RULES - ADDING MELODRAMA

Heroes and Heroines (Hurrah!) are designed on 25 points, with BODY at least 4 (3 for Heroines), but give the character 10 extra Bonus Points after generation is complete. These points may NOT be used to purchase skills - they must be used in play, to improve skill rolls and/or luck. Heroes are always competent, and may improve rolls even if they are attempting to use a skill they do not actually possess. They have several limitations and advantages; if Heroines differ, the modified data is bracketed.

• Heroes can't ignore injustice, brutality, etc. if they can intervene; this doesn't mean that a Hero must always rush into danger, but something must eventually be done to resolve the situation.
• They must never strike the first blow, fire the first shot, etc., unless they are escaping from captivity, have ten seconds to save the world from certain destruction, or have no alternative if they are to rescue the Romantic Lead.
• They may never harm a woman, even if she is a Villainess, an axe-wielding psychopath, or is about to escape. Friends of the Hero are not affected by this limitation. [Heroines may harm men or women at will. It hardly seems fair...]
• A Hero always uses fists in preference to a weapon, a sword in preference to a gun, etc. [Heroines aren't bound by this rule either!]
• Heroes are always good with their fists; any unarmed blow which strikes a henchman or minor Villain will automatically cause a knock-out. This does not apply to blows struck with any form of weapon, or blows used against the principal Villain or non-villainous characters. [Women optionally use this rule at the discretion of the referee.]
• Henchmen and Villains never try to kill the Hero directly if there is any alternative; even if weapons are used, the result will be a knock-out, bruising, or flesh wound at worst. Evil-doers may construct elaborate death-traps for Heroes, which will do full damage in the unlikely event that they work. To make this a little easier for the Villain, any NPC's blow striking the Hero from behind is automatically a knock-out. If a Villain is cornered by the Hero he may resort to immediately deadly force, but this will be very much a last resort. See, for example, Holmes versus Moriarty.
• Heroes must never lie gratuitously; however, they may use disguises or harmless misdirection to mislead a Villain and/or henchmen. They are always honest, within rational limits; if it is necessary to steal or cheat an innocent party to overcome the Villain, a Hero will always make amends afterwards.
• Heroes are always true to the Romantic Lead, once met, and cannot love another. Attempts at seduction etc. will be declined.
• Heroes are natural leaders. Any NPC who isn't actually in the pay of the Villain, or duped by him, will immediately act on a Hero's orders.
• Heroes are either romantic foreigners (see for example Modesty Blaise, most of the roles played by Rudolf Valentino, etc.) or patriotic Britons; if British, they will usually regard foreigners as scum - naturally foreign Romantic Leads are excepted.
• All Heroes should have at least one of the following traits:

  Sense of Duty - The character has some obligation, such as military duty, that is put ahead of personal safety.

  Romantic illegitimacy - the Hero is descended from the nobility or royalty, but cannot be acknowledged for political or marital reasons. This is an open secret; everyone knows the truth, although it can never be spoken openly.

  Long Lost Heir - The Hero is the missing or unknown heir to a title, vast estate, or other inheritance. Usually nobody is aware of this until it becomes important for the inheritance to be claimed.

  Disguised nobility - the Hero pretends a humble origin, but is actually a noble, minor royalty, etc. The truth can only be revealed after the Hero has won the heart of the Romantic Lead.

  Disguised - the Hero wears a mask when performing deeds of valour, CANNOT be recognised by anyone while masked, and appears to be unremarkable at other times. This works irrespective of the size of the mask. The sole exception is the Romantic Lead, who will eventually recognise the Heroes' touch, kiss, smile, voice, etc. See The Dread Pirate Roberts, Zorro, Batman, etc.

  Transvestism - Women taking the Heroic role may disguise themselves as men (or as boys) to perform deeds of valour. For unknown reasons the disguise is completely impenetrable. Male Heroes can't reverse this; although they can temporarily assume the disguise of an aged crone, beggar woman, etc., they must shed it before going into action. Any suggestion that they try a more glamorous costume or enjoy this is right out!

  Extraordinary wealth - The Hero is rich, and has a life-style that reflects it. Private yachts, airships, railway carriages, etc. are par for the course; in extreme cases the Hero may own a country, or at least control its wealth.

