
See the Cast section.
However, the Black Rose Syndicate will not back down if
the conflict has already started (as is the case if the party
found out about the conflict from other means).
In the event of a full-fledged combat, the heroes can side

WRAP-UP
The heroes can put an end to gang violence that might
with either gang or subdue both forces. During the fight,
endanger nearby civilians. They may also have the oppor-
one of the Syndicate members makes an elaborate hand
tunity to learn more about the Black Rose Syndicate—es-
gesture. A moment later, NegaWatt uses his Nullify Elec-
pecially the fact that they seem to have some supernatu-
tronics power at rank 8 to momentarily disrupt the he-
ral powers (or clever trickery) at their command.
roes as well as Shrapnel, making it look like the gestures
caused the effect. A character who succeeds at a DC 15 If the heroes capture any members of the Ash Cats, the
Insight check realizes that the Black Rose is in fact signal- street gang is all too happy to share what they know
ing someone else, though they can’t tell who or where. about their new rivals, in particular that the Black Rose has

been using a nearby abandoned factory (see Scene 4) to
meet with lower gangs and collect useless stolen goods.
WHERE THERE’S SMOKE...
The inside of the burning warehouse counts as extreme
SCENE 4 CONFLICT SCENE heat, requiring a successful Fortitude save every round
to avoid becoming Fatigued (see the Deluxe Hero’s
Handbook, page 238). Sudden bursts of flame serve as a
GOING DOWN IN FLAMES hazard (Damage 6, with the risk of the hero catching on
fire unless they succeed at an additional DC 15 Dodge
The heroes might reach this scene in several ways. They check), awarding the targeted player a Hero Point.
might follow the Black Rose Enforcers here from Scene
3 or learn of the factory from the Ash Cats. Alternatively, The fire’s smoke is especially dangerous thanks to
their efforts to track the stolen yttrium could lead them the factory’s thick coating of industrial chemicals; the
to the materials stored in this warehouse. In these cases, Fortitude check to resist the smoke (see Fires in Chapter
the Black Rose Syndicate sets the entire building ablaze to 5) begins at DC 18. The factory is lit with strangely colored
trap the heroes. If the heroes are stumped, the Syndicate flames as the fire burns off residual barium and yttrium. A
sets the warehouse ablaze to cover their own tracks, and character who succeeds at a DC 15 Expertise (Science) or
the heroes are again called by the police to respond to the Technology check recognizes the effect and knows that
fire, as emergency responders have been stymied. inhaling those fumes is harmful.
If the heroes arrived at the warehouse without waiting for

Flames blaze from the already-worn industrial fa- the scenario to prompt them (that is, by following the En-
cility, some flaring in shades bright crimson and forcers from Scene 3 or tracking the yttrium), Lanius sets
distinctive green. Smoke hangs thick in the air, and the place on fire when they arrive. In this case, none of the
shadowy figures slip through the darkness. Car horns hazards listed here affect the first three rounds of combat.
and shouts rise up from a nearby intersection, where
one of the city’s electric buses seems to have stalled Extinguishing the fire requires a total of five successful DC
in the center of the intersection, blocking traffic. 20 checks using appropriate powers.
THE FACTORY TACTICS

Lanius is supported by four Black Rose Enforcers and any
This factory has been abandoned for several years, mak-
Enforcers who fled from Scene 3. They all have gas masks
ing it a perfect location for the Black Rose Syndicate to
in addition to their listed equipment, which allows them
process their stolen materials. The extraction and distil-
to ignore the dangers presented by the smoke, but they
lation require a substantial array of chemical reagents,
are still affected by the extreme heat. Lanius begins in the
which are not only flammable but combust in particularly
upper catwalks of the factory, trying to pick off heroes
dangerous ways.
through the fire with his sniper rifle.
The Black Rose Syndicate team here is led by an assas-
The Enforcers are accustomed to Lanius’ creative approach
sin named Lanius, who delights in laying traps for his
to problem-solving, but they all withdraw once more than
foes and outsmarting them in combat. Lanius has set the
one hero is down; they don’t want to get stuck in the
warehouse on fire for two reasons: he hopes to cover the
building for any longer than they have to. The Enforcers
evidence of the Black Rose Syndicate’s efforts here, but
also flee if Lanius flees or is defeated, but otherwise stay in
he’s also hoping to lure the heroes into the blaze to defeat
the fight as long as their leader does.
them, discouraging further investigation. To ensure that
the heroes are the ones to respond, he has worked with Should the heroes succumb to the blaze, Lanius and his
NegaWatt to disable several of the city’s electric buses accomplices escape. First responders make their way to
at particularly inconvenient intersections, causing traffic the site soon thereafter and drag the fallen characters
hang-ups and preventing emergency responders from from the building.
interfering. If the heroes don’t encounter the traffic jams
and stopped buses in their own journey to the warehouse,
they hear about them over police scanners, from the fire ROLEPLAYING LANIUS
department (once they finally arrive on the scene), or later
through news reports. This both reinforces NegaWatt’s Lanius is a cruel and violent man who likes being paid to
powers and foreshadows the fact that the city’s transit au- apply his poor social skills in creative ways. He’s loud and
thority has a significant source of electricity. likes to taunt his targets once they’ve been lured into a
trap. While he leads with his sniper rifle, he likes to change
Most of the Black Rose’s stolen goods have been moved tactics and weapons often, and especially enjoys incapaci-
after rendering down the TVs, microwaves, and stolen tating an opponent with tear gas or a flash-bang then us-
statues for their base elements, though the kilns remain. ing his Power Attack advantage with a heavier weapon.
Most of the factory is open floor—valuable manufactur-
ing equipment having long ago been auctioned off. Cat- Lanius has no regard for his minions’ safety, but cares a
walks remain 30 feet overhead, with several ladders lead- great deal for his own. If singled out, he’ll try to escape
ing up to them. using a smoke grenade.

LANIUS
PL 10 SCENE 5 ROLEPLAY SCENE
BLACK ROSE ENFORCER PL 4 THE ENEMY OF MY ENEMY
See the Cast section. The leader of the Ash Cats invites the heroes to her “of-
fice”—an old diner in a blue-collar district—to parlay. If
WRAP-UP the heroes have some kind of publicly available contact

system or regular underworld contacts, she uses that
Any surviving Black Rose members scatter when they flee channel. Alternatively, if the heroes talk to the police af-
the fight, but eventually reconvene at the old opera house ter the events of Scene 4, an officer might come by, say
where the Black Rose Syndicate plans a larger gathering they’re free to go, and quietly pass them a note with the
(see Scene 6). Otherwise, emergency services arrive on invitation.
the scene shortly after the conflict is resolved, with the In any case, the heroes are invited to “Matt’s,” a 24-hour
police taking any prisoners the heroes have apprehended greasy-spoon diner near the railyards in the industrial part
and taking reports of the situation. of town.
If Lanius defeats the heroes, they are either left to their
fate in the warehouse (where fire fighters eventually The fluorescent lights overhead flicker, and the clatter
pull them from the blaze), or taken prisoner so Oleander of plates and mugs behind the counter muffles the
can humiliate them and point out how useless the city’s murmur of conversation from the diner’s handful of
champions are against the Black Rose during her gather- patrons. At the large corner booth, a burly woman in
ing of the city’s gangs (see Scene 6), requiring the heroes sturdy work clothes and bandana looks up and gives
to formulate their own cunning escape plan. a nod in your direction.
MEETING BARBIE
The leader of the Ash Cats is a burly,
hard-bitten woman named Barbie
Sinclair. A hero who succeeds at a DC
15 Expertise (Police Officer) or Expertise
(Streetwise) check recalls much of this
information and knows that while
Barbie’s ventures aren’t particularly
objectionable as far as crime lords go,
neither is she particularly friendly. The
Ash Cats mostly work in smuggling
and breaking legs on behalf of the
local unions.
Barbie sits at the table by herself, but

most of the diner’s other patrons are
in fact Ash Cat members—including
four Bodyguards and a pair of
Elite Soldiers (use the appropriate
archetypes from Chapter 3)—ready
to jump to her defense if the heroes
turn violent. If Shrapnel escaped
Scene 3, she has joined the gang
members here and lurks in the dish
room, watching over the meeting.
So long as the heroes remain calm
and don’t present any threat, these
guardians mind their own plates of
hash browns and eggs.
This scene is an opportunity for the

heroes to catch up on any information
they missed up until this point. Feel
free to add to the discussion below
as necessary to fill in any gaps in the
heroes’ knowledge.

With a gesture to thank the server for fresh coffee,

Barbie leans back and crosses her meaty arms. “So.
WRAP-UP
There’s a new crime scene in town. You heard? Yeah, The heroes should learn about the upcoming meeting at
the Black Rose Syndicate. International org, I hear. the opera house and plan to infiltrate or otherwise spy on
Never much of a presence here, but now they’re this meeting. They likely also have more reason to go af-
moving in on all our territory. Ugly stuff. The usual, ter the Black Rose Syndicate—to maintain the status quo
you know, but then they deal in some bad business. within the city and prevent an escalation in crime.
Got some hard-nose French twig named Oleander
running their local arm. Hurt lots of people, real
people, you know? Not just them cloud-nine types. SCENE 6 CHALLENGE SCENE
“The gangs that go along end up on weird runs. ‘Steal
some microwaves.’‘Get those cable spools.’ Weird. But
Black Rose doesn’t like to hear ‘no.’ They got some
SETTING THE STAGE
Whether they take the time to plan out their moves in ad-
strong fighters, and now it seems they got a super. A
vance or simply rush in, the heroes eventually make their
real one, not just a jobber in a suit, you know?”
way to the old opera house.
Barbie pauses to take a swig of coffee, waiting to see if the
heroes have any questions for her. Once they’ve gotten up The old opera house was once a magnificent speci-
to speed, she continues. men of art deco architecture, but its tiles are cracked
and missing in places, and without any of the lights,
Barbie slaps a hand on the table. “Well, here’s the it stands as a stark silhouette against the city’s back-
deal. Tomorrow night, there’s a big meet-up. Them ground glow. Despite the abandoned ambience,
Black Rose called up damn near every crew in town tonight it has attracted a motley audience. A posse
and told them to show up at the old opera house— of loud motorcycles pulls up, their riders swaggering
you know, the abandoned art deco place? I bet in through the glass doors, while a series of shadowy
they’ll make their demand. Probably claim control of figures slips up from the sewers and sidles toward a
the city, kill anyone who refuses, all that.” She leans side entrance. At each entrance, a pair of black-clad
in. “Lot of folks there. Bet they wouldn’t notice a few fighters wearing bright-red gloves stands, carefully
more, you know? Good upright heroes like you, I’m watching all who enter.
sure you want to know all about these new mugs.”
She leans back and watches expectantly.
She hopes that the heroes infiltrate the meeting to learn

GETTING IN
Sneaking into the opera house on the ground floor
more about this rising new power, with the unspoken
requires a pair of successful DC 20 Stealth checks: the first
goal that—sooner or later—the heroes take on the Black
to get into the building itself, and the second to find a
Rose Syndicate. If they imply or suggest attacking the
good place to watch the meeting from. On a failure, a trio
Syndicate at this meeting, she pushes back: “That’s a big
of Black Rose Syndicate Enforcers (see the Cast section)
fight. Messy. Like ‘fight every goon in the city’ messy. Even
finds the heroes. Climbing (DC 15 Athletics), flying, or
odds the gangs decide to join up against you lot instead
using other powers to reach the second floor reduces
of against the Black Rose.”
the Stealth check DC to 15; the Black Rose guards on the
The heroes might object to helping some of the city’s upper levels and roof are less attentive and less frequent.
criminal elements or ask why they should care that villains
The fact that there are so many gangs in attendance
are attacking one another. Barbie pragmatically offers her
means that the heroes can disguise themselves. A char-
perspective: “Right now, we all know our place. No one’s
acter who disguises themselves as a member of an exist-
big enough to put down the others. We all stick to our
ing gang in the city must succeed at a DC 20 Deception
turf. But one big name? There’s no stopping it. Bigger jobs.
check to avoid being noticed by actual members of that
Bad ones. Lots of folks get hurt—us, people on the streets,
gang. Heroes posing as members of a fictional gang can
bystanders. That’s a harder nut for you lot and the boys in
convince attendees they belong at the meeting with a
blue to crack, you know?”
successful DC 10 Deception check to disguise themselves,
While she strongly encourages the heroes to attend the but they must succeed at a DC 15 Deception check to get
upcoming opera house meeting, Barbie doesn’t want to past the Black Rose doorkeepers, who know the guest list.
bring the heroes with her, and she laughs outright if the
Other powers can provide a variety of other options for
heroes make the offer. “More problems than it’s worth. I
gaining access to the meeting or the presentation, wheth-
don’t want Black Rose to know who sent you, and if the
er generating portals into the building, lurking by an
other gangs know we’re in cahoots, they’ll make my life
HVAC vent and using super hearing, or crafting a magical
hell. No way.”
or technological device to spy on the meeting remotely.
Barbie hopes the heroes can disrupt the Syndicate’s plans
Once the presentation starts, a character can attempt a
and maintain the status quo, but she admits that if the
DC 20 Stealth check to get into the green room, which of-
Syndicate isn’t stopped, the Ash Cats will fall in line with
fers a prime listening location. The room is mostly clean,
their demands for the sake of survival.

save for an overfull trash can including a few dozen old

pamphlets from the 1980s boasting of the city’s then-new “I’m sure you’ve all been wondering what this—the
electric transit infrastructure. Black Rose Syndicate, the missions, this meeting—
is all about.” She grins with a fierce, cold ambition.
From the opera house floor, a hero can slip a tracker on “Ten years ago, the supervillain NegaWatt held the
one of the Black Rose guards or grab their phone with a city hostage. It was only due to the meddling of the
successful DC 20 Sleight of Hand check. The guards use Freedom League that his plan failed. Eyewitness ac-
their +6 Perception bonus on their attempt to notice the counts claim NegaWatt was killed in that confronta-
theft. tion—but, I think we can all appreciate how unreliable
eyewitnesses can be. NegaWatt lives!” A projection
WE DON’T WANT TROUBLE shines to life across the ragged curtain behind her,
showing a scarred man, laughing manically. “Tonight,
we will once again take the city’s precious power grid
The Black Rose Syndicate doesn’t want this dramatic show
hostage—and as part of the ransom, we will demand
being disrupted or devolving into a brawl, so any initial
no less than the immediate and permanent exile of
encounters with the heroes (such as catching them sneak-
all heroes from the city!”
ing around or seeing through their disguises at the door)
are surprisingly polite. The guards firmly ask the heroes A murmur of surprise rushes through the assembled
to leave, but characters who promise not to cause any criminal underworld. When the muttering subsides,
commotion (requiring a successful DC 15 Deception or Oleander speaks once more. “As you are all now
Persuasion check) can persuade the Syndicate to let them subsidiary arms of the Black Rose Syndicate, I’m
stay; impose a circumstance penalty if the heroes are do- looking forward to your complete cooperation as we
ing anything especially suspicious or fighting with other move to fully seize control over our new territory. And
gangs. Only after repeated or blatant disruptions does you shall be the army with which we occupy this city.
the Black Rose turn to force; sending enough Black Rose And I assure you, any of you who aren’t interested
Enforcers to outnumber the heroes two-to-one to eject in cooperation will find yourselves facing a rather
them from the building as quietly as possible. shocking end as NegaWatt personally erases you
from the city.” With a sudden crackle of electricity, the
In the event that the heroes entirely disrupt the meeting,
stage lights flare to near-blinding, and the stage falls
whether by trying to attack Oleander or large groups of
into darkness. By the time the house lights recover,
the gang members in attendance, setting the opera house
the stage is empty.
on fire, organizing a police raid, or so forth, the Black Rose
Syndicate and the attendees flee. This is the only situation The heroes might be familiar with the lash-wielding
in which NegaWatt employs his power, again using Nullify figure accompanying the Black Rose Syndicate. A
Electronics 8 to black out the opera house’s interior and successful DC 15 Expertise (Police Officer or Streetwise)
facilitate escape while deterring pursuit. This outcome check identifies the man as a mid-range Jobber named
likely precludes the heroes from gaining key information Strand. If the character gets 2 Degrees of Success, they
and allows NegaWatt to return to full power uninterrupt- also know that Strand is hardly ever seen without his
ed before the heroes confront him (see Scene 8). partner, Jumpstart, and that Strand appearing here alone
suggests something strange at work. (In fact, the Black
OLEANDER’S ULTIMATUM Rose Syndicate is holding Jumpstart hostage to secure
Strand’s cooperation; see Scene 8 for more information
As the heroes and the city’s criminals settle into the opera about how the heroes can leverage this information.)
house seating, Oleander begins her address to the crowd.
As the city’s assembled underworld—perhaps a

