THE POWER OF FOUR

Comic book teams come in many forms. From solo heroes to teams with a seemingly never-ending roster, there is a great diversity in team organizations. Some teams are very static, never taking on new members while others have a very open membership, accepting new champions to their roster on a regular basis. Some teams are official organizations while others are a loose confederation of heroes bound only by a common belief, objective or motivation. There is, however, a very useful, commonly seen team organization that repeated throughout decades of comics - the four-man team. 

Much like the vaunted five-room dungeon of fantasy RPG fame, the four-man team looks to digest the concept of the super team down to its bare essentials. This team formula is not meant to be a strict layout for a team but rather the most elemental building block of a solid team structure. Adding to it and refining it is certainly allowable and even adviseable but this basic layour will get you going and give yo ua plyable team if you choose to go no further. 

At the core of the four-man team are four distinct roles. These can vary but these four are the most commonly expressed. The four key roles are as follows - 

The Brain: Often but not always the leader, this character is the thinker, strategist. Their powers may or may not helpto define their role or be completely unrelated. Character such as Mr Fantastic are a prime example of this role but others such as Cyclops from the X-Men or Captain America from the Avengers also fit the trope. The important thing for this character type is that they are inclined to provide command and control for their team.

The Brick: Frequently a huge, hulking figure such as Thing or Hulk, this character's primary role is combat and defense, often combining toughness, physical damage output. They do not need to be huge, imposing figures though and there are a fair number of examples of more normally proportioned Bricks, like Rogue. A variant on the Brick is the Brawler, trading skilled fighting for simple brute force. Example of this variant are Puck, Wolverine, and Beast.

The Blaster: The primary ranged combatant in a four-man team come in the form of the Blaster. These characters unitlize ranged attacks or mobility to engage the team's opponents. Guns, energy blasts, or psionic abilities are common manifestations of this role but also a teleporter or speedster might fit the roles as well. It is not uncommon for this role to be duplicated across another role in a team as well such as Cyclops being one of the X-Men's primary blaster characters while also being a leader. 

The Support: The most broadly defined of the roles, the Support often manifests any combination of powers that allows them to defend, obscure, transport or otherwise provide useful backup to the other members of the team. Magic characters and characters with very versatile power sets often fall int othis role and may have characterstics of other roles. Storm and Jean Grey are both good examples of Support characters even though Storm has the ability to fire blasts of lightning. 

A team that possesses some combination of these four roles will be set up for success, however with such a small team it is important that the character in each role is designed to fully support their role on the team. It is also recommended that each role have some overlap into other roles and this can be done freely between roles. There is, for example, no reason, a Leader cannot also be a qualified Brawler or a Brick have abilities that allow for Support. Doing so will help assure the team can function well enough with a member down or should the team get split. 

Once you have the core four set up, it is easy to expand a team, adding additional members who fill one or more of the roles or who do not specifically fill any of the four roles. Larger teams tend to repeat on the combat roles of the Brick/Brawler and Blasters first, with additional Support being added after that. The X-Men have a Leader who is also a Blaster but Also has a Support who is a Blaster. They have both a Brawler and a couple of Bricks, depending on the specific team lineup. 

This brings me to one of my personal variants of the four-man team which I like to use specifically for villain teams. This formula is one I noticed on a lot of villain teams, specifically in the 90s and it produces and interesting dynamic. Rather than the Leader, Brick, Blaster, Support roles, this team is broken down into the Master, Monster, Killer, and Weirdo. In this lineup characters are built more along themes than specific team roles but they tend to end up creating interesting teams nonetheless. 

The roles for my four-man villain team are defined thusly - 

The Master: Thsi character is the leader of the team but not always through virtue of being the most qualified. They are often the most powerful or more brutal ofthe team and therefore keep the rest in line through fear and their will alone. They are often gifted with a lot of power or tech that makes them able to stand on their own.

The Monster: Much like the Brick, the Monster is often a hulking, brutish figure though they may be some sort of creature or at least look the part. Savagery mixed with brute strength and endurance typifies the Monster. Monsters often have abilities beyond simple simple brute powers. 

The Killer: Killers are similar to Brawlers though they are not always combat oriented. Sometimes, the killer is more of a stealth support sort of character. They are often indicated by savage weapons, natural or otherwise. 

The Weirdo: This is the most outlandish of the four villain types in this model. The Weirdo is usally some sort of strange being such as an alien or demonic life form, a being of pure energy, or an unspekable horror from beyond reality. Weirdos often have strange powers, making them something of a Support character.

As you can see the basics of the four-man team can be altered with a little thought along the lineso f themes or style rather than specific tactical roles. You should never feel limited by the four-man team either, whether it is the just the basics unit o your team or the entirety of it, creativity really is the only limit.