  Swashbuckling - The hero prefers flamboyant dress and behaviour, and really will swing across a room (on the chandeliers, a whip, or a convenient curtain) if it suits the needs of the plot. Cloaks, broad-brimmed hats, sword sticks and capes are almost mandatory. A fast horse or car is a vital accessory. [Swashbuckling Heroines must wear apparel which prevents any loss of modesty, or adopt a male disguise.]

  Doomed - The Hero suffers from a long lingering illness (tuberculosis is VERY appropriate for a Victorian campaign), war wound, curse, etc. This will eventually cause death but otherwise has no adverse effects, apart from an occasional discreet cough or momentary incapacitating pain (usually at a point where it helps the plot). The Hero is kept alive by the need to protect the Romantic Lead, and will probably die (after a deeply moving farewell speech) as soon as she or he is saved. [Heroines are very rarely Doomed, but it has been known to occur; this is often revealed as a plot twist at the end of the story, so it is not possible to quote examples here.]

  An Impostor - The Hero appears to have all the trappings of a well-known Hero, but is actually someone completely different (but even more heroic). Usually the real personality will arrive to confront the impostor at a dramatically appropriate moment, and the encounter will reveal that the real "hero" has feet of clay. The circumstances may be a deliberate trick, mistaken identity, a coincidence, or a combination of all of these factors. [Very rare for Heroines; due to a biased press, there are too few publicly acclaimed women to make the idea viable]

  Travelling incognito - The Hero uses a false name to avoid an adoring public. Anyone actually knowing the Hero won't be fooled, but casual strangers may take the Hero's name in vain, claim non-existent friendship, and so forth, with amusing consequences.

  Amnesiac - Another difficult one to bring off, but fun if you can manage it. The Hero has forgotten who he is, and may even play the part of the Villain before remembering the truth. Naturally an amnesiac Hero still remains true to the Hero's code; henchmen may find it hard to understand why "the Boss" will never harm a lady or strike the first blow! Usually memory returns when the Hero kisses the Romantic Lead.

  Reborn - The Hero is the reincarnation of an historic or mythical character, and all relationships in the current life are reflections of that earlier life. Often the Hero is doomed to relive the same romantic tragedies again and again, unless he can somehow triumph over recurring fate. The Hero may know ths history from the start, or becomes aware of it via mesmerism or magical means.

  Separated / Swapped At Birth - The hero was either swapped with another child at birth, or separated from a sibling, or possibly both in a comedic adventure. Typically one child grows up to be the Hero, the other the Villain.

  Secret - The hero has a secret which will cause embarrassment or worse, possibly imprisonment and lasting shame. Usually this relates to something which the Hero is not directly responsible for, such as a brother who is a hopeless opium addict.

In any melodramatic campaign the Hero should be the focus of the adventuring group. This does not mean that the other characters are unimportant; it simply means that NPCs and the focus of the plot will always tend to concentrate upon the Hero, often to a ridiculous extent. For example, a villain may order eighteen thugs to attack the Hero, while trying to cover four other adventurers with a single-shot pistol. The adventurers may possibly find ways to take advantage of the situation.

Under exceptional circumstances there may be more than one Hero in an adventure; if so, they will almost always be rivals in love. This should not stop them cooperating to defeat the Villain, but they should always try to out-perform each other when the Romantic Lead is around.

Anti-Heroes are less common than Heroes or Villains, but may be an interesting alternative to both. They commit crimes but do it in the style of a Hero. The most heroic Anti-Heroes would never build a death trap, or plot the destruction of Britain, but might target those who do such things, even if it means going well outside the law. Less scrupulous Anti-Heroes are more interested in profit, or set up as judge, jury and executioner of those they regard as undesirables, which may include cabinet ministers (The Four Just Men - Edgar Wallace), plutocrats (The Assassination Bureau Ltd. - Jack London), or royalty (The Angel of the Revolution - George Griffith). Where a hero might see a feud developing and try to defuse the situation, an Anti-Hero would try to make things worst and take advantage of the situation (A Fistful of Dollars) to earn more money or eliminate its participants.

Anti-Heroes are generated as Heroes. They have the same advantages but chivalrous conduct is less common; Anti-Heroes MAY strike the first blow, fire the first shot, etc., sometimes harm women (albeit reluctantly), and often choose to use extremely powerful weapons. They can lie to their heart's content, and won't hesitate to cheat or steal, or even murder to further their schemes. They are often cads; female Anti-Heroes also tend to have interesting love lives. While British Anti-Heroes may share the usual prejudices about foreigners, it is NOT mandatory. Some may instead have wily foreign accomplices.

