There is no secret formula to creating roleplaying characters. Mostly, it is a matter of finding a few details that really interest you and then filling in the rest. Below is a list of things to think about when making a character, but the order in which you follow these steps is not important.
The length of a character description is secondary to the thought that goes behind it. Some players like to write multiple pages of biographic notes on their characters. Others encapsulate a character into a few paragraphs. The character description can be a series of short scenes narrated by the character, a diary written in the first-person, a tell-all biography, or a journalistic interview. Players should have fun with the format and experiment with different styles.
Other players and the GM can help with the character creation process by being a sounding board for ideas and asking questions to help round out the character. Many sample questions are posed below, written in first-person, intended to start the creative juices flowing. Players naturally want to keep some elements of the character a secret from the other players, so there is a chance of discovering during the campaign, but too much secrecy can restrict group cohesion. Plus, getting input from those you will be playing with helps solidify a group concept that will last for a long campaign.
Players should try to be original, but not try too hard to be too original. There will always be similarities with published comic book characters. Players should not shy away from these similarities, but instead apply fresh ideas and twists to make characters their own.
Even if the players are roleplaying characters from a published comic, players should still go through the process of describing the character's background, etc. Writing down the character details lessens the chance for confusion between the player's perception of the character and the GM's. Also, the process helps solidify the character in the player's mind.
GMs use the same basic process for creating characters. Major characters and villains should be fleshed out in as much detail as a player character. Minor and background characters require less information. In general, the more time a characters will be interacting with the players' characters, the more detail is required to make the character interesting and memorable.
Since the character background has to be consistent with the campaign setting and it has such an influence on the rest of the character, players must work closely with the GM to create a background that fits. People from the character's past will be roleplayed by the GM, so it is vital that the player and GM see eye-to-eye. Likewise, the GM has to integrate the places visited in the character's past into the campaign's geography.
The background should also include all the necessary details of the events leading up to and surrounding the character's life. Describing the character's grandparents is not usually necessary, but if grandparents had a profound impact on the character's motivation or personality, then they should be included.
Questions: What were the character's childhood and adolescence like? Which people had the greatest influence on the character's life? What were the pinnacle moments in the character's life? What is the character's probable future?
Characters often share many personality traits with their players. This is not a bad thing, but players may want to stretch their roleplaying abilities to incorporate aspects that they themselves do not have. Players should strive to roleplay their characters' personalities consistently, but not rigidly. Unlike the character's background and origin and other static elements, the character's personality takes on a life of its own.
Everybody has different aspects of their personalities that come out in various circumstances. An extravert at parties may become closed-off in more intimate settings. A well-disciplined individual may lose control when children are threatened. A hero may take on a completely different persona when transformed into superhuman form. These differences can be noted at the character's inception, or the player may discover them as the campaign progresses.
The personality outlined during character creation is not carved in stone. Often, it can take several sessions for the player to settle into a character. Like rehearsals, these first sessions should be less about consistency as about discovery-finding the character's voice. Through the course of a campaign, a character's personality can shift and mutate based on the events of the campaign.
There are also out-of-character reasons for a character's personality to change. Players may find themselves unwilling or unable to play their characters as original envisioned or the personalities of characters may create too much tension in the group. A shift in personality can also change the character's motivation.
Questions: Which key events exemplify the character's personality? How would other people describe the character? How would the character describe herself? Is there anything about the character's personality he would like to change?
A character's motivation can change during the course of the campaign. A glory hound whose partner is killed may become motivated by vengeance. A civic-minded hero may become disillusioned and only continue for the paycheck. These kinds of changes should not be taken casually and typically only occur after many months or years or in the wake of character-shaking events.