TO BE OR NOT TO BE - DOES A NEW CHARACTER NEED A FULL ORIGIN?

There are many characters with extensive backgrounds stretching back to the earliest days of the comics industry. Everything from science, to magic, to the wonders of the body’s own genetics have been used to explain the wondrous powers of comic books heroes and villains. What many people don’t realize is that these origins were often never conceived of when the character was first created and only became canon later in the character’s existence.

In the long history of comic book characters there are even some characters who have never had a definitive origin revealed in the pages of any book. Oftentimes, characters' origins are unknown to themselves and their comrades and thus kept from the reader until some story element or elements finally reveal them. The mystery and uncertainty of an unknown origin can add to a character’s charm, allowing room to grow and areas to surprise readers later on down the road when the character might be getting a little more known and predictable.

In RPGs making the decision to keep the exact details of your character’s origin a mystery can be fun for you as a player as well as your GM. It allows players to get into playing without the burden of trying to come up with a complicated backstory and the GM has the opportunity to fill the blanks in for you later on. Most systems require you to roll or make a choice about your character’s power source but you can leave it at that and not specify anything until later. A scientific accident can be left at a simple, “An explosion in the lab..” or, “due to an unexplained laboratory accident.” If your character has a mutant background you can leave the origin very basic with just a glimpse of their childhood and early life, filling in specific events later. Your alien character only needs to know what species they are a general reason to be on Earth.

The most important thing to understand if you choose to do this is that you are allowing your GM a lot of room to play. You are essentially surrendering the details of your character’s origins to the campaign and entrusting your GM to figure it out as you play. With this decision, you will need to display a fair amount of willingness to play along and collaborate with the choices your GM makes for your character. That is not to say that you have to accept everything your GM comes up with. Ultimately your character is yours to play and such an agreement is still at the consent of you, the player. GMs should be willing to work with the player, adjusting when a player voices displeasure at a direction taken with their character’s true origins.

Another thing to consider when taking this approach to a character’s origins is to have a discussion with your GM about anything you absolutely want to take off the table when it comes to revealing a secret origin. You can also agree ahead of time just how long you want to keep that origin secret and what, if any, lasting effects the revelation will have on your character. This should help to ensure that the final reveal is as seamless and satisfying as it can be.

Choosing to play a character with a secret origin is a big decision to make but it can be a lot of fun. It can take as little or as much time as you want and just remember some of the most famous characters took half a dozen to a dozen issues for their true origins to be revealed while others have gone literally years, even decades without having theirs revealed. Just be willing to play along and see where the fun takes you.

YOU'VE BEEN PLACES - BUILD YOUR CHARACTER'S LORE THROUGH NPCS

Decades of comics have given the characters found within the countless pages extensive backgrounds, each a rogues gallery of friends, allies, and enemies. These, of course, were developed with time and successive layers of story, something we seldom get to have in tabletop games. To this end, it can be worthwhile to not only create your hero but a few other characters from their background.

Many games assume that a character is starting at the beginning of their heroing career, however this is not always explicitly stated. Many systems allow for starting power levels that are on par with well-established comics characters and so it would be completely reasonable to decide that your character has been adventuring for some time before the start of play. As such, there is plenty of room to create a few secondary characters to fill in that time. They don’t have to be enemies or anything spectacular but a few nicely thought out NPCs can really round out a character.

At minimum it is worth your time writing up any every day NPCs that your character interacts with, unless they are interacting with established characters from the universe. Think of what family members, work associates, and other people in the neighborhood your character might have interacted with. If you are running a street-level campaign these characters might be a local grocer, a street kid, or even a homeless person that your character interacts with on a regular basis. If you're playing a character with a strong connection to their home life, like Spider-Man these could be immediate family or close relations, perhaps even dependants. Alternatively, they could be people that your character knows from their alter eog’s professional life, fellow scientists, engineers, social workers, etc. They needn’t be friendly to the character either, as designing rivals, nosey neighbors, or low-level bad guys can add texture to your characters. You can even design employees, if your character is the sort to have them.

In addition to everyday NPCs, a player can and should think of at least a couple of villains from their past. Not only is this a nice gift for your GM who can then use them against your character later (as you wrote them or otherwise), but these sorts of NPCs can help your GM establish the sorts of themes and tone you want to explore with your character. Darker themed NPC villains will establish your character as the sort who fights those sorts of enemies while a bunch of mystic ninjas tells you GM of a very different sort of feel. If at all possible, you should at least write up any enemies who have appeared in your hero's origin or background as such characters have a tendency to resurface later in a hero’s career. Again, you are trying to flesh out your character to enrich your play by inspiring your GM with some personalized content for your character.