On the face of it there is no down-side, but Anti-Heroes are rarely trusted, and are usually disliked by both sides of the law. They should encounter violence at least as often as Heroes, and can't call on the police and other authorities for help.

Anti-Heroes are a poor choice for players if there will be several other characters in a game, but work well if there are only one or two other players. Remember that Anti-Heroes often work alone, or at cross purposes to other players, and that it may be necessary to develop separate plot strands for them. They use the same Traits as Heroes, but three others may be especially useful:

Notorious - everyone has heard of the Anti-Hero, making disguises, pseudonyms, etc. essential.

Wanted - by the police, other criminals, government agencies, etc. This usually goes with notoriety.

Loner - many Anti-Heroes prefer to work alone, distrusting accomplices and friends, or limit themselves to one useful companion. They rarely recruit large gangs.

Romantic Leads (Ahhh!) are built on 18 points with no special requirements. They are often best run as NPCs, since players may find the role somewhat limiting. Male NPCs may take a similar role in adventures with a Heroine; naturally comments related to attractiveness etc. are reversed. Most Romantic Leads some special attributes:

• They're beautiful; all men are attracted to them, unless they are disguised as a crone or an old man. Disguise as a young man may be a mistake, since female characters may be taken in and fall in love with them! [Male Romantic Leads are extremely handsome]
• Invulnerability; they may be threatened with death, tied to railway tracks, or knocked out temporarily, but they will ALWAYS escape with bruises or a flesh wound at worse. Referees should bend plausibility, the natural laws of the universe, or the rules to bring about this happy situation. [Male Romantic Leads don't have this advantage; their death often motivates the plot!]
• Helplessness; they many not put more than one point into combat-related skills, and the referee may decide that they can have no useful skills whatever! A captured Romantic Lead batters prettily at her captors with ineffectual blows, rather than dispatching them with lethal martial arts manoeuvres. If locked in a room she suffers hysterics, faints, starts to cry for help, or gets on with her embroidery, but will never pick the lock or set up a booby trap for the next person entering. If tied to a railway track she swoons or screams, rather than trying to wriggle free of her bonds. [Male Romantic Leads are usually rather more capable]
• They faint at the sight of blood; their own, or that of someone else. They may also swoon if threatened, if abducted, on the receipt of bad and/or good news, or for no readily apparent reason but at a dramatically appropriate moment. It seems likely that there is an unknown form of anaemia, endemic to Romantic Leads, responsible for this situation. [Male Romantic Leads feel a momentary nausea, but do not faint]
• They have at least one of the following problems or traits:

  A Mortgage - The family home is mortgaged to the hilt, and the Villain has somehow got hold of the deeds. If the Romantic Lead does not give in to his wicked wiles (twirls moustache and smiles evilly), her parents will be thrown out into the snow. If it happens to be summer, he will import some...

  A Secret Admirer - This may be the Hero, but is just as likely to be the Villain, a third party, or a case of mistaken identity. If the admirer is not the Hero, this starts out as an occasional anonymous gift of flowers, but soon escalates to threats to murder any other suitor, kidnapping attempts, etc. A good example occurs in most variants of The Phantom of the Opera.

  A Dying/Crippled Parent/Brother/Sister - Often combined with a mortgage (see above) or poverty (below), as a means of compelling the Romantic Lead to obey the Villain.

  Religion - The Romantic Lead is contemplating a religious life, or has even become a novice, but both the Hero and Villain have other ideas; or perhaps the Villain is encouraging it, because he wants the Romantic Lead out of the way.

  Poverty - The Romantic Lead is too poor to buy pretty clothing, luxuries, or (in extreme cases) food. Despite this the Villain has recognised her beauty, and has plans for her...

  Heiress - One day the Romantic Lead will inherit a fortune, but it is currently controlled by her parents or a guardian, who might use the threat of disinheritance to manipulate her. Or perhaps nobody knows her destiny, except a Villain who happens to be next in line for the inheritance.

  A Thwarted Ambition - The Romantic Lead wants to be an actress, singer, artist, etc. but there are obstacles in the way; usually obstacles placed by the Villain.

  Doomed - The Romantic Lead is sinking fast, dying of some strange disease (or could it be an exotic poison administered by the Villain?). Symptoms include swooning, a need to spend long periods lying prettily on a couch, and flushed cheeks which the uninitiated might mistake for the bloom of perfect health. Villainesses pretending to be Romantic Leads are often good at faking these symptoms.