| Hero: If you were not a hero, you would be risking your neck doing something less constructive. Extreme sports lose their edge when you have you super powers. Being a hero gives you that same adrenaline rush plus you get to help others in the process. You are a hero of action - patrolling the city from rooftops, chasing down felons, and swinging into the heat of the battle. | Villain: You live your life on the edge. The only differences between you and the thrill-seeking hero is that you have more at risk and get a better paycheck. You take on the most daring jobs, the ones everyone else is afraid to take. Some say you take too many risks; you tell them the risk is what makes it worth doing. Besides, the greater the risk, the greater the payoff. |
| Hero: Nothing gets the blood pumping like opening a can of whupass on some punk who really deserves it. Fighting super villains is dangerous, violent business and you would not have it any other way. Fortunately, super heroes are given a lot of leeway when apprehending other supers. Unfortunately, when stopping a mundane street thug, you need to start pulling punches to avoid abuse charges. | Villain: Robbing a bank or holding the city in terror just is not the same if you cannot crack some skulls. If some self-righteous heroes get in the way, all the better. Anyone stupid enough to stand in your way deserves the pounding they get. Even when not a job, you go out of your way to pick fights. There is no truer test of one's mettle than a good, old-fashioned slugfest. |
| Hero: You thrive on attention; you are never quite so satisfied as when the spotlight is on you. They say there is a downside to being a celebrity, if there is, you either have not found it or you do not care. You mop the floor with some villain on the nightly news and everyone loves you. What could be better? Even the bad press is okay-at least they are talking about you-but you make sure you always come out on top in the public's eye. | Villain: Playing the bad guy is a role you cherish. The more people curse your name, the more you laugh. Public Enemy Number One is a title of honor. You time your crimes to coincide with major public events where the media is surely to focus on you. You keep a collection of newspaper clippings and video footage of your exploits. Maybe you have a message and this is the best way to broadcast it; then again, maybe you just love mugging for the camera. |
| Hero: Some things are worth fighting for. The ideals of democracy, freedom, and justice are fragile and must be protected if they are to grow and thrive. Every injustice hurts us all. Through your actions, you serve as a role model. Hopefully, others will follow your example and fight for what is right. Together, this world can become a better place. | Villain: You are not wrong—everyone else is. Though what you do is illegal, it is for a higher purpose and if the so-called heroes would stop interfering, they will see the righteousness of your cause. You are not a penny-ante crook; you are a visionary fighting a war. If a few sacrifices must be made and some innocents hurt, it is but a small price for the greater good what will come. |
| Hero: You can make a decent living as a bounty hunter, law enforcement officer, or government operative. There are also opportunities in entertainment and super human sports, but the real money is in the endorsement contracts. Make a name for yourself and the money rolls in. You put your name on shoes, soft drinks, trading cards, personal appearances, and when you get past your prime, there are juicers, exercise equipment, and reunion tours. | Villain: This is a trick question right? Of course you are in it for the money—what else matters? You have expenses like sports cars, fine art, tropical resorts, not to mention the powered armor, military weapons, and secret mountain laboratory. Crime pays the bills. Robbery, kidnapping, and terrorism can all have good payoffs. You could also be a mercenary, assassin, hired muscle, or a contract thief, or just steal the things you need. |
| Hero: You never asked to be a hero. All you want is to be normal, but reality gets in the way. Your life has been turned upside down; trouble seems to follow you no matter where you go. Every day, you help people in need-people who want the same things you do-to live a normal, happy life. Though they call you a hero, it is not a moniker you wear comfortably. You may even be a villain, coerced to help the good guys while secretly or overtly trying to break away or thwart their plans. | Villain: You are stuck in a vortex. Every time you try to dig your way out, someone or something pulls you back in. Whether from blackmail, dire finances, the burden of past obligations, a dependence upon a drug or medicine, or the protection of your family, you are continuously thrown back into a life a crime. Any wrong move on your part will result in disaster. Your back is against the wall and so you continue to play the game until you can find a way out. |
| Hero: You only pretend to be good and fight for the causes of justice. While no one is watching, you plot against the very people you seem to protect. It could be a scheme to lull your enemies into a face sense of security, to gain access to resources, or to get close to specific people under the guise of being a hero. | Villain: You are not as bad as you pretend to be. Many heroes go undercover to infiltrate a villainous organization or gain access to the criminal underground. Every day you walk the line between playing the role of a villain to convince those around you yet not jeopardizing your own morals and endangering the innocent. A close scrutiny of your activities will reveal chinks in your façade, acts you would not perform and lines you would not cross. |