Besides everyday and enemy NPCs there is also room for creating other heroes your character might have worked with in their past. This is especially useful if the campaign is taking place in a place other than where the character established themself. These sorts of characters might have been partners, sidekicks, mentors, even friendly rivals or teammates. If they are from another location than the character’s current stomping ground, they can be a handy off-camera backup, rescuer, or source of plots and stories for your hero. An old ally seeking help or bringing news from your character’s old patrol makes for a great introduction to a new adventure. These sorts of characters can be used by the GM to great effect but also provide handy backup characters for players who have a character with a reason to look in on their main character should something happen to them.

One last form of NPC to consider creating for your character is an entire organization. This may seem daunting at first but when you consider that new characters in comics often have ties to existing organizations or even invent new ones, it’s definitely a route to go. The famous Weapon X program, later named Weapon Plus, wasn’t in comics until 1974 when it was mentioned in The incredible Hulk #180. Organizations can be big or small and give you the opportunity to play with something that could very much add to your campaign’s universe. Organizations are a topic that warrants its own post but they can definitely be a fun project.

In the end, lore goes beyond just NPCs but I find that the NPCs are key to the lore of a hero. These characters you create, whether enemies, rivals or supporting cast, will generate ideas and stories that give your character the feel of having come from somewhere, with several issues under their belt before the start of play. A little thought and time spent will slingshot your character into a campaign with more definition than a freshly rolled set of stats.

WHAT DO I DO WITH THIS? - INTERPRETTING ODD CHARACTER CREATION ROLLS

The Ultimate Powers book, while providing an amazing array of powers and abilities is also famous for creating some really weird combinations. 

The Classic Marvel Super Heroes RPG utilized a random character generation system as its core method of creating characters.  While random character generation is a time-honored and popular method of generating characters in TTRPGs that, it can lead to some bizarre characters. In this article, I hope to provide some hints and tips for making the most of wild random results. 

While other methods of character generation were proposed, such as modelling and and the point build system in Polyhedron Magazine, issue #72, random generation was the primary method and one that was most often used, in my experience. There is something enjoyable about discovering who and what your character is through a series of random rolls. Sometimes these are completely random with little or no choices to be made along the way and sometimes they are more guided, with each roll leading to another. MSHRPG's method is very much the latter, with each roll determining a chart or column that you will roll on for the next part of your character. 

Early versions of this method found in the original boxed set and then the Player's Book of the advanced set, kept these options pretty tightly confined, but as the game grew and supplements such as the Ultimate Powers book were released, the random options, while still guided through charts and tables, became much more sprawling, complex and often convoluted. This made for a seemingly endless number of combinations and options but the results could often be very strange and hard to reconcile, especially for newer players. Usually, the powers and origins generated are perfectly fine and can be meshed together with little problem, however it was quite possible to end up rolling something wild like a plant/robot or a character with fish communication and fire powers. It is these strange cases which I seek to address.

1. Substitution

One of the easiest ways to handle the rolling of seeming incongruous powers is a simple method of substitution. To do this, allow a player to exchange a power for two ranks in other powers. Additionally, I have found it simple enough for the player to decide which of powers they wish to keep and simply substitute unwanted powers for either a new roll or choosing a power more appropriate to the theme set. This gives the player a chance to hone their powers. You can even allow a player to sacrifice ranks to gain new powers, should they feel the need to expand their initial powers beyond what they rolled. This should be done at an exchange of two power ranks from one or two powers to gain another power. A GM should be careful of abuses using these exchanges. It is advisable to allow no more than one or two new powers using this exchange method.

To further reinforce responsible power and rank exchanges, a GM can reward a player for maintaining a tight theme to their powers, giving them a +1 Column Shift bonus to powers that fit a particular, narrow theme. It is important, when doing this, that the theme be well defined up-front, so as to make sure the player isn’t trying to scam the system. GMs should work with players to firmly establish the theme while also being willing to listen to creative interpretations of powers (see #2 below). 

Doctor Doom classically combined hi-tech and science with magic.

2. Interpretation

The more complicated way to do this is also the more interesting way. Instead of changing out oddball powers, a creative GM and player can choose, instead, to spend some time getting creative with how to interpret powers to bring them into a usable consistency. This may require some mental gymnastics but comics have proven that no combination of powers is truly impossible. Mixing magic and science are well-established in comics, often in some interesting combinations. In addition to powers, sometimes origins can seem a bit disjointed with players having to reconcile how they might be a mutant robot or an alien deity, etc. 