  Disabled - Following a mysterious fall, riding accident, or illness the Romantic Lead is confined to a bath chair (the predecessor of the wheel chair) or is blind, and is at the mercy of sinister housekeepers, husbands, guardians, etc. In this setting the Hero might be a doctor, faith healer, etc. who can cure her if given a free hand, or a detective investigating the real reason for her disability.

  Unhappily Married - The Romantic Lead has been forced into an unhappy marriage; there may well be something odd about the arrangement, such as the husband's refusal to talk about his previous (deceased) wives, irregularities in the service, bigamy, etc. There might even be some suggestion that the husband has strange designs on the life or sanity of the Romantic Lead; but naturally the Romantic Lead respects the sanctity of marriage and would never dream of complaining...

  Widowed - The Romantic Lead is a grieving widow, mourning her late husband. But is he as late as she believes? Young children may be an additional complication, as might a mortgage, poverty, etc.

  Mesmerised - The Romantic Lead is mind-controlled by the Villain. But True Love might break the conditioning.

  Parental Control - The Romantic Lead's parents effectively control her life; they can arrange or forbid marriages, and exert enormous moral pressure.

  Not What She Seems - The Romantic Lead is living a lie; possibly she is being forced to do so. For example, she might pretend that her husband / brother / father is abroad when he is actually in prison, or assume the identity of someone of higher status.

  Reborn - The Romantic Lead is the reborn spouse or lover of the Villain, who may be an immortal magician (The Mummy, She, etc.) or may also be reincarnated. Alternatively, there may be a repeated tragic link between the Romantic Lead and Hero. Usually the Romantic Lead is unaware of this relationship, especially if the Villain is the former spouse, but mesmerism or magic may restore ancestral memories.

  Separated / Swapped at Birth - As above

  Romantic Illegitimacy - As above

  Secret - As above.

A few Romantic Leads are more competent, which may be preferred if they are run as player characters, but they should never be anywhere near as competent as a Hero. They should be built on 21 points.

Villains (Boo! Hiss!) are almost always the Masters of Villainy found in the most far-fetched melodrama. Petty Villains may suffer pangs of conscience, or have incompetent hirelings; they may kill someone with their fists, or break into a shop to steal a few pounds. Masters of Villainy rarely have a conscience, and since their henchmen can make mincemeat of most opponents, seldom need to get their own hands dirty. If they need cash, they'll break into the Bank of England and steal a few million. Everything that follows relates to male and female Villains alike.

Villains are usually run by the referee, since it's rarely possible to run the same Villain for more than one adventure. If generated by players, start off with 28 points, but no Bonus Points may be kept back, and MIND must be at least 4. Up to 4 points may be added to skills, not the usual 3. Players running Villains should remember that in most melodramatic plots they are probably fated to lose.

Most Villains need henchmen. Player-run Villains must find and recruit their own underlings, always running the risk that they may inadvertently take on a disguised Hero, an incompetent, an informer, or someone who aspires to Villainhood over the adventurer's dead body. See FF VI for examples of the complications that can arise, hiring methods, etc., and some sample organisations. They are not compulsory; it can be more expedient to hire help as needed rather than setting up an elaborate organisation.

Obviously the needs of a particular adventure may change things considerably; a Villain might act alone, or have the resources of an army or a nation under his control.

Villains have several special limitations:

• Any plan (usually referred to as a Fiendish Plan or Plot) prepared by a Villain, however simple its objective, must be extraordinarily complex in execution.

  Q: How does a Villain change a light-bulb? A: Kidnap the Romantic Lead's father and persuade her to sign over the deeds to his light-bulb factory, fake scientific evidence to prove that all other makes of light bulb emit dangerous N-Rays, corner the market with a "new, improved, N-Ray free filament", and use the profits to fund a South American revolution. Use the power base in South America to acquire the resources needed to build a citadel in the Antarctic, and put a new light-bulb in the citadel. Kill the father, plant a penguin feather in the cuff of his trousers, and dump his body where the Hero will find it. Tie the Romantic Lead to a chair under the light-bulb in the citadel, surround her with cunning booby-traps, and wait for the Hero to arrive. When the Hero has been destroyed by the booby-traps twirl your moustache, take the Romantic Lead and light-bulb home, force the former into marriage (she'll thank you for it in the end) and the latter into its holder. It's an old trick, but it might just work...

