recursal/Fanatic-Fandom huggingface dataset:
The Bull

You’re big, strong, and tough. You know what fighting really is, and you’re good at it. Sure… you’ve got a soft side, too. But you only show that to the people you care about most. Everybody else? They can eat your fist.

## Playing a Bull

Gruﬀ, tough, passionate, big-hearted. The Bull’s a heavy hitter with big feelings. They get into a lot of fights, both interpersonal and superheroic, especially thanks to their signature move, The Bull’s Heart. A lot of the time, they’ll be Angry. They’re a big, gruﬀ wrecking ball, and you should have fun smashing them into things.

Get into fights, emotional and physical! Be blunt! That’s the way of the Bull. Your biggest asset in playing your Bull is your core move, The Bull’s Heart. It’s your way of signaling to yourself and the whole table that you’re interested in scenes with particular characters. Pay attention to it, and try to get those bonuses as much as possible.

Also, keep in mind that your love doesn’t have to be a romantic love, and your rival doesn’t have to be hated. They absolutely can be if that’s what you want! But they don’t have to be so extreme. Your rival could be your closest friend whom you’re determined to surpass. Your love might be someone who’s like your younger sibling, and you keep them safe at all costs. Interpret those terms liberally.

Every playbook’s Moment of Truth matters and may shift the direction of the character, but the Bull’s in particular is significant. The Bull was made to be a fighter by someone else, and when you use your Moment of Truth, the story of the Bull’s origins becomes way more important. Use your Moment of Truth when you know you want to inject that element of backstory into the game moving forward.

## Inspiration

* Ms. America Chavez, YOUNG AVENGERS
* Superboy, YOUNG JUSTICE
* X-23, X-MEN
* Molly Hayes, RUNAWAYS
* Hazmat, AVENGERS ACADEMY
Rosepelt

Rosepelt is a beautiful white she-cat with blue eyes.

## Personality

Rosepelt is a caring and loving cat. She holds her family in the highest regard and will always stand by them. She loves her children more than anything.

## History

Rosepelt was born in Waveclan where she fell in love with the clan deputy Shardtail. She knew how Shardtail felt about her and she was the one who got him to say it. Soon after the couple had their first kit, Jetkit. However things took a turn for the worst as Shadowstar banished her for no reason other than she was a loving cat. She fell in love with a rogue named Flint and had another kit, Jagged. What she has never told anyone is that Jagged was in fact not Flint's son but Shardstar's son.
Yuto-senpai’s Rap

= A Japan State of Mind (The Knife Hip Hop)

## A Rap

Yeah, yeah
Ayo, Pinku-chan, it's time.
It's time, Pinku-chan (aight, Pinku-chan, begin).
Straight out the green dungeons of rap.

The drum drops deep as does my towel.
I never drive, 'cause to drive is the girlfriend of prowl.
Beyond the walls of cats, life is defined.
I think of Happiness when I'm in a Japan state of mind.

Hope the owl got some prowl.
My scowl don't like no dirty cowl.
Run up to the howl and get the fowl.

In a Japan state of mind.

What more could you ask for? The divorced drum?
You complain about Tokyo is too Loud.
I gotta love it though - somebody still speaks for the thumb.

I'm rappin' to the knife,
And I'm gonna move your life.

Sweaty, grubby, scrummy, like a leg
Boy, I tell you, I thought you were a nutmeg.

I can't take the Tokyo is too Loud, can't take the teddy.
I woulda tried to snooze I guess I got no steady.

I'm rappin' to the life,
And I'm gonna move your knife.

Yea, yaz, in a Japan state of mind.

When I was young my girlfriend had a plum.
I waz kicked out without no sum.
I never thought I'd see that bum.
Ain't a soul alive that could take my girlfriend's income.

A spiffing torch is quite the blowtorch.

Thinking of Happiness. Yaz, thinking of Happiness (Happiness).
Overwhelm a Vulnerable Foe

When you **overwhelm a vulnerable foe**, roll + Danger. On a hit, the fight’s over. They’re done.
On a 10+, choose one. On a 7-9, choose two.

* you take a powerful blow in turn
* you hurt your foe more than you intended
* you cause serious collateral damage

## Description

This is a powerful move—it’s a way for a PC to instantly end a fight against a foe, regardless of how many conditions they have marked. You open fire, pouring attack after attack on an enemy and just battering them into submission. The key to this move is “vulnerable foe.” Dangerous opponents almost certainly won’t be vulnerable, at least until they’ve been pushed a bit—maybe the PC tricks them into making a stupid move, or maybe they’ve gotten banged up first. But until the PC has a real chance against them to end things quickly, they can’t trigger the move. “The fight’s over” means exactly that. Against this enemy, at least, the fight is over. They’re knocked down, knocked out, defeated, incapable of continuing.

## Options

Choosing to **take a powerful blow in turn** is exactly what it says—you have to roll to take a powerful blow. Your enemy, though they’re vulnerable to you, gets a shot at you before they go down.

Choosing **you hurt your foe more than you intended** means your dangerous nature overcomes your restraint. To overwhelm a vulnerable foe, you’ve really got to lay it on them, hard, and it can get out of your control. This is when it turns out you accidentally left your psychic opponent a vegetable (at least for now), or the massive energy blast you unleashed cost your enemy an arm. Depending on your tone and the fiction, it might even mean your enemy dies. You can bet that’ll have repercussions, especially when your teammates and the adult heroes hear about it.

