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It’s a super hero game in the same vein as Watchmen or The Authority. It’s supposed to have that feel. It’s supposed to make the players stop and think, 'boy its tough being a super'. It's about the characters and the players making difficult choices. It's about dealing with the consqeunces of your actions.
By using a game mechanic that gives the players a choice. Use your powers and risk corruption. Don't use your powers and risk failure. DRYH is a great starting point for this. Its Exhaustion/Madness talents have a spiral of destruction that should lend itself well.
Baked into the mechanics of Absolute Power is rules that make the protagonists spiral into damnation the more they push themselves. The more they use their powers the more powerful they get but also they have an increased chance of things going wrong.
Bear in mind when running/playing the game the focus should be on the protagonists. Their use of their powers, their goals and agendas and of course how society sees them and their battle to contain there own corruption.
Superheroes are powerful! They are able to achieve goals they were never able to, they can save the world from hideous injustice, they can make the world sit up and listen. But it’s not easy, it costs the supers. But what is the price?
Remember play fair, but play hard.
Far be it from me to tell you how to run your games but please bear in mind the rules contained within are meant to perceive a dark, gritty world where humanity is represented by desperate people who would go to any length to achieve their goals. These also maybe the very same people who have now got the power to under take these tasks at any cost.
It was pointed out to me, people aren’t evil by default. They do necessary things with unfortunate consequences. A strong focus should be put on humanity, at its best and worst. Why does the robber steal? To survive? To ensure he gets his next meal? To ensure the people depending on him get their next meal? Think about how far you would go to protect your family and friends. Would you kill someone? Even if it was to save a member of your own family? Everyone in the real world has an agenda or goal, everyone in Don’t Rest Your Cape has those same agendas and/or goals.
When the players (through characters actions) get involved in situations there should often be a moral dilemma. After all these supers are now judge, jury and executioners. Who tells them what is right and wrong?
As for setting, well I do indeed let go on the reigns here and allow (I’m such a giver) you to create it. For inspiration is the Absolute Power world present day? Does it take place in a large US city? Is it some undefined time in the future following genetic enhancements? Are supers all over the place? Are they generally accepted? Are they tagged so the government can keep tabs on them? The answer to these questions are in your head, they are in the heads of the others sat around the table. Talk about ideas regarding the world before you start to play proper. Ensure everyone is on the same page and be open to others ideas. Use the ‘yes and/but’ rule.
Now is also a good time to talk about boundaries and how graphic you as players want the game to be. Again this is personal taste and often saves grief and/or embarrassment.
To create a Absolue Power character follow these simple steps:
1. Answer the following questions:
2. Next to responsibility write 3
3. Next to your Accepted write 3
4. All other scores start at 0
5. Start thinking about your introduction scene
I am… Your alter ego/super name
Some people (myself included) find coming up with a character name hard. You want it to be in tone with the setting and you definitely want other people around the table to nod there head in respect and appreciation, right? That’s right lets all just admit it now our superhero name would (and should) be fucking cool!
When thinking about a name for your super hero think about what it will portray to others.
Fear: These names should often be creepy and dark. Super names meant to cause fear have a title usually reserved to those with whom we trust or respect but with dark connotations. It’s also common that a fearful superhero name have an element of shock within it.
Hope: At the opposite end of the spectrum names meant to inspire or bring hope are bright. I can’t help but to imagine a bright Golden light when I think hope. Hope is the hand that reaches out to you when you’re bloodied and broken. Hope is comforting. Hope is strong and powerful but can be humble.
Power Related: Superhero names can and usually are connected to the power they wield. It’s best to relate it to the power rather than use it directly though. For example Fireman sounds stupid, Smoulder, Thermo or Cinder all sound much better.
Larger than life: Superhero names work best when they are ‘larger than life’. Strongman is a no, Megaton is fucking cool. Think big words like Mega, Colossal or Tank. These words bring images of something massive and unstoppable.
Egotistical: Hey guess what you have the power you make the rules. Go for a name that lets people know how much better you are. Supernova, World-Eater, The Prophecy. Think Roman gods, Apollo, Zeus, Jupiter. Don’t hold back!