• They never do their own dirty work if there is any alternative. If a Villain wishes to kill someone, he will always get a henchman, or a henchman's assistant, to do the dirty work, or use an elaborate and usually fallible death trap. Traps preferably involve poison gas, snakes, alligators, rising water, or fiendish poisons unknown to conventional science. The only exception is if the Villain has no alternative, and must fight or die; even then he will probably prefer to escape and/or feign death.
• Villains ALWAYS explain their plans to the Hero; it's expected of them. Heroes and their associates are always transfixed with horror while listening, while the Villain's associates are lost in admiration of his/her cunning. When a Villain is explaining a plan, NOBODY may take ANY action. This lasts until the end of the explanation, which should preferably be accompanied by a fiendish laugh. If a Villain cannot explain his plan (because any explanation would make it impossible to carry out) he will explain it in Asides (see below) or to his underlings. With the exception above Villains NEVER carry out the final step of their fiendish plan until it has been explained to the Hero. This may involve a delay of two or three days until the Hero actually arrives or has been captured! Even if the plan can't be explained, the Hero must be present for the final act.
• They should have at least a couple of the following traits and distinguishing characteristics (explained above or below):

  Romantic illegitimacy - The Villain is the bastard or disowned son of a noble or royal house, and seeks revenge by scheming to bring his family down. Often found associated with revolutionary organisations, especially in small Baltic states. Villains with this trait run a risk of becoming Anti-Heroes, or even Heroes, as their plans develop, but real Villains will always fail to rise to such occasions. The most notorious example is Michael Elphberg, half brother of the ruler of Ruritania (The Prisoner of Zenda etc.). Inadvisable for petty Villains.

  Insane - The Villain develops fiendishly complex but irrational plots, such as a scheme to murder several hundred thousand people in order to be sure of killing one of them. They cackle as they explain their schemes. They kill their underlings for no readily apparent reason. Insanity is a good motive for petty Villains, although greed is better.   Note: Insanity may, very rarely, be usable as a motive for heroes. See especially Rorschach (The Watchmen) and some analyses of Batman's behaviour.

  Vengeful - The Villain has a good reason for his actions; revenge. Unfortunately the quest for retribution is taken to ridiculous extremes. For example, a vengeful Villain might design a plan to simultaneously blow up every car in London after a hit-and-run driver kills his cat. He might set fire to his school because he was bullied as a child. Vengeful Villains often feel an urge to make the punishment fit the crime; a rapist might be impaled on a stake, a drug dealer forced to consume a massive overdose.   Note: Revenge may also be a useful motive for Heroes (Batman, Death Wish, Darkman), but tends to add dark overtones to a plot.

  Greedy - Villains are often greedy. Usually they want money, but the means of acquiring it may also be useful. Most petty Villains fall into this camp; they murder wives to take their inheritance (The "Brides In The Bath" murders, Gaslight), force the Romantic Lead into marriage to gain control of her factory, or throw widows and orphans out into the snow (the Conservative Party). Large-scale Villains develop elaborate schemes to hold the world to ransom or steal immense amounts of money. Often these are simply stepping-stones en route to a larger design, but most Villains seem to have sticky fingers, raking off some of the money before it's spent on the next phase of their master plan, and live accordingly.

  Doomed - The Villain will die horribly unless some circumstance intervenes; usually a cure requires the death of the Romantic Lead or some other sinister ritual. For instance, an immortal evil genius might gain his immortality by sucking life-force from virgins, magically or by some strange technology. Needless to say there will always be a Hero close at hand when it is time for another dose... This motive is rarely suitable for a petty Villain.

  Good Intentions - The Villain hopes that his appalling crimes will accomplish some greater good. Usually he is wrong. Often combined with insanity. THRUSH (The Man From Uncle) often claimed altruistic motives for conquering the world, as do some of the cinematic James Bond villains. This is usually more suitable for Anti-heroes.

  Foreign - Need any more be said? Foreign Villains usually appeal to the most xenophobic of audiences, who perceive all Orientals as "wily" or "sinister", all Jews as misers or millionaires, all Americans as rich magnates or cowboys, and so forth. Foreign Villains are always regarded as especially sinister, for no readily apparent reason. Most royal Villains (below) are foreign, but the British love of the Monarchy initially protects them from suspicion.

  Royal - The Villain is a reigning monarch, or in line of succession, usually of a small state with Imperial ambitions. He (this trait is usually reserved for male characters, since female Royalty are mostly Romantic Leads) often pretends to be on a "good will" mission to Britain, but this is actually a cover for espionage or some sinister long-term scheme to destroy the Empire. He usually has diplomatic immunity. After an initial encounter Villains of this hue often return to their native lands, where they enjoy all the resources and advantages of their positions.

