With Great Power Corebook

(1)

(2)

You can save the world,

but are you willing

to pay the price?

PDF E

DITIONDITION

Michael S. Miller

I N C A R N I N C A R N A D I N E A D I N E P R E S S P R E S S P E N N S Y L V A N I A P E N N S Y L V A N I A

With Great Power…

With Great Power…is copyright © 2005 by Michael S. Milleris copyright © 2005 by Michael S. Miller Images used on pages 80 to 83 are copyright © Louis Porter, Jr. Design, Images used on pages 80 to 83 are copyright © Louis Porter, Jr. Design,

from Image Portfolios 1..3 and 1.5, used under licence. from Image Portfolios 1..3 and 1.5, used under licence. Images used on pages 76 to 79 are copyright © Erik Buchanan Images used on pages 76 to 79 are copyright © Erik Buchanan

Edited by Thor Olavsrud Edited by Thor Olavsrud

(3)

Chapter One: Chapter One: I

Innttrroodduuccttiioonn 11

What is a Melodram

What is a Melodramatic Superhatic Superhero Story?ero Story? . . . 1. . 1

The Elements of the Game The Elements of the Game . . . 2. . . . 2

The Though The Thought Balloont Balloon . . . 2. . . 2

Playing the Game Playing the Game . . . 2. 2 The Illustration Process. . . 3

The Illustration Process. . . 3

The Reader. . . 4 The Reader. . . 4 Dramatic Irony Dramatic Irony . . . . . . 4. . . 4 Game Equipment. . . 5 Game Equipment. . . 5

A Word About S A Word About Settingetting . . . 6. . 6

Chapter Two: Chapter Two: T Thhee OOrriiggiinn PPrroocceessss 77 The Struggle The Struggle . . . 7. . . 7

Scripting Question One: Which two Scripting Question One: Which two opposed pathsopposed paths are al are all your herol your heroes torn bees torn betweentween?? . . . 7. 7 The Scratch Pad. . . 8

The Scratch Pad. . . 8

Scripting Question Two: For this story, will you use an Scripting Question Two: For this story, will you use an existing hero or craft a new one?. . . 8

existing hero or craft a new one?. . . 8

Aspect Aspectss . . . 88 How Can I List All m How Can I List All my Powers in Only Powers in Only Six Aspectsy Six Aspects?? . . . 99 Scripting Question Three: How does your hero excel?. . . 9

Scripting Question Three: How does your hero excel?. . . 9

Superheroi Superheroic Originc Originss . . . 1010 Scripting Question Four: Why does your hero fight Scripting Question Four: Why does your hero fight the good fight?. . . 11

the good fight?. . . 11

Scripting Question Five: Who is important to your hero?. . 11

Puttin Putting Yg Your Life on the Line. . our Life on the Line. . . 1212 Partners Partnership Betwehip Between Playersen Players . . . 1313 Aspect Aspect ScalesScales . . . 1313 Scripting Question Six: How much of the world Scripting Question Six: How much of the world of the comic book can e of the comic book can each aspect affeach aspect affect?ct? . . . 13. . . 13

Why do the Other Part Why do the Other Participants Gicipants Get to Pencil my Hero?et to Pencil my Hero? . . 15. . 15

Copying to the Hero Sheet Copying to the Hero Sheet . . . 15. . . . 15

Scripting Question Seven: Which aspects align Scripting Question Seven: Which aspects align most strongly with the two poles of the current struggle?. . 15

most strongly with the two poles of the current struggle?. . 15

Suffering of Aspects Suffering of Aspects . . . 16. . 16

Scripting Question Eight: Scripting Question Eight: How might you SufferHow might you Suffer?? . . . 16. 16 What if Multiple Heroes T What if Multiple Heroes Take the Same Aspect?ake the Same Aspect? . . . 18. . . 18

Swapping Back Issues. . . 19

Scripting Question Nine: What does Scripting Question Nine: What does the reader alreadythe reader already know a know about youbout your Hero?r Hero? . . . 19. . . 19

The Strife Aspect The Strife Aspect . . . 19. . . 19

Scripting Question T Scripting Question Ten: Which aspect of en: Which aspect of your heroyour hero is most important to you? is most important to you? . . . 20. . . 20

From Origin to Action. . . From Origin to Action. . . . . . 2020 Origin Process Summary Origin Process Summary. . . 2121 Chapter Three: Chapter Three: T Thhe e EEnnrriicchhmmeennt t PPrroocceessss 2222 Priming Scenes Priming Scenes . . . 22. . . 22 Step 1: F Step 1: Frame the Srame the Scenecene . . . 22. 22 Scripting Question One: What aspect does the reader Scripting Question One: What aspect does the reader need to know more a need to know more about?bout? . . . 22. . . 22

Reduce Reduce, Reuse, R, Reuse, Recycle. . ecycle. . . 23. . . 23

Step 2: Play th Step 2: Play the Scenee Scene . . . 2323 Scripting Question Two: What do Scripting Question Two: What do the charactersthe characters say and do? say and do? . . . 2323 Step 3: Define the St Step 3: Define the Stakesakes . . . 2424 Scripting Question Three: How does the hero Scripting Question Three: How does the hero want the scene to end? And how does want the scene to end? And how does the opposition want the scene to end?. . . 25

the opposition want the scene to end?. . . 25

Step 4: Re Step 4: Resolve the Ssolve the Scenecene . . . 25. . 25

GM Enrich GM Enrichment Scenement Sceness . . . 27. . . 27

Rememb Remembering Where thering Where the Cards Go Dure Cards Go During Enrichming Enrichmentent . 28. 28 Multip Multiple Aspectle Aspects in the Sas in the Same Sceneme Scene . . . 29. . . 29

Multi Multiple Partple Participanicipants in the Sts in the Same Scename Scenee . . . 30. . 30

The Levels o The Levels of Sufferingf Suffering . . . 3232 Enrichment Beyond Priming Enrichment Beyond Priming . . . 33. . . . 33

Step 1a: Dra Step 1a: Draw or Discaw or Discard Cardsrd Cards . . . 33. . . 33

Enrichment Process Summary Enrichment Process Summary . . . 35. . . 35

Chapter Four: Chapter Four: T Thhe e CCoonnfflliicct t PPrroocceessss 3366 Step 1: Picking a Figh Step 1: Picking a Fightt . . . 36. . . 36

Step 1a Step 1a: Who’s : Who’s in?in? . . . 3737 Step 2: Conflict Setup. . . Step 2: Conflict Setup. . . . . . 3737 Step 2a: Define the S Step 2a: Define the Stakestakes . . . 37. . . 37

Step 2b: Rea Step 2b: Ready Youdy Your Asper Aspectscts . . . 38. . . 38

Step 2c: Dra Step 2c: Draw Conflicw Conflict Cardst Cards . . . 38. . . 38

Defining Confl Defining Conflict stakesict stakes . . . 3838 Step 2d: Disc Step 2d: Discard Down to Sard Down to Starting Hand Starting Hand Sizeize . . . 39. . . 39

Step 3: Playing the Page Step 3: Playing the Page . . . 4040 Step 3a: Playing the First Panel. . . 40