Political: You are a symbol not just of the great power you have but the power of your nation. You are the Atomic Hammers the USSR’s greatest creation. You are Stars and Stripes a symbol for every patriot.
Try a mixture from a few of the groups above, try adding Religious connotations. Often superhero names contain a colour or historical significance. Animals are also another popular theme amongst superhero names.
Some example Superhero names:
But I used to be…
This question asks what you used to be before your super powers. Your real name, short description of your physical condition and any family you have.
Look at some of the elements above and then write a few words on what your character was before. This stuff is important because you are more than your powers. It gives the GM opportunities to put these personal and important things of yours at risk. Don’t shy away and hide that stuff, lay it all out on the table and prepare to fight to keep it. Trust me you will have loads of fun if you are prepared to risk everything.
How do others see you?
A short description of you after you gained your power
Pick a couple of elements from above and write a few words. This question should help shape meaningful conflicts just like the 'But I used to be' question. With a subtle difference. You never imagined you would have this power. Perhaps at best you are just another average Joe, with powers passed onto him without any want or need. Or perhaps this was a concious decision, made to help, made at a great sacrifice, made because really you didn't have any other choice. How long will you keep fighting for people who couldn't give a shit about you?
What are your super powers?
What powers do you have? Can you stop time, throw fireballs, teleport, etc
How did you get your powers? Was it a science experiment gone wrong? Was it after a supernatural or alien encounter? Have you always had them but they have lain dormant until now? Did someone wrong you, your family, your friends or all three and now you want revenge? What in you had the resource, the time, the passion or the opportunity? Would you create augmentations? Would you create machines to help you fly or throw bolts of fire? This question frames the first scene for each character. This must be a significant point in the protagonist’s life.
With my powers I will... What is your characters goal, what do they want right now? This has to be something specific and achievable. In game terms this is what drives the character. It can (and should) be something your character wants more than anything else. Best goals are those that often conflict or jeopardize others goals/agendas.
I am…Cinder
But I used to be…Ben Archer, middle aged man and father of two. Who used to be a soldier in the army.
How do others see you? An aggressive hothead, unmasked I have bright white hair and carry a constant look of pain. I wear a yellow and black fireproof suit capable of withstanding, but not retarding, my powers.
What are your super powers? I can turn my whole body to flame at will. I can shoot fireballs from my hands and I can now move at an incredible (lighter than air) speed leaving a trail of fire and smoke where I go.
How did you get your powers? When I was fighting in Afghanistan our base was bombed. Liquid fire poured everywhere covering my whole squad and burning them to death. I was caught in the agonizing blast but somehow I survived.
With my Powers I will... I will to find out who is responsible for posting my squad in that dangerous area and have them answer for the deaths of my friends and colleagues.
Responsibility: 3
Corruption: 0
Absue of Power: 0
Humanity: 0
Accepted: 3
This scene is your chance to introduce your character, to bring them to life, to start their story wheels moving. As the owner of the PC you will frame the scene you will say what the scene looks like, who is there (if anyone), what’s happening. You get to assign NPC roles to the other players if you so wish. When you do assign roles tell the player what the NPC’s agenda is. You then drive the scene toward conflict. There are a couple of rules when framing the introduction scene:
Conflicts in Absolute Power must be meaningful the pc/s (and indeed NPCs) must have an investment in the conflict and a reason as to why they want to win. How much investment or how much they wan to win is up to them. Will they risk their humanity ensuring they succeed?
I’m going to once again point out Vincent Baker’s rule of:
Say yes or roll the dice
To resolve a conflict first identify who has an investment. This will always be at least two parties. If there is only one person (one side) with an investment there is no conflict, say yes without the dice. Once two or more parties are identified as having an investment follow these rules:
PC’s (Players):
NPC’s (GM):
PC’s (players):
NPC’s (GM):
Cinder is in a petrol station when he witnesses an armed man enter and demand the clerk empty the till into a bag he holds. Cinder decides to take action and wishes to stop the robber.
GM – Ok, so this is a guy trying to hold up the petrol station. His investment is to rob this guy so that he can feed his drug addiction. He has done this kind of thing before and is holding a gun. He has a price level of 4.