  Compulsive behaviour - The Villain feels compelled to carry out his or her plans to some fiendish schedule, usually based on the Bible, Shakespeare, or some other famous work. This is generally combined with insanity, revenge, or both, but may in fact be a cover for a scheme which is aimed at only one of its victims.

  Master of Disguise - Many Villains can disguise themselves as anyone, of either sex, if they are of roughly comparable shape and size. This enhances the Acting skill, adding quick change, make-up, transvestism, and an uncanny knack of imitating movement and behaviour. Even those who know the person imitated will be fooled. Masters of Disguise should only be uncovered if there is some reason for suspicion and the Detective skill is used against high Difficulty, or some extraordinary mischance (such as the arrival of the person imitated) betrays them. Often the disguise hides horrible disfigurement. This ability should not be made available to player Villains.

  Sadistic - Nearly all Villains are sadists; it goes with the territory, and is especially common amongst petty Villains. This is one of the reasons why victims are rarely killed outright; it's more fun to let them suffer pain or the agonies of anticipation first.   "Aahhahahahhahahahah! In just ten minutes the London to Edinburgh express will pass over these very lines. And over you, my dear, unless you sign this document..."

  Evil Genius - MIND of 6 or even 7 and appropriate MIND-related skills are prerequisites for this status; scientific genius is most common, but financial and military genius are also possibilities. Evil geniuses develop lethal rays and potions, elaborate plans to corner the stock market, perfect forgeries, infernal devices, etc. Villains who aren't evil geniuses often have scientists and other specialists as henchmen, so that they won't be left out. Petty Villains are rarely evil geniuses. Doctors Nikola (FF VI), Fu Manchu, and No are obvious examples.

  Uncanny Powers - Mesmerism is by far the most common; weak-minded victims (most notably Romantic Leads) are immediately affected, only Heroes have a chance to resist. This is a bonus added to the Villain's SOUL, used to attack the victim's MIND, succeeding automatically against NPCs.   Immortality is another popular choice; the Villain can apparently be killed, but always comes back to seek revenge. Even the destruction of his body may not be enough to prevent this.   Magic seems an obvious possibility; see the next appendix for more on this.   Rare NPC Villains may be in league with the Devil, or may actually be the Devil incarnate, and control extraordinary magical abilities. If this occurs there must always be a loophole, a way to turn these powers against the forces of darkness, which should be telegraphed to the adventurers well in advance of the final conflict. The trick may be as simple as using a mirror to reflect the evil forces back at their source, or as difficult as stealing and destroying an amulet containing the Villain's soul. These powers can largely be seen as special effects affecting NPCs or the scenery, or as attacks on one or another characteristic, as described above.   Petty villains very rarely have uncanny powers.

  Extraordinary wealth - Most Villains are men of means; even a crooked lawyer or murdering husband can probably run to a couple of hirelings and bribe a few witnesses. Extraordinary wealth implies a good deal more. Basically, the character can afford anything that is dramatically appropriate to the situation, and emphasises his or her Villainy; an airship or a private train, a steam yacht or several hundred fake uncut diamonds.

  An aura of Evil - The Villain exudes some strange taint which repels the good, but inspires fear in underlings and anyone he threatens. All Brawling attacks made against a Villain with this aura have the Difficulty number raised by 2, because of a natural reluctance to touch him. This is best limited to NPC villains. It is possible to have this taint but still be a Master of Disguise; in that case the evil aura is masked by the disguise, but may still be detected on a roll of SOUL versus the Villain's Master of Disguise skill. Often this is combined with a reputation for villainy, usually of epic proportions. "..Ask the Chinese mothers nursing their almond-eyed spawn in Peking who he is; ask the Japanese, ask the Malays, the Hindoos, the Burmese, the coal porters in Port Said, the Buddhist priests of Ceylon; ask the King of Corea, the men up in Thibet, the Spanish priests in Manilla, or the Sultan of Borneo, the ministers of Siam, or the French in Saigon — they'll all know Dr Nikola and his cat, and, take my word for it, they fear him." A Bid for Fortune

  Femme Fatale - Rare, the world of Villainy is largely dominated by men, but a few notable Villains are women. They are especially likely to use proxies for their evil deeds, although most will try their hands at seducing the Hero. While male Villains generally dress in black, their female equivalents tend to prefer lighter colours (although pastels are a sure sign of a loser - see Addams Family Values).