Step 3a: Playing the First Panel. . . 40

Characteris Characteristics of Conflicttics of Conflict . . . 41. . . 41

A Tip for Cance A Tip for Cancellatiollation Using Wild Cn Using Wild Cards. . . . ards. . . 4545 Why Does the GM Get the Last Why Does the GM Get the Last Panel B Panel Before a Pagefore a Page-Swe-Switch?itch? . . . 4646 Step 3d: Assessm Step 3d: Assessment. . . ent. . . . . . . . . 4646 The Rhythm o The Rhythm of Conflictf Conflict. . . 47. . . 47

The Heart of the Ga The Heart of the Gameme . . . 48. . . 48

Step 4: Victory and Defeat Step 4: Victory and Defeat . . . 48. . . . 48

Step 4a: Y Step 4a: Yieldingielding . . . 4848 How do we Know W How do we Know Whether anhether an Aspect is Invol Aspect is Involved in the Scene?ved in the Scene? . . . 4949 Step 4b: Co Step 4b: Consequencensequences to the Vanqs to the Vanquisheduished . . . 49. . . 49

Seeing C Seeing Cardsards . . . 5050 Step 4c: Winni Step 4c: Winning the Stakesng the Stakes . . . 50. . . 50

Conflict Aftermath Conflict Aftermath . . . 51. . . . 51

Conflict Process Summary Conflict Process Summary . . . 52. . . 52

Chapter Five: Chapter Five: Game M Game Masterinastering and tg and the Story he Story ArcArc 5353 Creating Villains Creating Villains . . . . . 5353 Preparing Villains for the Rogues Gallery Preparing Villains for the Rogues Gallery . . . 53. . . 53

What the GM Is—and Isn’t. . . 54

Villain Obsessi Villain Obsessionon . . . . . . 54. 54 Scripting Question: What fundamental belief Scripting Question: What fundamental belief drive drives the vis the villaillain’s evn’s every acery action?tion? . . . 54. . . 54

Villain asp Villain aspectsects . . . 5555 Scrip Scripting Quting Questioestion: How does yn: How does your villour villain excain excel?el? . . . 55. 55 Scripting Questio Scripting Question: Who does your n: Who does your villain exploit?villain exploit? . . . 55. 55 Suffering of villa Suffering of villain Aspectsin Aspects . . . 55. . . . 55

Scripting Question: How coul Scripting Question: How could each aspect Suffer?. . . 5d each aspect Suffer?. . . 555 Villain Aspect Sc Villain Aspect Scales. . . . ales. . . 5656 Scripting Question: How much of the world Scripting Question: How much of the world of the comic book can e of the comic book can each aspect affeach aspect affect?ct? . . . 56. . . 56

The Rogues Gallery The Rogues Gallery . . . 56. . 56

Villainy Unleashed!. . . Villainy Unleashed!. . . . . . 5858 The Plan The Plan . . . 58. . . 58

Suffering Suffering—It Just Keeps Co—It Just Keeps Comingming . . . 59. . . 59

Forming a Forming a PlanPlan . . . . . . 60. . . 60

Scripting Question: Why is each strife aspect Scripting Question: Why is each strife aspect vitally important to your villain’s Plan? vitally important to your villain’s Plan? . . . . . . 6060 Why There isn’ Why There isn’t a Nemesit a Nemesis Relatis Relationshiponship . . . 61. . . 61

Scripting Question: How does the villain seek Scripting Question: How does the villain seek to Transform to Transform each strife aeach strife aspect?spect? . . . 62. . . 62

Scripting Question: Which villain might conceive of, Scripting Question: Which villain might conceive of, and carry out, this Plan?. . . 62

and carry out, this Plan?. . . 62

Scripting Question: How does the villain intend Scripting Question: How does the villain intend to capture the aspect?. . . 62

to capture the aspect?. . . 62

The Plan in Play. . . 63

Managing t Managing the Plan Asphe Plan Aspectect . . . 63. . 63

Picking Fight Picking Fights and Settis and Setting Stakes to Furng Stakes to Further The Planther The Plan . . . 64. . . 64

A Word Abo A Word About Stakesut Stakes . . . 64. 64 Using Aspe Using Aspects to Furcts to Further The Planther The Plan . . . 65. . . 65

The Plan’s C The Plan’s Culminatulmination: Thwaion: Thwarted or Triumrted or Triumphantphant . . . 65. 65 Why Must a Devas Why Must a Devastated Aspetated Aspect Change?ct Change? . . . 66. . . 66

Swapping Villainous Back Issues. . . 66

Playing to the Stor Playing to the Story Arcy Arc . . . 66. . . 66

Why Must the Heroes Lose in Why Must the Heroes Lose in Order to Advance the Story Arc?. . . 67

Order to Advance the Story Arc?. . . 67

Pacing and th Pacing and the Story Arce Story Arc . . . 68. . . 68

The Letter Column The Letter Column . . . . . . 68. . . 68

The Fa The Fan’s Len’s Lettertter. . . . . . 68. . . 68

The Pundit’s Letter. . . 68

GM Rule Summaries GM Rule Summaries . . . 70. . . 70 Chapter Six: Chapter Six: O Oppttiioonnaall RRuulleess 7711 Starting with a Splash Page. . . Starting with a Splash Page. . . . . 71. . 71

Numbering the Issues Numbering the Issues . . . 71. . . 71

More Robust Interp More Robust Interplayer Partnershiplayer Partnership . . . 72. . . 72 Alternate

Alternate Panel Panel Sequence Sequence for Conffor Conflict Plict Pagesages . . . 7. 722 Hero Versus Hero. . .

Hero Versus Hero. . . . . . 7373

D Deessiiggnneerr’’ss NNootteess 7744 A Acckknnoowwlleeddggmmeennttss 7755 C Coonnfflliicct Et Exxaammpplle e CCoonnfflliicctt 7766--7799 A Arrttwwoorrkk 8800--8833 I Innddeexx ooff HHeeaaddss 8844--8855

(5)

1

With Great Power…

With Great Power… is a role-playing game aboutis a role-playing game about superheroes—not just about people with amazing superheroes—not just about people with amazing powers, but about

powers, but about superh superheroes,eroes, people that standpeople that stand up against unimaginable odds, struggling with up against unimaginable odds, struggling with every ounce of might against the forces of every ounce of might against the forces of dark-ness and oppression. People who choose to suffer ness and oppression. People who choose to suffer so that others might be saved. It’s dark, inspiring, so that others might be saved. It’s dark, inspiring, and a whole lot of fun.

and a whole lot of fun.

The point of the game is to gather with some The point of the game is to gather with some friends and create a great story about the trials friends and create a great story about the trials

and triumphs of superheroic characters sprung and triumphs of superheroic characters sprung from your imagination. The game works best with from your imagination. The game works best with three to five

three to five participants. One of those participantsparticipants. One of those participants will be

will be the “Gthe “Game Maame Master,” oster,” or “GM” r “GM” for shofor short. Thert. The GM’s job is to play the supervillains that strive to GM’s job is to play the supervillains that strive to despoil the world the superheroes fight to protect. despoil the world the superheroes fight to protect. We’ll call the other

We’ll call the other participants “players.” Each of participants “players.” Each of the players will create their own superheroes. To the players will create their own superheroes. To keep things clear, when speaking generally, we’ll keep things clear, when speaking generally, we’ll refer to the GM as “she” and the players as “he.” refer to the GM as “she” and the players as “he.”

1

introduction

1 1

What Is a Melodramatic Superhero Story? What Is a Melodramatic Superhero Story?