PLAYER – Hmmm, Cinder’s investment is that he grew up round here and doesn’t want this neighborhood turning to ruin. He wants to stop this guy. I will roll all my responsibility dice (3) plus I already have 1 permanent corruption die and I will add a further corruption die. So I’m rolling 5 dice, 3 (white) responsibility dice and 2 (black) corruption dice.
GM – That’s only 5 v 4, there is still a good chance I can win this. Are you sure you don’t want to add any Humanity?
PLAYER – Humanity dice will go after this conflict, so ok I add 2 Humanity dice too.
GM – Right well the dice look like this: Robber 5 (price) dice, Cinder 3 (responsibility) +2 (corruption) +2 (Humanity) = 7 dice total.
The dice are rolled: Robber – Price: 1,3,4,4 (SUCCESSES = 2) Cinder – Responsibility: 1,2,4 Corruption: 2,5 Humanity: 5,6 (SUCCESSES = 3) Humanity dominates as it rolled the single highest die.
GM – Ok Cinder won so you get narration rights.
PLAYER – The robber points the gun in the clerks face and again demands the cash. Cinder emergences from behind a stack of cans and unleashes a fireball right in this dudes chest sending smashing into the confectionary and spilling M&M’s and other sweets everywhere.
GM – That’s good but don’t forget Humanity dominated. How does that appear in the action?
PLAYER – Ah, yeah. Well rather than his chest the fireball hits the robbers head, melting his face. All the time the dude is screaming at the top of his voice. The clerk turns white, shaking his head side to side disbelievingly. That is right before the smell of burnt flesh fills the air. At which point the clerk turns and empties his stomach. Cinder seeing his work done turns and leaves.
GM – Great, don’t forget to check one of your acceptance boxes. I’m sure the clerk doesn’t feel particularly accepting of you right now!
TOAD: This is a bad example, anyone fancy coming up with a decent one?
Absolute Power is a game that should explore how individuals handle tough choices with the power they have been given but there may be times when two or more of these individuals want to work as a team. That’s fine and expected and so here is how to handle that in a conflict situation.
Firstly decide who the ‘lead’ character is, normally this is the character who acted first but if there are any arguments around this break it by looking at which character has the least Responsibility. If you are still unsure who the ‘lead’ is, it’s the character with the highest Corruption. Still tied then go to Humanity and the character with the least amount of Acceptance boxes left unchecked leads. By now you should of established a ‘lead’ but if not the GM decides and it is final.
Any character who is not the ‘lead’ is a ‘supporter’.
Once established the ‘lead’ character rolls all of their Responsibility dice, all permanent Corruption and any permanent Humanity dice plus an extra (Humanity) they like (up to 6).
Any character wishing to support pass over 1 Responsibility dice and all permanent Corruption and Humanity they have, to the ‘lead’ character. The 'lead' can decide if they wish to accept the dice or not.
The ‘lead’ rolls the dice for themselves and any ‘supporters’ still looking for 1,2 and 3’s as successes and still looking to see which is the dominant pool out of all the dice rolled.
Whichever pool is dominant effects both the ‘lead’ and all the ‘supporters’ and this should be reflected in the outcome narration.
On that subject once again the power of narration sits with whoever rolls the most successes. This would either be the GM or the ‘lead’ character with the caveat anyone taking part in the conflict is allowed input and the table as a whole is able to throw in ideas for colour and story direction.
Responsibility: Every superhero should be responsible with their powers or risk Corruption or public hatred. Responsibility in game terms reflects safety. All the time protagonists act in a responsible way things stay under their control and they are able to narrate outcomes how they feel appropriate. If characters are acting in a responsible way then death isn't an option and should be reflected in narration. An example of acting responsibly:
Example:
Mick is playing as Tank, a super with super human strength. He is witness to a child being savagely beaten by their own father and wishes to stop the situation. He succeeds in the conflict and Responsibility dominates. Mick describes although Tank would love nothing more than to break every bone in the bully’s body he is able to restrain himself and ends up picking the guy up and throwing him through the air crashing down hard onto the floor. The bully is dazed and confused has stopped beating on the kid but isn’t badly hurt.