  Notorious - Everyone has heard of the Villain, making disguises, pseudonyms, etc. essential. Very common, mandatory once a Villain is unmasked.

  Wanted - by the police, other criminals, government agencies, etc. This usually goes with notoriety.

  Reborn - The Villain is in touch with his or her previous lives, and can draw on past experience to recognise reincarnated rivals (usually the Hero) or former lovers (the Romantic Lead). This time the Villain is determined to overcome previous mistakes, and get things right, no matter the cost to the world. See e.g. Pharos the Egyptian by Guy Boothby for an excellent example. This is often accompanied by Uncanny Powers.

  Separated / Swapped At Birth - The Villain was either swapped with another child at birth, or separated from a sibling, and either seeks revenge for the abandonment, or plans to usurp the place of the other.

  Secret - Usually the mere fact of being a Villain, but there may be a particular fact that will make everyone loathe the character above and beyond the fact of Villainy. For example, the character might have sold his own mother into slavery.

• Finally, most villains need some interesting possessions:

  Strange pets - They range from everyday (but somehow unusually sinister) cats to attack dogs, snakes, gorillas, scorpions, rats, sharks, and slave girls. Generally they have been trained to attack any stranger; for some reason this training often goes wrong if the stranger is a Hero, and they attack the Villain or a henchman instead. Blofeld and Dr. Nikola owned cats, Dr. No had spiders and carnivorous crabs, Cruella De Ville liked dogs, Dracula rats and wolves, Dr. Phibes locusts, and Dr. Fu Manchu used most of the animal kingdom at one time or another. Sharks are used by several James Bond Villains.   Optionally Villains may use their Uncanny Powers to control or monitor their pets. Usually their pets resent this, and turn on them given the slightest opportunity.   Petty Villains usually settle for fierce dogs; rural examples usually have at least one, generally a vicious lurcher.

  A headquarters - Most Villains have some sort of base, if only a heavily locked room where they can plan or meditate, a mansion where they can install a few floodable cellars and death traps (Bulldog Drummond, The Saint), a laboratory, or a sawmill where they can threaten to cut the Romantic Lead in two. Many Villains do things on a much larger scale, using ancient castles (Dracula), caves (Lord Ruthven), volcanic craters (Blofeld), or hidden cities as their headquarters. Some useful accessories for a headquarters include Guards, preferably equipped with helmets and uniforms which conceal the wearer's features and make it easy for the Hero to take their place. Ventilation ducts conveniently sized for crawling Heroes (or helpful children, pets, etc.) Several death traps, all fallible. Secret corridors, rooms, and trap doors. A bottomless pit, swamp, or volcano with a secret escape route for the villain. An immense store of gold. An infernal device, ready to be sabotaged by the Hero. A clearly labelled self-destruct lever or button. Scantily-clad young women, usually mesmerised by the Villain (or attractive young men if the Villain is female). Pets (see above) A weapon, or some other device, to which the Villain is vulnerable. The deeds to the Romantic Lead's home. The card game Before I Kill You, Mr. Bond... (Cheapass Games) is an excellent source for further ideas, as is the Evil Overlord web site.

  A long moustache - preferably beautifully waxed, to be twirled while explaining a Fiendish Plan, and/or a top hat (Dr. Nikola). Many villains have both. Most also wear black clothing. Femme Fatales rarely have moustaches!

  A guilty conscience - Rare, but occasionally present, especially in lesser Villains. The Villain knows that he is guilty of many sins, and agonises about them. It doesn't stop him from committing more crimes; it just means that he will feel a little remorse afterwards. Sometimes guilt is a character's main motivation, more often it is an inconvenient distraction, worthy of a few asides to the audience but otherwise ignored.

  A concealed weapon - Sword sticks are nice, so are Derringers up sleeves or in top hats, but true aficionados of evil prefer tiny infernal devices; vials of nitro-glycerine, vitriol (sulphuric acid), or bacteria unknown to modern science (there was a vogue for stories of murder by lethal bacillus at the end of the 19th century), pistols or dart guns disguised as cigar lighters, cigars containing poison capsules that kill the smoker, matchboxes containing deadly spiders, and other esoterica. Petty Villains rarely venture into this territory, preferring to beat their enemies to death.