In these cases I find it is best for a GM to really listen to the creative vibes that the player brings to the discussion, keeping an open mind and listening from a position of wanting to make it work. Marvel comics has given us alien mutants whose mutation is the ability to feel compassion or a mutant character whose powers allow him to speak with and channel the dead. Classic characters, such as Scarlet Witch, blended magic and mutant abilities and we have seen magical robots like the Asgardian Destroyer or alien, psychic, cyborgs like ROM and the Space Knights. Anything can be done if you simply apply some creativity. Now, I realize that not everyone is as well-versed in comics tropes and lore and so that may not be such an easy undertaking, so allow me to give you some tips on how you might accomplish this. 

Magick was a character that combined mutant, sorcerous, and demonic powers all into one

One great method for making these disjointed powers work together is to recontextualize them. Consider changing their nature or the exact effect and how that produces the final power. Control powers can always be reframed based on the type of energy they are using. In addition the source of the manipulation can change to accommodate the theme of the character. A classic version of this is the force field or elemental control powers. Force fields can be expressed in any number of ways. While one character might generate an energy field of force from a technological device, another might simply generate telekinetic force with the power of their mind, while at the same time another, insect themed character, might create a wall of insects that provides some defense in a similar manner. Elemental control characters might use technology, a magic item or the power of their mind e.g. pyrokinesis. 

It is important to understand that all of these methods can crossover without any real need for explanation. If your character roles computer communication or machine speaking and you rolled a mystical origin, just have the abilities work by reading the electronic code as if it were a language to be translated, energy to be manipulated like any other, or even the spirits of the machine being contacted. Even some of the more esoteric powers can be linked together through theming. Imagine you roll a bunch of incest-themed powers but then time control. You might be tempted to drop the time control ability but, maybe it’s just a matter of researching which insects have a mythical or folkloric connection to time. Chances are most insect abilities will work together regardless of the insect type and now you have a very unique character.

The same applies to combining backgrounds and origins where a magical cyborg can make perfect sense when we consider the various Asgardian mechanical constructs of the techno-magic of the Dire Wraiths, Doctor Doom, or Apocalypse. Just remember, one of Marvel’s most famous characters is an undersea hero who can fly (Namor) and there is a super acrobat who is the byproduct of demonic possession (Puck). You just need to be willing to bend with the rolls and sometimes squint until you see the hidden picture in the mess.   

OFF THE BEATEN PATH - BREAKING FROM YOUR CAMPAIGN'S NORM

Modern comics have created a perception of intense planning and forethought with their interconnected crossovers and prescriptive metaplots. This, however, is not, nor has it ever been the way for the majority of comic book history. Even heavily themed, more focused books, like X-Men, have had their disconnected, seemingly random encounters. Comics often had to insert filler stories between major events, to keep books going or while they were trying to find their legs. This was, of course a purely business-based decision as many comics literally struggled to stay in print, often getting cancelled and restarted before they finally found their voice. 

As gamemasters, this gives us a lot of wiggle room with what you can plot for your campaigns. As mentioned in previous posts, seeming;y random things often happen in any given title but this randomness can be controlled and planned for and not quite as odd and slapstick as some of the previous examples. Where that post was written to give permission to have simple, dumb fun happen in your games, here I am talking about being more intentional with side quests outside the normal theme of your game. 

Taking your players outside of their usual themed plots and stories is a great way to allow them a break from their usual. In addition, such adventures often introduce the characters to new obstacles and situations that put their powers to the test and provide opportunities for them to expand upon those powers. As a GM, these side adventures will let you expand you storytelling and character design. Spider-Man may spend most of his time duking it out with a constant run of quirky villains but he occasionally gets chucked into another dimension, to another planet or finds himself tangling with enemies outside his usual rogue's gallery.

Side adventures are great ways to introduce new elements for your story as well. While they don't need to carry over beyond the initial adventure, they can certain provide a lasting element to your campaign. Just as the X-Men discovered a supply of Vibranium in the Savage Land, along with introducing heroes like Ka-Zar or villain such as Sauron, a side quest into a new space provides seeds and questions to later exploit in your games. The Ihumans and their expansive story were introduced through an encounter with the Fantastic Four. In these cases, the comic book universe and the setting of the particular titles were broadened beyond their normal focus, making for a more interesting story and ultimately providing elements that could be called upon later just asv GMs can in their games. 

As a GM, it is important to consider what you hope to accomplish with these side adventures. Consider tying them into your players desires - things they may have mentioned in passing along the way or even specifically asked for. If you have a player who is hoping to expand their powerrs in a new direction, perhaps consider how one of these side adventures might help with that? You may have an upcoming eneemy planned for your players that might present them with a challenge that they normally have no means to deal with and a side adventure to a new place or with a new character could allow them that means, if tey are crafty enough to make the connection. Side adventures are also great ways to foreshadow upcoming events in your campaign. A seemingly random encounter with an alien species could just be the tip of the iceberg of a massive event in your universe. 