Corruption:
Within every human there is selfishness, anger and hate. Often these are only held in check by the fact someone stronger or more powerful than them tells them it is wrong. What if a human was given super powers? Would they fight injustice or would the power corrupt? If Corruption dominates during a conflict then the protagonist must narrate how their powers are slowly corrupting them. The narrative should focus on how the super is unable or unwilling to control their power. This could come in the form of a flashback or as part of the current scene. For example:
Example 1 - Flashback Technique
Jez is playing Nano, a super able to control the speed at which time passes in very localised areas. He has just gotten into a fight with a couple of thugs. During the conflict Nano's Corruption pool dominates. Jez frames a flashback scene there and then. He tells us how Nano's girlfriend is always going on and on at him about menial tasks. He tells us this is happening right now and he is getting pretty fed up with it. So he thinks it won't hurt (just this once) to speed up time so that this lecture can be over quicker. Problem is he overcooks the power and rather than a few minutes passing (focussed on his girlfriend) many years pass. She visibly ages in front of him to a withered old lady. Nano flees the apartment in shock, guilt and disgust. The game then cuts back to the scene directly following the thug conflict.
Example 2 – As part of the scene Technique
Same situation, Jez is playing Nano he has just had a conflict with a couple of thugs. Although he won the conflict his Corruption pool has dominated. Jez narrates how Nano reaches both his hands forward aimed at the thug’s. They both stop dead clutching where their heart is. Nano is slowing both of their hearts down which causes them considerable pain. We see Nano’s face has a huge grin on it. Jez narrates how much Nano enjoys the feel of power over the two thugs and probably would of killed them both had it not been for another member of the team putting a hand on his shoulder. Jez tells us Nano shudders when he realises what he nearly done.
As you can see both examples above focus on the abuse of Nano’s power this is important when narrating Corruption dominant outcomes.
Humanity: How does the public perceive you? Are you still human enough to be part of humanity? Are you ridiculed and branded a freak? Is someone trying to find out who you really are so they can harm you via your family? If the humanity pool dominates during a conflict then the superhero's acceptance is questioned as is expressed during the narrative outcome. Narration regarding humanity should reflect how harm, fear or distrust comes to an innocent because of the supers action. As with all the outcomes (as long as it makes sense) it could be part of the original or a //short// flashback scene or anything else that makes sense. For example:
Example 1 - Flashback Technique
Same situation again, Jez playing Nano. He has just had a fight with a couple of thugs. This time his Humanity dominates. Jez frames a scene where we see a run down house. He tells us it's the thugs house. In one of the rooms is a small girl no older than about 6. A man enters (it's the thug) he picks up the small girl and gives here a great big hug. He tells her he loves her, she replies saying how much she loves her daddy. Then the man heads off out of the house to get food for his daughter anyway he can. It goes without saying either the thug is beat up badly by Nano or he is sent to the Police Station. Either way the 6 year old girl is left frightened, alone and hungry because of Nano's actions.
Example 2 - As part of the scene Technique Same situation again, Jez, Nano and thugs. Nano’s humanity is dominant and it’s down to Jez to narrate what happens. He explains how between the thugs and Nano is an old lady who is out taking a stroll. Jez explains that getting these thugs is alls that’s important to Nano. So he narrates how he shoves the old lady into the road to clear the path. The lady manages to avoid the oncoming traffic barely, but the passers by, the drivers in their cars and the lady herself are shocked by the supers actions. Nano doesn’t even notice he only has eyes for the thugs.
As you can see the protagonist isn’t directly affected by the dominance of Humanity. But the same can’t be said for innocent members of the public. Another thing to point out is that Supers (in your world) could be rare or celebrities and as such are followed by news cameras, waiting to shot their next feat of daring action or the next time they fuck things up.