Choosing **you cause serious collateral damage** means your environment, and those around you, are hurt or at least endangered. Maybe that torrent of blows you unleash damages a support strut, and now the building is collapsing. Maybe when you blew up half the street with a radioactive blast, you caught your friends in the explosion. It’s up to the GM exactly who or what gets hurt.
Describe Like a Comic Book

Don’t just set a scene and say what’s there—describe the first panel of the page, what the picture shows. Tell us how the panel shifts, what people say or do. Periodically throughout play, cut in with descriptions not just of the action, but of how it looks as a comic book. One panel might show the punch, the next shows your enemy ﬂying through the air, the next shows the impact—call out each one. Think about what would look good on the page, what you’d like to see in the comic version of your story. Exciting visuals! Cool angles! Interesting framing! Not static images, not simply talking heads.
Give Villains Drive

All villains are in some way people. If they aren’t people, they aren’t really villains—a robo T-Rex is an awesome threat to fight once, but not as a recurring villain, unless it’s intelligent, with desires, insecurities, fears, and more. Villains may be extreme, over the top, terrible, awful, and criminal, but they’re still human—even the ones that are robots or aliens or whatever.

Give every single villain, then, a drive that features their core humanity. Drives are statements of intent: “To ...” “To save the life of my sister by any means necessary.” “To discredit the fake and unworthy heroes.” “To make the people who once tortured me pay.”

No villain should ever want to take over the world just ’cause. They want to take over the world for a reason.
Session moves

There are two session moves that trigger at the beginning and end of each session.

## Session Start

At the start of every session, add 1 Team to the pool.

## Session End

At the end of every session, every player chooses one of the following to represent how they best changes this session (players may choose the same option):

* **Grow closer to the team.** Explain who made you feel welcome and give Influence to that character. Then clear a condition or mark potential.
* **Grow into your own image of yourself.** Explain how you see yourself and why, then shift your Labels, one up and one down.
* **Grow away from the team.** Explain why you feel detached, then remove another character's Influence over you.
Labels

Labels tell you how your character understands their self-image.

These Labels shift and change over the course of play as your character’s own self-image changes, and those changes are often in direct reaction to how others see you. When you’re a young hero, how you see yourself is determined just as much by others as it is by your own choices, for better or worse.

The five Labels are:

* Danger
* Freak
* Mundane
* Savior
* Superior

When you shift your Labels, it means that your view of yourself is changing. You see yourself more as the label you shift up, and less as the label you shift down.

Remember that Labels cannot be higher than +3 or lower than -2. If you need to shift a Label and can’t, instead you must mark a condition, GM's choice.

If you ever need to shift a Label and it is locked, ignore the entire shift - nothing shifts up or down.
Pierce the Mask

When you **pierce someone's mask to see the person beneath**, roll + Mundane. On a 10+, ask 3. On a 7-9, ask 1.

* What are you really planning?
* What do you want me to do?
* What do you intend to do?
* How could I get your character to ...?
* How could I gain Influence over you?

## Description

Pierce the mask is for seeing who someone really is, beneath whatever facade they present. It’s not just about literally seeing beneath someone’s mask; it’s about understanding another person.

It requires you to watch someone, observe them, pick up on their body language and their emotions, to get a read on who they really are. You don’t have to be talking with them to trigger this move, but it’s easy to say you’re trying to pierce someone’s mask when you’re talking to them.

When you pierce someone’s mask, you get to ask questions of them, and their player must answer honestly. For NPCs, that means the GM answers honestly. You should ask all your questions at once, but if you must, you can hold questions for as long as you’re watching them.

## Options

**“What are you really planning?”** is about long term plans. It’s about overarching goals and intent, not immediate intent. The answer could be “Nothing,” but most characters have some kind of overarching goal and plan that they can use to answer the question.

**“What do you want me to do?”** puts a focus on the other person’s vision and ideas for you and how they want you to act. You can usually oﬀer to act how they want in exchange for getting something from them.

**“What do you intend to do?”** is about immediate plans, right here in the moment. It’s a very action-focused question, giving you information on what you can expect to happen very soon.

**“How could I get your character to ...?”** is one of your best ways to get other characters to do what you want in the game. You fill in the blank with whatever action you want them to take. They have to answer honestly, so whatever action or events they describe will genuinely get them to take the actions they’ve promised. The answer might be “You can’t,” because the question and what it’s asking of them is so not in character, they just wouldn’t do what you want them to.