EXIT, STAGE LEFT
thousand people—settle on the floor of the dark After the presentation, the Syndicate members leave the
opera house, a sudden, brilliant spotlight illuminates stage through a back door, making their way out of the
the stage. Once the afterimages of the sudden light opera house via stagehand routes. A dull roar of murmurs
fade, a handful of black-clad fighters can be seen and hushed conversation spreads through the audience,
across the stage, along with a scowling man in a with a few vocal opinions carrying above the fray, but
power suit with long, whiplike tendrils trailing from eventually the assembled underworld disperses.
each hand. In front of them all, a woman dressed in
black with silver gloves looks out over the crowd. The characters might try to follow Oleander back to her
hideout after the meeting, although it might be difficult
After a tense silence, the woman speaks. “Good, (she has Perception of +8 and her Enforcers are +6). One of
those of you here tonight show uncanny wisdom. I’m the Enforcers watches Oleander’s back during this tracking
glad to see you can all follow orders. I am Oleander, process. The route they’re taking has 6 turns where they
poisoned blossom of the Black Rose and leader of the might realize they’re being tailed. Each turn, the heroes
United States branch of the Syndicate. I’m delighted and the Enforcer attempt an opposed check. The first time
to have your support. To those of you who have the Enforcer succeeds and notices the heroes are following
already been helping us execute our plans—you them, the heroes can pretend they just happen to be
have my gratitude. To the rest of you, I assure you, headed in the same direction with a successful Deception
your chance to prove your loyalty is coming soon. check (opposed by the Enforcer’s Awareness check).

WRAP-UP A character who gains at least one Degree of Success at

either check learns about NegaWatt’s previous attempt
to hold the city hostage and his demand of a huge cash
The heroes now have the knowledge necessary to propel
payment to restore power to the city. With two Degrees
them to Scene 7—and the motivation to act quickly! If
of Success, they also uncover the details of his defeat at
they find a way to follow a member of the Black Rose
the hands of the Freedom League, which ended with
Syndicate, they have the option to bypass Scene 7 and
him trapped underwater beneath collapsing rubble.
go directly to Scene 8. Savvy groups may still want to
Media reports from the time indicate he drowned, but
perform some investigation before confronting the
his body was never recovered. Three Degrees of Success
Syndicate’s leadership to get an edge in the fight.
reveal the origin of the supervillain’s powers during an
If you want to add additional drama or danger, you can accident in a superconductor lab in the late ‘90s, which
have one or more villains recognize the heroes as they exposed the then-mundane researcher to a tremendous
try to exit the opera house, leading to a harrowing fight jolt of electricity. A character who gains three or more
against dozens of criminals as they attempt to escape. Degrees of Success realizes that NegaWatt’s loss of pow-
ers after being submerged suggests the villain has a
SCENE 7 INVESTIGATION SCENE weakness to water.
COUNTDOWN TO BLACKOUT
After learning about the Black Rose Syndicate’s
partnership with the notorious supervillain Nega-
Watt and their plans to hold the city hostage, the
heroes likely want to find out more about their
opponents. Even more importantly, they need to
locate the Syndicate’s lair so they can stop them be-
fore they restore NegaWatt to full power and hold the
city hostage!
FINDING THE BLACK ROSE

There are several avenues this investigation can take, but
time is of the essence.
If the heroes aren’t able to track the Black Rose Syndicate

to their base of operations within 3 hours, Oleander flips
the switch to begin NegaWatt’s repowering process (see
Scene 8), and brownouts flicker over the city.
The heroes can split up and work independently to con-

duct their investigation. Not only does this allow each
character to play to their own strengths, but it means the
party can explore more avenues of research in less time.
Heroes who lack investigation-focused skills may instead
opt to aid their more skilled teammates.
There are two major areas the heroes might want to

investigate. The first is the villain NegaWatt himself;
characters digging into the villain’s history may
uncover his weakness to water. The second of the
two is more urgent: beginning the search for the
Black Rose Syndicate’s base of operations.
RESEARCHING NEGAWATT
A hero can attempt a DC 10 Investigate or
DC 15 Expertise (Criminal or Supervillains)
check to learn more about NegaWatt and
his history. Each check takes one hour;
though the initial check takes no time
for heroes with the Connected or Well-
Informed advantages.

Heroes who have mentorship from an older hero might

be able to contact them to learn the first two points of
information above.
SCENE 8 CONFLICT SCENE
If the party previously determined that the materials sto-
len at the behest of the Black Rose Syndicate were being
A SHOCKING CONCLUSION
used to construct massive superconductors, they may re- Amidst flickering streetlights, the heroes make their way
alize that NegaWatt isn’t at full power. If they also learned to the Transit Authority substation that now serves as
his origin story, they might guess the villain is planning to Oleander’s secret base of operations. Here, the Black Rose
recreate the original accident that granted his super pow- Syndicate begins their process to repower NegaWatt!
ers. There aren’t many places in the city that could provide
a surge of electricity large enough, narrowing down their The interior of the nondescript substation resembles
search substantially. a spaceship as much as a modern facility. In addition
to the massive banks of transformers are huge pieces
MISSED CONNECTION of equipment with countless dials, levers, blink-
ing lights, and readouts. Fat hoses snake across the
Savvy heroes might have noticed in previous scenes that floor, leaking plumes of white gas as their coolants
the city has an electrically powered public transit system, leak under the high pressure. Bundles of massive
whether from noticing the strategically stopped buses cables, sparking here and there, connect the trans-
in Scene 4 or by finding the outdated transit brochures formers and the other equipment. The entire set-up
in the Black Rose’s possession in Scene 6. Once they’ve is focused on a pod-capsule with a hinged lid and a
made this connection, it takes only a successful DC 10 giant latch, just large enough to hold a single person.
check using Investigate or a relevant Expertise to find the Though the pod’s window is only partially translu-
location of the Transit Authority’s largest substation and cent, the form of a human figure can just barely be
guess that this would provide a suitable base of opera- seen within.
tions for electric-based endeavors.
The capsule at the center of the room is NegaWatt’s re-
powering pod. If the heroes aren’t fast enough, the repow-
FOLLOWING THE TRAIL ering process completes and the villain emerges, ready to
join the fray against whatever heroes remain.
Heroes who successfully planted a tracker on a Black Rose
Syndicate member during Scene 6 can track the Enforc-
ers to the Transit Authority power substation they’ve been THROW THE SWITCH
using as a base of operations. They might also have been If the party couldn’t find the substation until the brown-
able to follow Oleander herself to this location if they man- outs began, they arrive as NegaWatt emerges from his
aged to tail her away from the opera house (see Scene 6). rejuvenation pod, and must confront the supervillain as
A character who lifted a Syndicate cell phone can hack the well as Oleander and her team.
device with a successful DC 15 Technology check (requir-
ing one hour) to track the location data of the phone itself, Assuming the heroes didn’t fail in their investigation, Ole-
which reveals that the owner had spent substantial time ander flips the switch to begin NegaWatt’s rejuvenation
around a given location—the Black Rose substation. as her first action as soon as the heroes initiate combat.
This causes brownouts across the city and gives the PCs
Attempts to continue tracking yttrium in the city are dif- 3 rounds before NegaWatt emerges, fully charged. A hero
ficult due to the residue floating over the city from the can disrupt the process with a successful DC 15 Technol-
burned factory. If the heroes managed to prevent the ogy check or appropriate power stunts, delaying the vil-
blaze in Scene 4, they can use their tracking device or lain’s apotheosis by 1 round for each success or use. If the
ritual to find the Transit Authority power substation. party delays him until the end of their fight, they can at-
tempt a DC 25 Technology check (requiring a full minute)
WRAP-UP to safely draw off the remaining power, preventing him

from regaining his full power.
By the end of their investigation, the heroes should know Destroying the rejuvenation equipment wakes up a fully
that the Black Rose Syndicate is operating out of a Transit repowered NegaWatt immediately, but he’s disoriented
Authority substation. They have likely also discovered that from the uncontrolled revival and attacks targets at ran-
the gang is planning a massive event involving electricity, dom. In this case, the Black Rose Syndicate withdraws and
superconductors, and NegaWatt—and whether they leaves the PCs to deal with the problem.
truly understand the villains plans or not, this should be
enough to spur them to make a move on the Black Rose
hideout! TACTICS
Once brownouts begin across the city, a successful DC 10 If the heroes worked quickly and effectively in the last
Technology check is all that’s required for the heroes to scene, the Black Rose Syndicate has had little time to
trace the disruptions to their source, though NegaWatt gather its strength, and the PCs find themselves facing
will be fully restored by the time they arrive. off against a relatively limited force. The longer they take

investigating, the more their enemy can gather, adding start. A hero who learns about Strand’s predicament and
more and stronger foes to the final battle. promises to help free Jumpstart can gain Strand’s aid in
the fight.
Regardless of when the heroes arrive at the substation,
they face Oleander and a number of Black Rose Enforc-
ers equal to the number of heroes, as well as Lanius (from
OLEANDER PL 11
Scene 4) if he escaped his prior confrontation with the See the Cast section.
heroes. If it took the heroes over an hour to track down
the hideout in Scene 7, Oleander also has the Black Rose NEGAWATT PL 14
Master and the jobber Strand defending her. See the Cast section.
ROLEPLAYING OLEANDER LANIUS PL 10

Oleander is smug and overconfident, having bested sev-
eral French heroes before her assignment to this new
American operation. The heroes have been a thorn in her
STRAND PL 8
side since they began interfering in her plans, and once Use the Jobber archetype with the Whip theme from Chapter
3 for Strand.
they arrive in her headquarters here, she excoriates them
for interrupting her plans and promises them a swift de-
struction, directing her minions to attack and launching BLACK ROSE ENFORCER PL 4
headlong into the fray herself. Her dialogue is clipped and See the Cast section.
controlled, and she shows little emotion beyond pride. In
combat, she works with her Black Rose Enforcers, having
them use Aid actions to defend her.
BLACK ROSE MASTER PL 5
Use the Mystic Ninja archetype from Chapter 3 for Black Rose
While determined, Oleander isn’t unreasonable; she beats Master.
a hasty retreat if NegaWatt falls or if the heroes take out all
her Black Rose allies.
EPILOGUE
ROLEPLAYING NEGAWATT Shortly after the confrontation concludes, the city po-
lice show up, accompanied by specially outfitted SWAT
If restored to full power, NegaWatt joins the battle with team members prepared to take NegaWatt into custody
incredible glee. His primary offensive power is a ball light- (assuming the villain wasn’t slain in the fight with the he-
ning blast that he hurls at groups of heroes regardless of roes). This second defeat is an utter humiliation for the vil-
lesser Black Rose members in the area. He also delights in lain, especially if he successfully regained his powers, and
deactivating electronics with his Nullify Electronics ability. he vows to enact his revenge upon the city and the he-
NegaWatt is vulnerable to water and avoids it at all costs. roes. In response, the city authorities arrange to have him
The villain is delighted to have his powers back and de- placed into another medically induced coma and held
termined to make the most of them; if the heroes defeat under constant surveillance, thus ensuring that he lacks
Oleander or the majority of the Black Rose members, he the ability to override prison systems or collude with third
withdraws and tries to make his escape. parties to secure an escape.
If he wakes from his re-empowerment early and emerges With Oleander defeated, the Black Rose Syndicate lacks
confused, he attacks nearby characters at random and the leadership necessary to continue its bid for control of
fights until defeated. the city’s underworld. Furthermore, the leaderless United
States branch of the Syndicate falters as several members
ROLEPLAYING STRAND vie for leadership, weakening the organization’s profile
nationwide. While they may rise in power again—espe-
cially if any particularly skilled rising stars claim leadership
Strand has long tendrils extending from each hand,
over the enterprise—for now the city is safe.
which he wields as whips. He and his partner Jumpstart
(another Jobber, with the Jumper theme) were well If Oleander or NegaWatt escape, they hold a deep grudge
integrated into the city’s underworld when the Black Rose against the heroes, working together (if they both survive)
Syndicate turned up and declared dominance. Jumpstart or independently to take revenge on the heroes and
and Strand initially tried to resist, but Oleander captured reclaim their power over the city. Their efforts may lead
Jumpstart and now holds him hostage to ensure his them to dabble further in experimental super-science
partner’s cooperation. If asked directly, Strand will explain in the hopes of developing sufficient powers to defeat
Jumpstart’s situation while continuing to fight. the heroes in a later confrontation, making them more
dangerous—and desperate.
Strand focuses on limiting the heroes’ mobility, but his
heart isn’t in the fight. He flees alongside Oleander if she If the heroes are defeated, Oleander refrains from slaying
retreats or if the heroes subdue Oleander and he thinks them, preferring instead to humiliate them and set an
he can take advantage of the opportunity to free Jump- example. She instead demands they either join the Black

Rose Syndicate or leave town, confident that the powers BLACK ROSE MASTER
of her restored ally NegaWatt will keep them in line. She
uses their defeat as proof of her power to the other gangs, The Master is in fact the previous leader of the United
rapidly solidifying her control over the city. Though the States branch of the Black Rose Syndicate, Josh Ros-
heroes may have lost the day, their stories have not end- sander. Oleander kept him around both to delight in her
ed—whether their tales involve working to undermine own power and to maintain his institutional knowledge.
the Black Rose Syndicate from within or a daring escape Josh resents Oleander’s authority and hates working for
and ultimate showdown. her, but he knows that he’s only alive because she finds
him useful, and he secretly thinks he’ll be able to someday
regain control of the organization. Heroes who pick up on
CAST this adversarial relationship might be able to persuade
Josh to help them, or at least to not interfere.
The following are the major characters encountered in
Power Play, including their backgrounds and the relevant BLACK ROSE MASTER PL 7
game stats from this book you can use to represent them.
Use the Mystic Ninja archetype from Chapter 3 for Black Rose
Master.
THE BLACK ROSE SYNDICATE