Not all superhero stories are the same. Some have capes, cowls, and flashy powers. Some Not all superhero stories are the same. Some have capes, cowls, and flashy powers. Some don’t. With Great Power… can do either type. In some superhero stories, “doing the right don’t. With Great Power… can do either type. In some superhero stories, “doing the right thing” is straightforward, uncomplicated, and relatively painless. In others, “doing the right thing” is straightforward, uncomplicated, and relatively painless. In others, “doing the right thing” is often unclear, full of complicating consequences, and extracts a tragic human cost. I thing” is often unclear, full of complicating consequences, and extracts a tragic human cost. I call this latter

call this latter type the “melodramatic superhero story”—filled with angst, heartbreak, andtype the “melodramatic superhero story”—filled with angst, heartbreak, and hard choices. I designed With Great Power… to produce melodramatic superhero stories. hard choices. I designed With Great Power… to produce melodramatic superhero stories.

The Silver Age of comics, beginning in the early sixties, was the heyday of the The Silver Age of comics, beginning in the early sixties, was the heyday of the melodra-matic superhero story. Spearheaded by Marvel Comics’ prolific Stan Lee,

matic superhero story. Spearheaded by Marvel Comics’ prolific Stan Lee, many of these talesmany of these tales showed their roots in the romance comics of the fifties, with the failing health of elderly showed their roots in the romance comics of the fifties, with the failing health of elderly rela-tives and the self-doubt of “would she love me if she knew my secret” providing much tives and the self-doubt of “would she love me if she knew my secret” providing much ten-sion. To this mix, Lee added the pizzazz of superheroic adventure. Keeping secret identities, sion. To this mix, Lee added the pizzazz of superheroic adventure. Keeping secret identities, balancing the needs of loved ones against the greater good, and questions of loyalty in the balancing the needs of loved ones against the greater good, and questions of loyalty in the face of great danger created a heady mix of

face of great danger created a heady mix of angst and action.angst and action.

I chose the word “melodramatic” to describe these types of stories because it embraces I chose the word “melodramatic” to describe these types of stories because it embraces their roughness. Melodrama is drawn in broad strokes—characters are cast into archetypal their roughness. Melodrama is drawn in broad strokes—characters are cast into archetypal roles rather than

roles rather than nuanced portraits—sitnuanced portraits—situations are simple, primal, and uations are simple, primal, and timeless. At the ex-timeless. At the ex-treme edge of melodrama, it shades into the fully stylized cartoon. But I believe melodrama treme edge of melodrama, it shades into the fully stylized cartoon. But I believe melodrama serves an ongoing purpose. These same primal conflicts are addressed again and again over serves an ongoing purpose. These same primal conflicts are addressed again and again over the centuries because everyone faces them again and again

(6)

T

T HHE E EE LLEE MMEE NN TT SS OF TH E GAME OF TH E GAME

Just

Just as as the the best best superhesuperhero ro stories stories have have layers layers of of subtlety and metaphor not apparent on the subtlety and metaphor not apparent on the sur-face,

face, With Great Power…With Great Power… has a certain level of has a certain level of complexity that can seem daunting at first. In the complexity that can seem daunting at first. In the next few pages, we’ll go over the elements of the next few pages, we’ll go over the elements of the game and how they interact with one another. game and how they interact with one another.

Characters are the most important element Characters are the most important element of

of With Great Power…With Great Power… Characters are fictional in-Characters are fictional in-dividuals that inhabit the imaginary world of dividuals that inhabit the imaginary world of the game. There are three

the game. There are three types of characters: Su-types of characters: perheroes, supervillains, and supporting cast. perheroes, supervillains, and supporting cast. Su-perheroes are the stars of the game. Each player perheroes are the stars of the game. Each player creates and portrays one superhero. Supervillains creates and portrays one superhero. Supervillains are the dastardly foes of the superheroes. The GM are the dastardly foes of the superheroes. The GM portrays all the supervillains. Members of the sup portrays all the supervillains. Members of the sup--porting cast are attached to either the heroes or porting cast are attached to either the heroes or the villains and can be played by anyone at the the villains and can be played by anyone at the table, as the need arises.

table, as the need arises.

Both superheroes and supervillains are made Both superheroes and supervillains are made up of aspects. Aspects are some discrete piece of up of aspects. Aspects are some discrete piece of the character’s fictional existence—individual bits the character’s fictional existence—individual bits of story stuff. When you talk about things a hero of story stuff. When you talk about things a hero possesses, things a hero can do, things that possesses, things a hero can do, things that moti- vate the hero,

vate the hero, or people that or people that are important to theare important to the hero, you are listing the hero’s aspects. In any hero, you are listing the hero’s aspects. In any given game, a hero will have three to six aspects. given game, a hero will have three to six aspects. Y

You’ll learn how to ou’ll learn how to create heroes in Chapter Twcreate heroes in Chapter Two.o. Each aspect has a few traits, the most Each aspect has a few traits, the most impor-tant of which is

tant of which is Suffering Suffering . An aspect’s Suffering. An aspect’s Suffering

represents the amount of stress the events of the represents the amount of stress the events of the story are putting on it at the

story are putting on it at the moment. Each aspectmoment. Each aspect has its own level of Suffering, which will change has its own level of Suffering, which will change many times throughout the game. Every time the many times throughout the game. Every time the level of Suffering changes, you’ll describe level of Suffering changes, you’ll describe howhow that aspect comes under stress, and each

that aspect comes under stress, and each time cantime can be different. You and your friends will use your be different. You and your friends will use your imaginatio

imaginations to tailor each ns to tailor each instance of Suffering toinstance of Suffering to the circumstances of the game. When an aspect’s the circumstances of the game. When an aspect’s Suffering reaches the maximum Suffering reaches the maximum level—Devas-tated—it is completely swept up in conflict and tated—it is completely swept up in conflict and belongs to the GM.

belongs to the GM.

Playing cards are the other main element of Playing cards are the other main element of With Great Power…

With Great Power… Y You’ll ou’ll need need several several decks decks of of standard playing cards with jokers to play the standard playing cards with jokers to play the game. See the table at the end of this chapter for game. See the table at the end of this chapter for details on exactly how many decks you’ll need. At details on exactly how many decks you’ll need. At the beginning of the game, the players will all the beginning of the game, the players will all share a single deck, called the hero deck. The GM share a single deck, called the hero deck. The GM will use the

will use the rest of the rest of the decks for her decks for her villains. Eachvillains. Each participant will also have a hand of cards to use participant will also have a hand of cards to use for the actions of his character. To determine for the actions of his character. To determine whether the story g

whether the story goes the way a player wantoes the way a player wants, hes, he will

will play play cards from cards from his his hand hand and compare and compare themthem to cards played by the GM.

to cards played by the GM.

PL AYIN G T HE GAM E PL AYIN G T HE GAM E

So how do characters composed of aspects So how do characters composed of aspects com-bine with playing cards to create gripping bine with playing cards to create gripping super-hero stories? The meeting ground is the fertile hero stories? The meeting ground is the fertile imagination of you and your friends.

imagination of you and your friends. ScenesScenes areare

W

W II TT HH GGR E A TR E A T PPO W E R O W E R . . . . .. IIN T R O D U C T I O NN T R O D U C T I O N

The Thought Balloon The Thought Balloon

One of the coolest things about comic books is that you can show what a character is thinking One of the coolest things about comic books is that you can show what a character is thinking just as easily as

just as easily as you can show what you can show what they’re saying. You just put their words in a thought bal-they’re saying. You just put their words in a thought bal-loon rather than a word balbal-loon.

loon rather than a word balloon. With Great Power…With Great Power… works th works the same waye same way..