Cost: Supers put themselves on the line all the time, either through their own gains or acts of heroism. Often they have a price to pay for doing that. If Price dominates in a conflict then it will cost the super something more. This could be a physical, mental or emotional cost. This is the Price they pay. Here are a couple of examples of how Cost dominance works in play:
Example 1 Jane is playing Pestilence, a super able to inflict or cure terrible diseases on others. She is called to a situation where a man has cancer, given up on any hope; he has decided to jump from a motorway bridge. Jane rolls to try and talk him down and succeeds however cost is dominant. Jane explains how Pestilence talks the guy down by absorbing the cancer which riddles his body. She tells how the caner forms into a humanoid being. Pestilence then walks up to the cancer, embraces and absorbs it. Pestilence coughs once and we specks of blood on the supers hand.
Example 2 Pete is playing the Atomic Hammer, a super able to split his body into hundreds of copies that can act independently. He is holding back an anti-war protest that has gotten out of hand. People are being hurt, guns are being fired and innocent life is being lost. He is successful in calming the riot but in doing so a number of Atomic Hammer copies are beaten, shot, stabbed and killed. Pete explains each one of the wounds sustained against the copies is like the original Hammer taking that damage. Blood runs freely from his nose and mouth and he is severely weakened by the effort.
Cost should be something costly! It should be something the players (and most definately the characters) wish to avoid. When narrating Cost dominance make sure it is just that. None of this 'Oh I broke my Sword or my guns out of bullets' or 'I broke my finger nail.' bollocks. It should be horrible, it should fuck the super up. Play hard! Play Fair!
Or even more simply:
Abuse of Power: When a super begins to abuse their power either consciously or unconsciously the Corruption is clear for all to see. They have begun to cut corners and take the ‘easy option’. They used there powers instead of dealing with the issues they face. This abuse of power can only lead to being…
Damned: So you have become the very thing you were fighting against! The supers Corruption and resulting Abuse of Power have caused something disastrous to happen. Think of it as a release of built up anger, frustration and pain. This manifests itself as something hideous and disgusting to the average Joe. But this is exactly what they need to help re-think their beliefs and what is important to them. Have they gone too far though? Will they be saved from themselves?
Acceptance: Supers use their powers to improve situations, either for themselves or others. But the more powerful you are the less human you become. Will the public still accept you? Soon, they'll brand you a freak or, worse still, they'll see you as less than human. Even if you are trying to help them you can never please everyone. You’re different and they are jealous of what you are. Some supers may need to keep their identity secret otherwise it can be used by others to hurt them and those close to them. The more you keep yourself secret the less human you become. Becoming unaccepted by the public leads to...
Retreat:
Nobody said it was going to be easy having all those powers! In fact with the added responsibilities no one would blame you if you couldn’t handle it. Run away! Hide! The public hate you anyway, why should you put your life or your family’s life on the line for them? The super is unable or unwilling to 'deal' with things right now. They go into hiding for a time until they can re-find themselves or what they are fighting for.
Imagine for a second reading a graphic novel or comic. We are greeted with pictures, colours, expressions, context and a continuing story. We have a sense of speed and movement; we also have a sense of emotion from the characters contained within. Now think a bit closer, how many words are there? That’s right it’s a ‘graphic’ novel there isn’t many at all. Even when characters are in the middle of discussion the word count is often kept to a minimal. Why? Well I like to think it’s because these Graphic Novels can convey what a character is thinking/saying/feeling through pictures rather than words. Excuse me for stating the obvious or teaching you to suck eggs but this is important, trust me, keep reading.
Now think back to when you have ‘framed a scene’ in a role-playing game. Doe’s it convey character’s expressions, does it have context, does it push the story forward, is there movement and do you describe what people are thinking and feeling? In most cases yes, when you have framed a scene it will contain one or more of these elements. It’s natural, it feels right. Let’s now challenge that. In Absolute Power you will take it in turns to frame scenes just like most RPG’s. However you will be using a slightly different technique. In Absolute Power you should frame scenes as though your audience (the other players) were reading a graphic novel. I can hear you scratching your head and saying ‘what are you talking about? Why would I do that? This sounds like a terrible idea!’ So please reserve judgement for a moment longer while I explain my reasoning. In most RPG’s when framing a scene you have certain elements you must include. Where is the scene located? What does it look/sound like? Who is there? What’s going on? You then frame the scene and go through the list to make sure all your elements are there. If you have missed one you can bet another player will ask for clarification, ‘Is the bank full of people? Have the robbers got guns? You and you are there, aren’t you?’ This is good; well it has worked for the last couple of decades! But it can get a little unfocussed, sometimes it asks a lot of one person. Sometimes people want to ensure their scene is dramatic so they build it up to a climax which can take some time and often involves a lot of ‘and then’ statements.