An organized crime operation, the Black Rose Syndicate BLACK ROSE ENFORCERS
formed more than 200 years ago as a secret society of no-
bles fleeing revolutionaries, teaching themselves deadly The Enforcers practice a martial art known as savate, a
combat arts and seizing control of various criminal gangs blend of boxing and kicking with an unusual absence of
to conceal themselves and cling to power. Over time, they knee strikes. They carry simple batons.
became far worse than corrupt nobility, evolving into a
cultish sect of warriors and assassins convinced of the su- BLACK ROSE ENFORCERS PL 4
periority of their bloodlines. Today they work primarily in Use the Ninja Adept archetype from Chapter 3 for Black Rose
extortion, smuggling, drugs, and (depending on the tone Enforcers, with the following changes:
of your campaign) slavery. Power Kick: Strength-based damage 3
The Black Rose are envisioned here as a French organiza- Equipment: Combat Baton (Close Damage 2, Improved Trip)
tion born from the French Revolution, but depending on Throwing Knives (Ranged Multiattack 1)
your campaign they work just as well as a secretive ninja Offense: Init +7, Baton +4 (Close, Damage 3), Power Kick +4
clan, ambitious Russian gangsters, or even home-grown (Close, Damage 4), Shuriken +7 (Ranged, Damage 1)
American extremists. Either way, their preferred weapons
are silence and ancient weapons, as well as fear.
THE ASH CATS
OLEANDER The Ash Cats are a small, ragtag street gang operating
out of the city’s industrial district, with a few dozen
Fleur Epine, known as Oleander, is a deadly martial art- dedicated members and twice as many willing informants
ist, having worked her way up through the ranks of the or collaborators. They focus mostly on smuggling and
Black Rose Syndicate through a combination of physical racketeering—especially on behalf of the local labor
skill and organizational savvy. She seized control of the unions—and even act as much as a neighborhood watch
United States branch of the enterprise after maneuvering for the poorest corner of town as they do a criminal outfit.
the previous leader into a series of strategic fumbles— Their rank-and-file membership consists almost entirely
which she was conveniently in place to salvage. She is dis- of Toughs (see Chapter 3), but a few Bodyguards and
ciplined, skilled, ruthless, and slow to anger, but a raging Elite Soldiers work closely with their leader, Barbie.
storm once she finally reaches her limit.
OLEANDER PL 5 BARBIE
Use the Martial Artist archetype from Chapter 3 for Oleander.
Barbara Ann “Barbie” Beaty grew up in the working-class
slums and watched the local economy slide from bad to
LANIUS worse as she worked as an engine mechanic, competing
in strongwoman contests on the side. Now in her mid-40s,
Wanted on three continents, Lazzaro “Lanius” Bloise, a.k.a. she took over the Ash Cats to intimidate other criminals
“The Butcher,” is a notorious killer for hire. Oleander’s op- and keep her neighbors safe. Now she oversees several
posite in most respects, he is unsubtle and bombastic, criminal groups, including bikers who double as smugglers
prone to gloating. While he has no powers, he is among and enforcers, illegal gambling, and some protection
the greatest sharpshooters in the world rackets, but forbids drugs and orders her crew to let
ordinary folks be. Barbie is corrupt and criminal, but sees
LANIUS PL 10 herself as a cultured, old-fashioned criminal who respects
Use the Assassin archetype from Chapter 3 for Lanius. the unwritten rules that crooks and cops used to live by.

Barbie may serve as a recurring foil to the heroes. She’s NegaWatt is arrogant and aggressive. He still overcom-
a criminal, but also a useful (and antagonistic) source of pensates for his years of frustration as a softspoken nerd,
information and even extra muscle. ultimately becoming the same kind of bully he used to
hate. While very intelligent, he is hotheaded and easily
BARBIE PL 8 goaded into making mistakes.
Use the Crime Lord archetype from Chapter 3 for Barbie, with
the following modifications: NEGAWATT PL 14
Working Class Crook: Barbie doesn’t have the full resources Use the Elemental archetype from Chapter 3 with the
of a Crime Lord. Her equipment is limited to a heavy pistol, Electrical theme for NegaWatt.
brass knuckles, smartphone, a car, and her headquarters uses Complication: Weakness Ordinary water causes NegaWatt’s
the statistics for an Urban Fortress (see Chapter 7 of the Deluxe powers to short out, inflicting damage. A small spray from a
Hero’s Handbook) rather than the listed mansion. faucet or garden hose inflicts rank 2 damage. A bucket of
Offense: Init +1, Brass Knuckles +8 (Close, Damage 5), Heavy water inflicts rank 4 damage. A fire hose inflicts rank 8 damage.
Pistol +7, (Ranged, Damage 4), Unarmed +8 (Close, Damage 4) Full submersion inflicts rank 10 damage every round. His
Toughness save is reduced by half against water-based attacks
and his Impervious extra does not apply.
SHRAPNEL
Deborah Wong worked in one of the city’s rail yards,
looking the other way on behalf of the Ash Cats’ smug-
gling operations, until a misdirected railcar left her with
debilitating injuries. The company denied her worker’s
comp, blaming the accident on her own negligence, and
Wong wanted revenge. The Ash Cats loaned her some
of the funds for a heavy-duty mobility suit and helped
her upgrade it into a fighting system, and after tearing
apart her former bosses’ homes, Shrapnel now repays
the gang by providing serious muscle when they
need it.
SHRAPNEL PL 8
Use the Jobber archetype with the
Strength theme from Chapter 3 for
Shrapnel, with the following changes:
Shrapnel Suit: All of Shrapnel’s powers
have the Removable flaw.
Offense: Init +5, Powerhouse Punch +7
(Close, Damage 9)
NEGAWATT
Daniel Watt was a mild-mannered researcher
at a superconductor lab in the late ‘90s when an ac-
cident transformed him into a living superconductor.
Smart enough to use his powers to good effect, he led
a successful life as the increasingly feared supervil-
lain NegaWatt for many years before his attempt
to hold the entire city hostage led to a humiliat-
ing defeat at the hands of the Freedom League;
he was knocked into the bay and trapped un-
der falling rubble, which left him comatose
for years. The prolonged submersion also
burned out his electricity powers, leaving
him with barely a joy-buzzer. He’s bitter and
desperate to be feared again, and agreed to
the Black Rose Syndicate’s offer without any
major plans for a betrayal—although if Ole-
ander dies in her gang war, he’s all too happy
to step into the power vacuum and control
the city’s underworld himself.

THE ISLAND OF DOCTOR SERSEI

An eccentric yet brilliant geneticist harbors ambitions to change the path of human evolution and save life on the
planet from climate change. But her experiments have gone too far and now threaten everyone—the heroes must
raid The Island of Doctor Sersei to put a stop to them. This is a moderately complex Mutants & Masterminds adventure
presented as an open-ended sandbox as the player characters explore a fortified island overrun by a mad scientist’s
strange creations. It contains the information you need to run it, in conjunction with material in this book and the Basic
or Deluxe Hero’s Handbook. It also provides several examples of challenge sequences and using creatures and minions
effectively in an adventure.
payloads, designed to be inserted into insect life and

SECRET ORIGINS delivered to various plants as a means of enhancing and
protecting crops. However, the same technology would
Doctor Sybella Sersei is a brilliant, if unorthodox, expert provide Sersei with the means of delivering an engineered
in genetics and recombinant DNA. Fascinated with the retrovirus of her own creation to a widespread population.
science and development of life, she devoted herself to
studying and protecting it, becoming a kind of “genetic She has arranged to steal the necessary technology and
artist” who works with the complex tapestry of biology. information. With it, Dr. Sersei can spread a virus that ac-
Dr. Sersei envisions a harmonious ecosphere, existing in tivates certain latent introns in the human genetic code,
near-perfect sustained symbiosis, continuing to diversify causing widespread mutation into various human-animal
and express in endless variation due to natural selection “chimeras” with a mixture of genetic traits. The process is
and evolution. Unfortunately, her world does not exist— far from perfect, though—fatal in most subjects, which
yet. The proliferation of humanity on Earth has had vast Sersei considers a feature, rather than a flaw. Once spread
impact on the natural world: mass extinctions, eradication widely, her chimera virus will kill off the majority of the
of natural environments, climate change, overpopulation, world’s population, at the same time mutating those re-
and runaway resource consumption, to name a few. maining into forms able to occupy different ecological
niches and environments, both diversifying the human-
Dr. Sersei became an outspoken advocate for the environ- oid ecosphere and reducing competition for land and
ment—for the preservation of life itself—but it became resources. Isolated on her island, Dr. Sersei will be able
clear that, as with other visionaries, no one was willing to oversee the process and re-educate the surviving new
to listen to informed opinion, much less take the actions population of Earth, teaching sustainability and respect
necessary to reverse the planet hurtling towards its inevi- for the environment and culling out undesirable traits un-
table doom. People and nations simply lacked the politi- til the perfect balance is achieved.
cal will and determination. Dr. Sersei decided to take mat-
ters into her own capable hands. Significant adjustments Dr. Sersei’s plan requires the rapid breeding of engineered
were needed in order to preserve the tapestry of life. Left mosquitoes to carry the chimera virus and their transpor-
to their own devices, the chances were good those “ad- tation via drone capsules world-wide to begin “seeding”
justments” would simply mean nature finding a way to the viral propagation throughout the environment. Once
wipe out humanity. Dr. Sersei didn’t want that, but hard the infected insects are released, there will be virtually no
choices and radical changes were required. stopping a pandemic of world-ending proportions!
So Dr. Sersei left academia and its corporate sponsorship The breakdown of Island of Doctor Sersei is somewhat
behind. She needed money and resources for her research different than more linear M&M adventures, since what
and acquired them by whatever means she could, selling happens depends heavily on the heroes’ approach to the
her gene-splicing expertise to the highest bidder—quick- island, reaching Dr. Sersei’s lab, and what they do when
ly branding her a criminal. She tried to raise awareness they get there. Rather than chronological scenes, the
and slow the deterioration of the planet but was branded scenes in this adventure are largely based on the area the
an eco-terrorist. She needed assistance in her work and heroes are in: approaching and on the island, dealing with
proof of the potential that would save the planet, so she the rebel chimeras who might offer them assistance in
became a creator, the gardener of her own Eden on a hid- their underground hideout, or in Dr. Sersei’s headquarters
den island. complex itself. Familiarize yourself with the whole set-up,
since the heroes might take any number of approaches,
and slot the scenes in as appropriate.
IN THIS EXCITING ISSUE…
Now, after considerable time consolidating her position
and delving into different avenues of research Dr. Sersei
INVOLVING THE HEROES
has hit upon an opportunity. Old connections within Heroes can become involved with The Island of Doctor Ser-
the scientific community have brought her attention to sei in a number of ways, depending on the sort of Mutants
valuable new research into genetically engineered viral & Masterminds game you run.

• If the heroes are a traditional superhero team, may be the world’s only hope, thwarting her plans
the authorities alert them to the recent GenTech from within her domain. This is a great opportunity
theft and the location of the island, allowing them to start a series with animal-hybrid heroes, either all
the opportunity to investigate. If the heroes are one type or a group of mixed types. You can also mix-
government operatives or directly employed by law- and-match by introducing other characters: escaped
enforcement, they might be assigned the case by prisoners mutated by the doctor’s technology or
their superiors. Otherwise, a contact within GenTech outside agents sent to the island to investigate.
or the authorities might reach out to the heroes
about the theft and their concerns about what it
could mean. AEAEA
• The heroes may have tangled with Dr. Sersei or her Dr. Sersei calls her island home “Aeaea” (eh-EE-uh), after
creations in the past, but remain unable to locate her the island of the sorceress Circe from Greek mythology.
base of operations until some lead points them to You can set the island in any tropical or sub-tropical region
the villain’s small island. you wish—or any region, if you also provide the island
with some type of independent environment to maintain
• If The Island of Doctor Sersei is your first M&M a constant livable temperature. By default, Aeaea is pre-
adventure or the kick-off to a new series, you can sumed to be a small volcanic island in the South Pacific
use the background as part of the team’s origin (ideal for campaigns set in the western United States, Can-
and motives. Dr. Sersei conducted many genetic ada, Australia, or east Asia), but other possible locations
experiments in the course of her research, and could include the Aegean Islands (for European campaigns), the
have created the hero’s powers. This is particularly Caribbean (for eastern United States and South American
appropriate for heroes with animal-based powers of campaigns), or the Canary Islands (for African campaigns).
some sort. Likewise, heroes with powers involving
animals or the natural world might receive warnings
or premonitions of something happening on an
TERRAIN FEATURES
isolated island in need of their attention.
Aeaea is a lush, tropical volcanic island, with a high
• You could also start off the adventure with the volcanic cone dominating the northwestern end of the
players taking the roles of rebellious chimeras on island and a broad stretch of jungle filling the rest. The
Sersei’s island—victims of her experiments, either whole of the main island is not large, about a quarter of a
with Roof’s small rebel band or on their own (see mile across. Several smaller islands are scattered across a
Scene 3 for details). Rather than the outside world strait along the southeastern side of Aeaea. The island has
being aware of Dr. Sersei’s scheme, the chimeras tall sea cliffs, broken by stretches of rocky beach.

foliage. Any unusual energy discharges or noises are

PROBLEM POWERS automatically detected. The sensors can pin-point
Part of the adventure involves reconnaissance and the location of anything they detect and provide a
exploration, and some powers may make that too easy live video feed to monitors in the base. A new DC 15
or allow the heroes to skip over that element of the Stealth check allows characters to disappear off of the
adventure entirely. In particular, movement powers like sensor grid and full visual and auditory Concealment
Flight, Speed, and Teleport might make the heroes too allows them to do the same.
mobile, and abilities like Quickness and Remote Sensing
might eliminate the need to search. Scene 1 involves • Cloaking: The installation on the slopes of the
the island’s defense systems disabling incoming aircraft, volcano is concealed by a cloaking field projector,
encouraging the heroes to take a stealthy approach. The essentially rendering it invisible to all visual senses. It
heroes might also encounter various traps and hazards requires a DC 25 Perception check to notice anything
if they’re too hasty in searching the island. See Scene 1 unusual about the area, slight distortions indicative
for more ideas on encouraging heroes to scout and of the field’s operation. The field does not provide any
explore the island.
physical barrier, and characters climbing the slopes
of the volcano can literally run into the unseen walls
Concealment: The heavy jungle foliage on much of of the structures there. If this happens, the character
the island provides partial concealment under normal must make a damage resistance check against a
circumstances, and total concealment for characters Damage rank equal to their movement speed rank.
using the foliage to hide or moving through the jungle
at night. The jungle canopy provides total concealment DR. SERSEI’S CREATIONS
for characters beneath it relative to observers above and
vice-versa. The whole of Aeaea serves as a “living laboratory” for Dr.
Sersei, meaning the jungle is home to a variety of danger-
Movement: The jungle and the slopes of the volcano slow
ous creatures, primarily of her creation. You can have vir-
ground movement speed ranks by 1 unless the character
tually any of the Animals, Dinosaurs, or Monsters from
has the Environmental Adaptation or Sure-Footed effects.
Chapter 3 living on the island, particularly the following:
Climbing the sea cliffs is a DC 17 Athletics check, allowing
the character to move at ground speed rank –2 as a move • Animals: Ape, Bear, Crocodile, Insect Swarm, Lion,
action. Flying movement over or near the island may trig- Monkey, Shark, Snake (Constrictor), Snake (Viper),
ger the defense systems (see Defenses, following). Squid (Giant)
• Dinosaurs: Deinonychus, Stegosaurus, Tyrannosau-