Take a quick peek at the Thought Balloon download. There’s a picture of comic book Take a quick peek at the Thought Balloon download. There’s a picture of comic book Thought Balloon. Copy it. Cut it out. Mount it on a handle. Whenever you want to show what Thought Balloon. Copy it. Cut it out. Mount it on a handle. Whenever you want to show what your hero is thinking, grab the Thought Balloon and hold

your hero is thinking, grab the Thought Balloon and hold it over your head. Simply say whatit over your head. Simply say what your hero is thinking. Everyone at the table will know that your hero isn’t saying “I hope Pearl your hero is thinking. Everyone at the table will know that your hero isn’t saying “I hope Pearl doesn’t recognize me in my secret identity!” out loud.

doesn’t recognize me in my secret identity!” out loud.

It may sound a little silly at first, but I urge you to try it. Using the Thought Balloon is It may sound a little silly at first, but I urge you to try it. Using the Thought Balloon is mandatory for a good game of

mandatory for a good game of With Great Power…With Great Power…Everyone will use it, so you shouldn’t feelEveryone will use it, so you shouldn’t feel self-conscious. At least I’m not asking you to wear spandex.

(7)

the framework of that meeting. Just as in comics, the framework of that meeting. Just as in comics, With Great Power…

With Great Power… is constructed of a number of is constructed of a number of scenes. Whenever you have characters interacting scenes. Whenever you have characters interacting in a location, that’s a scene.

in a location, that’s a scene.

There are two kinds of scenes in the

There are two kinds of scenes in the game: en-game: en-richment scenes and conflict scenes. In conflict richment scenes and conflict scenes. In conflict scenes, two or more participants confront one scenes, two or more participants confront one an-other in an attempt to force the scene, and the other in an attempt to force the scene, and the story, to go their way. Enrichment scenes story, to go their way. Enrichment scenes intro-duce aspects to the story, show how conflict has duce aspects to the story, show how conflict has affected them, and generally enhance the conflict affected them, and generally enhance the conflict scenes around them.

scenes around them.

In an enrichment scene, you’ll choose one or In an enrichment scene, you’ll choose one or two aspects to highlight. Next you’ll set up a scene two aspects to highlight. Next you’ll set up a scene that shows off those aspects in

that shows off those aspects in some way—just assome way—just as with

with any any other other story, story, the the rule rule of of thumb thumb isis show, show, don’t tell.

don’t tell. You You will will role-role-play play the the scene scene until until itit reaches a point of decision, a point where the reaches a point of decision, a point where the scene can go one way or another. You’ll state your scene can go one way or another. You’ll state your stakes for the scene—what your hero wants to stakes for the scene—what your hero wants to have happen in the scene. Then the GM will state have happen in the scene. Then the GM will state her stakes for the scene—what the opposition her stakes for the scene—what the opposition wants

wants to to happehappen n in in the the scene. scene. YYou’ll ou’ll put put one one of of the cards from your hand at risk in an attempt to the cards from your hand at risk in an attempt to achieve your hero’s stakes. Your card will be achieve your hero’s stakes. Your card will be com-pared to one chosen by the GM. The participant pared to one chosen by the GM. The participant with

with the the higher higher card card wins wins his his stakes. stakes. EnrichmentEnrichment scenes are explained in greater detail in Chapter scenes are explained in greater detail in Chapter Three.

Three.

Conflict scenes work much the same way. A Conflict scenes work much the same way. A conflict scene will start with a character trying to conflict scene will start with a character trying to do something that another character wants to do something that another character wants to stop. We call this “picking a fight.” Let’s say you stop. We call this “picking a fight.” Let’s say you picked the fight with one of the GM’s villains. Just picked the fight with one of the GM’s villains. Just like in an enrichment scene, you and the GM will like in an enrichment scene, you and the GM will each declare your stakes for the scene—what you each declare your stakes for the scene—what you get if you win. Then, you’ll each draw some extra get if you win. Then, you’ll each draw some extra cards into your hands to set up for the conflict to cards into your hands to set up for the conflict to come. The scene’s ending will be determined by come. The scene’s ending will be determined by comparing cards you play from your hand with comparing cards you play from your hand with cards your GM plays from hers. However, since cards your GM plays from hers. However, since conflict is more tense and exciting, it’s not

conflict is more tense and exciting, it’s not decideddecided by a single card. Just like in the comics, the story by a single card. Just like in the comics, the story is broken down into pages and panels. Each is broken down into pages and panels. Each pagepage is composed of several panels of

is composed of several panels of conflict and cov-conflict and cov-ers a single fight, usually between a superhero and ers a single fight, usually between a superhero and a supervillain. Each panel shows one action a supervillain. Each panel shows one action aimed at achieving the stakes—one hit, one aimed at achieving the stakes—one hit, one power blast, one threat to innocents. In each panel power blast, one threat to innocents. In each panel

you will play one card from your hand

you will play one card from your hand andand de- de-scribe what your hero is doing to try to win the scribe what your hero is doing to try to win the fight. Then the GM will respond by

fight. Then the GM will respond by playing a panelplaying a panel of her own. Play will go back and forth in this of her own. Play will go back and forth in this manner until one side wins. In the course of this manner until one side wins. In the course of this play, it’s likely that some of your aspects will play, it’s likely that some of your aspects will Suf-fer. After all, conflict is dangerous. Conflict is fer. After all, conflict is dangerous. Conflict is cov-ered in much more detail in Chapter Four.

ered in much more detail in Chapter Four.

The pacing of the game is aided by the Story The pacing of the game is aided by the Story Arc. The Story Arc has fi

Arc. The Story Arc has five spaces. Each time oneve spaces. Each time one of those spaces is filled, one of the rules of the of those spaces is filled, one of the rules of the game changes in favor of the heroes. The story game changes in favor of the heroes. The story won

won’t ’t end end until until the the last last space space of of the the Story Story Arc Arc isis filled. The trick is, you can only fill a space on the filled. The trick is, you can only fill a space on the Story Arc if you

Story Arc if you loselosea page of conflict. Consider ita page of conflict. Consider it the silver lining of defeat. The Story Arc is the silver lining of defeat. The Story Arc is cov-ered in more detail in Chapter Five.

ered in more detail in Chapter Five.

T

T HHE E II LL LL UUSSTT RRAA TT IIOO NN PROCESS

PROCESS

Superheroes were born in comic books, and it is Superheroes were born in comic books, and it is there that we look for our greatest inspiration there that we look for our greatest inspiration when we play this genre. Comics are created by a when we play this genre. Comics are created by a writer producing a script that describes what’s writer producing a script that describes what’s go-ing on in each panel. Then, an artist called a ing on in each panel. Then, an artist called a pen-ciler draws the page in pencil. The penpen-ciler can ciler draws the page in pencil. The penciler can experiment with different perspectives and scene experiment with different perspectives and scene arrangements because his work is malleable. arrangements because his work is malleable. When the penciler is satisfied with what he’s When the penciler is satisfied with what he’s crafted, another artist, called an inker, finalizes the crafted, another artist, called an inker, finalizes the image by embellishing it with dark black ink. The image by embellishing it with dark black ink. The inker’s lines are what will be printed and read by inker’s lines are what will be printed and read by millions of comic book fans. As a final step, the millions of comic book fans. As a final step, the colorist supplies vivid hues to each panel to bring colorist supplies vivid hues to each panel to bring the image to life.

the image to life.