An example:
PC1: There is a dark street and then a van drives down it and then me and Megaton step into the road and then the van screeches to a halt and then two guys dressed in masks step out and then they pull guns from their belt and point them at us and then one of the guys grabs an elderly lady from the pavement and then says ‘move and I’ll kill the old dear!’
PC2: Hold on I want to be there?
PC1: Ok, and then Nano steps up behind me and Megaton.
GM: These goons are they from Gene Corp?
PC1: Erm, yeah why not.
Absolute Power’s scene framing technique aims to tidy the above up. The scene has all the elements as before, has the ability to allow the other players to add colour and cuts straight to the action. It also should add to the tone of the game giving it a Super Hero feel. Here allow me to demonstrate:
Another example:
PC1: In the first panel we see a van speeding down a dark street. In the next panel we see me and Megaton walking down the same street but opposite direction. The last panel takes up the rest of the page. We see two guys in masks both with guns, one holds an elderly lady and is shouting, ‘move and I’ll kill the old dear!’ At the font of the picture is me and Megaton ready for action.
PC2: In the corner of the last picture is Nano ducked low behind a parked car.
GM: And the van door has been left open and the words ‘Gene Corp’ are emblazed in green and blue across it.
PC3: At the top of the page an arched heading reads, ‘Friday Night Fire Fight’.
Cool! Doesn’t that feel like the action is happening right there and then? It should also have that comic book/graphic novel feel about it. Let’s take a closer look. First of all make sure when you narrate a scene you break it down further into ‘panels’:
In the first panel we see…
Make sure there isn’t too much going on:
…A van speeding down a dark street…
Don’t forget the elements:
…me and Megaton walking the opposite direction…
It’s fun and adds to the game when you use the comic book feel:
…the heading reads, ‘Friday Night Fire Fight’
But don’t over use these as they will soon become cliché or cheesy. Less is more.
In the first panel we see a van speeding down a dark street me and Megaton walking the opposite direction, the heading reads, ‘Friday Night Fire Fight’
You should have a much more obvious breaking point from framing to the scene itself. If you feel you are trying to add too much you probably are. Look at your fellow players they are bright people. They can add the blanks in themselves, they already do. Not everything you describe has to be ultra detailed. Is it important we know how exactly the van stopped and how the guys got out and where they drew there guns from and how one of them got hold of a hostage? Not really, what is important is they are out of the van, they have guns and one is holding onto a hostage.
Quick note: Once the scene starts (following framing) then these rules no longer apply. Feel free to explain what actions your characters are taking and how without having to use ‘panels’.
It’s time to give it a go. Choose from one of the scene/location ideas below and try framing it using the graphic novel/comic book technique. I’ll wait don’t worry.
How did it go? I know it’s quite difficult but it’s worth it. Your game will be that much more exciting and engaging. Even to those who aren’t actively taking part in the scene. As the GM I always frame a short scene before any player has even created a character. This is the only scene I have prepped before hand. It usually has noting to do with the game but serves two purposes. Firstly it gets the other players in the right mindset and shows them how the technique works. Secondly I use it to help create inspiration around the table prior to creating anything.
Here is the scene I use (don’t tell anyone and you can to use it too!):
We turn the cover of our comic…
In the first panel we see a pale brick building. On the grass outside the building is a large sign, ‘Genetech Lab’.
The second panel shows a dark corridor at the far end is a large steel door with a sign, ‘Authorised Personnel Only’.
The last panel takes up the bottom half of the page. It’s a picture of a man in a large lab wearing a white coat. He holds the limp body of a small child in his arms. Tears stream down his face.
We turn the page; our eyes are immediately drawn to a large colourful heading which reads, ‘Absolute Power’.