DEFENSES rus Rex
Dr. Sersei has taken steps to secure her privacy and keep • Monsters: Blob, Giant Flytrap, Giant Insect (or Spider)
intruders away from the island, along with alerting her
If you want to check for a random encounter with crea-
to their presence. Aeaea’s prime defenses are a series of
tures, roll 1d20 for each scene the heroes are on the island.
weapons batteries, passive sensors, and a cloaking field
On a roll of 15 or greater, they encounter something. Many
covering the installation on the slopes of the volcano.
of the creatures on the island are the subjects of particular
• Weapons: A series of concealed weapons batteries experiments, so they may have unusual abilities, or even
protects the island, capable of firing surface-to-air be chimeric hybrids combining two or more creatures
missiles (+10 attack bonus, Ranged Damage 10, Burst into one. Feel free to surprise the heroes with bears with
Area 7, Homing 6). A launcher is Toughness 10 and two laser eyes (Ranged Damage 8) for example, or teleporting
or more Degrees of Failure on a damage resistance monkeys (Teleport 5, Turnabout) that steal their equip-
check renders it inoperative. Two underwater ment and disappear.
launchers on either side of the concealed undersea
All of the experimental creatures on the island are im-
entrance can fire torpedoes with the same stats.
planted with special electronic chips in the upper spine.
• Tractor Beams: The hangar in the main base and These allow Dr. Sersei to track the creatures, monitor their
the concealed location on the smaller south island vitals and other data, and deliver a tiny electrical current
are equipped with tractor beam projectors (Move sufficient to stun the creature for as long as it is applied.
Object 9) which can lock onto and grab objects, Island patrols and the chimeras working for Sersei have
either to deflect them or to pull them in. If the tractor remote control units allowing them to stun the local crea-
beam is able to capture an incoming vehicle, it may tures in order to keep them at bay or capture them as
be drawn into the hangar or the strait in order for Dr. needed. If the heroes discover this and get hold of one of
Sersei’s mercenaries or chimeras to capture the crew. the remotes, they needn’t be concerned with most of the
If a vehicle is able to fight free or avoid the tractor local wildlife.
beams, it is shot down.
• Sensors: A network of passive sensors blankets TRAPS

the island, requiring a DC 15 Stealth check to avoid
detection. The terrain provides no benefit for this Along with the weapon systems and creatures, there are
check, as the sensors scan through the jungle a number of traps hidden on the island. Ordinarily, these

are used to test or contain creatures, but they serve just humanity from itself, but all reports suggest she
as well for intruders moving through the jungle. Some of now controls a deadly, mutagenic virus and ballistic
the island’s large predators have learned that the traps missiles with which to spread it across the world. Her
can snare smaller prey for them, and so there is a 50/50 stronghold is hidden somewhere on the abandoned
chance of encountering a dangerous animal after running island far below.
into a trap.
The traps take two forms: pits and cages. TACTICS

Pit Trap: A DC 15 Perception check is necessary to notice If the heroes approach the island openly by air or sea,
the false terrain covering the 10-foot by 10-foot opening the tractor beam attempts to lock on and capture them
of a pit trap, 10 feet deep. A character who fails to notice or their vehicle. If successful, they’re drawn to the smaller
the pit trap and moves through its area must succeed on island across the strait from Aeaea, where a squad of eight
a DC 15 Dodge resistance check to avoid falling into it. mercenaries led by Rajah, the tiger chimera (see the Cast
The fall itself requires a DC 16 Toughness resistance check section), wait to capture them.
against damage. Furthermore, the metallic walls and floor
of the pit trap emit an electric current each round to stun Once the tractor beam activates, several nearby
captives: a rank 6 Cumulative Affliction effect (Resisted pteranodons—the results of Dr. Sersei’s early experiments
and Overcome by Fortitude; Dazed, Stunned, Incapaci- on local fauna—spot an opportunity for an easy meal by
tated). Climbing the smooth metallic walls of the pit trap cracking open what looks to be an injured bird. There is
to get out is a DC 20 Athletics check, unless the trapped one pteranodon for each hero.
character has some movement ability to simply jump or
fly out. PTERANODONS PL 5
Use the Pteranodon archetype from Chapter 3.
Cage Trap: The flattened walls of a barred cage lie be-
neath a thin layer of soil, debris, and undergrowth. When
a character passes over a pressure plate in the middle of
the cage, the walls spring up and lock together, forming
a 20-foot by 20-foot cage around them (and anyone with
them). A modified tractor beam emitter in the center of
the top of each wall shines down into the cage, creating
a field designed to harmlessly hold creatures in place. The
field has a total effective Strength of 12, but each deacti-
vated emitter reduces that Strength by 3 ranks. Charac-
ters can take an escape action and make a DC 22 Strength
check to break free from the tractor field’s grip for one
round. The emitters are Toughness 5 and DC 15 to hit with
attacks (effectively Defense 5 due to their small size). The
cage itself is Toughness 10.
PATROLS
Dr. Sersei employs some three dozen hired mercenaries to
safeguard the island and do some of the grunt work. They
usually operate in three shifts of twelve each, and often
patrol the jungle in groups of four. The doctor supplies
the mercenaries with various “bio-hacking performance
enhancers” which improve their physical training benefits,
but also make the mercs more pliable, and thus easier to
keep under control. See the Cast section for details on
the mercenaries. The patrols make use of sky cycles which
carry a pilot and passenger, detailed in Area 1 of Scene 4.
SCENE 1 CONFLICT
FIERCE LANDS, FIERCE MEN
As the adventure begins, read or paraphrase the following:
The genetic activist Dr. Sersei has threatened the

world multiple times in her crusade to protect

MAPPING THE ISLAND SCENE 2 INVESTIGATION

The adventure assumes you use the Island Base map
from Appendix 1 for Aeaea, with the adjustments
described here. Note that the numbered areas on
the map correspond to different descriptions in this
SEARCHING THE ISLAND
adventure; ignore the map key given in the Appendix. Once the heroes arrive on the island they have three
primary goals: disable the island’s defenses so they can
If you want to extend the adventure, use only the in- eventually leave, search for the location of Dr. Sersei’s
stallation map from the Appendix, but make your own
hidden base, and finally confront Dr Sersei to stop her
large island map (or download one from your favorite
mapping website), up to a few miles across. A larger plan. There’s some overlap to these goals, since searching
map makes locating and disabling the missile batter- the island also involves crossing a lot of its terrain, such
ies a greater challenge, and provides more chances for that by the time the heroes find the concealed base, they
random encounters with the island’s wildlife and traps. may be quite close to it. You can treat the whole process
as a single challenge sequence:
Time: 10 minutes
SHOT DOWN Checks: Athletics (to cover the difficult terrain; DC 22),
Expertise (suitable to the environment; DC 18), Investiga-
If the tractor beam does not successfully trap the charac- tion (DC 20), Perception (DC 20), Speed (to search at high
ters, the island’s missile or torpedo batteries open fire un- speeds; DC 25).
til the targets are either destroyed or disappear from their
sensors. The heroes may need to abandon their transpor- Success: With 4 successes, the heroes determine there is
tation to avoid being blown up along with it, or damage a facility hidden somewhere on or in the volcanic peak
to their vehicle might cause it to sink or crash onto the on the island. With 6 successes, they discover the facility’s
island. cloaking field and the hangar or dock entrances. With 4
or more successes, the team also learns that the base has
Once a vehicle is downed, a “welcoming committee” of Ra- two to three dozen human guards and at least a half-doz-
jah and his squad of mercenaries investigates any crash- en unusual creatures protecting it, based on the tracks—
site for evidence of survivors, arriving five minutes later. perhaps an overwhelming enemy force.
If the heroes manage to destroy all of the island’s defenses Consequences: If the heroes fail two checks, they trigger
during their approach, all of Dr. Sersei’s chimeras and mer- one of the traps on the island (see Traps, previously). If
cenaries attack the heroes in force, hoping to hold them they fail three checks, they draw the attention of a patrol
off long enough for the doctor to implement her plan. The of four mercenaries, who attempt to intercept them (see
heroes need to fight their way through them to reach Ser- Patrols, previously). In either case, if the heroes overcome
sei’s base on the volcano in time to stop her from launch- the consequence and resume their search, they need a
ing her viral weapon—or at least in time to set off in pur- successful DC 15 Stealth check to resume, which doesn’t
suit of it. See Scene 3 for details. count towards their successes for the challenge. If they fail
that test, they encounter another trap, monster, or patrol
MERCENARIES (8) PL 6 (roll 1d20: 1–6 = trap, 7–14 = monster,15–20 = patrol).
RAJAH PL 11 WRAP-UP
See the Cast section. The most likely outcomes of this scene are that the he-
roes are captured by Dr. Sersei’s forces or they discover
the location of Dr. Sersei’s hidden base. Unless the heroes
WRAP-UP bypassed the process of searching for the base entirely,
overcoming the doctor’s forces in a massive frontal as-
If the heroes manage to defeat or evade the soldiers, they sault, there is an opportunity for them to receive assis-
can explore the island. There isn’t anywhere to imprison tance from an unexpected source in the following scene.
captives, and while defeated mercenaries either remain
captured or lay low, Rajah attempts to return to the lab to
eventually take his revenge on the warriors who defeated
him.
SCENE 3 ROLEPLAY
If the heroes are defeated, the soldiers take them to Dr.
Sersei’s compound and lock them in the holding cells
THE UNDERGROUND
with Meerar (Area 14 of Scene 4), which they will need In this scene, the heroes encounter a rebel element on Dr.
to escape before they can continue. Alternatively, if the Sersei’s island, one that may be able to help them in their
encounter with Rajah and his guards begins going poorly mission. They also discover the island itself has secrets.
for the heroes, you can have Roof and his rebels (see Scene
3) step in here to stage a rescue or create a distraction. One of the doctor’s early experiments, a dog chimera

named Roof, accidentally discovered a series of caves ing all signals. Communications with the outside world
and tunnels beneath the island. In exploring them, Roof’s are cut off, and sensors cannot even detect the complex,
implant and mental conditioning were disrupted by the much less anything inside of it. This property has helped
unusual forces at work in those caves, freeing him from to free some of Sersei’s chimeras and keeps them hidden.
Sersei’s control. Since then, he has managed to free a What causes it is unknown, and the heroes won’t be able
handful of other chimeras and rescued a few of Dr. Ser- to determine it in the short time they have to explore the
sei’s experimental subjects. The caves provide the small island.
group with shelter and protection, since they are invisible
to conventional sensors. The disappearances have begun The true nature and origin of the underground complex is
to concern Dr. Sersei, who has her personnel on the look- left as a mystery for the GM to explore in later adventures,
out, but she is also too focused on the completion of her if desired. It may have been created by an ancient human
plans to concern herself with a few stray experiments with civilization—either island natives or an outpost of some
nowhere to run. far-flung empire—or it could be distinctly non-human. Its
creators could have been technologically advanced (with
Roof and his allies become aware of the heroes’ arrival ancient functioning mechanisms still hidden in the com-
quickly: It’s a small island and chances are the heroes plex), wielders of magic, or some combination of the two.
make some noise in their approach or on arrival. Even if There could be secrets and dangers there waiting to be
the heroes slip onto Aeaea undetected, the rebels find unlocked by the unwary and seized by the ambitious—
them right around the time the heroes are either in trou- potential hooks for future adventures involving Aeaea
ble or discover the location of Dr. Sersei’s headquarters. Ei- and its inhabitants.
ther of these occasions are the best times to introduce the
rebel faction. They approach the heroes, either looking to
rescue them from Sersei’s forces, or hoping the strangers
are enemies of the doctor and willing to help rid the island
THE REBELS
A small band of nine rebel chimeras call the underground
of her reign of terror.
complex home: Roof (dog), Nocha (panther), Skraw
(hawk), Calum (bat), Nara (rat), Wendy (alligator), Garcia
ROLEPLAYING ROOF (piranha), and Jono and Fono (monkeys).
Roof began life as an ordinary dog years ago as one of Dr. How adversarial this scene is depends on the heroes and
Sersei’s earliest violations against the laws of nature. His their actions. Roof and his fellow rebels approach the he-
changes are less powerful or sophisticated, but because roes, either to help them overcome a trap or other adver-
they occurred more slowly he has had considerable time saries, or to offer them a safe haven. Some of them are
to adapt, making him a natural guide to others whose not overly inclined to trust strangers, however, and may
transformations have been sudden. Roof is compassion- challenge Roof’s decision to help the heroes and reveal
ate and empathic but understands little about modern the location of their hiding place to them.
culture or humor; he speaks plainly despite his intellect. The rebels’ attitude towards the heroes starts out as indif-
Roof is patient and greatly values life. He acts slowly and ferent. It takes a DC 15 Persuasion check to win over half of
deliberately, which frustrates some of his followers who the rebels, and a DC 20 check to win them all over.
would like to see swift action to free other test subjects. If the heroes fail the DC 20 check, Nocha the panther
chimera challenges one of them to single combat to
ROOF PL 3 prove themselves. Use the Altar Chamber (Area 10 of
Use the Scientist archetype with the Bestial template applied. the Hidden Temple map) for their arena. Nocha sees
Roof’s skills include Expertise (Jungle) 2 and Expertise this as both an opportunity to eliminate a potential
(Philosophy) 2 in place of Pop Culture and Current Events, and threat and also to undermine Roof’s position of respect
Treatment 6 (+10) in place of Technology +6. Do not use the and leadership with the rebels. How the heroes conduct
minion rules for Roof. themselves during the challenge affects attitudes at least
as much as whether they win or not: Do they respect the
THE REBEL ENCLAVE chimeras’ rules and do they demonstrate restraint and
mercy? If so, Roof can convince the rest of his group that
Use the Hidden Temple map from the Appendix for the the newcomers are potential friends and allies.
underground tunnels and passages beneath the island.
The Main Entrance (Area 1) on the map appears to be ROLEPLAYING NOCHA
a natural cave formation rather than being the top of a
structure, and the entire complex is underground. The Nocha was a fisherman until Dr. Sersei offered him an
area features curious tunnels and structures that appear extraordinary sum of money to participate in her “medical
almost melted out of the volcanic rock, with a disturbingly research.” He was transformed using the same process
organic feel to them. Old pieces of statuary littering the that created Rajah, but has rejected the bloodthirsty
complex depict inhuman creatures. It’s unclear what the instincts his new DNA provides. Even with his disgust at
maze-like structure was used for or who built it. his new violent urges, he is antagonistic and aggressive,
distrusting even his fellow rebels and especially Roof’s
The underground complex has the property of block- long service to Dr. Sersei.

Nocha is considerably more powerful than the other reb- within. They can also accompany the heroes, if they wish,
els, and believes that if he must shoulder the burden of or help create distractions to split the base’s defenders.
protecting the weak, he deserves to lead.
If the heroes fail to win over the rebels, they remain captives
and must escape before locating Dr. Sersei’s headquarters
NOCHA PL 11 on their own. If the heroes need a break, their arrival and
Use Rajah’s statistics (see page 286). capture might lead to the mercenary patrols discovering
the underground complex. They launch an assault, which
REBELS PL 6 distracts the rebels and gives the heroes the opportunity
Use the Soldier, Green archetype with the Bestial template. to escape. The conflict also allows them a chance to strike
In addition to this, Skraw, and Calum have Flight 2, Wendy at Sersei’s base with fewer mercenaries present there.
and Garcia have Swimming 2, and Nara, Jono, and Fono have
Leaping 1 and Movement 2 (wall crawling 2). For a twist in either outcome, a defeated Nocha might
betray the rebels to Dr. Sersei in hopes of currying her
favor, disappearing from the underground and moving
WRAP-UP quickly through the jungle to get to the hidden base first
and warn them that the heroes are coming. The characters
If the heroes win over the rebels, they gain their assistance and their new allies might walk into a trap!
in dealing with Dr. Sersei. The rebel chimeras know exactly
where the hidden complex is on the volcano, where the
entrances are, and about the security systems and layout SCENE 4 CONFLICT
THE LAIR OF DR. SERSEI
This scene describes Dr. Sersei’s headquarters, built in and
on the volcano dominating the island. It also looks at the
opposition the heroes face inside the installation and the
risks they take in invading or infiltrating it.
THE ISLAND INSTALLATION

Dr. Sersei’s secret headquarters on Aeaea is built around a
central geothermal tap of the volcano, which provides all of
the energy needed to run the base and its equipment. The
installation has a ring-shaped underground structure, with
several above-ground buildings connected to it on the
upper slopes of the volcano. The whole of the above-
ground structures are concealed by a sophisticated
cloaking field (see Cloaking in Scene 1).
General Features: The construction of the

installation is primarily light metallic panels with
Toughness 8. All of the doors are sliding pocket
doors, operated by adjacent control panels. The
doors are also Toughness 8, unless specified otherwise.
Ceiling light panels provide normal illumination
throughout the installation, controlled from switches
by the doors of each room.
Security: The doors of locations listed as Secure Area

are usually kept closed and locked, only accessible
to personnel with the right access code or biometric
scan. Overriding the locks in these areas is a DC 25
Technology check. All areas of the base other than
Areas 6, 12, and 13 (Dr. Sersei’s private apartments)
are also monitored from the Security Station at Area 15.
Overriding the monitors in an area is a DC 25 Technology
check while avoiding their notice is a DC 25 Stealth
check. Characters can pinpoint the sensors in a given
area with just a DC 15 Perception check and they are
only Toughness 3, making them fairly easy to attack
and destroy, eliminating the ability to monitor that
area until the sensors are repaired.