| Hero: It is not about justice or doing what is right-it is about payback. Save the speeches about the "greater good" on someone else; for you, it is personal. The criminals are the ones that shattered your life and the lives of countless others and they will pay and pay dearly. Your quest will not end until every scum-sucking lowlife is behind bars, out of town, or six feet under. | Villain: You have been wronged by society, the government, or humanity in general and so you strike out against them in any way you know how. You only take what was taken from you, with interest of course. Eventually, the score may be settled and you can retire, but that day is still far off. Until then, you will not rest until everyone pays for what was done to you. |
| Hero: ... responsibility. Super powers can be a terrible burden with physical and emotional pain, straining relationships with family and friends, but what kind of person would you be if you did nothing? You cannot stand on the sidelines when you have the power to make a difference in the world. As a citizen of this city, this country, and humanity, you have an obligation you cannot ignore. | Villain: ... opportunity. You are not a fool. Helping others and making sacrifices is against the natural order and an insult to humanity. If you did not take advantage of every advantage you have, you would be a chump. Anyone who says they would "do the right thing" is either lying or weak-willed. If you have to break laws, so be it-laws are only in place to suppress the rights of the individual. Your power alone give you the right to do whatever you want. |
Comics generally follow a pulp tradition of appropriately sounding names corresponding to the character's personality or shtick. Mysterious characters have esoteric names. Tough-as-nails characters have hard-edged names. Alluring characters have seductive names. Heroic names tend to give some indication of the character's abilities or focus. These rules apply to all the names a character may have.
Characters do not always have the luxury of choosing their own names. Like nicknames, heroic names can be given to people whether they like them or not. Alternative sources for a character name include: a friend or relative, a teammate, a journalist, or even an image consultant or corporate naming committee (perhaps after taking polls or consulting focus groups).
With volumes of comic book characters that have appeared over the years, creating an original name for your character can be a very daunting task. Trademark concerns prevent comic book publishers from copying character names from each other and some GMs uphold this tradition by not allowing players to choose names that already exist in comics. If the campaign is set in a published comic universe, players should follow the prevailing naming convention and not use existing names unless they are playing the established characters.
Question: Do you like your name? Has your name ever gotten you confused with another person? Would you change it if you could? What other names were on the "maybe" list?
Since comic books are a visual medium, having a picture of the character is very helpful. Unfortunately, many of us are not comfortable creating drawings of our characters. Fortunately, there are some useful tools and templates that can save us drawing-impaired players. One program I recommended can be found at www.heromachine.com. Failing this, players can use pictures of published comic book characters of real-life people.
A popular technique is to describe a real-life celebrity that would be most appropriate to play the character in a movie. The choice should encapsulate not only the character's physical qualities, but also the character's personality. This works best of the character is modeled after a particular celebrity. One drawback is many players choose the same popular action heroes and limit themselves to a few well-known faces.
Questions: What is your most distinctive feature? What feature would you change or improve, if you could (or have you already)? Are there any mannerisms you do when bored, stressed, or lying?
The costumes used in comics have changed significantly over the years. Often, you can tell the decade a comic was published by the costumes the characters wear. The costumes chosen for the campaign should reflect the era it is trying to recreate.
Drawing clothes is much more tricky than drawing the stylized human form of comics. This is why so many superheroes run around in skin-tight outfits. More realistic costumes, such as those seen in modern movies, are more concerned with functionality, durability, and protection. Leather, Kevlar, and more exotic composite materials are more likely than spandex.
Questions: Who designed your costume? It is designed for functionality or fashion? How easy is it to repair or replace? What motifs and colors are used?
Character origins are dependent upon the campaign setting and premise devised by the GM. If the game is about interstellar explorations, aliens and technology will abound, but mystical origins may be non-existent. If the GM wants to explore conflicts between mutants and normal society, it may help if the PCs are all mutants. Some character origins may introduce elements into a campaign the GM never intended, such as artificial intelligence, magic, or aliens. As with every aspect of character creation, players and GMs should work together.