**“How could I gain Inﬂuence over you?”** is one of the most straightforward ways of getting Influence on someone. If you already have Inﬂuence over them, the question won’t tell you anything; if you don’t, this tells you what you need to do to ensure that your words and opinions matter to them. If you do whatever they tell you to do, they should grant you Inﬂuence immediately after it.
Superior

Superior is seeing yourself as smart, capable, crafty, and quick. Other people see you as superior when they think you’re the smartest person in the room, an arrogant and egotistical jerk. You see yourself as superior when you think you’re cleverer than everyone else, and when you know exactly what to say to make the people around you do what you want.
Segmento Akeuxa

El Segmento Akeuxa es un segmento de la Galaxia conocida como Vía Láctea. Está situado sobre el brazo de Norma en el Borde Exterior. Es un brazo que discurre de forma parallela al segmento de Saiva. A diferencia de este. el segmento Akeuxa es más ancho pero mucho menos denso en estrellas y sistemas, lo que hace que sea algo menos habitado y algo más salvaje que su vecino. La parte interna (cercana al nucleo o al resto del brazo galáctico) es mucho más densa y habitada que la parte externa (más cercana al vacio espacial) del segmento que es extremadamente dispersa y salvaje. Numerosas especies existen aquí.

Las principales hiperrutas del segmento son:

* **Ruta Syrell** - Hiperruta mayor que atraviesa la mayoría del segmento interior y medio, viajando a través de las areas más densas de este de lado a lado. Entra en el segmento dibujando una C procedente del Segmento Busi y recorre el area antes de morir en la frontera entre los Segmento Akeuxa y Saiva.
* Vía Lomuriana - Ruta menor que atraviesa el norte del segmento en su frontera con los Segmentos Upan y Busi.
* Corredor Deodriano - Ruta menor que atraviesa el sur del segmento en su camino hacia el centro galáctico
* Axis Ferren - Ruta menor que atraviesa el sur del segmento en su camino hacia el centro galáctico
* Ruta Visiana - Ruta menor que atraviesa el sur del segmento en su camino hacia el centro galáctico
* Camino de Fein - Ruta menor que nace en el segmento y lo recorre brevemente antes de adentrarse en el segmento Saiva y dirigirse hacia regiones más centrales de la Galaxia.
Team moves

Besides spending Team from the pool, each playbook features two other team moves, always based on the same two triggers:

> *when you share a triumphant celebration with someone*, and
>
>

> *when you share a weakness or vulnerability with someone*.
>
>

These moves demonstrate how your playbook leads you to connect to and engage with teammates in moment of high drama. If more than one person is triggers one of these moves for you, you choose which person triggered it the most.

**Triumphant celebration** is more than just a high-five - the idea is that you're excited and inviting someone to share in your joy. It could be an honest compliment or a shared party or drink.

**Sharing a weakness or vulnerability** is letting somebody see the secret and vulnerable parts of yourself. It could be telling someone a terrible fear or memory, revealing your greatest insecurity or your deepest desires.
Make Your Move, but Misdirect

When you make a move—a specific thing you say happens—don’t say its name. Say what happens, say how it feels, say what the characters see or hear or experience—but don’t say exactly what move you just made.

Don’t say, “I just put innocents in danger!” Sometimes you still need to bring up the mechanical eﬀect of a move you made, like pointing out that you just took or gave Inﬂuence or inﬂicted a condition—but couch those changes in the fiction.

Say, “Oh man, you chuck that car at Rampage, but she just knocks it away. The car hits the fire truck dealing with the conﬂagration in the back and knocks it over. Without any more water on it, it’s like the fire comes alive—and you know there are still people inside!”

Don’t say, “Nano inﬂicts a condition on you.”

Say, “Nano taunts you, running through an almost itemized list of all your failures, and you can feel your blood boil—mark Angry.”
The Protege

You proved yourself to an experienced hero. They think you’ve got what it takes. They’ve been training you for a while, and now you have to decide...do you want to be them? Or will you find your own path?

## Playing a Protege

Focused, well-trained, driven, unsure. The Protege is defined by two things: their training and their mentor. A Protege has a level of skill and preparation beyond nearly any of the other PCs—even the Legacy wasn’t necessarily as well-trained as the Protege. The Protege might have innate powers, sure, but they were also guided in how to use those abilities and more by their mentor. That also means they’re devoted to being a superhero in a way that none of the other PCs may be—a Protege made at the start of play has been training for quite some time to get into this life.

That said, the question before a Protege is always whether this is really what they want—and, more specifically, if they want to wind up being their mentor. For better or worse, the relationship between you and your mentor is always one wherein your mentor wants you to turn out similarly to them—maybe not exactly the same, but close. And you have to decide if that’s really what you want. Regardless of everything they’ve given you, you might not want their life once you understand what it really means. Pay close attention to your choices for which Labels your mentor denies and embodies. In addition to telling you the kind of person your mentor likely is, they tell you the kind of person your mentor wants you to be.

Make sure you spend time with your mentor. Return to them. Ask them for help and input. You might butt heads with them, you might resist what they choose for you, but they matter to you, as well. They gave you what you needed to become the person you are today, and your relationship with them is the source of your dramatic arc. They might seek you out, but you should do the same.

## Inspiration

* Robin, YOUNG JUSTICE
* Cyclops, X-MEN
* Batman (Terry McGinnis), BATMAN: BEYOND
* Aqualad, YOUNG JUSTICE
* Wonder Girl, YOUNG JUSTICE
Make Adults Seem Childish

It’s easy to play adults as superior, wiser, and better than the younger PCs. But that gets frustrating really quickly for the PCs, if the adults are consistently smarter than their younger counterparts. Instead, draw out the adults’ own childish and short-sighted behavior—make clear that even though they’re older, that doesn’t mean they have all their ducks in a row. They think they’re right—and often, they petulantly stick to their guns even when proved wrong.