1. HANGAR 5. MESS HALL
An industrial dining hall with a series of long plastic tables
This long, wide area serves as both a landing strip and
and chairs (Toughness 5) where the mercenaries take their
hangar bay for aircraft used on the island. Dr. Sersei’s
meals. A full kitchen is located in the back of the room,
mercenaries have four two-person sky-cycles for patrols.
with two swinging doors that access it. Dr. Sersei usually
There is also a small stealth aircraft called the Helios:
eats alone in her quarters and the chimeras in the base
Sky-Cycles 30 EP rarely ever eat here.
Size L, Strength 5, Speed 7 (air), Defense 8, Toughness 7,
Features: Blasters (Ranged Damage 7) 6. DR. SERSEI’S QUARTERS
The Helios 46 EP Secure Area. This area is set aside as Dr. Sersei’s personal
Size H, Strength 8, Speed 8 (air), Defense 6, Toughness 11,
apartment. This upper portion serves as a combination
Features: Blasters (Ranged Damage 8), Cloaking (Radar and bedroom and sitting room, with bathroom and closet
Visual Concealment) space off the main room and a spiral staircase making
its way down to the level below (Areas 12 and 13).
The hangar is floored in reinforced concrete (Toughness The curved wall at one end is made of a high-strength
8) and has a sliding bay door at the open end, which is transparent carbon composite (Toughness 9) affording a
Toughness 10. One of the island’s tractor beam emitters is broad, spectacular view of the island below. At present, Dr.
located in the hangar bay, near the bay doors, for guiding Sersei is only in her quarters to eat or sleep, and she does
incoming aircraft, or capturing them and bringing them both sparingly now at this critical phase of her project.
into the hangar. If an aircraft is captured, a squad of eight
mercenaries led by one of the chimeras greets it upon
arrival in the hangar, with prisoners taken to the holding 7. BARRACKS
cells in Area 14.
This large barracks contains rows of bunk beds and stor-
age lockers for the mercenaries working for Dr. Sersei.
2. MACHINE SHOPS There are usually about a dozen personnel sleeping on
their off-shift in here at any given time.
The rooms immediately off the hangar contain machine
shops, equipment, and spare parts for the maintenance of SLEEPING MERCENARIES (12) PL 4
the island’s aircraft, along with stairs down to the barracks
Sleeping guards aren’t wearing armor or carrying rifles
in Area 7 where the mercenaries bunk down. Heroes can
but keep their pistols nearby. See the Mercenaries in the
find potentially useful equipment in the shops for jury- Adversaries section for details.
rigging devices, if they look. See Jury-Rigging Devices in
Chapter 7 of the Deluxe Hero’s Handbook for details on this.
Alternately, players can spend a Hero Point to Edit the Scene 8. LABORATORIES
and add a needed piece of equipment in the machine shop.
Secure Area. The labs are a series of “clean” rooms with
sealed doors and air-filtration systems, allowing Dr. Sersei to
3. WORKSHOPS work with any number of potentially dangerous biological
materials and experiments. At present, the laboratories
These workshops contain equipment and supplies for are dedicated to preparing the payload for the doctor’s
the maintenance of the installation, particularly the latest scheme: Large numbers of genetically-engineered
geothermal station. The workshops are minimally used mosquitoes, which will be dosed with her chimera virus
and, in addition to supplies, hold a half-dozen industrial once en route to their targets. The mosquitoes are being
robots, used to construct the base, but only occasionally hatched and the larvae quickly cultivated to maturity to fill
used for maintenance. The robots are normally shut biological stasis containers for transport and release.
down and stored in this area. Dr. Sersei can activate them
remotely from any computer console in the installation,
and dispatches them to supplement guards if she realizes 9. HIGH-ENERGY LAB
she’s under attack. Otherwise, they’re inactive.
Secure Area. The high-energy lab is a long, vertical shaft
INDUSTRIAL ROBOTS (6) PL 7 running alongside the main magma vent of the volcano.
Tall, bubbling cylinders of fluid run from floor to ceiling—
Use the Large Robot stats from Chapter 3 of this book, except
the growth vats for Dr. Sersei’s chimera virus—while
the built-in weapons are actually the robots’ construction
tools, like arc welders and water-saws. robotic arms assemble the stasis containers being filled
with mosquitoes in Area 8. The three large, robotic
arms dangling from the ceiling can reach anywhere in
4. STORAGE the room and have Strength 10, Dodge and Parry 8, and
Toughness 10; anyone operating their controls can use an
These areas store bulk food items and other supplies, Intelligence or Vehicles check in place of a normal attack
primarily for the mess hall, and contain stairs down to the check to strike or grab with the arms.
armory in Area 10.

With access to the control panels in this station, the heroes

The dock also holds diving gear for a dozen people.
could shut down all of the power to the installation, leaving
only emergency power systems for lights and ventilation The chimera Mako spends most of her time patrolling and
working. This requires a DC 20 Technology check. They exploring the ocean around the island, but if alerted to
could also overload the magma-tap, causing feedback intruders she returns to the docks to guard the area.
that would lead to a massive volcanic eruption! This is a
DC 16 challenge sequence, requiring five total Degrees MAKO PL 12
of Success. Technology is the primary trait for checks, but
See the Chimeras in the Cast section for details.
allow the players to come up with their own approaches,
which may include damaging or compromising some of
the equipment. If the challenge is successful, the system
overloads 1 minute (10 rounds) later, and the Damage
12. DR. SERSEI’S APARTMENT
rank 18 eruption destroys the entire installation. Secure Area. This area and the adjoining library (Area 13)
Dr. Sersei is usually in this lab, assembling her missile are the lower level of Dr. Sersei’s private apartments, con-
engines. She is accompanied by her bodyguard, the sisting primarily of a kitchen, bathroom, and storage ar-
serpent chimera Saar, as well as four mercenaries. eas, along with a small office next to the library. Dr. Sersei
makes limited use of these facilities.
DR. SERSEI PL 9
See the Adversaries section for details. Dr. Sersei prefers to
13. LIBRARY
attack with the lab’s robotic arms
Secure Area. This area is Sersei’s private study and retreat,
lined with shelves filled with books and taxidermy sam-
SAAR PL 12 ples under glass: mounted and pinned insects, preserved
See the Chimeras in the Cast section for details. bones and skeletons, stuffed and mounted animals, and
more. A large tank filled with exotic fish takes up part of
MERCENARIES (4) PL 6 the far wall in place of a “window” (as this level is deep
See Dr. Sersei’s entry in the Cast section for details.
underground) and may give the impression that this room
is underwater, though it is not. A search of this room and
a successful DC 15 Perception check turns up some of Dr.
10. ARMORY Sersei’s handwritten notes about the chimera virus. A DC
20 Expertise: Biology (or similar skill) check can decipher
Secure Area. This room holds weapons and armor for the enough to get a clear sense of what the virus does: mutat-
off-duty mercenaries along with extra armaments. Most ing a small fraction of people into human-animal chime-
of the time, the armory contains 20 each of the following: ras, while killing the majority of those infected.
Blaster pistols (Ranged Damage 5)

•
14. HOLDING CELLS
• Blaster rifles (Ranged Damage 8)
Secure Area. A circular area lined with 10-foot by 10-foot
• Tasers (Ranged Affliction 5 [Dazed, Stunned, cells, this part of the base is primarily used to hold poten-
Incapacitated; resisted and overcome by Fortitude]) tially dangerous experimental subjects but can serve just
• Body armor (Protection 4) as well for prisoners. Each cell has a sliding door made of
a carbon-composite with Toughness 11, capable of being
If you have access to the Deluxe Hero’s Handbook, the rendered selectively transparent or opaque. The cells con-
armory can have up to 10 of each type of grenade listed in tain a fold-down cot and sanitary facilities and little else.
Chapter 7. Feel free to include any other equipment here, When closed, they have their own air recycling system,
and players might want to spend Hero Points to Edit the which can pump in an anesthetic gas when triggered by
Scene to add any piece of equipment they need. the security station: Cumulative Affliction 10 (Resisted
and overcome by Fortitude; Fatigued, Exhausted, Inca-
11. DOCK pacitated). Overcoming the control panel set next to each
cell door is a DC 25 Technology check. It is DC 30 from in-
Holographic camouflage conceals a sea cave along the side the cell, and requires cutting or breaking through the
western cliffs of the island (DC 25 Perception check to Toughness 11 material to get at the inner workings.
detect from the outside). The back of the cave has been • Meerar: In one of the cells is Meerar, an experimental
dug out and turned into a docking area for small water- octopus chimera who proved resistant to Dr. Sersei’s
craft. Another half-dozen sky-cycles can launch from here, conditioning. While less powerful than other chime-
and there is also a small exploratory mini-sub, designed
ras, she possesses a unique shape-shifting ability.
primarily for scientific exploration.
She is mistrustful and has an Unfavorable attitude
Mini-Sub 11 ep towards others. If freed from her cell, her attitude im-
proves to Neutral and she might be willing to help
Size L, Strength 6, Speed 5 (water), Defense 8, Toughness 8,
the heroes—at least to escape—though she is quick
Features: Robot Arms (Strength 8)
to accuse them of plotting against her. Meerar knows

the layout of this level of the installation, but not weapon platforms built into the walls. If anyone accesses
what Dr. Sersei is planning. the corridor without a proper authorization code (known
to Dr. Sersei and her chimeras and mercenaries), the swiv-
• Toro: The only other inhabitant of the holding cells is el-mounted weapons attack up to six targets in the cor-
Toro, a minotaur-like bull chimera. He also proved re- ridor each round with a +8 attack bonus using an Afflic-
sistant to conditioning, but is uncontrollably violent. tion 8 effect (resisted and overcome by Fortitude; Dazed,
Toro is Hostile towards anyone, even if the heroes Stunned, Incapacitated). If there are fewer than six pos-
free him, and he has a +5 circumstance bonus on his sible targets, the turrets concentrate their fire, making a
Insight checks to interaction aimed at calming him team attack. The turrets are Toughness 8, requiring a DC
or improving his attitude. Toro doesn’t attack the he- 15 attack check to hit one, although an attacker adjacent
roes until he’s free of the cell. While imprisoned, he’s to a turret gains a +5 circumstance bonus to hit it.
simply non-communicative and sits silently or paces
inside his small cell.
18. MISSILE LAUNCH SITE
MEERAR PL 7 This area on the map is not physically connected to the
Use the Master of Disguise archetype from Chapter 3 for
main complex and is likely to remain unknown to the
Meerar, with the addition of Extra Limbs 4.
heroes. It is a concealed launch site for both defensive
missiles and the long-range missile carrying Dr. Sersei’s
TORO PL 13 chimera virus. Most of the launch facility is underground,
Use the Brute archetype from Chapter 3 for Toro. with the aboveground portions only visible during a
launch. Otherwise, finding the site is a DC 25 Perception
check. See Scene 5 for details on the launch and the he-
15. SECURITY STATION roes stopping it.
Secure Area. The circular chamber in the middle of the Several smaller test missiles carrying mosquito payloads
holding cell area serves as the security station for the base. are already here and prepped for launch but can only
From here, consoles control all of the sensors, monitors, reach the nearby mainland. This won’t give Dr. Sersei the
and weapons systems, as well as the systems and doors global distribution she wants, but she’s willing to use
of the cells in the holding area. Hacking into the security them as a last-ditch effort to bring about her master plan
consoles without the thumbprint and retinal scan of an (see Scene 5).
authorized user is a DC 30 Technology skill check. There
are normally two mercenaries at the station to monitor
and operate it. The security station can be sealed-off with ADVERSARIES
Toughness 11 carbon-composite sliding doors the same In addition to the traps and devices described under The
as those used for the holding cells in Area 14, also with ad- Island Installation previously, heroes invading the base
justable opacity. When the doors are closed and opaque, face up to three dozen mercenaries working for Dr. Ser-
no one can see into the station, but those inside can use sei, five chimeras, and the doctor herself, all described
its monitors to observe what is happening outside. in greater detail in the Cast section. Their placement, ac-
tions, and tactics are:
MERCENARIES (2) PL 6
See the Mercenaries in the Adversaries section for details. MERCENARIES
16. COMPUTER CORE The mercenaries work in three shifts of twelve each, so a
third of them will be sleeping and another third off-duty
Secure Area. This climate-controlled room contains the unless the heroes alert the base to their presence. In that
main computer servers for the base, arranged in rows. case, all of the mercenaries will be alert and on-duty. Some
The computer core is linked to systems throughout the may be out patrolling the island or searching for intruders,
base and the island and access to this room is strictly con- depending on how the heroes arrived and what they have
trolled, since it is only needed to address issues with the done since. At least a dozen mercenaries remain at the
computer hardware itself. Characters with access to the base at all times to handle operations and protect their
computer core have a +5 circumstance bonus on Technol- employer. Under normal circumstances, the mercenaries
ogy and related skill checks involving hacking the base’s remain at duty stations within the base. In alert situations,
computer systems. Destroying the servers in this room they patrol the corridors and rooms in pairs, looking for
(Toughness 5) takes down most computer-controlled sys- intruders. At least four stay with Dr. Sersei to protect her.
tems on the island, leaving only emergency and manual
back-ups functioning. CHIMERAS
17. SECURE CORRIDORS Saar the snake chimera stays by Dr. Sersei’s side unless
specifically commanded to do otherwise. Rajah is eager
The corridors on either side of Area 14 and either side for a fight (especially if he encountered the heroes earlier),
of Area 16 are lined with sensors and a series of six stun and travels with a team of eight mercenaries to respond