A fun place to begin a campaign is at the origin of the player's powers. Such a beginning can provide a common bond between the characters and create the seeds of long-running campaign elements, such as recurring nemesis or a shared secret. On the other hand, it can be fun to play characters at the peak of their career and simply write up the characters' origins as a background element. Even then, there is no reason not to roleplay "origin stories" as a break from the normal adventures or even in the context of a time-traveling adventure.
Comic books are filled with clichéd origins. Players should neither shy away from classic origins nor create trite, one-line origins. Below is a list of some of the most common broad categories. The following list is intended as a spring board for ideas and not as a way to place character concepts within a box. The categories overlap and intertwine without a clear dividing line between them. Players are encouraged to create original origins without straining to be truly original. Because origins can have a significant impact on the campaign setting, players must be flexible and with the GM in creating an origin that fits the campaign universe.
Questions: What brings you to Earth and are there plans of getting home? Are other members of your species or peoples coming to Earth? Which of your traits are common to her species and which are unique to you? How easily can you pass for human? Do you require special equipment or substances to survive on Earth?
Note: The presence of aliens in a campaign world can open up a large can of worms for a GM, especially if multiple players introduce multiple alien species over time. To do alien characters justice, the GM should devise a rough sketch of the alien civilization(s) and how Earth fits into the whole galactic scheme. The presence of aliens opens up plots of alien invasions, human exploration, and others from the genre of science fiction.
Questions: Can the events and circumstances that caused the alterations be duplicated with similar results? Were there any side effects from the alteration process? Do you think of the alteration as a blessing or a curse? Were other characters, perhaps a hero or villain, also involved in the accident or procedure that altered you?
Note: Some of the goofiest rationale for super powers comes from characters falling into vats of chemicals, being struck by lightening, irradiated by subatomic particles, and bitten by mutated bugs - sometimes all at once. While outlandish origins are appropriate for lighthearted games, it is often best to keep it simple and with a plausible (for comics) reason why the character did not die outright.
Questions: Who is your creator and what is your relationship? Are there others like you? Can you be repaired or rebuilt? Do you even know you are not human?
Note: Artificial beings are often lacking in human experience and personality, suffering from underdeveloped emotions and social skills. While this is appropriate for a mindless killing machine, it can be very boring to roleplay, and roleplay with, over many sessions. Players should give these characters room to grow and develop as full three-dimensional characters, starting with a clean slate and ending with a colorful character who is interesting and dynamic.
Questions: Do you share the same motivations and ethics as the previous generation(s)? What mark or imprint do you want to leave on the legacy? Are the past members of the legacy around and what are they doing today? How does the legacy affect other people's expectations and assumptions of you?
Note: Legacies, a staple of comic books, offer a natural way to build the history of the campaign world. Legacies are also a good means to provide young super humans at the start of their careers with resources and advice. One way to invigorate players and launch a new campaign is to base it on the legacy of the player's previous characters. Some players may even enjoy playing sidekicks and apprentices of other players' characters.
Questions: Is "magic" just another name for super powers or perhaps are super powers really magic? Is magic an ability, like algebra, that can be learned by almost anyone or does it require a special talent or trait? Can magical ability be quantified and studied using scientific methods? Has the frequency and power of magic changed through human history?
Note: Magic, while a staple of many comic books, is not appropriate for all campaigns, especially those more rooted in science fiction. Too often, the label of "magic" can be used to justify any and every power and ability imaginable, leading to abuse. On the other hand, magic can open up realms and plot possibilities that other origins do not. Some settings pit magic and technology as opposing forces in the universe.
Questions: See the questions for the other origin categories.
Note: Many, if not most, super humans in comic books have abilities that come from a number of sources. For example, technology is often a part of a hero's or villain's arsenal, and even altered humans, mutants, and aliens can benefit from extra training. Multiple origins can make a character more well-rounded, but it can also make a character appear as a random hodge-podge of abilities. Unless the disparate origins tie together neatly, players should focus on a primary source of their characters' powers.