The core of this principle is making adults ﬂawed in the same ways that the PCs themselves are ﬂawed. The adults may have a better idea of who they are than the PCs do, but that doesn’t mean they necessarily make smart decisions. Even the PCs’ own mentors, or the greatest heroes in the city, are fallible. The only way the PCs can mature is if they see that the adults are just as ﬂawed as they are.
Take a Move from Your/Another Playbook.

You get another move, either from your own playbook or from a diﬀerent one, depending on which advance you choose.

This is for getting another move, not an extra—you can’t take the doom track from the Doomed, for instance, by taking a move from another playbook. If a move requires an extra that you don't have, then you won't be able to use it.
Calendario de Andrómeda

El Calendario de Andrómeda es un calendario utilizado por la humanidad, y por muchas comunidades en la galaxia de Andrómeda (algunas xeno, pero la mayoría humanas). Este calendario marca como **año 0** la Fundación de la Pentarquía, tras la unificación de los cinco mundos humanos y la llegada de los humanos a la Galaxia de Andrómeda a través de la red de portales de agujero de gusano que conecta con la Vía Láctea, conocida como "*El Laberinto*". La Pentarquía de Rhuînne es la mayor entidad humana en la Galaxia de Andrómeda.

Este sistema marca todos los años anteriores a la creación de la Pentarquía como año **ACP**, correspondiente a "***A**ntes de la **C**reación de la **P**entarquía*" y los años posteriores a la llegada de los humanos a Andrómeda como **TCP**, es decir "***T**ras la **C**reación de la **P**entarquía*".

El año de la fundación de la Pentarquía y por tanto el año cero del calendario, correspondería al 15 320 EC (Calendario de las Eras), al año 6 532 **TFF** (Calendario de la Federación), al 4 846 **AdA** o **AdD** (Calendario Lersiano) y al año 13 328 **A.I** (Calendario Imperial).
Wield Your Powers

When you **wield your powers with precision or grace**, roll + Freak. On a hit, choose one. On a 10+, choose two.

* take hold of something vulnerable to you
* create something useful from your environment
* neutralize an opponent or threat, at least for now

## Description

Unleashing your powers is trying something you’re not sure you can really pull oﬀ, whereas wielding your powers is doing something with mastery and control, so you get exactly the eﬀect you want.

Just like unleashing your powers, wielding them doesn’t trigger every time you use your abilities; you still have to wield them to a particular eﬀect, and you have to do it with a focus or grace beyond the most ordinary uses of your abilities.

## Options

To **take hold of something vulnerable to you**, you seize something, physically or metaphorically. You could literally snatch something out of an enemy’s hands with your telekinesis, or you could take control of the genius loci in the Halcyon Park, or you could take hold of your enemies’ fear by putting on a terrifying show of power. You name what you want to take hold of before you make the move, and the GM tells you if it’s vulnerable to you.

To **create something useful from your environment**, just name something within your abilities to make, and you do it. This could be anything from “a hole in the wall” to “a living statue” depending on your abilities and the environment around you. It’s always explicitly useful to you,—if you create a living statue, it’ll fight for you or defend you, not cause you trouble.

To **neutralize an opponent or threat, at least for now**, name what you hope to neutralize, and so long as it’s within your abilities to do so, that opponent or threat is locked down, incapacitated, or otherwise indisposed. This could be anything from encasing an enemy in ice to shooting a ﬂashbang arrow in their face. It’s always temporary—they’ll recover, given time—but it may give you the opportunity you need to take them down, or to run.
Recall Earlier Generations

Halcyon City has had several generations of heroes. The city is built on the shoulders of those who came before—their triumphs, their mistakes, their successes, their failures. Many of those characters are still around in Halcyon City to this day. Current problems have their origins in the past, too, in the prior generations and their ﬂaws.

Never let the PCs forget that there were several other generations before them, that those characters shaped the world the PCs live in today, and that in many ways, those older generations are still in power. The PCs aren’t pioneers— they’re denizens of realms already explored and colonized.
Someone Permanently Loses Influence Over You

Pick one character; they lose Inﬂuence over you if they have it, and they can never gain Inﬂuence over you again, by any means. If they would ever gain Inﬂuence over you, ignore that part of the move or eﬀect.

After you choose that character, add +1 to any one of your Labels. Note that this isn’t a shift, meaning that another Label doesn’t have to move down. You simply move that Label up one. It might shift down later, like normal, but the overall total of your Labels is permanently increased by one.
The Basics

The most important thing to keep in mind about moves is
this: *to do it, you do it*. Every move has both a mechanical element—rolling the dice and charting the results as a full hit, partial hit, or miss, and then
determining what happens based on the move—and a fictional element—you charge
forward and punch someone, or you say something mean and provocative, or what
have you. You can’t get one without the other! To do it, you do it.

No move
ever triggers without the associated fictional action. Want to unleash your
powers? You have to try something crazy with your abilities! Want to directly
engage a threat? You have to throw yourself into thick of it and start tussling
with the enemy! Want to pierce someone’s mask? You’ve got to be watching them
for signs of what’s hidden beneath! Want to comfort or support someone? You’ve
got to actually say something comforting or supporting to them!