to any alarms. Horn and Tusk stick together, patrolling the vehicle (either their own or one from the Area 1 hangar),
Upper Level. Mako prefers to stay near the docks (area 11), Vehicle skill checks may be required to maintain a close
but is quick to call Rajah to join her if she spots intruders. distance to the missile.
The chimeras all fight to protect Dr. Sersei, but they don’t
Success: The challenge proceeds in stages, with the
exercise much in the way of teamwork or coordination,
heroes needing to accumulate 3 successes on Speed or
and it is possible for the heroes to split them up and take
movement effect checks to catch up with the speeding
them down one by one. Once the heroes begin attacking
missile, then 2 or more successes on other checks to deal
Dr. Sersei, any remaining chimeras will join the battle as
with the missile’s threat.
quickly as possible, with one arriving every other round.
Consequences: If the heroes fail two or more Speed checks,
Note that although the chimeras all have Regeneration,
the missile outpaces them. If they fail a total of four or more
you may want to decide that a defeated chimera stays
checks before achieving a total of 5 successes, the missile
down unless the story calls for their reappearance.
splits and scatters its payload before the heroes can stop it.
Otherwise, dealing with all five chimeras can turn into a
“whack-a-mole” scenario where the heroes take down
one, only to have it recover in the time it takes them to
take down the next ones. Clever heroes may take steps to
WRAP-UP
restrain defeated chimeras to prevent this. If the heroes manage to stop the missile, a premature
detonation kills the insects within, as does crashing in the
ocean.
DR. SERSEI
Dr. Sersei is focused on completing her chimera virus EPILOGUE
carrier the whole time the heroes are on the island. She
spends virtually all of her time in the high-energy lab in Ideally, the heroes are able to defeat Dr. Sersei and her min-
Area 9, even after the heroes enter the base. On the face ions and either prevent the launch of the chimera virus or
of it, Dr. Sersei isn’t much of a threat to a team of super- stop the missile in mid-flight before it can be released. The
heroes (although see the Unleashing the Beast sidebar). criminal scientist can be turned over to the authorities to an-
swer for her crimes, the same for her mercenary agents. The
fate of the chimeras is a more complex matter. Those that as-
WRAP-UP sisted Dr. Sersei might also need to answer to the authorities,
but there is the question of whether or not they are culpable,
While Dr. Sersei wants to spread her virus-laden mosqui- given they were essentially created to obey her and sub-
toes worldwide, she does have several short-range mis- jected to heavy conditioning. There is also the matter of the
siles already prepared for launch in area 18. Thanks to her rebel chimeras on Aeaea. The heroes may simply choose to
voice controls, she can order the launch if she fears defeat, leave them there, but chances are international authorities
allowing her to at least target several nearby human pop- will want to occupy the island to ensure no further threats,
ulations. Unless the heroes have located and destroyed unless the heroes convince them it is not necessary.
the secondary launch site, move immediately to Scene 5
(possibly giving Dr. Sersei or her chimeras time to escape). The heroes may be able to take over the island base and
make use of it themselves as an HQ. Aeaea is far from civi-
lization, but heroes might have high-speed transportation
SCENE 5 CHALLENGE or even teleportation or the like to get them to hot-spots
quickly. Alternately, the island could serve as a kind of re-
treat or safe-house. They may want to hand it over to Roof
MISSILE CHASE and any surviving free chimeras to give them a safe home
away from the outside world.
You can choose to have the heroes defeat Dr. Sersei and
her followers before her scheme is fully realized, or you If you prefer a more “explosive” ending, Dr. Sersei might
can make the final challenge of the adventure stopping have some type of self-destruct mechanism that sends
the doctor’s chimera virus from spreading across the a feedback loop through the geothermal tap in Area 9.
world! If Sersei has the opportunity, she launches a mis- Heat and pressure quickly build up, causing a massive vol-
sile from Area 18 on the Island Base map, carrying stasis canic eruption that wipes the island off the map. The same
containers of the virus-laden mosquitoes. The missile is might happen if the heroes deliberately tamper with the
designed to split at a certain altitude, scattering smaller tap, as described in Scene 3.
propelled containers toward nearby cities where they
This adventure can easily lead to new adventures:
land and release their contents into the environment.
• Thanks to their mental programming, any chimeras
Time: 1 round
who escape capture will dedicate themselves to free-
Checks: DC 18. Speed (to catch up with the missile), ing Dr. Sersei.
then an attack check (to damage the missile or knock it
• A handful of gene-altering mosquitoes may escape
off course), Technology (to hack into the missile’s guid-
the exploding missile, leading to the random cre-
ance systems), or a Strength or a movement effect rank
ation of animal-powered villains on the mainland.
(to push the missile off-course). If the heroes pursue in a

• The mysterious complex inhabited by the rebel chi- means of using the doctor’s followers to absorb the
meras may lead to strange new discoveries, release effects of some attacks that would otherwise take
alien magic, contain ancient technology, or imprison her out. Keep in mind the chimeras have Regenera-
an ancient danger. tion and might be able to absorb multiple attacks,
given the opportunity to recover.
CAST • Sersei has direct voice control over all of the systems
of her headquarters, and uses them against the he-
The following are the major characters encountered in roes as the opportunity allows. Unless the heroes
The Island of Doctor Sersei, including their backgrounds disable the main computer systems or cut the base’s
and the relevant game stats from this book you can use power, Dr. Sersei can open and close (and lock and
to represent them. unlock) doors and direct automated systems, includ-
ing the industrial robots in Area 3, should she need
reinforcements. You may also create new systems on
DOCTOR SYBELLA SERSEI the fly she can control, like concealed turrets. If you
do so, award each hero a Hero Point.
Dr. Sersei’s crimes are those of execution, rather than goal.
After a career of brilliant discoveries, dozens of respected • Rather than directly confronting the heroes, Dr. Ser-
scientific papers, and countless student lives improved, sei tries to stay one step ahead of them. Her goal is to
Dr. Sersei fell into deep depression as she watched the launch her chimera virus, so she allows her followers
Earth’s inhabitants continue to push their world to the to run interference, and closes and seals doors be-
breaking point. tween her and the heroes, long enough to distract
them and complete the loading and launch. Once
The geneticist firmly believes only radical actions and
transformation of humanity as a species can save the
Earth and all life thereon from extinction. That her plan
violates bodily autonomy on a global scale and will cause
billions of deaths is merely an “unfortunate side-effect.” At
the least, their deaths will be relatively swift and painless
in comparison to the inevitable collapse of civilization and
the terrible wars that would follow.
The kind of towering arrogance that led Sybella Sersei

to play God with the future of Earth and humanity is
reflected in the environment around her, which is almost
entirely bent to her will. She created the various chimeras
on Aeaea, both to test her theories regarding hybrid DNA
phylogeny and to provide capable and obedient guards
and helpers. She has secretly experimented on her hired
mercenaries as well, dosing them with biochemicals
without their knowledge. Dr. Sersei feels any disagreement
with her vision involves either a lack of intellectual
capacity to understand it, a lack of will to pursue it, or
both, so heroes have almost no chance of convincing
her that she is wrong, either factually or morally. Give Dr.
Sersei a +5 circumstance bonus to Insight and Will checks
to resist any effort to sway her from her intended goals.
She is only PL 9 and, while armed, doesn’t have a lot

by way of defenses. However, a number of elements
of the adventure are set up to give Dr. Sersei layers of
defense between her and the heroes, allowing her the
opportunity to challenge them before coming down to a
final confrontation. These defenses include the following:
• Dr. Sersei has the benefits of the Sacrifice extra of the

Summon effect for all her underlings, mercenaries,
and loyal chimeras. This means when the doctor is
successfully hit by an attack, she can choose to have
one of her followers suffer the effects of the attack
instead. A mercenary or chimera jumps into the path
of the attack or otherwise gets between the attack-
er and Dr. Sersei. Award the player of the attacking
character a Hero Point when this happens, but it’s a

UNLEASHING THE BEAST

If Dr. Sersei is cornered or in desperate straits, she may take the option of using a mega-dose of her own formula on her-
self! This causes an instant and massive transformation, turning the scientist into a powerful, hulking brute of a creature.
Dr. Sersei gains all of the abilities of the Brute archetype from Chapter 3, a PL13 foe who should pose a fair challenge for
a group of PL10 heroes! Sersei explodes into her new form by unleashing a Shockwave attack against everyone nearby,
and flies into an unchecked rage against her foes.
Alternately, if you prefer to have Sersei escape, she might dose a chimera or one of her mercenaries with the formula,
transforming them into the Brute to distract and occupy the heroes just long enough to cover her escape aboard the
Helios or the mini-sub.
that is done, she gladly tells the heroes what is hap- or eliminate them. Rajah hunts for the missing and escaped
pening, assuring them they have no chance of stop- chimeras in his spare time and is similarly frustrated at his
ping it. They must choose between capturing the inability to find them. Once he engages in combat, the tiger
criminal scientist or stopping her scheme (or splitting chimera unlikely to back down.
up in order to do both).
RAJAH PL 11
DR. SERSEI PL 9 STR 8, STA 8, AGL 7, DEX 3, FGT 8, INT 0, AWE 4, PRE 2
Use the Mad Scientist archetype from Chapter 3 for Dr. Sersei, Powers: Claws 2 (DC 25; Penetrating 10), Healing Factor 10
with the following changes: (Every 1 round), Tiger Movement, Leaping 2 (Leap 30 feet at
8 miles/hour), Movement 3 (Safe Fall, Sure-footed 1, Wall-
Containment Suit: Protection 12, Immunity 10 (life support)
crawling 1: -1 speed rank), Speed 4 (Speed: 30 miles/hour, 500
BioChem Dart Gun: Ranged Affliction 12 (Variable 3; Dr. feet/round), Tiger Senses 7 (Accurate: Hearing, Acute: Smell,
Sersei can effectively choose the effect of each degree of the Danger Sense: Choose Sense Type, Darkvision, Ultra-hearing)
Affliction just before she fires the weapon (as a free action).
Equipment: Blaster Rifle, Commlink
The effects are generally resisted and overcome by Fortitude
(DC 22) but the doctor can also use dart payloads resisted and Advantages: Agile Feint, All-out Attack, Defensive Roll 2,
overcome by Will (“programmed neurotransmitters”). Mix- Equipment 4, Evasion, Favored Environment (Jungle), Fearless,
and-match as you see fit, based on Dr. Sersei’s assessment of Great Endurance, Improved Initiative, Improved Smash, Power
the heroes and their capabilities. Attack, Startle, Takedown, Tracking, Uncanny Dodge
Offense: BioChem Dart Gun +6 (Ranged, Affliction 12) Skills: Acrobatics 8 (+15), Athletics 11 (+19), Close Combat:
Claws 4 (+12), Expertise: Survival 12 (+12), Insight 8 (+12),
Defense: Dodge 6, Parry 4, Will 12, Fortitude 6, Toughness 12
Intimidation 12 (+14), Perception 10 (+14), Ranged Combat:
Guns 6 (+9), Stealth 11 (+18), Vehicles 4 (+7)
CHIMERAS Offense: Init +11, Blaster Rifle +3 (Ranged, Damage 8), Claws
+12 (Close, Damage 10), Unarmed +8 (Close, Damage 8)
Dr. Sersei has created a number of human-animal hybrids Defense: Dodge 12, Parry 12, Fort 9, Tou 10/8, Will 9.
she calls “chimeras,” after the legendary beast made up of
different animal parts. Some of her chimeras have proven
ranks) + Defenses 15 = 198
disappointing, but a few have become loyal helpers, ex-
amples of Sersei’s vision for a future world. Generally, the
chimeras use the Hybrid archetype from Chapter 3 with HORN (RHINO CHIMERA)
the appropriate modifiers for their “stock” animal type. To-
date, Dr. Sersei hasn’t experimented with any insect DNA, The loyal Horn works as Rajah’s lieutenant and is the
so there are no ant, fly, or spider type chimeras (yet), but strongest and most resilient of the chimeras serving Dr.
most of the other types listed for the Hybrid archetype are Sersei. As a human, he was a scrawny office manager at
possible. The heroes may encounter the following chimeras the university with Dr. Sersei, who was enthralled by her
on Aeaea, along with Meerar and Toro, the octopus and bull passionate rants about how the world should work. Horn
chimeras, kept in the holding cells in Area 14, and the ad- is loyal, but fairly lazy. He enjoys bossing people around.
ditional rebel chimeras from Scene 2. Although he respects Rajah, the only chimera Horn is
friendly with is Tusk.
RAJAH (TIGER CHIMERA) HORN PL 13
Rajah was one of the first successful creations of Dr. Sersei’s Use the Hybrid archetype from Chapter 3 for Horn, with the
new, more refined chimera virus and is, by far, her most loy- following changes:
al. The fierce tiger chimera longs for the promise of a world Rhino Animal Type: STR +3, STA +3 and Protection 3; rather
where he will be free to roam and hunt and where there than claws, his penetrating damage is a horn
will be others of his kind. Rajah finds the secrecy and con-
Offense: Initiative +9, Horn +12 (Close, Damage 11)
finement on Aeaea frustrating, but is willing to abide as his
maker wishes. He finds the arrival of intruders an exciting Defense: Dodge 12, Parry 12, Fortitude 13, Toughness 14/12*,
opportunity, and takes command of any effort to capture Will 10

MAKO (SHARK CHIMERA) TUSK (BOAR CHIMERA)
A former SCUBA diver and the most recent of Dr. Sersei’s The boar chimera Tusk is almost as excited by the prospect
experiments, Mako was a “proof of concept” to demon- of a fight as Rajah, but lacks the tiger’s fierce ambition. A
strate that her chimeras could manifest aquatic genetic slacker by nature, he volunteered for the chance to gain su-
traits and therefore settle the oceans as well as the land, per powers and so far finds the experience exciting, though
further distributing the humanoid population. While he doesn’t apply his new strength and senses to any partic-
Mako was enthusiastic about the chance to explore the ular end beyond playing video games. Tusk is fine following
ocean without her restrictive diving gear, the reality has orders, hanging out with Horn, and awaiting the fruition of
been more uncomfortable and awkward. Dr. Sersei’s plans to remake the world. He is assured that he
will have a prominent place in the new world and be able to
Mako needs to spend at least an hour submerged in salt live like a king. The notion that he would not be rewarded
water every day, and spends much of her time in the dock doesn’t even enter Tusk’s fairly limited mind.
area of the installation or exploring the island’s reefs and
waterways. Mako is solitary, which suits both her and the Of all the chimera’s serving Dr. Sersei, Tusk is the least
other chimeras, who dislike her. She has a difficult time loyal. He sees the entire gig as a day job, and is beginning
controlling her bloodthirsty new instincts, even more so to miss the comforts of the mainland, like cheeseburgers
than Rajah, and might even turn on allies when seized and streaming services. Heroes who scout the installa-
with the frenzy of combat and the kill. tion and spy on the defenders likely see him complaining
about the healthy food, missing a concert by his favorite
MAKO PL 12 band, or otherwise expressing his dissatisfaction.
Use the Hybrid archetype from Chapter 3 for Mako, with the
following changes: TUSK PL 11
Shark Animal Type: AGL +1, STA +1, Immunity 1 (drowning), Use the Hybrid archetype from Chapter 3 for Tusk, with the
Movement 1 (Environmental Adaptation: Water), Protection following changes:
3, Swimming 2; rather than claws, her penetrating damage is Boar Animal Type: Str +2, Sta +2; rather than claws, his
teeth penetrating damage is tusks
Offense: Initiative +10, Bite +12 (Close, Damage 8) Offense: Initiative +9, Tusks +12 (Close, Damage 10)
Defense: Dodge 13, Parry 12, Fortitude 11, Toughness 12/10*, Defense: Dodge 12, Parry 12, Fortitude 12, Toughness 10/8*,
Will 10 Will 10
SAAR (SNAKE CHIMERA) MERCENARIES

Saar is a wiry and powerful wrestler, and speaks in a low, A crew of three dozen hired mercenaries works for Dr. Sersei
hissing tone. She is the most cold-blooded and detached to provide security and added muscle on the island. In ad-
of the chimeras loyal to Dr. Sersei, doing what she is told dition to their pay, the mercs receive regular “performance
out of a sense of survival and the promise of eventual supplements” from the doctor, which include an additive to
reward. She serves as Sersei’s bodyguard out of a sense make the mercenaries more pliable and cooperative. Their
of practicality, keeping herself close to the seat of power attitude towards their employer is unusually Helpful and
until she can learn to escape her programming. Apply the the mercs gain a +5 circumstance bonus on checks to resist
Snake modifiers to Saar’s abilities. In the Earth-Prime set- efforts to get them to betray or compromise Dr. Sersei in
ting, Saar could easily be mistaken for a Serpent Person, any way. In spite of this, the mercenaries are not overly fond
and might even have some deep genetic ties to them. If of the doctor’s chimeras; their attitude is only Indifferent to-
the underground ruins on Aeaea are connected to Ophid- wards them and the feeling is largely mutual.
ian Lemuria, Saar might even be able to fool ancient
spells or mechanisms there into thinking she is a Serpent Apart from hunting or looking out for escaped rebel chi-
Person. See Atlas of Earth-Prime and Freedom City for meras (see Scene 2), the mercenaries have little to break
more about the Serpent People. up their routine, making them lax. Heroes get a +2 cir-
cumstance bonus to Stealth and other checks to avoid the
mercs’ notice or otherwise catch them off-guard in an en-
SAAR PL 12 counter until they are alerted to the characters’ presence.
Use the Hybrid archetype from Chapter 3 for Saar, with the
following changes: If the heroes choose to hit-and-run, taking down a few de-
Snake Animal Type: AGL +2, Enhanced Advantage 2 (Improved fenders at a time, keep track of the remaining soldiers and
Grab, Improved Hold), Movement 1 (Slithering), Protection 2 try to adjust defenders is various locations accordingly.
Smart: Saar has retained more of her intellect than most
chimeras; her INT is 2 MERCENARIES (36) PL 6
Use the Soldier archetype from Chapter 3, except their
Offense: Initiative +12, Claws +12 (Close, Damage 8)
weapons are kinetic force-blasters rather than conventional
Defense: Dodge 14, Parry 12, Will 10, Fortitude 10, Toughness firearms: blaster pistols +5 (Ranged Damage 5) and blaster
10/8* rifles +5 (Ranged Damage 8).