Whatever you do with side adventures, make sure that, while they seem outside the norm for your heroes, they still do something to enrich the game and story of those heroes. Too many totally random "What The..?!" moments will leave your players feeling there isn't any sort of direction to the game and while this may be okay for more casual campaigns or with certain kinds of characters, mostp layers are going want a little more meaning in their campaigns. 

STUFF HAPPENS - RANDOM ENCOUNTERS

Comics are full of deep plots, interweaving plots, metaplots and ongoing stories but there are also a massive number of seemingly random, short-term, or even one-off encounters that occur in nearly every title. While this tends to be the province of solo heroes like Spider Man or the Incredible Hulk, just about every hero and team of heroes has had encounters with enemies outside their usual cast of characters. 

To a great degree, these sorts of randomly encountered characters serve to allow comics creators to experiment with new ideas play around, and have fun. They are often less defined, sometimes less well thought out and sometimes very silly. Quite often these character are introduced with the intention of having them become recurring characters should they prove popular enough but in many cases, they come, go and are never heard of again, that is until another creator decides they want a crack at the character.

This is one of the greatest benefits of these characters for GMs. GMs are notoriously creative, constantly coming up wth new NPCs and characters. With many games it can be tricky to find a believable, useful place for all this creativity but superheroes games have it written int othe very fabric of the genre. Leaning into this will only serve to make your games feel more like the comics they are based on. If you have an idea, jot it down, scribble together some quick stats and file it away in you folder of random encounters to use when you and/or your players need a break. That woodchuck-themed villain may only show up for one ill-fated fight with your players' heroes but he will be remembered. 

Random encounters need not stay random though. As I have pointed out in several previous posts, these characters are right for creating questions, rectonning, seeeding. A seemingly random hero may develop over time, returning as a lost relative, an alternate self, connected to a character's origins. Random encounters can spin off into new player characters even much in the same way that Peter Parker's styslistc costume change in Secret Wars became the pehenomenon that is Venom and then all the symbiote maness that came out of that. the key is that they never have to though, allowing  GM to create and use them freely. 

ALIEN SPECIES - ANOTHER CLASSIC RECURRING ENEMY

 

Last time, I wrote about recurring enemies and how they are a great way to world-build and allow yourself, as a GM, some easy filler or convenient opponents to slip into your campaign, from time to time. This time, I'd look to look at another sort of recurring enemy that is also not a named team or villain - alien species. 

Whether it is the Skrulls, Kree, or Badoon, comic book universes are filled with nearly endless examples of alien empires, all with their own agendas, special powers, equipment and often even named characters. Many of these alien empire are framed as distant, warring factions who occasionally appear on Earth to cause trouble while others are shown to have machinations on Earth itself or, even better for the GM and your players, the PC heroes. they can come, go, stay or disappear as your cmpaign needs as well, only as present a you want them to be but often able to appear out of nowhere, despite seemingly gone.

When choosing which alien species to use, spend a little time considering what it is that you want them to do. Larger alien empires will have greater resources to bring to the fight, sometimes even having their own sperpowered operatives, like the Super Skrull or Captain Mar-Vell. While any race can be sneaky or warlike, different species are goign to play into this better than others. The Skrulls ae definitely a better fit for a secret invasion than say the Kree or Brood, even though any of them have shown an ability to hide among humans. 

One of the nice things about using alien species in your games is that they afford your the same scaleability as organizations, even more so in many cases. Additionally, their alien nature and often unimaginable technolgy can allow them to come and go freely and appear from nowhere, much like ninjas or secret organizatons can. When doing any of these, you needn't worry too much about the specifics of how they are doing what they are doing as comic book aliens are often given great leeway when it comes to the exact nature of their abilities and technologies, often coming up with previously unrevealed weapons and even powers as their presence progresses in the stories. 

Alien species, much like organizations are not confined to the role of enemy either. You can have them be as monolithis or complex as you like. Comic books are full of turncoats, traitors, subversives and subfactions among alien species and their empires. These anomalies add depth to the recurring aliens, allowing the players' characters to make friends and allies even while fighting the majority of the alien menace. the exact motivations and reasons for these anmalous characters can be as simple as differing opinions, politics, or even a person agenda that goes against the overall motivations of the species such as love, revenge, honor, or any other personal expression of emotion or intelligence. 

One last consideration with using aliens is that the universe is massive and comic book aliens often travel not just between planetary systems or even within the same galaxy but often from entire other galaxies or dimensions. Because of this, you can invent new alien as freely as you like without ever feeling like you have explain their existence. Even if they are from an area of "known space" such as the Shi-ar empire, you can explain them with just a few waves of your world-building wand. An alien may be from the farthest reaches of space or just around the cosmic bend and just simply never discovered or even kept hidden from detection. They might have simply blipped into existence or awakened after eons of slumber, or slipped into this universe through the fabric of time and space.