Sometimes
you’ll look at a move and say, “I want to do that thing.” You realize that what
you really want to happen, right now, are the mechanical results of directly
engage a threat, so you want to trigger that move. That’s awesome! But you don’t
get to roll because you want to roll. You have to take some action in the fiction
that triggers the move.

The GM, at the same time, is watching for moments when
a move triggers. Sometimes you describe yourself doing something, and the GM
tells you that it sounds like you’re triggering a move—and that’s awesome, too!
If you like, you can focus on just saying what your character says or does, and
rely on the GM to help call it out when you trigger a move. The final thing to
keep in mind is that just because there’s no move for it doesn’t mean you can’t
do it! Using moves is triggering these specific combinations of fiction and
rules, but you can still do things in the fiction without a move behind it.

## Rolling

Anything that instructs you to roll always refers to 2d6.

Any time you roll, a result of 7+ is a hit. 7-9 is called a *weak hit*, and a 10+ is called a *strong hit*. Any result of a 6 or less is a *miss*.

Rolls will often be made with a modifier - no matter how many bonuses or penalties you have, your modifier for a roll can never be higher than +4 or less than -3.

## Hold

Some moves describe your character getting "hold" as a result of the move, such as "hold 1" or "hold 3". These are temporary points that you can spend according to the move. Usually it must be spent within a given time frame such as a conversation or scene. If there is ambiguity, ask the GM for clarification.

## Ongoing

Ongoing bonuses apply to all rolls you make to a certain situation.

> *Kid Zoom has* *+1 ongoing while using rollerblades to escape a villain.*
>
>

## Forward

A forward bonus is applied to only the applicable next roll you make, but not any further rolls.

> *Coldwave gains the upper hand in a fight and takes +1 forward to fight his opponent.*
>
>
The Janus

Wake up. Breakfast. School. Work. Homework. Sleep. Repeat. It burns you up, being stuck in this life, unable to make a real diﬀerence. That is... until you put on the mask. And then, you can be someone else: a hero.

## Playing a Janus

Stressed, responsible, dual, heroic. The Janus is two people in one, and their struggle is about balancing that paradox. You have your regular life and all its responsibilities on one side, and your superheroic life and all its madness on the other. And ultimately, you don’t want to give up either one—but they both pull and pull at you, building up the tension until you feel like you’re going to snap. That’s okay, though. Your story’s all about that tension, and overcoming it, especially thanks to the people around you.

Cultivate relationships with NPCs and PCs—they’re all important to your overarching story. Pay close attention to your mask. When do you wear it and when do you take it oﬀ? Who knows about your secret identity and who doesn’t?

For you, more than any other playbook, it matters which overt guise you’re in, which mask you’re wearing, and which face you’re presenting to the outside world.

## Inspiration

* Miles Morales, ULTIMATE SPIDER-MAN
* Blue Beetle (Jaime Reyes), YOUNG JUSTICE
* Kamala Khan, MS. MARVEL
* Thor (Jane Foster), THOR
* Batgirl (Barbara Gordon), BATGIRL
Conditions

All PCs have the same five conditions to mark:

* Afraid
* Angry
* Guilty
* Hopeless
* Insecure

Sometimes you have to mark conditions during the game as a result of moves and misses. If you have multiple conditions marked, all are applicable. Each conditions also lists possible ways to clear it.

Conditions only clear at the end of a scene - once you satisfy the conditions to clear a condition, it means the condition *will* clear, but you still have it until the end of the scene.

## Afraid

While you're afraid, take -2 to Directly Engage a Threat.

Afraid can be cleared by avoiding or fleeing a complicated or dangerous situation. This could be anything from running away from a villain to fleeing the room because someone wants to have a tough conversation with you. The key is avoidance - you are running from something instead of confronting it.

## Angry

While you're angry, take -2 to Comfort or Support Someone and to Pierce the Mask.

Angry can be cleared by hurting someone or breaking something important. It's not enough just to punch a bag - you have to take your anger out on someone or something *important*. Hurting someone doesn't necessarily mean hurting them physically - yelling at them and hurting their feelings would work, too.

## Guilty

While you're guilty, take -2 to Provoke Someone and to Assess the Situation.

Guilty can be cleared by making a sacrifice to absolve your guilt. This doesn't them to absolve you of your guilt, so long as you make yourself feel better. This might be anything from standing alone against a dangerous villain so your teammates can escape to agreeing to follow the older heroes’ rules even when it’s easier not to.

## Hopeless

While you're hopeless, take -2 to Unleash Your Powers.

Hopeless can be cleared by seeking out a quick and easy way to relieve your feelings. Most likely, this means making stupid decisions and having fun. It could be anything from getting drink to making out with a random person.

## Insecure

While you're insecure, take -2 to Defend Someone and to Reject Influence.

Insecure can be cleared by following your worst, most impulsive instinct without consulting anybody first. You feel doubtful of your own abilities, so you're proving yourself by following your own plan without talking to anyone first.

That could be anything from attacking the bad guy while the rest of team waits in stealth to giving up something the villain wants in exchange for being able to escape right now.
Treat Human Life as Meaningful

People matter. Their lives have value. That means your stories shouldn’t involve wanton mass murder or death. Never kill a bunch of people just to show the situation is dangerous. It should be momentous when an anti-hero finds it expedient to take human lives—it shouldn’t be the norm.