Questions: How common are mutants? Is there a means of distinguishing mutants from non-mutants? Are there mutants with no beneficial powers or even detrimental side effects? Do you identify yourself as a mutant or as a human?
Note: The term "mutant" is very common and popular in comics, where mutant social strive and conflict is often uses as an allegory for race relations, the politics of sexuality, and other minority issues. There are many social and moral issues and conflicts that the GM can introduce into the campaign, if such a thing is desired. The GM and players may even agree that most or all super powers derive from mutations.
Questions: Are there more like you or are you unique? Do you have problems communicating with humans? What is your, and your kind's, attitude toward humans? Which of your abilities are unique to you and which come from your species?
Note: Similar in nature to Aliens, Artificial Beings, and Mutants, Non-Humans face many of the same challenges of surviving in a human-dominated world. Talking gorillas, dogs, cats, and fantastic animals like dragons are not uncommon in comic books. Some Non-Humans are purely comical derivations, which may not be appropriate for serious campaigns.
Questions: Who built the technology and who can repair it? How many copies of this technology exist? Are there any strings attached to its use? What is the technology's source of power and are there limits?
Note: Amazing, futuristic technology is standard in superhero comic books. Even so, the GM may place limits on what powers technology can provide. The realm of mental powers, reincarnation, and other abilities with strong mystic roots may not be possible with technology.
Questions: What drives you to this level of training and do you ever want to give it up? Who trained you and what is your current relationship with your trainers? Are there others, perhaps within an organization, with similar training? What other enhancements do you possess?
Note: There are limits to what the human body can do, but comic books tend to exaggerate these limits greatly. Most "mundane" characters who have no powers other than exceptional training will often rely on technology, and lots of it, to stand up to super humans. Psychic or magical training is also possible, but the GM needs to determine if this option is available for all peoples or only those with the right stuff.
The sample powers are common for each archetype, but not every individual has every power listed. Also, the character may possess other powers not listed or mentioned for other archetypes.
Powers: Armor, Density Increase, Growth, Super Strength, Toughness
Questions: Do you have an Achilles heel? What distinguishes you from all the other bricks?
Note: The brick is perhaps the single most common archetype in comics. Because of their toughness, a single brick can often take on two or more characters at once, making bricks excellent villains.
Powers: Elemental Control, Energy Absorption, Energy Blast, Flight, Force Field
Questions: What elemental form do your powers take? Are your powers always on or do you have to "power up?" What limitations do your powers have?
Note: You can never go wrong with an energy projector. Comic books are filled with pseudo-scientific energy sources from which to draw super powers. Energy projectors often have vulnerabilities related to the kind of energy they use, such as a fire projector being weakened by the cold. On the other hand, you can sometimes get great synergies between characters using near-opposite types of energy.
Powers: Any with a reasonable, technological explanation
Questions: Who makes and replaces your gadgets? Is there a limit, such as weight, to the number of tools you can carry with you? Can anyone use your gadgets or just you? Do your gadgets suffer from reliability problems or other restrictions?
Note: The gadgeteer is a very versatile character, but one that is generally more fitting for campaigns of a lower power level. Mental powers are usually outside the realm of gadgeteers, though they may be acceptable through the use of biological agents. Gadgeteers can easily justify adding more powers just be building more toys. Unlike other powers, gadgets can be stolen and possibly used by the opposition.
Powers: Weapons
Questions: Where did you learn how to shoot so well? What is your signature make of gun? What other weapons do you use to supplement your arsenal? Do you make your own ammunition?
Note: In some ways the gun bunny is a cross between an energy projector and a gadgeteer. A common variation is a character who uses a bow or other archaic missile weapon instead of guns. Gun Bunnies do not fit as well into high-powered campaigns, where their lack of defenses and exotic powers make them less viable characters.
Powers: Any
Questions: How did you learn magic? Do you have a spell book or preset list of spells? Does your ability depend upon special items? Do your spells share a common theme?