INDEX
A Arcane Cultist......................................... 146 Hawk............................................................... 143
Cult Acolyte............................................. 146 Hearts & Minds (scene)............................. 214
Abilities.............................................................75 Cult Adept............................................... 146 Heavy tanks.....................................................15
Ability Strain....................................... 231–232 Cult Initiate............................................. 146 Henchmen.......................................................47
Advantages......................................................75 Cult Master............................................. 146 Herd Animal................................................. 143
Adventure Design...................................... 195 Cyber-Rats..................................................... 217 Hero Creation..................................... 185–186
Adventure Elements........................ 176–179 Hero Point Tradeoffs.................................. 194
Aikido.............................................................. 226 D Hidden Temple.................................. 246–249
Aircraft carriers...............................................16 High and Low Realism.................................24
Aliens......................................................... 25–26 Deinonychus................................................ 147
History....................................................... 40–41
Alternate Dice.............................................. 232 Demons (minions)...................................... 147
Hitman............................................................ 155
Amusement Park.............................. 242–245 Demon, Brute......................................... 147
Horse............................................................... 143
Animals (minions)............................ 142–145 Demon, Imp............................................ 147
Hybrid........................................................ 97–99
Animated Tree............................................. 148 Demon, Tempter..................................... 47
Hyena.............................................................. 143
Anti-personnel land mine..........................23 Demon, Warrior..................................... 147
Destruction......................................... 164–164
Antitank guns.................................................14
Dinosaurs (minions)........................ 147–148
I
Anti-tank land mines....................................23
Antitank rockets.............................................14 Brachisaurus.......................................... 147 Imp (villain)......................................... 100–102
Ape.................................................................. 142 Deinonychus.......................................... 147 Incredible Shrinking
Arcane Cultist............................................... 146 Pteranodon............................................. 148 Heroes, The (scene).............................. 216
Assassin (villain)..................................... 78–80 Stegosaurus............................................ 148 Insane Asylum................................... 248–251
Autogyros.........................................................16 Tyrannosaurus Rex............................... 148 Investigation Scenes................................. 204
Avalanches.................................................... 183 Disasters............................................... 183–187 Ionizing Radiation.........................................23
Dog.................................................................. 143 Iron Age.................................................... 21–23
B Dolphin.......................................................... 143 Island Base.......................................... 251–253
Dragon........................................................... 149 Island of Dr. Sersei (adventure).... 274–287
Bat.................................................................... 142 Drone.............................................................. 152
Battle cruisers.................................................15 J
Bear.................................................................. 142 E Jeeps..................................................................15
Blob................................................................. 148
Bodyguard.................................................... 154 Earthquakes........................................... 23, 184 Jet fighters.......................................................17
Boss................................................................. 154 Elder Evil (villain).................................... 90–93 Jobber.................................................... 103-106
Boxing............................................................. 226 Electromagnetic Pulses...............................23 Jujutsu............................................................ 227
Brachiosaurus.............................................. 147 Elemental (villain).................................. 93–96 Jumped-Up Nobody (villain)........ 107–109
Bronze Age.......................................................20 Elephant......................................................... 143
Brute (villain)........................................... 81–84 Escape Plans............................................ 60–61 K
Bystander...................................................... 145 Escort carriers.................................................15
Karate.............................................................. 227
Escrima........................................................... 227
Kidnapping......................................... 166–169
C Extortion.............................................. 169–171
Knockback.......................................... 232–233
Krav Maga..................................................... 228
Capoeira......................................................... 227 F Kung Fu.......................................................... 228
Castle.................................................... 244–247
Cat.................................................................... 143 Faerie, Jinx..................................................... 149
Challenge Scenes....................................... 200 Faerie, Trickster............................................ 149 L
Challenges.......................................... 178–180 Fallout................................................................23
Lairs....................................................... 241–259
Chase, The (scene)....................................2010 Fencing........................................................... 227
Lava................................................................. 185
Civilians (minions)...................................... 145 Field Artillery...................................................14
Law.....................................................................42
Bysteander.............................................. 145 Fighting Styles................................... 228–129
Lethal Damage.................................. 233–234
Reporter................................................... 145 Fires....................................................... 184–185
Lieutenants......................................................47
Scientist................................................... 145 Floods............................................................. 185
Light tanks.......................................................15
Collapses............................................. 183–184 Flying boats.....................................................16
Lion.................................................................. 143
Combined Scenes...................................... 208 Fog................................................................... 185
Complications.................................................77 Frame-Up, The (scene).............................. 212
M
Composite (villain)................................ 84–87
Concept.............................................................73 G Mad Scientist (villain)...................... 111–113
Conflict Scenes............................................ 202 Magic......................................................... 27–29
Gang Leader................................................. 155
Conquest............................................. 159–164 Martial Artist (villain)....................... 113–115
Gargoyle........................................................ 149
Cosmology............................................... 38–40 Mass Combat..................................... 234–239
Genre............................................................9–25
Other Dimensions................................... 39 Master of Disguise (villain)............ 116–118
Giant Flytrap................................................. 149
Parallel Earths.......................................... 38 Master Villains.................................................48
Giant Insect................................................... 149
Space.......................................................... 38 Mastermind (villain)......................... 118–121
Gods...................................................................27
Crime Lord (villain)................................ 87–90 Medium tanks.................................................15
Golden Age.................................................9–17
Criminal.......................................................... 154 Militant........................................................... 153
Goon............................................................... 155
Crocodile....................................................... 143 Mimic (villain).................................... 122–124
Government Agent.................................... 151
Crook............................................................... 155 Minion Archetypes........................... 142–157
Cruisers..............................................................15 Missile Silo........................................... 252–255
H Modern Age............................................ 23–25
Cultists (minions).............................. 145–146
Halftracks..........................................................15 Monkey.......................................................... 144

INDEX
Monsters (minions).......................... 148–149 Pump shotguns..............................................22 Toolkit Approach........................................ 198
Animated Tree........................................ 148 Puppeteer (villain)............................ 130–133 Tough.............................................................. 156
Blob.......................................................... 148 Training.............................................................33
Dragon.................................................... 149 Q Traps...................................................... 187–193
Faeries...................................................... 149 Capture Traps................................187–188
Quicksand..................................................... 185
Gargoyle.................................................. 149 Deathtraps.....................................188–191
Giant Flytrap.......................................... 149 Evading...........................................191–193
Giant Insect............................................. 149
R Tulpa............................................................... 149
Tulpa........................................................ 149 Rat.................................................................... 144 Tyrannosaurus Rex..................................... 148
Mortars..............................................................14 Recoilless Rifles..............................................20
Muay Thai...................................................... 228 Reporter......................................................... 145 U
Murder.................................................. 169–171 Reputation.......................................... 229–230
Underwater........................................ 186–187
Mutation................................................... 29–30 Rewards......................................................... 181
Underworld (minions).................... 154–156
Mystic Ninja.................................................. 150 Robot (villain)..................................... 133–136
Bodyguard.................................................... 154
Robots (minions).............................. 152–153
Boss........................................................... 154
N Robot, Colossal .................................... 152
Criminal................................................... 154
Robot, Drone.......................................... 152
New Leads Table......................................... 205 Crook........................................................ 155
Robot Jockey.......................................... 153
Ninja (minions)............................................ 150 Gang Leader........................................... 155
Robot, Large........................................... 152
Mystic Ninja............................................ 150 Goon......................................................... 155
Robot, Medium...................................... 152
Ninja Adept............................................. 150 Hire Killer................................................. 155
Robot, Small........................................... 152
Ninja Master........................................... 150 Street Informant.................................... 156
Roleplay Scenes.......................................... 206
Ninja Novice........................................... 150 Tough....................................................... 156
Ninjutsu......................................................... 228 Using Minions.............................................. 151
NPC Personal and
S
Verbal Quirks Table............................... 207 Scientist......................................................... 145 V
Secrecy..............................................................37
Vampire (villain)................................ 139–142
O SHADOW Close Troop............................... 218
Villain Motivations................................ 51–56
SHADOW Invasion (scene)...................... 218
Omnipotent Villains......................................49 Goals................................................... 51–54
Shark............................................................... 144
One-Hundred Adventure Ideas Table... 222 Justifications..................................... 54–56
Silver Age.................................................. 17–20
Organizations......................................... 44–45 Villain Organizations............................ 69–71
Skeleton......................................................... 145
Agency....................................................... 44 Goals................................................... 69–70
Skills...................................................................75
Conspiracy................................................ 44 Motif.................................................... 69–70
Sky fortress......................................... 256–259
Cult............................................................. 45 Resources.................................................. 71
Skyscraper Penthouse.................... 258–259
Institute..................................................... 45 Structure............................................. 70–71
Snake, Constrictor...................................... 144
Space Patrol.............................................. 45 Villain Roles.............................................. 49–51
Snake, Viper.................................................. 144
Syndicate................................................... 45 Villains in Combat................................. 56–59
Society....................................................... 42–44
Origins....................................................... 25–39 Villain Tactics........................................... 56–63
Soldiers................................................. 153–154
Overlord (villain)............................... 124–127 Villain Teams............................................ 65–69
Militant.................................................... 153
Outline Approach....................................... 196 Motifs......................................................... 68
Soldier...................................................... 154
Owl.................................................................. 144 Resources.................................................. 69
Soldier, Elite............................................ 152
Types................................................... 65–68
Soldier, Green......................................... 154
P Soldier, Veteran...................................... 154
Villain Types.....................................................49
Brute........................................................... 49
Patrol boats......................................................15 Sorcerer (villain)................................ 136–139
Disaster...................................................... 49
Plot twists Table.......................................... 201 Squid, Giant.................................................. 144
Manipulator............................................. 49
Police Chief................................................... 151 Stegosaurus.................................................. 148
Schemer..................................................... 49
Police Officer................................................ 151 Storms.................................................. 185–186
Skulker....................................................... 49
Politics...............................................................42 Street Informant......................................... 156
Popular Culture..............................................44 Subway Station................................. 254–257
Power Level............................................. 73–75 Sumo............................................................... 228
W
Power Play (adventure).................. 260–273 Super-Science......................................... 31–33 War of the Minds (scene)......................... 220
Powers....................................................... 76–77 Swarn, Devouring....................................... 145 Wealth.................................................. 230–231
Powers and Society.......................................35 Swarm, Irritating......................................... 145 Whale.............................................................. 145
Precipitation................................................. 175 SWAT Officer................................................. 152 Wind................................................................ 186
Prevalence of Powers...................................34 Wolf................................................................. 145
Prop fighters....................................................17 T Wrestling....................................................... 229
Psionics..................................................... 30–31
Tae Kwan Do................................................. 229
Psycho (villain)................................... 127–130
Tanks..................................................................15
Z
Pteranodon................................................... 148
Technology......................................................42 Zombies (minions)..................................... 156
Public Servants (minions).............. 151–152
Templates (minions)........................ 156–157 Mind-Controlled Zombie.................... 156
Government Agent............................... 151
That Was Too Easy Table........................... 203 Skeleton................................................... 156
Police Chief............................................. 151
Theft...................................................... 173–176 Zombie..................................................... 156
Police Office............................................ 151
Themes................................................. 115–116
SWAT Officer........................................... 152