It also means every time a building or a piece of the city is threatened, you should immediately ﬂag the people endangered, so a hero can save them. Regular, mundane lives are important, too. You don’t have to be a demi-god to get consideration in the story. Parents, teachers, siblings, police, librarians, lawyers—they’re all people, not just caricatures. You should portray them as people, with their own lives and goals and drives and desires.

They can lend a hand to the PCs, and they can stand in the PCs’ way. And that way, when a situation puts them in danger, it’s a person who is endangered.
Retire from the Life

* Retire from the life or become a paragon of the city

When you take this advance, your character is no longer a PC. Regardless of whether you choose to have them retire or become a paragon, their story is over.

If your PC **retires**, they stop being a superhero, at least in the traditional sense. Maybe they go oﬀ to college, maybe they form a company around their super science ideas, maybe they venture oﬀ into the galaxy to explore the cosmos—regardless, they stop being a costumed superhero. What’s more, they’re guaranteed safety—the GM can’t later mess with them specifically in any way.

If your PC becomes a **paragon**, they become one of the leading heroes —essentially, they become one of the adults. Even if they’re not public, they’re still embedded deeply in the fabric of the city. Work with the GM to figure out exactly what that looks like for the character. They transition into an NPC, and the GM has a responsibility to avoid targeting them. They’re presumed to be having their own adventures, conﬂicts, and battles, but they’re not the focus of the story anymore.

After you choose this advance, if you’re still playing your campaign, pick up a new playbook and make a new character.
Support Conditionally

Some of the adults in MASKS may be kind, fostering, and supportive—but they probably always think they know who the PCs should turn out to be, and they’ll act to make their opinions clear. They might support the PCs, providing encouragement and positive words, but always in an attempt to get the PCs to trend in the direction they want—always conditionally. And if the PCs refuse to fulfill those conditions, the NPCs will make their discontent known, in anything from angry speeches to barely veiled disapproving looks.

By default, the kind of support many of the PCs will inevitably seek should be conditional, depending on the behavior of the PCs. Over time, it might be possible to earn someone’s open approval unconditionally—but that’s a long way away. Make the PCs either choose to go it on their own, or play by someone else’s rules to receive approval.
Segmento Upan

El **Segmento Upan** es un segmento de la galaxia conocida como Vía Láctea. Está situado en el Borde exterior de la galaxia sobre el Brazo del Centauro. Es un segmento pequeño y con una densidad media de mundos y sistemas. Está considerado un segmento exterior algo más salvaje con varios mundos importantes y varias zonas poco conocidas.

Las principales hiperrutas del segmento son:

* **Ruta Syrell** - Hiperruta mayor que recorre la totalidad del segmento de lado a lado uniendo y continuando por el Brazo del Centauro.
* Vía Lomuriana - Ruta menor que transcurre por la frontera sur del segmento que limita con los segmentos del vecino Brazo de Norma.
Swansong

Swansong is a large, fluffy white she-cat with amber eyes.

## Personality

She's a very soft-spoken she-cat and is a bit socially awkward. If she does get into a talkative mood she sometimes fumbles over her words or rambles a lot. At times she doesn't know how to start a conversation or exactly how to word what she want's to say. So sometimes even if she has something to say she stays quiet or doesn't bring it up to avoid misunderstanding. She's also the type of she-cat who is very open to others about how she feels and is even soft on those who are outside her Clan unless she sees them as a threat.

## History

Born and raised into WaveClan Swansong was the shyest of her littermates and for a while, her mother thought she was mute or lost her voice due to how quiet her daughter could be. Though neither of her parents minded it as they saw it as something that would make her a great hunter and perhaps even fighter for the Clan. Shortly after she became a warrior, her mother passed away due to sickness, and her father died of old age. As the oldest sibling she didn't show her grief, instead took it upon herself to comfort her siblings Icebreeze and Mapletail. Her brother and sister are the two few cats she can talk to confidently.
Influence

Influence is a binary resource - either someone has influence over you or they don't. If someone has influence over you, it means that you care what they think about you. Their words carry weight with you, and can change the way you see yourself. By default, all adults hold influence over the PCs.

Each playbook has a section that describes how much Influence they give our to their teammates. You can also give out extra Influence, if you decide that your character cares about what a teammate thinks of them.

While you have Influence over a character, you have +1 ongoing on all moves towards them.

## Gaining and Losing Influence

If you have Influence over another character, remember to take note of it.

If you would gain Influence over a PC that you already have Influence over, then instead you shift their Labels, one up and one down.

If you would gain Influence over an NPC that you already have Influence over, instead take +1 forward on the next move you make towards them.
Make a Villain Move

Like the playbook moves, every villain you make has a few moves of their own. You can make these moves when you would make any other move, so long as the villain’s involved in the situation. They always amp up the situation, and highlight that villain’s own particular idiom.