Aliens provide a rich tapestry of options for a GM to come up with endless encounters fo their players. They will provide characterful opponents that the players can love, hate, or love to hate. They can even provide the spark for new characters to be played by your players. The next character at your table may be a rogue member of a species or an advanced scout sent to prepare the world for a coming threat. 

What are some of your favorite comic book aliens?

How have you used aliens in your games?

Have you ever had any players make character from alien species you have brought into your games?

RECURRING ORGANIZATIONS - EASY ADDS FOR GAMEMASTERS

 

Comic book universes are full of organizations who have massive resources to bring to bear against the heroes and their enemies. Often, these are meant to be recurring, high stakes enemies that are constantly harrassing the protagonists at every turn. Other times they are a looming threat, popping up just when it's most inconvenient.

We see the latter with the Sentinels in the earlier days of the X-Men comics where they seemed ot pop up all the time. Other groups that tend to do this in more recent years are groups like SHIELD and HYDRA who frequently show up as part of long-running stories. Other organizations, such as The Hand or AIM seem to pop up less frequently, showing up when the twisting coils of the protagonists's lives bring them back into conflict, then dispappearing back into the shadows again when the latest plot twist is finished. 

Many times these enemies float from title to title, often connecting along themes such as martials arts, spy thriller, or simply mutant team members but no organization need be limited to their original or intended adversary. The Hand certainly came into conflict with the X-Men through both Wolverine and Psylocke and SHIELD shows up to deal with any superpowered threat. Organizations such as AIM or HYDRA might seek to capture a member of a team for their uses and Sentinels are notoriously dumb and innefective, often confusing non-mutants for mutants or even getting hijacked by other villains for their own uses. 

The use of recurring organizatons in games is a crucial tool for a GM. Not only do they make convenient, easily insertable opponents for your players but they also help you, the GM, establish a sense of place and world. Ruccuring enemies are like landmarks in a game, they remind players where their character are. They can guide players toward particular conclusions or they can be used to subvert the players' expectations. The Hand may be trying to kill the players at one time but later show up to save them, thus creating a strange dichotomy that keeps the players guessing. Even seemingly beneficent organizations such as SHIELD can suddenly be turned against a heroic team, either over some misunderstanding or even as fallout for the heroes' actions.  

It is important to distinguish these recurring enemies from the named teams and villains that heroes tend to encounter. Almost every team has a roster of named villains that the clash with in a seemingly endless loop of conflict. Organizations are great because they do not require you to come up with complex reasons for them to clash with the heroes. Simple goals and motivations are the trademark of these organizations. That is not to say that they don't even have deeper goals and they most certainly do, but you can throw a mob of ninjas or hi-tech agents at the heroes and give it the most basic reasoning andh ave it fly. Your players will enjoy a chance to throw agents around and break expensive equipment without having to pull too much strategy out of their hats to defeat a more complicated enemy.

Another thing to rememeber about organizations is that encounters with them are easily scaleable. you can have a hand full of agents show up, a single ninja, or a strike team with battlesuits, flying cars or mega-lasers. You can even scale on the fly if the fight goes too easily. That initial tactical team sent by SHIELD may quickly be handled and call in backup. The single ninja, leading the team on a merry chase may have only been the lure to get the heroes into an ambush situation. Organization encounters also scale into encounters with named enemies. Sure you may have started fighting AIM agents but next thing you know the Super-Adaptoid shows up and amps up the fight. We've all see nthe classic ninja fight where a mob of ninjas it thrown all over the place, only to have the music change, a door open, and out steps  much more impressive martial arts opponent, this time with special powers or techniques. 

When it comes down to using organizations as enemies, you should never feel hesitent to do so. Like anything else you do in your games just make sure it makes sense but also remember that what makes sense in comic book universes is a very broad and often ill-defined, so be cool with yourself. I find that, in the beginning, it is best to stick to a single organization as their primary organization to encounter. This will allow you to establish the teams connection to the organization as well as their rivalry. It's still okay to throw in other groups but do so sparingly until the first organization seems like it may be losing effect. But, once you get a few into rotation, you can mix and match as you like. Just remember. Anything can happen in comic books.

What are some organizations you have used in your games?

How have your players responded to recurring appearance by organizations?

MULTIPLE THINGS CAN BE TRUE - HOW INCONSISTENCY CAN WORK

 

The true disposition of Madrox was left in a weird state of limbo for years with multiple possible version of the "real" him in play.