The duties of crafting a story in a role-playing The duties of crafting a story in a role-playing game like

game like With Great Power…With Great Power… are similar to thoseare similar to those of comic book creators. Like a writer, you can sit, of comic book creators. Like a writer, you can sit, ponder, and decide what you want to happen. ponder, and decide what you want to happen. You will manipul

You will manipulate the game elementate the game elements—by play-s—by play-ing cards and adjustplay-ing the Sufferplay-ing of aspects— ing cards and adjusting the Suffering of aspects— to make a statement about what is happening. to make a statement about what is happening. The results of the game mechanics are like the The results of the game mechanics are like the script of the comic book. They state very plainly script of the comic book. They state very plainly what happens

what happens next, such next, such as: “Debris as: “Debris gets the gets the up- up-per hand on Mudslide.” This is just the start of per hand on Mudslide.” This is just the start of crafting a story. crafting a story. I IN T R O D U C T I O NN T R O D U C T I O N W W II TT HH GGR E A TR E A T PPO W E R O W E R . . . . .. 3 3

(8)

Like a penciler, you have to visualize exactly Like a penciler, you have to visualize exactly what

what’s ’s happhappeninening. g. Has Has DebrDebris is throthrown wn a a car car atat Mudslide? Pummeled him with her massive, stony Mudslide? Pummeled him with her massive, stony fists? Or threatened to smash the present he fists? Or threatened to smash the present he of-fered, stopping the villain dead in his tracks? Like fered, stopping the villain dead in his tracks? Like the penciler, you decide. Unlike the penciler, the penciler, you decide. Unlike the penciler, you’re not sitting alone at a drawing board. You you’re not sitting alone at a drawing board. You are in this

are in this with your friends, sitting around a table.with your friends, sitting around a table. They might also have ideas about what “Debris They might also have ideas about what “Debris gains the upper hand” looks like.

gains the upper hand” looks like. Since you’re stillSince you’re still acting as penciler, feel free to

acting as penciler, feel free to change your mind if change your mind if one of their ideas appeals to you.

one of their ideas appeals to you.

Once you have finalized your idea of what Once you have finalized your idea of what happens, you’ll have to make it permanent, like happens, you’ll have to make it permanent, like an inker. Speak loudly and clearly and describe to an inker. Speak loudly and clearly and describe to everyone what happens. Coloring comes into the everyone what happens. Coloring comes into the process at this point, as well. There is a vast process at this point, as well. There is a vast differ-ence between, “Debris punches Mudslide in the ence between, “Debris punches Mudslide in the jaw,”

jaw,” and, and, “Deb“Debris ris looklooks s over over the the forms forms of of herher fallen companions, shaking her head to clear it. fallen companions, shaking her head to clear it. Then she lunges at

Then she lunges at Mudslide shoutingMudslide shouting, ‘No means, ‘No means no!’ as her massive granite fist collides with no!’ as her massive granite fist collides with Mud-slide’s gooey jaw with a

slide’s gooey jaw with a crackcrack loud enough toloud enough to shatter windows a block away,” while leaping up shatter windows a block away,” while leaping up and acting out the motion. The difference is color, and acting out the motion. The difference is color, and how much you use is up to you.

and how much you use is up to you. Just

Just as as a a team team of of comic comic creacreators tors follofollows ws thisthis pattern again and again, issue after issue, you and pattern again and again, issue after issue, you and your friends will be called upon to script, pencil, your friends will be called upon to script, pencil, and ink the story at every stage of the game. and ink the story at every stage of the game. Scripting

Scripting is your play of cards or the posing of ais your play of cards or the posing of a specific question.

specific question. P Penciling enciling is your group’s creativeis your group’s creative

brainstorming.

brainstorming. Inking Inking is your final decision. Thereis your final decision. There will be minor variations in the process due to will be minor variations in the process due to

spe-cific circumstances, but the rhythm of

cific circumstances, but the rhythm of script, script, penpen-cil, ink

cil, ink will will continue continue to to guide guide you you in in forming forming thethe best superhero story you have locked up inside. best superhero story you have locked up inside.

DRAMATIC IRONY DRAMATIC IRONY

“Dramatic irony” is a fancy academic phrase for a “Dramatic irony” is a fancy academic phrase for a simple thing: when the

simple thing: when the audience knows somethingaudience knows something that the characters don’t. It may have a simple that the characters don’t. It may have a simple def-inition, but it is a powerful component of inition, but it is a powerful component of numer-ous superhero stories. How else could you set up ous superhero stories. How else could you set up a love triangle with only two characters? The a love triangle with only two characters? The clas- clas-sic example is the superhero that is in love with a sic example is the superhero that is in love with a woman

woman who who ignores ignores his his secret secret identity, identity, but but is is in- in-fatuated with his superheroic self. Dramatic irony fatuated with his superheroic self. Dramatic irony gives these twists bite, as we feel the pain of each gives these twists bite, as we feel the pain of each compliment paid to the superhero that he cannot compliment paid to the superhero that he cannot acknowledge, lest his secret identity be acknowledge, lest his secret identity be compro-mised. We can experience the frustration of mised. We can experience the frustration of hear-ing his boss slander the superhero’s good name ing his boss slander the superhero’s good name while

while he he cannot cannot responrespond, d, because because hehe needsneeds thethe paycheck. We can enjoy the flirtation between paycheck. We can enjoy the flirtation between vil-lainess and hero when neither knows whom the lainess and hero when neither knows whom the other one is. Dramatic irony draws us closer to the other one is. Dramatic irony draws us closer to the characters and invokes more passion in our characters and invokes more passion in our reac-tion to the story.

tion to the story.

Putting dramatic irony into a role-playing game Putting dramatic irony into a role-playing game can be tricky. Unlike comics or

can be tricky. Unlike comics or film, the authors of film, the authors of role-playing are the audience as well. We make role-playing are the audience as well. We make

W

The Reader The Reader

What is a superhero story without someone to read it? In addition to taking on the roles of this What is a superhero story without someone to read it? In addition to taking on the roles of this comic’s scripters, pencilers, and inkers, players of

comic’s scripters, pencilers, and inkers, players of With Great Power…With Great Power…have another importanthave another important role to play: the reader of the comic book. Throughout the game, each player should imagine role to play: the reader of the comic book. Throughout the game, each player should imagine that someone has just bought the comic book of the story you’re creating, and is reading it that someone has just bought the comic book of the story you’re creating, and is reading it right now. While you don’t know what happens next because no one’s made it up yet, the right now. While you don’t know what happens next because no one’s made it up yet, the reader doesn’t know because he hasn’t yet turned the page. One of the reasons the GM will reader doesn’t know because he hasn’t yet turned the page. One of the reasons the GM will have scenes with just her villains and no

have scenes with just her villains and no heroes present is because the reader would see theseheroes present is because the reader would see these scenes. Don’t hesitate to use phrases like, “The reader knows this is the same warehouse scenes. Don’t hesitate to use phrases like, “The reader knows this is the same warehouse where Pe

where Perjury toorjury took Noir’k Noir’s girlfries girlfriend, but nd, but Noir doNoir doesn’t;” oresn’t;” or, “The St, “The Stalwart getalwart gets up from s up from the blothe bloww without a moment’

without a moment’s delay. Although he doesn’t let on that it affected him, the reader can sees delay. Although he doesn’t let on that it affected him, the reader can see he’s on his last legs.” The Thought Balloon will help immensely with letting the reader know he’s on his last legs.” The Thought Balloon will help immensely with letting the reader know what’s happening in your hero

(9)

the decisions about our characters’ actions, which the decisions about our characters’ actions, which makes us the authors; but we are also the only makes us the authors; but we are also the only ones to experience the events of our stories, so ones to experience the events of our stories, so we’re the aud

we’re the audience, toience, too. How do. How do you as o you as author letauthor let the reader know something the character doesn’t the reader know something the character doesn’t when you’re playing that character?

when you’re playing that character?