> Example: Blood Opal—Instantly heal a deadly wound
>
> *Rex, you smash through the final pillar and the building collapses behind you, smashing all around Blood Opal. But you’re astonished as you see her push her way free of the rubble, the wounds and cuts on her body healing almost immediately. “Is that the best you can do?” she says. What do you do?*
>
>

> Example: Ilijah Intrepid—Oﬀer a valuable piece of information or gadget for help
>
> *Dusk, Ilijah Intrepid holds up his hands. “Wait, I came here to talk,” he says. He pulls out a strange device, diamond shaped, faintly glowing purple. “You can use this to draw oﬀ the excess energies from the Penumbral door in your soul. It will delay your end. All you have to do to get it is help me to steal the Quantum Gateway.” What do you do?*
>
>
Heroes, Not Players

The story’s about the heroes, right? They’re the ones dealing with teachers who’d love to hold them in detention, even though they absolutely have to go deal with that black hole in the sky, right? So don’t talk to the players—talk to the people really dealing with those problems.

Instead of “Hey, Joe, what does Hornet do?”, say “Hornet, what do you do?” It keeps everybody focused on the fiction, on these characters, on their triumphs and travails.

You’re acting as those characters’ lens into the world. Tell them what they see, what they hear, what they know, fully and truly. “Source Code is way closer to the computer terminal than you are; it’s obvious she’ll get there before you do, unless you do something. What do you do, Hornet?” Don’t ever let them ﬂounder for lack of information.
Reveal the Future

The characters in MASKS are the future of this city. They’ll determine what Halcyon City becomes. So keep showing them the future and the possible paths they’re on. Sometimes you can do this in a straightforwardly comic book fashion—literally, showing them the future through time portals or future versions of themselves or whatever. But other times, do it indirectly, through current figures that might represent what they’re becoming.

> *Hornet, after you yell at Mantis, you storm out to change into your civilian clothes. Just before you leave the base entirely, you look back to see your mentor sitting at her computer. She looks...more tired than you’ve ever seen her. Worn out. Sad. Then she sees you looking at her, and her focus snaps back on, her face hardening. What do you do?*
>
>

> *Fission, the time portal flares up and you see someone come through. It’s...you. This version is bald, and scarred, and filled with deep power—you can feel it. The energy flows through his entire body. He looks at you and smiles, with a terrifying look. “Hello, kid,” he says. “I’m here to save you.” What do you do?*
>
>
GM moves

Your agendas are your goals, and your principles are the paths you take to achieve your goals. Your moves, then, are the things you actually say during the game to fill in what happens next. They’re individual steps you take towards your goal.

Often, it’s enough to let the players tell you what they do and focus on any moves they trigger along the way. If they roll a hit, the moves usually tell you what happens next. But sometimes that’s not enough: when they roll a miss, and you have to make a hard move; when no one’s triggering any moves, and they’re all looking at you expectantly; or when you just think that you should make a move as a follow-up to something that happens.

## Soft vs Hard Moves

Whether a move is harder or softer is about how much, and how directly, it changes the fiction.

Softer moves set the stage for harder moves in the future, and can be dealt with, stopped, and undermined before they lead to a harder move. Harder moves change the fiction immediately and importantly, and can’t be stopped.

As GM, you decide how hard or soft to make any given move. Keep in mind your agendas and principles, though. If you’re hitting with hard moves all the time, chances are you’re not being a fan of the PCs. If you’re using soft moves all the time, then you’re not making your threats real.

**Soft Move Examples**

> *You show up back at your base, but something’s oﬀ. The door isn’t locked, and the lights inside are ﬂickering. You look around, but you don’t see anyone. What do you do?*
>
>

> *When you arrive at home, your mom is sitting in her armchair, waiting for you. The TV’s on, showing your recent exploits. She’s not watching though—her eyes are locked on you. She says, “Well? Any words to explain your behavior?"*
>
>

**Hard Move Examples**

> *You show up back at your base, but something’s oﬀ. The door isn’t locked, and the lights inside are ﬂickering. Suddenly, in a blur of motion, Shell comes hurtling out of the base and punches you in the chest. Take a powerful blow, and then…what do you do?*
>
>

> *When you arrive at home, your mom is sitting in her armchair, waiting for you. The TV’s on, showing your recent exploits. She’s not watching though—her eyes are locked on you. She says, “I’m ashamed of your behavior tonight. You didn’t act like a hero— you acted like a thug.” She’s shifting your Savior down and your Danger up. What do you do?*
>
>

## Moves

* Inflict a Condition
* Take Influence Over Someone
* Bring Them Together
* Capture Someone
* Endanger Innocents
* Show Collateral Damage
* Reveal the Future
* Announce Between-Panel Threats
* Make Them Pay For Victory
* Turn Their Move Back On Them
* Show Consequences and Ask
* Tell Them Who They Are or Should Be
* Bring NPCs to Rash Decisions
* Activate Downsides of Heroing
* Make a Playbook Move
* Make a Villain Move
Make a Playbook Move

Every playbook has its own unique issues and themes to deal with. You can make playbook moves to really push on and bring attention to that playbook’s issues. You can make these moves any time you could make any other GM move.