LICENSE
OPEN GAME LICENSE Version 1.0a of each element of that Product Identity. You agree not to indicate
The following text is the property of Wizards of the Coast, Inc. and compatibility or co-adaptability with any Trademark or Registered
is Copyright 2000 Wizards of the Coast, Inc (“Wizards”). All Rights Trademark in conjunction with a work containing Open Game Con-
Reserved. tent except as expressly licensed in another, independent Agree-
ment with the owner of such Trademark or Registered Trademark.
1. Definitions: (a)”Contributors” means the copyright and/or
trademark owners who have contributed Open Game Content; The use of any Product Identity in Open Game Content does not
(b)”Derivative Material” means copyrighted material including constitute a challenge to the ownership of that Product Identity. The
derivative works and translations (including into other computer owner of any Product Identity used in Open Game Content shall re-
languages), potation, modification, correction, addition, extension, tain all rights, title and interest in and to that Product Identity.
upgrade, improvement, compilation, abridgment or other form in 8. Identification: If you distribute Open Game Content You must
which an existing work may be recast, transformed or adapted; (c) clearly indicate which portions of the work that you are distributing
“Distribute” means to reproduce, license, rent, lease, sell, broadcast, are Open Game Content.
publicly display, transmit or otherwise distribute; (d)”Open Game
Content” means the game mechanic and includes the methods, 9. Updating the License: Wizards or its designated Agents may
procedures, processes and routines to the extent such content does publish updated versions of this License. You may use any autho-
not embody the Product Identity and is an enhancement over the rized version of this License to copy, modify and distribute any Open
prior art and any additional content clearly identified as Open Game Game Content originally distributed under any version of this Li-
Content by the Contributor, and means any work covered by this Li- cense.
cense, including translations and derivative works under copyright 10 Copy of this License: You MUST include a copy of this License
law, but specifically excludes Product Identity. (e) “Product Iden- with every copy of the Open Game Content You Distribute.
tity” means product and product line names, logos and identifying
marks including trade dress; artifacts; creatures characters; stories, 11. Use of Contributor Credits: You may not market or advertise
storylines, plots, thematic elements, dialogue, incidents, language, the Open Game Content using the name of any Contributor unless
artwork, symbols, designs, depictions, likenesses, formats, poses, You have written permission from the Contributor to do so.
concepts, themes and graphic, photographic and other visual or 12. Inability to Comply: If it is impossible for You to comply with
audio representations; names and descriptions of characters, spells, any of the terms of this License with respect to some or all of the
enchantments, personalities, teams, personas, likenesses and spe- Open Game Content due to statute, judicial order, or governmental
cial abilities; places, locations, environments, creatures, equipment, regulation then You may not Use any Open Game Material so af-
magical or supernatural abilities or effects, logos, symbols, or graph- fected.
ic designs; and any other trademark or registered trademark clearly
identified as Product identity by the owner of the Product Identity, 13. Termination: This License will terminate automatically if You fail
and which specifically excludes the Open Game Content; (f) “Trade- to comply with all terms herein and fail to cure such breach within
mark” means the logos, names, mark, sign, motto, designs that are 30 days of becoming aware of the breach. All sublicenses shall sur-
used by a Contributor to identify itself or its products or the associ- vive the termination of this License.
ated products contributed to the Open Game License by the Con- 14. Reformation: If any provision of this License is held to be unen-
tributor (g) “Use”, “Used” or “Using” means to use, Distribute, copy, forceable, such provision shall be reformed only to the extent neces-
edit, format, modify, translate and otherwise create Derivative Ma- sary to make it enforceable.
terial of Open Game Content. (h) “You” or “Your” means the licensee
in terms of this agreement. 15. COPYRIGHT NOTICE
2. The License: This License applies to any Open Game Content that Open Game License v 1.0 , Copyright 2000, Wizards of the Coast, Inc.
contains a notice indicating that the Open Game Content may only System Reference Document, Copyright 2000, Wizards of the Coast,
be Used under and in terms of this License. You must affix such a Inc., Authors Jonathan Tweet, Monte Cook, Skip Williams, based on
notice to any Open Game Content that you Use. No terms may be original material by E. Gary Gygax and Dave Arneson.
added to or subtracted from this License except as described by the
License itself. No other terms or conditions may be applied to any Modern System Reference Document, Copyright 2002-2004, Wizards
Open Game Content distributed using this License. of the Coast, Inc.; Authors Bill Slavicsek, Jeff Grubb, Rich Redman,
Charles Ryan, Eric Cagle, David Noonan, Stan!, Christopher Perkins,
3. Offer and Acceptance: By Using the Open Game Content You
Rodney Thompson, and JD Wiker, based on material by Jonathan
indicate Your acceptance of the terms of this License.
Tweet, Monte Cook, Skip Williams, Richard Baker, Peter Adkison,
4. Grant and Consideration: In consideration for agreeing to use Bruce R. Cordell, John Tynes, Andy Collins, and JD Wiker.
this License, the Contributors grant You a perpetual, worldwide, roy-
alty-free, non-exclusive license with the exact terms of this License Mutants & Masterminds, Copyright 2002, Green Ronin Publishing;
to Use, the Open Game Content. Author Steve Kenson.
5. Representation of Authority to Contribute: If You are contribut- Advanced Player’s Manual, Copyright 2005, Green Ronin Publishing:
ing original material as Open Game Content, You represent that Your Author Skip Williams.
Contributions are Your original creation and/or You have sufficient Silver Age Sentinels d20, Copyright 2002, Guardians of Order, Inc.; Au-
rights to grant the rights conveyed by this License. thors Stephen Kenson, Mark C. Mackinnon, Jeff Mackintosh, Jesse
6. Notice of License Copyright: You must update the COPYRIGHT Scoble.
NOTICE portion of this License to include the exact text of the COPY- Mutants & Masterminds, Second Edition, Copyright 2005, Green Ronin
RIGHT NOTICE of any Open Game Content You are copying, modify- Publishing; Author Steve Kenson.
ing or distributing, and You must add the title, the copyright date,
and the copyright holder’s name to the COPYRIGHT NOTICE of any Mutants & Masterminds Hero’s Handbook, Copyright 2011, Green
original Open Game Content you Distribute. Ronin Publishing; Author Steve Kenson.
7. Use of Product Identity: You agree not to Use any Product Mutants & Masterminds Deluxe Gamemaster’s Guide, Copyright 2019,
Identity, including as an indication as to compatibility, except as ex- Green Ronin Publishing; Authors Steve Kenson, witrh Crystal Frasier
pressly licensed in another, independent Agreement with the owner and Lyz Liddel.

IT’S ALL
ABOUT
TEAMWORK
The Superteam Handbook puts the focus on the heroes and their team,
with details for players and gamemasters alike to make their team cohesive,
dramatic, and fun! Heroes can work closer together than ever before with
new, team-focused powers, advantages, and attack options. Eight pre-made
hero teams—ranging from PL 5 to PL 12—serve as Mutants & Masterminds
campaign kickstarters, with guidelines, resources, and advice for running
a variety of heroic campaigns, along with background and statblocks for
their members to use as player characters, rivals, or villains. Will you save the
planet as part of the globe-hopping UNIQUE, battle to keep the streets safe as one of
the street-brawling Ferroburg Four, or take on ancient aliens from the cockpit of your own giant robot as a
member of MagnaForce? Whatever you choose, be stronger than the sum of your parts with the Superteam Handbook!
Available Now From Green Ronin Publishing!

TAKE YOUR GAME
TO THE NEXT LEVEL!
FREEDOM CITY, 3RD EDITION

With the Mutants & Masterminds RPG you have the power to become a
hero. Freedom City gives you the world’s most renowned city of heroes
to rescue from the forces of evil! Called “the greatest superhero setting
ever,” the award-winning Freedom City is a fully realized and detailed
metropolis that can serve as a home base for your heroes or just one of
the many places they visit while saving the world of Earth-Prime from
disaster. Your heroes can fight the forces of SHADOW, puzzle out the
schemes of the Labyrinth, and defeat the alien invaders Syzygy and the
Meta-Grue. With dozens of foes and hundreds of locations, Freedom City
gives you everything you need to run an exciting Mutants & Masterminds
campaign. Use it on its own or in conjunction with Emerald City and the
Atlas of Earth-Prime for world-spanning action!
Product Code: GRR5511 MSRP: $32.95 ISBN-13: 978-1-934547-60-1
Format: 320-page, full color hardback with poster map
ATLAS OF EARTH PRIME

Visit a world not our own, but strangely familiar—a world of heroes
and villains, of wonders and dangers, and limitless adventure! The
Atlas of Earth-Prime is a trip around the world of the Freedom City
and Emerald City settings for the Mutants & Masterminds RPG. Your
heroes can explore the sites and perils of all seven continents, as
well as fabled Atlantis, the Lost World, and the strange realms of
Sub-Terra that lie at the center of the earth. Packed with locations,
heroes, villains, and worldwide agencies, the Atlas of Earth-Prime is
the campaign setting book Mutants & Masterminds fans have been
waiting for!
Product Code: GRR5514 MSRP: $59.95 ISBN-13: 978-1-934547-76-2
Format: 272 page full color hardback
www.greenronin.com
Lindsay’s life changed the night she first saw her beloved grandfather in
his superhero guise as The Knight Light. It changed again the day a strange
storm granted her unique powers. Despite a rare genetic condition, she
now feels strong enough to take up his mantle, but can she balance his
protectiveness—and her own frailty—against her new abilities and her
desire to do good? Time is running out as a bitter villain plots revenge
against the city with a new storm that could sweep them all away.
Height of the Storm is the first Nisaba Press novel to explore Earth-Prime,
the setting of the hit superhero RPG Mutants & Masterminds.
GRR7003 • ISBN: 978-1-934547-09-0 • MSRP $15.99
Available Summer 2019!

These Days,
the World
is Filled
with Danger
Leap into exciting adventure in any era from
the Industrial Revolution to the modern day
and beyond. The Modern AGE roleplaying game
allows you to shape the setting to suit your
style—whether it’s gritty action or high adven-
ture, urban fantasy or a dystopian future. With a
new, classless character-building system, twenty
levels of advancement, and optional rules for
psychic and magic powers, you can create the heroes
your world needs. Along with an innovative stunt system, rules for
thrilling chases, and an introductory adventure, you’ll find all the action you’re after
inside the Modern AGE Basic Rulebook.
Available Now!
Modern AGE Basic Rulebook is © 2018 Green Ronin Publishing, LLC. All rights reserved.
AGE, Green Ronin, and their associated logos are trademarks of Green Ronin Publishing, LLC.
Three Powers
Infinite Realms
A CAMPAIGN
SETTING FOR
The world we know is one of many planes of existence.

Some are alternate worlds, where
history took strange, even apocalyptic paths. Some are Otherworlds: weird realms where magic
leaves its blazing mark through cities built on the back of monsters, and the floating warships of
demigods. Finally, demon princes with wills of iron rule the Netherworlds, planes with twisted
natural laws and legions of tormented souls. In ornate archways or simple alley doors, gates
connect the myriad planes. You know where to find them. You’ve been initiated into the truth.
You might belong to the Sodality, an organization that protects the innocent and explores
the planes, or you might be an agent of Aethon: a transhuman operative who protects Earth
from strange forces, and manipulates the histories of alternate worlds for your AI masters.
Battle gods and cyborgs, navigate the cold war between transplanar empires, and uncover the
mysteries at the heart of Threefold.
The first original setting for the Modern AGE roleplaying game, Threefold presents a vast
Metacosm able to support virtually any character concept—even any genre—within it. Threefold
includes characters with extraordinary powers, and provides additional rules and powers
for soul talents, magic, psychic disciplines, occult rituals, and technological enhancements.
Threefold unleashes the full potential of Modern AGE, and requires the Modern AGE Basic
Rulebook to use.
ADVENTURE ACROSS countless Worlds!
Available Now!
James S. A. Corey’s
Roleplaying game
The Expanse Roleplaying Game brings James S.A. Corey’s award-winning
series of science fiction novels to the tabletop.
Using the Adventure Game
Engine (AGE) rules that
power Green Ronin’s
Fantasy AGE, Blue
Rose, and Modern AGE RPGs, The Expanse
takes players to a far-future solar system where
humanity is divided: Martians, Belters, and the people
of old Earth struggle for political power and resources,
but older, alien, forces are stirring in the universe, and
human history is about to take an unexpected new turn.
The Expanse RPG applies the fast-playing, stunt-powered
AGE system to spaceships, solar colonies, adventure, and
intrigue in the far-future, where the actions of the charac-
ters may change the course of history!
256-page, full color hardback • $49.95 • GRR6601 • ISBN: 978-1-934547-97-7
Available Now!
THE GM’S BEST FRIEND!
The Deluxe Gamemaster’s Guide is an expanded resource creating
exciting campaigns and worlds for the Mutants & Masterminds
Superhero Roleplaying Game. In this book you’ll find a collection of
useful tools and references for the M&M Gamemaster, including:
• Villains! Detailed information on how to create, design, and run
villainous foes for your M&M series, plus an entire chapter of evil
plots, and more than a dozen ready-made and detailed villain
archetypes of different themes and power levels, including the
cold-blooded Assassin, the workaday Jobber, and the rampaging
Robot.
• Archetypes! More than villains, you’ll also find archetypes
for minions, monsters, and supporting cast characters. Need
a scientist, crook, robot, zombie, or dinosaur for your next
adventure? They’re already detailed for you!
• Challenges! Not just foes to fight, but challenges for heroes to
overcome, from disasters to deathtraps. The detailed challenge
system allows you to describe endless perils for your heroes!
• Worlds! A look at how to create your own superheroic settings
from scratch, covering history, cosmology, power sources,
origins, and much more, including the different comic book
genres and styles of play.
• Scenes! The new adventure design chapter provides examples
for how to use the Mutants & Masterminds rules to pull off all the
strange shenanigans you see in comics, from high-speed chases
to shrinking your heroes to the size of mice! Drop them into your
own adventures or cannibalize the rules for your own nefarious
schemes!
• Options! New rules options and systems, including how to
modify the M&M system for other styles of play, mass combat,
and more.
• Adventures! The Deluxe Gamemaster’s Guide contains two
complete Mutants & Masterminds adventures to get you started!
Battle a brutal crime syndicate seizing control of the city’s
underbelly, or battle human-animal hybrids on a mad scientist’s
private island!
... plus nine fully detailed and ready-to-use Lairs, complete with maps and
game information! With the M&M Deluxe Gamemaster’s Guide, running
your own Mutants & Masterminds series has never been easier.
GET READY TO MASTER THE WORLD!
Produced and Published by Green Ronin Publishing, LLC

3815 S. Othello St. Suite 100, #311 Seattle, WA 98118
www.mutantsandmasterminds.com • www.greenronin.com
Deluxe Gamemaster’s Guide is © 2019 Green Ronin Publishing, LLC. Mutants & Masterminds, Super-Powered by M&M
and their associated logos are trademarks of Green Ronin Publishing, LLC. All rights reserved.

Deluxe Gamemasters Guide PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Deluxe Gamemasters Guide PDF

Uploaded by

Copyright:

Available Formats

Gamemaster’s Guide

Steve Kenson Crystal Frasier

Writing and Design: Steve Kenson,

Green Ronin Publishing

2 DELUXE GAME MASTER’S GUIDE

DELUXE GAME MASTER’S GUIDE 3

4 DELUXE GAME MASTER’S GUIDE

HOW TO USE THIS BOOK

Chapter 3: Archetypes provides M&M Gamemasters a CHAPTER 7: OPTIONS

DELUXE GAME MASTER’S GUIDE 5

toolbox, including fighting styles, systems for reputation,

COMING FROM THE BASIC HERO’S HANDBOOK?

6 DELUXE GAME MASTER’S GUIDE

INSUBSTANTIAL FREE • PERSONAL • SUSTAINED SWIMMING FREE • PERSONAL • SUSTAINED

NULLIFY STANDARD • RANGED • INSTANT

REMOTE SENSING FREE • RANK • SUSTAINED

SHRINKING FREE • PERSONAL • SUSTAINED

DELUXE GAME MASTER’S GUIDE 7

8 DELUXE GAME MASTER’S GUIDE

GOLDEN AGE MYSTERY MEN

DELUXE GAME MASTER’S GUIDE 9

10 DELUXE GAME MASTER’S GUIDE

THE BEST OF TWO WORLDS

temporary understanding of what constitutes a “Golden

DELUXE GAME MASTER’S GUIDE 11

tion, but instead coincidentally do the right thing while

RACISM, SEXISM, & HOMOPHOBIA PROJECTILE WEAPONS

12 DELUXE GAME MASTER’S GUIDE

Antitank Rocket Ranged Burst Area Damage 9, Penetrating 9 — 36

DELUXE GAME MASTER’S GUIDE 13

FRIENDLY FIRE • Mortars are basically metal tubes capable of launch-

14 DELUXE GAME MASTER’S GUIDE

DELUXE GAME MASTER’S GUIDE 15

*See individual descriptions for more information.

the German submarine menace. Escort carriers were AIR VEHICLES

16 DELUXE GAME MASTER’S GUIDE

SILVER AGE why a genius inventor doesn’t develop Teflon or a cure

DELUXE GAME MASTER’S GUIDE 17

18 DELUXE GAME MASTER’S GUIDE

Whatever the cause, we present the relevant numbers for

Light Recoilless Rifle* Ranged Damage 7 Penetrating 7 or Burst Area — 21

*See individual descriptions for more information.

DELUXE GAME MASTER’S GUIDE 19

20 DELUXE GAME MASTER’S GUIDE

DELUXE GAME MASTER’S GUIDE 21

Generally, the realistic implications of powers made them

IRON AGE GEAR

This section looks at some of the common equipment for

THE IRON AGE ARMORY

This section provides detail on the expansive real-world

22 DELUXE GAME MASTER’S GUIDE

*See individual descriptions for more information.

EXPLOSIVES their circuitry and disabling most electronic systems

DELUXE GAME MASTER’S GUIDE 23

HIGH AND LOW REALISM

LIMIT EXTRA EFFORT

LIMIT HERO POINTS

24 DELUXE GAME MASTER’S GUIDE

ALIENS STRANGE VISITORS

DELUXE GAME MASTER’S GUIDE 25

26 DELUXE GAME MASTER’S GUIDE

Gods typically have super-human abilities, including immor- CHARACTER CONCEPTS

DELUXE GAME MASTER’S GUIDE 27