Note: Magic-wielding characters can be the most difficulty to deal with as their flexibility and versatility makes it difficult to challenge the character. As with magical origins, described above, magician characters may not be appropriate for all campaigns.
Powers: Martial Arts, Toughness, Weapons
Questions: What is the focus and philosophy of your style(s)? Do you compete in professional tournaments? Do you possess any super powers? What is your standing with the greater martial artist community?
Note: Martial arts characters offer great opportunities for rivalries and reoccurring villains. Whether the campaign is low-powered or high-powered, the martial artist archetype can find a home-simply increase the number and intensity of powers available.
Powers: Clairvoyance, Ego Blast, Illusions, Mind Control, Precognition, Telekinesis, Telepathy
Questions: Are there any physical manifestations, such as light or sound, of your abilities? Do people who know of your abilities mistrust you? Have you ever been tempted to you use your abilities casually, like to get a better table at a restaurant?
Note: Mentalists can be very unbalancing to a campaign. Creating adventures with mentalists in the group can be challenging for a GM. Mysteries become simplistic if the character can discover the culprit after probing a few minds. While they are a staple of comic books, the GM may wish to disallow mentalists or specific mental powers.
Powers: Armor, Flight, Life Support, Sensors, Super Strength, Weapons
Questions: Who made the suit and who repairs it if it is damaged? How easy it is to put on? How difficult is it to conceal and transport? Does the suit have any restrictions, such as a limited power supply or strings attached to its use?
Note: As with magicians, power suits can be extremely versatile and cause headaches for the GM. Fortunately, they usually have limitations and an inconvenience that the GM can exploit. However, if a power suit character is caught "naked" too many times, the player may become resentful.
Faults can be positive character traits, such as loyalty, courage, and honor. When listed as a fault, the universe has a way of constantly challenging the character's traits and throwing them back into the character's face. These traits can also be exaggerated and overused until they become a character flaw, such as a character who is "honest to a fault."
As with superpowers, there is no fixed list of faults. Below are some classic examples from comic books. Players and GMs should create faults that fit both the character concept and the campaign. Each challenge should include a few sentences describing how the challenge fits in with the character's background and how it can affect the campaign as well as any necessary details, such as the identity of a dependent or the specific conditions of a character's vulnerability.
There is no minimum or maximum number of faults a character can have. Characters should have enough faults to make for interesting stories yet not so many that they overshadow the characters' accomplishments. Every character should have one or two well-conceived, central faults plus two or three faults of lesser significance.
During the course of a campaign, a character's faults can change. A secret identity may become public, one nemesis may be defeated to be replaced by another, or perhaps the character permanently overcomes a vulnerability or handicap. When it appears that a character's faults no longer fit the campaign or the character has grown out of the current faults, the GM and player should work out a new composition of faults for the character. This should not occur too often lest the faults lose their significance, but a player should not feel straight jacketed by choices that no longer apply to the character.
Faults do not provide immediate, short-term benefits for the character. Instead, they provide more interesting opportunities for roleplaying and a long-term benefit of gaining more Experience Points. The GM awards Experience Points at the end of the adventure based on how severely the fault affected the character and the campaign as a whole. Faults will tend to affect the character in small ways in every adventure, but no Experience Points are awarded unless the impact was significant. You can use this technique for whatever system you are using, scaling the awards appropriately.
If the character fails to meet the requirements of a fault, such as allowing a dependent to become hurt or letting a secret slip out, the GM should make sure the character faces the appropriate consequences. No Experience Points are awarded in these situations, but neither is the character penalized any Experience Points.
Questions: Who are your dependents? In what ways do they get into trouble or make your life difficult? What would you do to keep them safe; is there a line you would not cross? How has your heroic life affected your relationship(s)?
Note: The GM should always make the relationship a challenge for the PC, especially when the dependent is useful. If the dependent is too useful, the GM may even want to award fewer Experience Points than normal.
Questions: What is the problem and how did it develop? Do you even see it as a problem? How often does it influence your actions?