It takes a bit of mental discipline, but it’s not It takes a bit of mental discipline, but it’s not hard. Think of the superheroic love triangle with hard. Think of the superheroic love triangle with two people. The superhero

two people. The superhero knowsknows how hishow his beloved feels toward his superheroic self. He’s beloved feels toward his superheroic self. He’s heard every word she’s ever said to “him.” But he heard every word she’s ever said to “him.” But he chooses, repeatedly, not to act on that

chooses, repeatedly, not to act on that knowledgeknowledge because it’s not the right thing to do. Likewise, because it’s not the right thing to do. Likewise, you’ll know every word that’s spoken about your you’ll know every word that’s spoken about your hero. But you must choose not to act on hero. But you must choose not to act on knowl-edge in a way that doesn’t make sense for your edge in a way that doesn’t make sense for your character.

character.

The best part is that, “what makes sense for The best part is that, “what makes sense for your character,” is a flexible concept. If someone your character,” is a flexible concept. If someone says, “I want to do

says, “I want to do x, x, but my character wouldn’t,but my character wouldn’t, because he doesn’t know

because he doesn’t know yy,,” the best thing for that” the best thing for that player to do is to find a different reason for his player to do is to find a different reason for his character to do

character to do x. x. Characters do things for manyCharacters do things for many reasons. Just because

reasons. Just because some some of the reasons are off of the reasons are off limits, doesn’t mean they won’t find another.

limits, doesn’t mean they won’t find another. Don

Don’t forget that your ’t forget that your friends sitting around thefriends sitting around the table are the readers as well. That’s why the table are the readers as well. That’s why the pen-ciling phase of hero creation gives them a chance ciling phase of hero creation gives them a chance to comment on your hero, so they’ll be interested to comment on your hero, so they’ll be interested in his story. Because you’re trying to entertain in his story. Because you’re trying to entertain them, too, don’t keep secrets from the other them, too, don’t keep secrets from the other play-ers. They’re here to enjoy the whole story, so ers. They’re here to enjoy the whole story, so they’ll need to know.

they’ll need to know. With Great Power…

With Great Power…is designed to support andis designed to support and encourage dramatic irony in play. When you encourage dramatic irony in play. When you de-cide to increase the Suffering of an aspect, that’s cide to increase the Suffering of an aspect, that’s your

your decision as author,decision as author, not your hero’s decisionnot your hero’s decision..

The way you pencil, ink, and color that decision The way you pencil, ink, and color that decision will allow you to create

will allow you to create dramatic irony in the situ-dramatic irony in the situ-ation. Suppose you decide to move a Family ation. Suppose you decide to move a Family as-pect from Risked to Threatened in order to draw pect from Risked to Threatened in order to draw 2 cards. While you could decide that your hero 2 cards. While you could decide that your hero leaps behind his kid sister for cover, that’s hardly leaps behind his kid sister for cover, that’s hardly the only way to pencil it. Perhaps the kid sister has the only way to pencil it. Perhaps the kid sister has wande

wandered red into into the the midst midst of of a a battlbattle e on on her her wayway home from school, or while tracking down a clue home from school, or while tracking down a clue she thinks the hero needs,

she thinks the hero needs, or to apologize for invit-or to apologize for invit-ing the supervillain into the house. If you ink it ing the supervillain into the house. If you ink it one of these ways, you’ve added another level of one of these ways, you’ve added another level of dramatic irony. You know that this danger aids the dramatic irony. You know that this danger aids the hero (by giving you more cards) but the hero hero (by giving you more cards) but the hero op-poses the danger that has beset his family.

poses the danger that has beset his family.

Enrichment scenes can also pulse with Enrichment scenes can also pulse with dra-matic irony. When you declare the stakes for your matic irony. When you declare the stakes for your hero in the scene,

hero in the scene, you’re deciding whatyou’re deciding what hehe wants. wants. But when you choose which card to risk, you’re But when you choose which card to risk, you’re deciding how much you want that to happen, like deciding how much you want that to happen, like a comic book writer. In between those two a comic book writer. In between those two val- val-ues—what you want and what your

ues—what you want and what your hero wants—hero wants— is where dramatic irony lives.

is where dramatic irony lives.

GA ME EQUI PMEN T GA ME EQUI PMEN T

To play

To play With Great Power…With Great Power…, you will need , you will need copiescopies of the hero and villain sheets, the

of the hero and villain sheets, the Story Arc sheet,Story Arc sheet, a Thought Balloon, and multiple decks of playing a Thought Balloon, and multiple decks of playing cards, as shown on the chart below. It’s best if cards, as shown on the chart below. It’s best if each deck has a distinctive back design, so you each deck has a distinctive back design, so you can easily sort cards into their respective decks. can easily sort cards into their respective decks. The players begin by sharing one deck of cards The players begin by sharing one deck of cards called the hero deck. The GM begins with one called the hero deck. The GM begins with one deck—called the villain deck—that cannot be deck—called the villain deck—that cannot be stolen from her, and a number of additional stolen from her, and a number of additional

I

IN T R O D U C T I O NN T R O D U C T I O N W W II TT HH GGR E A TR E A T PPO W E R O W E R . . . . ..

5 5

(10)

decks—called auxiliary decks—that are only hers decks—called auxiliary decks—that are only hers temporarily. The players will be able to take the temporarily. The players will be able to take the auxiliary decks from the GM later in the game. auxiliary decks from the GM later in the game. Make sure each auxiliary deck has one and only Make sure each auxiliary deck has one and only one joker. The hero and villain decks should each one joker. The hero and villain decks should each have two jokers. Throughout the game, jokers are have two jokers. Throughout the game, jokers are wild in all decks. At the beginning of the game, 2s wild in all decks. At the beginning of the game, 2s

and 3s are wild for the GM only. and 3s are wild for the GM only.

The decks are kept separate for purposes of The decks are kept separate for purposes of drawing only. Cards from any deck can be played drawing only. Cards from any deck can be played from anyone’s hand for any purpose. Since you’ll from anyone’s hand for any purpose. Since you’ll be using many cards, you might consider be using many cards, you might consider invest-ing in some cardholders, available at dollar

ing in some cardholders, available at dollar stores,stores, general-interest game stores, and via mail order. general-interest game stores, and via mail order.

In a pinch, spring-loaded clothespins can help to In a pinch, spring-loaded clothespins can help to organize your cards.

organize your cards.

At the beginning of play,

At the beginning of play, all the players will all the players will gogo through the Origin Process detailed in Chapter through the Origin Process detailed in Chapter Two. The GM will devise her villain’s Plans and Two. The GM will devise her villain’s Plans and choose her villains, as detailed in Chapter Five. choose her villains, as detailed in Chapter Five. Then, everyone will draw some cards into their Then, everyone will draw some cards into their hands. Each player draws 5 cards from the hero hands. Each player draws 5 cards from the hero deck. The GM draws 4 cards from each deck she deck. The GM draws 4 cards from each deck she controls. Once everyone has the hero sheets in controls. Once everyone has the hero sheets in front of them and a hand

front of them and a hand of cards, the GM shouldof cards, the GM should decide who gets the first enrichment scene (see decide who gets the first enrichment scene (see Chapter Three).