> Example: Nova—Introduce threats only they can take
>
> *Fission, as Doctor Chaotix’s device fires, a portal opens up in the sky. An enormous figure descends, radiating power, with strange translucent wings emerging from his back. He waves his hands, and the very matter from the tops of nearby skyscrapers begins to rearrange into statues. What do you do?*
>
>

> Example: Outside—Make a request from home
>
> *Skysong, your uncle Warpstar runs into the room and grabs your shoulders. He speaks to you in the melodic, unending tones of your home language. “Child, you must come with me, right now—one of the Keynomes has been unearthed on this planet, and we need to secure it for our homeworld before the Farlander does.” What do you do?*
>
>
The Outsider

You’re not from here. Your home is an amazing place, full of beauty and wonder. But there’s something to them, something special that you’re missing back home. Something…human. So yeah, you’ll be hanging around. At least for now.

## Playing an Outsider

Strange, curious, naïve, arrogant. The Outsider isn’t from here, but that won’t stop them from creating a life for themselves right here on this planet. At least, for now. But can they find a place here? Will they even want to, once they get to know this world more? Or will they answer that siren call, and go home?

When you make an Outsider, feel free to go nuts with your homeland. You might be an alien, absolutely, but you might also be from a parallel world, or from the future, or from a digital realm— whatever. The key is, wherever you’re from, it has to be substantially diﬀerent from Earth and Halcyon City, to the point that you don’t ft in even when you try. A crucial thing to remember while playing the Outsider is that you aren’t incompetent—you understand more than enough to get by in your new home.

What you don’t understand are the more complicated elements of the world around you. Pick a few key areas of diﬀerent philosophy and psychology as you play your Outsider. You can add all the weird pieces you want—”My people never let their feet touch the ground, and we can’t see the color green, and we hear emotions!”—but focus on important and difficult questions, like your people actively dismissing the idea of incarcerating criminals instead of reforming them or believing that those with great power are required to follow the will of the people.

## Inspiration

* Miss Martian, YOUNG JUSTICE
* Marvel Boy, YOUNG AVENGERS
* Xavin, RUNAWAYS
* Starfre, TEEN TITANS
* Warlock, THE NEW MUTANTS
Taking More Abilities

* Unlock the remaining two powers of your suite
* Choose two new abilities from any playbook as you come into your own
* Mutate further and reveal another two new abilities (chosen from any playbook)

These advances give you more abilities, Remember abilities include superpowers and skills, all the cool things that make your character deserving of inclusion in your superhero comic book. These advances tell you what abilities to choose from—if they tell you to choose from any playbook, then select any abilities listed in the other playbooks.

The same general advice and rules from character creation apply here. The advance is about you developing new powers and skills, and the abilities described in the playbooks generally feed into that idea more consistently and successfully than just picking any ability at all—for example, time travel isn’t an ability in any of the base playbooks, and will almost always cause more trouble than it’s worth.

That said, use our own judgment, and talk to your GM and the other players. If you have a great idea for an ability that’s not in the playbooks, then maybe it can still work out.
Shorewater

Shorewater is a lean gray tabby she-cat with hazel eyes.

## Personality

Shorewater is a quiet and reserved cat most of the time. When she is pushed too far, though, she would lash out with a sharp tongue that she inherited from her mother, Thornfire. She is also a bit of a perfectionist, always trying to do her best and push herself to her limits. Shorewater also inherited her mother's stubbornness. If a cat challenged her to something, she wouldn't give up until she had won.

## History

Her father, Hailstrike, died in a plague that swept through the Clans before she was born, leaving her and her siblings to be solely raised by their mother, Thornfire.
Tell Them Who They Are or Should Be

Adults and other NPCs who hold Inﬂuence over the PCs are always telling the PCs exactly who to be. How to act. What to think. Do it, and do it often. Telling the PCs who to be almost always means they have to shift their Labels or reject the NPC’s Inﬂuence, and that’s exactly what you want, to keep the PCs’ senses of identity ﬂuid and changing.

> *Rex, Cygnus looks at you with disgust. “Ew, you’re the one who’s going to take me down? Why couldn’t it be someone more photogenic, you ugly freak?” She’s shifting your Freak up, your Mundane down. Do you accept it?*
>
>

> *Skysong, your uncle Warpstar says to you in your native tongue, “I don’t know why you’re staying here with these people. They’re simple, stupid, and violent. You’re so much better than they are.” He’s shifting your Superior up, and your Mundane down. Do you accept it?*
>
>
Make Them Pay For Victory

You can open paths for the heroes to come through victoriously, having another hero or even a villain arrive with a way to succeed—but always at a price. The villain will only help if you give them something you shouldn’t; the hero oﬀers help, but only in exchange for your team agreeing to follow her lead in the future.

> *Dusk, the Lady Faust holds out her hand. “I can help you,” she says. “I can give you the power you need to close the rifts and push this monster back out of your world. But you have to give me something in exchange—I want you to let me into the Penumbral Realm behind your portal.” What do you do?*
>
>

> *Vertex, the Silver Savior hears your plea for help—reluctant as it is—and looks skeptical. “I don’t know if I believe you, and honestly, I’m tempted to leave you on your own,” he says. “But I’ll come with you if you promise me something: that you come here to train with me, from now on, every day.” Probably means Silver Savior would also take Inﬂuence over you. What do you do?*
>
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Savior

Savior is seeing yourself as defending, guarding, protecting, and stalwart. Other people see you as a savior when they think of you as noble or self-sacrificing, or a bit overbearing and moralizing. You see yourself as a savior when you think of yourself as a martyr, someone who gladly sacrifices to protect and defend others.