Note: When turning a positive trait into fault, such as "honesty to a fault," remember to award Experience Points when the character does the "right thing," even if it is not the wisest course of action, and yet prevails anyway. Simply acting honorably or honestly without negative consequences does not merit a reward. In fact, the character probably benefits from such behavior most of the time-just not in Experience Points.
Questions: How much of a clue do you have that something is going on behind your back? What steps have you taken to uncover the mystery?
Note: The character is unaware of some challenge that will reveal itself at an appropriately dramatic time. The GM creates a suitably interesting challenge, such as a secret nemesis or unknown vulnerability, and keeps the information hidden from the players. Mystery challenges can be revealed slowly throughout a campaign, such as a nemesis who acts covertly, or in a dramatic instant, such as a vulnerability discovered during a crucial battle. Experience Points from mystery challenges should be handled in such a way that the player remains unaware if and when the challenge came into play. The GM has the option to award these Experience Points at a later date, like after adventures that did not involve the challenge, to throw the player off track, or save them all up and award them once the mystery is revealed.
Questions: Who is this person and why is there so much bad blood between you? Who started the conflict? What important events of your life were shaped by your nemesis? If your nemesis was gone tomorrow would you miss the rivalry?
Note: The character's background should include a sketch of who the nemesis is and why they are at odds with the character. The specific details of the nemesis are left to the GM. In some cases, the character might not even know the nemesis exists (see Mystery, above).
Questions: Does your obligation come from your own feelings or have they been imposed on you? What do you think would happen if you failed to meet your obligations? What have you sacrificed to do what was asked or expected of you? Is there any way out of your obligations and what steps have you taken in this direction?
Note: Obligations make great subplots, but if characters within group have contrasting obligations, tension may result.
Questions: What caused your handicap? Which everyday things are more difficult for you? What steps have you taken to counter your physical challenge? To what degree do you identify with other "differently-abled" persons?
Note: The GM should only award Experience Points when the physical challenge makes a significant difference in the adventure. If the character's abilities or teammates negate the effects of the handicap, then no points are awarded.
Questions: What drawbacks have you experienced to being a public figure? Do you ever wish you could have a secret identity? When you travel incognito, how successful are you, generally? How do you friends and family deal with your public identity?
Note: The public is probably more trusting of a superhero who does not hide behind a mask. If called to testify in court, having a public identity avoids the legal issues surrounding keeping a witness's identity secret.
Questions: What is the secret? How many people already know about it? What do you think will happen if it becomes general knowledge? To what extremes will you go to protect your secret?
Note: When the secret becomes public knowledge, the GM and player should agree upon a new fault for the character.
Questions: What measures do you take to keep your identity hidden? How many people know of your dual life? What consequences do you expect if your identity should ever become public? Do you have more than one secret identity for different purposes?
Note: Secret identities can become tangled in legal issues should the character ever be called into court. The prosecution may need the character to take the stand as a witness or the character's heroic identity may be sued for assault, property damage, etc.
Questions: What did you do to deserve this? What was the most extreme case of bad luck you have endured? Do people consider you jinxed? Do you have any superstitions to avoid bad luck?
Note: A character with the fault of being unlucky is the default target for any GM surprises and manipulated twists of fate. The GM may pick and choose when the bad luck will impact the character. Typically, if the GM is tempted to roll a die to answer a question, the GM can simply pick the worst result for the character. The GM can also use bad luck to balance out good die rolls and other good luck the character experiences during the adventure. Because unlucky characters tend to impact the entire party, any Experience Point awards generated by this fault are awarded as Group Points instead.
Questions: Why have you never learned this common skill? What steps have you taken to circumvent this problem? Has your lack of ability or understanding caused you embarrassment or shame? Do you keep your inability a secret?
Note: The GM should only award Experience Points when the lack of skill makes a significant difference in the adventure. If the character's other abilities or teammates negate the effects of the handicap, then no points are awarded.
Questions: What is it about you that is unusual? When you meet people for the first time, how do they react to your appearance? How long does it take for them to overcome this reaction? How difficult is it to disguise yourself?
Questions: What are you vulnerable to? How does it affect you? How severe are the effects and how long do they last? Is there an antidote?