When playing TTRPGs it can be easy to believe that everything needs to make perfect sense - all nicely wrapped up in logical bows and perfect story writing. This is, of course, the benefit of a type of game that is often written with very specific encounters, pacing, events and characters in mind. Comics, are not always written this way and so you can relax a bit and even capitalize on this when you run your games.

Comic books are famous for inprecise, often contradictory canon which is sometimes intentional, sometimes the product of layers of writing and sometimes just plain lazy. While most tabletop campaigns will not run for the length of time it requires for these sort of wrinkles in continuity to develop organically, they may still come up in games and can, in many cases, be used to your advantage. More importantly, it needn't be a point of worry when your players catch you in an unintended mixup. No, instead you can embrace the fact that it is very possible for multiple things to be true at the same time in a comic book.

The origin of the Maximoff twins has been retold so many times that it has required compiling into a single origin several times. 

There are plenty of characters in comic books who have existed in states of uncertainty. Often these inconsistencies are fixed with later retcons or story development but they can remain unspecified for decades. Scarlet Witch and Qiicksilver have had their origins written and rewritten time and again through various layers of unreliable narration and even outright deceit. Captain America was at one time dead but active and then only later revealed to have been frozen while an imposter was carrying out his duties. Jean Grey and the various fallout of the Phoenix Saga have left that character in an indeterminate state of reality from the 80's all the way to the present. 

As a player and a GM, acceptance of these inconsistencies can actually enhance the experience of being in a comic book universe. Going back to my earlier psots about creating questions, planting seeds and retcons, this is where so many of those fun comic book elements are often born. Being okay with them means you are leaving yourself open to the possibilities and creating a much easier time of it for your GM to develope comic book style stories. Who cares if you are sure that the villain in that last scenario should have been half a world away when you encountered him? it's just another mystery to unravel. 

So, what sorts of inconsistencies have you encountered in your games?

What are some of your favorite comic book inconsistencies? 

SEEDING - CREATING CHARACTERS AND SCENARIOS THAT KEEP GIVING

 

In previous posts I have spoken about making things up, asking questions and just generally being fearless and absolutely open when it comes to creating characters, stories and laying out plots. As you develop your universe, more and more threads will present themselves into which you can weave more characters and stories. There are, however, ways in which you can even set these up intentionally and in addition to asking questions without answers, you can also create options and opening, seeding future scenarios. 

One of the things comics do best is to build off of previously established lore and events. Whether or not these things are planned or developed after to the fact (sometimes very much so), the key is that they all take some small bit of established lore and turn it into the next big thing. In many ways this is similar to asking questions but instead you are laying out potential plot threads, even if they might not be fully defined. 

Krakoa spawned several twists and later plot developments layered on by future creators

As you create characters and write your scenarios consider where the characters and events of the scenario might lead. This can almost me thought of front-loading questions. Think of any little angle that could be used from a character or situation. Does your villain have a power or ability that lends itself well to a new story atfer their defeat? Does your current scenario involve a lot of people? How might other victims of the scenario's events change or react to the scenario? 

Take Jean Grey, for example (there is a reason I used her for the pic on this post). Jean is a character who has been through a ton of changes and developments throughout her long and storied career as an X-Man. Now, we have the benefit of looking back on that all and thinking "what a wonderfully robust saga" but so much of that is he result of subsequent layering of new ideas and the development of questions either asked up front of left unanswered until a creatore decided to answer them. Sometimes, those creators invented elements whole cloth and restroactively added them intothe canon (retconning). I am pretty sure, that when Jean Grey was originally created, the Phoenix Saga, Madeline Pryor, Inferno or any of the other plotlines that developed were nowhere in anyone's mind. But, we can take this and use it to guide us.

The origins of Havic and Cyclops both spawned several future plotlines involving a third brother, their parents and even Mr. Sinister

As a player, when you create a character, ask yourself what things might develop from your character's powers and background or, even better, write things into those backgrounds that are undeveloped. The questions will help you an your GM later. A mysterious benefactor or a gap in a character's memories is fertile ground for a GM as are unknown parentages. Sometimes even your entire origin can be a mystery or series of questions. When your character gets into an accident, survives, and developes powers you can leave it at that and fill in the blanks later. It's also entirely okay to feed development ideas to your GM. Players who create seeds for their characters will be rewarded with stories that tie into their characters specifically.

In a recent scenario I wrote for my X-Men West campaign, I had a mutant out of control and causing massive wildfires in California (I know, topical). After writing that scenario, I got to thinking of another scenario that develops in the aftermath of that event - psionic manifestation of hate and anger that was born of the deaths and trauma of the fires all centered around a psionic NPC who was among the victims. I don't have the details worked out, but I took a moment to jot down the basics of that scenario idea so that, when my players get to that scenario, I have this noted down, to develop either right after or maybe down the road whe neverything seems to have settled. 