  A beautiful but wilful daughter - Daughters are rarely Romantic Leads; usually they feel unrequited love for the Hero, rescue him from certain death, realise that he Loves Another, and throw themselves sobbing into the crocodile pit or a lesser Hero's arms. Often they are reluctantly loyal to their parents, and appear briefly to save the Hero then disappear from the plot until the next adventure.   Unfortunately for Heroes, there is no guarantee that a Villain's daughter will help them. Sometimes they are Villainesses, even more menacing than their fathers because they have a quality singularly lacking in Villains - common sense! These dangerous women often find simple direct solutions to their father's problems.

Acting the Part

To establish the mood of melodramatic adventures, characters (especially Villains) should use Asides to the "audience" to convey information about the plot and their nature, and Soliloquies and Songs to establish their personalities.

An Aside is a small speech reflecting the character's thoughts - the other "actors" are not supposed to know what is said. In practice the other players will hear Asides, so it's important to establish rules for their use before play begins. Players may use Asides as often as they like, but they must be (a) in character, (b) true, and (c) relevant to the current events of the adventure. If an Aside is a lie or irrelevant, the referee should consider reducing bonus points at the end of the adventure. Asides are most typical of Villains, but may be used by anyone.

No other character or NPC can hear what is said in an Aside or act on it directly. However, there is nothing to stop characters taking steps that arise from the situation and "happen" to relate to what is said less directly. It happens all the time in melodrama. Optionally the referee may also choose to let the characters have "feelings" or "hunches" about what they've heard, on a roll of SOUL (or any appropriate skill, e.g. Medium or Psychology) versus the speaker's MIND, Actor skill, or whatever else seems appropriate.

Players and the referee should agree a signal which makes it clear that a remark is an Aside; the easiest is probably to hold a hand in front of the mouth and look to one side, and begin with a phrase such as "Pah! Little do they know that..." or "How can I tell her...". Combining this with standing and bending slightly, as though performing a bad Richard III imitation, will also put the idea across but may lead to gales of laughter. Optionally, give each player a card saying "Aside", to be held up while speaking.

While it might seem that there is nothing to be gained by using an Aside, they are powerful tools for manipulating players; it's almost impossible to avoid being influenced by something that you know is true, even if you suspect that it is not the whole truth. For example, a Villain's Aside might be entirely truthful but worded to suggest actions that will lead the Hero into a trap.

Two other forms of dialogue can be important in a melodrama; Soliloquy and Song. Both represent a statement of a character's viewpoint or aspirations, preferably in a form that has some artistic merit. For example, the opening speech of Richard III ("Now is the winter of our discontent made glorious summer by this son of York...") and Rorschach's analysis of the meaning of life (The Watchmen part VI) are excellent Soliloquies. "I'm gonna kill everyone who stands between me and a Dukedom...", sung to a rap beat, might be a somewhat less edifying Song. Gilbert and Sullivan offer dozens of useful tunes, more can be found in the folk music of most nations. Both Soliloquy and Song can be combined with an Aside. For example:

Villain	[Aside] "Aha - little do they know that... [Sings] "A cunning villain I, A man of lethal habits, I'll slay my foes like rabbits, Without any pity or shame. Before the night is out I'll bump off all my cousins, kill sundry other persons, And pass to the Hero the blame, Oh, and pass to the Hero the blame..."
Hero	"Should I feel uneasy?"
Referee	"Roll your SOUL versus Difficulty 5, if you succeed you distrust him, but have no idea why."
Villain	"Feeling all right, old chap?"
Hero	(fails roll) "Felt dashed odd for a moment. Uneasy."
Villain	"Well, we all get odd feelings now and again. Probably something you ate. Have I introduced you to my cousin Helen...?" [Enter Romantic Lead]

If a Song or Soliloquy isn't an Aside everyone who is present naturally hears it, but should treat it as normal speech unless the character is supposed to be singing. Unless combat or some other life-or-death situation is in progress, time and the action stop until it's over. Songs and Soliloquies are used mainly to add atmosphere and drama, and to distinguish this genre from normal role playing.

To encourage their use referees should consider awarding bonus points for best Soliloquy, Song and Aside at the end of the adventure. Optionally this can be decided by vote.

Finally, a word about overacting. While it could be argued that it is impossible to overact in this genre, excessive ranting and displays of extreme emotion can eventually become a little wearing, and may slow the game considerably. Players will have ample opportunities to display the gamut of their acting skills in asides and soliloquies, and in the climactic scenes of adventures. At other times it's advisable to be a little more restrained.