Lastly think about when you have framed a scene in an RPG that contained two or more people in the middle of a discussion. It feels important to give the other players a context of what’s going on through this discussion. You have (in your head) already planned how this discussion is going to go or how it will end. Within that discussion there will certain ‘key’ points that will add to the story. These ‘key’ points you will want to deliver while framing the scene.
I totally agree these are valid and important points. But let’s look at another way of delivering that through using our new technique.
Example 1 – Old Technique:
PC1: So I’m in the middle of a busy restaurant with my wife and we are having an argument. I say to her ‘You never believed in me when I first got my powers. You were always putting me down and made me feel like a second class citizen.’ And then she says, ‘well that’s because you always screw things up!’ And I say, ‘talking of screwing how’s your boss?’ And she says ‘Lets not bring this up again, it’s only because you were never around and I got lonely. God damn it I needed someone to love me!’ And I say ‘I want a divorcé’ and she says, ‘fine so do I’. All the other restaurant patrons begin to stare and this starts to make me angry.
Notice the and’s. We use this to identify when the different characters are speaking. Character a says something and/break character b responds. It soon turns into and he says and I say and they say and she says. Which isn’t all that interesting or exciting for anyone else sat round the table. This technique will never deliver the climax you are building towards.
Let’s try our new technique on the same scene.
Example 2 – New Technique:
First panel a close up of my face I look really angry, ‘You never believed in me!’ Second panel, my wife’s face a look of disgust, ‘that’s because you’re a screw up.’ You can only see the back of my head as I say, ‘talking of screwing how’s the boss?’ Next panel shows a busy restaurant where the patrons are looking over at my table in shock. My wife’s face, teeth clenched in rage, ‘I needed someone to love me’. Last panel my face looking full of rage and embarrassment, ‘I want a divorcé!’
Now your turn, again choose a scene/location idea from below and add a couple of characters. Have the characters discuss something important.
Final note on framing scenes: Scenes in Absolute Power should be independent from each other. Feel free to frame your scene in another part of town or even a different country, actually this is super hero's. Feel free (if it makes sense) to frame the next scene from within a moon base. Jump forwards or backwards in time but make sure everyone is clear as to when the scene is happening in regards to the overall story.
There should always be something happening within the scene. If any of the players or indeed the GM feels the scene is stalling then they should (with consent of the other players) call a close to that scene. But equally don't be afraid to leave scenes on a cliff hanger and look to resolve them later. Be prepared to try different techniques when framing scenes to find what you and your group most enjoy.
Once per roll, you may increase your Corruption by 1.
Any time you roll, you may add 1 to 6 temporary Humanity dice.
To determine the degree of success, count the dice showing 1,2 or 3.
To determine the strength of the pool, find the dice of that color showing highest number (break ties with the next highest number within those pools. If it is still tied follow this hierarchy: Responsibility, Corruption, Humanity, Cost).
If you meet or beat the GM’s degree, you succeed. Otherwise you fail.
To determine what dominates, pick the pool with the highest strength.
If Responsibility dominates, things stay under control.
If Corruption dominates, you become more corrupt. Increase corruption by 1 permanently.
If Humanity dominates, you are less accepted by humanity. Check off a box and behave accordingly.
If cost dominates, you pay a greater price. (Toad: Does there need to be more of a mechanical element to Cost?)
If corruption is increased to 3,6 or 9 you are damned.
If you must check off an accepted box and can’t, you retreat.
If you are damned, you power has corrupted you, act in such a way to represent this. Lose all corruption dice, lose one responsibility, and gain a permanent corruption.
If you retreat, you go AWOL for a time. Clear out your acceptance, lose one responsibility, and gain a permanent Humanity.
If you lose all you responsibility, you are beyond help (the super is out of the game)
To make use of humanity dice, you may add 1 to 6 temporary humanity dice to the roll (plus any permanent humanity the character may have).
Indie Pete - Atomic Hammer
Jez Grey - Nano
Mike Harnish - Megaton
Ashley Griffiths - Scarlet Wraith
Jane - Pestilence
Mike Lacey - Professor Elements
Conner/Jay - Shadow
Joe Reddick - Marksman
Mick Reddick - Tank
Jack - Drakken
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