The Sentinels have made their way into countless books beyond the main X-verse titles.

Sometimes planting these seeds can be as simple as choosing to tap into existing elements of the setting that have already been proven as sources for twists and turns. For example, you might choose to have the Sentinels play a part in a scenario, tying the scenario into the greater Sentinel metaplot or perhaps, like I did, you have some Marvel Universe tech bro decide to use Sentinel tech in his new robot and watch as things go wrong. Just make a note when you insert these elements, preserving any ideas that come to mind as you write up the scenario. 

In my experience, seed ideas come naturally as I am creating. They are a natural byproduct of the creative process and, like many byproducts, are valuable in their own right. Learn to become aware of these seeds as they trickle out of your brain and practice keeping them noted down, either in the margins of your scenario or in some dedicated place where you put all your ideas. This will serve you well as your campaign progresses. This goes for players seeding for their own characters, as well and they would be well-served to make notes of any ideas they have for things that could happen to their character as they make them, pasing them to the GM. 

So, next time you make a character or write a scenario, keep these tips in mind and take notes. Don't lose those precious seeds. You can even go back through existing characters and already played or written scenarios and mine them for seeds. 

Have you made any characters with built-in seeds?

Have you ever written seeds into your scenarios? 

CREATE QUESTIONS WITHOUT ANSWERS - SIMPLE TIPS FOR CREATING ROBUST CAMPAIGN

 

Reading comics over a long span of time can give the impression of vast, spanning tales but the simple fact is that very few of the sagas we know are the result of thought-out, well-planned stortelling. Many are, in fact, the result of questions let unanswered only to be answered at a later time in the characters' timelines. 

Questions, in this context, are any sort of unanswered, unaddressed plotpoint that can be/is later expanded upon, adding to the story. Deaths, disappearances, and ambiguous fates are some of the mainstays of comics. So too are mysterious relations, vague or unknown pasts. Any unanswered question or unfinished business is fuel for the campaign. 

A willingness to create questions and accept their answers is one of the stongest tools for players and GMs to use when playing a superhero campaign. A willingness to explore the answers to questions will, over time create the same sorts of wild stories that bring comics fans back time and again.

DON'T ASK

A simple tip for creating robust campaign. 

While everything said above is still good advice another piece of advice I have almost seems contrary to what I have already said. Acceptance is a useful trait for players of superhero games (and other games) to develop. While creating questions is a time honored tool for telling comics stories it is just as important to trust the process and accept the creative, obscure, and sometimes seemingly obtuse answers that develop for those same questions. 

This, of course, requires faith in your GM and a "trust the process" sort of mentality but it also requires your GM to come up with interesting and imaginative answers to questions that are created during play. Get comfortable letting things play out. Villain you though was dead is back? Great! Now you get to figure out how this happened. Is it truly him? A clone? A successor? An unknown sibling or child? Is it all a clever ruse perpetrated by another, as yet, uknown villain? Maybe it's a manifestation of the hero's own guilt coming back to haunt them? Because comic books themselves are so wild with their questions and answers, you should feel no hesitation in doing so in your own games. When your GM throws a curve at you, just swing and not worry about whether or not you have any chance of hitting the ball.

CREATING QUESTIONS 

When creating questions I find the simplest way is to take brief notes about how encounters play out. Make specific notes about any interesting things that occur during fights or other interactions like collatoral damage, the types of attacks that inflict certain results. These things will give context for potential questions to ask yourself (as a GM) after the game. 

After the game, go through your notes and for each noteable event during the encounter make a few "questions" for each item on your list. 

Some types of questions you might ask are listed below - 

Did a building get damaged or destroyed? If so did anyone survive? 

Does anyone hold a grudge? 

What was in the building and could it have created an origin accident that created a new villain or even hero? 

How was the vilain defeated in an encounter? 

Did they flee? 

Were they killed in an ambiguous manner? 

Were the heroes able to verify their defeat? 

Were they sent somewhere else? 

Who might take issue with the villain's defeat? 

Were any of the heroes' loved ones or important NPCs in the area when a battle occurred? 

How were they affected? 

Is there anyone who might now see the heroes in a new light? 

Is there any interesting fallout from the use of the heroes' or enemies' powers? 

The questions are nearly limitless and a GM should feel free to get as crazy and creative with them as possible. It is also perfectly acceptable to include the players in this. Ask your players if they can think of any cool ideas that might spawn from a session and write them down. The players will never known if or when you will use them but like any comic book reader, they will be asking those questions with every subsequent session.

What are some instances in which you creating questions and how did you play them out later?