Chapter Three).

W

A word about settin A word about setting g

You may be

You may be wonderinwondering: “Where does this g: “Where does this imaginary comic take place?” It takes place imaginary comic take place?” It takes place in thein the world

world of of your your imaginaimagination. tion. The The classiclassic c settingsettings s for for supersuperheroic heroic melodramelodrama ma begin begin with with thethe mundane—tall buildings, major metropolitan newspapers, shadowy waterfronts, palatial mundane—tall buildings, major metropolitan newspapers, shadowy waterfronts, palatial es-tates, crime-infested alleys—and rapidly race to the very limits of the conceivable—undersea tates, crime-infested alleys—and rapidly race to the very limits of the conceivable—undersea kingdoms, dinosaur-infested jungles, snow-encrusted fortresses, cities soaring

kingdoms, dinosaur-infested jungles, snow-encrusted fortresses, cities soaring between thebetween the stars, bizarre parallel dimensions, alternate pasts, presents, and futures. It’s up

stars, bizarre parallel dimensions, alternate pasts, presents, and futures. It’s up to you and yourto you and your group to find the mix that’s right for you. Establish some ground rules for the starting setting, group to find the mix that’s right for you. Establish some ground rules for the starting setting, such as “an unnamed modern-day big city.” Then, let the players decide on setting elements such as “an unnamed modern-day big city.” Then, let the players decide on setting elements as they navigate the Origin Process. Does the hero’s power stem from a council of as they navigate the Origin Process. Does the hero’s power stem from a council of other-di-mensional entities? That alternate dimension becomes part of the setting. Let the GM mensional entities? That alternate dimension becomes part of the setting. Let the GM embel-lish more setting while creating villains. Is the villain’s Plan to destroy those who are threatening lish more setting while creating villains. Is the villain’s Plan to destroy those who are threatening his tiny mountain kingdom? Then the

his tiny mountain kingdom? Then the mountain kingdom and its enemies become part of themountain kingdom and its enemies become part of the setting. Start with the Struggle and craft

setting. Start with the Struggle and craft the setting to highlight it.the setting to highlight it.

P

Pllaayyeerrss TToottaal l DDeecckks s IInniittiiaall iin n PPllaayy GGM M DDeecckkss

1

1––22 33 1 Villain deck1 Villain deck + 1 auxiliary deck + 1 auxiliary deck 3

3––44 44 1 Villain deck1 Villain deck + 2 auxiliary decks + 2 auxiliary decks 5

5––66** 55 1 Villain deck1 Villain deck + 3 auxiliary decks + 3 auxiliary decks

* If you are playing with 5 or more players, plus a GM, you should use a double deck of cards * If you are playing with 5 or more players, plus a GM, you should use a double deck of cards as the hero deck. This deck should consist of 108 cards with the same back design (two decks of as the hero deck. This deck should consist of 108 cards with the same back design (two decks of 52 + 4 jokers).

(11)

2

T

To start po start playinglaying With Great Power…With Great Power…, you and your, you and your friends must all sit down together and navigate the friends must all sit down together and navigate the Origin Process. In the Origin Process, the players Origin Process. In the Origin Process, the players will

will creacreate te the the heroheroes es they they will will portportray ray in in thethe game, while the GM will create the villains whose game, while the GM will create the villains whose foul plans the heroes must thwart. Throughout the foul plans the heroes must thwart. Throughout the game, you will be called upon to go through the game, you will be called upon to go through the Illustration

Illustration ProcessProcess(see pages 3-4) as a way of de-(see pages 3-4) as a way of de-ciding what goes on in the imaginary comic book. ciding what goes on in the imaginary comic book. The Origin Process uses the steps of the The Origin Process uses the steps of the Illustra-tion Process: scripting, penciling, inking. The only tion Process: scripting, penciling, inking. The only difference is that scripting is structured by a series difference is that scripting is structured by a series of questions rather than decided by instances of of questions rather than decided by instances of cardplay. You and your friends will be reading the cardplay. You and your friends will be reading the questions (scripting), speculating on the answers questions (scripting), speculating on the answers for your own hero as well as everyone else’s for your own hero as well as everyone else’s (pen-ciling), and then finally deciding on what works ciling), and then finally deciding on what works best for your own hero

best for your own hero (inking). Since penciling is(inking). Since penciling is required for hero creation, you’ll need to get required for hero creation, you’ll need to get to-gether with your fellow participants so you can all gether with your fellow participants so you can all go through the Origin Process together.

go through the Origin Process together.

T

T HHE E SSTT RRUUGG GGLL EE

Superheroes have their feet in two worlds. Energy Superheroes have their feet in two worlds. Energy beams with the heat of seven suns scorch across beams with the heat of seven suns scorch across one panel, while the next panel simply depicts a one panel, while the next panel simply depicts a woman w

woman wonderinondering why heg why her date har date has stoos stood her up.d her up. Who can say which one is more gripping? Who can say which one is more gripping? Super-hero stories are rife with contrast.

hero stories are rife with contrast.

From the moment you begin to craft your hero, From the moment you begin to craft your hero, the stress of being pulled

the stress of being pulled in opposite directions mustin opposite directions must be central to him. That is why we begin the Origin be central to him. That is why we begin the Origin Process, not with powers or costumes, but by Process, not with powers or costumes, but by defin-ing the struggle that all the heroes must face.

ing the struggle that all the heroes must face.

The hero’s struggle is comprised of two The hero’s struggle is comprised of two op-posed principles that hold appeal for the players posed principles that hold appeal for the players and their heroes. They are the two paths that and their heroes. They are the two paths that tempt him, but in the end he will only be able to tempt him, but in the end he will only be able to choose one.

choose one.

Scripting Question One:

The Struggle

Which two opposed paths are all

your heroes torn between?

The list below is meant as a starting point. You The list below is meant as a starting point. You and your friends will surely create riveting and your friends will surely create riveting strug-gles of your own. Sample strugstrug-gles include:

gles of your own. Sample struggles include: Responsibility vs. Freedom

Responsibility vs. Freedom

W

W _{Ideals vs.}_{Ideals vs. Practicality}_Practicality W

W _{Personal Needs vs. Responsibility}_{Personal Needs vs. Responsibility} W

W _{The Mask vs. The Man (i.e., Superheroics vs.}_{The Mask vs. The Man (i.e., Superheroics vs.}

Normal Life) Normal Life)

W

W_{Justice vs. Vengeance}_{Justice vs. Veng}_eance W

W _{Independence vs. Belonging}_{Independence vs. Belonging} W

W _{Tolerance vs. Prejudice}_{Tolerance vs. Prejudice}

At this point, your group should enter the At this point, your group should enter the pen-ciling phase and discuss which struggles interest ciling phase and discuss which struggles interest them. Find one struggle you can all agree upon. them. Find one struggle you can all agree upon. This is the thematic question you will all

This is the thematic question you will all deal withdeal with in this particular story. However, just because all in this particular story. However, just because all the heroes, villains, and setting elements will the heroes, villains, and setting elements will de-rive from the same struggle, that doesn’t mean rive from the same struggle, that doesn’t mean they’re all going to be carbon copies of one they’re all going to be carbon copies of one an-other. Since the two principles of the struggle are other. Since the two principles of the struggle are listed as abstract generalities, you need to listed as abstract generalities, you need to

cus-2

2

The Origin Process

7 7

(12)

tomize how each side of the struggle manifests in tomize how each side of the struggle manifests in your hero in this story.

your hero in this story.

Every new story you play using

Every new story you play using With Great With Great Power…

Power… will will have have its its own own OrigiOrigin n ProceProcess. ss. TheThe same hero can face different struggles over the same hero can face different struggles over the course of many stories. Just because you pick course of many stories. Just because you pick Power vs. Responsibility as your struggle for this Power vs. Responsibility as your struggle for this story, doesn’t mean you won’t be playing Justice story, doesn’t mean you won’t be playing Justice vs. Vengeanc

vs. Vengeance in the next.e in the next.

[[EXEXAMPAMPLELE OFOF SCRSCRIPTIPTINGING QUQUESESTITIONON ONEONE]]

[Four people sit down to play

[Four people sit down to play With GreatWith Great Powe

Power…r… Grace has been role-plGrace has been role-playing for manyaying for many years, and she’ll

years, and she’ll be the Game be the Game MasterMaster. Stephen. Stephen has also been playing for a long time, always in has also been playing for a long time, always in searc

search h of of sometsomething hing new new and and diffdifferenterent. . NateNate has been playing for a few years and has tried has been playing for a few years and has tried a few of the

a few of the most popular RPGs. Deanna is rel-most popular RPGs. Deanna is rel-atively new to

atively new to role-playing.]role-playing.]

Grace:

Grace:We first have to decide on what our heroes’We first have to decide on what our heroes’ struggle is going to be. What thematic issue are struggle is going to be. What thematic issue are they grappling with?

they grappling with? Nate:

Nate:Theme? I thought we were going to be play-Theme? I thought we were going to be play-ing a superhero game, not goplay-ing to English class. ing a superhero game, not going to English class. Grace:

Grace:It’s not English class. It’s just that for a storyIt’s not English class. It’s just that for a story to be interesting, the characters need to have to be interesting, the characters need to have problems to overcome. So we need to decide problems to overcome. So we need to decide what kind of prob

what kind of problems they’lems they’ll have.ll have. Deanna:

Deanna:Do you mean like having family problemsDo you mean like having family problems or love problems?

or love problems? Nate:

Nate: Or drug problems?Or drug problems? [snickers—Grace glares[snickers—Grace glares at him and he pipes down]

at him and he pipes down] Stephen:

Stephen: [his nose in the rulebook][his nose in the rulebook] You’ You’re on there on the right track, Deanna. It says here that it could be right track, Deanna. It says here that it could be something like “Responsibility vs. Freedom” or something like “Responsibility vs. Freedom” or “Ideals vs. Practicality” or—

“Ideals vs. Practicality” or— Deanna:

Deanna:I like that one! I was just saying to a friendI like that one! I was just saying to a friend of mine the other day how frustrating it is to deal of mine the other day how frustrating it is to deal with

with the the day-today-to-day -day drudgerdrudgery y when when you you wantwant bigger things. I bet it would be even worse for a bigger things. I bet it would be even worse for a superhero.

superhero. Stephen:

Stephen: I can work with Ideals vs. Practicality. II can work with Ideals vs. Practicality. I think I’ve already got an idea.

think I’ve already got an idea. Nate:

Nate: Showoff.Showoff. Grace:

Grace:Ideals vs. Practicality is a great struggle. AreIdeals vs. Practicality is a great struggle. Are you sure you’re okay with that, Nate?

you sure you’re okay with that, Nate? Nate:

Nate: Sure, sure. When do I get to pick my “ideal”Sure, sure. When do I get to pick my “ideal” powers that get “practically” everything done? powers that get “practically” everything done?

T

T HHE E SSCC RRAA TT CC H H PPAA DD

Each player will have a Scratch Pad for his hero. Each player will have a Scratch Pad for his hero. Photocopy the one provided in the back of the Photocopy the one provided in the back of the book, download it from the web site, or just use a book, download it from the web site, or just use a piece of scratch paper. Jot down any potential piece of scratch paper. Jot down any potential as-pects that come to mind. Remember, you’ll need pects that come to mind. Remember, you’ll need at least three aspects to

at least three aspects to get your hero started. But,get your hero started. But, it’s not necessary to put every aspect on the it’s not necessary to put every aspect on the Scratch Pad right away. You are free to embellish Scratch Pad right away. You are free to embellish the Scratch Pad between stories, adding new the Scratch Pad between stories, adding new Pow-ers, new

ers, new RelationshipRelationships, additional Origin s, additional Origin details,details, and the like. Once you have a few of them down, and the like. Once you have a few of them down, you can choose the ones that are appropriate for you can choose the ones that are appropriate for the struggle you selected in Scripting Question the struggle you selected in Scripting Question One: The Struggle. Between stories, the Scratch One: The Struggle. Between stories, the Scratch Pad is where you will keep track of all your hero’s Pad is where you will keep track of all your hero’s aspects, though you’ll just use a subset of them aspects, though you’ll just use a subset of them for each new story.

for each new story.

Scripting Question Two:

The Scratch Pad

For this story, will you

For this story, will you use an existing

use an existing

hero or craft a new one?

If you’re using an existing hero, you already have If you’re using an existing hero, you already have a few aspects on your Scratch Pad. You may a few aspects on your Scratch Pad. You may con-tinue to the aspects section if you’d like to add tinue to the aspects section if you’d like to add some more, or you can skip ahead to

some more, or you can skip ahead to Copying toCopying to the Hero Sheet

the Hero Sheet (see page 15-16).(see page 15-16).

If you’re crafting a new hero, it’s time for some If you’re crafting a new hero, it’s time for some questions about your hero’s aspects.

questions about your hero’s aspects.

A

A SSPPEE CCTT SS

The next three questions will define the

The next three questions will define the aspects of aspects of your hero. Scripting question three covers your your hero. Scripting question three covers your hero’s Assets. Scripting question four probes your hero’s Assets. Scripting question four probes your hero’s Motivations. Scripting question five delves hero’s Motivations. Scripting question five delves into your hero’s Relationships. Listed beneath into your hero’s Relationships. Listed beneath each of these questions are a few subquestions to each of these questions are a few subquestions to help you script specific types of aspects.

help you script specific types of aspects. List theseList these potential aspects on your Scratch Pad. Even the potential aspects on your Scratch Pad. Even the most vaguely defined hero must answer questions most vaguely defined hero must answer questions three, four, and five, so a hero must have at least three, four, and five, so a hero must have at least three aspects.

three aspects.

W

With Great Power Corebook

You can save the world,

You can save the world,

but are you willing

but are you willing

to pay the price?

to pay the price?

PDF E

PDF E

Michael S. Miller

Michael S. Miller

CONTENTS

CONTENTS

1

1

1

1

introduction

introduction

2

2

Scripting Question One:

Scripting Question One:

The Struggle

The Struggle

Which two opposed paths are all

Which two opposed paths are all

your heroes torn between?

your heroes torn between?

cus-2

2

The Origin Process

The Origin Process

Scripting Question Two:

Scripting Question Two:

The Scratch Pad

The Scratch Pad

For this story, will you

For this story, will you use an existing

use an existing

hero or craft a new one?

hero or craft a new one?